Manchester Opera House

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.

13 Going on 30

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Reviewed by Nikki Cotter

Opening Night verdict ⭐️⭐️⭐️⭐️

Based on the iconic 2004 film starring Jennifer Garner and Mark Ruffalo, 13 Going on 30 introduces us to 13-year-old Jenna Rink who, following on from her not so successful 13th birthday party wakes up as her 30-year-old self, a highly motivated New York magazine editor. Successful she may be, but she soon realises that life as a high-flyer isn’t all it’s cracked up to be. At 13 she wished to be thirty, flirty and thriving yet the reality isn’t quite as fulfilling as she hoped for. In a desperate bid to figure out who she really is Jenna tracks down an old friend which sends her on a path of self-discovery, lucky for us she’s taking us along for the ride.

Lucie Jones is perfectly cast as Jenna, kooky and charismatic with soaring vocals she takes the role and truly makes it her own. Her Jenna is warm, witty and enormously likeable. The pairing of Lucie Jones and David Hunter as Matt is perfection, they bounce off each other brilliantly and have you rooting for them from the start. Hunter is a joy as Matt, retaining the witty sarcasm Ruffalo gave us in the film while ensuing the character brings a genuine charm and vulnerability to this uplifting production. Their relationship feels entirely believable and as an audience we fall just a little bit in love with them both.

Of course, every good story needs a little jeopardy, and we have that in the form of Grace Mouat as Lucy Wyam, a mean girl from Jenna’s high school days who now works alongside her at Poise magazine. As a faux friend Mouat is deliciously devilish, her razor-sharp comebacks are hilarious while her sour-faced sass slays.

Both young Jenna, Amelia Minto and young Matt, Max Bispham at tonight’s performance are absolute knockouts, immensely talented and totally mesmerising on stage. Long and successful careers no doubt lie ahead of this talented duo. A special mention must also go to the young company who are incredible throughout, their energy and talent is unrivalled.

While the film soundtrack brought us absolute bangers from Pat Bentar’s Love Is a Battlefield to Madonna’s Crazy for You, the musical mostly uses original music and lyrics from Alan Zachary & Michael Weiner. Opening number Wanna Be is superbly delivered by the young company, (Team Thirteen at tonight’s performance) while Too Late is the perfect Act 1 closer giving us beautifully moving moments as we see the younger and older versions of Jenna and Matt perform together.

One song we absolutely couldn’t lose from the film soundtrack gladly remains giving us the iconic Thriller scene. Choreographer Jennifer Weber adds to the beloved original choreography making this a real stand out moment in the show that could even afford to go a little bigger, really taking this scene to the next level.

 

The original songs are melodic and warmly uplifting, while the nostalgic amongst us may well go away wishing a sprinkling more of the original soundtrack would have made an appearance new audiences won’t feel anything is missing.

Book writers Josh Goldsmith & Cathy Yusp have done a great job of staying true to the film while adding depth and creativity for theatre audiences. 

Director Andy Fickman has done a brilliant job of ensuring this talented cast deliver each scene with real heart and precision.

13 Going on 30 is like a cosy hug with your favourite fluffy pillow, uplifting, joyful and a whole lot of fun. It’ll remind you that life is all about the connections we make along the way while thoroughly entertaining you from start to finish.

13 Going on 30 is on at Manchester’s Opera House until Sunday 12th October tickets are available here

Calamity Jane

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Reviewed by Nikki Cotter

Opening Night verdict ⭐⭐⭐⭐

Whether you’re a longtime fan of the classic 1953 film starring Doris Day or toe-tapping your way into Deadwood for the first time, one thing is certain, you’ll have a whip-crackin’ whale of a time at this charming revival.

While sharp-shooting Calamity Jane can beat any man in the county, it’s Cavalry Officer Danny Gilmartin she is desperate to impress. She travels to Chicago to recruit glamorous cabaret star, Adelaide Adams, with the aim of bringing her back to Deadwood. However, things don’t quite go according to plan and when the majority of the locals including Danny fall for the new arrival’s charms, Wild Bill Hicock (Calamity’s sparring partner) is now left with the challenge of making a jealous Calamity see sense.

