Manchester

Peter Pan Goes Wrong

Leave a comment

Reviewed by Gill & Freddie Selkirk

Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

Mischief Theatre Company are the hilarious gift that keeps on giving, from their original offering, The Play That Goes Wrong to this current UK Tour of Peter Pan Goes Wrong it seems everything they touch turns to comedy gold.

Like the multi award-winning Play That Goes Wrong, Peter Pan Goes Wrong focusses on the Cornely Drama Society and their valiant attempt to deliver J.M. Barrie’s classic, Peter Pan, which of course gets a chaotic and calamitous Mischief Theatre makeover.

This play within a play introduces us to our cast who quite literally live and almost die by the mantra ‘the show must go on!’. With ambition that far outweighs their actual talents the scene is set for two hours of malfunctioning sets, lack of ability, faulty electrics and some painfully close near-misses as our players go about delivering their lines to hilarious effect. There are clashing egos, intense insecurities as well as unwanted affections within the company, all of which add to the glorious chaos of the piece.

Gareth Tempest portrays Jonathan who is our self-obsessed, narcissistic Peter Pan. With an eye for the ladies and an inability to fly in a straight line he continually plunges the show into absolute chaos. Wendy (a very keen to please Sandra) is played brilliantly by Ciara Morris, her enthusiasm paired with her exuberant arm waving never tire. Jack Michael Stacy, as Chris the director (who also plays Captain Hook and Mr Darling) displays a brilliant lack of self-awareness. His continued instance on treating the play as a serious piece and increased disappointment with both his fellow cast members and the audience who clearly don’t agree is genius.

Matthew Howell is superb as Robert (co-director/Nana the Dog, Peter’s shadow) with an ego bigger than Neverland he has the audience in the palm of his hand while Theo Toksvig-Stewart as Max, (playing Michael Darling/mermaid/the crocodile), has a soft-spot for Sandra and is only in the show because his uncle is financing it.

Dennis (Clark Devlin) offers some real comedy moments as he’s fed his lines through a very unreliable headset while Jamie Birkett as Annie (playing Mrs Darling, Lisa, and a superbly funny Tinkerbell) has more consume changes than a pantomime dame. Jean-Luke Worral as the narrator though blighted with technical issues, still adds a touch of sparkle every time he appears, pertified actor Lucy (Rosemarie Akwafo) has trouble finding her voice while Jake Burgum tries to keep it all together as stage manager Trevor, resulting in almost as much unforgettable stage time as the stars of the show themselves.

This really is a comic masterpiece; it’s fast pace never wanes while the gags and physical humour come thick and fast. It’s slapstick central and the audience lap it up, you’re just about recovering from one laugh when the next quickly and hilariously presents itself. Every cast member gets their moment to shine thanks to the witty writing and brilliant direction. High praise must also go to Simon Scullion’s impressive set design, its adaptability and revolve adding superbly to the carefully choreographed chaos.

Mischief Theatre have once again produced a comedy classic, which will appeal to all ages and leave you belly laughing long after the curtain call. My almost 11 year old, Freddie said it was the best thing he’s ever seen at the theatre, “I laughed from the very start to the very end, it’s ridiculously funny.”

Peter Pan Goes Wrong is on at Manchester’s Opera House until Sunday 31st March tickets are available here.

Sister Act

1 Comment

Reviewed by Nikki Cotter

Opening Night verdict ⭐️⭐️⭐️⭐️

The sisters are well and truly back in the habit as they take the theatre world to heaven in this UK & Ireland tour which runs right through to the autumn. 

This musical remake of the much-loved 1992 movie tells the story of Deloris Van Cartier, (Landi Oshinowo) a sassy entertainer in downtown Philadelphia who witnesses her married boyfriend, Curtis Jackson (Ian Gareth-Jones), murder one of his motley crew. In an inspired choice Deloris is put into witness protection at a city convent where she soon starts spicing up the lives of her fellow sisters, much to the dismay of their Mother Superior (Sue Cleaver). 

This nun on the run is reborn as Sister Mary Clarence, taking us on a glorious adventure, where the black and white of convent life is gradually and often hilariously transformed into vibrant technicolour, where Delores helps the sisters to secure their future and find their own voices while offering an opportunity to discover where she fits in, in this crazy world.

