Musical

Sylvia

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Reviewed by Nikki Cotter

Opening Night verdict ⭐⭐⭐⭐⭐

In 1903, Manchester, Emmeline Pankhurst founded the Women’s Social and Political Union (WSPU) to fight for the rights and betterment of women. Her name remains synonymous with the city, and she is almost universally the first name which comes to mind when women’s suffrage is mentioned. However, as the WSPU grew increasingly militant under the leadership of Emmeline and her eldest daughter, Christabel, middle daughter Sylvia and the path she takes gives us the focus of this powerful story.

Disillusioned by her mother and elder sisters increasingly radical methods, Sylvia fights to guide the Suffragettes toward a broader socialist agenda, fearing that their extreme tactics and restrictive focus will leave ordinary working-class people behind.

The production brilliantly captures the ideological rift tearing the Pankhurst family apart, resulting in a powerful exploration of family division as the Pankhurst’s feud over the socialist ideals Sylvia refuses to compromise on.

Beverley Knight takes on the role of Emmeline, an authoritative, no-nonsense presence who refuses to back down. Knight, like Emmeline is truly a force of nature, strong, compelling and utterly formidable. Her vocals are pitch perfect, as she delivers Emmeline with a steely, stirring determination.

Naomi Katiyo absolutely raises the roof in the titular role of Sylvia. She takes the audience on a truly remarkable journey, growing in strength and conviction despite the brutal conditions she endures. Rather than breaking her spirit, frequent imprisonment and regular hunger strikes only fuel her determination to succeed in her fight against inequality. Her vocals are perfection, delivering Kate Prince’s intricate lyrics with seamless control as she moves from heartbreakingly emotive to powerful and punchy with an incredible ease.

While Beverley Knight and Naomi Katiyo lead this cast superbly the production feels like a very special ensemble piece with every single person on stage well and truly at the top of their game. While every member of the cast deserves enormous praise, special mention must go to Ellena Vincent as Christabel, Tachia Newall as Kier Hardie, Uzuazo O’David as Harry Pankhurst, Kristie Skivington as Adela Pankhurst, Ivano Turco as Silvio Corio and Colette Guitart as Clementine Churchill, all are knock out.

The collaborative writing of Kate Prince (lyrics & book), Priya Parmar (book) Josh Cohen and DJ Walde (music) is a joy, covering multiple genres from hip-hop to soul in impressive style. The vocals in this mostly sung-through production are incredible, paired with Prince’s stunning choreography and direction the result is a slick, striking and visually enthralling piece.

There’s a wonderful balance between vocal numbers like Stand Up that feel like a call to arms and the deeply poignant I Don’t Want Blood on My Hands adding depth and complexity to the storytelling. Taking this to the next level is Prince’s choreography which is used to incredibly dramatic effect, none more so than during March Women March/Be The Change at the close of Act 1 which brought me and many of the audience to tears.

Ben Stones mostly monochrome set paired with Natasha Chivers and Hector Murray’s intentionally stark lighting allows the focus to stay firmly fixed on the characters as this politically charged story unfolds. Splashes of politically aligned colour appear as we move further into the timeline of the period adding clarity and broader character definition.

Sylvia is an absolute triumph, the cast are sublime while the production leaves you feeling, educated, entertained and empowered. Sylvia serves as a true reminder of the importance of standing up against injustice and inequality even when the path feels almost impossible. As a woman, from the North West I found the production deeply moving and a true reminder that we can all be changemakers. Inspirational, powerful and incredibly poignant, this is an absolute must-see.

Sylvia is on at The Lowry until Saturday 24th October tickets are available here.

The Choir of Man

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Reviewed by Sophie Rowley

Opening Night verdict ⭐⭐⭐⭐⭐

In 2017, The Choir of Man, created by Nic Doodson and Andrew Kay, premiered at the Edinburgh Festival Fringe. The show instantly connected with audiences and found international success, this popularity has never faltered with the tour returning to the North West, this time showing at the Lowry much to the delight of this 2026 audience.

