Manchester

Sylvia

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Reviewed by Nikki Cotter

Opening Night verdict ⭐⭐⭐⭐⭐

In 1903, Manchester, Emmeline Pankhurst founded the Women’s Social and Political Union (WSPU) to fight for the rights and betterment of women. Her name remains synonymous with the city, and she is almost universally the first name which comes to mind when women’s suffrage is mentioned. However, as the WSPU grew increasingly militant under the leadership of Emmeline and her eldest daughter, Christabel, middle daughter Sylvia and the path she takes gives us the focus of this powerful story.

Disillusioned by her mother and elder sisters increasingly radical methods, Sylvia fights to guide the Suffragettes toward a broader socialist agenda, fearing that their extreme tactics and restrictive focus will leave ordinary working-class people behind.

The production brilliantly captures the ideological rift tearing the Pankhurst family apart, resulting in a powerful exploration of family division as the Pankhurst’s feud over the socialist ideals Sylvia refuses to compromise on.

Beverley Knight takes on the role of Emmeline, an authoritative, no-nonsense presence who refuses to back down. Knight, like Emmeline is truly a force of nature, strong, compelling and utterly formidable. Her vocals are pitch perfect, as she delivers Emmeline with a steely, stirring determination.

Naomi Katiyo absolutely raises the roof in the titular role of Sylvia. She takes the audience on a truly remarkable journey, growing in strength and conviction despite the brutal conditions she endures. Rather than breaking her spirit, frequent imprisonment and regular hunger strikes only fuel her determination to succeed in her fight against inequality. Her vocals are perfection, delivering Kate Prince’s intricate lyrics with seamless control as she moves from heartbreakingly emotive to powerful and punchy with an incredible ease.

While Beverley Knight and Naomi Katiyo lead this cast superbly the production feels like a very special ensemble piece with every single person on stage well and truly at the top of their game. While every member of the cast deserves enormous praise, special mention must go to Ellena Vincent as Christabel, Tachia Newall as Kier Hardie, Uzuazo O’David as Harry Pankhurst, Kristie Skivington as Adela Pankhurst, Ivano Turco as Silvio Corio and Colette Guitart as Clementine Churchill, all are knock out.

The collaborative writing of Kate Prince (lyrics & book), Priya Parmar (book) Josh Cohen and DJ Walde (music) is a joy, covering multiple genres from hip-hop to soul in impressive style. The vocals in this mostly sung-through production are incredible, paired with Prince’s stunning choreography and direction the result is a slick, striking and visually enthralling piece.

There’s a wonderful balance between vocal numbers like Stand Up that feel like a call to arms and the deeply poignant I Don’t Want Blood on My Hands adding depth and complexity to the storytelling. Taking this to the next level is Prince’s choreography which is used to incredibly dramatic effect, none more so than during March Women March/Be The Change at the close of Act 1 which brought me and many of the audience to tears.

Ben Stones mostly monochrome set paired with Natasha Chivers and Hector Murray’s intentionally stark lighting allows the focus to stay firmly fixed on the characters as this politically charged story unfolds. Splashes of politically aligned colour appear as we move further into the timeline of the period adding clarity and broader character definition.

Sylvia is an absolute triumph, the cast are sublime while the production leaves you feeling, educated, entertained and empowered. Sylvia serves as a true reminder of the importance of standing up against injustice and inequality even when the path feels almost impossible. As a woman, from the North West I found the production deeply moving and a true reminder that we can all be changemakers. Inspirational, powerful and incredibly poignant, this is an absolute must-see.

Sylvia is on at The Lowry until Saturday 24th October tickets are available here.

Little Shop of Horrors

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Reviewed by Nikki Cotter

Opening Night verdict ⭐⭐⭐⭐⭐

Directed and choreographed by Tony and Olivier Award-nominated Carrie-Anne Ingrouille (Six), this bold revival takes Alan Menken and Howard Ashman’s beloved, cult classic and breathes new and utterly brilliant life into it resulting in a thrilling theatrical experience that you won’t want to miss.

Based on Roger Corman’s cult classic, Little Shop of Horrors introduces us to Seymour, (Jed Berry) a timid florist trapped as a browbeaten assistant to the harsh Mr Mushnik (Michael Starke). Life on Skid Row is pretty bleak, the shop is failing fast, and Seymour is secretly in love with his coworker, Audrey, however everything changes when he purchases a strange and interesting plant whom he names Audrey II. But, as the plant begins to wither, Seymour makes an alarming discovery…the plant needs human blood to survive. As the carnivorous Audrey II grows, so do Mr Mushnik’s profits and ultimately Seymour’s fame. Could this bloodthirsty beast be Seymour’s golden ticket out of the gutter and into Audrey’s arms or will the price of success be too high to pay?

