Palace Theatre

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.

Elf: The Musical –  Palace Theatre, Manchester

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Reviewed by Matt Forrest

Opening Night verdict: ⭐⭐

The film Elf has established itself as a firm family favourite in homes across the land every holiday season. The same could also be said of Elf: The Musical, which since its West End debut in 2015, which has led to  numerous UK tours playing theatres and arenas. Once again Buddy the elf is out on the road again arriving in Manchester, and hoping to spread a little festive cheer, however sadly this time around the magic just isn’t there.

Elf: The Musical tells the story of Buddy (Jordan Conway), a human who is raised by Santa and his elves in the North Pole. Soon Buddy begins to notice he isn’t like his fellow  work colleagues. He  often wonders why he isn’t as good at making toys as everyone else; and questions why he is much taller than everyone around him? Eventually Santa (Philip Day) puts Buddy straight, informing him that his real dad lives in New York and even more important than that….he is on Santa’s naughty list.

Buddy travels to New York, where he meets his Dad, Walter Hobbs (Barry Bloxham) , a workaholic book publisher who spends more time at work than he does with his wife and son. Walter isn’t too thrilled to meet Buddy or the chaos that comes with him. Buddy is sent to a department store, where he meets Jovie (Kelly Banlaki), a slightly world-weary shop employee, fed up with New York and indeed of some Christmas spirit. Can Buddy work his magic and help Jovie find some Christmas cheer, save his dad from the naughty list and more importantly save Christmas!

Like Buddy himself Elf: The Musical has a crisis of personality as to what it wants to be: a musical or a panto? It pitches itself somewhere between both camps coming across as disjointed. There were some fabulous feats of acrobatics from Romy Bauer, and other cast members  which look impressive but didn’t really add anything to the story.

At times actors went off script, even breaking into laughter, which gave the proceedings a shambolic quality and charm, which on occasions I did enjoy, however these are best saved for pantomime.  The big screen at the back of the stage shows videos throughout, that don’t look good, and at times pointless.

Jordan Conway is good as the title character, in a performance packed full of energy and mischief. He just about strikes the balance between innocent charm and playful irritant. Kelly Banlaki is fine, if somewhat under utilised as Jovie. Whilst Barry Bloxham does a good job as the embittered Walter Hobbs. To be fair the ensemble cast work their socks off throughout, you only wish their energy levels were matched by the production values. 

Most of the musical numbers are instantly forgettable, with the exception of the excellent Nobody Cares About Santa, which looked and sounded great. The orchestra are in good form throughout, fair play to them for not missing a beat during the snow fight.

Elf: The Musical does have its moments, with younger audience members lapping up the more anarchic scenes. However for a 2 hour 20 minute show, there aren’t enough big set piece moments that really hold your attention.  We’re not even in December yet and I’m sad to say this elf should be left on the shelf this Christmas.

Elf: The Musical  is at  Palace Theatre until 17th November. Tickets available: Here

Grease

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Reviewed by Jodie Crawford

Opening Night verdict ⭐️⭐️⭐️

It is incredible to think that for over 50 years, people have been visiting theatres and cinemas to see one of the many productions of Grease. 

What started out on a downtown stage in Chicago has travelled around the world and has become part of the musical references in our lives. You can’t tell me that you’ve not uttered the words “tell me about it stud”, while crushing a cigarette under the sole of your shoe, with a wiggle of the hips at some point in your life. 

This production, currently touring, is directed by Nikolai Foster and choreographed by Arlene Phillips. It (loosely) follows the plot of the movie production of 1978.

We begin out journey as we meet Danny (Marley Fenton) and Sandy (Hope Dawe) who are engaged in a summer romance and think they won’t see each other again. Complete opposites to one another, they have spent the summer away from the influences of their peers and fallen for one another. But will true love conquer all? 

Before long we meet the “Burger boys ” (the original name for the T Birds) and the “Pink Ladies” and all our favourites are there.  From Frenchy to Kenickie, from Rizzo to Patty Simcox. 

We are taken on a musical adventure of nostalgia and heartbreak as we follow the ups and downs of the relationships between the “kids”. 

