Manchester

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

The Battle

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Reviewed by Nikki Cotter

Opening Night verdict ⭐⭐⭐


Credit and Copyright: Helen Murray

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

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

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

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

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

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

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

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

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

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

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

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

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

New Dawn Fades

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Reviewed by Matt Forrest

Opening Night verdict ⭐⭐⭐

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

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

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

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

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

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

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

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

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

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

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

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

Mean Girls

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Reviewed by Sophie Rowley

Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

Get in Loser – The Plastics have arrived in Manchester!

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

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

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

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

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

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

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

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

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

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

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