Review

The Girl on the Train

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Reviewed by Jodie Crawford

Opening Night verdict ⭐⭐⭐⭐⭐

Directed by Loveday Ingram, The Girl on the Train pulls you in right from the start, gripping you with its intensity and keeping you hooked throughout. The show is a wild emotional ride, balancing suspense, drama, and just the right amount of humour. This thought-provoking adaptation of Paula Hawkins’ best-selling novel by Rachel Wagstaff and Duncan Abel goes beyond anything you might expect. Taking a popular book and film and making it work on stage is no easy task, but this version is absolutely brilliant.

One of the standout performances is Giovanna Fletcher as Rachel. She brings a raw vulnerability to the role, perfectly capturing Rachel’s emotional fragility. Fletcher’s portrayal of Rachel’s struggles with alcoholism, guilt, and trauma is both powerful and moving. There were moments when I was holding my breath, captivated by how she would navigate her next emotional turn. Fletcher’s performance truly anchors the show, inviting the audience into Rachel’s complicated world, making it impossible to look away. Fletcher is on stage throughout this entire production, her stamina is incredible in this emotionally demanding role – I didn’t know what I was expecting from Fletcher, but it certainly wasn’t what I got. She is the embodiment of the character Rachel.

Paul McEwan brings some much-needed levity with his portrayal of DI Gaskell. His comedic timing is spot-on, offering light moments that provide a much-needed break from the heaviness of the rest of the story. McEwan’s warmth and charm balance the darker themes of the play, and his chemistry with Fletcher is electric. Their dynamic adds a unique layer to the relationship, with Gaskell seeing something in Rachel that others don’t. It gives the audience more reason to root for Rachel as the play unfolds, and together, they form a pairing that’s unexpected but works perfectly.

The ensemble cast is key to the success of this production. Their energy and commitment are essential to creating the shifting emotional and physical landscapes of The Girl on the Train. The actors use movement and physical theatre techniques to transform the stage, effortlessly moving between different locations and moments in time. This isn’t just functional; it’s a core part of the storytelling. The way they adapt to changes in atmosphere heightens the emotional tension, ensuring the audience stays fully immersed in the unfolding drama. The entire cast is truly exceptional.

Another standout element of the show is the use of digital technology. The projections aren’t just a backdrop—they’re seamlessly integrated into the narrative, adding so much depth to the story. The digital imagery reflects the characters’ internal struggles, giving us a glimpse into their psychological turmoil. These projections also help show shifts in time and place, mirroring Rachel’s fragmented memories and emphasizing the disorienting nature of her world. The digital elements blend so naturally with the live action, enhancing the flow of the story rather than distracting from it. This is theatre for 2025—innovative, immersive, and captivating in a way that feels fresh and exciting. It engages the audience in a completely new way, without relying on traditional sets or realism, and it works beautifully.

Adam Wiltshire’s minimalist set design complements the production perfectly. The simplicity of the set allows the actors to shine while still providing the flexibility to shift the space for different locations. The starkness of the design contrasts superbly with the vivid projections, creating an environment that feels both intimate and expansive. The projections add another layer to each scene, highlighting the emotional depth of the characters and enhancing the overall atmosphere. The whole staging feels like something we haven’t seen before.

Under Loveday Ingram’s direction, The Girl on the Train is perfectly paced, with every detail carefully thought out to keep the audience engaged. Ingram’s use of physical theatre, combined with the smooth integration of digital technology and the incredible ensemble cast, creates an experience that draws you in and doesn’t let go. The transitions between scenes, whether through the actors’ movements or the shifting projections, are fluid and seamless, making the narrative feel dynamic and cohesive.

Overall, The Girl on the Train is an exceptional production. It combines powerful performances, innovative design, and cutting-edge technology to create an unforgettable theatrical experience. With an incredible ensemble cast, sharp direction, and the brilliant integration of physical and digital elements, this show deserves every one of its five stars. Simply put, I was completely blown away!

The Girl on the Train is on at The Lowry until Saturday 15th February tickets available here.

