Manchester

Moulin Rouge

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Reviewed by Nikki Cotter

Opening Night verdict ⭐⭐⭐⭐⭐

The multi award-winning stage version of Baz Luhrmann’s 2001 film has arrived in Manchester for a six-week stop as part of its first ever World Tour and my goodness is it worth the wait! This spectacular show mixes hedonism with heart oozing style and sass from the moment the sumptuous red curtain goes up.

Manchester’s Palace Theatre has been totally transformed into the iconic Montmartre cabaret club, upon entering the auditorium it soon becomes clear that audiences are in for a jaw-dropping, eye-popping treat. Derek McLane’s opulent set is deliciously decadent, with the world-famous windmill sitting high in the circle, watched over by a fabulously bejewelled elephant all centred around a glittering, glistening heart.

We’re swiftly whisked away to 1899 where Christian (Josh Rose at tonight’s performance), a talented but penniless songwriter from America who dreams of making his name in the Parisian city. He quickly falls for the charms of Satine (Verity Thompson), a cabaret star at the Moulin Rouge. The club however is under threat of closure, it’s here that wealthy aristocrat The Duke (James Bryers) steps in offering to save the debt-ridden club, however, he also wants Satine as part of the deal.

Satine now faces a dilemma, choose love and true happiness or loveless security while saving the club and careers of her cabaret family. As the club prepares for Christian’s new show this lavish love story plays out, it’s exhilarating, exuberant and utterly engaging.

Staying true to the film this remains a jukebox musical featuring inspired mashups of over 70 iconic songs, from David Bowie to Lady Gaga and everything in between. This high-energy romp through pop history grips you from the first note and holds every ounce of your attention right through to the curtain call. The mashups are truly inspired and will leave you thinking completely differently about classic songs you thought you knew.

Verity Thompson is entirely captivating as showgirl Satine. Entering spectacularly to Diamonds are Forever she truly shines on stage. Her delivery of Katy Perry’s Firework switches up the song completely as it becomes a touching, profound ballad, while her vocals throughout are sublime. The chemistry between her and Josh Rose is palpable, this is a love story you truly believe in.

Rose is superb as Christian, heartfelt and hopeful with an incredible vocal range. His delivery of Elton John’s Your Song is simply stunning while both Rose and Thompson break your heart a little with their incredible delivery of Come What May.

Cameron Blakely is a delight as he heaps on the flamboyance as the mischievous show master Harold Zidler while Kurt Kansley and Rodrigo Negrini and equally as wonderful as Christian’s brilliant Bohemian buddies, Toulouse-Lautrec and Santiago.

The enormously talented ensemble deliver each and every set piece with flair and incredible precision. From high kicks to hip hop, all genres are explored by choreographer Sonya Tayeh and perfectly executed by this talented cast. The Backstage Romance section which features amongst others Lady Gaga’s Bad Romance and Britney’s Toxic is quite probably one of the most impressive set pieces I’ve ever seen on stage, absolutely mesmerising and well worth the ticket price alone.

The creatives involved in this show deserve each and every award they’ve received from Catherine Zuber’s stunning costume design to Peter Hylenski’s unbeatable sound design everything hits the mark.

This crowd-pleaser of a show ticks every box, it’s lavish, loud, inclusive and exhilarating. A true spectacle, guaranteed to make you rush to the box office to book a return visit, sensational!

Moulin Rouge is on at Manchester’s Palace Theatre until Saturday 4th October tickets are available here.

The Last Laugh

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Reviewed by Matt Forrest

Opening Night verdict ⭐⭐⭐⭐⭐

It would be fair to say that if Tommy Cooper, Eric Morecambe, and Bob Monkhouse, were still alive today they would be selling out arenas across the land. These three are legends of the business we call show: Cooper regarded as the comedian’s comedian, Morecambe part of one of the greatest double acts of all time, whilst Monkhouse is unquestionably one our greatest writers/performers to ever grace the stage. So, a stage play featuring the lives of these three colossuses of comedy promises something a little special, and I’m pleased to say it more than delivers.

The Last Laugh opens in a dingy dressing room of an unnamed theatre, the wall is adorned with pictures of British comedy legends: Sid James, Arthur Askey and George Formby. Rather strangely one picture is blank. A half-dressed Tommy Cooper (Damian Williams) complete with giant chicken feet is preparing for another performance. Soon he is joined by Bob Monkhouse (Simon Cartwright) complete with precious joke book and later Eric Morecambe (Bob Golding). The trio, though surprised to be on the same bill, share stories, discuss their craft, their careers and inevitably some light hearted ribbing of each other.

We get classic routines and jokes from them which include: Cooper’s magic duck, numerous Monkhouse’s ‘wife gags’ and of course Morecambe’s killer André Previn line, which the audience lapped up. There will be some who will have witnessed these routines multiple times over, for others this will be the first time, but judging by the audience reaction they went down a storm!

With the highs of course comes the lows, and the play offers moments of poignancy as each man looks back on the sacrifices, struggles and personal tragedies each has endured: Cooper’s battle with alcohol and the toll it’s taken. Morecambe’s health struggles coupled with time away from family. However, it’s Monkhouse’s tragic losses that puncture his life story which really hit-home.

