Manchester

West Side Story

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07RET WestSideStory - Andy Coxon (Tony) & Gabriela Garcia (Maria) - image Richard Davenport of The Other Richard

Reviewed by Nikki Cotter

Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

Expectation has been at an almighty high since West Side Story was announced as part of the Royal Exchanges Spring/Summer 2019 season. So successful of late has the theatre been at reimagining classic musicals the run had almost sold-out before the first preview even took place.

This epic tale based on Shakespeare’s Romeo & Juliet sees star-crossed lovers Tony and Maria fighting to be together in 1950’s Manhattan where warring gangs make the rules and stepping into enemy territory is strictly taboo. As a story there is everything from love and conflict to hope and heartbreak as the Sharks and Jets fierce rivalry shapes their very existence.

011RET WestSideStory -The Jets - image Richard Davenport of The Other Richard

Since it first premiered in 1955 Jerome Robbins choreography is something that’s always come as part and parcel of any West Side Story production. So iconic in its style it’s hard to imagine the Sharks and the Jets moving in any other way. Step forward Aletta Collins who not only takes on the challenge of reimagining the instantly recognisable choreography but does so in the most beautifully inspired way.

There are still enough elements of the original choreography to keep the traditionalists amongst us happy but these elements are now combined with a pulsating fusion of Latin, street, lindy hop, jazz and even a touch of northern soul to create the most vibrant melting pot of movement.

05RET WestSideStory - Gabriela Garcia (Maria) & Andy Coxon (Tony) - image Richard Davenport of The Other Richard

Director Sarah Frankom ensures this new choreography is allowed to take centre stage as moments of breath-taking beauty unfold; highlighted perfectly during the switch from punchy ensemble piece to the stillness of Tony and Maria’s first meeting which bursts with joyful innocence. A genuine moment of calm & purity during the heady tension of the dancehall scene.

The cast are outstanding and as an ensemble work together to perfection, fuelled by hatred, fear, anger, love and loss, they fizz with pent up emotion. The era is unspecific making it feel just as relevant today as it did 62 years ago as we seemingly are once again in the midst of a swathe of violent knife crime.

03RET WestSideStory - Andy Coxon (Tony) - image Richard Davenport of The Other RichardCROPPED

Andy Coxon finds the true heart of Tony, delivering a powerful and emotive performance; his rendition of Maria a real highlight while fellow lead Gabriela García is completely captivating as Maria. Her operatic vocals are note perfect and pure. Their duets are sublime while the innocence of their love is blissfully uplifting.

Jocasta Almgill is superb and sassy as streetwise Anita, Fernando Mariano makes for a passionate and proud Bernardo while Michael Duke as Riff is convincing and committed.

The cast make full use of Anna Fleischle’s innovative design which is skilfully lit by Lee Curran. They weave, jump and balance on Fleischle’s vertical geometric sets, one minute gone, the next high up emerging from the shadows. The balcony scenes in particular during Tonight really showing off the impressive staging of this piece as each character vies for the audience’s attention, from all sides of the theatre’s intimate space.

West Side Story ©The Other Richard

The eleven piece orchestra powerfully deliver Leonard Bernstein’s classic score with new arrangements by Jason Carr giving it a modern and fresh feel. Led by Tom Chester the score is packed with emotion and fundamental to the impact of this piece.

The Royal Exchange have created something truly special here, the standing ovation a clear indicator that this production marks another success for the innovative Manchester theatre makers. Bold, inspired theatre at its best.

West Side Story is on at the Royal Exchange until Saturday 25th May tickets can be found here.

Hair

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Reviewed by Nikki Cotter

Opening Night verdict ⭐️⭐️⭐️⭐️

This inventive production of Hair The Musical has been on quite a journey these past few years, from first opening at the intimate Hope Mill Theatre back in 2016 to a sell-out London run winning a WhatsOnStage Award along the way; it now makes its return to Manchester opening at the city’s Palace Theatre as part of an extensive 50th anniversary UK tour.

Set in New York’s East Village at a time when the emerging youth counterculture was rejecting mainstream America and growing increasingly disenfranchised by the controversial war in Vietnam, Hair still remains one of the most iconic rock musicals of all time. A tribe of free thinkers who turned their backs on convention creating their own family in which to belong, advocates of peace, love and liberal thinking. Central to the story is the plight of Claude (portrayed brilliantly by Paul Wilkins) torn between rejecting his military drafting and embracing this non-violent, peace loving tribe.