Coming To England

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Reviewed by Jodie Crawford

Opening Night verdict ⭐️⭐️⭐️⭐️

Coming to England at the Lowry is a heartwarming, exploration of migration, the windrush generation, identity, and the pursuit of a better life. 

The production is based on the children’s book by Florella Benjamin about her life and her family’s journey from Trinidad and the struggles they faced when they arrived in England. 

It is important that stories like this are shared, and this production is a success because it’s at a level that children can access the themes. The plot isn’t heavy, but the key messages about equality and inclusion are prominent. 

The standout feature of the show is undoubtedly its cast, who bring passion and authenticity to their roles. Each actor shines in their portrayal of individuals facing personal and societal challenges, infusing their performances with depth and emotion as well as humour. The chemistry between the ensemble members is palpable, drawing the audience into the struggles and triumphs of their respective characters. The theme of family underpins every scene- you can feel the love shared between the characters. 

Equally impressive are the songs, which are catchy and full of energy. The musical numbers are some of the strongest moments of the show, with a mix of heartfelt ballads and upbeat tunes that capture the emotional range of the story. The music does an excellent job of supporting the narrative, offering both emotional resonance and moments of levity. 

However, while the cast and songs are excellent, the plot itself feels a bit uneven at times. Some parts of the story could benefit from further development, it would be wonderful to see how Florella rose to fame. Despite this, the production as a whole is a hugely enjoyable experience, thanks to its talented performers and the strength of its music. It’s an important story to tell.  The production is aimed at children, and that is where it is pitched- it addresses important themes about discrimination and racism, but equally highlights the love of a family and the way in which they don’t let the discrimination define who they are. 

Coming to England is a show that delivers strong performances and memorable songs. For fans of Florella Benjamin and those interested in heartfelt stories about migration and the windrush generation it’s a wonderful watch.  

Coming To England is on at The Lowry until Sunday 9th February tickets available here.

The Shark is Broken

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Reviewed by Matthew Forrest

Opening Night verdict ⭐⭐⭐⭐

Hard to imagine really that a mechanical shark by the name of Bruce, very nearly killed the Hollywood blockbuster, even before anyone knew what a Hollywood blockbuster was. Bruce was one of the main stars of the first Hollywood mega movie: Jaws. Bruce had a habit of breaking down on a regular basis, leading to several halts in production, and a great deal of frustration from his fellow co-stars. But how do a trio of actors pass the time, when cooped up on a small fishing boat? They argue, they drink, they gamble and get on each other’s nerves!

Co-written by Joseph Nixon and Ian Shaw, son of Robert Shaw, The Shark Is Broken is set in 1974, on the Orca, the fishing boat used in the film. Here we find the three principal actors, Roy Scheider (Dan Fredenburgh), Richard Dreyfuss, (Ashley Margolis) and Robert Shaw (Ian Shaw), struggling to fend off boredom, as Bruce is repaired. They discuss their careers, their families, and gamble. However not all is plain sailing, and soon tempers fray, with Scheider playing peacekeeper to the warring Dreyfuss and Shaw, with the former feeling disrespected by Shaw. Whilst Shaw sees Dreyfuss as arrogant, more interested in fame than the craft of acting.

There is a great deal to enjoy and admire about this production. The script is funny, witty and packed with cracking gags and one-liners. Opening with a nod to John William’s famous score, we see a shark fin, gliding through the ocean projected on a screen at the back of the stage, and soon any dramatic tension disappears as the shark breaks down, it’s a superb joke that sets the tone for the show. Other standout big laughs come when Scheider rules out doing a sequel to Jaws, which of course he did. Another highlight is Shaw’s making reference to Steven Spielberg’s next project: “Aliens? What next, dinosaurs?”

It’s a classic situation comedy set up, as three very different people find themselves in a cramped environment and the script plays up to this throughout. Duncan Henderson’s Orca recreation is beautifully claustrophobic, and dingy, as the cast clamber over it and at times each other.  It looks so authentic that at times you almost smell the stench of fish guts and hard liquor coming from the stage.

