Musical

The Gangs of New York

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Reviewed by Matt Forrest

Opening Night verdict ⭐⭐⭐⭐⭐

Images by Mark McNulty

Storyhouse and Grosvenor Park Open Air Theatre productions have become somewhat of a must for theatre lovers during the summer months. With its purpose built theatre set in the beautiful picturesque surroundings of this Victorian park, it is the perfect setting for live theatre.

The venue has hosted some fantastic productions over the years which have included Little Women and The Great Gatsby. Continuing with the theme of adapting celebrated works of literature, one of this year’s offerings is The Importance of Being Earnest, the other is a far more daring prospect: the world premiere of The Gangs of New York, based on the factual book of the same name by celebrated American journalist, Herbert Asbury.

Set in the mid 1800’s, we are introduced to John Morrisey (Oisín Thompson) and Hellcat Maggie (Hanora Kamen) , a pair of Irish immigrants fresh off the boat arriving in America. It would appear that they have a certain skills set which will help them to survive the mean streets of New York, Maggie, is a light-fingered pickpocket, whilst Morrisey is equally as good with his hands as a boxer.

Almost immediately Morrisey’s growing reputation draws the ire of local gangland chieftain, William Poole (James Sheldon) a.k.a ‘Bill the Butcher’, as he puts it “a true American ”. Poole’s love of violence is only matched by his hatred for all immigrants landing in America hoping to make a better life for themselves. Soon the pair enter into a blood feud, which threatens to cost both of them not just their business ventures, but their lives as well.

As a huge fan of the 2002 Martin Scorsese, Gangs of New York, I was intrigued to say the least by how the production was going to unfold, and I’m more than happy to say it does not disappoint. The story doesn’t just focus on the prejudice and bigotry that many immigrants faced, but also the seedy criminal underworld of New York. Crooked cops, and bent politicians are all thrown into the mix, rather sadly it would appear that 1840’s USA isn’t too different from modern society.

At its core writer Kieran Lynn’s adaptation focuses on two love stories: Morrisey and Suzie Smith (Yolanda Ovide), a young women, from a wealthy family who has ambition to be more than just some rich man’s trophy wife. Whilst the other is the forbidden romance between Maggie and Lew Baker (Lucas Button), a local beat police officer, indebted to Bill the Butcher. It’s a bold move and one that pays dividends as you firmly invest and care about what will become of them all.

Director John Young’s production despite its weighty subject matter is filled with energy and a surprising amount of humour, there are sly, on point one liners which hit the mark throughout. In addition, the glorious in-the-round setting allows for some audience interaction, with some (un)willing audience members dragged up to be part of the show.

Throughout there are various cast members playing all manner of musical instruments, and performing songs giving an authentic folk/roots feel to the production. These light touches mean that when an act of violence does take place, it’s all the more brutal and comes as a bit of a shock.

The cast are in fine form throughout, Oisín Thompson gives a performance packed full of charisma. James Sheldon has a commanding stage presence, full of menace and rage. Hanora Kamen puts in a turn full of sass and grit, whilst Yolanda Ovide gives a restrained, measured performance, as one of the few voices of reason. Lucas Button is equally impressive as the troubled police officer, with a performance full of nervous energy and subtle comic timing, his arc is the one that underpins the entire production.

It’s a bold, brave choice to adapt this weighty, historical book for the stage, but one that rewards its audience with an entertaining and surprisingly fun watch. It’s a production performed by a super talented ensemble cast of actors and musicians, in an as perfect (weather permitting) setting as you’re going to get, live theatre doesn’t get much better than this!

The Gangs of New York is on at Grosvenor Park Open Air Theatre until 31st August tickets are available here.

A Chorus Line

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Reviewed by Nikki Cotter

Opening Night verdict ⭐⭐⭐⭐

Created by Michael Bennet in 1975, A Chorus Line lifts the curtain on the sacrifices performers make in a bid to book a job within the chorus of a Broadway show. Using real life interviews with Broadway dancers as it’s source material, A Chorus Line offers audiences a wholly authentic glimpse into both the audition process and the lives of the performers we so often see on stage yet know very little about beyond their beaming smiles at the curtain call.

This Leicester Curve production with Director Nikolai Foster at the helm has taken this much-loved story and executed a beautiful, memorable revival.

A Chorus Line is a complete ensemble show, there are no real leads, a stripped back set and few costume changes ensuring the characters and their stories are at the absolute heart of this piece. The whole cast are on stage for almost the entirety of the production as they deliver their own individual stories that go way beyond blood, sweat and tears in a bid to make it to the illustrious Broadway stage.