Jed Berry is an absolute joy as Seymour, perfectly capturing the character’s wide-eyed innocence with a sweet, well-meaning sincerity that instantly wins over the audience. He entirely nails the essence of Seymour giving us a loveable underdog we can truly invest in while his vocals are utterly sublime. Stepping into the iconic shoes of Audrey is EastEnders and Strictly star Maisie Smith. Smith plays the Skid Row shop assistant with a delicate vulnerability, effortlessly blending sharp comedic timing with soaring, powerhouse vocals. Opposite Berry’s endearingly awkward and lovesick Seymour, the duo share a wonderful on-stage chemistry, their flawless, rendition of fan favourite “Suddenly, Seymour,” ensuring the audience is wholeheartedly rooting for this unlikely pair to succeed.

Michael Ayton gives us show-stopping vocals as Audrey II, effortlessly capturing the soulful, sinister sass of the blood-thirsty botanical beast. Brookside legend Michael Starke makes for a wonderfully scheming Mr Mushnik, while Benjamin Yates is perfectly cast as Leader of the Plaque, Orin Scrivello, the Dentist. Unhinged, unforgettable and utterly brilliant!

Special mention must also go to the iconic trio of narrators, Psalms-Nissi Myers-Reid as Crystal, Gabrielle Davina Smith as Ronnette, and Rio Maye as Chiffon. Their harmonies are to die for (literally), adding further depth to Alan Menken’s much-loved score while they deliver Carrie-Anne Ingrouille’s slick choreography to perfection.

Award-winning set and costume designer Morgan Large has constructed an incredibly striking set which impressively maximises the intimate space at Hope Mill Theatre, bringing Skid Row to Manchester in incredible style. The intricate Audrey II puppets (also designed by Morgan Large and created by Robert Allsopp) are seamlessly operated by a team of puppeteers (Julia Frost, Christopher Dobson and Imogen Khan) who together with Michael Ayton ensure there’s no mistaking this is a living, breathing, badass botanical.

Musical director Ben Barlow with sound designers Sam Glossop and Harry Greatorex ensure Alan Menken’s score sounds sharp and vibrant while Rory Beaton’s lighting design confirms the sheer quality of this production.

Forty years after the film first captured our hearts, this brand-new revival proves that the monster hit is bigger, bolder, and more of a must-see than ever before! Superb!

Little Shop of Horrors is on at Manchester’s Hope Mill theatre until 30th November before it heads to Liverpool’s Playhouse from 3rd December until 9th January tickets and info are available here.

How Soon Is Now?

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Reviewed by Nikki Cotter

Opening Night verdict ⭐⭐⭐⭐

Written by Siân Owen, this new production transports us to Manchester nightclub ‘Deja Vus’ on New Year’s Eve 1997. Midnight is fast approaching, New Labour and ‘Cool Britania’ are offering a sense of optimism, and, inside the club, the music is bangin’, the atmosphere’s beltin’ and the possibilities seem endless.

At the heart of this production are three young women, Polly, (Laura Robinson) Angie (Kaitlyn Akinpelumi and Jean (Bethan McLean) each arriving at the club with very different hopes, dreams and emotive back-stories. Angie and Polly are regulars at the club, part of the furniture so to speak and a friend to all, while Jean is an outsider struggling to find where she belongs. Their lives collide against a backdrop of 90s indie classics, creating a story that is as much about friendship and finding yourself as it is about the music.

For anyone who lived through the 90s, the live music is an absolute joy. As someone who was 19 on New Year’s Eve ’97, the production’s nostalgia was a massive draw for me, but Box of Tricks goes far beyond a simple trip down memory lane. Delivering a gritty, visceral piece that bursts with both heartbreak and hope.

The production draws on the era’s defining sound, tapping into a delicious back catalogue of tracks from indie legends including The Stone Roses, Oasis, Pulp, Radiohead and The Smiths to create an atmosphere that feels instantly familiar. The music quickly becomes part of the storytelling, helping to express the characters’ hopes, fears, complex relationships and need for escape.

Director Adam Quayle successfully brings to life Siân Owen’s vision of a club that feels like an entirely separate, magical world where anything is possible. Somewhere you can be anyone you want to be before morning arrives and the real life kicks you in the teeth. As DJ Spin Jim, actor-musician Darragh Cowley brilliantly anchors the production. He guides us through an indie-infused night where reality blurs into pure musical intoxication with enthusiasm and iconic Manc swagger.

The three central performances bring plenty of heart, the friendship between Angie and Polly, portrayed beautifully by Kaitlyn Akinpelumi and Laura Robinson providing the emotional core. An additional dramatic layer comes from Bethan McLean as Jean, a young Welsh woman trying to find her voice despite her controlling boyfriend, brilliantly played by Theo Woolford.

The show’s live music is performed by a hugely talented trio including Darragh Cowley and Theo Woolford who seamlessly pivot from their acting roles to join guitarist and vocalist L J Willow, forming an incredible live band who seamlessly become part of the nightclub environment.