Now, it’s not possible to create every scene from Grease on a stage in the two and a bit hours it’s on for. But, the plot of this production is a little thin on the ground and while the musical numbers do make up for it in some ways, it does mean that we don’t see a lot of insight into the characters. The relationship between Danny and Sandy never really shows us the love he has for her and how he struggles to be vulnerable. And in turn we aren’t invested in them as much as we should be.  So when Sandy changes certain things for Danny, I’m left wondering if she should have bothered. 

I really don’t think anyone who hasn’t seen the film would go to see this, but if they did the plot could be confusing.  But, for those of us who know the plot and the characters inside out, we can fill the gaps in ourselves. 

Putting that aside, the staging, the lighting, the music, the choreography and the company were fabulous. 

It was great to see the order of the songs moved around a little bit and gave them a different perspective, which I really liked, especially “Hopelessly Devoted” and ” Look at Me” 

Vocally, Emerald B and Lewis Day were perfect in their duet “Mooning” – it was a stand out performance.

The highlights of the show were the whole company numbers. The cast work so well as an ensemble, the energy and the pizazz was just as it should be. And the audience lapped it up. There were a few numbers in there that we haven’t heard before and they worked well too. 

I loved the casting of Joe Gash as Vince Fontaine and Teen Angel. He was exceptional and he and Alicia Belgrade (Frenchy) gave us a real treat with Beauty School Drop Out. I had high hopes for the number and it delivered and much more ! 

If you like Grease then you’ll love this show. It’s got bucket loads of fun, laughter and nostalgia. Don’t take it too seriously, sway along to the ballads and tap your feet to the familiar tunes and get up and boogie during the medley at the end then go home with a big smile on your face.  It’s like a good old catch up with those schools friends you haven’t seen for a while. 

Grease is on at Manchester’s Palace Theatre until Saturday 19th October tickets available here.

Lord of The Dance – A Lifetime of Standing Ovations

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Reviewed by Christine Leatherbarrow

Opening Night verdict ⭐⭐⭐⭐⭐

@BrianDoherty

After entertaining more than 60 million fans worldwide in over 60 countries Lord of The Dance returns to Manchester this week with a spectacular revival of their 25th Anniversary show – A Lifetime of Standing Ovations. This Michael Flatley created extravaganza is without doubt one of the most successful and most loved dance productions in history and tonight’s stunning show skilfully proves why.

While Mr Flatley isn’t physically part of the cast for this tour he does make several cleverly crafted appearances on the large screens on stage, much to the delight of the audience. It’s clear for all to see that his trademark choreography and creativity is weaved brilliantly through every part of this production. Partnering once again with composer Gerard Fahy the result is an absolute feast for the eyes and ears from the very moment this dazzling revival begins.

@BrianDoherty

This tale of good versus evil sees Cassidy Ludwig as the playful Spirit dreaming of a challenge between the Lord, (Matt Smith) and the Dark Lord, (Joseph Howarth). Of course, no story is complete without a little bit of romance and jeopardy as we also see Saoirse (Tiernagh Canning) and Morrighan (Andrea Papp Kren) compete for the Lord’s affections.

The story unfolds through a series of jaw-dropping dance performances, totally transfixing the audience with their almost unfathomable skill and precision. Every member of the cast is top-tier and doesn’t miss a beat.

@BrianDoherty

Matt Smith makes even the most complex of choreography looks effortless as he commands the stage entirely. He is an incredible showman and whips the already excited audience into an absolute frenzy at multiple points throughout the show. Joseph Howarth is equally as impressive as the Dark Lord, channelling his inner villain to bring a delicious sense of foreboding to proceedings as he thunders across the stage with his henchmen in tow.

Tiernagh Canning is graceful and elegant as Saoirise while Andrea Papp as the seductive Morrighan impresses entirely with both her talent and characterisation. Cassidy Ludwig as Little Spirit guides us brilliantly from scene to scene with her boundless energy.

@BrianDoherty

The large screens that make up the set are used to great effect transporting us from mystical forests to rugged coastlines while the updated costumes give a modern touch to this classic show.

There are breathtaking dance routines, stunning music, incredible vocals and even a little humour along the way resulting in a truly unforgettable experience. As the show culminates in the most incredible finale the audience whoop with delight while leaping to their feet on more than one occasion. Lord of The Dance – A Lifetime of Standing Ovations is a true celebration of Celtic culture and creativity, an absolute must-see!

