Opera House

The Battle

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Reviewed by Nikki Cotter

Opening Night verdict ⭐⭐⭐


Credit and Copyright: Helen Murray

Exploring the fierce rivalry between Britpop giants Blur and Oasis during the summer of ’95, The Battle offers a satirical retelling of one of British music’s most iconic chart races.

Back in the mid-nineties the media’s fixation well and truly peaked when it was announced that both bands would release singles on the same day, pitting ‘Roll With It’ against ‘Country House’ in a high-stakes battle to the top.

Writer John Niven, who worked in the music industry at the time has created a witty exploration of build-up to release day, the all-consuming nature of the rivalry and its impact on the relationships of those involved.

What began as a seemingly genius marketing ploy quickly begins to consume the lives of not only the band members but their friends, families and the music execs themselves.

Matthew Horne delivers a strong performance as Blur’s manager, Andy Ross, the original mastermind behind the chart battle. Ruthless in his pursuit of success, he focuses entirely on the media hype while underestimating the all-consuming chaos he’s unleashed.

George Usher makes an impressive stage debut as Liam Gallagher, physically embodying Liam to perfection, as he swears and swaggers in true, LG style. He channels Liam’s Gallagher-esque bravado and chaotic presence with skilled precision.

Taking on the more controlled of the brothers, Paddy Stafford is exceptional as Noel, displaying vividly how the cracks begin to show as the pressure mounts, his performance is nuanced and defined, he more than does justice to the legendary lyricist.

Oscar Lloyd portrays the enormously different character of Damon Albarn with clarity while Will Taylor demonstrates superbly the impact of events on an increasingly fraught Graham Coxon, while Brandon Bendell’s Groucho loving Alex James is spot-on.

Amidst the Britpop chaos, Louisa Lytton’s Meg Mathews and Harriet Cains’ Justine Frischmann offer voices of reason for their respective partners, bringing calm to the testosterone fuelled chaos.

The story is told creatively via scenes from industry parties, award ceremony exchanges, backstage discussions and recording studio sessions. As the pressure builds, tempers fray and bold decisions are made.

This talented cast succeed in capturing the 90s spirit, bringing the era back to nostalgic life for their audience. The script however would benefit from some significant editing in order to pack this production with the punch the original source material provides. The reliance on Liam’s frequent outrageous outbursts becomes a little predictable and leads to some missed opportunities regards pushing the story along with a grittier narrative. The simple staging makes great use of screens broadcasting footage from the time and commentary from DJs such a Jo Whiley, Mark and Lard and Chris Evans however the continual use of cast members changing scenery feels clunky.

The final 15 minutes are wholly unexpected, surreal but ultimately succeed in showing just how absurd this whole battle became. For those of us hooked on the original Britpop rivalry, this show is a nostalgic blast from the past, with some creative reworking it has real potential to become a standout success.

The Battle is on at Manchester’s Opera House until Saturday 21st March, tickets available here.

Single White Female

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Reviewed by Matt Forrest

Opening Night verdict ⭐⭐⭐⭐

The 1990s was a decade of cultural phenomena—Britpop, Grunge, and “Girl Power.” It also saw Hollywood churning out a wave of erotic psychological thrillers; while many were straight-to-video fare, a select few cracked the mainstream to become cult classics. Chief among them was the 1992 film Single White Female, boasting standout performances from Bridget Fonda and Jennifer Jason Leigh, some notoriously “cringy” dialogue, and a stiletto-based scene that still makes audiences wince over 30 years later.

In 2026, we have a bold stage adaptation currently on a nationwide tour. Written by Rebecca Reid, this reimagining sharpens the story for the digital age, seamlessly weaving social media into the plot and introducing several narrative shifts that work superbly well. Crucially, much like the original film, the production boasts two powerhouse central performances: Kym Marsh and Lisa Faulkner who more than deliver.

Relocated to modern Britain, the story finds single mum Allie (Lisa Faulkner) and her teenage daughter Bella (Amy Snudden) in a crumbling city-centre apartment. While the move places Allie closer to her tech-partner and best friend Graham (Andro), the building has a few structural/maintenance issues and Bella is struggling to adapt to a new school.