Opening impressively with I Hope I Get It the standard is quickly set for this revamped production. As numbers get cut the chorus line of hopefuls under the watchful eye of director Zach (Adam Cooper), take their moment in the spotlight, giving us a glimpse into their lives beyond the stage, their struggles to get there and the life experiences which have shaped their personalities.

Ellen Kane’s exquisite choreography is integrated superbly within the individual testimonies, it feels fresh, punchy and exhilarating. This is further enhanced by Howard Hudson’s stunning lighting design, which is at times breathtaking. The addition of close-up filming at times which is then projected largely onto the back of the stage could be polarising for audiences, for me it didn’t feel necessary and at times proved to be a distraction rather than an enhancement.

This cast are undoubtedly excellent, each has a unique ability to draw you in. From Chloe Saunders brilliant and witty delivery of Dance: Ten; Looks: Three to Manuel Pacific’s emotive personal disclosure scene as wannabe star Paul San Marco, each character feels authentic and believable.

Returning to the production are audience favourites Carly Mercedes Dyer as Cassie, and Adam Cooper as Zach, they are joined by an immensely talented cast who each showcase their skills both physically and vocally. Jocasta Almgill as Diana Morales gives a powerhouse performance with her knockout rendition of What I Did For Love. Amy Thornton, Lydia Bannister and Kate Parr are equally as affecting during At the Ballet while Redman Rance showcases Kane’s choreography to perfection during, I Can Do That.

This cleverly crafted revival feels fresh and exciting and takes the audience on a journey of exhilarating highs and painful lows as we feel for each and every auditionee. The devastation for those who don’t make it is swiftly followed by elation for those who do, that’s showbusiness as they say.

Running straight through at 1hr 50mins we are rewarded with a thrilling finale as the familiar intro for One begins. Stories of struggle and sacrifice make this dazzling finale seem all the more magical as the cast high-kick in unison while the pyrotechnics illuminate the stage in a finale that will long live in the memory.

A Chorus Line is on at The Lowry until Saturday 27th July tickets available here.

Little Shop of Horrors

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Reviewed by Matt Forrest

Opening Night verdict ⭐⭐⭐⭐

At the start of April the world witnessed the unusual phenomenon of a total solar eclipse. This rare occurrence plunged parts of North America into total darkness. It’s probably too early to tell if that event has led to any strange goings on: a martian invasion or even the introduction of a “strange and interesting plant” into the echo’s system. I mention the latter because this is the premise of one of the Octagon Theatre’s big spring shows, Little Shop of Horrors.

Set in 1950’s New York, we are transported to the dark side of the city, Skid Row, where we meet timid florist Seymour, (Oliver Mawdsley). Seymour works for the rather unpleasant Mr Mushnik (Andrew Whitehead), who blames his failing shop on the meek botanist. To add to Seymour’s worries, he is desperately in love with his friend and work colleague, Audrey (Laura Jane Matthewson). However, Audrey is blinded to his affection due to her turbulent relationship with the sadistic dentist Orin Scrivello, (Matthew Ganley).

However soon the fortunes of Mushnik’s soon change when Seymour discovers an unusual looking plant. Naming it Audrey II the strange flower soon becomes a media hit, bringing in more customers, more money as well as bringing Audrey and Seymour closer together. However, following an accident with a rose bush, Seymour soon learns that Audrey II has an appetite for something a little stronger than Miracle Grow. With Seymour running out of veins he looks at other means to feed the wanting weed, but the big question is, is it worth it for fame, fortune and him landing the girl of his dreams?

What absolute joy this production is: jam packed with great catchy tunes and a super talented cast, this is another triumph for the Octagon Theatre.

Oliver Mawdsley is in fine form as Seymour, showcasing great comic timing and a fine singing voice to boot. Laura Jane Matthewson is equally impressive as Audrey, with the pair’s stunning duet on Suddenly Seymour being just one of the production’s several highlights.

Matthew Ganley is suitably deranged and perfectly OTT as cruel Orin Scrivello DDS and very nearly steals the show, however the undoubted star is of course Audrey II, masterfully controlled by puppeteer Matthew Hewood, and superbly voiced Anton Stephans. His vocals on Feed Me (Get it) and Suppertime are sublime.

Musical director, Levi Van Warmelo has done a great job with the score, who along with drummer Migdalia Van Der Hoven and the supporting cast do a great job transitioning  between slow tempo tunes and funky upbeat numbers.

Throughout the performance Janna May, Zweyla Michell Dos Santos and Chardi Shaw showcase their talents as the do-wop trio Chiffon, Crystal and Ronnette, acting as our guides around Skid Row as the drama unfolds. Not only do these actors have tremendous voices, and a commanding stage presence, they are also talented musicians pitching in on guitar, bass, and keyboards.

