Music

Acosta Danza Carmen

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Reviewed by Maddie Shimwell

Opening Night verdict ⭐️⭐️⭐️⭐️

Acosta Danza arrived at the Opera House in Manchester last night, presenting Carlos Acosta’s extended version of his production of Carmen. This reworking of such a famous opera and ballet is striking and contemporary.

The first act introduces Carmen (Amisaday Naara), a factory worker, and Don Jose (Alejandro Silva), a soldier whose lives collide following Carmen’s arrest. One of the most memorable moments occurs early on. The pair weave in and out of a caged structure, Carmen’s wrists bound to a rope held by Don Jose. The choreography here is particularly clever, clearly requiring complex problem solving and meticulous rehearsal to avoid any accidental entanglements. It visually captures the power dynamic and growing tension between the two characters.

Naara and Silva portray the intense passion of Carmen and Don Jose’s relationship excellently. Their chemistry is undeniable, enhanced by beautiful lines and stunning classical technique. The whirlwind romance feels fuelled by lust and circumstance rather than genuine love, which makes their eventual downfall even more inevitable.

One character I struggled to fully connect with was Bull (Aniel Pazos). His presence onstage was undeniably powerful, yet despite Acosta describing him as a ‘Master of Ceremonies’, this did not entirely translate. His function within the narrative felt unclear.

I also felt that some of the corps de ballet sections in Act One lacked the refinement seen in the duets and solos. However, this was resolved in the opening of Act Two which featured the newly added tavern scene for the corps de ballet, which proved to be the standout moment of the entire production. Without having seen the original version, it is difficult to imagine the work without this scene. The dancers brought infectious energy, and the Cuban flair shone through.

 Following this, Escamillo (Paul Brando) is introduced, and Carmen instantly falls for him. In contrast to her relationship with Don Jose, her feelings here feel genuine and you can see she is in love this time. The production builds swiftly to its ending when Don Jose discovers Carmen’s plans to marry Escamillo, and in a fit of jealous rage, tragedy strikes.

Overall, Acosta’s Carmen succeeds in offering a fresh Cuban-contemporary fusion alongside classical ballet. At just 1 hour and 40 minutes including an interval, much shorter than the classic opera, feels purposeful rather than rushed, keeping the story largely clear and engaging throughout.

Acosta Danza Carmen is on at The Opera House until Saturday 25th April tickets available here.

The Old Vic’s A Christmas Carol comes to Salford

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The Old Vic is delighted to announce that Matthew Warchus’ much-loved, Tony Award-winning  A Christmas Carol, adapted for the stage by Jack Thorne (His Dark Materials, Harry Potter and The Cursed Child), will play at Lowry, Salford from 11 Dec 2026–10 Jan 2027.   

This will be the first time since its world premiere in 2017 that the show will be seen in another UK city, offering the chance for even more people to experience this magical show firsthand.

The Old Vic’s Artistic Director and Director of A Christmas Carol, Matthew Warchus, said: ‘For ten years now this production of A Christmas Carol has been delighting audiences from London and beyond and I am immensely proud of the impact it continues to have on audiences – whether it be their first time seeing the show or one visit of many. To now be able to share the joy of this production with the Lowry and its audiences makes this year a truly special one.’  

Lowry’s Chief Executive, Julia Fawcett, said ‘We’re absolutely thrilled to be working with The Old Vic – one of the UK’s leading theatres – to present their landmark production of A Christmas Carol – one of the most exciting, joyous and moving Christmas productions you’ll ever see. It’s the first time the show will have been presented in the UK outside of London – a real landmark moment for theatre in the region. We know North West audiences are in for something very special this festive season and everyone at the Lowry is delighted to be welcoming the show to Salford and presenting it on our Lyric stage.’

A Christmas Carol fills the auditorium to the brim with mince pies, music and merriment in this unique big-hearted production full of music and festive cheer.

Tickets are on priority sale to Lowry Members now and on general sale on Tue 31 Mar at 10am. Further details, including cast, are still to be announced. Tickets and further info can be found here.