While staying faithful to the beloved musical movie this touring production starring West End favourite Carrie Hope Fletcher offers a revitalised energy which will undoubtedly appeal to modern audiences. Director Nikolai Foster’s decision to use actor musicians is one that pays off hugely giving this joyous production an immersive, wholesome feel. This musicality drives the narrative wonderfully, with bigger numbers like The Deadwood Stage (Whip-Crack-Away!) and Just Blew in from the Windy City impressing with a joyous, celebratory sound allowing this talented cast to show off their incredible versatility. Nick Winston’s lively choreography adds further to these impressive numbers as the cast deliver each routine with perfect precision.

Carrie Hope Fletcher slips perfectly into Calamity’s boots, with just the right amount of sass and spirit, she leads this talented cast skilfully. Her pairing with Vinny Coyle as Wild Bill Hickok is a joy to watch as they barb and bicker brilliantly making the more tender moments all the more special. Her big ballad Secret Love is perfection and will make you wish it was a verse of two longer while Coyle’s gentle version of ‘Higher than a Hawk’ is a gorgeous Act II opener.

Samuel Holmes is on fine form as Francis Fryer bringing laugh out loud humour to the role through his enormous sense of fun while Seren Sandham-Davies shines as Katie Brown. Her transition from wide-eyed new arrival to Deadwood diva is delicious while her pairing with Luke Wilson as Danny Gilmartin acts as further confirmation to the quality of this cast.

Matthew Wright’s music hall set remains unchanged throughout the show however the cast draw on some clever techniques to create multiple locations and settings, from the Deadwood Stage to Calamity’s cabin, everything is carefully considered and perfectly executed. Technically, the sound seemed a little muted at times in Act I however come Act I we were all perfectly primed for a hoe-down finale for hopefully just first night niggles.

This feel-good production is packed with toe-tapping tunes, lots of laughs and heaps of heart. Appealing to audiences of all ages it’s a whip-cracking theatrical treat that will have you wanting to head back to the Black Hills of Dakota quicker than Calamity can crack her whip.

Calamity Jane is on at Manchester’s Opera House until Saturday 25th January tickets available here.

Cinderella

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Reviewed by Jodie Crawford

Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

It’s my favourite time of year, that time of year when we gather together and head into Manchester to be entertained at the annual Opera House Panto. Oh yes it is!

This year we are treated to the age old tale of Cinderella. It has all the traditional ingredients needed to tell the story. From a wicked step mother, a Prince Charming, two step sisters, a Fairy Godmother and our old mate Buttons. 

But as we have now come to expect, from a Manchester Opera House Panto, this show has so much more to give than an old school Panto. This is Manchester. We do things differently here, and Panto is no exception.

Everything about this show is slick. Crossroads Pantomimes deliver a well carved and crafted show with a glitzy set and dazzling costumes. The effects team have gone to town this year, and the scene with Cinderella’s carriage is one of the most magical moments I have ever seen in Panto (and I have seen A LOT of pantos).

I am not sure I am ever going to be ready for a world of Manchester Panto where Nickless (Buttons, this year) and Manford aren’t on stage together. This duo is a match made in Panto heaven. You can see the bond that these two men have with each other both in character and out. They work together elegantly on stage – there is no other Mancunian duo that could capture the audience like these two do.  And boy do we love it! Who knew it was possible to cry tears of laughter while singing Sweet Caroline on a Tuesday night in town! 

Make no mistake, Manford is an all round performer, he’s so much more than just a comedian (which he also does very well obviously) he has become a seasoned Panto pro. He has a rich and deep voice and while his dancing still gives off full on dad dancing vibes, (which is part of the charm) he is enormously entertaining throughout the entire production. But he isn’t alone. Nickless, his right hand man, shines brightly in his role as Buttons. He is a first class panto star. It’s like he was born for it. The gags keep coming, his comic timing is genius, and he clearly loves what he is doing and that makes us, the audience, love him even more. And his James Blunt impression is more James Blunt than James Blunt could do himself. If laughter is the best medicine than Nickless is a healer! 

The whole cast of Cinderella is exquisite, they come together so perfectly to create a night of magical Christmas memories.   

