Musical

The Rocky Horror Show

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Reviewed by Matt Forrest

Opening Night verdict ⭐⭐⭐⭐

Few things in life are truly guaranteed, but there are a handful we can always rely on: night follows day, Christmas adverts appear earlier with every passing year, and somewhere in the world, The Rocky Horror Show will undoubtedly be delighting audiences. Even more certain is that Richard O’Brien’s cult classic will remain as outrageously entertaining, provocatively cheeky and joyfully anarchic as ever.

Having been on the road since last year, the current touring production makes its final stop in Manchester this week, arriving with every ounce of the energy, mischief and flamboyance that has made the show such an enduring favourite. The story follows the familiar B-movie formula as newly engaged couple Brad (James Bisp) and Janet (Haley Flaherty) are left stranded by a flat tyre before seeking refuge at the mysterious home of Dr Frank N. Furter (Stephen Webb) and his eccentric entourage of Riff Raff (Ryan Carter-Wilson), Magenta, (Laura Bird) and Columbia (Daisy Steere).

The couple arrive just as the unhinged Doctor is preparing to bring his latest creation to life: the perfectly sculpted Rocky (Morgan Jackson). Their unexpected visit soon pulls them into a bizarre, seductive world where temptation lurks around every corner, testing both their relationship and their grip on reality.

Stephen Webb is fantastic as Frank N. Furter, embracing the iconic role with fearless confidence. His performance is gloriously over the top, brimming with charisma, wicked humour and just the right amount of unpredictable menace. His rendition of “Sweet Transvestite” is an undoubted highlight, whilst his version of “I’m Going Home”, adds some emotional weight to proceedings.

James Bisp and Haley Flaherty deliver engaging performances as Brad and Janet, convincingly charting the couple’s transformation from wide-eyed innocence to willing participants in Frank’s wonderfully chaotic world. Their chemistry is excellent, their comic timing is sharp, and both impress with powerful vocals throughout.

Comedian Nathan Caton is a solid choice as the Narrator, delivering the role with confidence and assured comic timing. He handles the audience’s familiar call-backs with ease, keeping the exchanges suitably risqué and entertaining. Rocky Horror Show is one of those rare productions where audience participation is part of the experience, adding to the lively, anarchic atmosphere without ever overwhelming the performance itself.

They’re well supported by a strong ensemble. Ryan Carter-Wilson brings an appropriately sinister presence to Riff Raff, while Laura Bird impresses in the dual roles of Magenta and the Usherette, opening the show with a restrained rendition of “Science Fiction/Double Feature”. Daisy Steere brings plenty of energy and eccentricity to Columbia, complemented by powerful vocals, while Morgan Jackson is an imposing presence as the chiselled Rocky, combining impressive physicality with athletic backflips.

The Rocky Horror Show is packed with songs that have become classics in their own right. From the aforementioned “Science Fiction/Double Feature” and the swaggering “Sweet Transvestite” to the delightfully cheeky “Touch-a, Touch-a, Touch Me”. It is of course  “The Time Warp”, which never fails to lift the atmosphere and remains one of the production’s undeniable highlights.

The final act has always felt a little less cohesive to me, with the narrative losing some of its momentum. However, the strength of the performances and the quality of the songs ensure that it’s a minor quibble rather than a significant flaw, and it never diminishes the overall enjoyment of the show.

With the tour drawing to a close, now is the perfect time to dust off the green scrubs, fishnets, basque, gold hot pants or French maid outfit and experience The Rocky Horror Show one more time. More than 50 years after its debut, it remains a gloriously anarchic, unapologetically camp night at the theatre that knows exactly what it is.

The Rocky Horror Picture Show is at the Palace Theatre until Saturday 1st August, tickets are available here.

Something Rotten!

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Reviewed by Matt Forrest

Opening Night verdict ⭐️⭐️⭐️⭐️

There’s something rotten in Manchester. Usually, that phrase would be more at home describing the city’s famously miserable weather, but on one of the hottest days ever recorded in the UK, the culprit is something altogether more entertaining.

The source of this particular rot is Something Rotten!, the award-winning Broadway smash hit making its UK premiere in Manchester. Packed with razor-sharp wit, infectious musical numbers and a gleeful irreverence towards Shakespeare, the production arrives with lofty expectations,and comfortably clears them, setting the bar(d) impressively high from the outset.