Writer Siân Owen balances cleverly the euphoria of New Year’s Eve with the crushing reality of real life; amidst the celebrations are themes of loneliness, coercive control and domestic abuse, giving the production depth. What makes this production particularly effective is the way it captures that complex feeling of young adulthood, where the characters are young enough to believe anything is possible, but old enough to realise that life doesn’t always follow the soundtrack you imagined, but like the resilient Manchester spirit, hope always rises.

Energetic, nostalgic, funny, tender and packed with absolute tunes, How Soon Is Now? is a celebration of the 90s that manages to be much more than just a trip down memory lane. ‘Ave it!

How Soon Is Now? Is on at The Lowry until Saturday 3rd October tickets available here.

East is East

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Reviewed by Sophie Rowley

Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

Family, culture and identity collide in Ayub Khan-Din’s East Is East, the story that first introduced audiences to the unforgettable Khan family in 1996 in stage form, followed by the iconic 1999 film. Set against the backdrop of 1970s Salford and drawing on Khan-Din’s own experiences, the story explores the sometimes hilarious and sometimes painful consequences of trying to belong to two worlds at once. 

At the centre of the story are George and his wife Ella, as they try to navigate family life while balancing traditional Pakistani culture with the changing attitudes of their British-born children. At the heart of the story is the constant conflict between generations and cultures, as George attempts to uphold traditional values within a family eager to move with the times and embrace modern British life.

Well before the acclaimed 1999 film, East Is East was a seminal British play which premiered at Birmingham Repertory Theatre in October 1996. Its success paved the way for multiple West End runs before eventually making its transition to the big screen. Now, marking the 30th anniversary of the original theatre production, Kash Arshad brings Ayub Khan-Din’s much-loved tale to life at The Octagon Bolton.

Having Kash Arshad direct this production feels particularly fitting, as, like Khan-Din, Arshad was brought up by a Pakistani father and British mother. That shared experience informs the production’s approach to the complex relationship between culture, identity and family, allowing Arshad to explore these themes with a genuine understanding of their emotional weight. His direction never allows the cultural conflict to become simply a vehicle for comedy; beneath the laughter sits a palpable sense of tension, love and frustration. It is this balance that gives the production its authenticity, as Arshad understands that, at its heart, East Is East is not simply a story about two cultures colliding, but about a family trying to find its place between them.

Alongside Arshad, Olivia Barr and Gabriella Shimeld-Fenn have done an equally impressive job with the casting of this production. George Khan (Bhasker Patel), the patriarch of the family, is often labelled the villain, but Patel does not simply present him as such. Instead, he brings a complexity to George that goes beyond the surface image of an authoritarian father. Patel suggests a man who is scared and paranoid alongside being violently controlling, creating an underlying anxiety that George himself seems unable to comprehend. It is a wonderfully layered performance, and through Patel, Arshad and Khan-Din’s vision of George is brought vividly to life. Balancing this torment is George’s long-suffering wife, Ella Khan, played superbly by Samantha Power. As the matriarch of the family, Power really lives up to her name, giving Ella an undeniable strength that runs throughout the production. She becomes a metaphorical shield for her children, protecting them from George’s demands without allowing this to destroy her relationship with him. It is this strength that makes Ella such a compelling presence within the family.

The Khan children are undoubtedly one of the highlights of the production. Tariq Khan (Zaki Ali) is devilishly rogue, exactly as you would hope him to be, while Meenah Khan (Maya Dhokia) is outspoken and confidently knows her own mind. Reprising his role from the National Theatre run in 2021, Joeravar Sangha plays Maneer Khan with a wonderful sense of devotion and tradition. In a family full of chaos, he brings a calmness and balance to the Khan household. Abdul Khan (Danyal Ismail) and Saleem Khan (Matthew Khan) provide the audience with seemingly unlimited laughs, particularly Saleem, whose use of physical comedy makes him a delight to watch. But the standout sibling has to be Sajit Khan (Rohan MacLeod). His quick wit and infectious humour are addictive to watch, while Sajit’s iconic Parker jacket acts almost as a shield from his siblings’ jabs and teasing. The chemistry between the children feels completely natural, capturing the chaos, affection and teasing that are so recognisable within a family dynamic. It is this chemistry that makes the Khan household feel so authentic and helps demonstrate why East Is East has continued to resonate with audiences. There are also notable performances from Victoria Brazier as Auntie Annie and Sushil Chudasama, who takes on the dual roles of Mr Shah and the Doctor, alongside off-stage swings Zoe Iqbal and Rahul Sidhu.

