Manchester

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.

Bat Out of Hell

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Reviewed by Michelle Ewen

Opening Night verdict ⭐⭐⭐

Having electrified petrol-heads and die-hard rockers around the globe, ‘Bat Out of Hell’ has once again returned to its spiritual home almost eight years to the day it made its world premiere in Manchester. 

An award-winning smash hit, this global phenomenon brings to life the musical genius of Jim Steinman and Meat Loaf in a production that is practically impossible not to sing along to (though audience participation is understandably discouraged). 

With Glenn Adamson, Sharon Sexton and Rob Fowler reprising their iconic roles of Strat, Sloane and Faldo respectively, the principals are completed by powerhouse vocalist Katie Tonkinson, who plays Raven. 

Set in the dystopian near future, the action takes place in the city of Obsidian (formally Manhattan), where a band of anarchic bikers live in a subterranean network of tunnels – condemned by a DNA-altering earthquake to be forever 18.

Above ground, devoted father Falco (Rob Fowler) would do anything for love, but when it comes to letting his wayward daughter Raven (Katie Tonkinson) spread her wings with the leader of The Lost, rock ‘n’ roll-loving Strat (Glenn Adamson)… He won’t do that. 

Preoccupied with putting the brakes on Raven’s love affair, Falco is oblivious to another drama under his roof at Falco Towers: his bored and frustrated wife Sloane (Sharon Sexton) is feeling ‘All Revved Up with No Place to Go’. 

Can Falco and Sloane put their own problems in the rearview mirror, team up and stop Raven joining Strat in the underground tunnels and becoming one of The Lost? The stage is set to see whose ‘Rock ‘n’ Roll Dreams Come Through’. 

If the plot sounds convoluted and paper-thin, that’s because it is. Not that it matters.  After all, we’re all there for the music, which is why it’s fantastic to see the eight-piece live band situated prominently on the stage with their virtuoso skills on full display. 

Equally impressive are the vocals throughout, with Sexton and Fowler delivering a truly show-stopping rendition of ‘What Part of My Body Hurts the Most’, and Ryan Carter (Jagwire), Carly Burns (Valkyrie) and Luke Street (Ledoux) emoting ‘Objects in the Rearview Mirror’ to perfection. 

Adamson’s big vocal moment comes with his performance of the titular number ‘Bat Out of Hell’, where pyrotechnics, blood, glitter bombs and a cataclysmic motorcycle crash bring Act One to a rip-roaring close. His voice is a match made in heaven for Tonkinson, with the pair duetting seamlessly on ‘It’s All Coming Back to Me Now’. 

While the music and vocals are beyond reproach, some of the acting choices are questionable – notably Adamson’s over-exaggerated facial expressions which, at times, border on maniacal; however, Sexton’s Sloane is deliciously irreverent, and Carla Bertran is joyfully childlike as Tink. Full credit to both Sloane and Fowler too for romping fearlessly on a Cadillac in their underwear during a raunchy rendition of ‘Paradise by the Dashboard Light’.

Some technical choices work better than others. The roving handheld camera adds a multimedia effect to the production – giving an alternative perspective to the on-stage action, with players interacting with the camera to great effect. More distracting is the curious choice to have every player singing into a hand-held microphone, necessitating some fiddling around as they unholster and re-holster their mics multiple times through set pieces. Jon Bausor’s set looks flimsy compared to previous productions, which detracts from the overall ‘wow’ factor of the show. Staging-wise, however, the tunnel works brilliantly as a device for spectacular entries and exits. 

Casting-wise, when the current run ends, this reviewer would be curious to see ‘Bat Out of Hell’ rebirthed with a younger cast – more in-keeping with the characters’ status as forever-teens. 

Overall, however, this production – directed by Jay Scheib – hangs together very well as a series of high-energy set pieces and crackling duets. The principals are a set of safe hands and, if their curtain call speech is anything to go by, there is a genuine, enduring love for the musical among the whole cast. 

