Manchester

Rachel Fairburn

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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

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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

Greatest Days

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Reviewed by Jodie Crawford

Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

Quite surprisingly this jukebox musical is not the actual story of Take That, nor is it the story of “The Band” which feature as a background soundtrack to this production. But, this is a glorious, heartwarming story of friendship, loss, love, fear and how it feels to love a boy band more than any thing else in the world.

Now – disclaimer- I am not a huge Take That fan. I’m more of a New Kids on the Block girl, but after tonight I realised how the sound track of this musical has in fact been the sound track of so much of my late teenage years. A bit like: I’m not a fan of Angels by Robbie, yet I know all the words! What I also categorically know is that the Manchester audience tonight were absolutely gagging to see this Bobby Dazzler of a show.

Putting Greatest Days in on Manchester is a Take That fans version of a United fan watching United in a premier league title match at Old Trafford. There is no better place for this show to be. It’s a wonderful homecoming.

The plot takes us back to the 90s, where we were wearing knee high socks and pleated tartan mini skirts or adidas trackies, where we were recording our favourite hits on our ghetto blasters on a Sunday afternoon while listening to the charts, where we were making up dances with our mates so that we could dance along when the Smash Hits poll winners party was on the telly. Here, we meet five friends, as different as the spice girls to one another. Who, thanks to the beautiful, talented Debbie (played by the magnificent Mary Moore) have the chance to go and see their favourite band play in Manchester. A treat like no other; all they have to do is tell a few lies to their parents and make their way to the concert. Their aim is to finally meet the boys, face to face. The night however doesn’t go as planned and their lives are never the same again.

The events of that night breaks the bond the girls have, until the once in a lifetime chance brings them together 25 years later.

I don’t mind admitting it, I did shed quite a few tears at various moments of the show. And judging by the sniffing sounds around the auditorium, I wasn’t the only one.

The entire cast were incredible. The connections between the friends as their younger selves and then older selves was electric. And the scene where the younger version comes together with the older one was so enchantingly beautiful.

Special mention goes to the wonderful Jamie-Rose Monk for her hilarious and touching portrayal of older Claire. Never have I laughed more than at the line “I like to sleep with a man and then eat him”. Rachel Marwood is a brilliant older Heather; I am not surprised that Rachel has been awarded a “funny woman” award previously – she is a great comic actress.

Holly Aston, Hannah Brown, Emilie Cunliffe, Kitty Harris and Mari McGinley, were all outstanding in their performances. They work well together on stage and deserve every moment of the standing ovation given. While Kym Marsh was dazzling: she can sing, she can dance and Manchester love her, she’s one of ours and Mancunians couldn’t be prouder.

The “boys” did exactly what their role asks of them, they gave us a sound track, they didn’t take the limelight, they let the women shine in all their glory. And they did so with so much talent and humbleness. They help to tell the story, they know it’s not all about them and they take that with grace. And they also lead a fabulous finale!

It’s also worth the ticket price to see Alan Price in his many roles, a true legend of the stage in every sense of the word.

The music is what ties everything together in this production, the goosebumps on the back of my neck when “Never Forget” started up. You could feel the electricity sweep through the audience. Most people will go and see this show because they love Take That, but it’s more than a homage to a boy band-it’s a tribute to those of us who bonded with our ill fitting friends over our love of pop music. It’s a dedication to the girls who queued for hours for tickets or at stage door at the end of the night for a glimpse of their favourite member of the band. It’s a reflection of lives lived, and those not lived fully. It’s a chance to reminisce of how we saw ourselves 25 years ago and be proud of the women we became. It is nostalgic, but it’s also insightful and moving, a perfect night out.

Greatest Days is on at Manchester’s Palace Theatre until Saturday 27th May tickets available here.

The SpongeBob Musical

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Opening Night Verdict ⭐️⭐️⭐️⭐️

The Opera House in Manchester has been transformed into Bikini Bottom for the week with the arrival of SpongeBob Squarepants the Musical, the hit Broadway show currently on its first outing in the U.K.

For those living under a …pineapple? SpongeBob Squarepants is a hit/cult cartoon series that launched on Nickelodeon in 1999. While it probably isn’t the most obvious source material for a musical, nevertheless it opened in New York in 2017 and was nominated for a dazzling 12 Tony Awards.

It isn’t a jukebox musical – the show has original songs written by some of the biggest names in music including Steven Tyler and Joe Perry of Aerosmith, Cyndi Lauper, John Legend and Sara Barellis.