Very much an ensemble production Hair showcases a cast of incredible talent. Opening number Aquarius vibrantly and powerfully sets the scene, drawing the audience into this joyous celebration of love, freedom and pacifism right from the start. Maeve Black’s beautiful set design and costumes transforming the Palace Theatre into a psychedelic heaven lit to perfection by Ben M Rogers.

Director Jonathan O’Boyle ensures the audience are taken along for the ride involving them in this exuberant trip on multiple occasions. Jake Quickenden as Berger confidently leaps into the stalls in little more than a thong while Tom Bates takes great delight in perching on an audience members knee during his hilarious performance as Margaret Mead.

Paul Wilkins heads up the strong cast proving what a talent he is in the role of Claude. Thrown into turmoil at the life changing decision he faces, his anguish and torment delivered with passionate energy. Jake Quickenden makes for a confident and flamboyant Berger, athletically strutting around the stage dishing out powerful vocals along the way. Daisy Wood-Davis shines in the role of Sheila, her voice as powerful as it is beautiful.

Tom Bates has the audience in the palm of his hand as Margaret Mead while Natalie Green as soulful Cassie is a joy. Other notable performances in this excellent ensemble are Alison Arnopp as the enigmatic Jeanie, Aiesha Pease whose rich tones warm the soul and Bradley Judge who is enormously entertaining as Woof.

The cast work together superbly and all deserve praise, they deliver William Whelton’s inspired choreography to perfection, often moving as one, pulsing together in perfect harmony. Musical Director Gareth Bretherton leads the small group of on stage musicians confidently ensuring this electrifying score is given the platform it deserves.

While the themes may not be so shocking to audiences now in more free-thinking, accepting times its message still remains enormously relevant; the despicable quote from Donald Trump heard ringing through the auditorium at the very start proving this point entirely.

Hair gives a touchingly symbolic reminder of the fact that we really are just one tribe. Its hippie, trippy vibe is deliciously infectious bringing every audience member to their feet in celebration of this triumphant piece of theatre while the power of final song Let The Sun Shine In offers hope and proves just how powerfully emotive theatre can be. Hair’s transition from Hope Mill Theatre to the much larger stage of the Palace theatre is seamless as this beautifully crafted and joyously affecting theatre absolutely lets the sun shine in.

On at Manchester’s Palace Theatre until Saturday 13th April tickets available here.

 

Abigail’s Party

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Reviewed by Nikki Cotter

Opening Night verdict ⭐️⭐️⭐️⭐️

First premiered in 1977 at London’s Hampstead Theatre then broadcast on the BBC that same year, Mike Leigh’s ingenious Abigail’s Party brings to brilliant life the most painfully awkward cocktail party in the most hilarious & enthralling of ways.

Suburban housewife Beverly has set the scene for her soirée; she’s prepped the cheese & pineapple on sticks, switched on the fibre optic lamp & stocked the drinks cabinet in readiness for the arrival of new neighbours Angela (Vicky Binns) and Tony (Callum Callaghan). Also invited is neighbour Sue (Rose Keegan) who is escaping 15-year-old daughter Abigail’s party over at her own house. Beverly’s husband Lawrence (Daniel Casey) is also in attendance in between running errands while his wife prepares to schmooze.

Janet Bird’s inspired set transports us right back to the 70’s as knowing giggles ripple through the audience from the off when Beverly enters the chintzy wood panelled living room cigarette in mouth, gin in hand, decked head to toe in garish paisley she glides around the stage to the sensuous sounds of Donna Summer.

Some spikey exchanges take place between Beverly and husband Lawrence before their guests arrive offering the opportunity for our brash hostess to really come into her own. She is liberal with both the booze and her opinions as some of the small talk soon begins to sting.

Jodie Prenger is exceptional as the infamous Beverly, getting more and more grotesquely brilliant as the gin flows. So versatile in her skills she embodies the desperate housewife to perfection. Daniel Casey gives a great performance as Lawrence keeping his pent-up irritation with wife Beverly hidden to begin with until pushed to breaking point when things quickly start to unravel.

Vicky Binns as Angela is eager to please her new neighbour, her genuine naivety and optimism making her all the more endearing. Her inane chatter leads to some terse tellings off from frustrated husband Tony whom Callum Callaghan portrays convincingly.

Rose Keegan shines as fifth party guest Sue, quiet and polite despite some overly familiar probing questions she gives a hilarious performance as the single guest caught in the middle of two clearly unhappy couples.