All that said, the show isn’t without its flaws: I did find the closing sequences between Audrey, Audrey II and later Seymour and Audrey II looked awkward. In addition, the subject matter of domestic violence does make it unsuitable for younger audience members.

This is a highly entertaining, joyous night at the theatre, filled with black comedy, catchy toe-tapping tunes and plenty of bite!

Little Shop of Horrors is at the Octagon Theatre till May 18th tickets available here.

Sister Act

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Reviewed by Nikki Cotter

Opening Night verdict ⭐️⭐️⭐️⭐️

The sisters are well and truly back in the habit as they take the theatre world to heaven in this UK & Ireland tour which runs right through to the autumn. 

This musical remake of the much-loved 1992 movie tells the story of Deloris Van Cartier, (Landi Oshinowo) a sassy entertainer in downtown Philadelphia who witnesses her married boyfriend, Curtis Jackson (Ian Gareth-Jones), murder one of his motley crew. In an inspired choice Deloris is put into witness protection at a city convent where she soon starts spicing up the lives of her fellow sisters, much to the dismay of their Mother Superior (Sue Cleaver). 

This nun on the run is reborn as Sister Mary Clarence, taking us on a glorious adventure, where the black and white of convent life is gradually and often hilariously transformed into vibrant technicolour, where Delores helps the sisters to secure their future and find their own voices while offering an opportunity to discover where she fits in, in this crazy world.

Returning as the iconic Deloris Van Cartier, Landi Oshinowo is superb. She more than does justice to the role. Her voice is sensational, full of power and smooth as silk she belts out the big numbers with ease, while she delivers writers Bill and Cheri Steinkellner’s script with both style and sensitivity. Deloris’ changing relationship with Mother Superior (Sue Cleaver) is a wonderful thread that weaves throughout the story, there’s huge support for Cleaver in the audience and she convincingly shows her acting chops through the transitional journey she goes on.

Eloise Runnette makes for a hugely impressive Sister Mary Robert, she gives an authentic and memorable performance, fully immersing herself in the role as she quietly blossoms before our eyes. Special mention must also go to Alfie Parker as Eddie who comes close to stealing the show during his crowd pleasing solo, as well as nuns Sister Mary Lazarus (Julie Stark) and Sister Mary Partick (Isabel Canning) both are fantastic.

With its heavenly score from Alan Menken, Alistair David’s upbeat choreography as well as hilarious and heartwarming moments throughout, this fan favourite musical will have you praying for more. The infusions of gospel, soul, disco and Motown blend seamlessly to create a wonderfully uplifting score. While there’s a part of you that wishes they’d suddenly burst into ‘I Will Follow Him’ the group numbers more than make up for this. The ensemble pieces really elevate this show, at times when the pace begins to slow a little you know the next cleverly choreographed scene is just around the corner.

Sister Act is a hugely entertaining, camp, colourful celebration of friendship and finding one’s purpose. This enormously talented cast will raise your spirits and warm your heart with this joyful production. 

Sister Act is on at Manchester’s Palace Theatre until Saturday 30th March tickets available here.

Pretty Woman

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Reviewed by Nikki Cotter

Opening Night verdict ⭐️⭐️⭐️⭐️

Following successful runs on Broadway and in London’s West End, Pretty Woman arrives in Manchester this week as part of its first ever UK tour.

The musical stays faithful to the iconic 1990 movie starring Julia Roberts and Richard Gere, much to the delight of the audience who clearly revel in the nostalgia of the familiar.

For those unfamiliar (and I can’t imagine there are many) this is a classic Cinderella story with a twist, the twist being our ‘Cinderalla’, Vivian, is a sassy sex worker on the Hollywood Boulevard and our Prince Charming, Edward, is a money motivated entrepreneur, neither are looking for love but can just about cope with a week of no strings company.

Taking on the role of Vivian Ward at tonight’s performance Paige Fenlon captures the essence of the character so iconically created by Julia Roberts brilliantly. She draws the audience in, getting them on side immediately with her warmth and wit. Her confident delivery of ‘I Can’t Go Back’ is a real highlight while her characterisation guarantees we all fall completely in love with her Vivian.

Ben Darcy makes for a wonderful Edward, ensuring the audience soon warm to him once his walls begin to come down. His vocals really shine while he makes Edward’s journey convincing and thoroughly enjoyable. The two have great on stage chemistry ensuring we’re really rooting for their happy ever after.

Previous Strictly champion Ore Oduba is a huge asset to this production as (Happy Man/Mr Thompson). A versatile performer with heaps of charisma he is a real joy to watch. Popping up when you least expect him to, each scene he delivers with a confident ease, endearing him wonderfully to this engaged audience. His pairing with Noah Harrison as bell-boy Giulio, is inspired. The talented pair really elevate this production, each scene more brilliant than the last, I wouldn’t say no to a Mr Thompson and Giulio spin-off, they are superb!