The Battle

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Reviewed by Nikki Cotter

Opening Night verdict ⭐⭐⭐


Credit and Copyright: Helen Murray

Exploring the fierce rivalry between Britpop giants Blur and Oasis during the summer of ’95, The Battle offers a satirical retelling of one of British music’s most iconic chart races.

Back in the mid-nineties the media’s fixation well and truly peaked when it was announced that both bands would release singles on the same day, pitting ‘Roll With It’ against ‘Country House’ in a high-stakes battle to the top.

Writer John Niven, who worked in the music industry at the time has created a witty exploration of build-up to release day, the all-consuming nature of the rivalry and its impact on the relationships of those involved.

What began as a seemingly genius marketing ploy quickly begins to consume the lives of not only the band members but their friends, families and the music execs themselves.

Matthew Horne delivers a strong performance as Blur’s manager, Andy Ross, the original mastermind behind the chart battle. Ruthless in his pursuit of success, he focuses entirely on the media hype while underestimating the all-consuming chaos he’s unleashed.

George Usher makes an impressive stage debut as Liam Gallagher, physically embodying Liam to perfection, as he swears and swaggers in true, LG style. He channels Liam’s Gallagher-esque bravado and chaotic presence with skilled precision.

Taking on the more controlled of the brothers, Paddy Stafford is exceptional as Noel, displaying vividly how the cracks begin to show as the pressure mounts, his performance is nuanced and defined, he more than does justice to the legendary lyricist.

Oscar Lloyd portrays the enormously different character of Damon Albarn with clarity while Will Taylor demonstrates superbly the impact of events on an increasingly fraught Graham Coxon, while Brandon Bendell’s Groucho loving Alex James is spot-on.

Amidst the Britpop chaos, Louisa Lytton’s Meg Mathews and Harriet Cains’ Justine Frischmann offer voices of reason for their respective partners, bringing calm to the testosterone fuelled chaos.

The story is told creatively via scenes from industry parties, award ceremony exchanges, backstage discussions and recording studio sessions. As the pressure builds, tempers fray and bold decisions are made.

This talented cast succeed in capturing the 90s spirit, bringing the era back to nostalgic life for their audience. The script however would benefit from some significant editing in order to pack this production with the punch the original source material provides. The reliance on Liam’s frequent outrageous outbursts becomes a little predictable and leads to some missed opportunities regards pushing the story along with a grittier narrative. The simple staging makes great use of screens broadcasting footage from the time and commentary from DJs such a Jo Whiley, Mark and Lard and Chris Evans however the continual use of cast members changing scenery feels clunky.

The final 15 minutes are wholly unexpected, surreal but ultimately succeed in showing just how absurd this whole battle became. For those of us hooked on the original Britpop rivalry, this show is a nostalgic blast from the past, with some creative reworking it has real potential to become a standout success.

The Battle is on at Manchester’s Opera House until Saturday 21st March, tickets available here.

Diversity | Soul

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Reviewed by Maddie Shimwell

Opening Night verdict ⭐⭐⭐⭐

The Liverpool Empire buzzed with anticipation as Diversity fans packed the auditorium. Since their 2009 Britain’s Got Talent win, this loyal fanbase has supported the crew and embraced each return to the region.

Tonight’s performance was inventively interactive with Ashley Banjo asking the audience to scream when the image on the screen behind him was real and not AI, with images similar to those on a Capture to prove you aren’t a robot. This provided the audience with the essence of what the show was portraying with the question of, ‘What does it mean to be human in ever evolving technology and artificial intelligence?’.

We were then transported through a range of nostalgic throwbacks including video games and iconic Nokias which led us to being introduced to a video of Ashley Banjo spilling the drink of an older gentleman, George, at a train station, which sparks conversation. The rest of the performance was a mix of current discussions between Ashley and George, and flashbacks of George’s previous life, including how he first met Annie, the love of his life, before modern day technology played its part in day-to-day life.

The dancers delivered the flawless execution expected of such a world-class crew, however on occasion, the lighting and imagery projected behind them distracted from the talent that we had come to watch. There was a robot on stage that was able to show musicality and was humanised by having lights as eyes. But as expected, the human performers were able to hold the attention of the audience and were much more entertaining, although personally, I didn’t feel the impact of AI on society was fully grasped within the performance.