The result is a veritable smorgasbord of eclectic musical styles, each one different from the next with everything steered in shipshape fashion by director Tara Overfield Wilkinson.

And there’s some real bangers in there there – from the opening number Bikini Bottom Day (Jonathan Coulton) to SpongBob’s uplifting Hero is My Middle Name (by Cyndi Lauper).

The plot really doesn’t matter – but it centres around a volcano that’s due to erupt putting Bikini Bottom at risk – and there’s some nice messaging in there like sticking together, being a good friend and how family is more important than money.

As the titular sponge Lewis Cornay (Book of Morman) puts in a charismatic lead performance. Not only does he nail SpongeBob’s trademark squeaky voice but the fact he makes it all look so easy is testament to the skill involved by him.

Tom Read Wilson – four-legged Squidward – is best known for his role as ‘client co-ordinator’ in Celebs Go Dating, but he trained in musical theatre and boy does it show! He gets one of the best numbers on of the night in the They Might Be Giants-penned I’m Not a Loser – a full on company tap number that is pure joy. 

Clear local favourite Divina De Campo is having lots of fun as the dastardly Shelton J Plankton, who doesn’t let his small stature (and the fact he’s a one cell organism) stop his scheming.

The principles are complimented by a hard-working supporting cast including Irfan Damani as the sweet starfish Patrick, Tik Tok & Heathers favourite Hannah Lowther as Karen, Chrissi Bhima as Sandy Cheeks, Sarah Freer as Pearl and Richard J Hunt as Eugene Krabs. The company is terrific and it looks like genuine fun is being had by all.

Sarah Mercade’s witty and wonderful costumes help bring the characters to life and there’s lots of in-jokes to spot during proceedings (we loved that the Mayor of Bikini Bottom lives at 10 Drowning Street…. and that Tuna Turner and Cod Stewart were in the band!)

Theres much fun to be had for die hard SpongeBob fans but if you’re new to the phenomenon then just sit back and let the madness wash over you!

A few opening night sound gremlins didn’t detract too much from the fantastic vocals on display, and while a delayed start for technical reasons meant a bit of a later than planned finish for little ones, at the end everyone was up on their feet singing the TV theme tune.

Fabulous, fluorescent fun for SpongeBob devotees or newbies alike – trust us, you’ve got to ‘sea’ it!

The SpongeBob Musical is on at Manchester’s Opera House until Sunday 21st May tickets available here.

Cat on a Hot Tin Roof

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Reviewed by Matt Forrest

Opening Night verdict ⭐️⭐️⭐️1/2

Last year, the Royal Exchange had for its autumn offering of Tennessee Williams’ The Glass Menagerie, (it was originally scheduled for the stage in 2020 but was temporarily shelved due to Covid-19). The production garnered huge commercial and critical success. Hoping that lighting will strike twice, the Royal Exchange has once again turned to the great American playwright to kick off their spring programme with another Williams’ classic, Cat on a Hot Tin Roof.

Set over the course of one evening, the Pollit family has gathered at the huge family estate for their patriarch, Big Daddy’s (Patrick Robinson) double celebrations. First of all, it’s his 65th birthday, and secondly Big Daddy has received the news that he is cancer free following a health scare. However, the event isn’t the joyous affair one might expect.

First of all you have Big Daddy’s youngest son, Brick (Bayo Gbadamosi) a retired American Football star, who has recently injured his leg in an athletics accident, hobbling around on crutches.  This is the least of his worries, for he has descended into alcoholism following the death of his close friend Skipper. Adding to his woes is his wife Maggie, (Ntombizoda Ndlovu). With the pair trapped in a loveless, sexless marriage, with Maggie desperate to reignite the flames of passion and restore the marriage to its former glory, and hopefully produce a child.

Other attendees at the party are Brick’s older, ambitious brother Gooper (Daniel Ward), his scheming wife, Mae (Danielle Henry), and their five children or “no necks” as they are comically referred to throughout. The final family member is Big Mama (Jacqui Dubois), Big Daddy’s wife, who is trying to hold the family together unaware that her overbearing nature is doing more harm than good.

This play follows a three-act structure, with the first undoubtedly belonging to Ntombizoda Ndlovu, as Maggie.  She dives headfirst into Willams’ script with many, many monologues highlighting the troubles between her and Brick, and foreshadowing the drama that is about to unfold. It’s a mesmerising performance filled with heartbreak and humour, and one that will quite rightly earn Ntombizoda a great deal of plaudits.