Special mention must also go to Natalie Paris who blows us away with her stunning vocals as Vivienne’s best friend, Kit De Luca. She really is a world class talent and adds to this production enormously.

Director and choreographer Jerry Mitchell ensures this faithful retelling gives fans of the film everything they’d hope for in musical form. The iconic lines are there as are the classic scenes we all know and love. The opera scene particularly is stunning with Lila Falce-Bass and Josh Damer-Jennings delivering pitch perfect performances.

Pretty Woman ticks all the boxes for a perfect night of theatre escapism. It doesn’t take itself too seriously and delivers a super fun show as a result. It will entertain, charm and uplift you, make no mistake!

Pretty Woman The Musical is on at Manchester’s Palace Theatre until Saturday 16th March, tickets available here.

Unfortunate: The Untold Story of Usual the Sea Witch

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Reviewed by Matthew Forrest

Opening Night verdict ⭐️⭐️⭐️⭐️

There is a famous Monty Python sketch called The Fish Slapping Dance, whereby Michael Palin slaps John Cleese in the face with two tiny fish, whilst performing an absurd little jig, only for Cleese to retaliate with a massive slap to Palin’s face with a huge trout! Now I know this isn’t the normal way to begin a review but after watching Unfortunate: The Untold Story of Ursula The Sea Witch, you’ll feel like you’ve been walloped over the head by something bigger than a giant trout! Vulgar, absurd, and hilarious, this in-your-face musical parody is as crude as it is fun and I loved it, and dare I say so would the Python team too!

With cinematic releases from Disney such Maleficent and Cruella, told from the point of the villain proving to be a huge commercial successes, Fat Rascal Theatre’s march on the Mouse-eared media Megalodon with their alternative take on everyone’s favourite sea witch, is also proving to be a huge audience favourite.

In this retelling, the action rewinds 20 years:  Ursula, is a sassy, no nonsense strong woman, who heads to Atlantica in the hope that a marriage with the Kings son, Triton will save the kingdom. However the course, of true love doesn’t run smoothly, first some body shaming aimed at our straight talking heroine, followed by being framed for murder, sees  Ursula exiled from Atlantica

Fast Forward 20 years, Triton returns to his former lover, in need of her help with his daughter, Ariel. Ariel is his only living heir and will inherit the kingdom, however it’s fair to say Ariel isn’t quite ready to be a reigning monarch, more interested in men, and what they have between their legs than ruling the sea. Will Ursula’s plan work and make Ariel, become the princess those Disney bigwigs want her to be?

This production is an absolute riot from start to finish: catchy, no nonsense show tunes with big laughs, not just there because they have to be but there because they enhance the plot. Stand out numbers include the crude, but hilarious, Where the Dicks Are, the scene setting Nasty, and my personal favourite, We Didn’t Make it to Disney.

The cast more than matches the excellent written material.  Allie Dart-Munro as Ursula, gets the balance of sass and vulnerability just right. Whilst George Whitty as Triton, has a tremendous singing voice, hitting all the right notes. His is a dead-pan performance when compared to his co-stars. Miracle Chance is exceptional as Ariel, a gift at comedy, a real ‘jesters’ performance. Whilst Jamie Mawson as Eric, the handsome prince of the story is as OTT as he is ridiculous.

There is great support from Danni Payne and Jack Grey who play multiple characters and puppets including Sebastian the lobster, now sporting an Irish descent.

My only gripe really is the sound mix seemed off during the first half, with some of the lyrics lost in the mix, it was rectified following the interval, but I’m sure there were more laughs to be had if I could hear the gags.

With strong messages about body positivity, water pollution, the environment and #MeToo blended with a great deal of risque songs, and more ‘knob’, gags then the average Graham Norton monologue, this is highly entertaining and fun night at the theatre, just leave the kids at home with a babysitter and the subscription to a popular child friendly streaming platform would be my advice.

Unfortunate: The Untold Story of Ursula The Sea Witch is at the Lowry till Saturday 10th September, tickets available here.

Chicago

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Reviewed by Matt Forrest

Opening Night verdict ⭐️⭐️⭐️⭐️

Chicago has been wowing audiences since it opened on Broadway in 1975. On the basis of tonight’s performance, it’s easy to see how this became such a musical theatre juggernaut.

For this is a tale “Murder, greed, corruption, exploitation, adultery and treachery… all those things we hold near and dear to our hearts”.

Set in 1920’s Chicago, a lawless place, where bootleggers and gangsters run the show. Prohibition is feeding power to the criminal underworld and the only place to get a decent drink and some decent music is in the speakeasy.