There was also footage of the current ongoing conflicts throughout the world, this felt at times jarring and I am unsure of its place within the show as it felt shoehorned in and not entirely relevant to the impact of AI and technology, and if this was their message, it needed to be made a lot clearer.

The second half of the show felt lighter, with videos of Ashley Banjo’s children telling him what they would like to see from the show. This progressed into the company performing to the Wicked soundtrack, with Ashley dressed in princess attire.

Of course, Diversity put on an excellent show with faultless formations and incredible execution of difficult technique. The message they were trying to portray of slowing down and being present in the moment, without the constant distraction of technology, was strong. While the theme of artificial intelligence was not always as clearly explored, the performance still reminded the audience of the importance of human connection and shared experiences. Ultimately, the skill and creativity of the dancers ensured that the show remained engaging and entertaining throughout.

Robin Hood

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Reviewed by Jodie Crawford

Opening Night verdict ⭐⭐⭐⭐⭐

Robin Hood: The Magical Panto Adventure at the Manchester Opera House is everything a great panto should be: loud, proud, joyfully chaotic, and absolutely hilarious. From the very first moment, it’s clear you’re in safe hands with a production that understands its audience and fully leans into what panto does best. This is a great northern night out, with bells on!

The chemistry between Jason Manford and Ben Nickless is once again pure magic. Year after year they somehow manage to outdo themselves, delivering effortless laughs, perfectly timed chaos, and that wonderful sense that anything could happen at any moment. Their interaction with each other, and with the audience, is the heartbeat of the show. I fear the day when they decide to hang up their Panto boots as it’s hard to imagine a Christmas without them on stage together.

And honestly? It doesn’t matter in the slightest that the plot is inconsistent because it’s completely irrelevant. This panto has all the ingredients that matter. The ghost scene? Brilliant. The “in the gap” scene? Predictably unpredictable. The bloopers, singalongs, cheeky asides, and bang-on cultural references, from the last 12 months, all land perfectly, keeping the audience crying with laughter from start to finish. There are as always, some fabulous surprises in there too!

The ensemble cast is outstanding, bringing energy, polish, and warmth to every scene, while the costumes are the best I’ve seen at an Opera house panto:  vibrant, inventive, and a visual feast that add to the magic at every turn. A huge shout-out also goes to Adam Strong as the Sheriff of Nottingham, who delivers a pitch-perfect performance, gloriously dastardly, fabulously over-the-top, and exactly what a panto villain should be.

This is truly a show for all generations. I took a nine-year-old and a seven-year-old and judging by the laughter (and the conversations afterwards), those memories will last a lifetime. Let’s just say they will forever laugh when they get to page nine… #iykyk

Manchester should be incredibly proud of this panto. It’s a tradition done right, packed with heart, humour, and festive magic. I highly recommend this show. A guaranteed crowd-pleaser and a reminder of just how brilliant panto can be and should be.

Robin Hood is on at Manchester’s Opera House until Sunday 4th January tickets available here.

Tina – The Tina Turner Musical

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Reviewed by Nikki Cotter

Opening Night verdict ⭐⭐⭐⭐

Credit: Johan Persson

Having broken box office records whilst becoming the longest running show at London’s Aldwych theatre, Tina – The Tina Turner Musical arrives at Manchester’s Palace Theatre this month for a six-week run as part of its first ever UK and Ireland tour.

While it would officially fall into the ‘jukebox’ musical category, this gritty, global smash-hit feels anything but a Tina tribute. Telling the fascinating story of the iconic superstar, Tina Turner, this entertaining production is an in-depth biopic of a truly inspirational performer.

The production doesn’t shy away from the often-heartbreaking reality of Tina’s backstory, its unflinching and hard-hitting in its brutal honesty, particularly surrounding the violence Tina endured at the hands of ex-husband Ike Turner. Amidst the struggles however emerges a resilient, unstoppable superstar who is portrayed sublimely by Jochebel Ohene MacCarthy at tonight’s performance. She impressively channels Tina’s strength, determination and stage presence perfectly, her powerhouse vocals are nothing short or remarkable. This is a real masterclass in musical theatre. Her connection with David King-Yombo is superb, together they bring the characters and their strained relationship to vivid life with King-Yombo successfully navigating the complexity of Ike with impressive nuance.