All of the above is enabled by The Octagon itself. The staging of East Is East is very well executed, creating seamless scene transitions and allowing the audience to watch the Khan family in their frantic life. This makes the presentation of 1970s Salford particularly exciting to watch. Visually, you feel the chaos of the Khan household before a word is spoken; the surroundings almost become characters in their own right.The chip shop is presented as a gritty working-class establishment, and when the entire family occupies the space, it creates an almost claustrophobic atmosphere. The Khan family home is equally evocative of the period, filled with details that immediately transport us to 1970s Salford. This attention to the period is carried through into the costumes, with classic staples of the era including high collars and paisley prints. Together, the creative team have created an intimate and instantly recognisable world for the Khan family to inhabit. The combination of the staging, detailed set and period costumes brings both Khan-Din’s original vision and Arshad’s interpretation of it vividly to life.

Thirty years on, the Khan family have lost none of their ability to make us laugh, wince and occasionally wonder how on earth George manages to keep everyone under one roof! Yet beneath the chaos, East Is East remains a deeply human story about family, identity, culture and belonging. Arshad’s personal connection to the material shines through, while the superb ensemble and intimate staging at The Octagon make this a production that feels both authentic and wonderfully alive.

Funny, poignant and packed with characters you cannot help but become invested in, East Is East proves that although times may change, family will always be family. The Khan household may be chaotic, but after thirty years, it is still a very welcome place to visit.

East is East is on at The Octagon until Saturday 3rd October tickets are available here.

Dear Zoo

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Reviewed by Lucy and Adelaide Davies

Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

Dear Zoo has to be one of the best loved children’s books of the century.  2017 marked its 35th anniversary, and Dear Zoo shows no sign of losing its appeal, remaining a firm favourite in schools, nurseries and homes across the country. The question is, would a stage adaptation of this classic be able to live up to Dear Zoo’s legacy? The answer is a resounding yes. The show has managed to create the same sense of captivation that the book does, with some added bonus moments that have children in the audience jumping up and down in their seats!

The show tells the story of a young boy, Ben, who writes a letter to the zoo asking them to send him a pet. Alongside his friend Sally, he eagerly awaits a response. To his surprise, and occasionally his horror, what follows is a series of ‘special deliveries’ from zookeeper Sam. Each animal that arrives is hugely entertaining, but just not quite right for Ben to keep as a pet — until the very end, when all of Ben’s dreams come true…

One of the highlights of this production is its audience engagement, which is perfectly pitched to a younger audience. From the moment the play begins, our zookeeper, Sam, creates an almost pantomime-style atmosphere, encouraging the audience to shout out answers before pretending not to be able to hear them. From the outset, the mini theatre-goers are hooked, and the excitement is palpable. This interaction only intensifies as the story continues, giving children the chance to jump up and down like frogs, join in with some incredibly catchy songs and recite lines from the book itself. It ensures that even the youngest spectators remain captivated from start to finish.

Another, more unexpected, standout feature of the show is the subtle learning opportunities embedded throughout. While the book tells us that the lion is “too fierce” and the camel “too grumpy”, the play really unpacks this vocabulary in a fun and engaging way. The animal puppets sing songs that help young children understand what these words mean, while making them laugh at the same time. When the ‘animals’ aren’t singing, they can be seen bouncing around the stage or popping up to playfully scare the spectators. It’s fantastic to see the words of the book being brought to life in such an entertaining and memorable way.

All in all, this is a must-see show for families, especially if your child is a fan of the book. As an introduction to theatre, Dear Zoo, just like Ben’s final pet, is absolutely “perfect”!

Adelaide’s Comment (delivered as if she was writing a letter)  “Dear Zoo, you were lovely today.  I would make a heart and deliver it to Dear Zoo.”

Dear Zoo is on at The Lowry until Sunday 16tg August tickets are available here

The Rocky Horror Show

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Reviewed by Matt Forrest

Opening Night verdict ⭐⭐⭐⭐

Few things in life are truly guaranteed, but there are a handful we can always rely on: night follows day, Christmas adverts appear earlier with every passing year, and somewhere in the world, The Rocky Horror Show will undoubtedly be delighting audiences. Even more certain is that Richard O’Brien’s cult classic will remain as outrageously entertaining, provocatively cheeky and joyfully anarchic as ever.

Having been on the road since last year, the current touring production makes its final stop in Manchester this week, arriving with every ounce of the energy, mischief and flamboyance that has made the show such an enduring favourite. The story follows the familiar B-movie formula as newly engaged couple Brad (James Bisp) and Janet (Haley Flaherty) are left stranded by a flat tyre before seeking refuge at the mysterious home of Dr Frank N. Furter (Stephen Webb) and his eccentric entourage of Riff Raff (Ryan Carter-Wilson), Magenta, (Laura Bird) and Columbia (Daisy Steere).

The couple arrive just as the unhinged Doctor is preparing to bring his latest creation to life: the perfectly sculpted Rocky (Morgan Jackson). Their unexpected visit soon pulls them into a bizarre, seductive world where temptation lurks around every corner, testing both their relationship and their grip on reality.