Based on the writing of journalist Maurine Watkins, a reporter for the Chicago Tribune. Watkins began seeing a pattern in the Chicago courts of law, glamorous young women getting away with murder. The bigger celebrity name they made for themself, the more likely they were to be acquitted, no matter how guilty they were!

Chicago focuses on two such women. First is Roxanne Hart (Faye Brookes) a cocktail waitress and wannabe singer accused of murdering he wantaway lover. The second is Velma Kelly (Michelle Andrews) a music hall entertainer in the dock for the slaying of her husband and her sister, who were having an affair.

Both are as guilty sin, but how can they get away with murder, and become the must-see act in town, enter super flash, super slippery lawyer, Billy Flynn (Liam Marcellino), the number one lawyer who knows exactly what jury’s and more importantly the press want to see in order to get these murderous vixens acquitted.

It’s rather timely that Chicago is currently out touring, whilst two of the biggest media circus’s play out over here and across the pond, thus highlighting the shows relevance and bang on point rapier critique of ‘celebrity’.

This slick production is a treat for the senses. Big musical numbers, stunning set pieces and more fun than I was expecting (I’ve never seen the 2002 Oscar winning film adaptation). Faye Brookes puts in a solid comedic if slightly unhinged turn as Hart. Filled with great little comedic asides, facial expressions and a flirty innocent charm, she is in fine form. Her work on the songs Roxie and Me and My Baby is highly impressive

Also in fine form is Michelle Andrews as Velma Kelly. Andrews gives a sassy, spikey performance, a commanding stage presence throughout; she more than delivers and gives no indication that she was stepping into the role as an understudy.

The show boasts an incredible wealth of supporting talent: Sheila Fergurson looks like she’s having a ball as Matron ‘Mama’ Morton, and as you would expect her voice is top of the class. In addition, there is a great comedic turn from Jamie Baughan as Roxanne’s sap of a husband, Amos. His work on the comedic number Mister Cellophane, very much nearly steals the show.

Whilst Liam Marcllino is a treat as the oily, Billy Flynn. His performance of All I Care About brings in some big laughs. The whole cast works so hard throughout for what is a physically demanding show.

Performed very much in the Vaudeville tradition of theatre, we have characters and show numbers introduced by the cast, we see the cast members waiting in the wings, whilst the orchestra takes centre stage, even musical director Andrew Hilton, has a more prominent role than one might expect.

There are stunning set pieces in the form of more familiar numbers such opener All That Jazz and Razzle Dazzle with all the glitz and glamour you would expect from a production of this standard

This sexy, sultry, super smart production is a perfect example of how life imitates art and demonstrates why this is one of the most cherished musicals around.

Chicago is on at the Manchester Opera House 28th May 2022

Tickets available here.

Bedknobs and Broomsticks

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Reviewed by Matt Forrest

Opening Night verdict ⭐️⭐️⭐️⭐️

Confession time foks, I’ll lay my cards on the table from the get go, I haven’t seen the 1971 cinema release of Bedknobs and Broomsticks. Sure I’ve seen The Beautiful Briny Seasequence from old Disney compilation programmes they used to put on TV way back when. So I went into the live theatre show not really knowing what to expect in the way of plot, themes, or production, and I’m happy to say I was not disappointed, this was the perfect piece of escapism theatre, much needed for young and old alike.

Set during the blitz, the show opens with a fantastic 10 minute speech free sequence that sees the Rawlins’ siblings, Charlie, Carrie, and Paul orphaned during an air raid and moved from London out to the countryside. The children are understandably traumatised by recent events and apprehensive about the future. Here they encounter Mrs Hobday (Jacqui Dubois), who informs the children that they are to be placed in the care of the rather mysterious and eccentric Eglantine Price, (Dianne Pilkington).

Miss Price seems to be the recipient of lots of packages, including a broomstick, from a professor Emelius Brown (Charles Brunton), in London. Eglantine has a spell that she believes will end the war, and the needless killing war brings, but she’ll need the help of the children and the Professor. So begins an adventure that will take the children back to London, under the ocean, and to the mysterious island of Nepeepo. Can this quintet end the war as well as find something they all need,  a family.

This is a production of the highest quality, from the hugely entertaining, song-and dance routines, mesmerising puppetry to magical set pieces. In addition some beautiful costumes and set designs capped off with some wonderful performances, it’s truly a feast for the eyes and ears!

Dianne Pilkington is perfectly cast as witch in training, Eglantine Price, her turn on A Step in The Right Direction, sets up a performance that is fun yet vulnerable and quirky, which in less capable hands could become irritating, but Pilkington manges this perfectly. The chemistry between her and Charles Brunton, develops naturally and doesn’t seem forced. Brunton is equally as good as the charming yet unlikely hero Emelius Brown.