Set within an archetypal British pub, named The Jungle, the production immediately challenges conventional expectations of musical theatre, featuring a fully functioning bar on stage where audience members can enjoy a pint before and during the performance. More than a theatrical gimmick, the bar becomes the beating heart of the production, establishing a joyful atmosphere and bringing the world of the pub to life on stage. Within the opening five minutes, it becomes apparent that The Choir of Man is an unconventional musical, distinguished not only by its infectious energy but also by its exploration of masculinity, community and the cultural significance of the British pub. Rather than following a traditional linear narrative, the show unfolds as a celebration of shared experience, male friendship and the sense of belonging that community spaces can foster. Its characters, identified by archetypal titles such as ‘the Poet’, ‘the Barman’ and ‘the Romantic’, further reinforce this sense of familiarity. Each embodies a recognisable figure from the local pub, allowing the audience to identify with these characters almost immediately. Through this combination of familiar social archetypes and a shared theatrical space, Doodson and Kay create a compelling connection between performers and audience, inviting us to consider not only what it means to be a man, but also the universal human need for connection, acceptance and belonging.

The score adopts the style of a jukebox musical, weaving together popular and instantly recognisable songs from a variety of genres and eras including tracks from Adele, Katy Perry, Queen and Sia, all are reimagined and delivered with remarkable skill by the nine-strong cast. In another departure from conventional musical theatre, the songs do not necessarily drive the narrative; instead, the production embraces a concert-style format in which the performers acknowledge and engage directly with the audience. This breaking of the fourth wall is executed with infectious enthusiasm, creating an atmosphere of shared celebration that is warmly received by the Lowry audience.

Jack Blume’s musical arrangements are a particular highlight, with the impressive nine-part harmonies providing moments of genuine vocal splendour. Complementing Blume’s arrangements is Freddie Huddleston’s dynamic movement direction, which brings an additional rhythmic dimension to the performance. The infectious soundtrack seems almost impossible to resist, inviting toe-tapping and finger-clicking throughout, while Huddleston’s choreography builds on this energy through its integration of movement and percussion. Judging by the bopping heads and chair dancing throughout the auditorium, the Lowry audience is thoroughly embracing the evening’s communal spirit at ‘the Jungle’.

Debbie O’Brien certainly had her work cut out when casting this show. As stated above, The Choir of Man relies heavily on its performers delivering the triple threat of acting, singing and dancing, yet O’Brien seems to have struck gold with this cast. All nine performers share a wonderful chemistry, bouncing effortlessly off one another and fully embodying their ‘Everyman’ personas. None needs to be the obvious standout, the villain or the protagonist; instead, they must convincingly portray a group of ordinary men who are regulars at their local pub. Achieving this natural, easy camaraderie is no simple task, yet through O’Brien’s casting and the creative team’s direction, the company succeeds brilliantly. Ironically, in their efforts to portray ‘ordinary’ people, the cast prove truly sensational: their dancing is impeccably timed, their singing is world-class and their acting is exceptional.

With each character defined by a skill-based title, the performers must also embody the qualities their names suggest. The Poet (Oluwalonimi (Nimi) Owoyemi), for example, must be almost bard-like in his storytelling, particularly as he also serves as the narrator, driving the show forward. The Maestro (Gustav Melbardis) brings the qualities of a musical magician, while The Handyman (Jack Skelton) showcases his impressive tap-dancing ability. Meanwhile, The Beast (Lewis Dragisic) charms the audience with his charisma and dulcet tones. Alongside The Hard Man (Niall Woodson), The Joker (Ben Mabberley), The Barman (Joshua Lloyd), The Romantic (Sam Walter) and The Pub Bore (Aaron Pottenger), each performer contributes to the ensemble’s collective identity. These may be ordinary men, but there is certainly nothing ordinary about the performers bringing them to life. Their exceptional skill and infectious energy make these portrayals quite extraordinary. Oluwalonimi (Nimi) Owoyemi rendition of Luther Vandross’ ‘Dance with my Father’ left me speechless, the Lowry audience and I were not prepared for how devastatingly beautiful this version was and the harmonies from the other Choir cast mates was magical to watch.

Before coming to see The Choir of Man, the phrases used to describe the show were ‘high energy’, ‘pure joy’ and ‘a great night out’. All are true, but nothing can quite prepare you for the atmosphere this production creates. Its reimagined jukebox soundtrack has you tapping your feet, singing along and feeling as though you’re at a live concert. The fourth wall is well and truly shattered; you’re not simply watching the action, but becoming part of it, quite literally invited onstage to share a pint with the cast. Through clever casting, expert staging and infectious energy, it’s little wonder that the show has earned the international reputation it enjoys. Yet beneath the music, humour and good times lies something more meaningful: a celebration of community, an exploration of masculinity and male mental health, and a reminder that sometimes the most important thing is simply to be yourself. At its heart, The Choir of Man is about a group of lads down the pub, enjoying life and each other’s company. As the poster’s tagline puts it, ‘Music, Mates and Good Times’ — a sentiment that feels universally relatable. So, grab your mates and head to The Lowry for a night at the Jungle with The Choir of Man. You won’t regret it.

