Manchester theatre review

Chitty Chitty Bang Bang

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Reviewed by Matt Forrest

Opening Night verdict ⭐⭐⭐⭐

Formula One, a sport I have zero interest in, apparently kicks off its new season this coming weekend, and whilst I certainly won’t be watching there is however one former Grand Prix winner’s arrival into Manchester that I have been most looking forward to: I am of course referring to Chitty Chitty Bang Bang.

The Ian Flemming penned family favourite is back on the road bringing with it a ton of magic, some big musical numbers and a whole lot of fun for all the family.

Set in 1919 we find the rather eccentric widowed father, Caractacus Potts trying to forage enough money to save a bent and broken race car from the scrap heap. The car has become the beloved plaything of his two children Jeremy and Jemima. In order to raise the funds must put his brilliant(ish) inventor mind to work, and come up with an invention that will not just change the world, but also the Potts, bank balance as well. Caractacus reluctantly accepts the help of Truly Scrumptious, the daughter of a local sweet and confectionery maker in order to get an appointment with her father. Whilst the meeting doesn’t go according to plan, it soon becomes clear that there is a spark between the pair.

It’s not just money troubles however blighting the Potts family. They find themselves in great danger from the evil Baron and Baroness Bombast of Vulgaria who also have designs on the famed race car: dispatching a couple of dodgy spies, the power of the Vulgarian navy, and the truly terrifying Childcatcher. The Vulgarians will stop at nothing to achieve their goal, even going as far, as kidnapping Grandpa Potts. However, Chitty Chitty Bang Bang has more than few surprises under her bonnet to help Caractacus and company save the day.

From start to finish, what an absolute joy this production is. There are some fine performances throughout: Former Strictly winner Ore Oduba, channels his inner showman, bringing a touch of sparkle as the eccentric Caractacus Potts. As you might expect he has some slick dance moves, but he had a tremendous voice to match, perfectly showcased in the spectacular number Me Ol’ Bamboo.

Liam Fox brings plenty of warmth and humour, as the caring old soldier, Grandpa Potts. Whilst Ellie Nunn puts in a feisty turn as Truly Scrumptious, it’s pleasing to see the character has been updated from the film, to be more spirited. Nunn has a stunning voice, and her vocals on the touching Lovely, Lonely Man are beautiful.

Every good story needs a good villain, and thankfully Chitty Chitty Bang Bang, has one of the most terrifying: The Childcatcher, played here with sleek brilliance by Charlie Brooks. Brooks does villainous so well, stalking the stage like a cat ready to pounce on her prey as she tries to weed-out the children. She gets to deliver some truly iconic and chilling dialogue, which she does so menacingly  well.

What director Thom Southerland has done such an excellent job of is enhancing the humour and ridiculousness of Chitty Chitty Bang Bang. He weapons for this are four solid comedic performances from  Adam Stafford and Michael Joseph as the inept spies Boris and Goran, bringing a whole load of silliness in the first half of the show. Later it’s the turn of Martin Callaghan and Jenny Gayner as the Baron and Baroness to ratchet the fun up to 11. All four inject a great deal of absurdity and fun to proceedings. 

Of course, the star of the show is the car itself, which looks immaculate, her arrival along with the beloved Chitty Chitty Bang Bang song drew lots of spontaneous clapping and singing from the audience. Morgan Large has done a great job bringing the car to life, as well as other fun little props and touches that litter the production. Some of the set transitions I do feel could be slicker and at times can be distracting but this is a minor quibble for over all a production that sparkles

There is something for everyone here, bold musical ensemble numbers like the aforementioned Me Ol’ Bamboo and Toot Sweets, superbly choreographed, whilst the slower Hushabye Mountain and Doll on a Music Box work effectively well.

The evening comes to an end with a touching speech from Liam Fox, paying tribute to friend/co-star, James Lee Williams: The Vivienne, which is a classy touch and highlights the love and warmth of what this production is all about.

This is an always entertaining retelling of a classic, and one that children of all ages will enjoy. I’m pleased to say this old car has passed its MOT with flying colours.

Chitty Chitty Bang Bang is at the Palace until 16th March tickets available here.