Returning as the iconic Deloris Van Cartier, Landi Oshinowo is superb. She more than does justice to the role. Her voice is sensational, full of power and smooth as silk she belts out the big numbers with ease, while she delivers writers Bill and Cheri Steinkellner’s script with both style and sensitivity. Deloris’ changing relationship with Mother Superior (Sue Cleaver) is a wonderful thread that weaves throughout the story, there’s huge support for Cleaver in the audience and she convincingly shows her acting chops through the transitional journey she goes on.

Eloise Runnette makes for a hugely impressive Sister Mary Robert, she gives an authentic and memorable performance, fully immersing herself in the role as she quietly blossoms before our eyes. Special mention must also go to Alfie Parker as Eddie who comes close to stealing the show during his crowd pleasing solo, as well as nuns Sister Mary Lazarus (Julie Stark) and Sister Mary Partick (Isabel Canning) both are fantastic.

With its heavenly score from Alan Menken, Alistair David’s upbeat choreography as well as hilarious and heartwarming moments throughout, this fan favourite musical will have you praying for more. The infusions of gospel, soul, disco and Motown blend seamlessly to create a wonderfully uplifting score. While there’s a part of you that wishes they’d suddenly burst into ‘I Will Follow Him’ the group numbers more than make up for this. The ensemble pieces really elevate this show, at times when the pace begins to slow a little you know the next cleverly choreographed scene is just around the corner.

Sister Act is a hugely entertaining, camp, colourful celebration of friendship and finding one’s purpose. This enormously talented cast will raise your spirits and warm your heart with this joyful production. 

Sister Act is on at Manchester’s Palace Theatre until Saturday 30th March tickets available here.

Work It Out

Leave a comment

Reviewed by Nikki Cotter

Opening Night verdict ⭐⭐⭐⭐

Many of us have been there, stood in a random community centre or school hall early evening, trainers on, ancient leggings dug out of a long-forgotten drawer as we await the arrival of the class instructor and just hope they’re not quite as bouncy as we’ve imagined. 

It’s the perfect material for a piece of theatre, from the characters we meet to the problems and predicaments they find themselves in. It’s something we can relate to, empathise with, and laugh along with as we reflect on our own brushes with ‘fitness’. Writer Eve Steele (who also stars in the production as Siobhan) has taken this basic premise a step further with the exercise class being one specifically for people who have been referred due to the mental health challenges they face.

This distinct group of characters go on a unique and engaging journey, from beginning as strangers who struggle to be in the same room together to becoming their own unique and fiercely proud community. Each has their own story and moment to shine as the weeks pass by and the heart of each character is carefully revealed. From alcoholism to hoarding, sexual abuse to overeating the issues they’ve face are many, however together they find a sense of belonging and a genuine sense of purpose without this production ever feeling cliche.

Writer Eve Steele and Director Sarah Frankcom have lovingly worked with these characters to ensure they are relatable, believable and touch the hearts of the audience in ways we don’t see coming. The subtleties of their journeys collectively make for a powerful, emotive piece of theatre packed with heaps of heart and humour.

There’s Rebecca (Raffie Julien), who is deaf and refuses to speak who brings along her Grandma Marie (Eithne Browne), Rebecca gradually finds freedom and confidence as the weeks progress while Marie evolves from angry and anxiety ridden to loving, caring and contemplative. Shaq, portrayed sensitively by Dominic Coffey is a care-leaver who is struggling to survive in a wholly unsuitable home environment. His moving dance solo to a jazz version of Radiohead’s Creep is a real highlight of the show.

Eva Scott’s portrayal of Colette a shy, sensitive soul who struggles with body image is deeply moving, seeing her find her place and purpose within the group as they bid to secure funding feels like a monumental triumph. Aaron McCusker’s journey as Rob is perhaps one of the most profound, his transformation is poignantly realised in the final touching scenes as Siobhan (Eve Steele) with whom Rob has become close takes a step back from the group while her personal progress stalls. Class leader Alice (Elizabeth Twells) who seems so composed and complete at the start goes on her very own unique journey of vulnerability where she too realises, she needs the strength of the group to get her through.

The powerful final scenes illustrate both the positive change community and inclusion can bring while exposing the stark reality of the damage done to a society failed by ineffective Governments and underfunded services. The focus on individual stories brings a real sense of hope to this piece as the characters unify becoming closer and tighter as the weeks go by.

