Lauryn Redding

Bank of Dave the Musical

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Reviewed by Nikki Cotter

Opening Night verdict ⭐⭐⭐⭐

Dave Fishwick is no ordinary man, having left school aged 16 with no qualifications, he defied the odds to become a self-made millionaire through pure grit, hard work and steely determination. After inspiring two Netflix films, a best-selling book, and a BAFTA-winning documentary, the story of Burnley’s favourite community champion is now taking to the Lowry stage in Bank of Dave the Musical.

With a book and lyrics by Rob Madge (My Son’s a Queer (But What Can You Do?)), music and lyrics by Pippa Cleary (The Great British Bake Off Musical), and direction by Leicester Curve’s Artistic Director Nikolai Foster (Kinky Boots, A Chorus Line), Dave Fishwick’s story is in very good hands. At its heart the show follows Dave’s mission to establish Burnley Savings and Loans, an alternative banking offering for the local community who have been failed by traditional corporations. Dave’s defiant stand against the big financial hitters offers an irresistibly inspiring, underdog story making it perfectly suited for dramatisation.

Taking on the larger-than-life role of Dave is a hugely impressive Sam Lupton. Lupton superbly embodies the Burnley entrepreneur, balancing steely determination with undeniable charm. Lupton portrays Fishwick’s infectious optimism with a genuine warmth and sincerity, ensuring you’re rooting for him wholeheartedly from the start. His pairing with Hayley Tamaddon as Nicky, Dave’s wife works wonderfully. There’s a genuine chemistry adding authenticity to the piece as we see their unshakable foundation encourage and support Dave every step of the way while their vocals are perfection.

Lucca Chadwick-Patel gives a sensational performance as Dave’s Solicitor Hugh, a Southern fish out of water who goes on his own journey of self-discovery. His partnership with Lauryn Redding as no nonsense A&E Doctor Alex adds another interesting layer to this feel-good story. While Redding gives an excellent performance with vocals to die for, I’d love to see a tweak to the writing with Dr Alex staying fierce but with a little more nuance to the character.

Special mention must go to Samuel Homes whose characterisation as super toff Sir Charles Denbigh is outstanding. His delivery of hilarious number Rich Boys Club is as deliciously vulgar as you’d hope for. Claire Moore as landlady Maureen brings both playfulness and emotional depth to the piece while Hannah Nuttall’s comedic timing as Mavis is a joy.

The immensely talented ensemble takes on multiple roles throughout, collectively creating a community the audience very quickly cares about. Vocally they will blow your socks off, with large-scale stirring numbers capturing the true spirit of working-class solidarity. Can You Hear The Mill? being the perfect example of this, leading us into the interval in the most song-tingling way.

Amy Jane Cook’s set and costume design anchors the production beautifully while video design from Duncan McLean elevates it visually. Musical Supervisor Toby Higgins and Orchestrator Tom Curran ensure Pippa Cleary’s melodic score is perfectly executed.

Witty wordplay flows throughout this production ensuring the storytelling both engages and entertains, there is so much to love here and the thunderous standing ovation at curtain calls confirms this. The pacing is good with just a few moments where things could perhaps feel even sharper, this however is a minor quibble for an enormously entertaining show.

With its proud Northern heart on full display, The Bank of Dave is an uplifting, laugh-out-loud triumph that radiates pure joy. This feel-good underdog story is a true celebration of community, determination and an inspiring reminder of what can be achieved when we truly believe in both ourselves and each other.

Bank of Dave the Musical is on at The Lowry until Saturday 16th May tickets are available here.

Bloody Elle – A Gig Musical

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Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

Reviewed by Demi Franks

Sitting inside one of Manchester’s most beautiful buildings, the excitement and anticipation for what is for many the first time back inside a theatre in over fifteen months cannot be underplayed.

From front of house, to centre stage, you could see the effort, love and pure joy that has gone into this re-opening. The atmosphere was palpable, and that wasn’t because England had just beaten Germany in a knockout game of football for the first time in over fifty-five years (although that might have just added a little extra something). Being in the audience, for the Royal Exchange and Rebel Productions’ world premiere in the current climate felt like a secret special treat.

‘Bloody Elle’ isn’t like your usual Royal Exchange offering, immediately the audience barrier is not only broken but well and truly smashed, as Elle addresses the audience directly from the off, refreshingly introducing the sound and lighting operating team as if it were part of the set of her gig.

‘Bloody Elle – A gig Musical,’ is a one-woman-show, set to an original score, written and performed by the astonishing Lauryn Redding. The story is of self-professed ‘potty mouth’ Danielle (Elle) who has been brought up on ‘cloud rise,’ by her widowed mother. Elle or ‘Gobshiiiite’ as her mother calls her, works at Chips and Dips which is ‘pretty good craic…and you get free chips.’ Here she meets newbie Eve, and the rest as they say is…. a two and a half hour, hilarious, uncompromising, fresh, original, genre-breaking, ‘gig musical.’

Redding is a force of nature and you can’t take your eyes off her. Not only does she fully command the auditorium for two and a half hours, she has the audience firmly in the palm of her hand. Full of witty, punchy one-liners, and hard-hitting truths that make you laugh out loud, and your insides squirm simultaneously, Redding’s writing is sensational, and the audience not only clings on to Elle’s every word, but we feel it deeper than maybe we are comfortable admitting. The way the piece takes a free-flowing route in and out of spoken word, prose and song is remarkable and as if performing a one-woman-show, playing an acoustic and an electric guitar whilst cleverly looping your whole set isn’t enough, Redding’s singing voice is equally sublime, effortlessly moving from northern busker vibes to more soulfully fueled riffs that really show off her excellent vocal capabilities. This original score is raw and current, yet also feels long-established and familiar as you find yourself nodding in enjoyment.

‘Bloody Elle’ is directed by the Royal Exchange’s joint Artistic Director Bryony Shanahan, who does a wonderful job here of bringing all the elements together seamlessly. Stoodley’s stripped back design, together with Webster’s atmospheric lighting, are both extremely effective. It makes the whole evening feel really intimate, almost like you’ve cheated your way inside a live gig and a theatre show all in the one ticket and it’s almost too good to be true.

Towards the end you can see Redding shedding her character’s layers and allowing the rawness and truth of the story to surface. ‘Coming out isn’t easy… it cuts you open from the inside,’ this is a story of love, heartbreak, acceptance and everything in between and the poignancy of watching Elle’s story unfold whilst Pride is being celebrated throughout the world is certainly not lost.

The entire experience is a cathartic and hugely uplifting one at the same time.

Yes, ‘the gig’ could quite possibly have been condensed a little, but your eyes are never left wandering, aand your attention doesn’t stray for that matter, either.

Shanahan admits in her Director’s note that without Covid this piece may not have even been written and it’s no mistaking that a piece like this would possibly never have been programmed on the main stage at the Royal Exchange; certainly a little nugget of joy to come out of this past year.

Bold, bright and brash, the Royal Exchange’s first socially distanced, re-opening offering certainly packs a hefty punch.

‘Bloody Elle- A Gig Musical’ runs until the 17th July tickets available via » Bloody Elle (royalexchange.co.uk)