The cast are in form throughout: it’s quite disconcerting how captivating Ian Shaw’s portrayal of his father is. Obviously, the close resemblance helps, but this is a performance filled with fire and passion as Shaw doesn’t flinch from showing his father’s battle with his demons including alcoholism, insecurities and disdain for elements of his profession that provided well for him and his family. It’s a towering presence that commands your attention throughout.

Equally impressive is Ashley Margolis’s unflattering portrayal of Richard Dreyfuss, filled with a nervous energy and self-doubt that in lesser hands could have been grating, but he navigates that tightrope perfectly. Finally there is a Dan Fredenburgh’s excellent understated, if slightly under-written turn as Schieder, who is essential in keeping proceedings grounded. Special mention to Carole Hancock’s whose flawless make helps to transform the actors into mirror images of the stars they are portraying.

The play tackles some weighty issues such Shaw’s alcoholism, and how it wasn’t just Bruce that was causing issues with production. It alludes to the well documented issues Dreyfuss would have with cocaine addiction in later years. One touching scene where the men bond over issues with their father’s is well played out, and one of the show’s highlights, you just wish there was a bit more of this depth in places

This is a funny, sharp insight into the magic of Hollywood, understandably executed with a great deal of love and affection for its subject matter. Fans of Jaws, and the Hollywood movie machine will undoubtedly love it. There is something for everyone to enjoy from the towering performances, high quality production values, all anchored by a sharp, poignant and well-crafted script.

The Shark is Broken is on the Lowry till 8th February tickets available here.

Kinky Boots

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Reviewed by Nikki Cotter

Opening Night verdict ⭐⭐⭐⭐⭐

To say there was a buzz when Strictly icon Johannes Radebe was announced as Lola in this all-new Kinky Boots revival would be a wild understatement, as a firm audience favourite and a passionate promoter of authentic self-expression this casting felt like an absolute match made in heaven. Tonight’s Manchester press night proved in utterly fabulous style just how perfect that inspired casting really was as Radebe and the rest of this talented company bring the party to town in glorious, glittering style.

Based on the 2005 film this beloved Broadway and West End musical with music and lyrics from the legendary Cyndi Lauper introduces us to Charlie Price (Dan Partridge). Charlie is unexpectedly made responsible for saving the family business, a shoe factory that was the lifelong passion of his late father. Charlie, however, has little interest in shoes and things quickly begin to fall apart, that is until a chance meeting with a flamboyant drag queen named Lola (Johannes Radebe). With the help of Lola, Charlie soon begins to realise that he might just have what it takes to save the factory while unexpectedly saving himself as he learns to accept who he really is.

This uplifting production is an absolute joy and delivers the most wonderful message of friendship, acceptance and love, as we see Charlie and Lola embrace each other’s differences while creating the most sensational (and sturdy) stilettos on the market.

Johannes Radebe fills Lola’s six-inch stilettos spectacularly. Every moment he is on stage is thrilling, he delivers Leah Hill’s intricate choreography with ease, totally transfixing the audience, he is utterly mesmerising and an absolute star. He also has a beautiful vulnerability when it comes to the quieter more heartfelt moments, his duet with Dan Partridge during Not My Father’s Son is deeply moving. The addition of young Charlie and young Lola (played superbly by Joshua Beswick and Sekhani Dumezweni) taking this already touching moment to the next level.

Partridge wonderfully embodies Charlie Price, taking us on an emotional journey as he shifts from frustrated heir to a confident can-do factory owner. Stuck between the expectations of family and trying to keep his relationship afloat, Partridge gives an emotional and complex performance. His vocals sore and he has an undeniable likeability that has the audience rooting for him from the start.

Courtney Bowman is a delight as factory worker Lauren. Her comedic timing is sensational while her delivery of History of Wrong Guys is truly iconic. Joe Caffrey’s portrayal of Don is a fantastic secondary story to the main plot, his character arch from angry ‘real man’ to someone accepting of both difference and change is wonderful to see while Manchester’s own Scott Paige is as entertaining as ever in the role of factory foreman George, he takes every magical moment in the spotlight and runs with it.