Work It Out is on at HOME until Saturday 16th March https://homemcr.org/theatre/

Pretty Woman

Leave a comment

Reviewed by Nikki Cotter

Opening Night verdict ⭐️⭐️⭐️⭐️

Following successful runs on Broadway and in London’s West End, Pretty Woman arrives in Manchester this week as part of its first ever UK tour.

The musical stays faithful to the iconic 1990 movie starring Julia Roberts and Richard Gere, much to the delight of the audience who clearly revel in the nostalgia of the familiar.

For those unfamiliar (and I can’t imagine there are many) this is a classic Cinderella story with a twist, the twist being our ‘Cinderalla’, Vivian, is a sassy sex worker on the Hollywood Boulevard and our Prince Charming, Edward, is a money motivated entrepreneur, neither are looking for love but can just about cope with a week of no strings company.

Taking on the role of Vivian Ward at tonight’s performance Paige Fenlon captures the essence of the character so iconically created by Julia Roberts brilliantly. She draws the audience in, getting them on side immediately with her warmth and wit. Her confident delivery of ‘I Can’t Go Back’ is a real highlight while her characterisation guarantees we all fall completely in love with her Vivian.

Ben Darcy makes for a wonderful Edward, ensuring the audience soon warm to him once his walls begin to come down. His vocals really shine while he makes Edward’s journey convincing and thoroughly enjoyable. The two have great on stage chemistry ensuring we’re really rooting for their happy ever after.

Previous Strictly champion Ore Oduba is a huge asset to this production as (Happy Man/Mr Thompson). A versatile performer with heaps of charisma he is a real joy to watch. Popping up when you least expect him to, each scene he delivers with a confident ease, endearing him wonderfully to this engaged audience. His pairing with Noah Harrison as bell-boy Giulio, is inspired. The talented pair really elevate this production, each scene more brilliant than the last, I wouldn’t say no to a Mr Thompson and Giulio spin-off, they are superb!

Special mention must also go to Natalie Paris who blows us away with her stunning vocals as Vivienne’s best friend, Kit De Luca. She really is a world class talent and adds to this production enormously.

Director and choreographer Jerry Mitchell ensures this faithful retelling gives fans of the film everything they’d hope for in musical form. The iconic lines are there as are the classic scenes we all know and love. The opera scene particularly is stunning with Lila Falce-Bass and Josh Damer-Jennings delivering pitch perfect performances.

Pretty Woman ticks all the boxes for a perfect night of theatre escapism. It doesn’t take itself too seriously and delivers a super fun show as a result. It will entertain, charm and uplift you, make no mistake!

Pretty Woman The Musical is on at Manchester’s Palace Theatre until Saturday 16th March, tickets available here.

The Rocky Horror Show

Leave a comment

Reviewed by Sean Harris & Amy Mercer

Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

From its debut in 1973 this show was breaking boundaries, causing people to gasp in shock at what they were witnessing on stage. We can tell you first hand that this has not changed. Though the story is the same as the one we have always known and loved, the new jokes and witty comments bring a breath of fresh air to this show. The narrator (Philip Franks) throughout makes reference to current world issues which really helps this 50-year-old show feel modern and relatable.

Not only were the performers incredible but you become really emersed in the show and we don’t think it’s too far to say that the audience is just as important as the actors on stage, whether you’re getting up on your feet to do the time warp (again) or shouting out crude jokes to the cast on stage, this show is just good fun. You can really see when watching the show how well trained these actors are for a show such as this, not many shows enjoy having the audience shout profanity at the stage and sing along to the songs, however Rocky Horror thrives on this. The comedic timing of this show is second to none with the actors being well prepared and sometimes even going off script to suit the audience’s reactions.

Richard Meek and Haley Flaherty who play Brad and Janet excellently portray the sexual journey each character takes from their prude and naive beginnings to their sexual awakening, guided through the allure of Dr Frank-N-Furter. A highlight of Brad and Janets time on stage were their respective bedroom scenes with Dr Frank-N-Furter, each of these scenes had the whole audience aching with laughter. The vocals throughout this show are amazing and never dip in energy. We personally thought that the Usherette played by Suzie McAdam did an incredible job at opening the show with her incredible vocals and ditsy, sassy attitude. Another favourite vocal moment of ours was during the chorus of the song ‘Eddie’. The piece opens with Dr Scott played by Joe Allen singing his solo but as the chorus ensues the whole cast join in. The harmonies and fullness of the vocals in this section were phenomenal and it really had us taken aback.