Set in 1590s London, the story follows brothers Nick Bottom (Jason Manford) and Nigel Bottom (Cassius Hackforth), who run a struggling theatre company and are desperately searching for their next hit. Unlike most sibling partnerships in showbusiness, the Bottom brothers actually get along remarkably well. Their only real point of contention is the megastar, A-list celebrity and rival playwright William Shakespeare (Richard Fleeshman). Nigel idolises the Bard, while Nick can barely conceal his contempt.

As financial pressures mount, Nick becomes increasingly desperate. Determined to secure a future for his ever-supportive wife Bea (Marisha Wallace), and realise their dream of owning a cottage big enough to start a family, whilst perhaps most importantly taking the spotlight from Shakespeare, he turns to increasingly unconventional methods in pursuit of theatrical success. But can his bold vision of introducing music and song into theatre really become the next big thing, and what will it cost him along the way?

This production is tremendously fun, absurd, ridiculous, and consistently entertaining. John O’Farrell’s book, combined with the songs by brothers Wayne and Karey Kirkpatrick, creates a witty and joyous love letter to musical theatre while delivering a sharp satire of celebrity culture. Standout numbers include the spectacular ensemble piece A Musical and the delightfully silly Make An Omlette, just two highlights in a score packed with memorable moments.

The cast are in excellent form. Jason Manford is, as ever, a dependable leading man, once again showcasing his impressive vocals and impeccable comic timing. Richard Fleeshman is clearly having an absolute blast as the egotistical playwright, portraying him as a gloriously pompous rock star. He has superb vocals, on the wonderfully ludicrous Will Power and the Queen-inspired Hard to Be the Bard, once again providing another highlight.

Broadway star Marisha Wallace is excellent, if somewhat underused, as Bea. The role provides ample opportunity to showcase her exceptional vocals and natural gift for comedy, leaving you only wishing she had more stage time. Corey English is a delight as Nostradamus, delivering a scene-stealing performance, with his contribution to the aforementioned A Musical alone worth the price of admission.

Meanwhile, Cassius Hackforth has the unenviable task of playing perhaps the closest thing the show has to a level-headed presence. As the insecure yet immensely talented Nigel, he brings warmth, sincerity and likeability to the role, providing the perfect foil to the larger-than-life characters around him. 

The show boasts impressive production values throughout. Director and choreographer Tim Jackson delivers a series of superbly staged and choreographed song-and-dance numbers that burst with energy and spectacle. Colin Richmond’s set design perfectly captures the grime and atmosphere of Elizabethan London, creating an impressively detailed version that serves as a fitting backdrop to the action.

Completing the visual feast are Rebecca Brower’s bold and vibrant costume designs, which provide the perfect finishing touch. Their bright, flamboyant style complements the show’s larger-than-life personality and reinforces its gloriously unapologetic, in-your-face sense of fun.

This is escapist theatre at its finest, a joyous production that will leave you grinning from start to finish (and craving an omelette). As Shakespeare famously wrote, “If music be the food of love, play on”; and this show serves up a banquet of music, laughter and pure entertainment. I would wholeheartedly recommend tucking into this giant musical feast while it’s in Manchester.

Something Rotten! is on at Manchester Opera House until 19th July. Tickets available here.

Annie

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Reviewed by Sophie Rowley

Opening Night verdict ⭐⭐⭐⭐

The girl who taught us to believe that “…the sun’ll come out tomorrow” is back in Manchester. Based on the 1924 comic strip ‘little Orphan Annie’ by Harold Gray, Annie first opened on Broadway in 1977 and has been delighting audiences across the globe ever since. But what is it about Annie that continues to captivate theatre goers nearly 50 years later?

At its heart is the story of eleven-year-old Annie (Victoria Alsina), a sprinted, red haired orphan, whose determination and optimism never wavers despite the hardships she faces. Constantly escaping in search of the parents she longs to find, Annie’s dreams are repeatedly crushed by the cruel and embittered Miss Hannigan, played with gusto by La Voix. However, Annie’s greatest challenge may be winning over the wealthy Oliver Warbucks (Alex Bourne). With the support of Grace Farrell (Tanisha-Mae Brown) and the Warbucks household staff, Annie sets out to change his life – and perhaps her own – in the process.

