Manchester

The Battle

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Reviewed by Nikki Cotter

Opening Night verdict ⭐⭐⭐


Credit and Copyright: Helen Murray

Exploring the fierce rivalry between Britpop giants Blur and Oasis during the summer of ’95, The Battle offers a satirical retelling of one of British music’s most iconic chart races.

Back in the mid-nineties the media’s fixation well and truly peaked when it was announced that both bands would release singles on the same day, pitting ‘Roll With It’ against ‘Country House’ in a high-stakes battle to the top.

Writer John Niven, who worked in the music industry at the time has created a witty exploration of build-up to release day, the all-consuming nature of the rivalry and its impact on the relationships of those involved.

What began as a seemingly genius marketing ploy quickly begins to consume the lives of not only the band members but their friends, families and the music execs themselves.

Matthew Horne delivers a strong performance as Blur’s manager, Andy Ross, the original mastermind behind the chart battle. Ruthless in his pursuit of success, he focuses entirely on the media hype while underestimating the all-consuming chaos he’s unleashed.

George Usher makes an impressive stage debut as Liam Gallagher, physically embodying Liam to perfection, as he swears and swaggers in true, LG style. He channels Liam’s Gallagher-esque bravado and chaotic presence with skilled precision.

Taking on the more controlled of the brothers, Paddy Stafford is exceptional as Noel, displaying vividly how the cracks begin to show as the pressure mounts, his performance is nuanced and defined, he more than does justice to the legendary lyricist.

Oscar Lloyd portrays the enormously different character of Damon Albarn with clarity while Will Taylor demonstrates superbly the impact of events on an increasingly fraught Graham Coxon, while Brandon Bendell’s Groucho loving Alex James is spot-on.

Amidst the Britpop chaos, Louisa Lytton’s Meg Mathews and Harriet Cains’ Justine Frischmann offer voices of reason for their respective partners, bringing calm to the testosterone fuelled chaos.

The story is told creatively via scenes from industry parties, award ceremony exchanges, backstage discussions and recording studio sessions. As the pressure builds, tempers fray and bold decisions are made.

This talented cast succeed in capturing the 90s spirit, bringing the era back to nostalgic life for their audience. The script however would benefit from some significant editing in order to pack this production with the punch the original source material provides. The reliance on Liam’s frequent outrageous outbursts becomes a little predictable and leads to some missed opportunities regards pushing the story along with a grittier narrative. The simple staging makes great use of screens broadcasting footage from the time and commentary from DJs such a Jo Whiley, Mark and Lard and Chris Evans however the continual use of cast members changing scenery feels clunky.

The final 15 minutes are wholly unexpected, surreal but ultimately succeed in showing just how absurd this whole battle became. For those of us hooked on the original Britpop rivalry, this show is a nostalgic blast from the past, with some creative reworking it has real potential to become a standout success.

The Battle is on at Manchester’s Opera House until Saturday 21st March, tickets available here.

New Dawn Fades

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Reviewed by Matt Forrest

Opening Night verdict ⭐⭐⭐

The Brit Awards rolled into Manchester weekend just past, and not for the first time   Manchester was the music epicentre of the universe, a hyperbolic claim that Anthony H Wilson would have endorsed if he were still with us today. However, what is not an exaggeration is that one of the key factors in the story of popular music in Manchester is the importance and influence of Joy Division.

Writer Brian Gorman’s play New Dawn Fades charts the rise of Joy Division while weaving in a potted history of the great city of Manchester — or Mamucium, as it was christened by the Romans.

The play opens with “Mr Manchester” himself Tony Wilson in full television-presenter mode (Brian Gorman), brandishing a This Is Your Life red book as he introduces the band’s key figures: frontman Ian Curtis (Josh Lonsdale), guitarist Bernard Sumner (Garient Lyons), bassist Peter Hook (Gaz Hayden), and drummer Stephen Morris (Jack McGarry). Completing the picture and central to the band’s story is Debbie Curtis (Lauren Greenwood), Ian’s wife. Wilson himself was an essential part of the Joy Division story signing them to Factory, the record label he co-founded.

As we’re given an inside track on the band’s formation, we’re also offered a vivid snapshot of life in 1970s Manchester, capturing the raw energy of the punk movement and the seismic influence of bands such as Sex Pistols and Buzzcocks on the city’s cultural identity. Along the way, the audience is treated to a brisk history lesson exploring Manchester’s origins and what makes it so distinctive.