Lord of The Dance – A Lifetime of Standing Ovations is on at Manchester’s Palace Theatre until Sunday 18th August, tickets are available here.

101 Dalmatians

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Reviewed by Jodie Crawford

Opening Night verdict ⭐️⭐️⭐️⭐️

101 Dalmatians – The Musical, is a new-ish musical, based on the stage adaptation of the original novel. Now, I’ve not read the book and I’m ashamed to say I haven’t seen the modern film adaptation. But, I have seen the 1961 animated film (in fact we watched it last week in preparation). While the plot is loosely similar, it’s actually adapted in a way that makes much more sense on stage! 

The show begins as we meet a filthy, abandoned wild dog who is dropped off at the Puppy Love Dogs home, here he is cleaned up and welcomed to the fold. This is where we first hear the main number of the show “Take Me Home” (which we all went home singing at the end of the night) as we see some dogs matched to new owners, but not our friend, the newly named Pongo. Pongo is overlooked, but he clearly has a connection with one special worker at the dogs home, Danielle (Jessie Elland). Eventually, Danielle agrees to take him home and before long they meet another Dalmatian , Perdi (Emma Thornett) and Perdi’s owner/human Tom (Samuel Thomas). It’s love at first sight and soon the four are set up together at home, as a family. 

Soon Perdi falls pregnant with puppies and we meet the one name that sends shivers down the spines or any Disney fan: Cruella De Vil (Kym Marsh). Cruella wants the puppies- to- be to be hers so that she can make a fine outfit of them, designed by our very own, wannabe designer, Tom. The young couple don’t have much to their names and the offer of money temporarily tempts them, but when the fifteen puppies arrive there is no way that they want to let them go. And here the adventure begins as the game of cat and mouse commences. Who will be triumphant? Will the puppies survive or will they be on the catwalk at fashion week? 

This production is great fun. I was concerned it would be a bit much for my 5 year old with all the talk of skinning Dalmatians, but she loved it. There’s something for everyone. It’s a wonderfully joyful family show, and what a great time for it to be here in Manchester during the school holidays. I expect the theatre will be full every night. 

The whole production is very clever, the puppetry is just stunning. Linford Johnson as Pongo was captivating for me. He and the puppet somehow act as one and it’s mesmerising. All of the puppeteers give a stellar performance, with some of the finest vocals I’ve ever heard from an ensemble. The colour matching outfits of the ensemble, the hairstyles and small attention to detail is really captivating.  

It was obvious that much of the crowd were there for Kym Marsh, as Cruella, and she didn’t disappoint. The crowd were showering her in applause before she even let out one note, and that must be terrifying, having so much expectation on you, but she delivered over and over again. And the audience just loved her, quite rightly so. 

There is much to laugh at in this production, and Jasper (Danny Hendrix) and Casper (Charles Brunton) give us much of the humour. They’re slapstick, it’s not subtle, but it works and they were just brilliant. 
Samuel Thomas and Jessie Elland are a perfectly suited duo in their roles of Danielle and Tom. Two very sweet characters, who made us love them as much as they loved each other. 

While at times it can feel a bit Panto, (which I’m a huge fan of by the way), it works. It’s a family show, that is a bit silly, and possibly about 20 minutes longer than it needs to be, but it’s just wonderful in so many lovely ways. 

A well deserved standing ovation for a wonderful cast, accompanied by an incredible band (led by Leigh Stanford Thompson), and produced with a clever use of puppetry. Manchester is going to love this show this summer!

101 Dalmatians is on at Manchester’s Palace Theatre until Saturday 10th August tickets available here.

Hairspray

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Reviewed by Matt Forrest

Opening Night verdict ⭐⭐⭐⭐

Based on the 1988 cult classic by John Waters, which featured Rikki Lake and Debbie Harry, Hairspray transports us to 1960’s Baltimore focusing on the Turnblad family, who are the living embodiment of the American dream: a happy family, with both parents running and owning their own business, and a child who dreams she can be anything she wants.

In 2002 writers Mark O’Dohnell and Thomas Meehan took to adapting Hairspray for Broadway, which led to a West End run, several UK tours and even a glitzy Hollywood remake starring John Travolta and Queen Latifah.

