Manchester

Robin Hood

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Reviewed by Jodie Crawford

Opening Night verdict ⭐⭐⭐⭐⭐

Robin Hood: The Magical Panto Adventure at the Manchester Opera House is everything a great panto should be: loud, proud, joyfully chaotic, and absolutely hilarious. From the very first moment, it’s clear you’re in safe hands with a production that understands its audience and fully leans into what panto does best. This is a great northern night out, with bells on!

The chemistry between Jason Manford and Ben Nickless is once again pure magic. Year after year they somehow manage to outdo themselves, delivering effortless laughs, perfectly timed chaos, and that wonderful sense that anything could happen at any moment. Their interaction with each other, and with the audience, is the heartbeat of the show. I fear the day when they decide to hang up their Panto boots as it’s hard to imagine a Christmas without them on stage together.

And honestly? It doesn’t matter in the slightest that the plot is inconsistent because it’s completely irrelevant. This panto has all the ingredients that matter. The ghost scene? Brilliant. The “in the gap” scene? Predictably unpredictable. The bloopers, singalongs, cheeky asides, and bang-on cultural references, from the last 12 months, all land perfectly, keeping the audience crying with laughter from start to finish. There are as always, some fabulous surprises in there too!

The ensemble cast is outstanding, bringing energy, polish, and warmth to every scene, while the costumes are the best I’ve seen at an Opera house panto:  vibrant, inventive, and a visual feast that add to the magic at every turn. A huge shout-out also goes to Adam Strong as the Sheriff of Nottingham, who delivers a pitch-perfect performance, gloriously dastardly, fabulously over-the-top, and exactly what a panto villain should be.

This is truly a show for all generations. I took a nine-year-old and a seven-year-old and judging by the laughter (and the conversations afterwards), those memories will last a lifetime. Let’s just say they will forever laugh when they get to page nine… #iykyk

Manchester should be incredibly proud of this panto. It’s a tradition done right, packed with heart, humour, and festive magic. I highly recommend this show. A guaranteed crowd-pleaser and a reminder of just how brilliant panto can be and should be.

Robin Hood is on at Manchester’s Opera House until Sunday 4th January tickets available here.

Tina – The Tina Turner Musical

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Reviewed by Nikki Cotter

Opening Night verdict ⭐⭐⭐⭐

Credit: Johan Persson

Having broken box office records whilst becoming the longest running show at London’s Aldwych theatre, Tina – The Tina Turner Musical arrives at Manchester’s Palace Theatre this month for a six-week run as part of its first ever UK and Ireland tour.

While it would officially fall into the ‘jukebox’ musical category, this gritty, global smash-hit feels anything but a Tina tribute. Telling the fascinating story of the iconic superstar, Tina Turner, this entertaining production is an in-depth biopic of a truly inspirational performer.

The production doesn’t shy away from the often-heartbreaking reality of Tina’s backstory, its unflinching and hard-hitting in its brutal honesty, particularly surrounding the violence Tina endured at the hands of ex-husband Ike Turner. Amidst the struggles however emerges a resilient, unstoppable superstar who is portrayed sublimely by Jochebel Ohene MacCarthy at tonight’s performance. She impressively channels Tina’s strength, determination and stage presence perfectly, her powerhouse vocals are nothing short or remarkable. This is a real masterclass in musical theatre. Her connection with David King-Yombo is superb, together they bring the characters and their strained relationship to vivid life with King-Yombo successfully navigating the complexity of Ike with impressive nuance.

Phyllida Lloyd directs this cast with consistency, from Sophia St Louis as young Tina to Alline Bullcok as Tina’s Mum, this is a West-End worthy cast who commit entirely to delivering Tina’s story with the emotional depth it deserves. While the storytelling is clear, Act 2 comes to a swift and less detailed conclusion making the ending feel a little unexpected in comparison with the intricate storytelling seen in Act 1, however from the very first note to the sensational finale this show will thrill audiences this festive season.

Mark Thomspon’s minimalist set design is lifted by Jeff Sugg’s projections and Bruno Poet’s lighting, making the overall visuals satisfying rather than impressive, while Thomspon’s costume design demonstrates an incredible attention to detail. Anthony van Laast’s exhilarating chorography gifts audiences with the iconic Tina moves they know and love while Campbell Young Associates hair, wigs and make up design ramps up the authenticity of this piece.