The second act sees a standoff between Brick and Big Daddy, with a sombre, beautifully understated turn from Bayo Gbadamosi, going up against, powerhouse performance from Patrick Robinson, as the straight-talking father, ready to right his wrongs, for better or worse, now he has a new lease of life. Robinson, delivers some brutal dialogue with so much charisma, that you almost, (and I do stress almost ) side with Big Daddy.

The final act sees all the players gather for a restrained, darkly comedic showdown, which sees grievances aired and issues come to the fore. It may not be the big set-to, you would expect, the rather toned down conclusion is no less satisfying.

The production is not without flaws, the script is a seemingly never-ending torrent of monologues, which repeat the same thing over again, as Talking Heads said in the song Psycho Killer, “Say something once, why say it again?”. Whilst the play does offer an interesting take on mortality, grief, and wasted life to name but a few it certainly takes a long time making its point, some of Williams’ self-indulgent tendencies could do with a bloody good trim.

Director Roy Alexander Weise has done a fine job creating a claustrophobic environment for which this toxic group thrive in, as you would expect it’s a dramatic piece that never strays into melodrama and has more darkly comic humour than I certainly expected.

At over three hours long it’s a challenging watch, but one that rewards with enjoyable performances and some stringing lines of dialogue.

Cat on a Hot Tin Roof is on at the Royal exchange till 29th April, tickets available here.

My Fair Lady

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Reviewed by Nikki Cotter

Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

My Fair Lady tells the story of Eliza Doolitte, a cockney flower seller plucked from Covent Garden by pompous linguistics professor Henry Higgins who is determined to transform this ‘guttersnipe’ into a proper lady, no matter the cost.

This multi-award-winning production of Lerner & Loewe’s classic musical comes to Manchester following a critically acclaimed West End run and from the opening scene it’s clear to see why audiences from New York to the London have been captivated by this luverly revival.

Michael Yeargan’s set design immediately impresses, managing to be both elaborate and functional, it is incredible, while Catherine Zuber’s sumptuous costumes are simply stunning, paying true homage to the authentic look of the My Fair Lady we’ve come to know and love.

Taking on the role of Eliza, made famous by Audrey Hepburn in the 1964 movie version, Charlotte Kennedy breezes into the flower sellers boots and swiftly makes the role her own. From Wouldn’t It Be Loverley to I Could Have Danced All Night, she captivates entirely; her vocals are sublime. Eliza’s journey from start to finish is incredible to watch, as she brings real emotion to the complexities created by the Professors experiment.

Michael D. Xavier makes for a wonderful Professor Higgins, suave and seemingly sophisticated he gives the character genuine likability and fantastic comedic value. His facial expressions and physicality add layers to the dialogue as he gifts the audience with laugh after laugh due to the absolute absurdity of his firmly held opinions. Despite his misogynistic leanings the effect Eliza has on him is wonderful to see, the pair have you rooting for them wholeheartedly as the bicker and bristle throughout.

Adam Woodyatt is clearly having an absolute ball playing Eliza’s father, Alfred P Doolittle, a role he delivers with ease while impressing with his vocals, Get Me To The Church is a real highlight and also allows the talented ensemble to truly shine. Another stand out ensemble moment comes during the Ascot Gavette which is visually stunning with pitch perfect vocals.

The rest of the supporting cast are equally as strong. John Middleton’s portrayal of Colonel Pickering adds another wonderful element to the piece as he brings a light playfulness to the role.

Tom Liggins is great fun as Freddy Eynsford-Hill, a lovesick puppy desperate for Eliza’s affections. Heather Jackson is a self-assured Mrs Higgins while Lesley Garrett as Mrs Pearce reminds us all just how vocally talented she is.

If classic, classy theatre is what you want then that’s exactly what you’ll get from this stunning production. Everything about it feels top quality, from the cast to the costumes this lavish production hits every note. Bursting with much-loved songs, oozing with style and chock-full of talent this My Fair Lady is not to be missed.

My Fair Lady is on at Manchester’s Palace Theatre until Saturday 1st April tickets available here.

Faulty Towers The Dining Experience

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Reviewed by Matt Forrest

Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

The world’s worst hotelier, Basil Fawlty, his long suffering wife Sybil, and human punch bag, Manuel have arrived in Manchester at one of the city’s newest hotels, Hotel Brooklyn for Faulty Towers The Dining Experience. 