Showing at The Lowry until 17th October 2026, tickets are available here.

Calendar Girls The Musical

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Reviewed by Sophie Rowley

Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

 

The show about five incredible women who defied tradition, changed the meaning of a sunflower and dared us to “whip our bras off” is now showing at the Octagon in Bolton. In 2003, the world was introduced to the extraordinary story of Calendar Girls, and audiences were certainly not prepared for the emotional rollercoaster they were about to embark on. 

When Annie’s husband John is cruelly taken by leukaemia, her best friend Chris persuades Annie and their friends to come together and create a charity calendar in the hope of raising money for the hospital that cared for him. Their mission seems simple enough: raise enough money to buy a sofa for the hospital’s family room. But, as is so often the case, fate has rather bigger plans. What follows is a whirlwind of friendship, grief, laughter and courage, a story that continues to resonate with audiences more than two decades later. And perhaps the most incredible part of all is that this really happened.

The musical is based on the true story of the Women’s Institute members who made headlines in 1999 by producing a nude calendar to raise money for charity. There is something particularly challenging about bringing a true story to the stage. You need to capture the emotions, preserve the integrity of the story and, most importantly, respect the real people whose lives inspired it. Gary Barlow and Tim Firth have succeeded in all three with this magnificent musical rendition of the inspiring tale of a group of Yorkshire women who decided to do something rather extraordinary for charity.

Women’s Institute members. A nude calendar. A sunflower. Raising money for charity…Quite the plot line, wouldn’t you say?

Director Paul Robinson revives the well-known production of Calendar Girls, but this is far from a production that relies on elaborate sets or spectacle. The use of actor musicians perfectly complements the productions stripped-back approach. It is this simplicity that, ironically, gives the show such impact. As with many Octagon productions, Calendar Girls thoroughly embodies a sense of community. The use of local casting adds an authenticity to the production, while the intimate nature of the theatre itself makes you feel as though you are part of the story rather than simply watching it unfold. Together, these elements create a wonderful sense of family, while the relatability of the characters immediately draws you into their world.

Helen Coyston’s staging reinforces this further. The in-the-round configuration means the audience is in close proximity to the cast throughout, while her staging remains simple and elegant. Nowhere is this minimalist approach more effective than in the infamous calendar scenes. Rather than making these moments exposing, awkward or gimmicky, Coyston treats them with sensitivity and softness. In doing so, the scenes become something far more meaningful: a celebration of body positivity, confidence and the courage to embrace who you are. The strategic placement of props, choreographed seamlessly into the action, feels completely natural and is exquisitely executed. Nothing feels unnecessarily complicated, allowing the characters and their stories to remain firmly at the heart of the production. 

The musical score is infectious. Gary Barlow and Tim Firth’s original score has been reimagined for this production, with the cast doubling as the band. I have seen this technique used many times, but it is incredibly effective when executed well, and this cast makes it look effortless. A combination of woodwind instruments and piano adds another layer of intimacy to the production. The absence of a hidden pit orchestra allows the music to exist within the world of the characters, rather than sitting separately from it. You can see and hear the musicians creating the melodies alongside the action, further reinforcing the sense that this is a community telling its own story.

This 12-strong cast is incredibly versatile, seamlessly switching between acting and playing multiple instruments throughout the production. Leading the cast are Karen Holmes as Chris and Christina Meehan as Annie, accompanied by a superb ensemble including Pippa Duffy as Celia, Sarah Groarke as Marie, Annie Kirkman as Ruth, Alicia McKenzie as Cora, Fenella Norman as Jessie, Neil Moors as John, Matt Heslop as Lawrence, Charlie France as Tommo, Grace Pearce as Jenny and Billy Currid as Danny, with Matt Ian Kelly, Rachel Hammond and Angela Caesar who all tackle multiple roles. 