Financial pressure peaks when Allie’s ex-husband, Sam (Jonny McGarrity), announces he is halving his child support payments, forcing Allie to advertise for a lodger. Enter Hedy (Kym Marsh), a roommate who initially seems too good to be true: she’s helpful, supportive, and remarkably patient with Bella’s adolescent outbursts. However, the atmosphere quickly sours as Hedy’s “meddling” turns into a dark obsession, systematically targeting Allie and those she loves most.

Kym Marsh is in fine form as the unhinged Hedy; in a role that could easily stray into melodrama, her restraint makes the performance feel chillingly cold and terrifying. Lisa Faulkner is equally impressive as the good-natured Allie; her frustrations are deeply relatable, ensuring the audience roots for her long before things turn ugly.

Andro provides excellent value as Graham, injecting much-needed levity, while Jonny McGarrity is suitably slimy as the arrogant Sam, a character who surprisingly garners more sympathy as the narrative unfolds. Meanwhile, Amy Snudden does a fine job of making the troubled Bella both sympathetic and relatable.

Rebecca Reid’s adaptation makes bold, successful narrative choices. Integrating social media, cyberbullying, and grooming gives the production a contemporary feel, further grounded by topical references to Vinted and Mounjaro. Reid’s significant departures from the original script keep the audience on their toes, while well-placed moments of pitch-black comedy provide a welcome relief to the anxiety.

The tension is ratcheted up by Morgan Large’s set design, which, paired with Max Pappenheim’s unsettling soundscape, creates a palpable sense of claustrophobia within the single-apartment setting.

This is a fresh, entertaining night at the theatre with more than enough surprises to remain engaging throughout. It is certainly one of the strongest screen-to-stage adaptations of recent years. One word of advice: leave the stilettos at home and opt for flats—it’s just a bit safer for all involved.

Single White Female is at the Opera House Manchester till 14th February, tickets are available here.

Robin Hood

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Reviewed by Jodie Crawford

Opening Night verdict ⭐⭐⭐⭐⭐

Robin Hood: The Magical Panto Adventure at the Manchester Opera House is everything a great panto should be: loud, proud, joyfully chaotic, and absolutely hilarious. From the very first moment, it’s clear you’re in safe hands with a production that understands its audience and fully leans into what panto does best. This is a great northern night out, with bells on!

The chemistry between Jason Manford and Ben Nickless is once again pure magic. Year after year they somehow manage to outdo themselves, delivering effortless laughs, perfectly timed chaos, and that wonderful sense that anything could happen at any moment. Their interaction with each other, and with the audience, is the heartbeat of the show. I fear the day when they decide to hang up their Panto boots as it’s hard to imagine a Christmas without them on stage together.

And honestly? It doesn’t matter in the slightest that the plot is inconsistent because it’s completely irrelevant. This panto has all the ingredients that matter. The ghost scene? Brilliant. The “in the gap” scene? Predictably unpredictable. The bloopers, singalongs, cheeky asides, and bang-on cultural references, from the last 12 months, all land perfectly, keeping the audience crying with laughter from start to finish. There are as always, some fabulous surprises in there too!

The ensemble cast is outstanding, bringing energy, polish, and warmth to every scene, while the costumes are the best I’ve seen at an Opera house panto:  vibrant, inventive, and a visual feast that add to the magic at every turn. A huge shout-out also goes to Adam Strong as the Sheriff of Nottingham, who delivers a pitch-perfect performance, gloriously dastardly, fabulously over-the-top, and exactly what a panto villain should be.

This is truly a show for all generations. I took a nine-year-old and a seven-year-old and judging by the laughter (and the conversations afterwards), those memories will last a lifetime. Let’s just say they will forever laugh when they get to page nine… #iykyk

Manchester should be incredibly proud of this panto. It’s a tradition done right, packed with heart, humour, and festive magic. I highly recommend this show. A guaranteed crowd-pleaser and a reminder of just how brilliant panto can be and should be.

Robin Hood is on at Manchester’s Opera House until Sunday 4th January tickets available here.

