reviews

Acosta Danza Carmen

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Reviewed by Maddie Shimwell

Opening Night verdict ⭐️⭐️⭐️⭐️

Acosta Danza arrived at the Opera House in Manchester last night, presenting Carlos Acosta’s extended version of his production of Carmen. This reworking of such a famous opera and ballet is striking and contemporary.

The first act introduces Carmen (Amisaday Naara), a factory worker, and Don Jose (Alejandro Silva), a soldier whose lives collide following Carmen’s arrest. One of the most memorable moments occurs early on. The pair weave in and out of a caged structure, Carmen’s wrists bound to a rope held by Don Jose. The choreography here is particularly clever, clearly requiring complex problem solving and meticulous rehearsal to avoid any accidental entanglements. It visually captures the power dynamic and growing tension between the two characters.

Naara and Silva portray the intense passion of Carmen and Don Jose’s relationship excellently. Their chemistry is undeniable, enhanced by beautiful lines and stunning classical technique. The whirlwind romance feels fuelled by lust and circumstance rather than genuine love, which makes their eventual downfall even more inevitable.

One character I struggled to fully connect with was Bull (Aniel Pazos). His presence onstage was undeniably powerful, yet despite Acosta describing him as a ‘Master of Ceremonies’, this did not entirely translate. His function within the narrative felt unclear.

I also felt that some of the corps de ballet sections in Act One lacked the refinement seen in the duets and solos. However, this was resolved in the opening of Act Two which featured the newly added tavern scene for the corps de ballet, which proved to be the standout moment of the entire production. Without having seen the original version, it is difficult to imagine the work without this scene. The dancers brought infectious energy, and the Cuban flair shone through.

 Following this, Escamillo (Paul Brando) is introduced, and Carmen instantly falls for him. In contrast to her relationship with Don Jose, her feelings here feel genuine and you can see she is in love this time. The production builds swiftly to its ending when Don Jose discovers Carmen’s plans to marry Escamillo, and in a fit of jealous rage, tragedy strikes.

Overall, Acosta’s Carmen succeeds in offering a fresh Cuban-contemporary fusion alongside classical ballet. At just 1 hour and 40 minutes including an interval, much shorter than the classic opera, feels purposeful rather than rushed, keeping the story largely clear and engaging throughout.

Acosta Danza Carmen is on at The Opera House until Saturday 25th April tickets available here.

The Old Vic’s A Christmas Carol comes to Salford

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The Old Vic is delighted to announce that Matthew Warchus’ much-loved, Tony Award-winning  A Christmas Carol, adapted for the stage by Jack Thorne (His Dark Materials, Harry Potter and The Cursed Child), will play at Lowry, Salford from 11 Dec 2026–10 Jan 2027.   

This will be the first time since its world premiere in 2017 that the show will be seen in another UK city, offering the chance for even more people to experience this magical show firsthand.

The Old Vic’s Artistic Director and Director of A Christmas Carol, Matthew Warchus, said: ‘For ten years now this production of A Christmas Carol has been delighting audiences from London and beyond and I am immensely proud of the impact it continues to have on audiences – whether it be their first time seeing the show or one visit of many. To now be able to share the joy of this production with the Lowry and its audiences makes this year a truly special one.’  

Lowry’s Chief Executive, Julia Fawcett, said ‘We’re absolutely thrilled to be working with The Old Vic – one of the UK’s leading theatres – to present their landmark production of A Christmas Carol – one of the most exciting, joyous and moving Christmas productions you’ll ever see. It’s the first time the show will have been presented in the UK outside of London – a real landmark moment for theatre in the region. We know North West audiences are in for something very special this festive season and everyone at the Lowry is delighted to be welcoming the show to Salford and presenting it on our Lyric stage.’

A Christmas Carol fills the auditorium to the brim with mince pies, music and merriment in this unique big-hearted production full of music and festive cheer.

Tickets are on priority sale to Lowry Members now and on general sale on Tue 31 Mar at 10am. Further details, including cast, are still to be announced. Tickets and further info can be found here.