Despite being set during the Great Depression this show is filled to the brim with energy and heart. Colin Richmond’s set design reinforces this contrast, instantly transporting the audience to 1930’s New York City. The Orphanage is presented as a bleak and unforgiving environment which reflects the harsh realities of the era as well as the difficult circumstances in which Annie lives. This is complemented wonderfully by the stark lighting and the worn threadbare costumes of Annie, the orphans and even Miss Hannigan. All these elements, together, create the perfect anthesis to Annie’s sunny disposition, allowing her optimism and resilience to shine through. A mindset that is highly welcomed by this 2026 audience.

Another element that is highly welcomed is the incredible cast of this production. Starting with the headline hero – Annie herself, Victoria Alsina, she fully embodies the role and thrives in her portrayal. Alsina combines humour, charm and attitude into her version of Annie that creates a fresh feel to this audacious orphan.

Alex Bourne delights as Oliver (Daddy) Warbucks, he begins as the tough loving business tycoon whose icy exterior slowly thaws as Annie’s charm takes over. Both Bourne and Alsina work wonderfully together and his character transition from prickly to paternal is heartwarming to watch.

As Grace Farrell, Tanisha-Mae Brown brings elegance and warmth to the character and plays a key role in Warbucks’ transformation. Her performance is complemented by Richmond’s clever costume design which remains faithful to the 1930s aesthetic while giving Grace a modern sophistication.

The villains are equally impressive. Christian Cooper and Amber Kennedy fully commit to their roles as Rooster and Lily and fully deliver as the scheming duo. Cooper makes Rooster as despicable as required, while Kennedy’s Lily is equally as detestable. The highly anticipated rendition of ‘Easy Street’ doesn’t disappoint and is a standout moment in the show filling the theatre with energy and excitement.

However, it is La Voix’s Miss Hannigan who steals the show. La Voix is the reason I wanted to see this show, and she certainly does not disappoint. She explores every facet of the character and transitions effortlessly between comedy, bitterness and vulnerability. At times Miss Hannigan’s treatment of the orphans cements her villainess character, yet by the end of the show, La Voix has charmed the audience so much that it is impossible not to fall in love with her.

I knew coming to watch this show that I was going to enjoy it. Annie is a timeless tale about hope, never giving up and trusting love will always win. Told primarily through a child’s voice it still managed to touch adult hearts which makes this show such a success. As mentioned throughout the talented cast and creative team make this production a triumph. Every set and costume choice allows the performers to fully embody their characters which in turn allows the audience to become completely immersed in the show. Director Nikolai Foster has successfully created a beautifully balanced production which, despite its occasional darker themes, retains the warmth and familiarity of your favourite film. I thoroughly enjoyed the show and am certain future audiences will too.

Don’t wait until tomorrow book now and let Annie enchant you – showing at the Palace Theatre Manchester until Saturday 20th June, tickets available here.

Matilda The Musical

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Reviewed by Nikki Cotter

Opening Night verdict ⭐⭐⭐⭐⭐

The touring production of Matilda the Musical has arrived in Manchester for a month-long stay at the city’s Palace Theatre. From the moment you enter the auditorium, this show draws you in. Rob Howell’s brilliant set design of wooden blocks and stacked books reimagines the space as the cast burst into opening number Miracle, bringing this beloved Roald Dahl classic to vibrant life.

At the heart of the story is Matilda, a bright and brilliant girl who finds herself saddled with quite possibly the worst parents in the world. Despite having their very own child genius the Wormwood’s are far too busy with their own selfish and silly pursuits to notice, thankfully Matilda’s teacher Miss Honey soon realises how gifted she is, taking her under her wing despite terrifying Head Teacher, Miss Trunchbull’s treacherous tactics to thwart them.

Taking on the role of Matilda at tonight’s performance is an impressive Mollie Hutton.  She perfectly captures Matilda’s defiant spirit, proving that no matter how small you are or how grim your situation, you have the power to rewrite your own story. Her voice is pitch perfect as she delivers each vocal with just the right amount of mischievous spark.

Richard Hurst makes for a tremendous Miss Trunchbull, his physical comedy is spot-on as he stalks the stage to hilarious effect. Tessa Kadler is excellent as sweet teacher Miss Honey, while Adam Stafford and Rebecca Thornhill as Mr and Mrs Wormwood are as wonderfully grotesque as you’d wish for and deliver some of the best comedic highlights.