Right from the opening number, Good Morning Baltimore, we are treated to a snapshot of what life is like across America in 1962, with racial inequality sadly rife. Our guide on this journey is high school misfit Tracy Turnblad (Alexandra Emmerson-Kirby) constantly at odds with the school authorities due to her massive hairdo!

Tracy has dreams of being a TV star, with her only insight into this world coming in the form of popular teen magazine show, “The Corny Collins Show”,  a music and dance show catering for the tennagers of Balitmore, evening boasting of “Negro Day”.

Soon fate intervenes for Tracy, after befriending Seaweed (Reece Richards), a black dancer on the show, who teaches Tracy some killer dance moves which help her to land a  part of her favourite show. Here she meets her crush, teen heartthrob, Link Larkin (Solomon Davy). Tracy becomes an instant hit with the audience, however not everyone is pleased about the new TV sensation with, the show’s bitchy producer, Velma Von Tussle (Gina Murray), and her dim daughter Amber Von Tussle (Allana Taylor), doing everything in their power to halt Tracy’s meteoric rise in popularity.

There is so much to admire about this production, from its messages about body positivity and its strong core themes of tackling prejudice and bigotry head on.  Packed full of catchy tunes including the delightful Mama, I’m a Big Girl Now, and the huge, joyous finale You Can’t Stop the Beat.

The production is littered with great performances, with newcomer Alexandra Emmerson-Kirby giving a star making debut as Tracy.  Equally impressive is Freya McMahon as Tracy’s best friend Penny Pingleton, again on debut, with both showcasing superb comic timing and great vocals.

Gina Murray is deliciously devious as the vile Velma Von Tussle, played with no redeeming qualities whatsoever, yet still a captivating watch. Whilst Allana Taylor, as daughter Amber,  equally as hideous as her mother, who’s little comic touches are a treat to watch.

Reece Richards, gets to showcase some excellent dance moves throughout, spearheading Drew Mconie’s excellent choreography. The choreography throughout is bang on point, all the more impressive from the huge ensemble cast. Full of energy and vibrancy it really is the heartbeat of the show.

For me the show’s standout moment was the comedic yet beautifully touching duet between Tracy’s parents Edna (Neil Hurst) and Wilbur (Dermot Canavan) on the song, You’re Timeless to Me. The pair have great chemistry with one another, occasionally breaking into the odd unscripted aside, making it all the more special.

My only wish was that more thought was given to the staging and set. The costumes all look fabulous, but their staging and set design are somewhat lacking and don’t represent the high production values the rest of the production has.

Tackling weighty issues, such as equality and acceptance, whilst shining a light on the struggle of the Civil Rights Movement and  the importance of plus sized role models appearing in the mainstream media, Hairspray is a constant joy from start to finish, and a great reminder that theatre can tackle and address some of the biggest challenges we face, but also have a lot of fun at the same time!

Hairspray is on at Manchester’s Palace Theatre till 27th July tickets are available here.

Disney’s Aladdin

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Reviewed by Jodie Crawford

Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

Photography by Deen Van Meer

There really isn’t anything more Disney than this incredible production of Aladdin. It has all the key ingredients of a magical Disney tale, with bells on, and maybe just a little bit of glitter thrown in! 

This stage adaption has a plot true to the original Disney film. With our main characters: Aladdin (Gavin Adams) The Genie (Yeukayi Ushe), Jafar (Adam Strong), Jasmine (Desmonda Cathabel) , Sultan (Jo Servi) and the hilarious Iago (Angelo Paragosa) coming together to tell us the tale of poor street urchin Aladdin being tricked by Jafar, meeting a Genie and falling in love – with a few magnificent musical numbers, many jazz hands, beautifully choreographed ensemble pieces, sword fights, magical carpets and big belly laughs (even the wicked ones).

This production is mesmerising, it’s like nothing I’ve seen before. You are taken to a whole new world (couldn’t help it – sorry) where you can forget all your worries and just be transported to the land of Agrabah and enjoy the ride – specifically the carpet ride. 

Act one introduces us to the lives of our characters and we are treated to some wonderful musical numbers  – including favourites from the original movie like Arabian nights . 