Holmes allows Chris’s feistiness to shine, showing exactly what a force of nature she can be. She is quite the antithesis to Meehan’s Annie, who presents a softer kind of strength. But don’t be deceived: beneath Annie’s gentler exterior is a true fighter, determined never to lose sight of why they are doing this. Meehan makes Annie the backbone of the group, capturing the way grief can change from one moment to the next, sometimes strengthening you and sometimes threatening to overwhelm you. It is perhaps this portrayal of grief that makes Calendar Girls so universally relatable. For many watching, the story may echo their own experiences of loss, and there is something incredibly powerful about seeing those emotions represented so honestly on stage. Annie’s journey reminds us that grief does not follow a straight line. Sometimes it makes you stronger, sometimes it breaks you, and sometimes it does both within the space of an hour. 

Calendar Girls is such an inspiring story, and Robinson’s reimagining of these unyielding Yorkshire women’s formidable quest to raise enough money for a sofa becomes something far more magical. This is a story of courage, compassion and, to borrow the Women’s Institute’s own words, “fun, friendship and enlightenment”. The use of local actors further injects authenticity and community into the production. The emotionally charged subject matter makes for some genuinely moving moments, with scarcely a dry eye in the house. 

Whether you are familiar with the original story or discovering it for the first time, Calendar Girls remains a staple of modern theatre. Setting this extraordinary true story to music brings a new energy and emotional charge to an already electric tale, allowing the laughter and the heartbreak to sit side by side. What begins as a seemingly simple mission to buy a sofa becomes a celebration of friendship, bravery, grief and the remarkable things that can happen when ordinary people decide to do something extraordinary. And perhaps that is the greatest achievement of this production: beneath the laughter, the music and, of course, the infamous calendar, it reminds us that sometimes the smallest acts of kindness can create something much bigger than anyone ever imagined.

Calendar Girls is on at Bolton’s Octagon theatre until Saturday 31st October tickets are available here.

Little Shop of Horrors

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Reviewed by Nikki Cotter

Opening Night verdict ⭐⭐⭐⭐⭐

Directed and choreographed by Tony and Olivier Award-nominated Carrie-Anne Ingrouille (Six), this bold revival takes Alan Menken and Howard Ashman’s beloved, cult classic and breathes new and utterly brilliant life into it resulting in a thrilling theatrical experience that you won’t want to miss.

Based on Roger Corman’s cult classic, Little Shop of Horrors introduces us to Seymour, (Jed Berry) a timid florist trapped as a browbeaten assistant to the harsh Mr Mushnik (Michael Starke). Life on Skid Row is pretty bleak, the shop is failing fast, and Seymour is secretly in love with his coworker, Audrey, however everything changes when he purchases a strange and interesting plant whom he names Audrey II. But, as the plant begins to wither, Seymour makes an alarming discovery…the plant needs human blood to survive. As the carnivorous Audrey II grows, so do Mr Mushnik’s profits and ultimately Seymour’s fame. Could this bloodthirsty beast be Seymour’s golden ticket out of the gutter and into Audrey’s arms or will the price of success be too high to pay?

Jed Berry is an absolute joy as Seymour, perfectly capturing the character’s wide-eyed innocence with a sweet, well-meaning sincerity that instantly wins over the audience. He entirely nails the essence of Seymour giving us a loveable underdog we can truly invest in while his vocals are utterly sublime. Stepping into the iconic shoes of Audrey is EastEnders and Strictly star Maisie Smith. Smith plays the Skid Row shop assistant with a delicate vulnerability, effortlessly blending sharp comedic timing with soaring, powerhouse vocals. Opposite Berry’s endearingly awkward and lovesick Seymour, the duo share a wonderful on-stage chemistry, their flawless, rendition of fan favourite “Suddenly, Seymour,” ensuring the audience is wholeheartedly rooting for this unlikely pair to succeed.

Michael Ayton gives us show-stopping vocals as Audrey II, effortlessly capturing the soulful, sinister sass of the blood-thirsty botanical beast. Brookside legend Michael Starke makes for a wonderfully scheming Mr Mushnik, while Benjamin Yates is perfectly cast as Leader of the Plaque, Orin Scrivello, the Dentist. Unhinged, unforgettable and utterly brilliant!