Director Sarah Esdaile at times focuses less on the uncomfortable interactions and undercurrent of frustration & more on the humour of the piece. Traditionally tense moments are played a little more for laughs than they were in the famous Alison Steadman led version, this does dilute the emotional impact of the ending a little however with such superbly executed performances the is no doubt that this is an enormously entertaining piece.

Although Abigail’s Party is very firmly set in the 1970’s its genius lies in its hilarious and at times painfully honest study on human interaction, ambition and all the complexities that come with it. Littered with laugh out loud humour and moments to make your toes curl Abigail’s Party is wonderfully entertaining theatre with themes as relevant today as they were 40 years ago, the most eventful party you’ll ever be invited to.

Abigail’s Party is on at Manchester’s Opera House until Saturday 13th April tickets available here.

Trainspotting Live

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Reviewed by: Michelle Eagleton

Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

There’s no denying that Irvine Welsh’s cult novel Trainspotting made a huge mark on the Nineties generation. His book charting the antics of drug fueled youths in Scotland hit the shelves in 1993 with the Danny Boyle film coming three years later, making an overnight star of Ewan MacGregor. Trainspotting Live, currently on tour, takes the story to another level and whether you are fans or newbies to the tale of Renton, Tommy, Sick Boy and Begbie it is an immersive experience like no other.

The King’s Head Theatre and In Your Face Theatre are at the helm of this ground breaking production which has made Manchester’s former bus quarters, the Mayfield Depot, its home for their run in the city. The vast venue is the ideal location for the raw material on display with its exposed brickwork and abandoned warehouse feel adding to the atmosphere and giving the impression of you entering an underground rave from the start.

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Trainspotting Live CREDIT Geraint Lewis

Convention goes out of the window as soon as you enter…Glo bands replace tickets and there’s no seat reservations, the choice is yours where you perch for the 75 minutes duration of the play (I’d avoid anywhere near the exposed loo as ‘the worst toilet in Scotland’ scene gets a little messy). If you are easily offended then this maybe isn’t the show for you…nakedness is a plenty, as is the swearing and sex. Don’t get me wrong though it’s all in context and is played out with such raw energy and realism from the five-strong cast that you are seriously swept away with them on an emotional rollercoaster that sees you witness their chemical highs and the subsequent sombre come downs.

TRAINSPOTTING LIVE

Trainspotting Live CREDIT Geraint Lewis

Greg Esplin delivers a powerful performance as Tommy, Renton’s best mate who suffers the consequences of the drug scene. His descent from fun loving chappy to distraught junkie is mesmerising to watch.

The last time Trainspotting Live toured there was a cast of seven which meant there were two females sharing the roles on offer, with the cast cut down the weight falls on to the only woman in the line-up Lauren Downie to step up to the plate. Downie rises to the challenge and is outstanding in her plethora of roles each one carefully crafted, especially Renton’s Mum which she plays with such painstaking desperation.

TRAINSPOTTING LIVE

Trainspotting Live CREDIT Geraint Lewis

It would be wrong not to mention all of the actors who make up the cast as they are a hugely talented bunch. Oliver Sublet (Begbie), Michael Lockerbie (Sick Boy) and, stand in for press night, Dean Gribble (Renton) put in stellar performances that are fizzing with realism.

Each performance of Trainspotting Live is unique as it very much relies on the reactions of the crowd who have turned out to see it. Part of the fun is watching people’s faces as they witness some of the shocking scenes on display and the humorous interaction between the actors and the audience is priceless. The show manages to balance the darkest of themes with lighter shades of humour and the sheer speed at which the productions runs echoes the film perfectly.

Don’t ‘choose something else’…choose Trainspotting Live before it heads off to its next station.

Runs at Mayfield Depot until 21st April

Tickets available via http://www.trainspottinglive.com/#buytickets

 

 

The Stretch

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Reviewed by Nikki Cotter

Opening Night verdict ⭐️⭐️⭐️⭐️

Following on from its success as part of JB Shorts 19, MAP Productions have reworked and extended The Stretch from its original 15 minutes into an hour-long piece as they examine the lasting & devastating impact one moment of madness can have.

We follow Lee (James Lewis) through his long 10 years in prison, joining him on a brutal and soul-destroying journey as he visually charges before us from strong self-assured new kid on the block to defeated & destroyed shadow of his former self, broken by the brutality of life on the inside.

Through atmospheric lighting & inspired design the arches of 53Two have been transformed into a menacing & moody environment adding an almost immersive feel to proceedings. The cast make full use of the multi-layered set, lurking in the shadows as new boy Lee is led in to serve his time before powerfully making their presence known.