Stephen Webb is fantastic as Frank N. Furter, embracing the iconic role with fearless confidence. His performance is gloriously over the top, brimming with charisma, wicked humour and just the right amount of unpredictable menace. His rendition of “Sweet Transvestite” is an undoubted highlight, whilst his version of “I’m Going Home”, adds some emotional weight to proceedings.

James Bisp and Haley Flaherty deliver engaging performances as Brad and Janet, convincingly charting the couple’s transformation from wide-eyed innocence to willing participants in Frank’s wonderfully chaotic world. Their chemistry is excellent, their comic timing is sharp, and both impress with powerful vocals throughout.

Comedian Nathan Caton is a solid choice as the Narrator, delivering the role with confidence and assured comic timing. He handles the audience’s familiar call-backs with ease, keeping the exchanges suitably risqué and entertaining. Rocky Horror Show is one of those rare productions where audience participation is part of the experience, adding to the lively, anarchic atmosphere without ever overwhelming the performance itself.

They’re well supported by a strong ensemble. Ryan Carter-Wilson brings an appropriately sinister presence to Riff Raff, while Laura Bird impresses in the dual roles of Magenta and the Usherette, opening the show with a restrained rendition of “Science Fiction/Double Feature”. Daisy Steere brings plenty of energy and eccentricity to Columbia, complemented by powerful vocals, while Morgan Jackson is an imposing presence as the chiselled Rocky, combining impressive physicality with athletic backflips.

The Rocky Horror Show is packed with songs that have become classics in their own right. From the aforementioned “Science Fiction/Double Feature” and the swaggering “Sweet Transvestite” to the delightfully cheeky “Touch-a, Touch-a, Touch Me”. It is of course  “The Time Warp”, which never fails to lift the atmosphere and remains one of the production’s undeniable highlights.

The final act has always felt a little less cohesive to me, with the narrative losing some of its momentum. However, the strength of the performances and the quality of the songs ensure that it’s a minor quibble rather than a significant flaw, and it never diminishes the overall enjoyment of the show.

With the tour drawing to a close, now is the perfect time to dust off the green scrubs, fishnets, basque, gold hot pants or French maid outfit and experience The Rocky Horror Show one more time. More than 50 years after its debut, it remains a gloriously anarchic, unapologetically camp night at the theatre that knows exactly what it is.

The Rocky Horror Picture Show is at the Palace Theatre until Saturday 1st August, tickets are available here.

Something Rotten!

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Reviewed by Matt Forrest

Opening Night verdict ⭐️⭐️⭐️⭐️

There’s something rotten in Manchester. Usually, that phrase would be more at home describing the city’s famously miserable weather, but on one of the hottest days ever recorded in the UK, the culprit is something altogether more entertaining.

The source of this particular rot is Something Rotten!, the award-winning Broadway smash hit making its UK premiere in Manchester. Packed with razor-sharp wit, infectious musical numbers and a gleeful irreverence towards Shakespeare, the production arrives with lofty expectations,and comfortably clears them, setting the bar(d) impressively high from the outset.

Set in 1590s London, the story follows brothers Nick Bottom (Jason Manford) and Nigel Bottom (Cassius Hackforth), who run a struggling theatre company and are desperately searching for their next hit. Unlike most sibling partnerships in showbusiness, the Bottom brothers actually get along remarkably well. Their only real point of contention is the megastar, A-list celebrity and rival playwright William Shakespeare (Richard Fleeshman). Nigel idolises the Bard, while Nick can barely conceal his contempt.

As financial pressures mount, Nick becomes increasingly desperate. Determined to secure a future for his ever-supportive wife Bea (Marisha Wallace), and realise their dream of owning a cottage big enough to start a family, whilst perhaps most importantly taking the spotlight from Shakespeare, he turns to increasingly unconventional methods in pursuit of theatrical success. But can his bold vision of introducing music and song into theatre really become the next big thing, and what will it cost him along the way?

This production is tremendously fun, absurd, ridiculous, and consistently entertaining. John O’Farrell’s book, combined with the songs by brothers Wayne and Karey Kirkpatrick, creates a witty and joyous love letter to musical theatre while delivering a sharp satire of celebrity culture. Standout numbers include the spectacular ensemble piece A Musical and the delightfully silly Make An Omlette, just two highlights in a score packed with memorable moments.

The cast are in excellent form. Jason Manford is, as ever, a dependable leading man, once again showcasing his impressive vocals and impeccable comic timing. Richard Fleeshman is clearly having an absolute blast as the egotistical playwright, portraying him as a gloriously pompous rock star. He has superb vocals, on the wonderfully ludicrous Will Power and the Queen-inspired Hard to Be the Bard, once again providing another highlight.