Interactive Theatre recently celebrated their 25th year of performances, as well as a decade of shows in London’s West End, and on the basis of today’s show you can see exactly why: anarchic, ridiculous and absolutely hilarious; I loved it!

Paying homage to the popular John Cleese and Connie Booth penned sitcom, the fun starts as soon as you step foot in the bar, while waiting to be seated, as Basil, Sybil and Manual demonstrate their unique take on customer service and good old British hospitality.

What follows is a unique dining experience, as a three-course meal is served through 90 minutes of mayhem while Basil abuses his waiter and most of the diners as well. The website states that 70% of the show is improvised, and you can certainly see why as a great deal of the event revolves around audience participation, whether they want to participate or not, and the rest is a mixture of well placed set-pieces from the show.

The cast are superb. It’s a flawless performance from all three actors and a showcase for fine mimicry and physical comedy. It’s exactly what you want from this immersive experience.

Fans of the show will love it. Those coming to it for the first time will hopefully have been briefed about what to expect, or they’ll be in for a rude awakening! If someone you’re going with is celebrating a special occasion, let them know as it will be celebrated in true Fawlty Towers style.

This is a great deal of fun and certainly worth catching whilst it’s in Manchester. A word of warning though be careful of the soup… some of the bowls may have a little bite to them (when you go, you’ll know exactly what I mean).

Faulty Towers The Dining Experience is at Hotel Brooklyn, until Sunday 12th March. Tickets available here.

 

 

 

 

 

 

 

Beginning

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Reviewed by Matt Forrest

Opening Night verdict ⭐️⭐️⭐️⭐️

Credit and copyright: Helen Murray http://www.helenmurrayphotos.com

If you told me before the performance of Beginning, that I’d be emotionally invested in two people dancing around a kitchen to I Owe You Nothing by Bros, then I’d have called you a liar. However, two hours later I’d owe you an apology, and then would have chewed your ear off demanding a ‘chat’ about what we’d just witnessed!  Taken in isolation, this 10-minute sequence demonstrates all that is great about the David Eldridge penned production; playful, tender, at times desperate, an emotional rollercoaster, more than worth jumping onboard.

Beginning starts at the dying embers of a housewarming party in the leafy suburb of West Didsbury. All that’s left is Laura (Erin Shanagher), the party hostess, and Danny, (Gerard Kearns) a-friend-of-a friend of Laura’s, unsure why he’s still there. We soon learn that the pair have caught each other’s eye as the party has progressed and now it’s all about how the night will end.

Set in real time, we learn how these two very different characters share some striking similarities. Laura is a sexually confident, managing director, laser focused on a romantic encounter with her guest, whilst Danny is a confidence starved 42-year-old man, who lives with his mum, sceptical about why Laura is so keen for them to spend the night together.

As the night progresses, the pair peel away layers of their character to see if this potential union could work: a mutual love of scotch eggs being a plus point, their choice of football teams a potential roadblock, Laura’s chosen team, being one of the more shocking and funnier revelations for the Manchester audience. However, it’s their past heartbreaks that are shaping their present anxieties, holding them both back and keeping them very much alone.

Bryony Shanahan’s direction is flawless throughout. This is very much an extended version of a mating ritual you’d see on one of David Attenbrough’s Sunday night wildlife documentaries, as the would-be-lovers circle each other using the glorious in-the-round setting of the Royal Exchange. There are even hints of those extended dance sequences you get in many period dramas.  The play is allowed to breathe, throughout there are long moments where more is said in a silence than could ever be by any dialogue. It gives it a more real life, naturalistic quality.

The two leads are fantastic, with both Kearns and Shanagher giving layered, nuanced performances – both drifting seamlessly from comedic to heartbreak within the blink of an eye. The aforementioned Bros sequence will have you grinning from ear-to-ear as a result of Shanager’s fantastic dance routine, and equally devastated by Kearn’s reaction. The chemistry between the pair is off the chart – the production lives or dies on whether you believe in the pair of them, and you absolutely do.

David Eldridge’s script is bang on point, warm, funny and poignant. It has a great deal to say about the human condition, and our desire for meaningful human connection, something we all can empathise with post-pandemic. It takes a seemingly mundane everyday occurrence, and makes it the most important thing in the world for its near 2 hour running time. The fact that you’re never really sure how you want it to end, or indeed how it will end, is a major strength.