As the band begins to garner success, which means more tours and more live shows, the mounting pressures begin to take their toll on Curtis, straining his marriage, testing his relationships within the band, and exacerbating his fragile physical/mental health with devastating consequences.

New Dawn Fades has all the ingredients to be something truly special; however, it doesn’t always fully come together. When it works, though, it works well. Josh Lonsdale is outstanding as Curtis, completely capturing the intensity of the man, nowhere more so than in the electrifying renditions of Joy Division classics “Shadowplay,” “Transmission,” and “Love Will Tear Us Apart.” Yet it is Lonsdale’s portrayal of the debilitating impact of epilepsy on Curtis that resonates most powerfully.

Brian Gorman delivers a fantastic performance as Tony Wilson. His delivery is uncanny, and he does a spot-on job of bringing Wilson’s mannerisms and at times self-aggrandising nature to life. Lauren Greenwood is good as Debbie, though somewhat underused; you can’t help but feel it was a missed opportunity not to explore more of her perspective and give greater depth to her side of the story.

Where the show misses a trick, is with the live song performances, of the band only Lonsdale  seemed to be performing live, whilst the rest of the band played a long to a backing track, it seems an odd choice considering that all the actors are musicians as well.

The narrative flow also stutters at times. Scene transitions are marked by quick blasts of music as the lights abruptly drop and rise again. The effect can feel jarring and would benefit from a smoother, more seamless approach.

There is, however, much to admire. The playfulness of the first half, using figures such as a Roman general and Friedrich Engels to frame Manchester’s story, adds invention and humour. The band dynamics are engaging, particularly the fiery presence of Peter Hook balanced against Bernard Sumner’s more measured, calming nature, which brings welcome levity. This tonal lightness contrasts effectively with the darker intensity that follows the interval. That said, aside from Curtis, the band members are not fully fleshed out and at times feel somewhat superficial.

This is clearly a labour of love, created with deep affection for the band and the great city of Manchester. While there is much to enjoy, the production ultimately left me wondering what might have been, and wanting just a little more.

New Dawn Fades is on at the Lowry till 4th March tickets are available here.

Mean Girls

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Reviewed by Sophie Rowley

Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

Get in Loser – The Plastics have arrived in Manchester!

In 2004 Tina Fey introduced the world to Mean Girls, and to be honest we have never really recovered! Fey revolutionised the genre of teen drama, as previously it focused on romance and ghetto blasters, Fey opts for a more dark and psychological driven narrative. She focused on the mental tournament and social terror high school brings with a dark wit. The cliques of the educational empire became more sleek and intelligent rather than clueless. The term “queen bee” became associated with actually controlling the school as though it was a country or as suggested in ‘apex predator” the animal kingdom. Through Fey’s delightful wit and sharp humour its not hard to see why this film became a millennial masterpiece.

In 2017 Mean Girls premiered on Broadway and just when you think Fey and her creative team couldn’t improve on perfection – a musical score was added and the magic was born. So much so that in 2024 – two decades after the original film delighted the world, Fey scored the hat-rick and released a musical film. It’s fair to say Fey has defined generations with her cult classic and now direct from the West End, Regina and her band of faithful followers have travelled up north to paint Manchester Opera House pink!! So does Mean Girls deserves a seat at the table or will it be the latest entry to the burn book?

When 16 year old Cady Heron (Emily Lane) and her mum move to Illinois, Cady has to leave her homeschool life behind in Africa and swap this for North Shore High, where she really enters the lions den. The complete anthesis from all she has ever known, Cady befriends two rouge outcasts Janis (Georgie Buckland) and Damian ( Max Gill) who live by their own rules. They guide Cady though a world of plastics and politics in the song Where Do You Belong, Damien and his show choir tells her “pick a clique and stick with it”. This newly formed trio decide to concoct a devilish plan where Cady enters Regina’s world. Here is where things start to unravel for Cady – she has never had to negotiate high school life, or deal with ‘queen bees’ like Regina (Vivian Panka) and her plastic posy Gretchen (Kiara Dario) and Karen (Sophie Pourret) nor did she plan on entering a love triangle hence the revenge party was born.