This production is an absolute joy from start to finish: A superb script from writer/director Paul Hendy, who celebrates the work of these three comic maestros. With all three performers, there is that element of the ‘sad clown’, that is essential but in no way defines their story. However, Hendy’s play is a love letter to the three. It’s a showcase of their talents, and explains why we find them still appealing long after they passed, which simply put is their ability to make us laugh and smile, then and now.

Lee Newby’s set design complements the story beautifully. It captures the less glamorous, more intimate side of showbiz: a cramped, cluttered, almost claustrophobic space, strewn with props and steeped in faded charm. Portraits of comedy icons line the walls, offering both inspiration and a subtle reminder of the pressure to live up to their legacy. You get the sense that if these walls could talk, they’d reveal a treasure trove of secrets—some dark, mostly joyful, all rich with history.

Undoubtedly, the heart of the show lies in the three lead performances, each of which are pitch-perfect. Damian Williams brilliantly captures the chaotic, absurd charm of Tommy Cooper. Filling those iconic shoes is no small task, but Williams more than rises to the occasion—his timing, and that unmistakable laugh are spot on. Simon Cartwright’s portrayal of Bob Monkhouse is equally impressive. From the voice and mannerisms to the polished delivery of quick-fire jokes, every detail is meticulously rendered. His performance is as smooth and refined as one of Monkhouse’s own gags. The real-life friendship between Cartwright and Monkhouse adds an extra layer of authenticity to the role. Bob Golding shines as Eric Morecambe, effortlessly capturing the comedian’s playful spirit, trademark charm, and unmistakable comic quirks. His performance is brimming with charisma and warmth.

These are far more than mere impressions. Each actor delivers a performance that truly honours the legacy of the comedy legends they portray. The Last Laugh is a heartfelt tribute to the genius and legacy of three truly great entertainers, brought to life with not just skill, but a deep sense of love and affection. For newcomers, it serves as the perfect introduction to a cheeky, family-friendly, and delightfully playful style of comedy. For more seasoned audience members, it’s a joyful, nostalgic trip down memory lane. For me, it was a powerful reminder that if a joke or sketch makes you genuinely laugh, it’s worth its weight in gold—and The Last Laugh is nothing short of priceless.

The Last Laugh is on at the Manchester Opera House until Saturday 2nd August

Tickets are available here.

Come Fall In Love

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Reviewed by Nikki Cotter

Opening Night verdict ⭐️⭐️⭐️⭐️

Inspired by India’s longest running Bollywood movie the heartwarming romcom Dilwale Dulhania Le Jayenge (or DDLJ to those in the know), Come Fall In Love is the latest production to join the incredibly successful ‘Manchester Gets It First’ scheme, and judging by tonight’s rapturous audience response is another sure-fire hit.

With an award-winning creative team which includes original director of the much-loved 1995 movie Aditya Chopra, Come Fall In Love which was originally performed in San Diego in 2022 has been reworked for UK audiences. We’re introduced to Simran, (Jena Pandya) a young British Asian woman who is off inter-railing round Europe with her best friend for a final summer of freedom before she flies to India for an arranged marriage. However, as with all good romcoms, things don’t quite go according to plan and her carefree adventure suddenly gets a little more interesting with the addition of white British boy Rog (Ashley Day) unexpectedly coming along for the ride. After prickly beginnings the pair grow closer over a bottle or two of champagne and Simran enters a battle between head and heart which is when the fun really begins.

This vibrant production is full of light, burst with colour and radiates joy as we follow the twists and turns of this unconventional love story. Act 1 gently sets the scene for an exhilarating Act 2 as the action relocates to India filling the stage with colour as this cross-cultural love story plays out.

Jena Pandya is a wonderful Simran, playful and proud she’s enormously likeable, she looks like she’s having the time of her life in the role and shines brightly both in the big ensemble numbers and in the quieter more emotive scenes. The chemistry with Ashley Day as Rog although with most romcoms happens quickly feels believable and charming. Ashley Day is a fantastic lead, the role of Rog is hugely demanding and he rises to the challenge convincingly. He goes on quite the journey from our first meeting him as his true character is revealed ensuring we all fall a little bit in love with him.

There is strong support from the ensemble cast with special mentions going to Simran’s parents Baldev (Irvine Iqbal) and Lajjo (Harveen Mann-Neary) who bring both humour and a gentle tenderness to the story. Simran’s planned Indian finance Kuljit is played by an outstanding Kinshuk Sen while Kara Lane camps it up brilliantly as Rog’s Mum, Minky.

 Reimagining this classic love story and adding a more contemporary multicultural twist has given the creatives an opportunity to bring this uplifting story bang up to date. The book and lyrics by Nell Benjamin (Mean Girls, Legally Blonde), are witty and engaging with the music by legendary composers Vishal Dadlani and Sheykhar Ravjiani blends stunning Indian melodies with multiple Western genres reflecting the love story happening on stage perfectly.