We wouldn’t be talking about The Rocky Horror Show if we didn’t talk about the sensual and hilarious character of Dr Frank-N-Furter, this role is truly iconic and Stephen Webb did not disappoint, we were truly in awe of the talent and charisma shining out of this actor. It takes a lot of confidence to get up on stage in front of so many people and portray such an outrageous character but not only did he present the character perfectly, but he made this iconic role his own with his groundbreaking interpretation, not to mention doing it all in platform heels.

The wonderfully strange gang consisting of Riff Raff, Columbia and Magenta played by Kristian Lavercombe, Darcy Finden and Suzie McAdam respectively, really made the show for us, the trio’s vocals and comedic quips made for a brilliantly whimsical performance. The energy from each character never wavered with Columbia stealing the show with her charisma and confidence in every appearance, not to mention the tap sequence in Time Warp which had the audience enthralled.

The four part ensemble were magnificent and we have to take a second to talk about the choreography. Truly jaw dropping, there was always so much going on and the chaotic energy was enthralling and made everyone want to get up and join in.

All in all everything about this show was absolutely astonishing: the actors, musicians, lighting, sound, set and not to mention the gorgeously seductive costumes and make up throughout. This show has it all and it would be a shame to miss such a vibrant and exciting show like this. So, get out your fishnet stockings; feather boas and get down to see this phenomenal performance.

The Rocky Horror Show is on at Manchester’s Opera House until Sunday 28th January tickets available here.

Jack and the Beanstalk

Leave a comment

Reviewed by Jodie Crawford

Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

This is Manchester, we do things differently round here – and Panto is no exception.

This year Crossroads pantomimes give us “Jack and the Beanstalk” in this version we follow the plight of Jack (Jason Manford) and Simon (Ben Nickless) as they try to rescue Princess Jill (Emma Williams) from the clutches of Myra Blunderbore (Myra Dubois) and her husband, the Giant.

They are helped along the way by The Spirit of the Beans (Samara Casteallo) who brings a little bit of magic, charm, and sparkle to their journey.

Crossroads pantomimes know that they have a recipe for success pairing Jason Manford and Ben Nicklless once more. These two are a match made in heaven and we love it. We can only hope they’ll return in 2024 – because let’s face it they’ve moulded Manchester Panto into what it now is and it just wouldn’t be the same without them.

This show is good for the soul. It’s got all the ingredients of a traditional panto: a wonderful charismatic dame, a talented ensemble, the classic gags and panto routines, sequins, dance sequences and audience participation. But this production has so much more. It’s a feast for the senses, from pyrotechnics to huge moving beanstalks, flying cars and some of the best comedy routines I’ve ever seen. Not to mention the giant himself.

What this panto also shows us is that you don’t need a token popstar to wheel out for the big numbers, because this cast is outstanding in the vocals department. Each can hold their own, in their own right. I know Manford has done much singing professionally, but I really think he gets better each year. Emma Williams is also an excellent vocalist along with the magnificent Myra Dubois.

Dubois is everything you want her to be as the Dame: brash, bold, quick witted, and a comic too. She is uber glamorous and we really weren’t sure whether we should be booing her or cheering her because deep down we are all just a little bit in love with her.

Ok, so the plot gets lost quite a bit, but who cares. Manford and Nickless command the audience, they have us in stitches from start to finish, so whether the cast have suddenly rescued the princess and the animals without much character exploration really doesn’t matter in the grand scheme of things.

There is something for everyone in this panto, and it is an absolute must see. So, get down to the Opera House and have yourself a good giggle this Christmas, as well as a rave to old Macdonald – you won’t regret it!

Jack and the Beanstalk is on at Manchester’s Opera House until Sunday 31st December, tickets available here.

I Should Be So Lucky

Leave a comment

Reviewed by Nikki Cotter

Opening Night verdict ⭐️⭐️⭐️⭐️

Take the mega hits of Stock, Aitken and Waterman, the writing skill of Nativity creator Debbie Isitt, the choreography of Strictly’s very own creative director Jason Gilkison, an insanely talented cast, sprinkle it with a little Kylie magic and you’ve just about got the recipe for the most fun show in town!

Featuring beloved hits from Kylie, Jason, Rick Astley and Bananarama to name but a few, I Should Be So Lucky has arrived, bringing the party with it and judging from last night’s thunderous standing ovation is here to stay.

