Musical

The National Lottery’s Big Night of Musicals

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The January Blues-Busting Big Night of Musicals from the National Lottery was back with a bang at the AO Arena in Manchester last night.

In what’s become a staple in the theatre calendar for the region, this year’s show was another feel-good ode to the world of Musical Theatre and the fantastic causes supported by the Lottery.

 

Again hosted by the host with the most Jason Manford the event has become a must-do for both theatre lovers and the biggest and best show – both in the West End and on tour.

And this year was no different with some really exciting exclusives for both the audience in the arena – and later the TV viewers, for when it’s broadcast later in the Spring on BBC & IPlayer.

 

The evening was kicked off in spectacular style by The Lion King with a goosebump-inducing performance of the iconic Circle of Life – complete with the stunning puppets the show is famous for. This is a number that never, ever gets old and it was followed by the joyous He Lives in You from the show.

It was the first of a number big company numbers of that delivered the wow factor to the event – putting the ‘Big’ in Big Night of Musicals. Other brilliant moments included The American Dream from the current tour of Miss Saigon and I Wanna Be a Producer from the West End’s The Producers – which was a genuine treat.

 

Other wonderful performances included As Long as He Needs Me from Oliver! By Ava Brennan, Pretty Little Dead Things from Paddington’s ‘baddie’ Victoria Hamilton-Barritt and the cast of Sunny Afternoo n brought a bit of 60s rock n roll to the night.

Disney legend Alan Menken was celebrated in a gorgeous medley of some of his biggest 90s hits accompanied by incredibly talented young dancers from Lowry’s Centre for Advanced Training in dance.

 

As ever the event showcased the work of programmes funded by the National Lottery. Oldham’s Wild Things Performing Arts joined ‘Miss Hannigan’ La Voix and the young cast of Annie for a rousing rendition of Hard Knock Life. And the tour of Choir of Man performed alongside a real life men’s choir Infant Hercules Choir  (and Jason Manford) in a truly moving version of You’re The Voice.

 VTs highlighted the brilliant shows hitting the UK this year including the world tour of Operation Mincemeat – which launches at the Lowry next month, the new musical by Pippa Cleary and Rob Madge Bank of Dave, also launching at the Lowry and many more.

 

Arguably the most exciting moment of the evening was the world exclusive of Sam Ryder performing Gethsemene from the forthcoming new production of Andrew Lloyd Webber’s Jesus Christ Superstar. If there were any nerves they didn’t show and it was a moment no one in the room will ever forget!

The evening closed on a high note with a moving performance of For Good from Wicked by the West End’s current Elphaba and Glinda, Emma Kingston and Zizi Strallen followed by a medley from Alexandra Burke and the cast of the Chaka Khan musical I’m Every Woman that got everyone on their feet.

 

Big Night of Musicals is absolute must-watch for musical fans when it airs and a welcome reminder of the amazing work and theatre programmes that the National Lottery supports.

 

The Bodyguard

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Reviewed by Matt Forrest

Opening Night verdict ⭐️⭐️⭐️

Pop-musical juggernaut, The Bodyguard returns to the Palace Theatre this month as part of a nationwide tour, bringing with it high-gloss production values, plenty of glitz, glamour, and a soundtrack stacked with undeniable crowd-pleasers.

Based on the 1992 film starring Kevin Costner and Whitney Houston, the story follows global music icon Rachel Marron (Sidonie Smith), who becomes the target of a disturbed stalker. As threats escalate and personal items go missing, her alarmed manager Bill Devaney (John Macaulay) enlists former Secret Service agent Frank Farmer (Adam Garcia) to protect her.

Unsurprisingly, sparks fly. Strong-willed and fiercely independent, Rachel bristles against Farmer’s rigid methods and the restrictions imposed on her lifestyle, while Farmer struggles with her diva tendencies. His remit soon extends to Rachel’s family, including her overlooked sister Nicki (Sasha Monique), whose unspoken feelings for Farmer add an extra layer of tension.

An ill-advised nightclub appearance brings the danger sharply into focus. As Farmer shields Rachel from an unruly fan, a romantic connection begins to form. As the relationship deepens, so too does the threat—forcing Farmer to balance emotional involvement with professional vigilance.