Special mention must also go to the incredibly talented ensemble of children and adults who deliver Peter Darling’s choreography with absolute precision. Their infectious energy drawing the audience in more and more with every scene. They create a truly heart-warming moment during the inventively staged When I Grow Up, while their punchy precision during Revolting Children provides a perfect, high-energy final group number, with Carter-J Murphy shining in the role of Bruce.

This touring production seamlessly brings West End magic to Manchester, entertaining wholeheartedly while also delivering key messages about courage, kindness and the importance of standing up against injustice while Tim Minchin’s music and lyrics tick every box. This is a witty, joyous, mischievous masterclass in musical theatre that will appeal to young and old alike, ensuring we all feel a little bit taller by the end of the night.

Matilda The Musical is on at Manchester’s Palace Theatre until Saturday 25th April tickets are available here.

Mean Girls

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Reviewed by Sophie Rowley

Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

Get in Loser – The Plastics have arrived in Manchester!

In 2004 Tina Fey introduced the world to Mean Girls, and to be honest we have never really recovered! Fey revolutionised the genre of teen drama, as previously it focused on romance and ghetto blasters, Fey opts for a more dark and psychological driven narrative. She focused on the mental tournament and social terror high school brings with a dark wit. The cliques of the educational empire became more sleek and intelligent rather than clueless. The term “queen bee” became associated with actually controlling the school as though it was a country or as suggested in ‘apex predator” the animal kingdom. Through Fey’s delightful wit and sharp humour its not hard to see why this film became a millennial masterpiece.

In 2017 Mean Girls premiered on Broadway and just when you think Fey and her creative team couldn’t improve on perfection – a musical score was added and the magic was born. So much so that in 2024 – two decades after the original film delighted the world, Fey scored the hat-rick and released a musical film. It’s fair to say Fey has defined generations with her cult classic and now direct from the West End, Regina and her band of faithful followers have travelled up north to paint Manchester Opera House pink!! So does Mean Girls deserves a seat at the table or will it be the latest entry to the burn book?

When 16 year old Cady Heron (Emily Lane) and her mum move to Illinois, Cady has to leave her homeschool life behind in Africa and swap this for North Shore High, where she really enters the lions den. The complete anthesis from all she has ever known, Cady befriends two rouge outcasts Janis (Georgie Buckland) and Damian ( Max Gill) who live by their own rules. They guide Cady though a world of plastics and politics in the song Where Do You Belong, Damien and his show choir tells her “pick a clique and stick with it”. This newly formed trio decide to concoct a devilish plan where Cady enters Regina’s world. Here is where things start to unravel for Cady – she has never had to negotiate high school life, or deal with ‘queen bees’ like Regina (Vivian Panka) and her plastic posy Gretchen (Kiara Dario) and Karen (Sophie Pourret) nor did she plan on entering a love triangle hence the revenge party was born.

Fey and the creative team have done an incredible job bringing Mean Girls into the theatrical world. The show, where possible, does stays faithful to the original film, exploring themes of relationships, revenge, self discovery and self acceptance, however, one aspect that differs is the shift of the narrative voice from Cady to Janis and Damian’s. Judging from the audiences reaction this is a hugely popular choice.

The whole production is an absolute treat visually and vocally. The set is incredible, Scott Pask has done an outstanding job with his designs. Vibrant colours and seamless set changes bring the production to life. The set design, lighting (Kenneth Posner) and sound (Brian Roman) complement the soundtrack perfectly. The soundtrack is energetic, modern and original, there is an eclectic mix of vibrant group numbers, slow, subtle numbers and then cleverly constructed individual songs which represent the characters so well. The choreography also complements each song with superb routines that elevate this production further.

Cady adapts to her new life in the classic teenage way, she fumbles through Regina’s empire and quickly learns how to survive in this new setting. Despite having to fight her way through situations – Cady’s songs are a wonderful mix of strong vocals set against chords of music which takes her back home – her safe place. This wonderful musical undertone creates a joyous Disney vibe which builds and fires the show with energy. Lane delivers each song with crisp clean vocals and a fantastic range.