Tina – The Tina Turner Musical successfully does justice to the inspirational woman at the heart of the story. Inspiring and entertaining this is a story of true heart, incredible resilience and above all immense talent.

Tina – The Tina Turner Musical is on at Manchester’s Palace Theatre until Saturday 3rd January 2026, tickets available here.

Miss Saigon

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Reviewed by Nikki Cotter

Opening Night verdict ⭐⭐⭐⭐⭐

Touring for the first time since 2018, anticipation was high for this Miss Saigon revival, a classic amongst theatre fans with its gritty subject matter, glorious score and gut-wrenching conclusion.

Set during the final weeks of the Vietnam War, 17-year-old orphan Kim (Julianne Pundan) has taken a job in the sleezy Engineer’s (Seann Miley Moore) Saigon bar, where drunken, drug-fuelled GI’s pay for seedy fumbles with local sex workers, forced into the sex trade through poverty and desperation. GI John (Dom Hartley-Harris) buys Kim for the night for his buddy Chris (Jack Kane) and what unfolds is an unexpected 24-hour love story that sees them fall deeply for each other despite the horrors playing out around them.

Making her professional debut, Julianne Pundan captures Kim’s emotional journey perfectly, innocent and trusting when we first meet her, broken and desperate by the end yet fiercely proud throughout, despite the tragic turns her life has taken. Both her voice and her acting are superb, she commits herself entirely to the role making the finale all the more powerful as we desperately hope for a better life for her.

Jake Kane’s take on Chris is also deeply moving, deflated by the brutality of war he finds hope and inspiration in Kim, their relationship bring calm amidst the chaos, giving joyful innocence during Sun and Moon shifting to heart-wrenching yearning by Last Night of the World, every moment is perfection.

Seann Miley Moore’s interpretation of The Engineer is utterly captivating, cutthroat and callous in his own fight for survival, pushing towards his own happy ending no matter the cost. His show-stopping delivery of the iconic ‘American Dream’ will long live in the memory, glorious, gaudy and a true gift to tonight’s appreciative audience. His take feels raw, real and firmly cements this new interpretation as one to remember.

Dom Hartley-Harris never fails to deliver; his voice is utter perfection as he gives the character of John depth and believability while Mikko Juan ensures every moment on stage as Thuy is truly memorable.

This reinvented Miss Saigon is undoubtedly a theatrical spectacle. Unflinching in its portrayal of the futility of war and its devastating impact long after the fighting stops. The chaos of war is boldly created via world-class design, projection and lighting while the moments of calm and clarity leap joyfully from the stage.

Miss Saigon’s themes of injustice, loss, trauma, misogyny, abandonment and displacement feel as painfully relevant as ever as this word-class cast deliver this deeply moving story with the love and passion it deserves. This timeless tragedy continues to captivate and surprise 36 years on from its debut, winning hearts and minds with every performance, incredible.

Miss Saigon is on at Manchester’s Palace Theatre until Sat 15th November 2025 and will return due to phenomenal demand on Tue 4 until Sat 8 August 2026 tickets available here.

Fiddler on the Roof

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Reviewed by Nikki Cotter

Opening Night verdict ⭐⭐⭐⭐⭐

Credit: Johan Persson

Jordan Fein’s multi award-winning Fiddler on the Roof, which began its life last summer at Regent’s Park Open Air theatre arrived at Manchester’s Palace Theatre this week proving to audiences just how incredibly special this timeless giant of the theatre world really is.

Fiddler on the Roof introduces us to impoverished Jewish milkman Tevye, (Matthew Woodyatt), a proud father, committed to honouring the traditions of his culture in an ever-changing and often incredibly testing world. This powerful story truly stands the test of time as its themes resonate just as strongly today as they did when it first premiered over 60 years ago. At its core is a poignant portrayal of a family man trying to raise his five daughters to honour the traditions of his Jewish faith, there is humour, joy, enormous poignancy and an abundance of heart.

Tom Scutt’s rustic design sets the scene beautifully, the straw ceiling upon which the fiddler plays gently moves up and down ensuring our focus never shifts from Tevye’s intimate and fascinating world. Aideen Malone’s stunning lighting design is subtle yet superb, bathing the Palace Theatre stage with rising dawn sunsets and flickering firelight glows.

Matthew Woodyatt’s Tevye is breathtakingly brilliant, warm, nuanced, reflective, loving and painfully real. His observations, considerations and deliberations are delivered with captivating authenticity. This is a performance packed with huge emotion, every moment is perfectly measured whilst he balances the turmoil Tevye goes through with a palpable realism. The journey he takes Tevye on is entirely mesmerising, ending the show a different man from the one we first meet at the start of Act I.