Wicked

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Reviewed by Matt Forrest

Opening Night verdict ⭐⭐⭐⭐

It may come as quite the shock to find out that Wicked has been gracing theatres across the globe for 21 years, yes that’s right folks Wicked has the key to the door! 2024 has been a huge year for this musical theatre titan: there was of course Hollywood’s much anticipated take, with part one hitting the silver screen last month. Then there is an epic 10 venue UK tour which arrives in Manchester, its final stop for a six week run

Based on the novel, Wicked: The Life and Times of the Wicked Witch of the West by Gregory Maguire, and adapted for the stage by Winnie Holzman, this tale from the land of Oz resembles a Greek tragedy more than a fantasy adventure. Beginning with the citizens of Oz celebrating the demise of The Wicked Witch of the West. Glinda the Good (Sarah O’Connor) isn’t fully invested in the celebrations, when questioned about her friendship with the tyrannical witch, we are taken on a journey to see how these two rivals go from foes, to friends, and right back to perceived enemies once more.

Before she became the Wicked Witch of the West, she was Elphaba (Laura Pick), a young woman shunned by her father and ridiculed by everyone she meets because of her green skin.  Elphaba is sent to the Shiz University, where she is a carer for her younger paraplegic half-sister Nessarose (Megan Gardiner).

Here Elphaba meets Gailnda, a popular social climber that seemingly everyone adores. The pair soon clash when they are placed as roommates. The relationship is further strained when Elphaba is picked by Madame Morrible (Donna Berlin) for one-to-one sorcery tutorials. In addition, the arrival of a playboy prince, Fiyero (Carl Man) adds to the tension, as Galinda is bowled over by his charm and striking good looks, whilst Elphaba is less than impressed by his cocky, arrogant swagger.

Despite their many differences the pair soon see that they aren’t too dissimilar, and a great friendship is forged, together they make quite a formidable team.

However, something sinister is happening to the animals of Oz, with all of them losing their voices and seemingly dark forces behind their persecution. Elphaba and Glinda (having ditched the A) are granted an audience with the great Wizard of Oz (Simeon Truby) to seek his help with this matter, but the meeting doesn’t go as planned and sets the pair on separate paths that will test their friendship to the limits.

It’s easy to see why the magic of Wicked shows no sign of fading any time soon: It’s a production dripping with quality. At its heart two fabulous central performances from Laura Pick and Sarah O’ Conner. Pick is punchy as the prickly no nonsense Elphaba, she absolutely knocks it out of the park on her solo numbers  “I’m Not That Girl” and “No Good Deed”. O’ Conner is equally impressive, in a role which not only showcases her tremendous vocal range but allows for some great comedic flourishes, as she plays the dizzy mean-girl-turned-good to perfection.

There are of course some great musical numbers from Stephen Schwartz, the best of the bunch being “Popular”, delivered impeccably by O’ Conner, and the scene-setting ensemble number “No One Mourns the Wicked”. Of course there is the now iconic “Defying Gravity” which more than delivers. The orchestration and musician arrangements are first class, delivered superbly by the orchestra, which is no mean feat as throughout the dry ice rolled into the orchestra pit. It’s an impressive visual but does make you wonder how they could see what they were doing!

The production values are of the highest order: Susan Hilferty’s costume design is fabulous, especially the steampunk themed citizen of Oz design and the terrifying flying monkey design. Eugene Lee’s stage design is epic in scale which marries perfectly with Kenneth Posner’s impressive lighting design and Tony Meola’s bold, booming sound design.

Despite a smart, witty script, there are parts where the plot seems a little contrived as it tries to cover a lot of narrative strands. In places it does seem a little bloated, but this is a minor quibble.

This is live theatre at its finest, a treat for the eyes and ears and one that will enchant audience members young and old alike. There may not be a yellow brick road leading to the palace theatre, but all roads should take you to Wicked this festive season.

Wicked is at the Palace Theatre, Manchester till 12th January 2025. Tickets available: Here

The Book of Mormon

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Reviewed by Demi Franks

Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

“I love all these Mormon stories, they’re so f*cking weird!”

Its hard to believe The Book Of Mormon first premiered on Broadway only a little over ten years ago. However, its no surprise whatsoever that it won 9 Tony Awards including ‘Best Musical’ just three months after it’s opening night and has since gone on to smash box offices and garner mass critical acclaim, having played both here in the London’s West End and across continents continuously ever since. It’s only actually in recent years that we have been lucky enough to maybe catch a touring version of the show in this country… and boy are we lucky to have this on our doorsteps for nearly a whole month here in Manchester!

From the writers of ‘South Park,’ The Book of Mormon is the story of two young Mormons, Elder Price and Elder Cunningham (played by Robert Colvin and Conner Peirson respectively), who have been paired together and sent to Uganda on their mission. We watch them encounter a completely different culture out in Africa and see the trials and tribulations that comes with being a Mormon missionary in a place far far away from sunny, comfortable America, and where “everyone has aids!”