Phyllida Lloyd directs this cast with consistency, from Sophia St Louis as young Tina to Alline Bullcok as Tina’s Mum, this is a West-End worthy cast who commit entirely to delivering Tina’s story with the emotional depth it deserves. While the storytelling is clear, Act 2 comes to a swift and less detailed conclusion making the ending feel a little unexpected in comparison with the intricate storytelling seen in Act 1, however from the very first note to the sensational finale this show will thrill audiences this festive season.

Mark Thomspon’s minimalist set design is lifted by Jeff Sugg’s projections and Bruno Poet’s lighting, making the overall visuals satisfying rather than impressive, while Thomspon’s costume design demonstrates an incredible attention to detail. Anthony van Laast’s exhilarating chorography gifts audiences with the iconic Tina moves they know and love while Campbell Young Associates hair, wigs and make up design ramps up the authenticity of this piece.

Tina – The Tina Turner Musical successfully does justice to the inspirational woman at the heart of the story. Inspiring and entertaining this is a story of true heart, incredible resilience and above all immense talent.

Tina – The Tina Turner Musical is on at Manchester’s Palace Theatre until Saturday 3rd January 2026, tickets available here.

Fiddler on the Roof

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Reviewed by Nikki Cotter

Opening Night verdict ⭐⭐⭐⭐⭐

Credit: Johan Persson

Jordan Fein’s multi award-winning Fiddler on the Roof, which began its life last summer at Regent’s Park Open Air theatre arrived at Manchester’s Palace Theatre this week proving to audiences just how incredibly special this timeless giant of the theatre world really is.

Fiddler on the Roof introduces us to impoverished Jewish milkman Tevye, (Matthew Woodyatt), a proud father, committed to honouring the traditions of his culture in an ever-changing and often incredibly testing world. This powerful story truly stands the test of time as its themes resonate just as strongly today as they did when it first premiered over 60 years ago. At its core is a poignant portrayal of a family man trying to raise his five daughters to honour the traditions of his Jewish faith, there is humour, joy, enormous poignancy and an abundance of heart.

Tom Scutt’s rustic design sets the scene beautifully, the straw ceiling upon which the fiddler plays gently moves up and down ensuring our focus never shifts from Tevye’s intimate and fascinating world. Aideen Malone’s stunning lighting design is subtle yet superb, bathing the Palace Theatre stage with rising dawn sunsets and flickering firelight glows.

Matthew Woodyatt’s Tevye is breathtakingly brilliant, warm, nuanced, reflective, loving and painfully real. His observations, considerations and deliberations are delivered with captivating authenticity. This is a performance packed with huge emotion, every moment is perfectly measured whilst he balances the turmoil Tevye goes through with a palpable realism. The journey he takes Tevye on is entirely mesmerising, ending the show a different man from the one we first meet at the start of Act I.

Jodie Jacobs’ performance as Tevye’s wife, Golde, is equally as impressive. Respectful of her husband’s desperate need to uphold tradition yet strong and resolute in her own sense of self, the two make for a perfect pairing. Their rendition of Do You Love Me? is a joy, relatable and real.

As Tevye’s daughters begin one by one to move away from the traditional Matchmaker approach to finding a suitable husband the battle between head and heart really begins for Tevye. Woodyatt does an incredible job of taking us with him on this captivating journey, we share in his joy, his frustrations and his pain.

Woodyatt and Jacobs are supported by an incredible cast. Each and every person on stage is entirely committed to telling this beautiful story. Special mention must go to Natasha Jules Bernard, Hannah Bristow and Georgia Bruce who play Tevye’s daughters Tzeitel, Hodel and Chava. Each bring their very different characters to life beautifully, adding further depth and heart to this moving tale while their partners Motel, Perchik and Fyedka are portrayed superbly by Dan Wolff, Greg Bernstein and Gregor Milne.