There were stand out performances from Liz Carney and Chloe Chesworth, as the wicked step sisters. Manford and Nickless might need to watch their backs with these two storming onto the Opera House panto scene. I thoroughly enjoyed this comedic duo throughout the show.  

And Panto wouldn’t be panto without a villain for us all to hate (love) and Myra DuBois delivers: the costumes, the gags, the bullying of the bloke who wished he hadn’t sat front centre in the audience, the boos and hisses- all came together perfectly! The dame is an integral part of a Panto, but it takes a special Dame to do what DuBois does – and makes it look so effortless. 

Cinderella is absolutely top notch, a must see, be prepared to laugh your socks off and leave wanting more. 

Cinderella is on at Manchester’s Opera House until Sunday 5th January (with best availability in January) tickets available here.

 Rocky Horror Show – Manchester Opera House

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Reviewed by: Matthew Forrest

Opening Night verdict ⭐️⭐️⭐️⭐️

It’s 50 years since the Rocky Horror Show premiered in the West End. The cult classic is currently mid-way through a UK tour arriving in Manchester this week, for a week-long run that sees this latest production still as vibrant, outrageous and despite being in its golden years, as culturally significant as ever.

The story focuses on a typical All-American couple, Brad and Janet, newly engaged the pair, when out for a drive one evening, in the midst of a brutal storm, experience a flat tyre. In desperation they seek help from the occupants of a sinister castle belonging to Dr Frank N Furter, where he lives with his servants, Riff Raff, Magenta, and Columbia. However, things are a little odd at the good Doctor’s residence and soon the host’s hospitality and his latest experiment will test Brad and Janet’s relationship to the limit.

Richard O’ Brien’s love letter to the horror/science fiction films of the 1950’s is still as flamboyant, fun and bursting with life. All the familiar tropes are here, mad scientists, crazed aliens, and a hero couple who have bitten off way more than they can chew! O’Brien’s script takes pot shots at the genre and plays fast and loose with gender roles and expectations.

First timers coming to the show won’t know what’s hit them! The show has a huge cult following, again evident tonight with several audience members dressed as their favourite characters (I’d be interested to see the sales figures for French maid costumes, when the show is out on tour). They bring so much more than just dressing up, becoming a character themselves anticipating the script’s next line bringing a touch of unpredictability to proceedings. The part of the Narrator this evening was expertly played by Reece Budin who handled tonight’s outbursts fantastically well, leading to numerous gags about the current Conservative government and the production of The Lion King showing down the road at the Palace, which again keeps the performance fresh and dangerous.

It highlights the hard work that has gone on during rehearsal, when the cast look like they’re having so much fun, which is evident from tonight’s performance. Richard Meek and Hayley Flaherty are in superb form as the awkward, virginal, yet far from innocent couple Brad and Janet.

Stephen Webb is exceptional as the iconic Dr Frank N Furter, it’s a performance packed full of charisma with a huge spoonful of menace, he more than delivers.

They are solidly supported by Kristian Lavercombe, Suzie McAdam, and Darcy Finden. Lavercombe has now appeared in more performances of the show then any other actor, and it shows as he plays the sleazy butler Riff-Raff, to perfection. Whilst McAdam pulls double duty as Magenta and bookends the show as the Usherette, performing a fantastic rendition of Science Fiction/Double Feature. The two of them do a fantastic duet, on the unmistakable Time Warp, leading to all the audience up dancing way before we’d even got to the interval. Finden puts in a feisty, energetic turn as the unpredictable Columbia.

The show does have its flaws, the final act is considerably weaker than what precedes it. In addition I found the lyrics difficult to hear in the ensemble number, Rose Tint My World which does frustrate.

It’s a mark of a great show, that even after all these years, it can still shock, entertain and remain relevant and Rocky Horror Show certainly manages this and so, so much. Absurd, timeless and well worth a watch. Go see for yourself, and give in to Pleasure!

Rocky Horror Show is at the Manchester Opera House until 25/02/23

Tickets available at: https://www.atgtickets.com/shows/the-rocky-horror-show/opera-house-manchester/

Chicago

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Reviewed by Matt Forrest

Opening Night verdict ⭐️⭐️⭐️⭐️

Chicago has been wowing audiences since it opened on Broadway in 1975. On the basis of tonight’s performance, it’s easy to see how this became such a musical theatre juggernaut.