Jodie Jacobs’ performance as Tevye’s wife, Golde, is equally as impressive. Respectful of her husband’s desperate need to uphold tradition yet strong and resolute in her own sense of self, the two make for a perfect pairing. Their rendition of Do You Love Me? is a joy, relatable and real.

As Tevye’s daughters begin one by one to move away from the traditional Matchmaker approach to finding a suitable husband the battle between head and heart really begins for Tevye. Woodyatt does an incredible job of taking us with him on this captivating journey, we share in his joy, his frustrations and his pain.

Woodyatt and Jacobs are supported by an incredible cast. Each and every person on stage is entirely committed to telling this beautiful story. Special mention must go to Natasha Jules Bernard, Hannah Bristow and Georgia Bruce who play Tevye’s daughters Tzeitel, Hodel and Chava. Each bring their very different characters to life beautifully, adding further depth and heart to this moving tale while their partners Motel, Perchik and Fyedka are portrayed superbly by Dan Wolff, Greg Bernstein and Gregor Milne.

Choreographer Julia Cheng respectfully mixes the traditional with the modern resulting in exhilarating ensemble numbers that will make you wish you too were part of the uplifting celebrations. The traditional bottle dance remains and is just as thrilling as ever. The additional orchestrations from music supervisor Mark Aspinall really take this score to the next level while sound designer Nick Lidster ensures that every note is crystal clear.

This is without doubt the best production of Fiddler on the Roof I’ve ever seen, from the fiddlers haunting melodies delivered superbly by Roman Lytwyniw to the sheer beauty of Tom Scrutt’s set design this production is perfection. This timeless classic is stunningly reimagined yet maintains a respectfully traditional feel cementing its place as a musical theatre masterpiece.

Fiddler on the Roof is on at Manchester’s Palace Theatre until Saturday 1st November tickets available here.

Young Frankenstein

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 Reviewed by Matt Forrest

Opening Night verdict ⭐⭐⭐⭐⭐

Mel Brooks is undeniably one of the greatest comedy writer-directors of all time, in my opinion. The Producers, Blazing Saddles, and Young Frankenstein form a trio of comedic masterpieces. After The Producers received the Broadway musical treatment in 2001, it was almost inevitable that Young Frankenstein: The Musical would follow, making its debut in 2007.

 Now, as part of Hope Mill Theatre’s spectacular 10-year anniversary celebrations, Young Frankenstein is brought back to life once more, and I’m happy to report that it’s just as hilarious and joyfully outrageous as ever.

Staying true to the plot of the original film, we meet Dr. Frederick Frankenstein (Ore Oduba)—“pronounced Fronkensteen”—who leaves his fiancée Elizabeth (Rhiannon Chesterman) and travels to Transylvania to claim his inheritance following the death of his infamous grandfather, Victor Frankenstein.

There, Frederick encounters a wild cast of eccentric characters, each eager for him to continue Victor’s notorious experiments. These include the intimidating, horse-frightening Frau Blücher (Jessica Martin), the loyal yet delightfully deranged Igor (Curtis Patrick), and the flirtatious lab assistant Inga (Julie Yammanee),complete with outrageous accent! 

Will the daring Doctor succeed in raising the dead and restoring honour to the Frankenstein name?

Ore Oduba is in sparkling form as the leading man, it’s a turn packed with charisma and excellent comic timing. He certainly hasn’t lost a beat from his Strictly Come Dancing triumph in 2016, showcasing all the slick moves that led him to the glitterball trophy.

Oduba is backed by a strong supporting cast, with standout comedic turns throughout. Curtis Patrick shines as Igor, displaying a natural flair for physical comedy—his facial expressions alone are worth the price of admission. Julie Yammanee is equally impressive as Inga, particularly during the cheeky and delightfully risqué number “Roll in the Hay.”

The musical numbers, much like the laughs, come thick and fast. Highlights include the hilariously lewd “Please Don’t Touch Me” and the wonderfully playful “Together Again for the First Time.” But the undeniable showstopper is the iconic “Puttin’ on the Ritz”. It’s still one of my all-time favourite scenes in film, and recreated here with precision, panache, and sheer joy by the entire cast.