The energy given by this cast is infectious, they radiate positivity while celebrating each and every character’s individuality. The feel-good vibes this show delivers are unmatched, you’ll leave the theatre uplifted, empowered and feeling a whole lot more positive about the world around us. There couldn’t be a better time for a revival of this celebratory show, with its vital and important message. This incredible cast, stunning production and slick delivery will ensure audiences fall in love with Kinky Boots all over again. Be quick to book as these Kinky Boots must surely strut into the West End soon, sensational!

Kinky Boots is on at Manchester’s Palace Theatre until Saturday 8th February tickets 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.

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.

A Christmas Carol

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Reviewed by Nikki Cotter

Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

There something so very special about A Christmas Carol, with its timeless story and perfect message for the festive season, this classic Dickens tale is a firm audience favourite. 

This Christmas, Hope Mill Theatre bring Scrooge’s redemption to magical life at The Lowry with the added twist of the Ebenezer Scrooge we all know and love becoming Evelina Scrooge, played superbly by Claire Moore. 

Seeing Scrooge as a woman offers an incredible opportunity to revisit a story we think we know so well and see it through fresh eyes as the tale takes on new meaning. We see an increased depth to Scrooge and gain a deeper understanding of what led to her life of stingy frugality. 

Set amidst the inky pages of a book this stunning musical adaptation is everything you want from a Christmas production. This traditional take oozes quality with its stunning set, impressive projections, wigs and costumes while the cast are truly phenomenal.

From Claire Moore as Scrooge right down to Team Holly’s Marnie Fletcher as an 8 year old Eveline, this cast is second to none. Their vocals are sublime while the ensemble deliver George Lyons choreography to perfection. 

Director Joseph Houston alongside co-director William Whelton have created a production that would be at home on any West End stage, how lucky we are to have it right here in Salford.

Scrooge’s night of reckoning begins with a visit from a ghostly Jacob Marley, played superbly by Barry Keenan. His words ring true as the clock strikes one and the Ghost of Christmas Past (Mari McGinlay) appears. McGinlay is wonderful, full of memories and merriment as she reminds Scrooge of monumental moments from past which seem long buried by the Scrooge of present. Both painful and perfect memories emerge culminating in a celebratory scene at the Fezziwig’s Annual Christmas Ball.

This big company number is tremendous, showcasing George Lyons’ choreography while allowing Alan Menken and Lynn Ahrens stunning music the ideal opportunity to shine. Alexander Evans and Josie Benson play the perfect hosts as Mr and Mrs Fezziwig, comedic and commanding.

Next we meet James Hume as the Ghost of Christmas Present. Hume is an absolute joy while the staging of his scenes is a total triumph and a real highlight in an already wonderful show. His witty approach combined with a stunning company number will live long in the memory.

As Josie Benson returns to the stage as the Ghost of Christmas Future we see Evelina Scrooge repent as she lightens and brighten before us. Claire Moore shows such incredible versatility in her characterisation, from the cantankerous early Scrooge to the jovial Scrooge of the finale she takes us with her, every step of the way on this heartwarming journey. 

The entire company all deserve high praise, their vocals are breathtaking while their skilful set changes become beautifully crafted choreography. Special mention must go to Matthew Jeans and Team Holly’s Joel Tennant whose pairing as Bob Cratchit and Tiny Tim is a joy.

From Andrew Exeter’s stunning set design to Alex Musgrave’s rich lighting magic has been made. The band led by Joseph Clayton solidify the sheer quality of this production.

After 9 award-winning years producing their own in-house productions, this is the first Hope Mill Theatre have created and produced for another venue and to say the bar has been set high would be a wild understatement. A Christmas Carol : The Musical is sublime. It will lift your spirits, warm your heart and remind you just how magical live theatre can be, sensational!

A Christmas Carol : The Musical is on at The Lowry until Sunday 5th January tickets available here.

The Bear

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Reviewed by Jodie Crawford

Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

Waterside Arts in Sale, brings us another Christmas feast of entertainment for the family. This year it is The Bear, a stage adaptation of the wonderful Raymond Briggs book. The tale has similar themes to that of another beautiful story of Briggs’, the Snowman. 