Sharing top billing are Adam Garcia and Sidonie Smith, and both deliver. Garcia is a convincing, restrained protector, playing the role with a blend of stoicism and dry humour. Smith, however, commands the stage. Charismatic and glamorous, she has the vocal firepower the role demands, soaring through Greatest Love of All and One Moment in Time. Her goosebump-inducing rendition of I Will Always Love You predictably brings the house down.

The chemistry between Smith and Garcia is undeniable, nowhere more so than in their karaoke bar scene, which strikes a pleasing balance between warmth and playfulness, allowing the audience to fully invest in their relationship.

Sasha Monique is equally impressive as the slighted and overlooked Nicki, her frustration and heartbreak keenly felt throughout. Her performance of Saving All My Love for You is beautifully delivered, while her duet with Smith on I Have Nothing stands as one of the production’s emotional high points.

The ensemble cast work tirelessly, with the opening number, Queen of the Night, setting the tone through slick, well-choreographed sequences that recur throughout the show. They are supported by Tim Hatley’s fabulous costume designs: the dance troupe’s outfits dazzle in the opening sequence, while Rachel’s glamorous evening gowns add further sparkle.

The production is not without its flaws. Some slow-motion moments lack polish, and the fight sequences didn’t look authentic, with one intended moment of tension prompting unintended laughter from the audience. The use of video screens adds little, serving more as a distraction than a meaningful enhancement.

Ultimately, this is a celebration of a much-loved film and a reminder of Whitney Houston’s extraordinary talent. Anyone stepping into those vocal shoes needs to be exceptional, Sidonie Smith undoubtedly rises to the challenge. The show closes with a joyous full-cast rendition of I Wanna Dance with Somebody, inviting the audience to their feet for a singalong and dance, providing the perfect finale to this glossy, nostalgia-driven slice of jukebox musical theatre.

The Bodyguard The Musical is at the Palace Theatre until the 31st January. Tickets are 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.

Young Frankenstein

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 Reviewed by Matt Forrest

Opening Night verdict ⭐⭐⭐⭐⭐

Mel Brooks is undeniably one of the greatest comedy writer-directors of all time, in my opinion. The Producers, Blazing Saddles, and Young Frankenstein form a trio of comedic masterpieces. After The Producers received the Broadway musical treatment in 2001, it was almost inevitable that Young Frankenstein: The Musical would follow, making its debut in 2007.

 Now, as part of Hope Mill Theatre’s spectacular 10-year anniversary celebrations, Young Frankenstein is brought back to life once more, and I’m happy to report that it’s just as hilarious and joyfully outrageous as ever.

Staying true to the plot of the original film, we meet Dr. Frederick Frankenstein (Ore Oduba)—“pronounced Fronkensteen”—who leaves his fiancée Elizabeth (Rhiannon Chesterman) and travels to Transylvania to claim his inheritance following the death of his infamous grandfather, Victor Frankenstein.

There, Frederick encounters a wild cast of eccentric characters, each eager for him to continue Victor’s notorious experiments. These include the intimidating, horse-frightening Frau Blücher (Jessica Martin), the loyal yet delightfully deranged Igor (Curtis Patrick), and the flirtatious lab assistant Inga (Julie Yammanee),complete with outrageous accent! 

Will the daring Doctor succeed in raising the dead and restoring honour to the Frankenstein name?

Ore Oduba is in sparkling form as the leading man, it’s a turn packed with charisma and excellent comic timing. He certainly hasn’t lost a beat from his Strictly Come Dancing triumph in 2016, showcasing all the slick moves that led him to the glitterball trophy.

Oduba is backed by a strong supporting cast, with standout comedic turns throughout. Curtis Patrick shines as Igor, displaying a natural flair for physical comedy—his facial expressions alone are worth the price of admission. Julie Yammanee is equally impressive as Inga, particularly during the cheeky and delightfully risqué number “Roll in the Hay.”

The musical numbers, much like the laughs, come thick and fast. Highlights include the hilariously lewd “Please Don’t Touch Me” and the wonderfully playful “Together Again for the First Time.” But the undeniable showstopper is the iconic “Puttin’ on the Ritz”. It’s still one of my all-time favourite scenes in film, and recreated here with precision, panache, and sheer joy by the entire cast.

Director Nick Winston pulls off the impressive feat of enhancing Mel Brooks’ brilliant original script. Every element is spot on: from the loving homage to the classic Universal horror films of the ’30s and ’40s, to the absurdist humour, rapid-fire gags, and new show-stopping song-and-dance numbers.