13 Going on 30

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Reviewed by Nikki Cotter

Opening Night verdict ⭐️⭐️⭐️⭐️

Based on the iconic 2004 film starring Jennifer Garner and Mark Ruffalo, 13 Going on 30 introduces us to 13-year-old Jenna Rink who, following on from her not so successful 13th birthday party wakes up as her 30-year-old self, a highly motivated New York magazine editor. Successful she may be, but she soon realises that life as a high-flyer isn’t all it’s cracked up to be. At 13 she wished to be thirty, flirty and thriving yet the reality isn’t quite as fulfilling as she hoped for. In a desperate bid to figure out who she really is Jenna tracks down an old friend which sends her on a path of self-discovery, lucky for us she’s taking us along for the ride.

Lucie Jones is perfectly cast as Jenna, kooky and charismatic with soaring vocals she takes the role and truly makes it her own. Her Jenna is warm, witty and enormously likeable. The pairing of Lucie Jones and David Hunter as Matt is perfection, they bounce off each other brilliantly and have you rooting for them from the start. Hunter is a joy as Matt, retaining the witty sarcasm Ruffalo gave us in the film while ensuing the character brings a genuine charm and vulnerability to this uplifting production. Their relationship feels entirely believable and as an audience we fall just a little bit in love with them both.

Of course, every good story needs a little jeopardy, and we have that in the form of Grace Mouat as Lucy Wyam, a mean girl from Jenna’s high school days who now works alongside her at Poise magazine. As a faux friend Mouat is deliciously devilish, her razor-sharp comebacks are hilarious while her sour-faced sass slays.

Both young Jenna, Amelia Minto and young Matt, Max Bispham at tonight’s performance are absolute knockouts, immensely talented and totally mesmerising on stage. Long and successful careers no doubt lie ahead of this talented duo. A special mention must also go to the young company who are incredible throughout, their energy and talent is unrivalled.

While the film soundtrack brought us absolute bangers from Pat Bentar’s Love Is a Battlefield to Madonna’s Crazy for You, the musical mostly uses original music and lyrics from Alan Zachary & Michael Weiner. Opening number Wanna Be is superbly delivered by the young company, (Team Thirteen at tonight’s performance) while Too Late is the perfect Act 1 closer giving us beautifully moving moments as we see the younger and older versions of Jenna and Matt perform together.

One song we absolutely couldn’t lose from the film soundtrack gladly remains giving us the iconic Thriller scene. Choreographer Jennifer Weber adds to the beloved original choreography making this a real stand out moment in the show that could even afford to go a little bigger, really taking this scene to the next level.

 

The original songs are melodic and warmly uplifting, while the nostalgic amongst us may well go away wishing a sprinkling more of the original soundtrack would have made an appearance new audiences won’t feel anything is missing.

Book writers Josh Goldsmith & Cathy Yusp have done a great job of staying true to the film while adding depth and creativity for theatre audiences. 

Director Andy Fickman has done a brilliant job of ensuring this talented cast deliver each scene with real heart and precision.

13 Going on 30 is like a cosy hug with your favourite fluffy pillow, uplifting, joyful and a whole lot of fun. It’ll remind you that life is all about the connections we make along the way while thoroughly entertaining you from start to finish.

13 Going on 30 is on at Manchester’s Opera House until Sunday 12th October tickets are available here

Here & Now

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Reviewed by Nikki Cotter

Opening Night verdict ⭐⭐⭐⭐

Set in seaside superstore, Better Best Bargains, Here and Now follows the lives and loves of four co-workers and firm friends Caz, Vel, Robbie, and Neeta all set to a camptastic back catalogue of Steps classics. From 5,6,7,8 to One for Sorrow there’s nothing tragic about this feelgood musical, from the moment the first bop begins you know you’re in for a fun time. With Claire, H, Faye, Lee and Lisa all involved in the creative process this really is a celebration of their iconic hits and has clearly been crafted with love and careful consideration.

The story centres around Caz whose husband has walked out on her just as they’re on the verge of adopting, she makes a vow with her besties Vel, Robbie and Neeta to have a summer of love that they’ll never forget. Deep in the throes of heartbreak Caz meets Max who adds a little jeopardy to proceedings by offering her all she dreams on the condition she blackmails store manager Patricia, which unbeknown to Caz will devastate her friendships as a result.