Joe Ainsworth’s script is melodic and pacy as with each year that passes hope fades and survival instinct takes hold before the reality of abandonment & isolation takes over.

4 - Photo by Sean Mason

James Lewis gives a superb performance as Lee, honest and real in his portrayal he takes us on an incredibly raw and deeply poignant journey. His measured performance transitions from witty and light to heartbreakingly raw as he becomes increasingly broken by the failing prison system.

The ensemble add depth and authenticity to this production, taking on various roles depicting individuals on both the inside and outside of the prison walls and the impact Lee’s one monumental mistake has on them.

Simon Naylor’s fluid direction creates pace and adds poignancy to the quieter more emotional moments allowing them the impact they deserve.

The Stretch offers powerful performances which movingly highlight the tragic repetitive cycles happening daily in prisons around the country if not the world. A brave and honest account of one man’s devastating descent into hopeless institutionalisation. Affecting and important theatre.

The Stretch is on at 53Two until Friday 15th March, tickets available here

Tickets £10 with unwaged tickets available for every performance. Please bring proof of being in receipt of Universal Credit, Job Seekers Allowance or Income Support to the box office when collecting tickets.
Tuesday 12th March performance is BSL interpreted

 

 

 

 

Les Misérables

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Reviewed by Nikki Cotter

Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

Les Misérables is one of those few tour de force musicals that need no introduction; the buzz surrounding its arrival in Manchester a rare phenomenon. Performances sold out within days while the shows return to the region in May 2020 at the Lowry was announced even before Jean Valjean had uttered ‘24601’ on this current visit; within minutes of the curtain raising at tonight’s performance it becomes abundantly clear why.

While the West End production of Alain Boublil and Claude-Michel Schönberg’s masterpiece has been running at the Queens Theatre since 1985 it is a newly conceived touring version that has been taking the country by storm since opening in Leicester in November 2018. 

This stunning production first conceived by producer Cameron Mackintosh in 2009 in celebration of the shows 25th anniversary offers a fresh vibrancy which will no doubt recruit a new generation of theatre fans while making devoted fans fall in love with Les Misérables all over again.

Laurence Connor and James Powell’s inspired direction ensures that the almost three-hour duration whizzes by; keeping the audience fully engaged throughout this epic spectacle. There is not one drop in pace nor lull in action. Act I ending with the rousing One Day More perhaps the most epic way to lead into an interval ever.

The biggest change from the current production running in the West end is Matt Kinley’s striking design. Gone is the famous revolve and in its place come vibrant and visually stunning projections; this new design still triggering the heartfelt emotion of the traditional show whilst adding the thrill of a cinematic feel to proceedings.

Kinley’s designs (expertly animated by 59 Productions) are based on Victor Hugo’s original paintings, and offer a new depth and authenticity to the material while Paule Constable lights each scene with atmospheric perfection. Benefitting from this design creativity the scenes in the underground sewers of Paris are outstanding while Javert’s demise is quite simply jaw-dropping.

The journey Killian Donnelly takes us on as Jean Valjean is bursting with gut-wrenching emotion; from embittered convict through to tired elder nearing ultimate redemption his commitment to the role never wavers. His voice is perfection, from the gentle soothing tones during the opening of Bring Him Home to the full-out goosebump-inducing Who Am I? Nic Greenshields is equally convincing as the brooding Javert, commanding in his presence and convincing in his delivery, his stunning performance during Stars receiving one of the biggest applause of the evening.

The Thénardier’s (Sophie-Louise Dann and Martin Ball) comical interludes are an absolute joy, both clearly delighting in their roles and cementing themselves as audience favourites.

Both Katie Hall as Fantine and Tegan Bannister as Eponine break audience hearts with their moving performances while Harry Apps’ emotional delivery of Empty Chairs At Empty Tables convinces further that this is a company for who nothing less than perfection will do.

The inevitable and well-deserved standing ovation confirms the power of this enduring story; combine that with the beauty of its soaring score and the astonishing quality of talent on stage and you quite literally have the perfect piece of theatre. Every person in the ensemble gives their heart and soul to this production and the result is sensational. Epic in its scale and breath-taking in its brilliance. If you only ever see one piece of theatre make it Les Misérables.

On at the Palace theatre until Saturday 30th March, currently sold out but check here for returns otherwise tickets go on general sale for The Lowry on Friday 1st March and can can be purchased here.