With Young Frankenstein, Hope Mill Theatre once again proves that bold, ambitious programming pays off. This production is a triumphant celebration not only of Mel Brooks’ comic genius but of the theatre’s first decade,  filled with laughter, creativity, and heart. The future looks very bright indeed.

Young Frankenstein is at Hope Mill Theatre till 30th November tickets are 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.

Moulin Rouge

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Reviewed by Nikki Cotter

Opening Night verdict ⭐⭐⭐⭐⭐

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

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

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

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

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

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

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

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

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

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

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

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

The Rocky Horror Show

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Reviewed by Matt Forrest

Opening Night verdict ⭐⭐⭐⭐

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

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

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

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

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

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

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

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

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

Mary Poppins: Place Theatre, Manchester

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Reviewed by Matthew Forrest

Opening Night verdict ⭐⭐⭐⭐⭐

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

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

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

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

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

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


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

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

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

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

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

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

Cruel Intentions

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Reviewed by Jodie Crawford

Opening Night verdict ⭐️⭐️⭐️

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

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

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

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

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

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

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

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

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

Dear Evan Hansen

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Reviewed by Nikki Cotter

Opening Night verdict ⭐⭐⭐⭐

Just over two years since it closed in London’s West End, multi-Tony, Grammy and Olivier award-winning musical Dear Evan Hansen has embarked on a UK tour, stopping this week at Chester’s Storyhouse.

Dear Evan Hansen follows the story of socially anxious high school student Evan who accidentally gets caught up in a lie which quickly snowballs beyond all control. Following the death of fellow pupil, Connor Murphy, a therapy letter Evan wrote to himself is mistakenly confused as the pupil’s suicide note and Evan soon becomes deeply entrenched in the grieving families lives. The musical has received some criticism over the years with some audiences finding the subject matter and elements within the story problematic however there’s no doubt it’s beautiful score with music and lyrics by Benj Pasek and Justin Paul (La La Land/The Greatest Showman) has confirmed its status as a modern classic.

This new production has clearly examined the previous problematic elements and softened Evan, that combined with Ryan Kopel’s superb physical and emotional interpretation of the schoolboy results in a gentler, more likeable Evan and one who we feel more compassion towards. Kopel’s portrayal really is mesmerising, his Evan is a fidgeting, hand-wringing, blinking bundle of nervous energy while his deep longing for connection is sensitively and gently explored. His characterisation is incredible while he delivers stunning vocals throughout, notably Word’s Fail which is breath-taking as we witness him visually unravel under the pressure of the lie that’s seemingly unstoppable.

The rest of the cast compliment Kopel perfectly. West End favourite Alice Fearn’s portrayal of Heidi, Evan’s Mum is perfection, her rendition of So Big/So Small brought many in the audience to tears while her unconditional love for her troubled teen Evan plays out beautifully, frustratingly and authentically.

Killian Thomas Lefevre is fantastic as troubled teenager Connor Murphy, popping up when we least expect it enriching the story with each surprising appearance. Lauren Conroy plays Connor’s sister Zoe Murphy with strength and sensitivity while Richard Hurst and Helen Anker’s performances as Connor’s parents are deeply moving, portraying parents who have so tragically lost a child with raw and honest emotion. Will Forgrave covering tonight as Evan’s ‘family friend’ Jared Kleinman brings some welcome light relief while Vivian Panka is a driven and determined Alana with vocals to die for.

Morgan Lane’s box set design is lined with mirrors and sliding doors which allows us to see each scene from various fractured angles while allowing the action to easily shift location. The use of video screens is hugely effective cementing that feeling of social media’s all consuming impact while Matt Daw’s lighting design is equally as impressive.

The small ensemble replicate Evan’s frantic, racing mind through Carrie-Anne Ingrouille’s modern choreography, although they feel a little underused in the piece when the do feature they impress.

This thought-provoking, intricately crafted piece of theatre will long live in the memory. At times a gut-wrenching watch, it’s important messages about visibility and self-acceptance remain strong while the spotlight it shines on the influence of social media, isolation, anonymity and connection feel ever poignant. This is a quality piece of theatre with a story that will connect with many and by far one of the best scores of recent years. With tickets selling fast you won’t want to miss this musical masterpiece.

Dear Evan Hansen is on at Storyhouse Chester until Saturday 22nd March limited tickets available here.