Choreographer Julia Cheng respectfully mixes the traditional with the modern resulting in exhilarating ensemble numbers that will make you wish you too were part of the uplifting celebrations. The traditional bottle dance remains and is just as thrilling as ever. The additional orchestrations from music supervisor Mark Aspinall really take this score to the next level while sound designer Nick Lidster ensures that every note is crystal clear.

This is without doubt the best production of Fiddler on the Roof I’ve ever seen, from the fiddlers haunting melodies delivered superbly by Roman Lytwyniw to the sheer beauty of Tom Scrutt’s set design this production is perfection. This timeless classic is stunningly reimagined yet maintains a respectfully traditional feel cementing its place as a musical theatre masterpiece.

Fiddler on the Roof is on at Manchester’s Palace Theatre until Saturday 1st November tickets available here.

Here & Now

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Reviewed by Nikki Cotter

Opening Night verdict ⭐⭐⭐⭐

Set in seaside superstore, Better Best Bargains, Here and Now follows the lives and loves of four co-workers and firm friends Caz, Vel, Robbie, and Neeta all set to a camptastic back catalogue of Steps classics. From 5,6,7,8 to One for Sorrow there’s nothing tragic about this feelgood musical, from the moment the first bop begins you know you’re in for a fun time. With Claire, H, Faye, Lee and Lisa all involved in the creative process this really is a celebration of their iconic hits and has clearly been crafted with love and careful consideration.

The story centres around Caz whose husband has walked out on her just as they’re on the verge of adopting, she makes a vow with her besties Vel, Robbie and Neeta to have a summer of love that they’ll never forget. Deep in the throes of heartbreak Caz meets Max who adds a little jeopardy to proceedings by offering her all she dreams on the condition she blackmails store manager Patricia, which unbeknown to Caz will devastate her friendships as a result.

Rebecca Lock is outstanding Caz, she truly shines on stage and gives the character depth and genuine likeability. Her vocals are rich while her acting is nuanced and heartfelt, she is a true leading leady and heads up this talented cast with gentle confidence and perfect control. Her delivery of Heartbeat is a real showstopper and a tender moment of calm amidst the sparkle and glitter.

Blake Patrick Anderson beautifully portrays the character of Robbie, showing sensitively how deeply abandonment issues can run. His pairing with River Medway as Jem is joyful, River brings a lightness to Jem that scoops not only Robbie up but every audience member too.

Rosie Singha hits every mark as loveable Neeta, desperately in love with co-worker Ben (Ben Darcy) but lacking in confidence to tell him how she truly feels while Jacqui Dubois is great fun as Vel, displaying some brilliant comic timing. Special mention must also go to Finty Williams who gives us the iconic and hilarious store manager Jackie, très bien!

The hits come thick and fast and unlike many other jukebox musicals never feel shoehorned in. Their placing is just right, giving this entertaining show perfect pacing and so much to enjoy. The classics are given the attention they deserve while the beloved ballads allow the quieter moments to truly shine.  

This is the epitome of feelgood, every creative element has been carefully considered resulting in a slick, stylish and hugely entertaining show. The talented ensemble take the legendary Steps routines we all know and love to the next level while Adam Fisher’s sound design ensures no beat it missed. This super fun show will ensure audiences head home happy, remind of us of just how many brilliant bops this iconic band have brought us while feeling joyful for the true friendships life brings our way.  

Here & Now is on at Manchester’s Opera House until Saturday 13th September tickets available here.

Punk Off – The Story of Punk and New Wave

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Reviewed by Matthew Forrest

Opening Night verdict ⭐⭐⭐

You can’t underestimate the impact that Punk has had on popular culture: music, fashion and most importantly attitude. It’s ballsy, take no prisoners attitude was a shock to the system for some in 1970’s Britain. For others it was a chance to be heard, seen, and to give a two fingered salute to the establishment.

It seems fitting that with the 50th anniversary of The Sex Pistols, now legendary appearance at Manchester’s Free Trade Hall, approaching next year that we have a show that takes us on a whistle stop tour of Punk’s beginnings and celebrate the originators and trailblazers, of a movement that was an inspiration to so many, and a headache to others.

