Nikita Johal

NOW That’s What I Call a Musical

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Reviewed by Nikki Cotter

Opening Night verdict ⭐⭐⭐

Written by Pippa Evans and directed and choreographed by Craig Revel Horwood, NOW That’s What I Call a Musical takes everyone’s favourite compilation collections and delivers a jukebox musical bursting with 80s bangers.

At the heart of the production is a story based on friendship through the generations, and how while life and its challenges can often get in the way, true friendships stand the test of time (even if they do need a little assistance from an 80’s icon to remind them of the good times).

The story is set in Birmingham and simultaneously takes place in both 1989 and 2009 when a school reunion is on the horizon. In 1989 we meet younger Gemma and April (Nikita Johal and Maia Hawkins). The best friends are about to turn 18, both are ambitious and excited for what life has to offer. Gemma is keen to become a nurse while April has her sights set on stardom in the States. Both Johal and Hawkins shine in their respective roles, wide eyed and hopeful they perfectly encapsulate the characters teenage dreams.

Twenty years later their ambitions haven’t quite materialised and older Gemma and April (Nina Wadia and Sam Bailey) are no longer the close friends we first met. Gemma lives an unfulfilled life while April hasn’t been seen in the last decade. Sam Bailey and Nina Wadia make for a great pairing, although we see very little of Bailey until Act 2 with Act 1 largely being used to build an opportunity for her to return, an unusual choice and one that leaves you thinking the show would have been richer for including her character more throughout. When the two are together Bailey’s voice stuns while Wadia’s comic timing is superb. Once reunited the duo navigate their complex friendship with heart and humour as they’re forced to look back at their younger selves in a bid to work out what happened to those joyful dreamers portrayed so wonderfully by Johal and Hawkins.

The show very much follows the classic jukebox musical format. The characters are relatable, there’s plenty of humour, and of course brilliant bops which the talented cast deliver enthusiastically throughout. The result is a fun, feelgood show offering audiences a night of nostalgic escapism. While the humour is uncomplicated it’s well received by tonight’s audience.

The supporting characters complement the leads well with Gemma’s husband Tim (Keiran Cooper in 1989 and Chris Grahamson in 2009) portraying the villain of the piece convincingly making it very easy to hate him while April’s brother Frank (Luke Latchman in 1989 and Shakil Hussain in 2009) is a likeable addition to the story.

A notable positive to this production is the body diversity reflected on stage, something we’re thankfully seeing more and more and long may it continue.

As with many jukebox musicals there’s a significant level of shoehorning into scenes without adding anything to the narrative other than another tick on the song list count. However, when they are such bops as Video Killed the Radio Star and Hey Mickey, do we really care that much about their placement in the show? Judging by the audience’s reaction tonight I’m guessing probably not. They are here for a fun time and that’s exactly what this cast deliver.

The Act Two cameo by an 80’s icon; on this occasion Scouse sensation Sonia, adds to the fun of this piece as audiences get to indulge in even more uplifting nostalgia, even if it does feel a little like a fever dream (albeit a very fun one).

The plot while fairly predictable is entertaining and enjoyable as this confident cast deliver each much-loved track in this mixtape with bouncy enthusiasm ensuring a happy audience who, by the finale are bursting to boogie during the hit-filled megamix.

NOW That’s What I Call a Musical is on at Manchester’s Opera House until Saturday 1st February tickets available here.

Spring Awakening

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Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

Since the announcement in November that award-winning creative pairing Hope Mill Theatre and Aria Entertainment would be staging a revival of acclaimed Broadway hit Spring Awakening, interest was pricked and momentum has quickly gathered. The additional news that both DEM Productions and director Luke Sheppard (In The Heights, Working and Jersey Boys) were also on board has cemented Spring Awakening as Hope Mill Theatre’s most highly anticipated show to date.

Both exhilarating and touchingly poetic, Spring Awakening is an in your face, provocative and exquisitely beautiful production. With music by Duncan Sheik and lyrics by Steven Sater the story follows a group of teenagers in 19th Century Germany on a voyage of sexual discovery in a world where communication and education from the adults who should be guiding them is none existent. In fact almost all adults in the story play a significant part in damaging the teenagers in this thrilling, adrenaline-charged and deeply moving piece.

Whilst the story may be set in 19th-century Germany, award-winning director Luke Sheppard’s characters speak and sing in 21st-century Mancunian accents, which makes the angst and frustration all the more real adding a cheeky humour to the sharp script.

As gut-wrenching tragedies unfold the ingenious way in which they’re delivered offers delicious moments of escapism and fantasy before we’re snapped back into the grim reality of this firmly censored and deeply troubled world.

Darragh Cowley making his professional debut is exceptional as the head-strong, charismatic rebel Melchior. He commands attention every minute he is on stage, seizing each moment with enthusiasm, commitment and confidence. Enigmatic and immensely likeable, the soon to be Guildford School of Acting graduate secures himself undoubtedly as one to watch.

Nikita Johal makes for the most sublime Wendla, she evokes both strength and honest vulnerability while her innocent queries on the origins of babies acts as the catalyst for the key events within the production. With stunning pin-sharp vocals and a brave innocence she carries you along on her journey of self-discovery with fluidity and conviction.

Jabez Sykes gives the most heartbreaking performance as the intense and emotionally pressured Moritz, stuck in the most helpless of places his desperate acceptance during Don’t Do Sadness/Blue Wind is perfectly judged and achingly brilliant.

The architecture of Hope Mill theatre offers the perfect backdrop for Gabriella Slade’s stunning set, the effect when paired with Nic Farman’s intensely atmospheric lighting design is quite simply spectacular, culminating in an immersive and unforgettable theatrical experience.

Tom Jackson Greaves’ choreography is slick and innovative performed to precise perfection by the sensational ensemble cast whose electric delivery of Totally Fucked fizzes with defiant joy, screaming to be watched again and again. There is so much talent in this one cast, every performance packed with power and passion.

Sharp-edged, visually stunning and intensely beautiful Spring Awakening is a one of a kind musical that should be seen all the year through.

Unashamedly bold and dynamically brilliant, with phenomenal storytelling & an unforgettable score Spring Awakening is another sure fire hit which screams London transfer.

On at Hope Mill Theatre until 3rd May tickets available here.