 

 

Interview | Nathan Lewis | Motown The Musical

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Nathan Lewis Headshot

X Factor finalist Nathan Lewis heads to Manchester next week as part of the sensational Motown the Musical. Playing the legendary Smokey Robinson, Lewis is amongst a talented cast who bring the legends of Motown to glittering life in a musical adaptation which uncovers the true story of the legendary record label that changed music history and created the soundtrack of a generation.

We caught up with Nathan to hear a little more about the show and how it feels to be making his theatrical debut in such a thrilling role.

For your first musical production this must be an absolute dream role?

Absolutely 100%, it’s the first time I’ve done any kind of theatre production before so it really is a dream come true. Beforehand I was so so nervous even just about auditioning for the role let alone playing it and Smokey Robinson was such an important part of the Motown story that it really is an honour.

How did you feel ahead of your 1st performance in front of an audience?

It was very, very nerve-wracking but at the same time we have such a great team here, an amazing cast, fantastic creatives, director, sound, wigs, costume, everyone is just so encouraging that while of course I was nervous the support I had from this great team really helped prepare me and helped me to feel comfortable and ready to take it on. Part nerves, part excitement!

13. MOTOWN THE MUSICAL. Nathan Lewis 'Smokey Robinson'. Photo Tristram Kenton

Do it add pressure playing a real person?

I think it definitely does, you have to be very careful not to make any of the characters too different from their real selves; it’s so important they don’t become caricatures. With it being based on real people and real events you do have to reflect that but it’s a lot of fun because their stories and lives are so real and so interesting.

It’s such a fast paced show including 50 Motown classics how do you look after yourself and stay well?

I’ve recently just got over having a little bug and I think what helps with recovery and getting back performing is just really knowing your body, some people can bang out eight shows a week no problem, others have to be really careful. For me things like honey, ginger, lemon, hot water, the occasional steam and even long hot showers all help in looking after my voice. Also and this may sound stupid but knowing when to shut up, when you have time off it’s best to use it as well as you can and to rest your voice, just chill out and relax.

How do you prepare for each performance?

I just try to get myself feeling nice and relaxed really, I might listen to some music, drink some hot water, ginger and honey, occasionally might go over my lines. I find feeling relaxed helps me to feel confident and ready to perform.

Which Motown artists dead or alive would you love to meet or even sing with?

Oh my God that’s such a tough question, I’d definitely love to meet Smokey, to sing with him would be amazing and also he’s such an incredible song writer. It would be incredible to not only see him perform but also to pick his brain as well and find out a little more about him and how he did things. Michael Jackson would absolutely be one of them, he’s one of the biggest stars there’s ever been, meeting him would be amazing, and I’m definitely gonna put Stevie Wonder on the list as well, 100%.

You’re with us in Manchester from 26th Feb until 23rd March have you made any plans while you’re here?

I’ve only been once or twice before so I’m looking forward to doing some sightseeing, when you get to stay at a venue for a longer time it’s great as you get the chance to get comfortable in the place you’re at, it can be quite jarring when you’re just doing a week somewhere then onto the next place so a longer spell is really lovely and an opportunity to discover somewhere new.

The show has been a huge hit on the West End and now the tour is taking audiences by storm, what makes it such a fan favourite?

I’d have to say the music, it’s got to be the music, it is so iconic. For me having never done a theatre production before being lucky enough to get Motown as my first has been amazing I can totally see why audiences love it so much. The music in it is all my favourite kinds of music, its high energy, great storytelling about real people. To say the music of Motown shaped the world is an understatement, the music and the creative way in which its delivered is what makes it so popular.

You can see for yourself why Motown The Musical continues to thrill audiences when it arrives at Manchester’s Opera House on Tuesday 26th February tickets available here.

 

The Full Monty

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Reviewed by Nikki Cotter

Opening Night verdict ⭐️⭐️⭐️⭐️

FM

The Full Monty arrived back in Manchester this week and judging by the whoops and excited cheers from the audience when Gary Lucy and Co take to the stage their return is very welcome.

Adapted from Simon Beaufoy’s 1997 film of the same name, The Full Monty tells the story of six out of work Sheffield steel workers, bored, broke and battling various issues of their own.

Gary Lucy as Gaz is behind on his child maintenance, his custodial problems worsening by the day. Best mate Dave’s (Kai Owen) confidence is rock bottom and his relationship with wife Jean (Liz Carney) is suffering. After stumbling upon a Chippendales night at the local social club Gaz sees an opportunity to earn a quick buck and hopefully prove to son Nathan (Fraser Kelly) he’s not a complete failure.