For this is a tale “Murder, greed, corruption, exploitation, adultery and treachery… all those things we hold near and dear to our hearts”.

Set in 1920’s Chicago, a lawless place, where bootleggers and gangsters run the show. Prohibition is feeding power to the criminal underworld and the only place to get a decent drink and some decent music is in the speakeasy.

Based on the writing of journalist Maurine Watkins, a reporter for the Chicago Tribune. Watkins began seeing a pattern in the Chicago courts of law, glamorous young women getting away with murder. The bigger celebrity name they made for themself, the more likely they were to be acquitted, no matter how guilty they were!

Chicago focuses on two such women. First is Roxanne Hart (Faye Brookes) a cocktail waitress and wannabe singer accused of murdering he wantaway lover. The second is Velma Kelly (Michelle Andrews) a music hall entertainer in the dock for the slaying of her husband and her sister, who were having an affair.

Both are as guilty sin, but how can they get away with murder, and become the must-see act in town, enter super flash, super slippery lawyer, Billy Flynn (Liam Marcellino), the number one lawyer who knows exactly what jury’s and more importantly the press want to see in order to get these murderous vixens acquitted.

It’s rather timely that Chicago is currently out touring, whilst two of the biggest media circus’s play out over here and across the pond, thus highlighting the shows relevance and bang on point rapier critique of ‘celebrity’.

This slick production is a treat for the senses. Big musical numbers, stunning set pieces and more fun than I was expecting (I’ve never seen the 2002 Oscar winning film adaptation). Faye Brookes puts in a solid comedic if slightly unhinged turn as Hart. Filled with great little comedic asides, facial expressions and a flirty innocent charm, she is in fine form. Her work on the songs Roxie and Me and My Baby is highly impressive

Also in fine form is Michelle Andrews as Velma Kelly. Andrews gives a sassy, spikey performance, a commanding stage presence throughout; she more than delivers and gives no indication that she was stepping into the role as an understudy.

The show boasts an incredible wealth of supporting talent: Sheila Fergurson looks like she’s having a ball as Matron ‘Mama’ Morton, and as you would expect her voice is top of the class. In addition, there is a great comedic turn from Jamie Baughan as Roxanne’s sap of a husband, Amos. His work on the comedic number Mister Cellophane, very much nearly steals the show.

Whilst Liam Marcllino is a treat as the oily, Billy Flynn. His performance of All I Care About brings in some big laughs. The whole cast works so hard throughout for what is a physically demanding show.

Performed very much in the Vaudeville tradition of theatre, we have characters and show numbers introduced by the cast, we see the cast members waiting in the wings, whilst the orchestra takes centre stage, even musical director Andrew Hilton, has a more prominent role than one might expect.

There are stunning set pieces in the form of more familiar numbers such opener All That Jazz and Razzle Dazzle with all the glitz and glamour you would expect from a production of this standard

This sexy, sultry, super smart production is a perfect example of how life imitates art and demonstrates why this is one of the most cherished musicals around.

Chicago is on at the Manchester Opera House 28th May 2022

Tickets available here.

Singin’ in the Rain

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Reviewed by Jodie Crawford

Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

This adaptation of the classic 1952 Gene Kelly film is a thing of charm and laughter.

Adam Cooper plays the role of Don Lockwood, a silent movie star, who is paired with the beautiful (but not so talented) Lina Lamont. Jenny Gayner plays this role brilliantly, and had the audience laughing their socks off in all of her scenes.

Lockwood and Lamont are marketed as Hollywoods golden couple, but Lockwood feels no love for Lamont and falls in love with the talented Kathy’s Selden (Charlotte Gouch).

When talking movies take America by storm producer RF Storm (Dale Rapley) is forced to make his new movie a talking picture, and with the help of Lockwood’s sidekick and best pal Cosmos Brown (played by the fabulous Ross McLaren) they make the movie a musical extravaganza – the only stumbling block is that Lamont cannot sing a note or dance a step- which is where Kathy comes in.

This production is an absolute delight. The talent is incredible. The ensemble hugely impressive – navigating us through the scenes and giving us some belters of dance numbers.