Rebecca Lock is outstanding Caz, she truly shines on stage and gives the character depth and genuine likeability. Her vocals are rich while her acting is nuanced and heartfelt, she is a true leading leady and heads up this talented cast with gentle confidence and perfect control. Her delivery of Heartbeat is a real showstopper and a tender moment of calm amidst the sparkle and glitter.

Blake Patrick Anderson beautifully portrays the character of Robbie, showing sensitively how deeply abandonment issues can run. His pairing with River Medway as Jem is joyful, River brings a lightness to Jem that scoops not only Robbie up but every audience member too.

Rosie Singha hits every mark as loveable Neeta, desperately in love with co-worker Ben (Ben Darcy) but lacking in confidence to tell him how she truly feels while Jacqui Dubois is great fun as Vel, displaying some brilliant comic timing. Special mention must also go to Finty Williams who gives us the iconic and hilarious store manager Jackie, très bien!

The hits come thick and fast and unlike many other jukebox musicals never feel shoehorned in. Their placing is just right, giving this entertaining show perfect pacing and so much to enjoy. The classics are given the attention they deserve while the beloved ballads allow the quieter moments to truly shine.  

This is the epitome of feelgood, every creative element has been carefully considered resulting in a slick, stylish and hugely entertaining show. The talented ensemble take the legendary Steps routines we all know and love to the next level while Adam Fisher’s sound design ensures no beat it missed. This super fun show will ensure audiences head home happy, remind of us of just how many brilliant bops this iconic band have brought us while feeling joyful for the true friendships life brings our way.  

Here & Now is on at Manchester’s Opera House until Saturday 13th September tickets available here.

The Last Laugh

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Reviewed by Matt Forrest

Opening Night verdict ⭐⭐⭐⭐⭐

It would be fair to say that if Tommy Cooper, Eric Morecambe, and Bob Monkhouse, were still alive today they would be selling out arenas across the land. These three are legends of the business we call show: Cooper regarded as the comedian’s comedian, Morecambe part of one of the greatest double acts of all time, whilst Monkhouse is unquestionably one our greatest writers/performers to ever grace the stage. So, a stage play featuring the lives of these three colossuses of comedy promises something a little special, and I’m pleased to say it more than delivers.

The Last Laugh opens in a dingy dressing room of an unnamed theatre, the wall is adorned with pictures of British comedy legends: Sid James, Arthur Askey and George Formby. Rather strangely one picture is blank. A half-dressed Tommy Cooper (Damian Williams) complete with giant chicken feet is preparing for another performance. Soon he is joined by Bob Monkhouse (Simon Cartwright) complete with precious joke book and later Eric Morecambe (Bob Golding). The trio, though surprised to be on the same bill, share stories, discuss their craft, their careers and inevitably some light hearted ribbing of each other.

We get classic routines and jokes from them which include: Cooper’s magic duck, numerous Monkhouse’s ‘wife gags’ and of course Morecambe’s killer André Previn line, which the audience lapped up. There will be some who will have witnessed these routines multiple times over, for others this will be the first time, but judging by the audience reaction they went down a storm!

With the highs of course comes the lows, and the play offers moments of poignancy as each man looks back on the sacrifices, struggles and personal tragedies each has endured: Cooper’s battle with alcohol and the toll it’s taken. Morecambe’s health struggles coupled with time away from family. However, it’s Monkhouse’s tragic losses that puncture his life story which really hit-home.

This production is an absolute joy from start to finish: A superb script from writer/director Paul Hendy, who celebrates the work of these three comic maestros. With all three performers, there is that element of the ‘sad clown’, that is essential but in no way defines their story. However, Hendy’s play is a love letter to the three. It’s a showcase of their talents, and explains why we find them still appealing long after they passed, which simply put is their ability to make us laugh and smile, then and now.

Lee Newby’s set design complements the story beautifully. It captures the less glamorous, more intimate side of showbiz: a cramped, cluttered, almost claustrophobic space, strewn with props and steeped in faded charm. Portraits of comedy icons line the walls, offering both inspiration and a subtle reminder of the pressure to live up to their legacy. You get the sense that if these walls could talk, they’d reveal a treasure trove of secrets—some dark, mostly joyful, all rich with history.