Director Nick Winston pulls off the impressive feat of enhancing Mel Brooks’ brilliant original script. Every element is spot on: from the loving homage to the classic Universal horror films of the ’30s and ’40s, to the absurdist humour, rapid-fire gags, and new show-stopping song-and-dance numbers.

With Young Frankenstein, Hope Mill Theatre once again proves that bold, ambitious programming pays off. This production is a triumphant celebration not only of Mel Brooks’ comic genius but of the theatre’s first decade,  filled with laughter, creativity, and heart. The future looks very bright indeed.

Young Frankenstein is at Hope Mill Theatre till 30th November tickets are available here.

Here & Now

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Reviewed by Nikki Cotter

Opening Night verdict ⭐⭐⭐⭐

Set in seaside superstore, Better Best Bargains, Here and Now follows the lives and loves of four co-workers and firm friends Caz, Vel, Robbie, and Neeta all set to a camptastic back catalogue of Steps classics. From 5,6,7,8 to One for Sorrow there’s nothing tragic about this feelgood musical, from the moment the first bop begins you know you’re in for a fun time. With Claire, H, Faye, Lee and Lisa all involved in the creative process this really is a celebration of their iconic hits and has clearly been crafted with love and careful consideration.

The story centres around Caz whose husband has walked out on her just as they’re on the verge of adopting, she makes a vow with her besties Vel, Robbie and Neeta to have a summer of love that they’ll never forget. Deep in the throes of heartbreak Caz meets Max who adds a little jeopardy to proceedings by offering her all she dreams on the condition she blackmails store manager Patricia, which unbeknown to Caz will devastate her friendships as a result.

Rebecca Lock is outstanding Caz, she truly shines on stage and gives the character depth and genuine likeability. Her vocals are rich while her acting is nuanced and heartfelt, she is a true leading leady and heads up this talented cast with gentle confidence and perfect control. Her delivery of Heartbeat is a real showstopper and a tender moment of calm amidst the sparkle and glitter.

Blake Patrick Anderson beautifully portrays the character of Robbie, showing sensitively how deeply abandonment issues can run. His pairing with River Medway as Jem is joyful, River brings a lightness to Jem that scoops not only Robbie up but every audience member too.

Rosie Singha hits every mark as loveable Neeta, desperately in love with co-worker Ben (Ben Darcy) but lacking in confidence to tell him how she truly feels while Jacqui Dubois is great fun as Vel, displaying some brilliant comic timing. Special mention must also go to Finty Williams who gives us the iconic and hilarious store manager Jackie, très bien!

The hits come thick and fast and unlike many other jukebox musicals never feel shoehorned in. Their placing is just right, giving this entertaining show perfect pacing and so much to enjoy. The classics are given the attention they deserve while the beloved ballads allow the quieter moments to truly shine.  

This is the epitome of feelgood, every creative element has been carefully considered resulting in a slick, stylish and hugely entertaining show. The talented ensemble take the legendary Steps routines we all know and love to the next level while Adam Fisher’s sound design ensures no beat it missed. This super fun show will ensure audiences head home happy, remind of us of just how many brilliant bops this iconic band have brought us while feeling joyful for the true friendships life brings our way.  

Here & Now is on at Manchester’s Opera House until Saturday 13th September tickets available here.

Moulin Rouge

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Reviewed by Nikki Cotter

Opening Night verdict ⭐⭐⭐⭐⭐

The multi award-winning stage version of Baz Luhrmann’s 2001 film has arrived in Manchester for a six-week stop as part of its first ever World Tour and my goodness is it worth the wait! This spectacular show mixes hedonism with heart oozing style and sass from the moment the sumptuous red curtain goes up.

Manchester’s Palace Theatre has been totally transformed into the iconic Montmartre cabaret club, upon entering the auditorium it soon becomes clear that audiences are in for a jaw-dropping, eye-popping treat. Derek McLane’s opulent set is deliciously decadent, with the world-famous windmill sitting high in the circle, watched over by a fabulously bejewelled elephant all centred around a glittering, glistening heart.

We’re swiftly whisked away to 1899 where Christian (Josh Rose at tonight’s performance), a talented but penniless songwriter from America who dreams of making his name in the Parisian city. He quickly falls for the charms of Satine (Verity Thompson), a cabaret star at the Moulin Rouge. The club however is under threat of closure, it’s here that wealthy aristocrat The Duke (James Bryers) steps in offering to save the debt-ridden club, however, he also wants Satine as part of the deal.