Ross MCLaren (Cosmos) and Jenny Gayner (Lina) provide us with the gags, real big belly laughs with their comic timing and delivery. McLarens energy is endless.

Cooper and Gooch are well matched and the chemistry between them is beautifully presented. Gooch’s voice is spectacular throughout the production while Cooper and Mclaren make a great duo – and these men know how to dance.

“Singing in the rain” is obviously the number we were all waiting for and it didn’t disappoint (although maybe it did disappoint those sitting in the first three rows if they hadn’t brought their raincoats!). Cooper gave the audience what they wanted and more- he was quick and light on his feet, showing us that even after all this time in this role he hasn’t lost any pizzazz.

But singing in the rain isn’t just about one song or one routine – the numbers are plentiful and they don’t disappoint – the choreography and the orchestra deliver time and time again throughout the production.

Special mention to the ensemble and Lockwood for the Ballet scenes – these were just magnificent, the audience rewarded this with a resounding applause and plenty of cheering.

This production is a must see, a real feel good show with plenty of heart and laughter. And Manchester loved it, the audience jumped to their feet before the reprise had even begun.

Doo-dloo-doo-doo-doo

Doo-dloo-doo-doo-doo-doo

Doo-dloo-doo-doo-doo-doo

Doo-dloo-doo-doo-doo-doo

I’m singing in the rain……. All the way home!

Go see it- you won’t be disappointed.

Singin’ in the Rain is on at Manchester’s Opera House until Saturday 14th May tickets available here.

Aladdin

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Pic copyright Phil Tragen 2021

Reviewed by Jodie Crawford

Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

Crossroads Pantomines production of Aladdin tells the tale of Aladdin: not as you know it, but instead as a version with many more laughs and spectacular crowd pleasing numbers.

We join the journey of Aladdin (Matthew Croke), whose only dream is to marry his one true love; Princess Jasmine (Rumi Sutton). However, the road to true love does not run smoothly, thanks to The Supreme Leader of Mancunia (Nicola Sanderson) and Abanazar (John McLarnon) : cue plenty of booing and hissing from the audience.

Pic copyright Phil Tragen 2021

This pantomime has everything that British pantomime should have – with bells on! The absolute star of the show is the incredibly talented comic genius that is Ben Nickless (Wishee Washee), who helps his brother Aladdin overcome all of the hurdles put in front of him on his quest to marry Jasmine. Nickless’ Covid rap gives us an hilarious spin on the last two years of life in a pandemic, with plenty of laughs about masks, testing and lockdown life. The audience were in absolute stitches during his attempt to use a loop pedal to give us a rendition of an Ed Sheeran classic.

Alexandra Burke plays the role of Scherezade, who provides Aladdin with assistance throughout his journey, and who gets us moving in our seats as she belts out the numbers – the crowd absolutely loved her rendition of Bad Boys, and the ensemble provide the dance moves that we all expect from a spectacular panto like this.

Pic copyright Phil Tragen 2021

Eventually, after much turmoil and misadventure and the most amazing carpet ride, Aladdin gets his girl. But not before we are treated to the most hilarious number “What I would be” from Nickless, Dupree, Croke and Sanderson. The audience were doubled over laughing at the comic genius of this scene, the timing is impeccable and Ben Nickless deserved a standing ovation just for this!

The set and costumes are vibrant and majestic. The use of puppets for the genie and the snake are both comic and transfixing. Ceri Duprees (Widow Twanky) outfits are extravagant and mesmerising, just as she is. She is everything she should be. Hilarious, sarcastic, and with a pair of legs to die for! Her renditions of Lady Gaga’s Poker Face and of Bang Bang will be talked about by this audience for a long while.

Pic copyright Phil Tragen 2021

This pantomime is the tonic we really don’t realise we need until we get it. With all the uncertainty at the moment this is the light relief that we Mancunians are desperate for, so get your booster and get down to the Opera House for an addition boost – that’s all you need this Christmas.

Aladdin is on at the Manchester Opera House until Sunday 2nd January tickets available here.

Waitress

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Reviewed by Nikki Cotter

Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

Having been delayed by a year due to the pandemic, theatre fans can finally satisfy their cravings for first-class musical theatre as Broadway and West End smash-hit show Waitress serves up an absolute treat of a night at Manchester’s Opera House.