It was genuinely touching to listen to Sexton lead a tribute to Jim Steinman and Meat Loaf – hoping they would be looking down favourably from heaven (or maybe up from hell) – and the audience were especially appreciative when Sexton acknowledged Manchester and gave a nod to its status as hosts of the world premiere. 

For this reviewer, having been to all three runs in 2017, 2021 and now 2025, it’s a case of ‘Two Out of Three Ain’t Bad’. But while the current production may not be a perfect five out of five, there is still plenty to celebrate – not least the very talented cast, crew, creatives and musicians who continue to honour Steinman and Meat Loaf through their hard work. 

Bat Out of Hell is on at the Palace Theatre Manchester until Saturday, 8 March. Tickets available here.

NOW That’s What I Call a Musical

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Reviewed by Nikki Cotter

Opening Night verdict ⭐⭐⭐

Written by Pippa Evans and directed and choreographed by Craig Revel Horwood, NOW That’s What I Call a Musical takes everyone’s favourite compilation collections and delivers a jukebox musical bursting with 80s bangers.

At the heart of the production is a story based on friendship through the generations, and how while life and its challenges can often get in the way, true friendships stand the test of time (even if they do need a little assistance from an 80’s icon to remind them of the good times).

The story is set in Birmingham and simultaneously takes place in both 1989 and 2009 when a school reunion is on the horizon. In 1989 we meet younger Gemma and April (Nikita Johal and Maia Hawkins). The best friends are about to turn 18, both are ambitious and excited for what life has to offer. Gemma is keen to become a nurse while April has her sights set on stardom in the States. Both Johal and Hawkins shine in their respective roles, wide eyed and hopeful they perfectly encapsulate the characters teenage dreams.

Twenty years later their ambitions haven’t quite materialised and older Gemma and April (Nina Wadia and Sam Bailey) are no longer the close friends we first met. Gemma lives an unfulfilled life while April hasn’t been seen in the last decade. Sam Bailey and Nina Wadia make for a great pairing, although we see very little of Bailey until Act 2 with Act 1 largely being used to build an opportunity for her to return, an unusual choice and one that leaves you thinking the show would have been richer for including her character more throughout. When the two are together Bailey’s voice stuns while Wadia’s comic timing is superb. Once reunited the duo navigate their complex friendship with heart and humour as they’re forced to look back at their younger selves in a bid to work out what happened to those joyful dreamers portrayed so wonderfully by Johal and Hawkins.

The show very much follows the classic jukebox musical format. The characters are relatable, there’s plenty of humour, and of course brilliant bops which the talented cast deliver enthusiastically throughout. The result is a fun, feelgood show offering audiences a night of nostalgic escapism. While the humour is uncomplicated it’s well received by tonight’s audience.

The supporting characters complement the leads well with Gemma’s husband Tim (Keiran Cooper in 1989 and Chris Grahamson in 2009) portraying the villain of the piece convincingly making it very easy to hate him while April’s brother Frank (Luke Latchman in 1989 and Shakil Hussain in 2009) is a likeable addition to the story.

A notable positive to this production is the body diversity reflected on stage, something we’re thankfully seeing more and more and long may it continue.

As with many jukebox musicals there’s a significant level of shoehorning into scenes without adding anything to the narrative other than another tick on the song list count. However, when they are such bops as Video Killed the Radio Star and Hey Mickey, do we really care that much about their placement in the show? Judging by the audience’s reaction tonight I’m guessing probably not. They are here for a fun time and that’s exactly what this cast deliver.

The Act Two cameo by an 80’s icon; on this occasion Scouse sensation Sonia, adds to the fun of this piece as audiences get to indulge in even more uplifting nostalgia, even if it does feel a little like a fever dream (albeit a very fun one).

The plot while fairly predictable is entertaining and enjoyable as this confident cast deliver each much-loved track in this mixtape with bouncy enthusiasm ensuring a happy audience who, by the finale are bursting to boogie during the hit-filled megamix.

NOW That’s What I Call a Musical is on at Manchester’s Opera House until Saturday 1st February tickets available here.

The National Lottery’s Big Night of Musicals

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Back for the 4th year the National Lottery’s Big Night of Musicals yet again proved the perfect way to beat the January blues and celebrate the wonderful work done by the National Lottery AND the very best of musical theatre.