Fey and the creative team have done an incredible job bringing Mean Girls into the theatrical world. The show, where possible, does stays faithful to the original film, exploring themes of relationships, revenge, self discovery and self acceptance, however, one aspect that differs is the shift of the narrative voice from Cady to Janis and Damian’s. Judging from the audiences reaction this is a hugely popular choice.

The whole production is an absolute treat visually and vocally. The set is incredible, Scott Pask has done an outstanding job with his designs. Vibrant colours and seamless set changes bring the production to life. The set design, lighting (Kenneth Posner) and sound (Brian Roman) complement the soundtrack perfectly. The soundtrack is energetic, modern and original, there is an eclectic mix of vibrant group numbers, slow, subtle numbers and then cleverly constructed individual songs which represent the characters so well. The choreography also complements each song with superb routines that elevate this production further.

Cady adapts to her new life in the classic teenage way, she fumbles through Regina’s empire and quickly learns how to survive in this new setting. Despite having to fight her way through situations – Cady’s songs are a wonderful mix of strong vocals set against chords of music which takes her back home – her safe place. This wonderful musical undertone creates a joyous Disney vibe which builds and fires the show with energy. Lane delivers each song with crisp clean vocals and a fantastic range.

Regina and the plastics have a more sassy, sultry soundtrack – proving why they are as they are, a big deal. Regina’s songs are superbly executed by Vivian Panka, she brings confidence and attitude which adds to her Queen Bee aesthetic. Kiara Dario really showcases her depth of acting by showing Gretchen’s desperation to be Regina’s favourite sidekick, beautifully shown in her rendition of ‘What’s Wrong With Me? Dario really makes you feel her pain as all she wants is to fit in and still make ‘fetch’ happen. Sophie Pourret provides the group with her fantastic portal of Karen and plays her as clueless as you would hope, yet she still manages to maintain Karen’s innocence and humour.

Janis and Damian are the stand out stars for me in this production. Georgie Buckland really brings Janis to life – she is strong, tough and fiercely loyal while her vocals are a powerhouse of grunge, grit and rock. Max Gill brings humour and limitless energy to Damien, my face ached with smiling so much. Both characters are the voice of the show, and drive the plot forward with their “cautionary tale” of North Shores antics. Despite bringing a fresh new feel to the show they also remain faithful to the original characters and judging from the audiences reaction succeed entirely in their portrayal.

The other standout performances must go to, Kevin G (Karim Zeroual) who is funny and quick – Zeroual allows Kevin’s unique charisma to shine through – and while at times Kevin is comically cringy, he received with a genuine warmth by the audience. Mr Duvall (Joshua Elmore) stays true to form as an awkward headteacher but when needed is the voice of reason and authority. Any fans of Mean Girls know that Aaron Samuel’s is a big deal – Ben Oatley doesn’t disappoint in his portrayal of the handsome hunk. You see the rivalry of Regina and Cady in fighting for his attention, which Aaron doesn’t seem to mind. Oatley brings swagger to Aaron and a quiet confidence which is very endearing – one might describe it as very grool.  Finally Faye Tozer really does not stop – she bravely takes on the roles of Ms Heron, Ms Norbury and Mrs George. Tozer is able to bring a different quality to each of character, but the favourite has to be as the ‘cool mom’ Mrs George. 

So has Mean Girls passed the test? Yes absolutely. Every single member of the cast and crew have done a fantastic job in this production. It is a must see for all ages. It translates so well from screen and stage, its a show that not even a pandemic could stop and has made my millennial heart very happy. 

Mean Girls is on at Manchester’s Opera House until Saturday 7th March tickets available here.

 

Single White Female

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Reviewed by Matt Forrest

Opening Night verdict ⭐⭐⭐⭐

The 1990s was a decade of cultural phenomena—Britpop, Grunge, and “Girl Power.” It also saw Hollywood churning out a wave of erotic psychological thrillers; while many were straight-to-video fare, a select few cracked the mainstream to become cult classics. Chief among them was the 1992 film Single White Female, boasting standout performances from Bridget Fonda and Jennifer Jason Leigh, some notoriously “cringy” dialogue, and a stiletto-based scene that still makes audiences wince over 30 years later.