In an age of supposed ‘Political correctness,’ this laughs, dances and spits in its face. If you’re afraid of hearing the ‘C’ word shouted at you, then you might want to sit this one out. Yes it’s crude, but its fantastically, hilariously and unapologetically crude.

The merging of UK and US talent both on and off stage, brings almost the perfect synergy to this touring production and it’s results are frighteningly electrifying. One third of the writing team, Trey Parker, co-directs with Broadway’s Casey Nicholaw, who also choreographs again for this production, bringing a combined wealth of unmatched expertise and experience and the results most definitely pay off, having masterfully ignited and nurtured one of the strongest companies I have ever witnessed on any stage.

Although it has to be said that Peirson brings an incredible and unparalleled energy to the stage, having clearly honed in on inhabiting Elder Cunningham down to the bone; with every movement, every action, so beautifully and ingeniously crafted, so much so that its hard to believe he’s a long-term veteran of the role. Special mention must also go to Jordan Lee Davies(Elder Mckinley/Moroni) who particularly excels as McKinley performing an uproarious turn, subsequently having the audience right in the palm of his hands at all times. That being said, it’s hard to pick stand-outs as the entire ensemble are extraordinary — it is certainly no mean feat keeping a show of this scale running so exceptionally well as they do.

This production is a treat for all the senses. Musically we are gifted a feast, O’Regan’s band under Finlow’s supervision don’t miss a beat and are simply perfection. Visually too, Pask delivers exceptionally with his scenic design, having worked on over 50 productions on Broadway, including… yep you guessed it— The Book of Mormon. Broadway has well and truly been brought to the streets of Manchester, his attention to detail and artistry, together with Roth’s costume design are equally impressive.

The Book of Mormon has everything you’d expect from a big-scale, bright and buzz-y musical, ticking every box along the way…the eye-catching, entertaining WOW ensemble routines, including, ‘Spooky Mormon Hell Dream’ and ‘Turn it Off’ (which has an excellent and impressive tap sequence sneaked in for good measure). In addition,there are epic solo ballads such as ‘I Believe’ executed with power and exuberance by Colvin (Elder Price), culminating with a heartfelt and uplifting ending we all so desperately crave (especially in these current turbulent times). What this show has above all else, in between all of that, and better than any other show out there at this moment in time – is genuine, ridiculous, ludicrous, laugh-out-loud hilarity splattered throughout it’s entirety. Find me a funnier show… and I’ll call you a liar!

Never mind your Christmas parties 😉 … rest assured this has all the ‘feel good factor’ you’ll be needing to see you through to the new year. Don’t sleep on it — beg, borrow or steal a ticket whilst this show is in town!

‘This Book (of Mormon) WILL change your life’

The Book of Mormon runs at the Palace Theatre Manchester until 1st January tickets available here.

 

 

 

 

 

 

 

 

We Will Rock You

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WE WILL ROCK YOU

Reviewed by Nikki Cotter

Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

If ever there was a perfect time to revive the 2002 hit musical featuring the iconic music and lyrics of the mighty Queen it most is definitely now. The band were thrust back into the spotlight with the enormous success of smash-hit movie Bohemian Rhapsody introducing their music to a whole new generation so it comes as no surprise to see the Palace Theatre full to the rafters for We Will Rock You’s welcome return to Manchester.

The Ben Elton penned show transports us to the dystopian land of iPlanet set 300 years in the future. Freedom of expression is all beut gone as the Globalsoft Corporation control minds and hearts with their computer generated over produced pop tracks. Musical instruments are banned while rock music is a thing of the past, wiped from the minds of the masses as conformity is expected and rebellion quickly stamped out.

WE WILL ROCK YOU

Galileo and Scaramouche however are desperate to ‘break free’ from the dismal world around them, unique from the rest of the Ga Ga clones they stand out from the crowd as individuals, drawn to a life of freedom and expression, something Killer Queen the head of Globalsoft fears enormously. A chance meeting with Bohemians Brit and Oz cements their belief that there’s more to life than mindless scrolling, then just need to find out what!

6 years since it closed on the West End We Will Rock You has been brought bang up to date visually with the addition of stunning wall projections from Giles Maunsell and Sam Pattinson – Treatment Studio while Ben Elton has revisited his original script revamping it with modern references making it feel current and fresh, Alexa #MeToo and even Gangnam Style all get a mention.

WE WILL ROCK YOU

The success or failure of this production undoubtedly rests upon the ability of the cast to deliver Queen’s monster tracks to a standard Freddie would be proud of and boy do they do him justice! Ian McIntosh is superb as Galileo, vocally outstanding he confidently channels his inner rock God. Bursting with talent and personality this isn’t a Freddie imitation but a standalone performance of the highest quality.