It can often be distracting when an older actor plays a teenager in productions and at first I must admit I was a little taken back by Conor O’Hara as eldest sibling, Charlie, however O’Hara provides much needed depth to the role. He reminded me of a young Jim Dale, which very much played to the nostalgic element of the production, and is certainly no negative criticism.

There are plenty of song and dance numbers throughout, with stand out numbers, being the full company rendition of Portobello Road, which showcases the fantastic work of all the ensemble cast, and the stunning costume design of Gabriella Slade. Whilst Emelius and Eglantine highlight the exceptional puppet designs of Kennth Macleod.

However it’s not just big show stoppers that Bedknobs and Broomsticks gets right, the downbeat soulful, Nobody’s Problem, by our heroic fivesome, sets up the final act perfectly.

What elevates this production to the next level is the magical input of Jamie Harrison, flying beds, unruly brooms and a truly magical, jaw-dropping and well crafted finale.

With the current situation in the world, a great deal of the plot seems to resonate more than it would in normal times (whatever that is these days) and packs more of a punch. However this is a good old-fashioned romantic adventure story, filled with charm, whimsy and hope, which will enthral, enchant and entertain children (and adults) of all ages.

Bedknobs and and Broomsticks is on in the Lyric Theatre at The Lowry until 19th March 2022 tickets available here.

Insane Animals

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Insane Animals press pic 4 (2026). Photo by Drew Forsyth

Reviewed by Matt Forrest

Opening Night verdict ⭐️⭐️⭐️⭐️

Back in 2017 HOME launched it’s T1 project, the idea was to commission new projects and bring them to the art houses 500 seat theatre. The first of these commissions went to the writing duo of George Heyworth and Liv Morris, better known as comedy double-act, Bourgeois & Maurice. What they’ve come up with is Bourgeois & Maurice’s Insane Animals.

This is an epic sci-fi, comedy journey takes us right from the dawn of civilisation through to a bleak looking future for humanity, along the way there are catchy tunes, biting gags, costume changes and sequins… lots of sequins!

Bourgeois & Maurice are a pair of alien gods who have arrived on earth in the present to see what a mess human are making of the world and to bear witness to our inevitable destruction. However, the pair decide to offer humanity a chance of salvation, by looking at the story Gilgamesh. Gilgamesh is believed to have formed the basis of the world’s first every recorded story. He is an arrogant, cruel ruler, who persecutes his people. However, with the help of our extra-terrestrial visitors, we will see Gilgamesh, fall in love, suffer and learn what it is to be human, but will it be enough to save humanity?

Insane Animals press pic 9 (2323). Photo by Drew Forsyth

If Bourgeois & Maurice’s Insane Animals is an indicator HOME’s future output then we are in for a treat: this is a silly, surreal, and smart musical, filled with great tunes, cracking one-liners, and great gags. Any show that has references to Ru Paul’s Drag Race and the British Museum’s questionable attitude to how it acquired its collection is of course going to be quite special.

As well as Heyworth and Morris, that cast includes great comic turns from Emer Dineen and Kay Mohamed-Mason playing multiple roles, with the remaining cast double us the backing band, The Forgettables. The songs are catchy, with some great, cutting lyrics with standout numbers being Brink of Extinction and the hilarious, self-aggrandising Thank God.

Michael Hankin’s set design is clearly a love letter to to the B movies of the 1950’s with the set during the first act resembling an unopened buffet at a labour club, there’s lots of silver foil which is by no mean a criticism, it adds to the shows charm.  Julian Smith’s costumes are OTT and look absolutely fabulous, perfect for the production.

Insane Animals press pic 5 (2054). Photo by Drew Forsyth

The show isn’t without its flaws at times the choreography is a bit all over the place whilst adding to the sense of fun can become a little distracting.

With Bourgeois & Maurice’s Insane Animals the writing team of Heyworth, Morris and director Philip McMahon have created the natural successor to Rocky Horror Picture Show (no one really remembers 1981 follow up Shock Treatment), knowingly kitsch, often camp and occasionally crude, this is an original, fun, entertaining romp where nothing is off limits and everything is fair game!

Bourgeois & Maurice’s Insane Animals is at HOME till the 14th March 2020 tickets available here.

 

Curtains

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Reviewed by Matt Forrest

Opening Night verdict ⭐️⭐️⭐️⭐️

We’ve all heard of opening night disasters when it comes to the theatre, from forgotten lines to sickly cast members, I’m certain actors and directors will have their fair share of horror stories. However, I’m sure none will match having their leading lady bumped off during the final curtain!

This is the premise for musical whodunit,  Curtains. This Tony Awarding winning  production is from the song writing duo John Kander and Fred Ebb, who  also wrote Chicago and Cabaret.