Regina and the plastics have a more sassy, sultry soundtrack – proving why they are as they are, a big deal. Regina’s songs are superbly executed by Vivian Panka, she brings confidence and attitude which adds to her Queen Bee aesthetic. Kiara Dario really showcases her depth of acting by showing Gretchen’s desperation to be Regina’s favourite sidekick, beautifully shown in her rendition of ‘What’s Wrong With Me? Dario really makes you feel her pain as all she wants is to fit in and still make ‘fetch’ happen. Sophie Pourret provides the group with her fantastic portal of Karen and plays her as clueless as you would hope, yet she still manages to maintain Karen’s innocence and humour.

Janis and Damian are the stand out stars for me in this production. Georgie Buckland really brings Janis to life – she is strong, tough and fiercely loyal while her vocals are a powerhouse of grunge, grit and rock. Max Gill brings humour and limitless energy to Damien, my face ached with smiling so much. Both characters are the voice of the show, and drive the plot forward with their “cautionary tale” of North Shores antics. Despite bringing a fresh new feel to the show they also remain faithful to the original characters and judging from the audiences reaction succeed entirely in their portrayal.

The other standout performances must go to, Kevin G (Karim Zeroual) who is funny and quick – Zeroual allows Kevin’s unique charisma to shine through – and while at times Kevin is comically cringy, he received with a genuine warmth by the audience. Mr Duvall (Joshua Elmore) stays true to form as an awkward headteacher but when needed is the voice of reason and authority. Any fans of Mean Girls know that Aaron Samuel’s is a big deal – Ben Oatley doesn’t disappoint in his portrayal of the handsome hunk. You see the rivalry of Regina and Cady in fighting for his attention, which Aaron doesn’t seem to mind. Oatley brings swagger to Aaron and a quiet confidence which is very endearing – one might describe it as very grool.  Finally Faye Tozer really does not stop – she bravely takes on the roles of Ms Heron, Ms Norbury and Mrs George. Tozer is able to bring a different quality to each of character, but the favourite has to be as the ‘cool mom’ Mrs George. 

So has Mean Girls passed the test? Yes absolutely. Every single member of the cast and crew have done a fantastic job in this production. It is a must see for all ages. It translates so well from screen and stage, its a show that not even a pandemic could stop and has made my millennial heart very happy. 

Mean Girls is on at Manchester’s Opera House until Saturday 7th March tickets available here.

 

Operation Mincemeat

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Reviewed by Matt Forrest

Opening Night verdict ⭐⭐⭐⭐⭐

A few years ago, a close friend urged me to see a brilliantly talented theatre-comedy troupe called Kill the Beast, who were touring their second show: He Had Hairy Hands. This was a horror/comedy with plenty of bite. I remember laughing from start to finish, completely won over by its blend of absurdity and pitch-black humour. From that moment on, whenever Kill the Beast arrived in town with a new production, they became an absolute must-see for me.

Since then, Kill the Beast members David Cumming, Natasha Hodgson, and Zoe Roberts, alongside long-time collaborator Felix Hagan, have joined forces as the theatre company SpitLip. Together, they’ve created Operation Mincemeat, a new musical that has taken both the West End and Broadway by storm and is now embarking on a world tour.

The story revolves around a daring real-life British intelligence operation mounted in 1943. With the Allies preparing to invade Sicily, a small band of MI5 officers are tasked with distracting Nazi forces elsewhere. Their solution is astonishingly bold: they attach fabricated invasion documents to a dead body and release it where it will fall into enemy hands, trusting the Germans will be deceived. The body is carefully transformed into “Major William Martin,” a fictitious British Army officer furnished with love letters, a photograph of his sweetheart, and an intricately detailed backstory, every element meticulously designed to dupe the Third Reich.

The musical follows the team tasked with seeing the operation over the line from genesis to completion. There is Charles Cholmondeley (Seán Carey), the mastermind of the scheme, but lacking in self-confidence and the ability to present it to the top brass, Commanding officer John Bevan (Jamie-Rose Monk) in desperate need of a plan knowing if it fails it’ll be catastrophic for the British. Then there is Ewen Montagu (Holly Sumpton), whose over inflated self-confidence and ego sadly doesn’t match their actual talent.

The team are supported by two very different but no less essential secretaries; first there is senior secretary, Hester Leggatt (Christian Andrews), the matriarch of the group, a stickler for the rules who keeps the team in check. Finally new starter, Jean Leslie (Charlotte Hanna-Williams) who is ambitious and sees the role as an opportunity to forge a career for herself. Can the group pull together and help to pull off one the biggest ruse the world has ever known?