The show stopper of Act 1 is, without doubt, Yeukayi Ushe (Genie) performance of Friend Like Me I don’t want to spoil it for anyone, but this number is a feast for the soul: glamour, costumes, dancing, the set design, and more enthusiasm than I have ever seen on stage. Yeukayi Ushe, take a bow Sir – you are incredible. Hands down the star of this show for me! 

Act 2 treats us to more ensemble magic with Prince Ali and everyone’s favourite A Whole New World – the melody, the lyrics, the carpet. I found myself sitting with a great big, wide smile plastered on my face – there is something so comforting about hearing a song that you loved as a child brought to life on stage. 

This production is colourful in every way, the set changes are phenomenal – I will never understand how they can store so many set structures backstage for this show. The use of technology was clever in the small touches on the back drops in several different scenes. Everything is so carefully constructed by the set design team, there is so much attention to detail everywhere from the props to the costumes. If there is stronger word for “vibrant” I would use it – but vibrant is what it is, from start to finish. Everything comes together so perfectly and much of that is thanks to the fabulous ensemble, and the choreography. Both are flawless. 

I have to say that I feel the real love story in this tale is not that of Jasmine and Aladdin, but of Aladdin and the Genie. Their friendship is a rollercoaster ride and in the end their bond is stronger than they could ever have imagined and quite frankly, it was beautiful to watch. 

Special mention has to go to the orchestra led by the talented Dave Rose – every single note spot on and seamlessly woven into the plot. 

I took my seven year old to see this and I will never forget the smile on her face, the squeals of delight and the awe in her eyes. As we left the auditorium she whispered to me “This has just been the most magical night, I won’t forget it, ever” and yes I did have to wipe a little tear away. So thank you cast, crew, orchestra, costume, production team, and everyone else involved – including the wonderful lady from front of house who was so very kind and sang to us all so beautifully during the interval, while selling ice creams- you all made my little girls dreams comes true. Her last words before she fell asleep to me were “It’s just like when we went to Disney- can we go again tomorrow”. Well no, we can’t – but if you’re quick, you might be able to snap up a ticket before it completely sells out – you’ll regret it if you don’t – trust me! 

Aladdin is on at Manchester’s Palace Theatre until Sunday 7th July tickets available here.

Bonnie & Clyde

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Reviewed by Matt Forrest

Opening Night verdict ⭐⭐⭐1/2

Following the Wall Street crash of 1929, the USA was hit by the great depression, money was scarce, unemployment was rife. As a result of these tough times America saw an increase of violent crime and armed robbery, notorious criminals such as John Dillinger, The Ma Barker Gang and arguably the most infamous of them all Bonnie Parker and Clyde Barrow. Dillinger, Ma Barker and Bonnie and Clyde have all had Hollywood films made about them, however it’s only that later has a musical about them. 

Direct from the West End Bonnie & Clyde, arrive in Manchester as part of a full UK tour. With the involvement of Oscar winning lyricist Don Black and Grammy,Tony and Emmy nominated composer Frank Wildhorn, expectations for this one are obviously high. 

©Richard Davenport

Set in and the ‘Dust Bowl’ of America, the production opens with Bonnie and Clyde, dead in their car, taken down in a hailstorm of bullets, but how did these 20-somethings end up in this situation? 

We are introduced to the violent pair as Bonnie (Katie Tonkinson) dreams about being a big movie star like her idol Clara Bow, whilst Clyde (Alex James Hatton) wants to go down in history like his hero, Billy the Kid. A chance meeting between the pair, sees them become fascinated with each other, he a fugitive from the law, a career criminal, intent on making a life following his family’s eviction from their farm. She, an aspiring actress, singer and poet determined to quit her waitress job and find excitement, adventure and the American dream.  

©Richard Davenport

Clyde, and his brother Buck (Sam Ferriday) have broken out of prison, and whilst Clyde  continues robbing grocery stores and continues his relationship with Bonnie, his brother Buck is persuaded to turn himself in by his wife, Blanche (Catherine Tydesley) a devout, god-fearing Christian women, determined to carve out a good, honest life for her and her husband.  