Satine now faces a dilemma, choose love and true happiness or loveless security while saving the club and careers of her cabaret family. As the club prepares for Christian’s new show this lavish love story plays out, it’s exhilarating, exuberant and utterly engaging.

Staying true to the film this remains a jukebox musical featuring inspired mashups of over 70 iconic songs, from David Bowie to Lady Gaga and everything in between. This high-energy romp through pop history grips you from the first note and holds every ounce of your attention right through to the curtain call. The mashups are truly inspired and will leave you thinking completely differently about classic songs you thought you knew.

Verity Thompson is entirely captivating as showgirl Satine. Entering spectacularly to Diamonds are Forever she truly shines on stage. Her delivery of Katy Perry’s Firework switches up the song completely as it becomes a touching, profound ballad, while her vocals throughout are sublime. The chemistry between her and Josh Rose is palpable, this is a love story you truly believe in.

Rose is superb as Christian, heartfelt and hopeful with an incredible vocal range. His delivery of Elton John’s Your Song is simply stunning while both Rose and Thompson break your heart a little with their incredible delivery of Come What May.

Cameron Blakely is a delight as he heaps on the flamboyance as the mischievous show master Harold Zidler while Kurt Kansley and Rodrigo Negrini and equally as wonderful as Christian’s brilliant Bohemian buddies, Toulouse-Lautrec and Santiago.

The enormously talented ensemble deliver each and every set piece with flair and incredible precision. From high kicks to hip hop, all genres are explored by choreographer Sonya Tayeh and perfectly executed by this talented cast. The Backstage Romance section which features amongst others Lady Gaga’s Bad Romance and Britney’s Toxic is quite probably one of the most impressive set pieces I’ve ever seen on stage, absolutely mesmerising and well worth the ticket price alone.

The creatives involved in this show deserve each and every award they’ve received from Catherine Zuber’s stunning costume design to Peter Hylenski’s unbeatable sound design everything hits the mark.

This crowd-pleaser of a show ticks every box, it’s lavish, loud, inclusive and exhilarating. A true spectacle, guaranteed to make you rush to the box office to book a return visit, sensational!

Moulin Rouge is on at Manchester’s Palace Theatre until Saturday 4th October tickets are available here.

The Last Laugh

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Reviewed by Matt Forrest

Opening Night verdict ⭐⭐⭐⭐⭐

It would be fair to say that if Tommy Cooper, Eric Morecambe, and Bob Monkhouse, were still alive today they would be selling out arenas across the land. These three are legends of the business we call show: Cooper regarded as the comedian’s comedian, Morecambe part of one of the greatest double acts of all time, whilst Monkhouse is unquestionably one our greatest writers/performers to ever grace the stage. So, a stage play featuring the lives of these three colossuses of comedy promises something a little special, and I’m pleased to say it more than delivers.

The Last Laugh opens in a dingy dressing room of an unnamed theatre, the wall is adorned with pictures of British comedy legends: Sid James, Arthur Askey and George Formby. Rather strangely one picture is blank. A half-dressed Tommy Cooper (Damian Williams) complete with giant chicken feet is preparing for another performance. Soon he is joined by Bob Monkhouse (Simon Cartwright) complete with precious joke book and later Eric Morecambe (Bob Golding). The trio, though surprised to be on the same bill, share stories, discuss their craft, their careers and inevitably some light hearted ribbing of each other.

We get classic routines and jokes from them which include: Cooper’s magic duck, numerous Monkhouse’s ‘wife gags’ and of course Morecambe’s killer André Previn line, which the audience lapped up. There will be some who will have witnessed these routines multiple times over, for others this will be the first time, but judging by the audience reaction they went down a storm!

With the highs of course comes the lows, and the play offers moments of poignancy as each man looks back on the sacrifices, struggles and personal tragedies each has endured: Cooper’s battle with alcohol and the toll it’s taken. Morecambe’s health struggles coupled with time away from family. However, it’s Monkhouse’s tragic losses that puncture his life story which really hit-home.

This production is an absolute joy from start to finish: A superb script from writer/director Paul Hendy, who celebrates the work of these three comic maestros. With all three performers, there is that element of the ‘sad clown’, that is essential but in no way defines their story. However, Hendy’s play is a love letter to the three. It’s a showcase of their talents, and explains why we find them still appealing long after they passed, which simply put is their ability to make us laugh and smile, then and now.