There is so much to enjoy about this fantastic show. The ensemble cast of five are superb right from the get-go playing over 80 characters between them. All work tremendously hard throughout and it’s a credit to their excellent performances and smooth costume changes that things never become confusing. All five get to showcase great comic timing and a gift for physical comedy.

The tone of the production is pitch perfect. The show brilliantly skewers the sheer absurdity of the situation, gleefully lampooning the British class system and that entrenched “stiff upper lip,” while also delivering a surprisingly sharp critique of gender inequality in the workplace. Even James Bond creator Ian Flemming gets a good going over!

Beneath the wit and rapid-fire comedy lie moments of genuine poignancy. The script takes care to acknowledge the sacrifices made not only by those serving on the front lines, but also by the loved ones waiting anxiously at home. Most moving of all is the tribute to Glyndwr Michael, the forgotten man whose body became the unlikely centre of the operation, a reminder that behind the outrageous deception was a real human life.

The musical numbers are top drawn throughout from the opening number, Born to Lead, a stinging assessment of the class system, right through to the big closer A Glitzy Finale. My own personal favourite Das Übermensch is as outrageous as it is hilarious. It’s the emotional, gut-punch songs Sail On Boys and Dear Bill that will live long in the memory, especially the later which is beautifully performed by Christian Andrews.

Smart, slick and uproariously funny, yet brimming with heart, Operation Mincemeat is an absolute triumph and fully deserving of its Olivier and Tony Awards recognition. Unlike the covert mission at its centre, there should be no secrecy surrounding this production, it richly deserves the spotlight. It’s a show that delights on first viewing and will be rewarded with repeat visits just as generously.

Operation Mincemeat is on at the Lowry until Saturday 28th February. Tickets are available here.

Further tour dates and ticket information can be found here.

Priscilla Queen of the Desert

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Reviewed by Jodie Crawford

Opening Night verdict ⭐⭐⭐⭐⭐

Priscilla Queen of the Desert the Musical at the Palace Theatre in Manchester is an absolute joy from start to finish. A dazzling, heartfelt celebration bursting with energy, emotion, glitter, and a fabulous lashing of camp on the side. As an adaptation of the iconic Australian cult film, it follows three performers on a life-changing road trip across the outback aboard their fabulous bus, Priscilla, discovering friendship, acceptance, and their true selves along the way (with a fair few challenges thrown in too).

It’s laugh-out-loud funny one minute and genuinely touching the next, striking that perfect balance between outrageous spectacle and real heart.

Right at the centre of it all, Kevin Clifton was a standout as Tick/Mitzi, delivering a strong vocal performance alongside a warm, endearing, and beautifully layered portrayal of this loving and complex character. He brought real sincerity to Tick’s journey as a parent, performer, and friend, giving the show an emotional core that grounded all the glitter and glamour perfectly.

Alongside him, Nick Hayes was absolutely sensational as the flamboyant and unapologetically in-your-face Felicia/Adam. Full of sass, attitude, and charm, he lit up the stage every time he appeared, while still showing the character’s vulnerability underneath all the sparkle. It was a hilarious yet heartfelt performance that made Felicia both larger-than-life and completely relatable as the adventure unfolded.

Adele Anderson’s Bernadette brought elegance and wit to the production, delivering a confident performance in both the songs and the choreography. She added a lovely sense of poise and emotional depth to the trio, with interactions that felt natural, touching, and often very funny.

The Divas (1, 2 and 3) were mesmerising throughout, vocally powerful, stylish, and completely captivating, weaving seamlessly through the narrative and elevating so many key moments with their stunning harmonies and presence.

Backing it all up was an incredible ensemble bursting with energy and talent, filling the stage with life and joy from beginning to end. The choreography was vibrant, slick, and packed with personality, while the wardrobe and wigs were nothing short of magnificent: bold, extravagant, and exactly what you want from Priscilla.

There were belly laughs, a few misty-eyed moments, and plenty of songs to boogie along to, all building to a finale that felt like a full-on party. The audience were treated to a right old celebration, and you could feel the joy in the room long after the final bow.

Priscilla Queen of the Desert is on at Manchester’s Palace Theatre until Saturday 28th Feb tickets available here.

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.