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Right from the off it’s clear what the audience are here for; they want a reet good laugh and of course ‘that’ infamous scene at the end of the show. Each teasing flash of flesh is lapped up as this story familiar to many begins to play out. Fans of the film will be glad to know the adaptation has been respectfully done, characters remain the same ones they fell in love with back in the 90’s and the northern witty one-liners come thick and fast.

Designer Robert Jones has translated the industrial disused steelworks into an effective and efficient set, doubling up as offices, social clubs and performance space with ease.

What starts off as feel-good escapism soon deepens into something more as we see friendships grow, self-respect return and important issues raised. Beaufoy’s script doesn’t shy away from sensitive themes; suicide, sexuality and self-worth are all covered here but done so in a typically northern no-nonsense fashion where problems are faced with a laugh and a joke but at all times a genuine warmth.

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Heading up the cast Gary Lucy is clearly an audience favourite although his accent takes a trip across the Pennines on more than one occasion the audience lap up his cheeky banter as Gaz the Lad. Fraser Kelly as son Nathan is convincing and committed, leading you to question just who is raising who here. Kai Owen as Gaz’s best mate Dave gives a warm and relatable performance while both Joe Gill as Lomper and Andrew Dunn as Gerald shine in their respective roles. Louis Emerick as Horse proves despite a dodgy hip he’s still got the moves while James Redmond as Guy proves he’s packing more than just a girder down there!

The Full Monty is an entertaining night out, a heart-warming story delivered in a fun and feel-good way with more than enough laughs to send you home smiling.

Catch The Full Monty at Manchester’s Opera House until Saturday 23rd February tickets available here.

 

Annie

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Annie 2

Reviewed by Nikki Cotter

Opening Night verdict ⭐️⭐️⭐️⭐️

Nikolai Foster’s revival of family favourite musical Annie has gone from strength to strength since it first debuted at the West Yorkshire Playhouse back in 2011. With a sell-out UK tour in 2015/16 followed by an extended run in the West End plus a recent sell-out season in Toronto all safely tucked under its belt; Annie is back on the road for 2019 opening a new UK tour here in Manchester.

Set in New York during the Great Depression it is indeed a hard-knock life for 11 year old orphan Annie who finds herself living in miserable, gin-swilling Miss Hannigan’s all-girl orphanage. Consumed with a fierce determination to find her real parents Annie manages to escape the boozy clutches of Miss Hannigan when she is picked to spend Christmas at the residence of famous billionaire, Oliver Warbucks. However Miss Hannigan and her good-for-nothing brother Rooster aren’t quite done with orphan Annie and set about trying their best to get in the way of her happy ending.

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Based on Harold Gray’s Little Orphan Annie comic strips the original musical opened on Broadway in 1977, it is however the 1982 film starring Albert Finney, Bernadette Peters and Eileen Quinn that remains most firmly etched in many people’s minds. It was without doubt one of the most worn out VHS tapes in my house, my sisters and I knowing every line, my eldest sister can still be called upon to belt out a deafening rendition of ‘Rover, why not think it over?’ should the need arise. With clearly many other Annie fans at the Opera House tonight it’s a welcome relief to see that director Nikolai Foster’s production respects the audiences love for this piece and has kept the changes to a minimum. It is still packed full of unforgettable classics including Hard Knock Life, Tomorrow, Easy Street and Little Girls while Miss Hannigan remains gin-guzzlingly awful but has a new technicoloured vibrancy about it.

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Its colourful escapism is reflected in Colin Richmond’s intricate set and costume design, jigsaw pieces scattered across the set reflecting Annie’s journey as piece by piece her life and identity come together all beautifully lit by Ben Cracknell. Yes at times it is schmaltzy but heck if Annie can make the President of the United States sit up and listen just imagine what she could do if unleashed into Brexit negotiations!

A large part of what makes Annie so endearing is of course the kids in the show and they really do make this production. Taziva-Faye Katsande is a charming and confident Annie supported perfectly by Team Chrysler for this evenings press night, each girl is outstanding bursting with life and vibrant energy with little Orla McDonagh threatening to steal the show as Molly on what is her professional debut.

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Anita Dobson makes for a cranky and world weary Miss Hannigan while Alex Bourne as Daddy Warbucks transforms before our eyes from hardnosed business man to smitten adoptive father. The ensemble deliver Nick Winston’s inventive choreography with sass and style adding exuberant energy to the much-loved musical numbers.