However, eventually the law catches up with Clyde, who is sent back to prison. Finding life on the inside is tough going, especially without his brother. He and Bonnie hatch a plot to spring him from jail, and so begins the pair’s infamous crime spree of bank robberies and murder.  

©Richard Davenport

Whilst not perfect there is a great deal to admire about the show. The music is a mix of late 1920’s early 30’s illicit speak-easy tunes infused with elements of gospel rock. There are several stand out musical numbers including the narrative setting Picture Show, the powerful huge ensemble number, Made In America and the heart-breaking Bonnie/Blanche duet You Love Who You Love.  

The cast are exceptional and certainly the highlight of the production. Alex James Hatton is in fine form, playing Clyde with a hefty dose of charisma and charm, aided by the fact he has a tremendous singing voice. Katie Tonkinson is in superb as Bonnie, her portrayal is one of determination and borderline fanatical belief that she is destined to be a star. The chemistry between the two leads is there for all to see, making the pair a captivating watch. Tonkinson’s powerful duet with Catherine Tydesley on the aforementioned You Love Who You Love is the highlight of the show.  

©Richard Davenport

Catherine Tydesley displays not just her fine vocal range, as well as measured, at times comedic turn as the increasingly desperate Blanche.  Whilst Sam Ferriday is sympathetic is the dim-witted yet loyal Buck, torn between doing the best by his wife and his brother. The foursome are supported by a hardworking and impressive ensemble that include Daniel Reid-Walters as the well-meaning Deputy Sheriff, Ted Hinton determined to save Bonnie from her bloody fate. 

At times I do think the pace and tone of the show is somewhat hit and miss. Once the characters are established it takes a while for the plot to really start moving along. The production is desperate for you to love the central protagonists, attempting to make the pair Robin Hood like characters, at times glossing over just how evil the pair really were. Whilst some of the comedic elements to the production work at times, on other occasions it does feel out of place.  

©Richard Davenport

Overall, this is an enjoyable night at the theatre, a tremendous hard-working cast with some great tunes and exceptional performances. Whilst the story doesn’t always hit its mark, the cast certainly go out with all gun’s blazing! 

Bonnie and Clyde is on at Manchester’s Palace Theatre until Saturday 11th May. Tickets available here.

The Wizard of Oz

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Reviewed by Nikki Cotter

Opening Night verdict ⭐⭐⭐⭐

The Wizard of Oz is as classic a tale as they come, invoking warm fuzzy memories quicker than you can say ruby slippers, this bold, bright reimagining however shakes things up, bringing it bang up to date with its terrific technicolour and futuristic feel.

Adapted by Andrew Lloyd Webber and Jeremy Sams this new revival directed by Nikolai Foster retains many of the much-loved classic’s elements while updating it for modern audiences. The result is a full-on, fast-paced feast of colour. The black and white of Kansas is gone, while Oz is presented as a neon dream with the Emerald City projected in vivid technicolour as an impressive backdrop which envelopes the simple staging.

Stepping into the ruby slippers is Aviva Tulley, with pitch perfect vocals she leads the cast as Dorothy with genuine warmth and huge charisma. She skilfully makes the part her own while remaining true to the essence of the character, adding plenty of self-assured sparkle along the way.

Benjamin Yates has heaps of charm as the Scarcrow, embodying the role brilliantly and bringing plenty of laughs along the way. Aston Merrygold’s Tin Man is enormously endearing and takes full advantage of the opportunity to showcase his impressive dance skills, while Manchester favourite Jason Manford is hilarious as the Cowardly Lion. He has the audience in his paws from the very first roarsome growl. The trio make a perfect team bringing a whole heap of fun to the production as they join Dorothy in her quest to get home. We also mustn’t forget Toto, who is brought to brilliant life by puppeteer Abigail Matthews.

The Wizard of Oz wouldn’t be complete of course without the witches, as good witch Glinda, Emily Bull is a joy, her crisp vocals are delivered with an effortless ease as she whizzes round the stage on her perfect pink scooter. The Vivienne takes on the iconic role of Wicked Witch of The West and brings just the right amount of villainy to the piece. She pitches her wickedness perfectly ensuring a sense of menace and mischief without traumatising any children in the audience. Her impressive solo, Red Shoes Blues gives the opportunity to really show her talent and versatility as a performer.