The Constant Wife

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Reviewed by Sophie Rowley

Opening Night verdict ⭐⭐⭐⭐

Filled with style, sophistication and sharp wit, W Somerset Maugham‘s 1926 play The Constant Wife explores the institution of marriage, morals and manners turning every expectation on its head with an imaginative alternative telling of infidelity, betrayal and scandal. Being labelled Maugham’s “most clever and captivating creations” he creates the ultimate heroine in Constance Middleton. Always aware of her husband’s extra-curricular activities with her best friend Marie Louise, Constance plays the dutiful wife and in true 1920’s style pretends to live her life in blissful ignorance. That is until the affair is made public, now Constance must decide how she wants to live her new life. Now a century on, how will the 2026 audience receive Maugham’s play?

Fresh from the success of a West End run, Maugham’s story is brought to life in this incredible collaboration by David Pugh, Cunard and the Royal Shakespeare Company. Such a trio, the expectation is high for Laura Wade’s Lowry production. Staring Kara Tointin as the formidable heroine Constance who is far ahead of her time. Once the affair is made public, this allows Constance a clean slate to rewrite her story. Tointin plays this wonderfully, she playfully weaves humour and sarcasm into her sizeable script. Moreover, Tointon brings a wonderful modern twist to Constance and despite being set in the 1920’s era, she still manages to make Constance relevant and daring. Maugham’s script shines though in Tamara Harvey’s direction, it’s clear to see why this show has had the success it has.

Tim Delap brings a subtle depth to John Middleton who has a predilection for women that aren’t his wife. He plays the 1920’s male very well and the entitlement is played to perfection, especially in the second act when John even slips into melodrama. He epitomised the idea that “men are polygamous and should be allowed their indulgences”. Delap mixes charm with arrogance in his portrayal of John, and as an audience member you feel conflicted in your feeling of him. This conflict of character is also seen in Marie-Louise Durham – played wonderfully by Jocasta King, on the surface she should be despised for defying her loyalty to Constance, yet it could be argued she could be pitied for being swept along in a romance that wasn’t hers to take. The obliviousness King shows in Marie-Louise’s actions highlights her selfishness, this combined with her lack of awareness is a very clever character choice and it works. For me both Delap and King excel in their characterisation and must be commended.

Sara Crowe is perfect as a 1920’s mother – filling Constance with the advice of the time yet she managed to get a few cutting insults on her perception of Constance’s life. Combing humour and wit Crowe brings the archetypal 1920’s mother to life. Amy Vicary-Smith is superb as Martha, Constance’s Sister – the “confirmed Spinster” brings postmodernism to the idea of what a woman is – she is independent and fiercely loyal of Constance. She is a businesswoman and unmarried at a time where this was extremely unfeminine. Like Crowe she brings an effervescent humour that makes the play very enjoyable. Jules Brown, whist having a small part as Mortimer Brown plays a pivotal part as the catalyst for the plot unfolding. Alex Mugnaioni’s portrayal of Bernard as the doting lovesick best friend of Constance adds a entertaining side plot to the play. Finally, Philip Rham’s Bentley the butler is endearing as well as a very talented pianist.

Now a moment must be dedicated to discuss the set and costumes created by Anna Fleischle and Cat Fuller. They have been described as ‘fresh and captivating’ and I cannot disagree. The set is filled with 1920’s staple furniture and art deco designs. Fleischle still brings the 1920’s glamour and elegance with a modern twist that you would see on the high street today.  The combination of these sets and costumes complement one another perfectly and the whole creative team have done a sterling job in creating this masterpiece of visual theatre. For the musical score you can do no better than to include original compositions by Jamie Cullum. Cullum’s signature jazzy tones act as perfect scene changes throughout the play.

The whole production team have delivered an exquisite piece of theatre. The cast is superb in each of their portrayals and are complimented perfectly by the beautiful set, stunning costumes and a jazz soundtrack that will fill you with joy.

The Constant Wife is on at the Lowry until 21st March tickets are available here.

Macbeth

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Reviewed by Nikki Cotter

Opening Night verdict ⭐⭐⭐⭐⭐

Marking the return of Shakespeare to Storyhouse’s stage, this bold, inventive interpretation of the Bard’s ultimate tragedy sets an impressively high standard for Storyhouse Originals 2026 programme.