Broadway star Marisha Wallace is excellent, if somewhat underused, as Bea. The role provides ample opportunity to showcase her exceptional vocals and natural gift for comedy, leaving you only wishing she had more stage time. Corey English is a delight as Nostradamus, delivering a scene-stealing performance, with his contribution to the aforementioned A Musical alone worth the price of admission.

Meanwhile, Cassius Hackforth has the unenviable task of playing perhaps the closest thing the show has to a level-headed presence. As the insecure yet immensely talented Nigel, he brings warmth, sincerity and likeability to the role, providing the perfect foil to the larger-than-life characters around him. 

The show boasts impressive production values throughout. Director and choreographer Tim Jackson delivers a series of superbly staged and choreographed song-and-dance numbers that burst with energy and spectacle. Colin Richmond’s set design perfectly captures the grime and atmosphere of Elizabethan London, creating an impressively detailed version that serves as a fitting backdrop to the action.

Completing the visual feast are Rebecca Brower’s bold and vibrant costume designs, which provide the perfect finishing touch. Their bright, flamboyant style complements the show’s larger-than-life personality and reinforces its gloriously unapologetic, in-your-face sense of fun.

This is escapist theatre at its finest, a joyous production that will leave you grinning from start to finish (and craving an omelette). As Shakespeare famously wrote, “If music be the food of love, play on”; and this show serves up a banquet of music, laughter and pure entertainment. I would wholeheartedly recommend tucking into this giant musical feast while it’s in Manchester.

Something Rotten! is on at Manchester Opera House until 19th July. Tickets available here.

Waitress

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Reviewed by Nikki Cotter

Opening Night verdict ⭐⭐⭐⭐

Adapted from Adrienne Shelly’s 2007 film, with a book by Jessie Nelson, music and lyrics by Sara Bareilles and presented for this 10th anniversary tour by Abbey O’Brien, Waitress serves up an inspiring mix of self-empowerment, southern sisterhood, and super sharp wit.

The story centres on Jenna (Carrie Hope Fletcher), a gifted baker working at Joe’s Pie Diner. While famous locally for her creative flavour combinations, her personal life is far from sweet. Her abusive, controlling husband Earl (Mark Willshire) drains the joy from life with his belittling, controlling and abusive behaviour.

Jenna’s daily escape fantasies not only inspire her unique pie specials but also cleverly drive the narrative forward. Supported by her close friends and fellow waitresses, Becky (Sandra Marvin) and Dawn (Evelyn Hoskins), Jenna faces a life-changing moment when she discovers she is pregnant. The story then takes a rather unexpected turn as she begins a passionate affair with her gynaecologist, Dr Pomatter (Dan Partridge).

This uplifting female-led story bursts with heart as we follow Jenna’s journey from using baking as an escape to discovering her true self-worth and ultimately independence. Carrie Hope Fletcher makes for a perfect Jenna, she leads the cast with charisma, warmth and a strong, steely determination. Her delivery of iconic ballad She Used to Be Mine is sensational, heart-felt and emotionally authentic. The chemistry between Jenna and her co-workers/besties Becky (Marvin) and Dawn (Hoskins) feels real and relatable ensuring we believe in this trio entirely. Both Marvin and Hoskins have played these roles before and slip naturally back into these fully formed, enormously endearing characters. The audience lap up both Becky’s sass and Dawn’s likeability which Marvin and Hoskins deliver in bucketloads.

While this powerful production is superbly female led, the male characters are exceptionally well-cast too. Dan Partridge is immensely endearing as the clumsy yet charming Dr Pomatter. Mark Anderson brings pure joy to the stage as the eccentric Ogie, pairing beautifully with Evelyn Hoskins’ wonderfully kooky Dawn. While Dan O’Brien and Mark Willshire put their own impressive stamps on their very differing characters, Cal and Earl. Additionally, Les Dennis adds emotional weight as diner owner Joe, bringing a wise understanding to Jenna’s journey.

Waitress doesn’t shy away from serious subjects including domestic abuse, infidelity and unwanted pregnancy but manages to offset them cleverly with sharp comedic timing. The result is a brilliantly balanced emotional journey, packed with witty, relatable dialogue that will move you to tears one moment and have you laughing out loud the next. Add to this Sara Bareilles melodic and memorable score and you really have got the recipe for a genuinely sweet musical treat. Waitress is a big, brilliant slice of theatrical magic that proves life’s messy ingredients can still bake up something truly beautiful.

Waitress is on at Manchester’s Palace Theatre until Saturday 30th May tickets are available here.

The Choir of Man

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Reviewed by Matt Forrest

Opening Night verdict ⭐⭐⭐⭐

“There’s a lot going on” is a phrase I occasionally use when out for a night at the theatre, but never have I used it to describe an interval. You see during the break at last night’s performance of, The Choir of Man, the stage of the Opera House, was turned into a makeshift bar, where audience members were invited up to have a drink and chat with fellow attendees. It was later that the cast joined the 50 or so audience members on stage and those still seated for a raucous rendition of Bon Jovi’s  “Livin’ on a Prayer”. This perfectly sums what this production is all about: community, connection and having a bloody good night out!