Ella’s (Lucie-Mae Sumner) fairytale wedding quickly becomes a nightmare as groom, Nathan (Billy Roberts) gets more than just cold feet, the wedding may be off but Ella’s friends and family sweep in, reminding her there’s more to life than a white wedding. What follows is a couple of hours of pure, fun-filled escapism all played out to the sounds of the biggest Hit Factory the UK has ever seen.

Featuring ten number 1 singles and over 25 beloved bangers, I Should Be So Lucky gives the audience exactly what they want, fun with a capital F. This isn’t a show that takes itself too seriously, its camp, colourful and just wants you to have a bloomin’ good time.

Leads Lucie-Mae Sumner and Billy Roberts are supported by the most insanely talented cast who put their stamp well and truly on this world premiere production. Scott Paige is an absolute scream as Michael, he has the audience in the palm of his hand from his first tongue pop and keeps the laughs coming right through to the finale. His duet with Ralph Bogard as Hassan is comic genius, if there’s ever a sequel can I request a Michael and Hassan spin off please?

Jessica Daley is excellent as Ella’s sister Britney belting out the powerhouse vocals while Mum Shelley (Melissa Jacques) lifts the pop lyrics we know and love with the most stunning of voices. Giovanni Spano is perfection as Best Man Ash, a cheeky chappie who doesn’t realise he’s looking for love until Bonnie, played superbly by Kayla Carter makes him realise it’s been under his nose the whole time.

Matthew Croke as smooth-talking Nadeem is the perfect holiday romancer while Jamie Chapman controls the chaos with his own unique and utterly brilliant charm. There’s even guest appearances from Queen of Pop Kylie who sprinkles her own form of magic on this glittering production.

The sub-plots add depth to the storyline with some more successful than others but ultimately, they all combine to ensure that this is a show that will uplift, entertain, and leave you reminiscing about the good old day of pop. The creatives have worked hard to ensure this show delivers a strong message of friendship, self-belief, and love, all within a wonderfully inclusive story.

In a time when we all need a little hope and happiness, I Should Be So Lucky delivers entirely, if this show comes on prescription, sign me up for a double dose!

I Should Be So Lucky is on at Manchester’s Opera House until Saturday 25th November tickets available here. The tour then continues across the UK and Ireland until May 2024

To Wong Foo

Leave a comment

Reviewed by Nikki Cotter

Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

Based on the 1995 cult classic film To Wong Foo Thanks for Everything Julie Newmar, To Wong Foo The Musical proves once again that nobody does intimate musical theatre quite like Hope Mill. This world premiere directed by original film writer Douglas Carter Beane, brings the almost 30-year-old film to vivid and vibrant life with both the story and its themes proving just as relevant today.

To Wong Foo introduces us to three New York drag queens, Vida Boheme (Peter Caulfield), Noxeema Jackson (Gregory Haney) and Chi Chi Rodriquez (Pablo Goméz Jones) who embark on a road trip across the States in a bid to attend the Drag Queen of the Year finals in Hollywood. What they don’t bargain for is breaking down in Middle America, Snydersville to be precise. It’s here where the adventures really begin, there’s heartache, humour, high camp and the most wonderful lesson for us all about finding common ground and true connection.

Opening number Feel The Light sets the bar high letting us know from the off we’re in for a thrilling, fun-filled ride as Theo Maddix struts onto the stage as a captivating Rachel Tensions. Composer and lyricist Lewis Flinn has created some very special original songs covering multiple genres along the way that sit right at home within this vibrant production.

Taking on the role made famous by Patrick Swayze, Peter Caulfield as Vida is superb, he gives her warmth, openness and a strong sense of identity, leading the trio with a loving yet knowing hand and always quick with a quip when needed. His pairing with Gregory Haney as Noxeena is perfection, they bounce off each other brilliantly, their friendship feels honest, authentic and gifts us with magical moments throughout. Haney’s razor-sharp timing and deadpan delivery is utterly hilarious, he doesn’t miss a beat when it comes to delivering his brutal put downs and fierce observations, much to the delight of the appreciative audience.

Pablo Goméz Jones brings a real sense of fun to the role of Chi Chi, drag queen in training, taken warmly under Vida’s sequinned wing while Noxeema’s agreement to the trio is more ‘three’s a crowd’ than ‘you’re welcome’. The journey the three go on is both beautifully poignant and utterly hilarious.