Special mention must also go to the iconic trio of narrators, Psalms-Nissi Myers-Reid as Crystal, Gabrielle Davina Smith as Ronnette, and Rio Maye as Chiffon. Their harmonies are to die for (literally), adding further depth to Alan Menken’s much-loved score while they deliver Carrie-Anne Ingrouille’s slick choreography to perfection.

Award-winning set and costume designer Morgan Large has constructed an incredibly striking set which impressively maximises the intimate space at Hope Mill Theatre, bringing Skid Row to Manchester in incredible style. The intricate Audrey II puppets (also designed by Morgan Large and created by Robert Allsopp) are seamlessly operated by a team of puppeteers (Julia Frost, Christopher Dobson and Imogen Khan) who together with Michael Ayton ensure there’s no mistaking this is a living, breathing, badass botanical.

Musical director Ben Barlow with sound designers Sam Glossop and Harry Greatorex ensure Alan Menken’s score sounds sharp and vibrant while Rory Beaton’s lighting design confirms the sheer quality of this production.

Forty years after the film first captured our hearts, this brand-new revival proves that the monster hit is bigger, bolder, and more of a must-see than ever before! Superb!

Little Shop of Horrors is on at Manchester’s Hope Mill theatre until 30th November before it heads to Liverpool’s Playhouse from 3rd December until 9th January tickets and info are available here.

How Soon Is Now?

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Reviewed by Nikki Cotter

Opening Night verdict ⭐⭐⭐⭐

Written by Siân Owen, this new production transports us to Manchester nightclub ‘Deja Vus’ on New Year’s Eve 1997. Midnight is fast approaching, New Labour and ‘Cool Britania’ are offering a sense of optimism, and, inside the club, the music is bangin’, the atmosphere’s beltin’ and the possibilities seem endless.

At the heart of this production are three young women, Polly, (Laura Robinson) Angie (Kaitlyn Akinpelumi and Jean (Bethan McLean) each arriving at the club with very different hopes, dreams and emotive back-stories. Angie and Polly are regulars at the club, part of the furniture so to speak and a friend to all, while Jean is an outsider struggling to find where she belongs. Their lives collide against a backdrop of 90s indie classics, creating a story that is as much about friendship and finding yourself as it is about the music.

For anyone who lived through the 90s, the live music is an absolute joy. As someone who was 19 on New Year’s Eve ’97, the production’s nostalgia was a massive draw for me, but Box of Tricks goes far beyond a simple trip down memory lane. Delivering a gritty, visceral piece that bursts with both heartbreak and hope.

The production draws on the era’s defining sound, tapping into a delicious back catalogue of tracks from indie legends including The Stone Roses, Oasis, Pulp, Radiohead and The Smiths to create an atmosphere that feels instantly familiar. The music quickly becomes part of the storytelling, helping to express the characters’ hopes, fears, complex relationships and need for escape.

Director Adam Quayle successfully brings to life Siân Owen’s vision of a club that feels like an entirely separate, magical world where anything is possible. Somewhere you can be anyone you want to be before morning arrives and the real life kicks you in the teeth. As DJ Spin Jim, actor-musician Darragh Cowley brilliantly anchors the production. He guides us through an indie-infused night where reality blurs into pure musical intoxication with enthusiasm and iconic Manc swagger.

The three central performances bring plenty of heart, the friendship between Angie and Polly, portrayed beautifully by Kaitlyn Akinpelumi and Laura Robinson providing the emotional core. An additional dramatic layer comes from Bethan McLean as Jean, a young Welsh woman trying to find her voice despite her controlling boyfriend, brilliantly played by Theo Woolford.

The show’s live music is performed by a hugely talented trio including Darragh Cowley and Theo Woolford who seamlessly pivot from their acting roles to join guitarist and vocalist L J Willow, forming an incredible live band who seamlessly become part of the nightclub environment.

Writer Siân Owen balances cleverly the euphoria of New Year’s Eve with the crushing reality of real life; amidst the celebrations are themes of loneliness, coercive control and domestic abuse, giving the production depth. What makes this production particularly effective is the way it captures that complex feeling of young adulthood, where the characters are young enough to believe anything is possible, but old enough to realise that life doesn’t always follow the soundtrack you imagined, but like the resilient Manchester spirit, hope always rises.

Energetic, nostalgic, funny, tender and packed with absolute tunes, How Soon Is Now? is a celebration of the 90s that manages to be much more than just a trip down memory lane. ‘Ave it!