In 2026, we have a bold stage adaptation currently on a nationwide tour. Written by Rebecca Reid, this reimagining sharpens the story for the digital age, seamlessly weaving social media into the plot and introducing several narrative shifts that work superbly well. Crucially, much like the original film, the production boasts two powerhouse central performances: Kym Marsh and Lisa Faulkner who more than deliver.

Relocated to modern Britain, the story finds single mum Allie (Lisa Faulkner) and her teenage daughter Bella (Amy Snudden) in a crumbling city-centre apartment. While the move places Allie closer to her tech-partner and best friend Graham (Andro), the building has a few structural/maintenance issues and Bella is struggling to adapt to a new school.

Financial pressure peaks when Allie’s ex-husband, Sam (Jonny McGarrity), announces he is halving his child support payments, forcing Allie to advertise for a lodger. Enter Hedy (Kym Marsh), a roommate who initially seems too good to be true: she’s helpful, supportive, and remarkably patient with Bella’s adolescent outbursts. However, the atmosphere quickly sours as Hedy’s “meddling” turns into a dark obsession, systematically targeting Allie and those she loves most.

Kym Marsh is in fine form as the unhinged Hedy; in a role that could easily stray into melodrama, her restraint makes the performance feel chillingly cold and terrifying. Lisa Faulkner is equally impressive as the good-natured Allie; her frustrations are deeply relatable, ensuring the audience roots for her long before things turn ugly.

Andro provides excellent value as Graham, injecting much-needed levity, while Jonny McGarrity is suitably slimy as the arrogant Sam, a character who surprisingly garners more sympathy as the narrative unfolds. Meanwhile, Amy Snudden does a fine job of making the troubled Bella both sympathetic and relatable.

Rebecca Reid’s adaptation makes bold, successful narrative choices. Integrating social media, cyberbullying, and grooming gives the production a contemporary feel, further grounded by topical references to Vinted and Mounjaro. Reid’s significant departures from the original script keep the audience on their toes, while well-placed moments of pitch-black comedy provide a welcome relief to the anxiety.

The tension is ratcheted up by Morgan Large’s set design, which, paired with Max Pappenheim’s unsettling soundscape, creates a palpable sense of claustrophobia within the single-apartment setting.

This is a fresh, entertaining night at the theatre with more than enough surprises to remain engaging throughout. It is certainly one of the strongest screen-to-stage adaptations of recent years. One word of advice: leave the stilettos at home and opt for flats—it’s just a bit safer for all involved.

Single White Female is at the Opera House Manchester till 14th February, tickets are available here.

The National Lottery’s Big Night of Musicals

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The January Blues-Busting Big Night of Musicals from the National Lottery was back with a bang at the AO Arena in Manchester last night.

In what’s become a staple in the theatre calendar for the region, this year’s show was another feel-good ode to the world of Musical Theatre and the fantastic causes supported by the Lottery.

 

Again hosted by the host with the most Jason Manford the event has become a must-do for both theatre lovers and the biggest and best show – both in the West End and on tour.

And this year was no different with some really exciting exclusives for both the audience in the arena – and later the TV viewers, for when it’s broadcast later in the Spring on BBC & IPlayer.

 

The evening was kicked off in spectacular style by The Lion King with a goosebump-inducing performance of the iconic Circle of Life – complete with the stunning puppets the show is famous for. This is a number that never, ever gets old and it was followed by the joyous He Lives in You from the show.

It was the first of a number big company numbers of that delivered the wow factor to the event – putting the ‘Big’ in Big Night of Musicals. Other brilliant moments included The American Dream from the current tour of Miss Saigon and I Wanna Be a Producer from the West End’s The Producers – which was a genuine treat.

 

Other wonderful performances included As Long as He Needs Me from Oliver! By Ava Brennan, Pretty Little Dead Things from Paddington’s ‘baddie’ Victoria Hamilton-Barritt and the cast of Sunny Afternoo n brought a bit of 60s rock n roll to the night.

Disney legend Alan Menken was celebrated in a gorgeous medley of some of his biggest 90s hits accompanied by incredibly talented young dancers from Lowry’s Centre for Advanced Training in dance.

 

As ever the event showcased the work of programmes funded by the National Lottery. Oldham’s Wild Things Performing Arts joined ‘Miss Hannigan’ La Voix and the young cast of Annie for a rousing rendition of Hard Knock Life. And the tour of Choir of Man performed alongside a real life men’s choir Infant Hercules Choir  (and Jason Manford) in a truly moving version of You’re The Voice.