Superbly hosted by comedian Jason Manford as well as offering performances from some of the hottest West End shows, the event showcased a range of touring productions – some which are headed to Greater Manchester soon.

The show also highlighted the support the National Lottery has given to more than 20,000 theatre-related projects over the last 30 years.

North West theatregoers got to see sneak peaks of some of the touring shows heading our way in 2025 – with exciting peformances from Chicago (Lowry, August), Bat Out of Hell (Palace Theatre, February), Mary Poppins (Palace Theatre, April), Dear Evan Hansen (Palace Theatre, February) and Here & Now – The Official Steps Musical (Opera House, September).

Stand out moments from West End productions included a first look at Marisha Wallace’s Sally Bowles from Cabaret – with Maybe This Times – and a brilliantly bonkers number from the new cult hit Titanique – starring Layton Williams and the brilliant Lauren Drew (you might remember her from starring in Lizzie at Hope Mill Theatre last year).

Perhaps most exciting was the chance to for a first look at the brand-new Disney’s Hercules, which is coming to the West End this summer, with a spectacular performance of ‘Zero to Hero’ and ‘Go The Distance’  from Luke Brady (Hercules) and his fiercely fabulous Muses.

Undoubtedly one of the most moving parts of the evening was when musicals legend Michael Ball made a special appearance, singing a spine-tinglinh rendition of ‘The Impossible Dream’ alongside National Lottery-funded charity, Our Dementia Choir, founded by actress Vicky McClure. It’s not an exaggeration to say the performance moved many audience members to tears.

There was also a beautiful performance of Electricity from Billy Elliot by two youth theatre groups from Stockport and Yorkshire – the young people absolutely did themselves proud.

The National Lottery’s Big Night of Musicals celebrates 30 years of The National Lottery funding theatre and performing arts across the UK and serves to thank players who have helped support theatre-related projects to the tune of £1.3BN. National Lottery funding has helped restore theatres as well as enabling hundreds of performing arts projects.

The National Lottery’s Big Night of Musicals will air on BBC One, BBC Radio 2, BBC iPlayer and BBC Sounds this Spring.

Calamity Jane

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Reviewed by Nikki Cotter

Opening Night verdict ⭐⭐⭐⭐

Whether you’re a longtime fan of the classic 1953 film starring Doris Day or toe-tapping your way into Deadwood for the first time, one thing is certain, you’ll have a whip-crackin’ whale of a time at this charming revival.

While sharp-shooting Calamity Jane can beat any man in the county, it’s Cavalry Officer Danny Gilmartin she is desperate to impress. She travels to Chicago to recruit glamorous cabaret star, Adelaide Adams, with the aim of bringing her back to Deadwood. However, things don’t quite go according to plan and when the majority of the locals including Danny fall for the new arrival’s charms, Wild Bill Hicock (Calamity’s sparring partner) is now left with the challenge of making a jealous Calamity see sense.

While staying faithful to the beloved musical movie this touring production starring West End favourite Carrie Hope Fletcher offers a revitalised energy which will undoubtedly appeal to modern audiences. Director Nikolai Foster’s decision to use actor musicians is one that pays off hugely giving this joyous production an immersive, wholesome feel. This musicality drives the narrative wonderfully, with bigger numbers like The Deadwood Stage (Whip-Crack-Away!) and Just Blew in from the Windy City impressing with a joyous, celebratory sound allowing this talented cast to show off their incredible versatility. Nick Winston’s lively choreography adds further to these impressive numbers as the cast deliver each routine with perfect precision.

Carrie Hope Fletcher slips perfectly into Calamity’s boots, with just the right amount of sass and spirit, she leads this talented cast skilfully. Her pairing with Vinny Coyle as Wild Bill Hickok is a joy to watch as they barb and bicker brilliantly making the more tender moments all the more special. Her big ballad Secret Love is perfection and will make you wish it was a verse of two longer while Coyle’s gentle version of ‘Higher than a Hawk’ is a gorgeous Act II opener.