This is a production that sees everyone at the top of their game, a witty, thought provoking, relatable and unashamedly honest script, anchored by two strong, enjoyable central performances who bring to life characters you actually care about. This is surely what good storytelling is all about.

Beginning is on at the Royal Exchange Theatre till 11th March tickets available here.

The Pantomime Adventures of Peter Pan

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Reviewed by Jodie Crawford

Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

Pic copyright Phil Tragen 2022

Crossroads Pantomimes brings us The Pantomime Adventures of Peter Pan. Based (loosely) on the book by JM Barrie, about the boy who could fly and never grows up. 

As the glittery curtain rises we meet Tink (Samara Casteallo), a flying fairy who can produce pixie dust, which allows other characters in Neverland to fly. Tink enrols the help of Wendy (Jessica Croll) to come to Neverland to help save Peter Pan (Ross Carpenter) and make him fly once more. Arch nemesis Captain Hook (Jason Manford) has other plans and aims to steal all of the pixie dust and get his revenge on Peter Pan.

At least I think that is the plot. The fact of the matter is that it doesn’t really matter what the plot is, this show is way bigger than the plot. The plot gets stretched and bent and twisted and we get distracted and we laugh and we clap and we dance and then we return to the plot for a moment and then off we go again.

Pic copyright Phil Tragen 2022

This is hands down THE best pantomime I have ever seen. I was worried that it was missing a “pop star” but that didn’t matter. I was worried that it was missing a “dame” but that didn’t matter. What really mattered was the astonishing partnership between Captain Hook (Jason Manford) and the incredibly talented Ben Nickless as Smee. From the minute the two are together on stage there are explosions of comic fireworks, which had us crying with laughter time and time again. 

Nickless returns to the Opera House for his fourth panto, but this year it’s different, this year he is a big star. He has had an incredible year on Britain’s Got Talented, and it’s given him the platform to take command of the stage. I loved him last year and didn’t think he could get any better, but somehow he has. Having two hilarious comedians in the show has made it doubly funny. They don’t compete with each other, the fit perfectly together.

Pic copyright Phil Tragen 2022

Manchester loves a northerner, so Manford is an excellent casting choice. The crowd absolutely love him, and for good reason: he can act, he can sing, and he is super funny. The way in which he breaks character every so often, works really well at engaging the audience. He has the crowd participation element of panto spot on!

Both Manford and Nickless were born to star together on stage in pantomime. The mermaid scene and the 12 days of Christmas had me in absolute stitches. I really hope we get to see them collaborate again in the future.

Pic copyright Phil Tragen 2022

The whole cast are tremendous, I can’t imagine it’s an easy feat sharing a stage with the huge personalities of Manford and Nickless, but it doesn’t phase them at all. Ross Carpenter is a beautiful Peter. I found him to be gentle and kind in character, with a spritely energy about him. 

I loved the addition of The Acromaniacs, like many elements of this production, their inclusion brings nothing to the plot, but it doesn’t matter because they’re fabulous. They bring a variety hall feel to the production and I loved it!

The ensemble are exemplary, they are seamlessly woven into the scenes, so much incredible talent and they keep us entertained throughout.

Pic copyright Phil Tragen 2022

Ian Westbrook’s set design is exquisite. The sound design, the special fx, the choreography, the costumes, the props, the lighting: all of it, is utter perfection. 

You don’t need to like panto to love this; this is modern panto – genuinely clever and very funny. It’s a panto for the young and the old. It’s for the northerners, the southerners and even the Aussies (hiya Jordan!). Life feels very heavy at the moment for so many people, there are so many things to be worried about and who knows what next year will bring, but spend two hours in the Opera House this festive season and somehow things will feel just a little bit lighter and brighter. The Pantomime Adventures of Peter Pan is exactly what we all need this Christmas, superb!

The Pantomime Adventures of Peter Pan is on at Manchester’s Opera House until Saturday 31st December tickets available here.

The Mousetrap

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Reviewed by Jodie Crawford

Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

It is incredible to think that this play has been performed by so many actors in its 70 year run. 70 years of different generations of theatre goers sitting in auditoriums gripped by this timeless murder mystery. Laughing at the same jokes, and all asking themselves over and over “who dunit?”.