Choreographer Rob Ashford along with associate choreographer and Indian dancing specialist Shruti Merchant have created magic here which is delivered by the talented ensemble in stunning style while Derek Mclane’s striking set design further adds to the visual beauty of this piece.

With heaps of heart and joyous humanity, Come Fall In Love is an uplifting story beautifully told. It will delight audiences of the original Bollywood film and now doubt gain a new army of fans from audiences seeing the show for the first time. This high-energy production has all the fun of a romcom but adds in a welcome emotional depth resulting in an enormously entertaining production.

Come Fall In Love is on at Manchester’s Opera House until Saturday 21st June tickets available here.

Dear England

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Reviewed by Nikki Cotter

Opening Night Verdict ⭐️⭐️⭐️⭐️⭐️

The revival of the 2023 Olivier Award-winning Best New Play has opened at The Lowry for a month-long away fixture offering regional audiences their first chance to catch this inventive production outside of the Capital.

Following the fascinating story of Gareth Southgate’s memorable eight years as England Manager this National Theatre production has all the exhilarating highs and gut-wrenching lows familiar to football fans; however, it goes far beyond the sport itself offering a thrilling and insightful exploration of culture, connection and what it means to hold the hopes and dreams of a nation in your hands.

Having updated the ending to reflect England’s 2024 Euro’s journey, writer James Graham grabs every opportunity to show the audience that this truly is a game of two halves, at times joyous, other times brutal but always authentically honest.

Beginning with a flashback to Euro ’96 as a young Southgate steps up to take the now infamous missed penalty, this moment cleverly sets the tone and returns as a running theme to challenge Southgate (Gwilym Lee) throughout the piece. As we fast-forward to 2016 we see Southgate drafted in as caretaker manager following Sam Allardyce’s sacking after just one game in charge. Determined to make a positive change and do things differently, Southgate brings in sports psychologist Pippa Grange (Liz White), what follows is an incredible journey that goes way beyond football.

Taking on the role of Southgate is an impressive Gwilym Lee, having seen Lee portray Brian May so accurately in Queen biopic Bohemian Rhapsody it comes as no surprise that he hits the mark once again. With every measured tilt of the head, folding of the arms and blink of the eyes his nuanced performance is perfection. He leads this fine cast with a gentle hand and captures the essence of Southgate perfectly.

Liz White as Pippa Grange is a consistent presence of calm, challenged by resistance from both players and coaching staff she never wavers. Graham in his writing uses Grange’s character to gently remind us that while Southgate was becoming a mentor and father figure to many in the team he was also battling his own demons, struggling to show himself the kindness he was so brilliantly instilling in others.

The ensemble cast compliment Lee and White perfectly, they portray their real-life counterparts with incredible accuracy. Josh Barrow as Jordan Pickford is mesmerising. He fizzes with energy throughout, his subtle shift from raw, untamed, chomping at the bit goalie to trusted teammate and backbone of the squad by the end if fascinating to watch.

Ryan Whittle steps into Harry Kane’s Captain’s boots with a well-observed nervous hesitation and grows in stature throughout while Gamba Cole as Raheem Sterling opens up to reveal his fears and disappointments as he learns to trust in his team mates.

While there is incredible humour and lots of it, the play doesn’t shy away from the harsher themes that sadly have dogged both football and English culture for many years. Most notably here the appalling racism faced by young black players specifically during the 2020 Euros final. Tane Siah, Jude Carmichael and Kadell Herida as Bukayo Saka, Marcus Rashford and Jadon Sancho highlight these dark moments with an honesty that reminds you just how quickly supposed loyal fans can turn and just how important standing up collectively to that hopefully small minority truly is. 

The ensemble cast work tirelessly to showcase Rupert Goold’s inventive staging (with Elin Schofield as revival director) with a slick, swift brilliance. Co-movement directors Ellen Kane and Hannes Langolf score no own goals with their incredibly tight sequences as this cast convincingly recreate matches, penalty shootouts and meaningful dressing room moments. Es Devlin’s inspired set design is perfectly lit by Jon Clark while Dan Balfour and Tom Gibbons sound design and Ash J Woodward’s video design hit the back of net. 

From euphoria to crushing heartbreak, Dear England takes audiences on a thrilling journey inviting us into the very heart of the action, allowing us to scratch way beyond the surface with its carefully crafted storytelling and visual brilliance. We live through the highs and the lows as one with the team, willing for the result to be different, hopeful, heart-warmed and inspired by the end of this groundbreaking piece. This is theatre at its absolute finest which taps right into the heart of what it is to be human, to believe in yourself and to have the bravery to face your fears regardless of the magnitude of the situation.  

Whether you’re a football fan, a theatre fan or just love a fascinating story brilliantly told this is a must-see production that will capture the imagination of audiences night after night, so good, so good, so good!

Dear England is on at The Lowry until Sunday 29th June, tickets are available here.

The Rocky Horror Show

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Reviewed by Matt Forrest

Opening Night verdict ⭐⭐⭐⭐

It’s hard to believe that The Rocky Horror Show first hit the screen 50 years ago—but this
latest production proves the cult classic still packs a punch. Bursting with colour, camp,
and energy, Richard O’Brien’s gleefully outrageous homage to 1950s science fiction
remains as fun and provocative as ever.