Annie is feel-good family fun, a real celebration of courage and innocent optimism as well as a wonderful reminder to us all that when the hard knocks come we need to find our inner strength and fight back remembering what seems impossible today will look different tomorrow. Joyful family entertainment with a great story at it’s heart.

On at The Opera House until Saturday 16th February tickets available here.

 

 

 

Jersey Boys

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Reviewed by Nikki Cotter

Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

Being the proud winner of 57 major international awards including the Olivier Award for Best New Musical brings about a huge amount of expectation; does this current Jersey Boys tour deliver? Yes, absolutely yes, and then some, and then a little bit more, the thunderous standing ovation at Manchester’s Palace Theatre confirming this for anyone still in any doubt.

Jersey Boys tells both the on and off-stage story of the original Four Seasons; Frankie Valli, Bob Gaudio, Tommy DeVito and Nick Massi who together took the world by storm, selling a whopping 175 million records worldwide as well as being inducted into the Rock and Roll Hall of Fame, all before they hit 30. This exhilarating musical leaves no stone unturned as the highs, lows, heartaches, fears, joys and the all-important music come together in one seriously sensational show.

The structure is clever with the story being divided into ‘four seasons’ each narrated in turn by a different member of the quintet; offering an opportunity for several unique versions of events making for compelling viewing.

This is no bubble-gum jukebox musical, the journey we see Franki Valli (Michael Watson), Bob Gaudio (Declan Egan), Tommy DeVito (Peter Nash covering on press night) and Nick Massi (Lewis Griffiths) go on its intense, exhilarating and absorbing, there is so much to enjoy about this show it’s difficult imaging anyone not getting swept away by this slick and stylish production.

The four leads are outstanding, their harmonies sublime as they deliver hit after hit with perfection. With an epic back catalogue including Beggin’, Sherry, Walk Like A Man, December, 1963 (Oh What a Night), Big Girls Don’t Cry, Let’s Hang On (To What We’ve Got), Bye Bye Baby, Can’t Take My Eyes Off You and Working My Way Back to You the music in this show takes some beating. The lyrics are used to progress the story while the different take from each of the boys on the same situations offers a real honesty and moves the action along nicely.

This current production written by Marshall Brickman and Rick Elice, with music by Bob Gaudio and lyrics by Bob Crewe is staged by the entire original Broadway creative team and it shows. The music alone is enough to sell the show but what you get is so much more as the emotion and energy of the piece takes hold.

Peter Nash opens the show confidently as Tommy DeVito, perfectly embodying the role, brimming with style and swagger, a commanding performance laying it out from the start that this ain’t gonna be no walk in the park. Declan Egan comes next as Bob Gaudio, charismatic, charming and brings a lot of fun to the role. Lewis Griffith’s most recently seen in Manchester as Dirty Dancing’s Jonny Castle makes for a complex and compelling Nick Massi while Michael Watson simply soars as Frankie Valli, mastering that iconic falsetto perfectly. The four leads are supported by a strong ensemble cast who help take this show to the next level, giving high-energy performances and complimenting the lead vocals beautifully.

It comes as no surprise that Jersey Boys has now been seen by over 25 million people worldwide, while the music itself is standalone brilliant add to this the sharp book and slick staging and you have the recipe for the perfect night out. Electrifying theatre which will no doubt keep the music of Frankie Valli and The Four Seasons alive for a whole new generation.

Jersey Boys runs at Manchester’s Palace Theatre until Saturday 16th February tickets available here.

 

Interview | Lewis Griffiths talks Jersey Boys

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The international smash-hit Jersey Boys returns to Manchester this week as part of an extensive UK tour. Winner of an incredible 57 major awards worldwide, including the Olivier Award for Best New Musical, Jersey Boys tells the true life story of four boys from the wrong side of the tracks who went on to sell over 100 million records worldwide.

Featuring hit after iconic hit including Beggin’, December 1963 (Oh What A Night), Can’t Take My Eyes Off You, Walk Like A Man, Bye Bye Baby, Big Girls Don’t Cry and many more, Jersey Boys is an unforgettable story packed with heart and humour making for a thrilling night at the theatre. We caught up with actor Lewis Griffiths who plays Nick Massi to hear a little more about this sensational show.

You’re returning to the show after a previous stint as the late Nick Massi, how does it feel to be back?

It’s great, it’s a dream role so I didn’t hesitate when they asked me to reprise the role and here I am. Since I’ve come back I’ve discovered every performance I do is different to the previous as it’s a whole new production, a whole new chemistry, a whole new cast so everything although I’ve done the show before feels very new and very fresh.

Is there an added pressure in portraying a real person?