Samuel Holmes is on fine form as Francis Fryer bringing laugh out loud humour to the role through his enormous sense of fun while Seren Sandham-Davies shines as Katie Brown. Her transition from wide-eyed new arrival to Deadwood diva is delicious while her pairing with Luke Wilson as Danny Gilmartin acts as further confirmation to the quality of this cast.

Matthew Wright’s music hall set remains unchanged throughout the show however the cast draw on some clever techniques to create multiple locations and settings, from the Deadwood Stage to Calamity’s cabin, everything is carefully considered and perfectly executed. Technically, the sound seemed a little muted at times in Act I however come Act I we were all perfectly primed for a hoe-down finale for hopefully just first night niggles.

This feel-good production is packed with toe-tapping tunes, lots of laughs and heaps of heart. Appealing to audiences of all ages it’s a whip-cracking theatrical treat that will have you wanting to head back to the Black Hills of Dakota quicker than Calamity can crack her whip.

Calamity Jane is on at Manchester’s Opera House until Saturday 25th January tickets available here.

Live Forever

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Reviewed by Matt Broadly-Forrest

Opening Night verdict ⭐️⭐️⭐️⭐️

Images Jake Hodge

Going into 2025 seeing a sea of parka coats and bucket hats flooding the auditorium of the Bridgewater Hall, certainly wasn’t on anyone’s bingo card. However, it was a thing, and it did happen, and the reason being one of the country’s top Oasis, tribute acts Live Forever were in town with The Rise of Britain’s Greatest Rock ‘n’ Roll Bandshowcase.

 As the title suggests the show is a look back at Oasis’s early back catalogue. The first half of the show  incorporated songs from milestone gigs, such as the band’s 1991 hometown Boardwalk gig where Noel Gallagher first played with Oasis.  There are also songs from the Glasgow show at King Tut’s Wah Wah Hut where the band were signed to their first record deal.    

 

Rather inevitably the band open with Rock ‘N’ Roll Star, and thrash through songs from Definitely Maybe, including Digsy’s Dinner, and Bring It On Down, however what sets this apart from other tribute acts is the visual attention to detail, it’s impressive to say the least. The stage is littered with Marshall and Orange Amps, a staple of the look and sound of Oasis. The stage design has incorporated the same black and white swirls used at Oasis’ huge Maine Road and Knebworth concerts from 1996. The fact that the second song of the night is a previously unreleased Oasis track, Take Me is impressive in itself but goes to strengthen how this is far from a covers show.

 The experience is further enhanced by the commitment to performance from Derek McCabe and Degsy Williamson as Noel and Liam. McCabe’s mimicking of Noel Gallagher’s appearance, guitar playing style and most importantly sound is first class, even going as far as recreating some of Noel’s outfits from previous  shows. He doesn’t put on a faux manc (he’s Scottish) accent, or sneak in some Noel Gallagher quips because he really doesn’t need to, because everything else is bang on point.

Degsy Williams on the other hand went into full Liam Gallagher persona, bantering with the audience, cheeky comments about learning his ‘lines’ in the toilet, or changing lyrics which Liam had done several times. He may not have looked entirely like Liam, but he did a great job with his vocals, a highlight being a storming rendition of Cigarettes and Alcohol. He gamefully interacted with young children and a few boozy revelers in the crowd. A highlight for me was the recreation of the Oasis Unplugged moment which saw Noel taking on singing duties for a TV recording whilst Laim heckled and became a bit of nuisance from the baloney, again showing an authenticity attention, to detail and playfulness you won’t find elsewhere.

 

The rest of the band also do a superb job of recreating the ‘Oasis’ sound, with special mention to lead guitarist Steve Allen and Kevin O’Rourke on keys. They are the driving force of the sound of the band and absolutely smash it.

Following an interval it’s just hit after hit, with the likes of Wonderwall, Don’t Look Back in Anger, and Stand By Me, the only track from Oasis’s third album to receive an airing. Throughout the second half the majority of the Bridgewater Hall audience were up on their feet clapping, singing along and having a good time. What was striking about the show was the audience was made up of children and pensioners and everyone in between who all in unison, lapped up the show, which is a testament to the Oasis back catalogue, and the quality of the Live Forever experience.