The story follows the familiar beats of a classic B-movie: newly engaged Brad and Janet
find themselves stranded with a flat tyre and stumble upon the eerie mansion of Dr. Frank
N. Furter and his peculiar household Riff Raff, Magenta, and Columbia. What begins as a
simple detour quickly spirals into a surreal, sexually charged journey that puts their
relationship to the test.

Connor Carlson and Lauren Chia are spot-on as Brad and Janet, capturing the pair’s initial
innocence and their gradual unraveling as they’re drawn deeper into Frank’s wild world.
The pair demonstrate great comedic timing and tremendous vocals throughout.
They’re supported by a strong ensemble: Job Greuther brings a wonderfully sinister edge
to Riff Raff, Natasha Hoebergis shines in dual roles as Magenta and the Usherette,
opening the show with a stellar “Science Fiction/Double Feature”. Whilst Jayme-Lee
Zanoncelli adds eccentric flair and powerful vocals as Columbia.

Jason Donovan returns to the role of Frank N. Furter apart he first tackled in the late ’90s
with a performance that leans heavily into the character’s unhinged eccentricity.
Channeling shades of Grayson Perry and a generous dose of Heath Ledger’s Joker,
Donovan brings a more chaotic, unpredictable energy to Frank than previous incarnations.
At times, he appeared slightly flustered—thanks in part to some malfunctioning stilettos,
however he turned these moments into a positive, using them to heighten the character’s
manic volatility, much to the audience’s delight. While his vocals may not be as strong as
those of his fellow cast members, Donovan more than compensates with a committed,
absurdly entertaining performance.

Actor and comedian Jackie Clune, does a stellar job as the Narrator, holding her own with
wit and playful authority. The audience was clearly in on the fun, with interactive call-outs
and spontaneous reactions creating a palpable buzz throughout the evening. Tonight’s
performance led to some observations about Donald Trump’s second term and Prince
Andrew which landed well with the audience.

Director Christopher Luscombe’s high-octane production keeps things moving at a
breakneck pace. The campy, chaotic energy is perfectly matched by Hugh Durrant’s
classic horror/sci-fi set design: blood-red walls, a giant brain, and even a mounted dodo
head. It’s as weird and wonderful as you’d hope.

While the final act veers into near-total madness, losing a bit of narrative cohesion. It’s a
gripe I’ve always had with the film and previous productions, however tonight’s finale hit
the mark, mainly down to Donovan’s stellar work on “I’m Going Home”.

Whilst the summer is nearly upon us, here is the perfect opportunity to dig out the fishnets
one more time and see why The Rocky Horror Show is still the ultimate feel-good,
anarchic theatre experience. Give yourself over to absolute pleasure. You won’t regret it.

The Rocky Horror Picture Show is at the Palace Theatre until 31st May tickets are available at here.

A Knight’s Tale

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Reviewed by Nikki Cotter

Opening Night verdict ⭐️⭐️⭐️⭐️

The highly anticipated new musical A Knight’s Tale, based on the 2001 cult movie of the same name starring Heath Ledger, has officially opened in Manchester and judging by tonight’s thunderous standing ovation, this jukebox musical is here to stay.

Adapted for the stage by Brona C Titley with direction from Rachel Kavanaugh and choreography by Matt Cole, A Knight’s Tale quickly sets the tone and lets the audience know from the off that they’re in for a very fun night, with an absolute bounty of a back catalogue and a whole heap of tongue in cheek medieval moments.

A Knights Tale takes us on a romp of a 14th Century road-trip following the antics of peasant squire Will Thatcher (Andrew Coshan) who passes himself off as a nobleman following the death of his master in his bid to beat the odds and become a jousting World Champion. The only thing standing in his way (aside from the fact he isn’t a nobleman and could go to prison for pretending to be one) is the current World Champ who also doubles up as a deliciously devious bad boy and villain of the piece, Count Adhemar (Oliver Tompsett).

As the wannabe Knight, Andrew Coshan is superb, dashing, dreamy and with vocals that pack a punch. He bursts with charisma and has the kind of twinkle in his eye that audiences go wild for. His pairing with pals What and Roland (Eva Scott and Emile Ruddock) is perfection, packing in the humour, both Scott and Ruddock are superbly cast.  Their comic timing is unmatched as they deliver each and every witty line with absolute precision. 

As the trio set off on their quest they gain two additions to their crew, Kate (Emily Benjamin), a local badass blacksmith and a frequently unclothed Geoffrey Chaucer, (Max Bennett) who is on the cusp of writing his ‘Canterbury Tales’ but for now is happy to join in with the jousters japes.

Emily Benjamin gives knockout vocals as Kate, while Max Bennett as Chaucer is pure joy. He quickly becomes the ultimate hype man while his wit and warmth as he skilfully breaks the fourth wall firmly sees him confirmed as an audience favourite. 