Set in 1950’s Boston we are backstage on the set oftroubled Broadway hopeful  Robbin Hood.  Leading lady Jessica Cranshaw (Nia Jermin) is murdered on opening night and, due to her rather shambolic performance, everyone is a suspect. Luckily, Boston’s finest, Lieutenant Frank Cioffi (Jason Manford), who happens to be a theatre super-fan, is on hand to crack the case.

Placing the theatre on lock down, Cioffi begins to work his way through the list of suspects that include estranged couple and writing partners Georgia Hendricks (Carley Stenson) and Aaron Fox (Ore Oduba). Then there are show producers Carmen Bernstein (Rebecca Lock) and shady Sidney Bernstein (Mark Sangster) and flamboyant director Christopher Belling (Samuel Holmes). In addition, we have ambitious rising stars, Bambi Barnét (Emma Caffrey) and Niki Harris (Leah West), with the latter catching the eye of Lieutenant Cioffi. Everyone is a suspect with cast and crew beginning to drop like flies, can Cioffi catch the killer and save the show?

On the surface, this is a classic murder mystery, very much in the Agatha Christie mould, but on the other hand this is both a love letter to, and a critique of showbusiness, in particular the  theatre. 

There are caricatures aplenty from over-the-top directors, to ruthless money grabbing producers and mean-spirited critiques. Despite a few minor issues, this is an enjoyable, entertaining romp, filled with neat one liners, catchy tunes and some plot red herrings that will keep you engaged throughout.

The cast are at the top of their game, Jason Manford is a likeable leading man, whose comic timing is matched perfectly with a fine singing voice. Carley Stenson and Ore Oduba are also on good form as the warring writing partnership, with Stenson really given the opportunity to flex her vocal cords. There are scene stealing turns from Rebecca Lock and Samuel Holmes who between them get the lions share of the best lines and certainly make the most of them.

They are supported buy an exceptionally hard working cast who put in tremendous effort throughout which are exemplified in the company numbers The Women’s Dead, He Did It, and In the Same Boat III, which are the undoubted highlights of the show, and showcase Paul Foster’s exceptional direction and Alistair David’s intricate choreography.

The production is not without flaws; it’s a bit flabby in parts and there seems to be a bit of filler, it doesn’t quite hold your attention throughout its entire running time, in fairness the show gets off to such an intriguing start that it would be difficult to maintain that level of interest throughout. 

On the whole this is an entertaining, clever, production packed with solid performances, great tunes and some fantastic set pieces, which despite its darkly comic narrative has a heart of gold at its core and is a slice of fun, feel-good musical theatre!

Curtains is on the Place Theatre till 12th October tickets available here. 

Everything is Absolutely Fine

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HOB

Reviewed by Nikki Cotter

Opening Night verdict ⭐️⭐️⭐️⭐️

While talking about anxiety is thankfully receiving more positive media attention than ever before we still have a long way to go before we truly stamp out the stigma many people attach to mental health discussion. With their new musical comedy Everything is Absolutely Fine, Lowry Developed With artists House of Blakewell approach the topic of anxiety in an exploratory and wonderfully witty way.

Alice (played by book & lyric writer Alice Keedwell) is making a fresh start, smaller town, job at a smaller hospital & hopefully smaller problems. While a new situation is scary for most it’s made worse by the fact that Alice’s old friend anxiety (portrayed by musician and lyricist Harry Blake)has made the move with her too; constantly there in the background reminding Alice of her insecurities, drip-feeding doubt into every situation. “You’re too loud, you’re so embarrassing, your voice is annoying, you’re so awkward”.

While the subject matter may sound heavy House of Blakewell tackle this important topic in a creative and incredibly entertaining way. The snapshot of Alice’s life is delivered in various melodic, funny and extremely relatable songs. From small incidents like a trip to Waitrose where the choice of courgettes becomes overwhelming to the enormity of deciding you completely embarrassed yourself after one to many at the pub this inspired piece highlights just how all-consuming anxiety can be.

Every thought is questioned as anxiety attempts to drown Alice in negativity and destroy her self-esteem. The feeling of being the only one who doesn’t have their shit together looms large, amplified by the deadpan delivery from Harry Blakes while Alice attempts to soldier on regardless.

The lyrics are contemporary and clever, never before have I heard the words ‘garmin’ or ‘wingardium leviosa’ worked into songs and the genius of ‘shiter-er’ rhyming with ‘lighter’ certainly raised a smile. All delivered with great charm by both Keedwell and Blake.

House of Blakewell succeed in creating not only an entertaining piece of theatre but an enormously accessible piece which gently invites discussions about anxiety in a relaxed and innovative way. The performance is pitched just right allowing plenty of opportunities for relatable humour while reminding us of the importance of speaking out and seeking support from one another. Engaging and entertaining theatre.