Based on the 2007 film by Adrienne Shelly, with musical with direction by Diane Paulus, book by Jessie Nelson’ and music and lyrics by Sara Bareilles, Waitress is a delicious concoction of self-empowerment, sisterhood, and some seriously satisfying sass.

The story is based around talented baker Jenna (Lucie Jones), who waitresses at Joe’s Pie Diner alongside pals Becky (Sandra Marvin) and Dawn (Evelyn Hoskins), the trio of Southern Belles may be tough talkin’ but their friendship is as sweet as apple pie.

While Jenna is famous locally for her showstopping flavour combinations her private life is nothing worth celebrating. Trapped in an abusive marriage, her thuggish husband Earl (Nathanael Landskroner) belittles her at every opportunity, mocking her baking, pocketing her tips and leaving her under no illusions as to who is the boss; so understandably she’s not delighted when she realises, she has her own bun in the oven.

Jenna’s daily fantasies about ways to escape not only offer up the names to her daily specials but also drive the show, while trysts with her gynaecologist, Dr Pomatter (Matt Willis) bring an unexpected twist.

This feel-good feminist tale has empowerment running right through it as Jenna moves from trying to bake her troubles away to gaining a genuine self-awareness and acceptance of who she is and what she stands for. There are important themes covered in Jessie Nelson’s script such as domestic abuse, unwanted pregnancy, and infidelity, these are balanced perfectly with laugh out loud moments and hilarious close to the bone conversations which will have you blinking back the tears one moment and crying with laughter the next.

This is a musical with pure heart, led extraordinarily buy the sensational Lucie Jones, who delivers stand-out ballad She Used To Be Mine with such raw emotion it’s literally show-stopping. Her ode to the girl she once was is truly breath-taking. She is perfection as Jenna and measures the amount of vulnerability and spirit just right.

Perfectly complimenting Jones are Sandra Marvin and Evelyn Hoskins as no-nonsense Becky and wonderfully kooky Dawn. Both are a joy, and the trio together are superb, they breathe brave and brilliant life into each character. Matt Willis is excellent as the clumsy but endearing Dr Pomatter while George Crawford is an absolute delight as scene stealing Ogie. It was wonderful to see Michael Starke back in Manchester delivering a cracking performance as diner owner Joe while Christopher D. Hunt is great fun as Cal.

The lives depicted may be messy and mixed up but they somehow come together to make the perfect recipe leaving the audience uplifted, deeply moved and leaping to their feet for a roaring standing ovation. Waitress is a perfect slice of theatrical magic.

Cathc Waitress at Manchester’s Opera House until Saturday 20th November tickets available here.

The Entertainer

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Reviewed by Matt Forrest

Opening Night verdict ⭐️⭐️⭐️⭐️

It’s often said that role of Archie Rice is a dream role for any actor; it’s an actor’s role, a role filled with pathos, a real rollercoaster of emotions. The likes of Laurence Olivier, Kenneth Branagh, Robert Lindsey and Michael Gambon have all played this iconic character, either on stage or screen, and now it’s the turn of one of the nation’s favourite song-and-dance men, Shane Richie.

The original production was set during the 1950’s in the shadow of the Suez crisis, however director Sean O’ Connor has shifted the action to 1982: Britain has just gone to war with Argentina over the Falkland Islands and comic Archie Rice is working the club scene, with diminishing success. His act is a string of sexist gags and mother-in-law jokes, think a cross between Bernard Manning and David Brent and you’re on the right track. Rice is struggling to adapt to a changing world of alternative comedy and so-called political correctness.

As Rice’s routine is in the gutter, his home life isn’t fairing much better: he is unhappily married to his second wife, Phoebe (played tonight by Alice Osmanski), his father Billy (Pip Donaghy) holds some pretty extreme views about their neighbours and the state of the country, his daughter, Jean (Diana Vickers) has come back home after splitting with her fiancé, and finally his son Mick, has been captured whilst serving in the Falklands.