As the curtain rises for Act one, we encounter the splendid view of Mr and Mrs Ralston’s drawing room, which has been converted into Monkswell Manor guest house in order to for them to be able to afford to keep this family home. Firstly, Mrs Ralston (Joelle Dyson) enters wearing a dark overcoat, a felt hat and a light scarf and hurriedly hides something in a bureau, before quickly leaving the room. Next to enter is Mr Ralston (Laurence Pears) wearing a dark overcoat, a felt hat and a light scarf and he too hurriedly hides something before disappearing off stage. I’m fact all of the guests who arrive, arrive wearing the same garments, something that becomes extremely significant as the plot unfolds.

The Ralstons are keen to welcome their first ever guests, but with no staff to help them they appear slightly out of their depth, with the cooking, cleaning and entertaining to take care of. As they ready themselves for their opening night, we learn from the news report on the wireless of a brutal murder that has taken place in London earlier that day. 

Before long the guests begin to arrive; firstly, is the nit-picking Mrs Boyle, played by Gwyneth Strong. From the moment she arrives she is less than impressed with the guest house and her fellow guests, especially the second guest to arrive: the animated and hilarious Christopher Wren, played by Elliot Clay. His arrival is followed by the kind-hearted, and ever helpful Major Metcalf (Nicholas Maude) and finally the last scheduled guest – the unconventional Miss Casewell.

As all the guests settle into their rooms and get to know each other a loud knock at the door catches them unawares. There are no other guests due to arrive….Enter Mr Paravicini (John Altman) who claims to have rolled his flash car further down the lane and is in need of a place to stay. Something doesn’t seem right about this chancer, but there is no option but to welcome him in from the cold. 

The guests are barely settled when a telephone call from the police puts everyone on edge. A detective is to descend on the guest house with some important news.

Young and dashing Detective Sergeant Trotter, arrives on skis to inform all at Monkswell house that they are infact now murder suspects, and at least one of them could be the next murder victim. With everyone now cut off from civilisation, thanks to a timely blizzard and the unfortunate cutting of the telephone wire, it’s is up to the detective to solve the crime and keep everyone safe. But who could possibly be a violent killer and what is their motive?

I was not expecting this play to be as witty and funny as it is. The pace is mostly quick, the set really helps with the pacing of the narrative, as the cast enter and leave through varying doors and corridors.

The cast are absolutely superb, each and every one of them. Dyson and Pears make a wonderful duo as husband and wife, they are perfectly charming. Elliot Clay is exceptional – he was the stand out performer for me tonight: he is funny and energetic and portrays Christopher Wren’s vulnerability in a way that we are able to see the depth of his character. Gwyneth Strong is excellent as the cantankerous Mrs Boyle, she really gets the audience against her from the get go! Nichola Maude and Essie Barrow are perfectly cast in their roles and both have a wonderful presence on stage. John Altman plays Paravincini with the right balance of humour and sleaziness. And finally Joseph Reed: he takes command of this play, his dialogue is sharp and controlled. He controls the pace and the narrative with professionalism throughout. 

I watched this play continually questioning who was the nurderer and who was a red herring – and low and behold I didn’t have a clue and would never have guessed it! But it’s a secret, so I’m not telling! 

I’m generally not a big Agatha Christie fan, but this isn’t a typical Christie play, it’s got something more wonderful to it. The issues raised in this 70 year old play are still relevant today, the characters are easy to identify with, it isn’t just about posh people and a murder plot. It’s about acceptance, truth, the class system, gender stereotypes and dealing with your past before it catches up with you. This play is genuinely funny, and captivating yet tragic at the same time, a great night out.

The Mousetrap is on at Manchester’s Opera House until Saturday 3rd December tickets available here.

Bugsy Malone

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Reviewed by Matt Forrest

Opening Night verdict ⭐️⭐️⭐️⭐️

Put on your trilby, shake your tail feather, and grab your splurge gun because one of the most beloved musicals, Bugsy Malone is in town this week providing the perfect night out for all the family.

The Lyric Hammersmith Theatre Group first performed this version of the late film maker, Sir Alan Parker’s timeless classic back in 2015 and it is now on a nationwide tour.

The cinematic version premiered in 1976 and garnered huge critical and commercial success. This mainly due to its original premise: that of children playing gangsters and showgirls, bringing together classic tropes of film noir and musicals.

Directed by Sean Holmes, this is the tale of a mob turf war between speakeasy owner, Fat Sam and crime kingpin, Dandy Dan. Caught in the middle of it all is wise-guy and boxing promoter, Bugsy Malone, and promising singing starlet, Blousy. As the bodies pile up can Bugsy and Blousy escape the criminal underworld and start a fresh life in Hollywood?