There’s incredibly strong support from the rest of the talented ensemble most notably Carolyn Maitland who makes for a superb Carol Ann. Stuck in a violent marriage she opens her life and her heart to the visiting trio with the most heartwarming of consequences. Her duet with Caulfield, Maybe Tomorrow is such a gentle, beautiful moment, their delivery pitch perfect, conveying a genuine sense of hope despite her despair.

This is a true ensemble production with each and every cast member being given their own opportunity to shine and boy do they shine! My face ached from smiling as I watched their transformations once Vida, Noxeema & Chi Chi sprinkled some of their ‘career girl’ magic.

Duncan Burt and Lee Harris as Sheriff Dollard and Ed Earl are first-rate villains of the piece with their backward attitudes and brutal behaviour while Alexander Kranz makes a wonderful stage debut as Bobby Ray, sweetheart of Bobby Lee portrayed perfectly by Emily Ooi. Susie Fenwick and Samantha Bingley ramp up the laughs as they add genius yet entirely different doses of humour.

Costume designer Gregory Gale along with wig designer Bobbie Zlotnik and make up designer Andrew Sotomayor have pulled out all the stops to ensure the cast look stunning. Their use of colour palettes perfectly illustrating the huge differences between the locals and their exotic visitors.

At a time when Drag performances are being censored in many parts of the United States it feels so important to shine a light on this skilful art while also offering a real celebration of authentic individuality.

To Wong Fo is a joy, it will uplift, empower and remind you that life is there for the taking. In a world so full of shade right now To Wong Fo offers much needed light in the most celebratory of ways, it’s hilarious, gloriously camp and bursting with heart. It feels like this is the start of something truly special, this cast and this production have West End and beyond written all over them, and you know when it happens It Will Be Beautiful!

To Wong Foo is on at Manchester’s Hope Mill Theatre until Sunday 17th December tickets available here.

Free Your Mind

Leave a comment

Reviewed by Nikki Cotter

Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

Manchester’s much anticipated new arts and cultural hub and the home of Factory International, Aviva Studios, officially opened in iconic style last night with the world premiere of Free Your Mind, a jaw-dropping semi-immersive piece of performance theatre, based on the 1999 sci-fi classic, The Matrix.

Featuring 50 professional dancers, as well as a world class creative team, this bold and brilliant reimagining takes place throughout the purpose-built facility with performances commencing from the very moment you walk through the doors into the expansive foyer.

Director Danny Boyle, teamed with choreographer Kenrick ‘H2O’ Sandy, composer Michael ‘Mikey J’ Asante, costume designer Gareth Pugh and writer Sabrina Mahfouz have created something truly unique and utterly breathtaking. The addition of Es Devlin’s jaw-dropping set design really takes this already inspiring piece to the next level, the likes of which I’ve never seen before.

This fresh perspective on the iconic 90’s movie offers a thought-provoking take on the rise on artificial intelligence and its infiltration into life as we know it. Opening with an intricately choreographed piece featuring Alan Turing (portrayed by Ian Harris) words of warning are shared about algorithms and ultimately our increased reliance upon them as malfunctions soon begin to appropriate the performers. From here we explore the modern world not just though the eyes of Neo (Corey Owens) but also from the viewpoint of a technology consumers, all of course with a Manchester twist.

Part one is both visually and artistically stunning setting us up brilliantly for the sheer spectacle that is part two as we move from the studio’s sumptuous theatre into a sprawling warehouse space, brilliant in both scale and style. The anticipation of what is to come fizzing through the audience as we wait for the next instalment.

A rapid history of Manchester plays out to the sounds of New Order’s Iconic Blue Monday as we whizz through reminders of the cotton merchants, Joy Division gigs, the cobbles of Coronation Street and the late great Tony Wilson.

Big tech are ingeniously represented as we see life imitating art when dancers move through the space transfixed by their phones while many of the audience busy filming the action suddenly see themselves represented on the central catwalk. There’s a stark reminder of the increasing control the tech giants have over our lives as they parade in front of us demanding complete and total attention. The precision of the performers is sublime as they march to the beat of AI, while choreographer Kenrick “H2O” Sandy’s portrayal of Morpheus is both fluid and majestic.

While we’re pushed to reflect on our own relationships with technology we’re reminded that the control still lies on our own hands with the opportunity to ‘free our minds’ still within reach.