It has a certain pressure particularly with the character Nick Massi being passed now there is a legacy to uphold. It’s tricky sometimes playing a real person because there’s not as much artistic license to have free reign but it’s a great challenge and with this story there is a lot to discover, a lot of twists and turns, unexpected secrets shall we say, it’s a great role.

Despite your experience in the role do you still get nervous before a performance?

Of course, there’s a certain nervous energy that you require to perform, if you have no nerves whatsoever that can sometimes come across as a little bit arrogant. Naturally you have to have an element of nerves, as a performer you’re starting from scratch for every show, you can’t ever think ‘oh I’ve done this before a thousand times it’s a piece of cake’ because for the audience watching you it may well be the first time they are watching the show so you have to act as thought it’s the first time you’re performing it, that’s really the added pressure that gives you the nerves.

While Frankie Valli is known for his iconic falsetto Nick Massi supplied the rich deep rich vocals, how do you look after your voice?

They are a hard sing, the best thing I find for me personally is making sure I get lots of sleep and drink lots of water. I know that may sound like a cliché but that’s honestly what works best. The hardest thing about the show is not the range it’s the endurance, Nick Massi doesn’t solo a lot but he does sing a lot in the show and it’s a wide range so the stamina to endure the intensity of the tracks is what’s really important.

Do you have any preshow rituals to help you get in the zone?

I used to, I used to have lots of silly little things I did but I don’t tend to do those things anymore. As long as I’m in the building at the half hour call and I’m ready for beginners I kind of take my time in that half hour window between the half hour and the beginners call call I just try and relax, listen to some music, have a cup of tea and let myself relax in order to play Nick so by the time I’ve got my suit on and I’m walking onto the stage I am Nick Massi.

Is there anything you can’t live without on tour?

I always take a picture of myself and my fiancé on tour, it comes to every dressing room with me so it’s always there with me. If I could take her I would. She lives in Newcastle so as we’re bringing the tour further up North I’ll get the chance to see a bit more of her which will be wonderful.

You’ve visited Manchester with a few tours now, is there anything in particular you’re looking forward to seeing or doing?

Manchester’s such a broad city, just when you think you know it you always find something else to discover, something you haven’t done or somewhere you weren’t expecting. Last time I was there with Jersey Boys we did I live performance on BBC Breakfast which was wonderful as they were interviewing Frankie Valli on the show so I’d love to explore around there a little more.

Finally is anyone is considering booking a ticket for Jersey Boys at Manchester’s Palace Theatre what would you say to them?

You’d be coming to see an eye-opening story which is made very special by not only the cast but every integral element of what makes the show work, from wigs, wardrobe, crew, it’s a real ensemble piece that brings to life something that is unforgettable, added to that the infectious music of The Four Seasons, then you can fully appreciate why this show is such a crowd-pleaser, it’s definitely one to beg, steal or borrow a ticket to see.

Jersey Boys opens at Manchester’s Palace Theatre on Tuesday 29th January and runs until Saturday 16th February tickets available here.

Win a VIP Motown experience!

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Smash-hit West End sensation Motown The Musical arrives at Manchester’s Opera House next month and music fans across the north west are being asked to share their memories of this magical music to be in with a chance to win an incredible VIP experience which includes tickets to watch the show on press night (27th February) as well as the chance to meet the cast backstage.

All you have to do to be in with a chance to win this amazing prize is share your Motown memories from when either the Tamla-Motown Revue UK tour featuring The Supremes, Martha and The Vandellas, Smokey Robinson and The Miracles and Stevie Wonder visited Manchester in 1965 or when The Jackson 5 played the King’s Hall in Gorton as part of their European tour back in 1972.

Motown The Musical as well as the Opera House would love to hear your memories of these ground-breaking gigs, whether it be pictures or anicdotes you may have.

To enter simply send written details of your memories to the marketing team via the following menthods

Email: commentsmcr@theambassadors.com

Post: Marketing Department, c/o Manchester Palace Theatre, Stage Door, 97 Oxford St, Manchester, M1 6FT

All entries must be received by 5pm on Friday 15th February 2019. Entries must include a name, address and telephone number and winners will be notified no later than Friday 22nd February 2019.

Motown The Musical tells the story of Berry Gordy’s world-famous Motown record label, which gave rise to huge stars such as The Jackson 5, Diana Ross and the Supremes, Stevie Wonder and Marvin Gaye. The production is heading to the Manchester’s Opera House from Tuesday February 26th – Saturday 23rd March tickets can be booked here.