Punk Off – The Story of Punk and New Wave, is like a live version of the NOW compilation albums that littered our CD collection way back when. This would definitely be NOW That’s What I Call Punk or The Best New Wave Album in the World…Ever! We are treated to some of the biggest hits from bands like The Clash, Blondie, and The Ramones. Kevin Kennedy (Corrie’s Curly Watts) provides narration and brief history lessons on the big players and what was going on in the UK, in between songs. For two hours it’s a nostalgic trip down memory lane that whilst delivered with plenty of energy, and gusto, doesn’t quite have the bite it strives for.

The band: Phil Sherlock on bass, drummer Ric Yarborough and guitarist director of music Adam Evans’ are a tight unit as along with vocalists Reece Davies and Lazy Violet they belt out hits that include Hanging on the Telephone, Oliver’s Army and Pretty Vacant. The undoubted musical highlights for me was a high octane rendition of The Damned’s, New Rose slowed down take on The Stranglers No More Heroes, that changes midway through to the full throttle version we are familiar with.

Where the show struggles is its ambition doesn’t match its budget. Some of the numbers are accompanied by dance routines which are to be fair are a bit hit and miss. There are only four dancers/performers trying to fill the huge stage of the Bridgewater Hall, whilst the band are pushed right at the back of the stage. The staging itself consists of a few walls and doors which serve no purpose. You just wish they did more with the space they had. That said, I did like the backdrop of the Camden rail bridge.

The show never takes itself too serious, a running gag about a busker being told to f*ck off, until finally getting to perform, and the dance routines during Peaches and Once in a Lifetime are good fun. Kevin Kennedy is clearly having a ball for his part of the narrator, whilst let down by a script that doesn’t really tell us anything new, at times feeling like a series of platitudes, he delivers his lines with swagger. His version of Sid Vicious My Way was what the audience needed to get them out of their seats.

This is a fun night out, from a show that wants to pay proper respect to its subject matter, and on the whole it does. It really needs to decide if it wants to be a full-on tribute concert or lean more into the theatrical elements. There is a story to be told about the impact of Punk and New Wave, but here we’re just scratching the surface.

Punk Off – The Story of Punk and New Wave is on a nationwide tour. Tickets and further info available here.

 

Coming To England

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Reviewed by Jodie Crawford

Opening Night verdict ⭐️⭐️⭐️⭐️

Coming to England at the Lowry is a heartwarming, exploration of migration, the windrush generation, identity, and the pursuit of a better life. 

The production is based on the children’s book by Florella Benjamin about her life and her family’s journey from Trinidad and the struggles they faced when they arrived in England. 

It is important that stories like this are shared, and this production is a success because it’s at a level that children can access the themes. The plot isn’t heavy, but the key messages about equality and inclusion are prominent. 

The standout feature of the show is undoubtedly its cast, who bring passion and authenticity to their roles. Each actor shines in their portrayal of individuals facing personal and societal challenges, infusing their performances with depth and emotion as well as humour. The chemistry between the ensemble members is palpable, drawing the audience into the struggles and triumphs of their respective characters. The theme of family underpins every scene- you can feel the love shared between the characters. 

Equally impressive are the songs, which are catchy and full of energy. The musical numbers are some of the strongest moments of the show, with a mix of heartfelt ballads and upbeat tunes that capture the emotional range of the story. The music does an excellent job of supporting the narrative, offering both emotional resonance and moments of levity. 

However, while the cast and songs are excellent, the plot itself feels a bit uneven at times. Some parts of the story could benefit from further development, it would be wonderful to see how Florella rose to fame. Despite this, the production as a whole is a hugely enjoyable experience, thanks to its talented performers and the strength of its music. It’s an important story to tell.  The production is aimed at children, and that is where it is pitched- it addresses important themes about discrimination and racism, but equally highlights the love of a family and the way in which they don’t let the discrimination define who they are. 

Coming to England is a show that delivers strong performances and memorable songs. For fans of Florella Benjamin and those interested in heartfelt stories about migration and the windrush generation it’s a wonderful watch.  

Coming To England is on at The Lowry until Sunday 9th February 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.

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