This vivid spectacle will well and truly ensure Aviva Studios, the permanent home of Factory International is firmly placed on the cultural map. With its endless creative possibilities highlighted spectacularly in this ground-breaking opening show this really does feel like a landmark moment in Manchester’s cultural history.

Free Your Mind is on at Factory International, Aviva Studios until Sunday 5th November. Tickets available here.

42nd Street

Leave a comment

Reviewed by Jodie Crawford

Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

Photo Credit: Johan Persson

42nd street is set in America during the hardest of times, the Great Depression. Many young people were out of work and scraping to get by. This show tells the tale of one such gal “Peggy Sawyer”, played by the incredible talented Nicole-Lily Baisden, who in search of her dream finds herself missing out on an audition for a new Broadway show. But things start to look up when she catches the eye of a big time director, Julian Marsh and Peggy lands herself a role in the chorus line, her dream come true. 

Now I would struggle to tell you the plot of the show they are putting together, but the plot of it isn’t important! Not to anyone ! What matters is that due to an incident with the leading lady Peggy has the chance of a lifetime at her fingertips…will she pull it off ? There’s only one way to know: get down to the Opera house this week to find out! 

42nd Street has graced stages around the world since the 1980s and still it manages to hold everything that is magical about musical theatre firmly in its grasp. I’ve seen this show countless times and still I get goosebumps during the big numbers. This show doesn’t need modernising, it doesn’t need tweaking, it just needs to be watched in all its splendour. The costumes are sublime: they are glitzy and glamorous and transport us back to a bygone era of gentlemen’s waistcoats and pleated trousers and ladies in evening gowns that twinkle in the moonlight. Hair, make up, props: All work together to take us back to a time gone by. 

The cast of this production is the greatest I have seen over the years. The lead characters come together brilliantly on the stage. Samantha Womack as Dorothy Brock is a delight. She’s funny and sassy and my word, can she sing. 

Michael Praed, who plays Julian Marsh, works hard to keep the narrative moving and he creates the pace of the plot with utter professionalism. His performance is flawless in every single way. Faye Tozer and Les Dennis, make for an awesome pairing, they were just so wonderful both together and in their own right. 

And Nicole-Lily Baisden is without a doubt the most energetic, enthusiastic and majestic Peggy Sawyer, that I ever did see. Everything about Baisden screams Broadway. She is the quintessential Peggy Sawyer. 

None of the glitz, glamour, and joyousness would be possible without the hard work of the ensemble. Note perfect, step perfect. Everything perfect. This show is relentless for an ensemble member, it’s upbeat, high impact and takes a hardworking performer to make it look so easy. The choreography is demanding, but this ensemble make it look like it’s all in a days work. 

Everyone should see 42nd Street. It’s got everything. It’s not trying to be something it isn’t. It’s just there to be seen and heard. And this cast make it the most magical 42nd Street that there is. 

If ever there was a show to make you wish you’d learnt how to tap dance – this is most definitely it!! 

42nd Street is on at Manchester’s Opera House until Saturday 21st October tickets available here.

Rachel Fairburn

Leave a comment

Reviewed by Jodie Crawford

Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

I was super excited to be asked to review a stand up comic – one, because I haven’t seen any stand up since before I had my kids seven years ago and two, because I’ve never reviewed a stand up gig before and I’m always keen to try something new. And this show really is new! Tonight was opening night for a nationwide tour – a tour that you absolutely have to go and see, and take every friend you have with you, because they are not going to want to miss out.

My only knowledge of Rachel Fairburn is that she once sat next to a friend of mine on a train to London and moved seats once my friend started eating crisps! Which is possibly the best “I once met” story I have ever heard. And before tonight, before getting a small insight into Rachel’s soul, I considered this to be a big precious. But now I know that there is absolutely nothing precious about Rachel Fairburn. She just literally won’t do anything she doesn’t want to do – including have kids, sit in the pub with other people’s kids and have anyone stay over at her house! 

Rachel draws a good size crowd for opening night in Manchester and from the minute we entered the auditorium I realised that Rachel clearly has a strong following and while most of the audience were women, they were woman of all ages.  

The show begins with Rachel entering onto stage as the warm up to her warm up act. And she captures us with her warm, no nonsense storytelling from the minute she opens her mouth. Mancunians, love another Mancunian- and Rachel is no exception. You can tell the audience are willing her to be funny- and there was nothing to fear because this woman is bloody hilarious.