The premise for the show is a snapshot into the life of a local boozer, The Jungle, here, the bar’s resident poet Nimi (Oluwalonimi Owoyemi) introduces us to some of the Jungle’s patrons who have formed an all-male choir. These include resident bore, Aaron (Aaron Pottenger), no nonsense Barman, Niall (Niall Woodson) and the heart broken romantic, Sam (Sam Walter).

Also in the gang is Handyman and local fixer, Jack (Jack Skelton), practical joker Ben (Ben Mabberly), Gustav (Gustav Melbardis) a Latvian born piano playing maestro, the pub’s hard man, Levi (Levi Tyrell Johnson), and finally guitar strumming giant Rob (Rob Godfrey) referred to simply as the ‘Beast’.

At the start of the night, we are introduced to each of the guys and later a brief history of who they are and where they come from, all backed up by performances of some big pop classics.

Those expecting your more traditional musical theatre, best think again this is more a concert, backing up the vital message of community, stressing the importance of community hubs.  With that said the musical numbers are delivered with a great deal of energy, and warm humour ensuring you get swept along for the ride in this joyous couple of hours.

Each of the cast get their moment in the spotlight, with highlights including a unique version of Paul Simon’s classic “50 Ways to Leave Your Lover”, with Jack Skelton tap shoes providing the percussion. A cheeky version of Katy Perry’s “Teenage Dream” from Rob Godfrey on guitar to a very game audience member. Whilst barman Niall leads the cast in a suitably silly version of “Escape (The Piña Colada Song)”. Mightily impressive is the exceptional narration by Oluwalonimi Owoyemi’s as it’s entirely in prose and verse, and is an absolute treat.

You wish at times for a bit more storytelling, as some of the characters back stories seem undeveloped and could do with a bit more fleshing out, which may soften some of the more ‘laddish’ elements to the show.  Despite the rambunctious nature of the show, it is equally impressive with the slower numbers, at this performance were treated to version of Sia’s “Chandelier”, with the boys accompanied by five local choirs, which was excellent and followed by the guys doing a spine-tingling rendition of the tradition folk song “The Parting Glass”.

Ultimately, The Choir of Man is a vibrant, feel-good celebration of friendship, music, and the spaces that bring people together. It invites you not just to watch, but to join in, sing along, raise a glass, and leave with a renewed appreciation for the simple joy of shared experience.

The Choir of Man is at the Manchester Opera House until 9th May tickets are available here.

Acosta Danza Carmen

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Reviewed by Maddie Shimwell

Opening Night verdict ⭐️⭐️⭐️⭐️

Acosta Danza arrived at the Opera House in Manchester last night, presenting Carlos Acosta’s extended version of his production of Carmen. This reworking of such a famous opera and ballet is striking and contemporary.

The first act introduces Carmen (Amisaday Naara), a factory worker, and Don Jose (Alejandro Silva), a soldier whose lives collide following Carmen’s arrest. One of the most memorable moments occurs early on. The pair weave in and out of a caged structure, Carmen’s wrists bound to a rope held by Don Jose. The choreography here is particularly clever, clearly requiring complex problem solving and meticulous rehearsal to avoid any accidental entanglements. It visually captures the power dynamic and growing tension between the two characters.

Naara and Silva portray the intense passion of Carmen and Don Jose’s relationship excellently. Their chemistry is undeniable, enhanced by beautiful lines and stunning classical technique. The whirlwind romance feels fuelled by lust and circumstance rather than genuine love, which makes their eventual downfall even more inevitable.

One character I struggled to fully connect with was Bull (Aniel Pazos). His presence onstage was undeniably powerful, yet despite Acosta describing him as a ‘Master of Ceremonies’, this did not entirely translate. His function within the narrative felt unclear.

I also felt that some of the corps de ballet sections in Act One lacked the refinement seen in the duets and solos. However, this was resolved in the opening of Act Two which featured the newly added tavern scene for the corps de ballet, which proved to be the standout moment of the entire production. Without having seen the original version, it is difficult to imagine the work without this scene. The dancers brought infectious energy, and the Cuban flair shone through.

 Following this, Escamillo (Paul Brando) is introduced, and Carmen instantly falls for him. In contrast to her relationship with Don Jose, her feelings here feel genuine and you can see she is in love this time. The production builds swiftly to its ending when Don Jose discovers Carmen’s plans to marry Escamillo, and in a fit of jealous rage, tragedy strikes.

Overall, Acosta’s Carmen succeeds in offering a fresh Cuban-contemporary fusion alongside classical ballet. At just 1 hour and 40 minutes including an interval, much shorter than the classic opera, feels purposeful rather than rushed, keeping the story largely clear and engaging throughout.