The whole world knows that Oasis have some huge dates this summer, and for those lucky enough to get tickets, Live Forever is the perfect aperitif to get you in the mood. For those not so lucky getting tickets, Live Forever is as nearperfect a way of experiencing what Oasis were like at the peak of their popularity, and well worth checking out.

Live Foverever are on  tour throughout 2025. Tickets available here here.

 

Cinderella

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Reviewed by Jodie Crawford

Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

It’s my favourite time of year, that time of year when we gather together and head into Manchester to be entertained at the annual Opera House Panto. Oh yes it is!

This year we are treated to the age old tale of Cinderella. It has all the traditional ingredients needed to tell the story. From a wicked step mother, a Prince Charming, two step sisters, a Fairy Godmother and our old mate Buttons. 

But as we have now come to expect, from a Manchester Opera House Panto, this show has so much more to give than an old school Panto. This is Manchester. We do things differently here, and Panto is no exception.

Everything about this show is slick. Crossroads Pantomimes deliver a well carved and crafted show with a glitzy set and dazzling costumes. The effects team have gone to town this year, and the scene with Cinderella’s carriage is one of the most magical moments I have ever seen in Panto (and I have seen A LOT of pantos).

I am not sure I am ever going to be ready for a world of Manchester Panto where Nickless (Buttons, this year) and Manford aren’t on stage together. This duo is a match made in Panto heaven. You can see the bond that these two men have with each other both in character and out. They work together elegantly on stage – there is no other Mancunian duo that could capture the audience like these two do.  And boy do we love it! Who knew it was possible to cry tears of laughter while singing Sweet Caroline on a Tuesday night in town! 

Make no mistake, Manford is an all round performer, he’s so much more than just a comedian (which he also does very well obviously) he has become a seasoned Panto pro. He has a rich and deep voice and while his dancing still gives off full on dad dancing vibes, (which is part of the charm) he is enormously entertaining throughout the entire production. But he isn’t alone. Nickless, his right hand man, shines brightly in his role as Buttons. He is a first class panto star. It’s like he was born for it. The gags keep coming, his comic timing is genius, and he clearly loves what he is doing and that makes us, the audience, love him even more. And his James Blunt impression is more James Blunt than James Blunt could do himself. If laughter is the best medicine than Nickless is a healer! 

The whole cast of Cinderella is exquisite, they come together so perfectly to create a night of magical Christmas memories.   

There were stand out performances from Liz Carney and Chloe Chesworth, as the wicked step sisters. Manford and Nickless might need to watch their backs with these two storming onto the Opera House panto scene. I thoroughly enjoyed this comedic duo throughout the show.  

And Panto wouldn’t be panto without a villain for us all to hate (love) and Myra DuBois delivers: the costumes, the gags, the bullying of the bloke who wished he hadn’t sat front centre in the audience, the boos and hisses- all came together perfectly! The dame is an integral part of a Panto, but it takes a special Dame to do what DuBois does – and makes it look so effortless. 

Cinderella is absolutely top notch, a must see, be prepared to laugh your socks off and leave wanting more. 

Cinderella is on at Manchester’s Opera House until Sunday 5th January (with best availability in January) tickets available here.

The Bear

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Reviewed by Jodie Crawford

Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

Waterside Arts in Sale, brings us another Christmas feast of entertainment for the family. This year it is The Bear, a stage adaptation of the wonderful Raymond Briggs book. The tale has similar themes to that of another beautiful story of Briggs’, the Snowman. 

This show, a Pins and Needles Production, features young Tilly, a girl with an imagination and a friendly Teddy Bear, who kept the children entertained while waiting for the show to begin. One blustery night a polar bear comes to stay, blundering through her bedroom window in the deep of the night. 

Tilly adores the Bear from the moment he arrives. She desperately wants him to stay. Together they play games such as hide and seek (he’s very good at it). Tilly quickly comes to realise that taking care of a bear is not the easiest of tasks.  