The majority of the action takes place in the Rice’s flat as the family bicker about the current state of the country, argue about Archie’s womanising, Phoebe’s desire to move Canada, and Jean’s moralistic view of the world, which strongly differs from that of her family. This is all done with the support of copious amounts of gin, as all of the family struggle with their own alcoholism. This is punctured with brief snapshots of Archie’s faltering act, some 1980’s bangers, and some genuine/fictious tabloid headlines of the day. As the Rice’s situation becomes more desperate, the already fractured family begins to come apart at the seams.

This is a challenging, gritty piece of work, there is a great deal to admire about the production. Despite being well over 60 years old, the themes Osbourne was addressing back then are just as relevant today. The setting of Thatcher’s Britain gives the production a gritty realism: the club spots and the scenes at the flat are quite grimy, so much so that you want to jump in the shower as soon as you get home.

The excellent performances are what make this production that little bit special. All five actors do a solid job throughout and it’s the dynamic between Shane Richie and Diana Vickers that is the real heartbeat of this production. Richie does a fantastic of job making you care about Archie. He knows his best days are behind him,  he knows he’s made mistakes yet despite his many flaws, you cannot but help but want him to succeed, and it’s purely down to the strength of Richie’s performance: if you don’t have that connection then it doesn’t work.

In Diana Vickers you have the moral compass of the family, someone that has yet to be tainted by her environment, and someone who has a chance of making a difference, it’s the conflict between the two of them that drives the narrative along and it’s a credit to both actors that this works so well.

It is a tough watch and one that is short on laughter, unless you like your comedy uncomfortable and cringy, however this is a production that is certainly worth a watch and one that will split audiences and more importantly spark debate and that is always good in my book.

The Entertainer is on at the Manchester Opera House until Saturday 2nd November. Tickets available here.

The Exorcist

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Reviewed by Matt Forrest

Opening Night verdict ⭐️⭐️⭐️⭐️

When it it was announced that the stage version of The Exorcist was coming to Manchester I freely admit I was more than a little excited for a couple of reasons. The first being that this is one of my favourite films, when growing up the film had mystic about it mainly due to it being unavailable for some 11 years, to get hold of a copy was seen as a right of passage when growing up and when you finally did get to see it it did not disappoint. The second is that the film seldom out of your consciousness if like me you’re a fan of film critic and broadcaster Mark Kermode (Hello to Jason). There is seldom a week that goes by where the good Dr doesn’t manage to shoehorn an ‘exorcist story’ into his radio programmes and podcasts.

The stage adaptation from writer John Pielmeier, draws more from the 1971 novel by William Peter Blatty more so then William Fredkin’s film. It tells the story, of Hollywood actor Christine MacNeil (Susan Ward) and her daughter Regan (Susannah Edgley), they’re staying in a big creepy house, in Georgetown, Washington whilst Christine shoots her latest movie. However, with Regan’s birthday coming up and anxiety of her estranged father not contacting Regan along with the strange noises coming from the attic not all is well at home.

Regan soon begins speaking of an imaginary friend, Captain Howdy, who she claims to have encountered her whilst playing with a Ouija board. Her behaviour becomes more erratic, as she self harms, uses profanity, urinates on the floor, and more disturbingly predicts the death of Christine’s friend the movie director Burke Dennis (Tristram Wymark).

As Regan’s behaviour worsens, her health deteriorates and with doctors, medication and psychologists providing no cure Christine is running out of time to save her daughter. In the meantime, a Father, Damien Karras (Ben Caplan) is having a crisis of faith, having lost his mother, feelings of resentment, regret and remorse surround the priest, as he comes to terms with his own guilt at her passing. A meeting between Karras and Christine prompts the desperate mother to enquire about an exorcism; Karras acquiesces to Christine’s proposal and so begins a battle to save not just the life of a little girl but also the souls of those around her.

Director Sean Mathias has done a great job of bringing this classic of the silver screen to life. From the moment you enter the theatre there was a sense of trepidation in the air, right from the the get go, there are some big jump scares to get you in the mood. However, these are soon dispensed with in favour of the more shocking elements of the text: vomiting, foul language, murder and the ordeal that this girl and her family are going through.  All the key elements that caused and still cause outrage to this day are there, of which I will not spoil, yet they still manage to shock even now, and I knew what was coming.