Lee Newby’s set design complements the story beautifully. It captures the less glamorous, more intimate side of showbiz: a cramped, cluttered, almost claustrophobic space, strewn with props and steeped in faded charm. Portraits of comedy icons line the walls, offering both inspiration and a subtle reminder of the pressure to live up to their legacy. You get the sense that if these walls could talk, they’d reveal a treasure trove of secrets—some dark, mostly joyful, all rich with history.

Undoubtedly, the heart of the show lies in the three lead performances, each of which are pitch-perfect. Damian Williams brilliantly captures the chaotic, absurd charm of Tommy Cooper. Filling those iconic shoes is no small task, but Williams more than rises to the occasion—his timing, and that unmistakable laugh are spot on. Simon Cartwright’s portrayal of Bob Monkhouse is equally impressive. From the voice and mannerisms to the polished delivery of quick-fire jokes, every detail is meticulously rendered. His performance is as smooth and refined as one of Monkhouse’s own gags. The real-life friendship between Cartwright and Monkhouse adds an extra layer of authenticity to the role. Bob Golding shines as Eric Morecambe, effortlessly capturing the comedian’s playful spirit, trademark charm, and unmistakable comic quirks. His performance is brimming with charisma and warmth.

These are far more than mere impressions. Each actor delivers a performance that truly honours the legacy of the comedy legends they portray. The Last Laugh is a heartfelt tribute to the genius and legacy of three truly great entertainers, brought to life with not just skill, but a deep sense of love and affection. For newcomers, it serves as the perfect introduction to a cheeky, family-friendly, and delightfully playful style of comedy. For more seasoned audience members, it’s a joyful, nostalgic trip down memory lane. For me, it was a powerful reminder that if a joke or sketch makes you genuinely laugh, it’s worth its weight in gold—and The Last Laugh is nothing short of priceless.

The Last Laugh is on at the Manchester Opera House until Saturday 2nd August

Tickets are available here.

Come Fall In Love

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Reviewed by Nikki Cotter

Opening Night verdict ⭐️⭐️⭐️⭐️

Inspired by India’s longest running Bollywood movie the heartwarming romcom Dilwale Dulhania Le Jayenge (or DDLJ to those in the know), Come Fall In Love is the latest production to join the incredibly successful ‘Manchester Gets It First’ scheme, and judging by tonight’s rapturous audience response is another sure-fire hit.

With an award-winning creative team which includes original director of the much-loved 1995 movie Aditya Chopra, Come Fall In Love which was originally performed in San Diego in 2022 has been reworked for UK audiences. We’re introduced to Simran, (Jena Pandya) a young British Asian woman who is off inter-railing round Europe with her best friend for a final summer of freedom before she flies to India for an arranged marriage. However, as with all good romcoms, things don’t quite go according to plan and her carefree adventure suddenly gets a little more interesting with the addition of white British boy Rog (Ashley Day) unexpectedly coming along for the ride. After prickly beginnings the pair grow closer over a bottle or two of champagne and Simran enters a battle between head and heart which is when the fun really begins.

This vibrant production is full of light, burst with colour and radiates joy as we follow the twists and turns of this unconventional love story. Act 1 gently sets the scene for an exhilarating Act 2 as the action relocates to India filling the stage with colour as this cross-cultural love story plays out.

Jena Pandya is a wonderful Simran, playful and proud she’s enormously likeable, she looks like she’s having the time of her life in the role and shines brightly both in the big ensemble numbers and in the quieter more emotive scenes. The chemistry with Ashley Day as Rog although with most romcoms happens quickly feels believable and charming. Ashley Day is a fantastic lead, the role of Rog is hugely demanding and he rises to the challenge convincingly. He goes on quite the journey from our first meeting him as his true character is revealed ensuring we all fall a little bit in love with him.

There is strong support from the ensemble cast with special mentions going to Simran’s parents Baldev (Irvine Iqbal) and Lajjo (Harveen Mann-Neary) who bring both humour and a gentle tenderness to the story. Simran’s planned Indian finance Kuljit is played by an outstanding Kinshuk Sen while Kara Lane camps it up brilliantly as Rog’s Mum, Minky.

 Reimagining this classic love story and adding a more contemporary multicultural twist has given the creatives an opportunity to bring this uplifting story bang up to date. The book and lyrics by Nell Benjamin (Mean Girls, Legally Blonde), are witty and engaging with the music by legendary composers Vishal Dadlani and Sheykhar Ravjiani blends stunning Indian melodies with multiple Western genres reflecting the love story happening on stage perfectly.