This story is one of friendship and love. You can’t help but be touched by the closeness and companionship these two characters create on stage. There are so many moments that give us, the audience, the complete warm and fuzzies. There is a woven thread through this whole story of the power of the imagination and the importance of closeness for a child. 

The heartwarming scenes are linked together with comedy, song and some good old fashioned dance moves. We are treated to bubbles and snow and even a blast of a water pistol (bad luck if you’re near the front). 

But what the most spectacular thing about this production is, is the Bear itself. The puppetry is divine, it’s carefully considered, gentle, dynamic and purposeful. The fact that we can clearly see the puppeteers does not distract from the way in which we are captivated by the bear, the characterisation from both actors allows us to simply see them as part of the bear. It’s very clever and powerful. 

We were mesmerised, transfixed and entertained through out the entire production, it’s one we will talk about for Christmases to come.

The Waterside always knows how to do Christmas, and this year they have excelled themselves by bringing this show to town.

The Bear is on at The Waterside, Sale until Sunday 29th December tickets available here.

Wicked

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Reviewed by Matt Forrest

Opening Night verdict ⭐⭐⭐⭐

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

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

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

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

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

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

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

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

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

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

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

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

Elf: The Musical –  Palace Theatre, Manchester

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Reviewed by Matt Forrest

Opening Night verdict: ⭐⭐

The film Elf has established itself as a firm family favourite in homes across the land every holiday season. The same could also be said of Elf: The Musical, which since its West End debut in 2015, which has led to  numerous UK tours playing theatres and arenas. Once again Buddy the elf is out on the road again arriving in Manchester, and hoping to spread a little festive cheer, however sadly this time around the magic just isn’t there.

Elf: The Musical tells the story of Buddy (Jordan Conway), a human who is raised by Santa and his elves in the North Pole. Soon Buddy begins to notice he isn’t like his fellow  work colleagues. He  often wonders why he isn’t as good at making toys as everyone else; and questions why he is much taller than everyone around him? Eventually Santa (Philip Day) puts Buddy straight, informing him that his real dad lives in New York and even more important than that….he is on Santa’s naughty list.

Buddy travels to New York, where he meets his Dad, Walter Hobbs (Barry Bloxham) , a workaholic book publisher who spends more time at work than he does with his wife and son. Walter isn’t too thrilled to meet Buddy or the chaos that comes with him. Buddy is sent to a department store, where he meets Jovie (Kelly Banlaki), a slightly world-weary shop employee, fed up with New York and indeed of some Christmas spirit. Can Buddy work his magic and help Jovie find some Christmas cheer, save his dad from the naughty list and more importantly save Christmas!

Like Buddy himself Elf: The Musical has a crisis of personality as to what it wants to be: a musical or a panto? It pitches itself somewhere between both camps coming across as disjointed. There were some fabulous feats of acrobatics from Romy Bauer, and other cast members  which look impressive but didn’t really add anything to the story.

At times actors went off script, even breaking into laughter, which gave the proceedings a shambolic quality and charm, which on occasions I did enjoy, however these are best saved for pantomime.  The big screen at the back of the stage shows videos throughout, that don’t look good, and at times pointless.

Jordan Conway is good as the title character, in a performance packed full of energy and mischief. He just about strikes the balance between innocent charm and playful irritant. Kelly Banlaki is fine, if somewhat under utilised as Jovie. Whilst Barry Bloxham does a good job as the embittered Walter Hobbs. To be fair the ensemble cast work their socks off throughout, you only wish their energy levels were matched by the production values. 

Most of the musical numbers are instantly forgettable, with the exception of the excellent Nobody Cares About Santa, which looked and sounded great. The orchestra are in good form throughout, fair play to them for not missing a beat during the snow fight.

Elf: The Musical does have its moments, with younger audience members lapping up the more anarchic scenes. However for a 2 hour 20 minute show, there aren’t enough big set piece moments that really hold your attention.  We’re not even in December yet and I’m sad to say this elf should be left on the shelf this Christmas.

Elf: The Musical  is at  Palace Theatre until 17th November. Tickets available: Here