Undoubtedly, the heart of the show lies in the three lead performances, each of which are pitch-perfect. Damian Williams brilliantly captures the chaotic, absurd charm of Tommy Cooper. Filling those iconic shoes is no small task, but Williams more than rises to the occasion—his timing, and that unmistakable laugh are spot on. Simon Cartwright’s portrayal of Bob Monkhouse is equally impressive. From the voice and mannerisms to the polished delivery of quick-fire jokes, every detail is meticulously rendered. His performance is as smooth and refined as one of Monkhouse’s own gags. The real-life friendship between Cartwright and Monkhouse adds an extra layer of authenticity to the role. Bob Golding shines as Eric Morecambe, effortlessly capturing the comedian’s playful spirit, trademark charm, and unmistakable comic quirks. His performance is brimming with charisma and warmth.

These are far more than mere impressions. Each actor delivers a performance that truly honours the legacy of the comedy legends they portray. The Last Laugh is a heartfelt tribute to the genius and legacy of three truly great entertainers, brought to life with not just skill, but a deep sense of love and affection. For newcomers, it serves as the perfect introduction to a cheeky, family-friendly, and delightfully playful style of comedy. For more seasoned audience members, it’s a joyful, nostalgic trip down memory lane. For me, it was a powerful reminder that if a joke or sketch makes you genuinely laugh, it’s worth its weight in gold—and The Last Laugh is nothing short of priceless.

The Last Laugh is on at the Manchester Opera House until Saturday 2nd August

Tickets are available here.

Come Fall In Love

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Reviewed by Nikki Cotter

Opening Night verdict ⭐️⭐️⭐️⭐️

Inspired by India’s longest running Bollywood movie the heartwarming romcom Dilwale Dulhania Le Jayenge (or DDLJ to those in the know), Come Fall In Love is the latest production to join the incredibly successful ‘Manchester Gets It First’ scheme, and judging by tonight’s rapturous audience response is another sure-fire hit.

With an award-winning creative team which includes original director of the much-loved 1995 movie Aditya Chopra, Come Fall In Love which was originally performed in San Diego in 2022 has been reworked for UK audiences. We’re introduced to Simran, (Jena Pandya) a young British Asian woman who is off inter-railing round Europe with her best friend for a final summer of freedom before she flies to India for an arranged marriage. However, as with all good romcoms, things don’t quite go according to plan and her carefree adventure suddenly gets a little more interesting with the addition of white British boy Rog (Ashley Day) unexpectedly coming along for the ride. After prickly beginnings the pair grow closer over a bottle or two of champagne and Simran enters a battle between head and heart which is when the fun really begins.

This vibrant production is full of light, burst with colour and radiates joy as we follow the twists and turns of this unconventional love story. Act 1 gently sets the scene for an exhilarating Act 2 as the action relocates to India filling the stage with colour as this cross-cultural love story plays out.

Jena Pandya is a wonderful Simran, playful and proud she’s enormously likeable, she looks like she’s having the time of her life in the role and shines brightly both in the big ensemble numbers and in the quieter more emotive scenes. The chemistry with Ashley Day as Rog although with most romcoms happens quickly feels believable and charming. Ashley Day is a fantastic lead, the role of Rog is hugely demanding and he rises to the challenge convincingly. He goes on quite the journey from our first meeting him as his true character is revealed ensuring we all fall a little bit in love with him.

There is strong support from the ensemble cast with special mentions going to Simran’s parents Baldev (Irvine Iqbal) and Lajjo (Harveen Mann-Neary) who bring both humour and a gentle tenderness to the story. Simran’s planned Indian finance Kuljit is played by an outstanding Kinshuk Sen while Kara Lane camps it up brilliantly as Rog’s Mum, Minky.

 Reimagining this classic love story and adding a more contemporary multicultural twist has given the creatives an opportunity to bring this uplifting story bang up to date. The book and lyrics by Nell Benjamin (Mean Girls, Legally Blonde), are witty and engaging with the music by legendary composers Vishal Dadlani and Sheykhar Ravjiani blends stunning Indian melodies with multiple Western genres reflecting the love story happening on stage perfectly.