Choreographer Rob Ashford along with associate choreographer and Indian dancing specialist Shruti Merchant have created magic here which is delivered by the talented ensemble in stunning style while Derek Mclane’s striking set design further adds to the visual beauty of this piece.

With heaps of heart and joyous humanity, Come Fall In Love is an uplifting story beautifully told. It will delight audiences of the original Bollywood film and now doubt gain a new army of fans from audiences seeing the show for the first time. This high-energy production has all the fun of a romcom but adds in a welcome emotional depth resulting in an enormously entertaining production.

Come Fall In Love is on at Manchester’s Opera House until Saturday 21st June tickets available here.

Dear England

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Reviewed by Nikki Cotter

Opening Night Verdict ⭐️⭐️⭐️⭐️⭐️

The revival of the 2023 Olivier Award-winning Best New Play has opened at The Lowry for a month-long away fixture offering regional audiences their first chance to catch this inventive production outside of the Capital.

Following the fascinating story of Gareth Southgate’s memorable eight years as England Manager this National Theatre production has all the exhilarating highs and gut-wrenching lows familiar to football fans; however, it goes far beyond the sport itself offering a thrilling and insightful exploration of culture, connection and what it means to hold the hopes and dreams of a nation in your hands.

Having updated the ending to reflect England’s 2024 Euro’s journey, writer James Graham grabs every opportunity to show the audience that this truly is a game of two halves, at times joyous, other times brutal but always authentically honest.

Beginning with a flashback to Euro ’96 as a young Southgate steps up to take the now infamous missed penalty, this moment cleverly sets the tone and returns as a running theme to challenge Southgate (Gwilym Lee) throughout the piece. As we fast-forward to 2016 we see Southgate drafted in as caretaker manager following Sam Allardyce’s sacking after just one game in charge. Determined to make a positive change and do things differently, Southgate brings in sports psychologist Pippa Grange (Liz White), what follows is an incredible journey that goes way beyond football.

Taking on the role of Southgate is an impressive Gwilym Lee, having seen Lee portray Brian May so accurately in Queen biopic Bohemian Rhapsody it comes as no surprise that he hits the mark once again. With every measured tilt of the head, folding of the arms and blink of the eyes his nuanced performance is perfection. He leads this fine cast with a gentle hand and captures the essence of Southgate perfectly.

Liz White as Pippa Grange is a consistent presence of calm, challenged by resistance from both players and coaching staff she never wavers. Graham in his writing uses Grange’s character to gently remind us that while Southgate was becoming a mentor and father figure to many in the team he was also battling his own demons, struggling to show himself the kindness he was so brilliantly instilling in others.

The ensemble cast compliment Lee and White perfectly, they portray their real-life counterparts with incredible accuracy. Josh Barrow as Jordan Pickford is mesmerising. He fizzes with energy throughout, his subtle shift from raw, untamed, chomping at the bit goalie to trusted teammate and backbone of the squad by the end if fascinating to watch.

Ryan Whittle steps into Harry Kane’s Captain’s boots with a well-observed nervous hesitation and grows in stature throughout while Gamba Cole as Raheem Sterling opens up to reveal his fears and disappointments as he learns to trust in his team mates.

While there is incredible humour and lots of it, the play doesn’t shy away from the harsher themes that sadly have dogged both football and English culture for many years. Most notably here the appalling racism faced by young black players specifically during the 2020 Euros final. Tane Siah, Jude Carmichael and Kadell Herida as Bukayo Saka, Marcus Rashford and Jadon Sancho highlight these dark moments with an honesty that reminds you just how quickly supposed loyal fans can turn and just how important standing up collectively to that hopefully small minority truly is. 

The ensemble cast work tirelessly to showcase Rupert Goold’s inventive staging (with Elin Schofield as revival director) with a slick, swift brilliance. Co-movement directors Ellen Kane and Hannes Langolf score no own goals with their incredibly tight sequences as this cast convincingly recreate matches, penalty shootouts and meaningful dressing room moments. Es Devlin’s inspired set design is perfectly lit by Jon Clark while Dan Balfour and Tom Gibbons sound design and Ash J Woodward’s video design hit the back of net. 