How Soon Is Now? Is on at The Lowry until Saturday 3rd October tickets available here.

High Society

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Reviewed by Matt Forrest

Opening Night verdict ⭐⭐⭐⭐

The social event of the year has just arrived at The Lowry, and everyone is invited. Cole Porter’s High Society promises plenty of glitz, glamour, gossip and a side order of scandal, but, more importantly, some absolute classic songs from Porter’s back catalogue.

Direct from a sell-out run at London’s Barbican Theatre, this glossy hit show is now touring the UK and Ireland. Based on the 1956 film of the same name, which starred Bing Crosby, Grace Kelly and Frank Sinatra, the musical itself was adapted from the 1940 non-musical film The Philadelphia Story.

Helen George stars as socialite Tracy Lord, a member of the extremely wealthy Lord family. It’s the weekend of Tracy’s wedding to accountant and safe pair of hands George Kittredge (David Seadon-Young), whom Tracy’s family don’t particularly approve of on account of his being, well, rather dull and boring.

Things become considerably more complicated with the arrival of Tracy’s charismatic ex-husband Dexter Haven (Julian Ovenden), who has crashed the wedding with news of a brewing scandal that could potentially ruin the Lord family name.

Adding further fuel to the fire are two undercover reporters from Spy Magazine, Mike Connor (Freddie Fox) and Liz Imbrie (Carly Mercedes Dyer), who have been sent to dig up some dirt and, hopefully, secure a few more salacious stories.

What follows is a fun and thoroughly enjoyable show, packed with big song and dance numbers, top-drawer performances and stunning costumes, all of which do a good job of disguising a rather paper-thin and contrived plot.

This talented ensemble cast seem to have come straight from central casting. Helen George brings plenty of star quality to the role, displaying great comic timing alongside a tremendous vocal range. She is perfectly complemented by musical theatre veteran Julian Ovenden and musical theatre debutant Freddie Fox, with all three displaying terrific chemistry whenever they share the stage.

Fox, in particular, makes a confident transition into a convincing song and dance man. His performance brings plenty of energy to the production, and he clearly looks at home in his musical theatre debut.

They are supported by some fine comedic turns from Nigel Lindsay as the kindly drunk Uncle Willie and Carly Mercedes Dyer. Lindsay’s is an entertaining watch throughout: his turn during the act one ensemble closer Now You Have Jazz, was for me the one of the show’s many highlights.

Meanwhile, Dyer’s dry, deadpan delivery of some of the production’s more stinging lines is perfectly matched by her heartfelt and tender rendition of I’ve Got You Under My Skin.

As this is a Cole Porter musical, the real star of the show is always going to be his fantastic songbook, and this impressive cast and band more than does it justice.

Fox and Dyer deliver a fun rendition of Who Wants to Be a Millionaire?, while George and the ensemble cast bring the house down with the magnificently naughty Let’s Misbehave. Ovenden, meanwhile, excels in the slower and more wistful Just One of Those Things.

Cole Porter’s music sounds magnificent, brought to life by the superb band under the direction of Dan McLaughlin, while Anthony Van Laast’s choreography is slick, complementing the score perfectly.

The production values are first class, bringing to life the decadent lifestyle of the Lord family. John Morrell’s costumes are sharp and elegant, fully recapturing the 1950s razzmatazz, while Tom Rogers’ bold and lavish set design, complete with flowing staircases and a swimming pool, perfectly sets the scene.

Threadbare plot aside, and with perhaps a few too many drunken revellers running around the stage during the second act (we get the point, it’s a party!), I’m always amazed at how quickly affairs and infidelity are forgiven in productions from this era, while being a bit of a bore appears to be the ultimate sin. Different times, I suppose.

High Society is a fun and classy night at the theatre, showcasing talent from across the board who are all at the top of their game. My advice? Should an invitation ever arrive for a Lord family wedding, go. You’ll have a fantastic time and get the chance to revisit some timeless tunes along the way.

High Society is at the Lowry until Saturday 3rd October tickets are available here.

High School Musical

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Reviewed by Sophie Rowley

Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

In 2006, Kenny Ortega sent audiences “soaring… flying” with his “fabulous” creation of High School Musical. The plot centres around two main characters: Troy Bolton, who rules the school as the captain of the basketball team, and Gabriella Montez, a transfer student who excels in her academic studies. When both decide to audition for the school play, neither could have anticipated the impact it would have on the “Status Quo”. Now, 20 years on, Hope Mill Theatre and The Lowry are staging a wonderfully immersive “non-replica” production of the iconic millennial masterpiece.