The performances are solid throughout, Susannah Edgley has the difficult job of an adult playing a child, which she manages to do brilliantly, she fully captures the sweet innocence and absolute horror of Regan. Sophie Ward is equally as good in her role, its one you could easily go OTT with, yet she refrains from doing so giving a measured but heartfelt turn.

If this were a Hollywood blockbuster, Paul Nicholas would get the ‘and’ or ‘with’ billing on the poster, but here he gets top billing for what is essentially supporting role, however Nicholas brings a real presence to his role as Father Merrin, an experienced priest drafted into help with exorcism ritual. It is a restrained, understated but no less vital performance.  Finally, there is the un-credited performance of Sir Ian McKellen as the voice of the demon, the potty-mouthed thesp, pretty much steals every scene he’s in without being even being there! If there is filmed footage of this being recorded, then get it online quick because it would look fantastic. A huge amount of praise must be heaped on Edgley who does an excellent job of lip-syncing with McKellen’s fruity dialogue.

However, for me the most impressive aspect of the production is its look, the team have created a haunting, atmospheric and terrifying space, from the iconic window, Regan’s bedroom, to the creepy house, complete with exploding lights, through to the pews and confessional boxes of the church this is lynch pin of the production. The scene transitions weren’t as smooth as they could be, with sliding panels but it really didn’t matter. To create the big scares and the more shocking elements of the play the lighting, sound, and projection team have done some fantastic work here.

This is a creepy, tense production that will have enough to please fans of the film/book but is also fine introduction to this controversial, yet entertaining piece of work, I would say that the more controversial elements will still create debate and polarise people’s opinion, but that for me mean’s it’s done its job.

The Exorcist is on at the Manchester Opera House until 26th October. Tickets available here.

Cinderella | Opera House

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Reviewed by Nikki Cotter

Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

First staged in 2016 at the London Palladium then last year at Birmingham’s legendary Hippodrome Qdos Entertainment’s Cinderella has been brought bang up to date by writer Alan McHugh with Corrie jokes a plenty and hilarious local references a go-go. Both Ben Nickles who plays Buttons and Ugly Sister Les Dennis adding material to the laugh a minute script ensuring a riotous night out is guaranteed.

All the stops have been pulled out in this spectacular production; lavish sets, colourful costumes, catchy songs and a superb cast ensuring the Opera House panto remains at the top of theatre goers agenda for another festive season.

Our Ugly Sisters Phelina (Connor McIntyre) and Michaela (Les Dennis) are mad for it as they blend the silly with the slapstick and throw in some cheeky charm for good measure, the pairing is genius as panto pro Les leads the way, reminding us all just why he’s one of the best in the business.

Rochdale comedian Ben Nickless quickly becomes an audience favourite as Buttons; he laps up the applause and delights with outrageously funny comedy capers and hilarious impressions, a born entertainer who comes very close to stealing the show.

Gareth Gates and Shannon Flynn make for a perfect pairing as the dashing Prince Charming and the down on her luck Cinderella proving that they’re not afraid of getting stuck in with the slapstick when their romantic meeting turns into a hilarious battle of wills with lovesick Buttons.

Hayley-Ria Christian makes for a super sassy Fairy Godmother while Jack Wilcox is a commanding and charismatic Dandini.

The ensemble cast and young company, always a favourite of mine in panto add vibrancy with slick delivery of Fabian Aloise’s choreography adding additional charm to this feel-good family show.

Qdos Entertainment has got Cinderella just right in terms of pitch, the script is jam-packed with hilarious gags and witty one–liners while the innuendo we all expect from panto never tips into crudeness, its good old cheeky fun and plenty of it.

The transformation scene at the end of Act I really has to be seen to be believed and is worth the ticket price alone as the gasps of delight from the audience both young and old are heard loud and clear. While panto may one of theatre’s oldest traditions this production feels fresh and vibrant.

Cinderella really is the perfect package; it’s lavish, sparkly, sequined fun suitable for all the family. This extravagant production is everything panto should be and more.

Guaranteed to entertain from start to finish leaving you feeling suitably festive and full of Christmas cheer. Big, bold and brilliant!

Cinderella is on until Sunday 30th December tickets available here.