West End legend Oliver Tompsett proves ones again to be a world class performer, his delivery of Chesney Hawkes’ The One and Only and Adele’s Rolling In The Deep are iconic.

Of course, no story is complete without a love interest, enter Meesha Turner as the sexy, strutting Princess Jocelyn. With all going so well can Thatcher conceal his true identity or does his destiny lie firmly in the stocks?

While the cast are superb, the creatives have also pulled out all the stops to ensure this production is visually just as striking. Tom Rogers impressive set design is lit brilliantly by Howard Hudson while Gabriella Slade’s costume design feels modern, sexy and yet authentic as the medieval silhouette is carried through each scene. It’s very clear to see why choreographer Matt Cole is an Olivier Award-winner, each set piece is thrilling and the energy never wanes.

As with many jukebox musicals featured hits can often be eclectic and A Kight’s Tale is no exception, from Bonnie Tyler to Bon Jovi and almost everything in between there’s a whole host of familiar bops with some working more effectively than others, all however are delivered with 100% commitment from this talented cast. I can honestly say a Bowie – Golden Years/Ricky Martin – La Vida Loca mash up is something I never thought I’d witness but here in jukebox musical land I guess anything goes. 

There are moments where you do wonder what target audience they’re going for particularly with the frequency of swearing and adult humour which at times felt a little unnecessary and made the genuinely funny sweary moments have less of an impact. Reduce some of these and you’ve got a fantastic musical comedy offering for almost all ages, that’s visually stunning and enormously entertaining.

A Knight’s Tale provides another wonderful opportunity where we get to boast that Manchester gets it first. This silly, funny, feisty show will no doubt become a Knight to remember as this riotous new musical makes its raucous mark on theatre land, next stop surely must be the West End.

A Knight’s Tale is on at Manchester’s Opera House until Saturday 10th May tickets are available here

North By Northwest

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Reviewed by Nikki Cotter

Opening Night verdict ⭐⭐⭐⭐

If anyone can put their own stamp on an Alfred Hitchcock thriller it’s Wise Children’s Emma Rice, her vibrant interpretation of the cinematic classic, North by Northwest is as witty and as whimsy as you’d wish for and has arrived in Manchester for a two week stay.

This high stakes spy-thriller introduces us to a very suave Roger Thornhill (Ewan Wardrop) who manages to find himself caught up in a rather serious case of mistaken identity, not ideal at any time but even less so in the midst of a Cold War conspiracy. Villain of the piece Vandamm, (Karl Queensborough) is out to get him with the assistance of his pals and fellow heavies (Mirabelle Gremaud as Anna and Simon Oskarsson as Valerian). Thornhill must out smart Vandamm in a bid to save himself however just as he’s gaining the upper hand, he meets the intriguing Eve Kendall (Patrycja Kujawska) who could just as easily be a sinner or a saviour. Completing the cast is The Professor (Katy Owen), who guides both the audience and Roger brilliantly through the perilous predicament he finds himself in.

This dynamic reworking of the original Hollywood movie is a joy, inventive, surprising and above all a whole lot of fun. As with all Wise Children productions music plays a significant role, with the choices made here really cementing the creativity of these visionary theatre-makers. Paired with inventive staging, where suitcases become Greyhound buses, Mount Rushmore and everything else in between, you really have got an impressive piece of theatre.

Ewan Wardrop is hugely entertaining as Roger Thornhill, the only cast member who doesn’t play multiple roles despite the characters very real identity crisis. Katy Owen as The Professor gives another standout performance, her comedic timing is second to none, her skill in breaking the fourth wall to ensure we, the audience are fully engaged and alert to our mission ensures that we’re captivated from the start. The four remaining cast members, Queensborough, Gremaud, Oskarsson and Kujawska, are equally as impressive bringing their own unique skills to the multiple roles they take on. Even via the slightest of adjustments, a different accent, a jaunty hat, they transform themselves into another surprising and entertaining character.

Rob Howell’s inventive set and creative costume design further adds to the playful, whimsical nature of this piece while Etta Murfitt’s Fosse-inspired choreography brings this piece further to life. The high energy is maintained throughout and by the curtain call the audience are up, enthusiastically applauding with as much energy as this talented cast have given for the entirety of this 2.5hr show. Visually impressive and incredibly playful until the final knife-edge moments when we’re reminded of the relevance of the themes of the piece, North By Northwest is a triumph.

Mary Poppins: Place Theatre, Manchester

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Reviewed by Matthew Forrest

Opening Night verdict ⭐⭐⭐⭐⭐

First things first, I have a confession to make: I have never watched the 1964 film adaptation of Mary Poppins. I mean, of course, I have seen some scenes featuring the big song and dance numbers and I have watched The Simpsons parody episode featuring Shary Bobbins several times, but I’ve never actually sat through the film from start to finish. Now we have that unpleasantness out of the way, and you can lift your jaw off the ground, please allow me to continue my review.

So, not having the full picture of what to expect actually worked in my favour. Because nothing could have prepared me for how magical and grand this production is. Based on author P.L. Travers’s original books, the stage adaptation of Mary Poppins is co-produced by Disney and Cameron Mackintosh, with book by Downton Abbey creator Julian Fellows, together they have created an enchanting spectacle that will cast a spell over the whole family.