Walking into The Lowry, you can feel the excitement. The audience are kitted out in replica costumes and themed T-shirts, and there is a sea of red, white and pink weaving through the stalls. Hope Mill’s producers and co-directors, Joseph Houston and William Whelton, remarked, “High School Musical is a show loved and adored across generations. It’s our ambition to create a new stage production to bring together those generations to experience the live spectacle in a completely fresh way.” This enthusiasm is clear and joyously displayed in this exciting production. There is a comforting combination of generational excitement alongside fresh energy from those who are new to the show, bringing an emotional charge to the pre-show atmosphere.

Your eyes are immediately drawn to the stage, in particular the sheer scale of it, mimicking a school gymnasium. Andrew Exeter and the production team bring the film to vivid life through imaginative, interchangeable sets and vibrant background graphics, but the standout feature has to be the onstage seating. Yes, the audience get to sit on stage and witness the action court-side. This idea works well, as from the stalls it mimics the effect of watching a sports game. From the onstage perspective, there is a possibility of losing a little of the show’s essence as you are watching from a side-on view, but a fun experience nonetheless.

Aaron Renfree’s routines are so engaging to watch, well-timed and superbly executed, especially the basketball choreography. Having memorised the “We’re all in this together” routine in my younger years, I was ready to join the cast on stage and dance, as my inner 2006 High School Musical child desperately wanted the original choreography for the chorus but, billed as a “non-replica” production, I completely respect the artistic decision not to replicate the routines. However, with it being such an iconic song from the film, it would have created a delightful synergy with the generation who grew up watching the original.

Let us move onto the cast, and what a cast this is! Every single person on stage thrives in their portrayal, with their passion shining throughout. Starting off strong with the main man himself, Troy Bolton, played by Tobias Turley, who brings a mature, masculine quality to the role. He doesn’t portray Troy as a pompous adolescent wanting to be the star; rather, he brings a quite soft energy that allows us to see why Gabriella (Leonor Correia) falls for him.

Correia and Turley work well together, with Correia offering a new side to Gabriella by bringing elegance, poise and confidence to the role. Their characterisations make you feel safe watching them and, in doing so, reinforces the “fresh” perspective Houston and Whelton wanted the show to have. Their vocals are clear and strong, creating a strong musical theatre quality to the show. Again, this is a difference from the film, where the vocals favoured a pop-culture sound.

Their chemistry is subtle but effective, the complete antithesis to their onstage rivals, the Evans twins: Sharpay (Caitlin Tipping) and Ryan (Luke Bayer). These two are arguably the most recognisable pairing for original aficionados, and Tipping and Bayer do not disappoint. Sharpay is spoilt, arrogant and detestable, everything you want from her. Bayer’s portrayal of Ryan, Sharpay’s impeccably dressed minion, is accurate and adorable.

Coach Bolton (Jason Donovan) does well as Troy’s overbearing father, and Kaycee Stroh, formerly Martha in the original film and now Ms Darbus, proves that she can still “pop and lock and jam and break”. Special mention must go to Curtis Patrick, who plays Jack Scott. His energy is limitless; he uses every inch of the stage and theatre and was a real standout for me.

The casting team must be commended for their inventive work on this production. Every role is perfectly cast, and the standing ovation tonight demonstrates this further. While Sophia Pardon’s stunning Y2K inspired costumes reimagine the mid-2000s aesthetic for the modern stage.

Houston and Whelton wanted to bring together different generations in reimagining the story of High School Musical. With a film that has such an iconic following, this production succeeds entirely in bringing a fresh take to the original. Clever casting, stunning costumes and vibrant interchangeable sets mean this spectacular production hits all the right notes. The dance numbers are so well thought out, with the routines involving the basketballs being a wonderful nod to the Disney staple. The entire creative team have worked passionately to keep what’s important for fans while creating something exciting, new and thrilling for audiences.

Come on and get’cha head in the game and bop to the top of the queue to get tickets to see this show. You could even be part of the action and watch the show court-side! Go Wildcats!

High School Musical is on at The Lowry until Saturday 19th September, tickets are available here.

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.