This show, a Pins and Needles Production, features young Tilly, a girl with an imagination and a friendly Teddy Bear, who kept the children entertained while waiting for the show to begin. One blustery night a polar bear comes to stay, blundering through her bedroom window in the deep of the night. 

Tilly adores the Bear from the moment he arrives. She desperately wants him to stay. Together they play games such as hide and seek (he’s very good at it). Tilly quickly comes to realise that taking care of a bear is not the easiest of tasks.  

This story is one of friendship and love. You can’t help but be touched by the closeness and companionship these two characters create on stage. There are so many moments that give us, the audience, the complete warm and fuzzies. There is a woven thread through this whole story of the power of the imagination and the importance of closeness for a child. 

The heartwarming scenes are linked together with comedy, song and some good old fashioned dance moves. We are treated to bubbles and snow and even a blast of a water pistol (bad luck if you’re near the front). 

But what the most spectacular thing about this production is, is the Bear itself. The puppetry is divine, it’s carefully considered, gentle, dynamic and purposeful. The fact that we can clearly see the puppeteers does not distract from the way in which we are captivated by the bear, the characterisation from both actors allows us to simply see them as part of the bear. It’s very clever and powerful. 

We were mesmerised, transfixed and entertained through out the entire production, it’s one we will talk about for Christmases to come.

The Waterside always knows how to do Christmas, and this year they have excelled themselves by bringing this show to town.

The Bear is on at The Waterside, Sale until Sunday 29th December tickets available here.

Come From Away

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Reviewed by Nikki Cotter

Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

Telling the incredible real-life story of remarkable human kindness in the face of unimaginable tragedy, Come From Away has arrived in Salford for a heartwarming festive season. 

Having thrilled audiences from Broadway to the West End, Come From Away transports us to the small community of Gander, a town in Newfounland, Canada, which on September 11th 2001 suddenly found itself home to over 7,000 international visitors, grounded due to the 9/11 attacks.

Having been in New York myself on September 11th I put off seeing this much loved musical for several years, concerned I’d find it upsetting or triggering. I finally took the plunge as its award-winning run on the West End came to a close, my one regret was that I waited so long. I left the theatre uplifted, inspired and desperate to watch it again.

Come From Away while created as a result of the real-life stories of grounded passengers, crew and the wider Gander community is anything but dark. It shines the most beautiful light on the absolute best parts of humanity as the locals embrace their ’come from aways’ while their visitors find hope and heart in the most challenging of circumstances.

The cast of 12 take on multiple roles from Captain Beverley Bass, the first female pilot to fly for American Airlines to Claude Elliot, who was Mayor of Gander at the time of the attacks. Personal accounts are beautifully interwoven with stories of community all set to an addictively catchy score while the script is littered with witty, heartwarming moments which draw you in from the start. 

Irene Sankoff and David Hein’s book, music and lyrics are seamlessly delivered by this brilliant company. From opening number ‘Welcome to The Rock’ right through to the joyous finale where the talented band led by Andrew Corcoran are given their moment in the spotlight, this life-affirming production delivers over and over.

The cast move both themselves and the props around the simple yet highly effective set to great effect. One moment we’re in Tim Horton’s at breakfast time, the next we’re on a flight, about to make an unplanned landing, every tightly woven movement pushes the narrative on wonderfully. 

Christopher Ashley’s slick direction ensures despite the multiple characters every scene is delivered with clarity and precision. The perfect pacing and intricate transitions keep the flow just right while the cast carry you through this emotional journey with them as if you too are a Newfoundlander.

This is a story of kindness, human connection and compassion delivered by a cast at the absolute top of their game. Amidst the witty, melodic scenes there are more serious, emotive moments which are given just the right amount of time to breathe before the next wave of joviality whips you up again. There is also an important and frank spotlight shone on Islamophobia, something I remember vividly witnessing flying back from JFK in the days after 9/11.