Rachel spins us a few very funny tales and then leaves the stage all warmed up for Tom Lawrinson, her support act. Tom is funny, slightly odd (in a good way) and the crowd love him. He nudges the boundaries of appropriate and the crowd lap it up. The people sat next to me were chanting his name in joy after his set. 

When Rachel returns to the stage, she returns as the title of her show “the showgirl” – how she wore that outfit for the whole show in the 30 degree heat, and under the lights of the stage, I will never know. This show is unlike any I’ve seen before, she is so spot on with her observations and her reflections on nostalgic culture. The comparisons between the haves and the have nots, the observations of TV culture and her hilarious tales of her childhood. I don’t want to give away any of her gags – but if your name is Paula, then you’re in for a treat or two! 

Rachel Fairburn is clever, bold, brilliant and does one of the best Mancunians swaggers I’ve ever seen anyone, who doesn’t have the surname Gallagher, do. This show is a triumph, a masterpiece and an ode to turning middle aged. In a world where often people try to put us down and tell us to stop showing off – we could all just be a bit more Rachel, a bit more of a Showgirl. 

Tickets are on sale from ATG for the remainder of the tour – don’t hesitate – go see it. And take tissues because you will 100% be crying with laughter – just “ask Jeeves”.

Tickets for Rachel Fairburn’s tour are on sale now, click here for more info.

Heathers The Musical

Leave a comment

Reviewed by Nikki Cotter

Opening Night verdict ⭐️⭐️⭐️⭐️

Based on the 1980’s cinematic cult classic starring Winona Ryder and Christian Slater, Heathers The Musical – written and composed by Kevin Murphy and Laurence O’Keefe, makes for a deliciously dark and daring piece.

Set in the brutal and unforgiving Westerberg High School, Heathers introduces us to Veronica, a sarcastic outcast who after years of falling foul to the food hall bullies unexpectedly finds favour with the popular girls; leader of the pack Heather Chandler, Heather McNamara and Heather Duke, who fulfil Chandlers every command. Suddenly sucked into this chaotic clique this dark comedy quickly lures you in and once the brooding J.D. enters the mix, the unexpected events come thick and fast.

Leading the cast as wannabe social climber Veronica, Jenna Innes is superb, she bursts with both talent and charisma resulting in a truly unforgettable performance. Her pairing with Jacob Fowler, (most recently seen in Manchester as Hope Mill Theatre’s Prince Topher), is inspired, his dark, brooding J.D. is tremendous, nuanced and unpredictable. Their on-stage chemistry ramping up the believability of a love story turned obsession as we see J.D. push Veronica to reach for her dreams no matter what the cost. Both deliver stunning vocals while their acting skills are second to none.

Verity Thompson makes for a perfect Heather Chandler, calculating and cruel she’s a queen bee with a sassy sting in her tail and a voice as perfect as her permanent pout. Her intro entrance with sidekicks Heather McNamara and Heather Duke has gained iconic status amongst Heathers fans who burst into spontaneous applause the second they appear, gliding across the stage, their bright blazers begging for attention amidst a swirling cloud of dry ice. Elise Zavou plays spoilt, spiteful Heather Duke superbly while Billie Bowman’s delivery of Lifeboat is one of the most touching, emotionally charged moments in the show.

Kinglsey Morton gives us a dose of reality with her excellent portrayal of Martha Dunnstock while Alex Woodward and Morgan Jackson as Jocks, Kurt Kelly and Ram Sweeney are hilarious.

There are several dark themes entwined within the script, references to date rape, bulimia, suicide, and homophobia amongst them, illustrating the messy reality of teenage life at Westerberg High but all are covered with sardonic wit.

The show bursts with brilliant numbers each with their own infectious hooks making you soon realise just why this show like the film it’s based on now has its own cult following. Seeing the theatre packed out with young theatregoers some of which cosplaying as the cast was a joy, the vibe felt fun, inclusive, and so welcoming.

This dark comedy delivers entirely, with its superb cast, slick choreography, and sublime vocals, you’ll be rushing to enrol yourself at Westerberg High. Fun, fierce and totally fabulous.

Heathers The Musical is on at Manchester’s Palace Theatre until Saturday 12th August tickets available here.

Images Pamela Raith