This is such a fun production packed with great performances, catchy musical numbers and well executed set-pieces that will have you smiling throughout. Highlights come thick and fast, with the high energy ‘Fat Sam’s Grand Slam’ perfectly setting the tone of the show. In addition, there is the superbly choreographed ‘We Could Have Been Anything’ and ‘So You Wanna be a Boxer’ which shine a spotlight on choreographer’s Drew McOnie’s outstanding work. All pack a punch and fill the production with such vibrance that you can’t help getting sucked in and taken along for the ride.

As you may expect, this is a showcase for some fine young actors, some of whom are making their professional stage debuts with this production. Mixing these super talented kids with adult performers is a treat to watch. It never seems jarring or takes you out of the action, which can happen when you have children playing adults and vice-versa. This is a super talented ensemble cast that works so hard throughout, providing big laughs and lots of fun.

The costumes and set design by Jon Bausor look great. The costumes fully encapsulate 1920’s America, lots of glitz and glamour for the ladies, and pin stripes suites for the gents. The clever set design, along with Philip Gladwell’s lighting design gives the production a darker element to it, fully evoking criminality, mob assassinations and scenes from old gangster films we are all too familiar with.

The finale may actually be one of my favourite show endings of all the productions I’ve had the good fortune to cover and perfectly captures the immense joy you get from the show.  A huge dance number for all the cast, with absolute joy etched on all their faces, so infectious that the audience were up on their feet and joining in. Bugsy Malone is a big pie in the face full of fun and fabulous performances, and one that will entertain young and old alike.

Bugsy Malone is at the Manchester Opera House till the 12th November. Tickets available here.

The Lion King

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Reviewed by Nikki Cotter

Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

The award-winning musical which has been seen by over 110 million people worldwide has returned to Manchester for an incredible 19 week run, taking up residency at the city’s Palace Theatre.

Based on the 1994 Disney animated feature film, The Lion King has been wowing audiences on Broadway for 25 years while also running continually in the West End since 1999; so it feels like a real treat to have this record-breaking show visit us here in the North West.

Telling the story of Simba who is tricked into thinking he is responsible for the demise of his father Mufasa , The Lion King opens with a burst of brilliance as the iconic Circle of Life plays out in all its theatrical glory, no spoilers here but this truly is one of the most spectacular openers you’ll ever see as the animals of the Kingdom burst into beautiful, vibrant life, immersing the audience fully as they take their places in the Pridelands.

Julie Taymor’s stunning costume design combined with Richard Hudson’s minimalist scenic design, vibrant lighting from Donald Holder and expressive choreography from Garth Fagan unite impressively to bring the sights and the sounds of Africa’s expansive savanna to the stage. Each scene fills you with wonder, often drawing spontaneous applause from the audience as the sheer magnificence of this production plays out. Julie Taymor and Michael Curry’s puppetry combined with intricate masks are spectacular and lift this production to a whole other level.

This is a true ensemble piece with a cast of over 50 talented performers, each and every one bringing their own piece of Disney magic to the stage. The vibrancy of the group numbers is an absolute joy, visually stunning and a total feast for the eyes, you honestly don’t know where to look, there’s so much happening on stage, every corner of the Palace Theatre feels alive.

Stephenson Ardern-Sodje and Nokwanda Khuzwayo are perfectly cast as Simba and Nala delivering the beloved characters with real heart and depth. Jean-Luc Guizonne is superb as Mufasa, commanding and calm with a gentle ease about him. Matthew Forbes is a wonderfully witty Zazu who gets the audience on side immediately with his strong characterisation and incredible puppetry skills. Another audience favourite is Thandazile Soni who is an absolute delight as Rafiki, Alan McHale and Carl Sanderson bring the laughs as Timon and Pumbaa while Richard Hurst as the brooding villain Scar is fantastic.

The show is jam-packed with much loved musical numbers including Can You Feel the Love Tonight, Hakuna Matata, I Just Can’t Wait to Be King, Be Prepared and of course Circle of Life while stunning additions for the stage include the powerful Shadowland and the stirring, He Lives in You.

The Lion King is an astonishing piece of theatre, adults will be wowed while children will be filled with awe and wonder. Magical memories will be made every night of this run in Manchester as The Lion King roars out until Saturday 11th March.

Tickets for The Lion King can be booked here.