Choreographer Rob Ashford along with associate choreographer and Indian dancing specialist Shruti Merchant have created magic here which is delivered by the talented ensemble in stunning style while Derek Mclane’s striking set design further adds to the visual beauty of this piece.

With heaps of heart and joyous humanity, Come Fall In Love is an uplifting story beautifully told. It will delight audiences of the original Bollywood film and now doubt gain a new army of fans from audiences seeing the show for the first time. This high-energy production has all the fun of a romcom but adds in a welcome emotional depth resulting in an enormously entertaining production.

Come Fall In Love is on at Manchester’s Opera House until Saturday 21st June tickets available here.

A Knight’s Tale

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Reviewed by Nikki Cotter

Opening Night verdict ⭐️⭐️⭐️⭐️

The highly anticipated new musical A Knight’s Tale, based on the 2001 cult movie of the same name starring Heath Ledger, has officially opened in Manchester and judging by tonight’s thunderous standing ovation, this jukebox musical is here to stay.

Adapted for the stage by Brona C Titley with direction from Rachel Kavanaugh and choreography by Matt Cole, A Knight’s Tale quickly sets the tone and lets the audience know from the off that they’re in for a very fun night, with an absolute bounty of a back catalogue and a whole heap of tongue in cheek medieval moments.

A Knights Tale takes us on a romp of a 14th Century road-trip following the antics of peasant squire Will Thatcher (Andrew Coshan) who passes himself off as a nobleman following the death of his master in his bid to beat the odds and become a jousting World Champion. The only thing standing in his way (aside from the fact he isn’t a nobleman and could go to prison for pretending to be one) is the current World Champ who also doubles up as a deliciously devious bad boy and villain of the piece, Count Adhemar (Oliver Tompsett).

As the wannabe Knight, Andrew Coshan is superb, dashing, dreamy and with vocals that pack a punch. He bursts with charisma and has the kind of twinkle in his eye that audiences go wild for. His pairing with pals What and Roland (Eva Scott and Emile Ruddock) is perfection, packing in the humour, both Scott and Ruddock are superbly cast.  Their comic timing is unmatched as they deliver each and every witty line with absolute precision. 

As the trio set off on their quest they gain two additions to their crew, Kate (Emily Benjamin), a local badass blacksmith and a frequently unclothed Geoffrey Chaucer, (Max Bennett) who is on the cusp of writing his ‘Canterbury Tales’ but for now is happy to join in with the jousters japes.

Emily Benjamin gives knockout vocals as Kate, while Max Bennett as Chaucer is pure joy. He quickly becomes the ultimate hype man while his wit and warmth as he skilfully breaks the fourth wall firmly sees him confirmed as an audience favourite. 

West End legend Oliver Tompsett proves ones again to be a world class performer, his delivery of Chesney Hawkes’ The One and Only and Adele’s Rolling In The Deep are iconic.

Of course, no story is complete without a love interest, enter Meesha Turner as the sexy, strutting Princess Jocelyn. With all going so well can Thatcher conceal his true identity or does his destiny lie firmly in the stocks?

While the cast are superb, the creatives have also pulled out all the stops to ensure this production is visually just as striking. Tom Rogers impressive set design is lit brilliantly by Howard Hudson while Gabriella Slade’s costume design feels modern, sexy and yet authentic as the medieval silhouette is carried through each scene. It’s very clear to see why choreographer Matt Cole is an Olivier Award-winner, each set piece is thrilling and the energy never wanes.

As with many jukebox musicals featured hits can often be eclectic and A Kight’s Tale is no exception, from Bonnie Tyler to Bon Jovi and almost everything in between there’s a whole host of familiar bops with some working more effectively than others, all however are delivered with 100% commitment from this talented cast. I can honestly say a Bowie – Golden Years/Ricky Martin – La Vida Loca mash up is something I never thought I’d witness but here in jukebox musical land I guess anything goes. 

There are moments where you do wonder what target audience they’re going for particularly with the frequency of swearing and adult humour which at times felt a little unnecessary and made the genuinely funny sweary moments have less of an impact. Reduce some of these and you’ve got a fantastic musical comedy offering for almost all ages, that’s visually stunning and enormously entertaining.