This is real, authentic ensemble theatre where cast members collectively create a truly memorable production. At a time where darkness can often feel so prevalent Come From Away will restore your faith in humanity and remind you that every single one of us has the ability to make a difference. This is is incredible storytelling, beautifully told. Let Come From Away whisk you off to Gander, fill your heart with joy and remind you there is always light amidst the darkness.

Come From Away is on at The Lowry until Sunday 5th January tickets available here.

Alice In Wonderland

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Reviewed by Matthew Forrest

Opening Night verdict ⭐⭐⭐⭐

Shakespeare North Playhouse is at it again this Christmas, tackling another literary juggernaut for their festive offering. Their debut year saw A Christmas Carol, the year after it was, The Wind in the Willows. This holiday season they have upped the ante, bringing Alice In Wonderland to the stage.

Writer Nick Lane has taken elements of Lewis Carroll’s Alice’s Adventures In Wonderland and sequel Through the Looking-Glass and crafted an original, modern adaptation of Alice’s adventure with its roots firmly in Prescot.

We are introduced to a grown up Alice (Helen Carter), out shopping in Prescot on Christmas Eve with her two children. The stresses of the time off year are taking their toll:  the kids are bored and wanting to go home, whilst Alice is having difficulties with her sister, whom she no longer sees as often as she should. As the family walks over to a fun fair. Alice becomes distracted by the appearance of a familiar visitor: The White Rabbit, who she remembers from her last visit to Wonderland, as a young girl.

Alice once again follows the rabbit down the rabbit-hole and so begins another adventure. On her journey Alice encounters some old friends, The Cheshire Cat  (Kelise Gordon Harrison), Caterpillar (Tia Larsen), and of course The Mad Hatter (Milton Lopes). However, a new threat has emerged in the form of The Duchess(Martha Godber). The Duchess has not only captured Alice’s smile, but also feeds the residents of Wonderland jam tarts to make them forget about the joyous things in life, such as Christmas, while keeping them under control. Alice must defeat The Duchess in order to free the people of Wonderland as well find a way back home to her family.

Nick Lane and director Nathan Powell have created a fun, family friendly production, which isn’t perfect, but will certainly bring a sprinkling of magic over the festive period. It’s a slow start, but once Alice arrives in Wonderland you become invested in the story. The script as you would expect is bonkers packed full of great gags and superb visual jokes. The Bill Shankly-esque introduction of the Caterpillar and the joyous stupidity of the Dodo is superb. There are some scenes, such as the Christmas dinner scene which could do with a bit of a trim but these are minor quibbles for what on the whole is an enjoyable tale.

Always within Shakespeare North Playhouse productions is a sense of pride about its home in Prescot and the community, so there plenty of jokes about in-jokes and harmless potshots at local surrounding towns which I always find endearing and really shows just what the theatre means to the community and what the community mean to the theatre: which is something special and should be cherished.

The small cast of five put in a shift, with all except Carter, playing multiple characters. Helen Carter is in good form as an older world weary yet sassy Alice. Martha Godber is equally impressive as the villain of the piece, somewhere between Liz Truss, Donald Trump, and a spot of Boris Johnson thrown in for good measure, complete with a  great singing voice she absolutely nails it.

Milton Lopes brings the absurdity as both The Dodo, and The Mad Hatter, it’s two very different roles that provide a platform for Lopes to showcase a gift for physical comedy and his circus skills. Kelise Gordon-Harrison is a great value as the kung-fu loving, game show host Cheshire Cat, complete with backflips and a catchphrase. Whilst Tia Larsen very nearly steals the show as the over enthusiastic, Card Two, and her turn as the Caterpillar (along with Lopes’ Dodo) were my personal highlights.

Sascha Gilmour’s beautiful, vibrant costumes are an absolute treat with the pick of the bunch being the glorious JubJub Bird, Caterpillar and Dodo. Whilst the fairground setting adds a sense of unpredictability to proceedings.

Alice in Wonderland has everything you want from a Christmas show: big laughs, silly set pieces, a spot of panto style audience participation and a heartwarming message to send you on your way. A treat for all the family and well worth a peek into the looking glass for.

Alice in Wonderland is at the Shakespeare North Playhouse until 11th January. Tickets available here.