Set in early 20th-century London, we are introduced to the Banks family—father George (Michael D. Xavier) is a hard working junior officer for a major London bank. He has very little time for his devoted wife, Winifred, (Lucie-Mae Sumner) and they have two children Jane and Michael (played at this evening’s performance by Katie Ryden and Charlie Donald).

The Banks children have a reputation for causing mischief in the local area, and seeing off the many Nannies previously employed to look after the pair. However, the arrival of the enigmatic Mary Poppins, (Stefanie Jones) whose no-nonsense, unconventional methods soon add a touch of sparkle to the Banks family.

Mary Poppins along with her trusted friend, the ever chipper chimney-sweep Burt (Jack Chambers) take the children on a series of adventures involving dancing statutes, singing toys, tap dancing chimney sweeps and a spot of word invention, which teaches the children a few valuable lessons and provides the love and attention they lack from their father.

What an absolute joyous experience this production is! Director Richard Eyre along with co-director/choreographer Matthew Bourne, and co-choreographer Stephen Mear have crafted some spectacular set-pieces. The colour explosion from “Jolly Holiday” looks glorious, whilst the dazzling roof-top dance of Burt and his fellow chimney sweeps during “Step in Time” is magnificent: the magnitude and scale, with the huge ensemble cast showcase what the show is all about: high end production values, performed by creatives at the top of their game.


The musical numbers sound terrific under musical director Isaac McCullough’s skillful baton. The Sherman’s brothers penned, “Supercalifragilisticexpialidocious”, “A Spoonful of Sugar”, and “Let’s Go Fly A kite” sound as good as you want them to be, whilst new songs penned by George Stiles and Anthony Drewe give the production a contemporary feel, the pick of the bunch being touching, “Being Mrs Banks”, beautifully sung by Lucie-Mae Sumner.

Stefanie Jones is in sparkling form as Mary Poppins: it’s a sassy turn which beautifully shows the complexity of the character. Her vocals throughout are outstanding and her physical performance as the super-nanny is captivating. She has a true star quality which fills the stage. The same can also be said of Jack Chambers: it’s a performance full of charm, charisma and athleticism, a full on song-and-dance tour-de force highlighted in the previously mentioned “Step in Time”.

Michael D. Xavier is impressive as the uptight, repressed Mr Banks. His performance has a contemporary quality which adds more layers to the production. Lucie-Mae Sumner is the perfect foil, with her sweet, strong, yet mildly eccentric Mrs Banks, ready to show she is more than just a wife, but a strong, capable woman. Finally Katie Ryden and Charlie Donald are a fun watch throughout and more than hold their own with their fellow adult-actors, with both showcasing great comedic timing.

Bob Crowley’s enchanting dolls house set design looks gorgeous and sets the tone of the show perfectly, whilst some very clever stage trickery shows just how magical, and unique Mary Poppins truly is.

Mary Poppins is a testament to the enduring appeal of its source material, offering a theatrical experience that is both timeless and innovative. With stellar performances, imaginative design, and memorable music, it’s a fantastic showcase for how good live theatre can be……as the song says – Practically Perfect!

Mary Poppins is at Manchester’s Palace Theatre till 17th May, tickets are available here.

Cruel Intentions

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Reviewed by Jodie Crawford

Opening Night verdict ⭐️⭐️⭐️

Cruel Intentions: The 90s Musical is an energetic and fun adaptation of the 1999 cult film, blending the drama of the original with an upbeat 90s pop soundtrack. Set in an elite prep school, the story revolves around Sebastian Valmont, a charming and manipulative teen whose latest game involves seducing and ruining the lives of his peers. Alongside him is Kathryn Merteuil, his scheming step-sister, who sets the stakes higher by making a bet on Sebastian’s ability to corrupt Annette, a new and innocent student. As Sebastian begins his pursuit of Annette, the characters are pulled deeper into a web of lies, deceit, and temptation—all set to a backdrop of hit songs from the 90s.

One of the undeniable highlights of the show is the vocal performances. Luke Conner Hall as Blaine Tuttle delivers a standout performance with his powerhouse voice, perfectly capturing the essence of the character with both charm and intensity. Likewise, Lucy Carter, playing both Cecile and Marci, is another scene-stealer, with her incredible vocal range and comedic timing adding energy and warmth to the production.

The musical is bursting with nostalgic 90s hits that really bring the era to life. From No Scrubs by TLC to I Want It That Way by the Backstreet Boys, the audience is treated to an unforgettable soundtrack. These songs are seamlessly integrated into the storyline, with some clever and humorous nods to their lyrics. It’s clear that the production is aware of its playful tone, and for many, these moments of self-aware humour hit the mark, providing a light-hearted and entertaining atmosphere throughout the show.

The high-energy choreography and over-the-top performances create a vibrant, comedic feel in the first act, which some audience members absolutely adored. The audience was buzzing with excitement, and many found themselves caught up in the fun of it all. The show’s ability to bring laughter and joy, especially for fans of the original film and 90s music, cannot be overstated.