Visually this show really dazzles, Rachael Canning’s costumes are incredible while Douglas O’Connell’s video projections impress throughout. Lloyd Webber has composed some new additions to the score however it’s the originals such as We’re Off to See the Wizard and Ding-Dong! The Witch is dead that truly shine.

This revamped revival is enormous fun with heaps of heart and some serious style. The talented cast joyously prove that there’s no place like Oz. Uplifting escapism for all ages.

The Wizard of Oz is on at Manchester’s Palace Theatre until Sunday 5th May 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.

Hamilton

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Reviewed by Nikki Cotter

Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

Both revolutionary in subject matter and in its impact on the theatre world, Hamilton has fast become one of the most beloved musicals of all time. Certified Hamilfan’s know the cast recording off by heart before even setting foot inside a theatre while favourite quotes have entered popular culture as its strength of message and sheer brilliance are praised the world over.

Embarking on its first ever (and much-anticipated) UK and Ireland tour, Hamilton has arrived at Manchester’s Palace Theatre for an incredible 15 week run, ensuring theatre fans from across the region get their opportunity to be in the room where it happens.

Hamilton tells the fascinating story of American founding father Alexander Hamilton, with a book, music, and lyrics by Lin-Manuel Miranda. This is a history lesson like no other as hip-hop, jazz, R&B and traditional musical theatre blend together to create a stunning score, reframing the traditional and driving it forward for a new generation. Throw in direction from Thomas Kail, orchestrations by Alex Lacamoire and incredible choreography by Andy Blankenbuehler and you’ve got the recipe for the perfect piece of theatre. Add to this a cast of insane talent and the result is a complete work of art.

Taking on the titular role is Shaq Taylor: Taylor’s Hamilton is a strong, commanding visionary who proves undoubtedly that the pen is far mightier than the sword. He takes us on an incredible journey starting off, “young, scrappy and hungry” and ending the show leaving us questioning our own lives and legacies, “Who lives, who dies, who tells your story?”. He delivers Lin-Manuel Miranda’s complex lyrics with a relaxed ease and an immense precision.

Sam Oladeinde as Aaron Burr is tremendous, arrogant and scoffing one moment, defeated and broken the next, his delivery of Wait For It perfectly highlights the brilliance of this piece, as his focus shifts from contemplative silence to roaring energy within the blink of an eye. His character development and nuanced delivery as Hamilton’s foe is second to none.

Billy Nevers is a remarkable Marquis de Lafayette/Thomas Jefferson, all bounding energy and slick beats he truly shines on stage. Perfectly cast, he brings real depth and well-judged humour to both roles giving an unforgettable performance.

KM Drew Boateng shows incredible versatility as Hercules Mulligan/James Madison, two polar opposites whom Boateng more than masters while DeAngelo Jones as John Laurens/Phillip Hamilton is a joy, full of fun, bravado and brilliance.

Maya Britto gives a world class performance as Eliza Hamilton, her solo Burn is heartbreakingly beautiful while her soaring vocals during the finale will make your heart swell. Aisha Jawando compliments Britto entirely as loving older sister Angelica, punchy and powerful delivering riffs to die for. Making up the trio of sisters is Gabriela Benedetti as Peggy Schuyler/Maria Reynolds who gets her well-deserved moment in the spotlight during Say No to This with vocals as smooth as silk.

This cast bring out the humour in Lin-Manuel Miranda’s script like I’ve never seen before, they are a tight knit team and the trust they clearly have in each other takes their collective performance to the next level.

Daniel Boys further ramps up the laughs as the stomping, spoilt King George, while special mention must also go to Charles Simmons as George Washington, a calming presence amongst the compelling force that is Alexander Hamilton.

Hamilton truly is an ensemble production with the company taking on multiple roles and pushing the story forward through Blankenbuehler’s immaculate & intricate choreography. Their level of skill is mind-blowing. The diversity of this cast enriches this production wholeheartedly and will leave you wishing you could retake your seat and watch it immediately all over again. Manchester waited for it and Hamilton has well and truly delivered. Rise up and get yourselves to Manchester where Hamilton will turn your world upside down, epic in scale, breathtaking in brilliance.

Hamilton is on at Manchester’s Palace theatre until Saturday 24th February tickets are available here.