A Knight’s Tale provides another wonderful opportunity where we get to boast that Manchester gets it first. This silly, funny, feisty show will no doubt become a Knight to remember as this riotous new musical makes its raucous mark on theatre land, next stop surely must be the West End.

A Knight’s Tale is on at Manchester’s Opera House until Saturday 10th May tickets are available here

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.

The National Lottery’s Big Night of Musicals

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Back for the 4th year the National Lottery’s Big Night of Musicals yet again proved the perfect way to beat the January blues and celebrate the wonderful work done by the National Lottery AND the very best of musical theatre.

Superbly hosted by comedian Jason Manford as well as offering performances from some of the hottest West End shows, the event showcased a range of touring productions – some which are headed to Greater Manchester soon.

The show also highlighted the support the National Lottery has given to more than 20,000 theatre-related projects over the last 30 years.

North West theatregoers got to see sneak peaks of some of the touring shows heading our way in 2025 – with exciting peformances from Chicago (Lowry, August), Bat Out of Hell (Palace Theatre, February), Mary Poppins (Palace Theatre, April), Dear Evan Hansen (Palace Theatre, February) and Here & Now – The Official Steps Musical (Opera House, September).

Stand out moments from West End productions included a first look at Marisha Wallace’s Sally Bowles from Cabaret – with Maybe This Times – and a brilliantly bonkers number from the new cult hit Titanique – starring Layton Williams and the brilliant Lauren Drew (you might remember her from starring in Lizzie at Hope Mill Theatre last year).

Perhaps most exciting was the chance to for a first look at the brand-new Disney’s Hercules, which is coming to the West End this summer, with a spectacular performance of ‘Zero to Hero’ and ‘Go The Distance’  from Luke Brady (Hercules) and his fiercely fabulous Muses.

Undoubtedly one of the most moving parts of the evening was when musicals legend Michael Ball made a special appearance, singing a spine-tinglinh rendition of ‘The Impossible Dream’ alongside National Lottery-funded charity, Our Dementia Choir, founded by actress Vicky McClure. It’s not an exaggeration to say the performance moved many audience members to tears.

There was also a beautiful performance of Electricity from Billy Elliot by two youth theatre groups from Stockport and Yorkshire – the young people absolutely did themselves proud.

The National Lottery’s Big Night of Musicals celebrates 30 years of The National Lottery funding theatre and performing arts across the UK and serves to thank players who have helped support theatre-related projects to the tune of £1.3BN. National Lottery funding has helped restore theatres as well as enabling hundreds of performing arts projects.

The National Lottery’s Big Night of Musicals will air on BBC One, BBC Radio 2, BBC iPlayer and BBC Sounds this Spring.

Calamity Jane

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Reviewed by Nikki Cotter

Opening Night verdict ⭐⭐⭐⭐

Whether you’re a longtime fan of the classic 1953 film starring Doris Day or toe-tapping your way into Deadwood for the first time, one thing is certain, you’ll have a whip-crackin’ whale of a time at this charming revival.

While sharp-shooting Calamity Jane can beat any man in the county, it’s Cavalry Officer Danny Gilmartin she is desperate to impress. She travels to Chicago to recruit glamorous cabaret star, Adelaide Adams, with the aim of bringing her back to Deadwood. However, things don’t quite go according to plan and when the majority of the locals including Danny fall for the new arrival’s charms, Wild Bill Hicock (Calamity’s sparring partner) is now left with the challenge of making a jealous Calamity see sense.

While staying faithful to the beloved musical movie this touring production starring West End favourite Carrie Hope Fletcher offers a revitalised energy which will undoubtedly appeal to modern audiences. Director Nikolai Foster’s decision to use actor musicians is one that pays off hugely giving this joyous production an immersive, wholesome feel. This musicality drives the narrative wonderfully, with bigger numbers like The Deadwood Stage (Whip-Crack-Away!) and Just Blew in from the Windy City impressing with a joyous, celebratory sound allowing this talented cast to show off their incredible versatility. Nick Winston’s lively choreography adds further to these impressive numbers as the cast deliver each routine with perfect precision.