That being said, Cruel Intentions: The 90s Musical isn’t for everyone. The humour, while fun for many, includes outdated, offensive jokes, particularly homophobic and racist remarks, that may leave some feeling uncomfortable. These moments feel out of place in today’s context, and while they may have been acceptable in the original film, they detract from the otherwise light-hearted tone of the musical.

Another issue with the production lies in its storytelling. The plot, while following the original film’s general premise, lacks depth and development, leaving certain emotional moments feeling underdeveloped. The musical’s tone also fluctuates, with Act 1 leaning into a slapstick, tongue-in-cheek approach and Act 2 attempting to make the characters’ emotional struggles more serious. This shift can feel jarring, and it’s unclear whether the show is a comedy, a parody, or a more faithful interpretation of the film. For some audience members, the inconsistency in tone might make it difficult to fully engage with the characters’ emotional arcs.

Additionally, some of the song choices and dance routines felt derivative, almost mimicking the original versions of the hits rather than offering a fresh take. Sometimes this felt intentional and other times I just wasn’t sure. I found it confusing. While these numbers were undeniably fun, they didn’t always add much depth to the show’s overall narrative or emotional impact.

Cruel Intentions: The 90s Musical is a wild and vibrant ride through the best hits of the 90s, filled with memorable performances and an infectious energy that many in the audience loved. For fans of the original film, 90s music, or anyone who enjoys a fun, upbeat show, there’s a lot to enjoy. However, its humour and narrative tone might not resonate with everyone, and those seeking a more serious or cohesive experience might find it lacking. If you’re in the mood for a nostalgic, playful evening with catchy tunes and tongue-in-cheek humour, this musical delivers plenty of fun. Just be prepared for a show that embraces its campy, bold style—whether or not it fully lands with every viewer.

Cruel Intentions is on at Manchester’s Palace Theatre until Saturday 29th March tickets available here.

Chitty Chitty Bang Bang

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Reviewed by Matt Forrest

Opening Night verdict ⭐⭐⭐⭐

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

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

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

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

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

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

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

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

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

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

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

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

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

Glorious!

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Reviewed by Matt Forrest

Opening Night verdict ⭐⭐⭐⭐

In life some of us often don’t do the things we want to, for fear of failure or at worst ridicule. You can’t help wondering what opportunities have slipped away because of our own self-doubts. Maybe a few of us could take a leaf out of the fabulous Florence Foster Jenkins’ book, dubbed ‘the worst singer in the world’. Florence never let a lack of talent be a barrier as she turned her dreams into a reality, whilst bringing joy and happiness to so many!

Mrs Jenkins’ remarkable true-life tale is brought to life in the Peter Quilter penned play, Glorious! First performed in 2005, the play is Hope Mill Theatre’s first spring offering of the year, and what an absolute treat it is.

We are introduced to Florence via a young down on his luck pianist: Cosmé McMoon (Charlie Hiscock). McMoon has been invited to meet/audition for a wealthy socialite over at her luxury Manhattan apartment. Here McMoon meets the rather eccentric Florence Foster Jenkins (Wendi Peters), whose quirky nature is matched by her passion for music and performing. After a brief feeling out period between the pair, where Jenkins’ outlines plans for a concert, album recording and name drops celebrity fans, which include: Tallulah Bankhead and Cole Porter. However, McMoon soon realises that Jenkins’ passion for music doesn’t quite match her very limited vocal range.

The ambitious ivory tickler must quickly decide if a huge sum of cash accompanying Mrs Jenkins is worth the almost certain career suicide. As the unlikely duo get to know each other, a friendship blossoms and McMoon soon realises that they have more in common than he at first thinks.

This is a hugely enjoyable, joyous night at the theatre. Peter Quilter’s heart-warming script is inspiring, and a fun examination into friendship, loyalty and above all else a celebration of those who wish to follow a dream. Whilst there is very little in the way of plot development from the first act, the script is hilarious right from the get-go, packed full of one-liners which more than makes up for the lack of surprise or jeopardy, climaxing in an inspirational, uplifting ending.

The show is anchored by three outstanding performances: Wendi Peters is superb as Jenkin’s, she breathes life into this sweet-natured if slightly off-the-wall dreamer, never poking fun at her. We know Peters is a talented actor and singer, but to sing purposely so badly, is equally impressive: Her rendition of Habanera from Carmen is off the scale; it’s so terrible, which is meant with the highest of compliments.

Charlie Hiscock is equally impressive: his comic timing and delivery is exceptional throughout.  His facial expressions are the perfect foil to Peters’ glass shattering vocals. As well as the comedic elements he puts in a restrained, compassionate turn, and also showcases he is more than a dab hand behind the piano.  Making up this fine trio is Anita Booth on triple duty, first there is an outstanding turn as Jenkin’s surly Italian housekeeper, Maria, which had me in stitches throughout. Whilst she also plays Jenkin’s faithful best friend, Dorothy. She gets to show her mean streak as the Jenkin’s nemesis Mrs Verrinder-Gedge.