From euphoria to crushing heartbreak, Dear England takes audiences on a thrilling journey inviting us into the very heart of the action, allowing us to scratch way beyond the surface with its carefully crafted storytelling and visual brilliance. We live through the highs and the lows as one with the team, willing for the result to be different, hopeful, heart-warmed and inspired by the end of this groundbreaking piece. This is theatre at its absolute finest which taps right into the heart of what it is to be human, to believe in yourself and to have the bravery to face your fears regardless of the magnitude of the situation.  

Whether you’re a football fan, a theatre fan or just love a fascinating story brilliantly told this is a must-see production that will capture the imagination of audiences night after night, so good, so good, so good!

Dear England is on at The Lowry until Sunday 29th June, 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.

A Knight’s Tale

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Reviewed by Nikki Cotter

Opening Night verdict ⭐️⭐️⭐️⭐️

The highly anticipated new musical A Knight’s Tale, based on the 2001 cult movie of the same name starring Heath Ledger, has officially opened in Manchester and judging by tonight’s thunderous standing ovation, this jukebox musical is here to stay.

Adapted for the stage by Brona C Titley with direction from Rachel Kavanaugh and choreography by Matt Cole, A Knight’s Tale quickly sets the tone and lets the audience know from the off that they’re in for a very fun night, with an absolute bounty of a back catalogue and a whole heap of tongue in cheek medieval moments.

A Knights Tale takes us on a romp of a 14th Century road-trip following the antics of peasant squire Will Thatcher (Andrew Coshan) who passes himself off as a nobleman following the death of his master in his bid to beat the odds and become a jousting World Champion. The only thing standing in his way (aside from the fact he isn’t a nobleman and could go to prison for pretending to be one) is the current World Champ who also doubles up as a deliciously devious bad boy and villain of the piece, Count Adhemar (Oliver Tompsett).

As the wannabe Knight, Andrew Coshan is superb, dashing, dreamy and with vocals that pack a punch. He bursts with charisma and has the kind of twinkle in his eye that audiences go wild for. His pairing with pals What and Roland (Eva Scott and Emile Ruddock) is perfection, packing in the humour, both Scott and Ruddock are superbly cast.  Their comic timing is unmatched as they deliver each and every witty line with absolute precision. 

As the trio set off on their quest they gain two additions to their crew, Kate (Emily Benjamin), a local badass blacksmith and a frequently unclothed Geoffrey Chaucer, (Max Bennett) who is on the cusp of writing his ‘Canterbury Tales’ but for now is happy to join in with the jousters japes.

Emily Benjamin gives knockout vocals as Kate, while Max Bennett as Chaucer is pure joy. He quickly becomes the ultimate hype man while his wit and warmth as he skilfully breaks the fourth wall firmly sees him confirmed as an audience favourite. 

West End legend Oliver Tompsett proves ones again to be a world class performer, his delivery of Chesney Hawkes’ The One and Only and Adele’s Rolling In The Deep are iconic.

Of course, no story is complete without a love interest, enter Meesha Turner as the sexy, strutting Princess Jocelyn. With all going so well can Thatcher conceal his true identity or does his destiny lie firmly in the stocks?

While the cast are superb, the creatives have also pulled out all the stops to ensure this production is visually just as striking. Tom Rogers impressive set design is lit brilliantly by Howard Hudson while Gabriella Slade’s costume design feels modern, sexy and yet authentic as the medieval silhouette is carried through each scene. It’s very clear to see why choreographer Matt Cole is an Olivier Award-winner, each set piece is thrilling and the energy never wanes.

As with many jukebox musicals featured hits can often be eclectic and A Kight’s Tale is no exception, from Bonnie Tyler to Bon Jovi and almost everything in between there’s a whole host of familiar bops with some working more effectively than others, all however are delivered with 100% commitment from this talented cast. I can honestly say a Bowie – Golden Years/Ricky Martin – La Vida Loca mash up is something I never thought I’d witness but here in jukebox musical land I guess anything goes. 

There are moments where you do wonder what target audience they’re going for particularly with the frequency of swearing and adult humour which at times felt a little unnecessary and made the genuinely funny sweary moments have less of an impact. Reduce some of these and you’ve got a fantastic musical comedy offering for almost all ages, that’s visually stunning and enormously entertaining.

A Knight’s Tale provides another wonderful opportunity where we get to boast that Manchester gets it first. This silly, funny, feisty show will no doubt become a Knight to remember as this riotous new musical makes its raucous mark on theatre land, next stop surely must be the West End.

A Knight’s Tale is on at Manchester’s Opera House until Saturday 10th May tickets are available here