Images by Patch Dolan and Kristian Lawrence

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

Only Fools and Horses: The Musical – The Opera House, Manchester

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Reviewed by Matt Forrest

Opening Night verdict: ⭐⭐⭐⭐

Undoubtedly the most famous Reliant Regal in the world has rolled into Manchester this week, for a two week stop, as Only Fools and Horses: The Musical arrived as part of a UK tour.

Often voted Britain’s best loved sitcom, the show has countless fans who love it, whilst those that don’t will still have some reference point as memorable scenes are seldom far from our TV screens. So it almost seemed inevitable that it would receive the musical treatment and in 2019 writers Paul Whitehouse and Jim Sullivan (son of the TV show mastermind John Sullivan) created Only Fools and Horses: The Musical which had a very successful West End run and now embarks on its first UK tour.

We are transported back to Peckham at the end of 1980’s. Del Boy (Sam Lupton) is attempting to wheel and deal his way, rather unsuccessfully to becoming a millionaire. However, younger brother Rodney (Tom Major) is sick of being the family lackey for Del and Grandad (Paul Whitehouse). Both Del Boy and Rodney are in need of a change: Del, tired of seeing everyone settle down, joins a dating agency in a bid to find love. It is here that he meets aspiring actress Raquel (Georgina Hagen) and the two instantly hit it off.

Rodney needs £2000 in order to secure a flat for him and fiancée, Cassandra (Nicola Munns). However things don’t run so smoothly for the brothers as Del’s penchant for exaggeration catches up with him and the involvement of local gangsters, Danny (Peter Watts) and Tony Driscoll (Darryl Paul) throws a massive spanner in the works.

Whilst it may have initially seemed a foolhardy venture, Whitehouse and Sullivan have played it safe by drawing on two of the show’s most cherished episodes Dates and Little Problems for the plot. They have also cherry picked some of the most memorable gags, one liners, and set pieces from the TV show’s 22 year broadcast back catalogue to fill out the show. It’s a smart move as these gags still stand the test of time now. The pair have managed to strike the right balance between comedy, pathos and sentimentality which was always the beating heart of the series.

As well as the trademark catchphrases, much loved characters all pop up, including dodgy used car salesman Boycie (Craig Berry), complete with his trademark laugh, his long suffering wife, Malrene (Nicola Munns in a dual role) and everyone’s favourite dim-witted street sweeper, Trigger (Lee VG). 

The cast is superb. Sam Lupton is excellent as Del Boy, a performance packed full of charm and charisma. The main concern would be this impression of Derek Jason, playing Del Boy, but those fears soon disappear as Lupton puts his own stamp on Derek Trotter and you soon become immersed in his world. Tom Major is somewhat underused as Rodney, whilst it’s an impressive turn, you just wish there was more for him to do.

Paul Whitehouse brings a touch of star power to proceedings and is clearly having a ball as Grandad, lighting up every scene he’s in, but make no mistake this is Sam Lupton’s show from start to finish. 

The supporting cast are in great form throughout but special mention to Craig Berry and Lee VG, who are both outstanding as Boycie and Trigger.

Where the production struggles is the musical numbers are something of a mixed bag.  The Only Fools and Horses/Hooky Street mash up at the beginning perfectly sets the tone of the show, however some of the original songs are forgettable, especially when it comes to the more sentimental numbers. The songs that do work well are ones that have a bit of cheek to them like the Del Boy led Mange Tout and later Bit of a Sort. I also enjoyed the bonkers Gaze into my Ball, a send up of the future gentrification of Peckham. The Tadpole Song is anything but subtle, but no less enteraining. The undoubted music highlight was Gloria Acquaah-Harrison’s spine tingling rendition of Simply Red’s Holding Back the Years.

Whilst not perfect, this is an enjoyable, nostalgic trip down memory lane, which showcases some of Britain’s finest comedy writing. Gags and one liners a-plenty are performed by a great ensemble cast that will have you grinning throughout. 

Only Fools and Horses: The Musical is on at Manchester Opera House until 23rd November. Tickets available Here