The show’s finale is one that will long in the memory as Peters’ dons an angel costume, complete with massive wings for Jenkin’s triumphant Carnegie Hall show. It cements the show’s feel-good message and positivity. As the old saying goes God loves a trier and based on tonight’s production you will fall in love with FFJ, this show truly is Glorious!

Glorious! Is on at Hope Mill Theatre till 30th March tickets are available here.

Joseph and the Amazing Technicolour Dreamcoat

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Reviewed by Jodie Crawford

Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

Joseph and the Amazing Technicolor Dreamcoat has undergone a thrilling reimagining in this incredible production by Michael Harrison, David and Hannah Mirvish, and Jake Wine. This version is not just a revival; it’s an exhilarating adaptation that breathes new life into the beloved classic. From its vibrant choreography to its pitch-perfect performances, it’s a show that keeps audiences on the edge of their seats, from start to finish. This is a must-see production that will leave you smiling long after the curtain falls, and humming the tunes all the way home on the tram, like we did!

At the heart of this spectacular show is the story of Joseph, the dreamer whose colourful coat sets the stage for a rollercoaster of emotions, betrayals, and triumphs. Based on the biblical tale, it follows Joseph’s journey from being his father Jacob’s favourite son, to being betrayed by his jealous brothers, and ultimately rising to power in Egypt, thanks to his incredible ability to interpret dreams. The story is filled with humour, pathos, and delightful surprises, making it a timeless classic. This adaptation takes everything you love about the original and amplifies it with a burst of modern energy, a splash of humour, and eye-popping visuals that make it feel fresh and exciting for today’s audiences. This is a far cry from the first adaptation I saw in 1991 as a child!

One of the true highlights of this production is the brilliant performance by Christina Bianco as the Narrator. Bianco, an internationally acclaimed performer known for her stunning vocal range and ability to impersonate iconic singers, brings her unique magic to the stage. Her portrayal is a masterclass in musical theatre. With her effortless charm and impeccable comedic timing, Bianco shines in every moment she’s on stage. Her voice is absolutely flawless, effortlessly handling the musical’s demanding score, from the soaring ballads to the fast-paced, high-energy numbers. What makes her performance even more captivating is how she seamlessly engages with the audience, pulling them into the story with her infectious energy. If you’ve seen Bianco’s viral impressions of divas like Celine Dion and Barbra Streisand, you’ll recognize her ability to evoke laughter and applause, but here, she’s a storyteller at heart, and her voice radiates warmth and heart throughout the show.

But it’s not just Bianco’s performance that stands out—Joseph as a whole is a visual and auditory feast. The choreography, expertly executed, is nothing short of electrifying. From the lively “Go, Go, Go Joseph” to the energetic “Song of the King,” the dancers are bursting with enthusiasm, their movements sharp and graceful. The choreography pulses with the rhythms of the music, filling the theatre with an infectious energy that makes it impossible not to tap your feet. There is no genre left behind, it is an eclectic feast of rock and roll, and country to the hilarious French themed “Those Canaan Days”. The numbers are fast-paced and thrilling, incorporating elements of contemporary dance, jazz, and even a touch of acrobatics, ensuring the audience is constantly engaged.

The set design is another triumph. The colourful, clever backdrop brings to life the vibrant world of Joseph. From the moment the show begins, you’re transported to the dramatic landscapes of Egypt, the lively streets, and the dreamlike visions Joseph experiences. The use of colour is particularly striking, with the multi-coloured coats, bright lighting, and vivid scenery creating a fantastical atmosphere that enhances the whimsical nature of the show. The costumes are equally impressive, with each character’s attire matching their personality and adding an extra layer of storytelling. The entire stage design, from the props to the lighting, is visually stunning and designed to captivate audiences of all ages.

In addition to the standout performance by Bianco, the entire cast delivers powerhouse performances. The role of Joseph is perfectly executed, bringing charm and sincerity to the character’s journey. The ensemble is equally remarkable, with a talented group of actors who sing and dance their hearts out. Of particular note are the young children in the cast, whose incredible talent shines brightly. They bring a delightful sense of energy and joy to the show, and their flawless performances ensure that Joseph is a celebration for the whole family.

The show is bursting with heart, humour, and energy, and the audience couldn’t have loved it more. Every moment is filled with charm, from the hilarious jokes to the heartwarming songs. The laughter, applause, and cheers that echoed throughout the theatre were a testament to the production’s success. The adaptation is not just a trip down memory lane—it’s a thrilling, vibrant reimagining that feels just as relevant and entertaining today as it did when it first premiered.

Joseph and the Amazing Technicolor Dreamcoat in this new adaptation is an absolute triumph, it’s a performance that you will remember long after you leave the theatre. It is a modern masterpiece in its own right. This production is a reminder of the timeless appeal of Joseph, and it’s a show that everyone—no matter their age—will enjoy from start to finish. You simply cannot afford to miss it!

Joseph and the Amazing Technicolor Dreamcoat is on at Manchester’s Palace Theatre until Sunday 9th March tickets available here.