Everything is Absolutely Fine has one more performance at The Lowry this evening Friday 28th June tickets available here.

The Book of Mormon

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The cast of Book Of Mormon Manchester – Credit Paul Coltas

Reviewed by Nikki Cotter

Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

Ever since those first whispers  of “The Mormons are coming” way back in November, excitement levels have been sky high for the multi-award winning, (Tony’s, Olivier’s and Grammy’s to name but a few) smash-hit Broadway musical’s Manchester arrival.

Penned by South Park creators Trey Parker and Matt Stone along with Robert Lopez co-creator of Avenue Q as well co-writer for songs from Disney’s Frozen and Coco you quickly get the idea that this is going to be one seriously creative and wildly outrageous piece of theatre…and you wouldn’t be far wrong.

From the minute the bright-eyed, Colgate smiling, super-positive Mormons take to the stage with witty opening number Hello! you know you’re in for quite the ride, so buckle up, embrace the outlandish and leave the easily-offended at home.

M-Jae – Cleopatra, Issac – Kevin Clay, Conner Peirson in The Book Of Mormom, Manchester, Palace Theatre Credit Paul Coltas

The story introduces us to Elders Price (Kevin Clay) and Cunningham (Conner Peirson) a mismatched pair thrust together on their Mormon mission to convert the natives of a country far flung from Salt Lake City (no spoilers here), despite knowing nothing about the country nor the traditions or beliefs of the locals who live there. While Elder Price feels his mission is to “Blow God’s freakin’ mind” Elder Cunningham lies…a lot; what could possible go wrong?

From the off The Book Of Mormon pokes wicked and downright profane fun at every stereotype imaginable; nothing is off-limits in this all-out comedy assault and the audience lap up every close to the bone second of it.

The bouncy, infectious score with lyrics to make your toes curl is as outrageous as it is brilliant. There’s a genius borrowing from several other musicals: hilarious hints of The Sound of Music’s ‘I Have Confidence’ can be heard during ‘I Believe’ while ‘Joseph Smith American Moses” is a riotous, profanity laden homage to ‘The Small House of Uncle Thomas’ from The King and I; as for the jaw-droppingly offensive yet hysterically funny Hasa Diga Eebowai, The Lion King’s Mufasa would be turning in his buffalo trodden grave.

Nicole-Lily Baisden and Conner Peirson Book of Mormon, Manchester, Credit Paul Coltas

This ‘borrowing’ sends up other musicals so brilliantly yet feels incredibly original; at one point during ‘You and Me (But Mostly Me) you are almost prepared for Elder Price to rise up Elphaba style a la Wicked.

Kevin Clay is outstanding as Elder Price, full of ego and bursting with confidence his self belief seemingly unshakable. Conner Peirson makes for a perfect sidekick as Elder Cunningham so desperate is he to please that his wild exaggerations and implausible bending of the truth brings its own type of bedlam to proceedings. The two together are an absolute joy, their love/hate relationship being the backbone of the story and they deliver it with heart-warming conviction, ultimately teaching both characters a generous life lesson.

Nicole-Lily Baisden shines as Nabulungi, sweet yet sassy she brings a wide-eyed innocence to the role making her duet with Peirson during ‘Baptize Me’ all the more entertaining.

The cast of The Book of Mormon Manchester – Palace Theatre, credit Paul Coltas

Special mention must also go to Will Hawksworth and his outstanding troop of Mormons, every scene they feature in is perfection with Turn It Off and I Am Africa being two of the standout moments of the night, camp, completely over the top and laugh out loud funny.

There is not one weak link in this entire company, with many cast members taking on several parts and delivering each to the highest of standards with the vocal arrangements and choreography taking this production to the next level.

While the show happily tears through taboos with all the subtlety of Satan at a baptism its ultimate message is one of faith. Yes it’s outlandish, yes it’s irreverent but the core message is that it really doesn’t matter what you believe in just as long as you believe in something, be that yourself, your community or each other. While it pokes fun at organised religion it makes clear the message that faith is no bad thing once you see past the bonkers constraints that surround it.

The cast of The Book of Mormon Manchester – Palace Theatre, credit Paul Coltas

Rarely do you see a whole theatre leap to their feet but judging by tonight’s thunderous standing ovation The Book of Mormon is without doubt the hottest ticket in town. Riotous fun from start to finish, believe the hype this is without doubt a little piece of heaven on earth.

Outrageous and original this sensational production will leave you desperate to convert to that marvellous Mormon tribe!

The Book Of Mormon is on at Manchester’s Palace Theatre until Saturday 24th August, tickets available here.

📷 Paul Coltas