Acosta Danza Carmen is on at The Opera House until Saturday 25th April tickets available here.

Ballet Black at 25

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Reviewed by Maddie Shimwell

Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

To mark a quarter of a century of beautiful storytelling and cultural impact, Cassa Pancho’s Ballet Black are touring the UK with their Anniversary Programme. The company comprises of 11 dancers. Each artist is given space to showcase their individuality, reinforcing Ballet Blacks continuous commitment and determination to celebrating ballet without stereotype or limitations.

The show opened with ‘…all towards hope.’. A bright and uplifting work choreographed by Hope Boykin. The piece began with the dancers moving to spoken word, written and recorded by Hope herself, immediately setting the tone of unity and having purpose. The message of working collectively to create change and inspire hope, resonated throughout. The choreography was fast paced and technically demanding with intricate footwork, yet this was executed with such precision and an ability to make this seem so effortless.

What really stood out to me was the intentional focus of each dancer as an individual. There was a real sense of celebration of each performer’s own artistry within the company. It added to the message of working towards the same goal together, without the need for uniformity.

One dancer who I could not take my eyes off, was Junior Artist, Bhungane Mehlomakulu who radiated pure joy and I couldn’t help but beam whenever he came on stage. The decision to allow each dancer their own moment for bows, further emphasised the message of celebrating individuality within togetherness. It was a wonderful piece to start the evening with, and did exactly what it says on the tin, delivered hope to those who watched it.

The second piece of the double bill was ‘INGOMA’ choreographed by Mthuthuzeli November. It is the most captivating piece of storytelling I have ever seen. This was an incredibly emotive performance depicting the aftermath of the horrific massacre at the African mine workers’ strike in Marikana 2012 focussing on the grief experienced by the families left behind. The artists showed such emotional depth to their performance. Conveying their despair, anger and pain with authenticity and physical intensity.

The work was incredibly physical and rhythmical, requiring a huge amount of stamina and strength, and each artist rose to the challenge. It was unbelievably inspiring, thought-provoking and showed the power of dance.

The evening was an emotional rollercoaster from hope to heartbreak, and they took us along for the ride. The whole company deserved the standing ovation they received, acknowledging the incredible talent on stage.

Further information and tour dates can be found here.

My Name is Rachel Corrie

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Reviewed by Nikki Cotter

Opening Night verdict ⭐⭐⭐⭐⭐

Originally edited by the late Alan Rickman and current Guardian Editor, Katharine Viner, My Name Is Rachel Corrie introduces us to 23-year-old American activist Rachel (Harriet Bibby) who was killed by a military bulldozer in 2003 when she tried to prevent the Israeli demolition of Palestinian homes.

Derived from Rachel’s own diaries and e-mails we quickly learn of her dedication to helping others, she is restless in her hometown of Olympia, Washington and keen to see the world. Upon her arrival in Rafah, she builds purposeful connections with Palestinian families and her fellow Internationals, the injustice she witnesses further fuelling her commitment to improving the lives of the marginalised.

The play begins in Rachel’s bedroom, where we see her living a seemingly normal life, listening to music, writing in her diary, and reflecting on her friendships. She soon reveals her deepening commitment to activism, choosing to leave her comfortable surroundings to join the International Solidarity Movement in protesting the Israeli Defence Force.

Harriet Bibby holds the attention of the audience entirely for this 90-minute solo show. Her performance feels wholly authentic as she skilfully brings Rachel to vibrant life in the intimate setting of 53Two. Her wide-eyed hopefulness and boundless energy endear her wholeheartedly to the audience. Driven by a need to help others and speak out against oppression her fierce determination shines through.

Ian Kershaw has directed this piece beautifully, taking us on an incredibly moving and intimate journey. In choosing a minimalist set, the focus stays entirely on Bibby, ensuring that every subtle shift in posture, tone, and pacing carries genuine emotional weight.

As Harriet Bibby delivers each poetic line with pure heart her transition from the goofy, vibrant Rachel we first meet to the disillusioned and deeply affected Rachel during her final days is striking. She captures Rachel’s hopefulness, sharp intelligence, and growing political awareness with a gentle ease. There’s a natural vulnerability in her performance that makes the material feel personal, making the ending even more devastating.

This powerful and important piece of theatre feels urgent and heartbreakingly current with Bibby bringing clarity to its message. The thoughtful direction of having Bibby leave the stage to make way for original footage of the real Rachel Corrie works wonderfully. Watching her share her hopes for a better world acting as a reminder of who has been lost here and what could have been.

In partnership with 53Two, Take Back Theatre has created a visceral, emotive portrayal that strikes a powerful chord with modern audiences. This production is both profoundly affecting and intensely human, ensuring it will live long in the memory after the lights go down.

My Name is Rachel Corrie is on at 53Two until Sunday 22nd March tickets are available here.

BSL Interpreted perfomance Sunday 22nd March