Joseph and the Amazing Technicolour Dreamcoat

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Reviewed by Jodie Crawford

Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

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

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

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

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

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

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

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

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

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

The Parent Agency

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Reviewed by Matthew Forrest

Opening Night verdict ⭐⭐⭐⭐⭐

David Baddiel will be familiar to many of us for different reasons. For some, we know him for stand-up and comedy. Whilst for others, he’ll have provided the soundtrack to another heartbreaking defeat for the England football team. Others may know him for his work as a playwright, or for his charity work. A blind spot for me was Baddiel’s work as an author of children’s literature – with ten books aimed at children, it would be fair to say this aspect of his career is going well.

Well now he can add musical theatre to his impressive CV. Baddiel teams up with composer Dan Gillespie Sells, who composed the mega smash hit Everybody’s Talking About Jamie, to bring The Parent Agency to life as it receives its world premiere at Chester’s Storyhouse.

Based on Baddiel’s first children’s book, The Parent Agency focuses on Barry, a ten-year old boy rapidly approaching his 11th birthday. Barry has big plans for his special day: a James Bond themed party complete with Bond gadgets and a ride in a fancy car. However, things aren’t looking great, with Barry’s dad, Geoff, picking up the wrong Casino Royle DVD for the party, the David Niven one! This is the final straw for the young boy, who resents his parents for naming him Barry in the first place. On top of that he finds them boring and hates that they are poor.

An argument between Barry and the rest of his family sees him storm off to his room. With only his posters of James Bond and French footballer, Kylian Mbappé for company, he wishes he had better parents. With this wish Barry is transported to The Parent Agency or TPA for short. At TPA the children can pick their parents. Barry has the four days before his birthday to be matched up with his perfect parents. If they fail, something that has never happened before, something unspeakable will happen to Barry.

There is so much to enjoy about the production, it’s an absolute treat from start to finish. At tonight’s performance, Max Bispham was in fine form as Barry: charismatic, charming and filled with warmth and wit. He showcases superb comic timing, matched with a tremendous singing voice.

Rebecca McKinnis and Rakesh Boury are an awesome pairing as Barry’s mum and dad, Susan and Geoff. However, it’s as the various potential parents where the pair absolutely smash it. These include the super-rich, monstrous Rader-Welllorffs and the fitness enthusiasts the Fwahms. As well as the self-centred celebrities Vlassorina, and my own personal favourite, the flakey, hippy hipsters the Cools. Both Mckinnis and Boury go all in and embrace the absurdity of each character and it’s an absolute joy to watch.

Under Tim Jackson’s direction, the action is fast paced and slick. The big comic set pieces work brilliantly with the undoubted highlight being the Fwahm’s Van Halen’s Jump inspired fitness routine – as stunning as it is bonkers. Whilst the Cool’s red double decker bus sequence, is more Rik Mayall’s Young Ones, than Sir Cliff’s! The added extra touches of money raining down upon the audience as well as smoke filled bubbles completely enchanted the younger audience members, as well as some of us oldies too!

Baddiel’s script is smart, witty, with the right balance between big laughs, and beautiful, touching observations about family. It’s refreshing to see a show that doesn’t pitch some of its jokes at adults, and some at kids. Here the jokes are universal and highlights how a great gag can be enjoyed by an audience of all ages.

The musical numbers are catchy, with Barry being the perfect opener, whilst The Rador-Wellorffs and Gonna Make You Sweat are superbly silly, aided by some stunning visuals and outstanding work from the insanely talented ensemble cast. Costume design by Sarah Mercadé is outstanding, and combined with the skills of this incredible cast completely transports you into the world of the TPA. Barry’s parents Susan and Geoff (Mckinnis and Boury) convince us entirely that they are different characters with each costume change. All the creatives involved have excelled themselves creating a truly memorable production which will easily sit at home in the West End. Visually it is stunning, with the attention to detail second to none.

This is a truly joyous production, with plenty of heart, and something for everyone: an enormously entertaining and hugely enjoyable story, told with incredible set pieces and super slick humour. We’d better get used to the name Barry coming back in fashion, because The Parent Agency is going to be around for quite some time, and according to my 9 year old mini-reviewer, “The best show I’ve ever seen”.

The Parent Agency runs until 2nd March tickets are available here.

Images Mark McNulty and also supplied by the production.