Carrie Hope Fletcher slips perfectly into Calamity’s boots, with just the right amount of sass and spirit, she leads this talented cast skilfully. Her pairing with Vinny Coyle as Wild Bill Hickok is a joy to watch as they barb and bicker brilliantly making the more tender moments all the more special. Her big ballad Secret Love is perfection and will make you wish it was a verse of two longer while Coyle’s gentle version of ‘Higher than a Hawk’ is a gorgeous Act II opener.

Samuel Holmes is on fine form as Francis Fryer bringing laugh out loud humour to the role through his enormous sense of fun while Seren Sandham-Davies shines as Katie Brown. Her transition from wide-eyed new arrival to Deadwood diva is delicious while her pairing with Luke Wilson as Danny Gilmartin acts as further confirmation to the quality of this cast.

Matthew Wright’s music hall set remains unchanged throughout the show however the cast draw on some clever techniques to create multiple locations and settings, from the Deadwood Stage to Calamity’s cabin, everything is carefully considered and perfectly executed. Technically, the sound seemed a little muted at times in Act I however come Act I we were all perfectly primed for a hoe-down finale for hopefully just first night niggles.

This feel-good production is packed with toe-tapping tunes, lots of laughs and heaps of heart. Appealing to audiences of all ages it’s a whip-cracking theatrical treat that will have you wanting to head back to the Black Hills of Dakota quicker than Calamity can crack her whip.

Calamity Jane is on at Manchester’s Opera House until Saturday 25th January tickets available here.

Cinderella

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Reviewed by Jodie Crawford

Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

It’s my favourite time of year, that time of year when we gather together and head into Manchester to be entertained at the annual Opera House Panto. Oh yes it is!

This year we are treated to the age old tale of Cinderella. It has all the traditional ingredients needed to tell the story. From a wicked step mother, a Prince Charming, two step sisters, a Fairy Godmother and our old mate Buttons. 

But as we have now come to expect, from a Manchester Opera House Panto, this show has so much more to give than an old school Panto. This is Manchester. We do things differently here, and Panto is no exception.

Everything about this show is slick. Crossroads Pantomimes deliver a well carved and crafted show with a glitzy set and dazzling costumes. The effects team have gone to town this year, and the scene with Cinderella’s carriage is one of the most magical moments I have ever seen in Panto (and I have seen A LOT of pantos).

I am not sure I am ever going to be ready for a world of Manchester Panto where Nickless (Buttons, this year) and Manford aren’t on stage together. This duo is a match made in Panto heaven. You can see the bond that these two men have with each other both in character and out. They work together elegantly on stage – there is no other Mancunian duo that could capture the audience like these two do.  And boy do we love it! Who knew it was possible to cry tears of laughter while singing Sweet Caroline on a Tuesday night in town! 

Make no mistake, Manford is an all round performer, he’s so much more than just a comedian (which he also does very well obviously) he has become a seasoned Panto pro. He has a rich and deep voice and while his dancing still gives off full on dad dancing vibes, (which is part of the charm) he is enormously entertaining throughout the entire production. But he isn’t alone. Nickless, his right hand man, shines brightly in his role as Buttons. He is a first class panto star. It’s like he was born for it. The gags keep coming, his comic timing is genius, and he clearly loves what he is doing and that makes us, the audience, love him even more. And his James Blunt impression is more James Blunt than James Blunt could do himself. If laughter is the best medicine than Nickless is a healer! 

The whole cast of Cinderella is exquisite, they come together so perfectly to create a night of magical Christmas memories.   

There were stand out performances from Liz Carney and Chloe Chesworth, as the wicked step sisters. Manford and Nickless might need to watch their backs with these two storming onto the Opera House panto scene. I thoroughly enjoyed this comedic duo throughout the show.  

And Panto wouldn’t be panto without a villain for us all to hate (love) and Myra DuBois delivers: the costumes, the gags, the bullying of the bloke who wished he hadn’t sat front centre in the audience, the boos and hisses- all came together perfectly! The dame is an integral part of a Panto, but it takes a special Dame to do what DuBois does – and makes it look so effortless. 

Cinderella is absolutely top notch, a must see, be prepared to laugh your socks off and leave wanting more. 

Cinderella is on at Manchester’s Opera House until Sunday 5th January (with best availability in January) tickets available here.