Elena Skye impresses enormously as an empowered Scaramouche, her soulful vocals are delivered with self-assured sass while she playfully interacts with McIntosh (Galileo) & proves convincingly that sisters can indeed do it for themselves.

Jenny O’Leary is an absolute powerhouse as Killer Queen, slaying each song with her huge voice and tremendous on stage presence. David Michael Johnson and Amy Di Bartolomeo play off each other wonderfully as Brit and Oz each delivering knockout vocals while Adam Strong is hugely impressive as Khashoggi. Special mention must also go to Michael McKell who brings the laughs as Buddy with his Jaggeresque swagger and hilarious mispronunciations of pretty much everything!

WE WILL ROCK YOU

This is a jukebox musical that never takes itself too seriously it delivers and then some! Take Queen’s killer back catalogue, team it with Ben Elton’s clever book then add a creative team whose motto is quite probably ‘Go big or go home’ and you’ve got an irresistibly brilliant production, not just for Queen fans but music and musical theatre fans alike. Just as one mega hit finishes another begins all delivered by a cast at the absolute top of their game, it’s high-energy, highly entertaining, blow your socks off theatre. Perfect escapism for anyone with the January blues, We Will Rock You really is a kind of magic!

We Will Rock You is on at Manchester’s Palace Theatre until Saturday 8th February tickets available here.

Curtains

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Reviewed by Matt Forrest

Opening Night verdict ⭐️⭐️⭐️⭐️

We’ve all heard of opening night disasters when it comes to the theatre, from forgotten lines to sickly cast members, I’m certain actors and directors will have their fair share of horror stories. However, I’m sure none will match having their leading lady bumped off during the final curtain!

This is the premise for musical whodunit,  Curtains. This Tony Awarding winning  production is from the song writing duo John Kander and Fred Ebb, who  also wrote Chicago and Cabaret.

Set in 1950’s Boston we are backstage on the set oftroubled Broadway hopeful  Robbin Hood.  Leading lady Jessica Cranshaw (Nia Jermin) is murdered on opening night and, due to her rather shambolic performance, everyone is a suspect. Luckily, Boston’s finest, Lieutenant Frank Cioffi (Jason Manford), who happens to be a theatre super-fan, is on hand to crack the case.

Placing the theatre on lock down, Cioffi begins to work his way through the list of suspects that include estranged couple and writing partners Georgia Hendricks (Carley Stenson) and Aaron Fox (Ore Oduba). Then there are show producers Carmen Bernstein (Rebecca Lock) and shady Sidney Bernstein (Mark Sangster) and flamboyant director Christopher Belling (Samuel Holmes). In addition, we have ambitious rising stars, Bambi Barnét (Emma Caffrey) and Niki Harris (Leah West), with the latter catching the eye of Lieutenant Cioffi. Everyone is a suspect with cast and crew beginning to drop like flies, can Cioffi catch the killer and save the show?

On the surface, this is a classic murder mystery, very much in the Agatha Christie mould, but on the other hand this is both a love letter to, and a critique of showbusiness, in particular the  theatre. 

There are caricatures aplenty from over-the-top directors, to ruthless money grabbing producers and mean-spirited critiques. Despite a few minor issues, this is an enjoyable, entertaining romp, filled with neat one liners, catchy tunes and some plot red herrings that will keep you engaged throughout.

The cast are at the top of their game, Jason Manford is a likeable leading man, whose comic timing is matched perfectly with a fine singing voice. Carley Stenson and Ore Oduba are also on good form as the warring writing partnership, with Stenson really given the opportunity to flex her vocal cords. There are scene stealing turns from Rebecca Lock and Samuel Holmes who between them get the lions share of the best lines and certainly make the most of them.

They are supported buy an exceptionally hard working cast who put in tremendous effort throughout which are exemplified in the company numbers The Women’s Dead, He Did It, and In the Same Boat III, which are the undoubted highlights of the show, and showcase Paul Foster’s exceptional direction and Alistair David’s intricate choreography.

The production is not without flaws; it’s a bit flabby in parts and there seems to be a bit of filler, it doesn’t quite hold your attention throughout its entire running time, in fairness the show gets off to such an intriguing start that it would be difficult to maintain that level of interest throughout. 

On the whole this is an entertaining, clever, production packed with solid performances, great tunes and some fantastic set pieces, which despite its darkly comic narrative has a heart of gold at its core and is a slice of fun, feel-good musical theatre!

Curtains is on the Place Theatre till 12th October tickets available here.