 VTs highlighted the brilliant shows hitting the UK this year including the world tour of Operation Mincemeat – which launches at the Lowry next month, the new musical by Pippa Cleary and Rob Madge Bank of Dave, also launching at the Lowry and many more.

 

Arguably the most exciting moment of the evening was the world exclusive of Sam Ryder performing Gethsemene from the forthcoming new production of Andrew Lloyd Webber’s Jesus Christ Superstar. If there were any nerves they didn’t show and it was a moment no one in the room will ever forget!

The evening closed on a high note with a moving performance of For Good from Wicked by the West End’s current Elphaba and Glinda, Emma Kingston and Zizi Strallen followed by a medley from Alexandra Burke and the cast of the Chaka Khan musical I’m Every Woman that got everyone on their feet.

 

Big Night of Musicals is absolute must-watch for musical fans when it airs and a welcome reminder of the amazing work and theatre programmes that the National Lottery supports.

 

The Bodyguard

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Reviewed by Matt Forrest

Opening Night verdict ⭐️⭐️⭐️

Pop-musical juggernaut, The Bodyguard returns to the Palace Theatre this month as part of a nationwide tour, bringing with it high-gloss production values, plenty of glitz, glamour, and a soundtrack stacked with undeniable crowd-pleasers.

Based on the 1992 film starring Kevin Costner and Whitney Houston, the story follows global music icon Rachel Marron (Sidonie Smith), who becomes the target of a disturbed stalker. As threats escalate and personal items go missing, her alarmed manager Bill Devaney (John Macaulay) enlists former Secret Service agent Frank Farmer (Adam Garcia) to protect her.

Unsurprisingly, sparks fly. Strong-willed and fiercely independent, Rachel bristles against Farmer’s rigid methods and the restrictions imposed on her lifestyle, while Farmer struggles with her diva tendencies. His remit soon extends to Rachel’s family, including her overlooked sister Nicki (Sasha Monique), whose unspoken feelings for Farmer add an extra layer of tension.

An ill-advised nightclub appearance brings the danger sharply into focus. As Farmer shields Rachel from an unruly fan, a romantic connection begins to form. As the relationship deepens, so too does the threat—forcing Farmer to balance emotional involvement with professional vigilance.

Sharing top billing are Adam Garcia and Sidonie Smith, and both deliver. Garcia is a convincing, restrained protector, playing the role with a blend of stoicism and dry humour. Smith, however, commands the stage. Charismatic and glamorous, she has the vocal firepower the role demands, soaring through Greatest Love of All and One Moment in Time. Her goosebump-inducing rendition of I Will Always Love You predictably brings the house down.

The chemistry between Smith and Garcia is undeniable, nowhere more so than in their karaoke bar scene, which strikes a pleasing balance between warmth and playfulness, allowing the audience to fully invest in their relationship.

Sasha Monique is equally impressive as the slighted and overlooked Nicki, her frustration and heartbreak keenly felt throughout. Her performance of Saving All My Love for You is beautifully delivered, while her duet with Smith on I Have Nothing stands as one of the production’s emotional high points.

The ensemble cast work tirelessly, with the opening number, Queen of the Night, setting the tone through slick, well-choreographed sequences that recur throughout the show. They are supported by Tim Hatley’s fabulous costume designs: the dance troupe’s outfits dazzle in the opening sequence, while Rachel’s glamorous evening gowns add further sparkle.

The production is not without its flaws. Some slow-motion moments lack polish, and the fight sequences didn’t look authentic, with one intended moment of tension prompting unintended laughter from the audience. The use of video screens adds little, serving more as a distraction than a meaningful enhancement.

Ultimately, this is a celebration of a much-loved film and a reminder of Whitney Houston’s extraordinary talent. Anyone stepping into those vocal shoes needs to be exceptional, Sidonie Smith undoubtedly rises to the challenge. The show closes with a joyous full-cast rendition of I Wanna Dance with Somebody, inviting the audience to their feet for a singalong and dance, providing the perfect finale to this glossy, nostalgia-driven slice of jukebox musical theatre.

The Bodyguard The Musical is at the Palace Theatre until the 31st January. Tickets are available here.

 

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.