Adapted and directed by Jamie Sophia Fletcher, the play stays true to the classic text while its vivid modern-day setting leans deliciously into cinematic horror. It’s vibrant, loud, fast-paced fluorescent and unapologetic making it incredibly accessible for 2026 audiences.

The intimate thrust staging has been embraced by set and lighting designer Andrew Exeter who creates an intense sensory experience with a stunning use of Daniel Denton’s imposing video projections, layered sets and atmospheric lighting while Sarah Victoria’s pitch perfect sound design further cements the quality of this gripping production.

Robin Morrissey captures Macbeth’s spiral into the dark side perfectly as he shifts compellingly from curious social climber to power hungry, murderous King, following his first meeting with the three witches. Yolanda Ovide as Lady Macbeth is equally as impressive, calculating and cold as she plunges powerfully into psychosis, unravelling viscerally before our eyes.

Mika Onyx Johnson’s vulnerability and rawness as Macduff kicks you in the guts while Roly Botha shines playing multiple memorable roles, Witch 1, Porter and Lady Macduff. Special mention must also go to Pete MacHale who brings depth, humour and warmth to Ross.

Storyhouse stay true to their community ethos offering actors from their Youth Theatre an incredible opportunity to make their professional debuts. This is a true ensemble piece with each and every cast member working together cohesively to create unforgettable theatre magic alongside a team of impressive creatives, including April Dalton, costume designer, Michela Meazza movement director, Kaitlin Howard fight and intimacy director. Storyhouse have also worked together with Dan Parr from Hear the Picture for creative audio description while each performance is captioned.

If you thought you knew Macbeth, think again — this production is full of surprises, from unexpectedly brilliant dance breaks while Murderer 1, 2 and 3 will never quite be seen the same again.

The palpable sense of foreboding throughout is added to continually by the striking set and lighting design, visually stunning and adding enormously to the clever creativity of this exceptional piece of theatre.

This Macbeth feels startlingly fresh and fiercely relevant, leaving you longing for a Storyhouse revival of every one of the Bard’s classics. It doesn’t merely retell the tragedy, it grabs you from the first moment and lingers long after the final curtain, a superb piece of theatre that deserves rich praise.

Macbeth is on at Storyhouse until Saturday 21st March tickets are available here.

New Dawn Fades

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Reviewed by Matt Forrest

Opening Night verdict ⭐⭐⭐

The Brit Awards rolled into Manchester weekend just past, and not for the first time   Manchester was the music epicentre of the universe, a hyperbolic claim that Anthony H Wilson would have endorsed if he were still with us today. However, what is not an exaggeration is that one of the key factors in the story of popular music in Manchester is the importance and influence of Joy Division.

Writer Brian Gorman’s play New Dawn Fades charts the rise of Joy Division while weaving in a potted history of the great city of Manchester — or Mamucium, as it was christened by the Romans.

The play opens with “Mr Manchester” himself Tony Wilson in full television-presenter mode (Brian Gorman), brandishing a This Is Your Life red book as he introduces the band’s key figures: frontman Ian Curtis (Josh Lonsdale), guitarist Bernard Sumner (Garient Lyons), bassist Peter Hook (Gaz Hayden), and drummer Stephen Morris (Jack McGarry). Completing the picture and central to the band’s story is Debbie Curtis (Lauren Greenwood), Ian’s wife. Wilson himself was an essential part of the Joy Division story signing them to Factory, the record label he co-founded.

As we’re given an inside track on the band’s formation, we’re also offered a vivid snapshot of life in 1970s Manchester, capturing the raw energy of the punk movement and the seismic influence of bands such as Sex Pistols and Buzzcocks on the city’s cultural identity. Along the way, the audience is treated to a brisk history lesson exploring Manchester’s origins and what makes it so distinctive.

As the band begins to garner success, which means more tours and more live shows, the mounting pressures begin to take their toll on Curtis, straining his marriage, testing his relationships within the band, and exacerbating his fragile physical/mental health with devastating consequences.

New Dawn Fades has all the ingredients to be something truly special; however, it doesn’t always fully come together. When it works, though, it works well. Josh Lonsdale is outstanding as Curtis, completely capturing the intensity of the man, nowhere more so than in the electrifying renditions of Joy Division classics “Shadowplay,” “Transmission,” and “Love Will Tear Us Apart.” Yet it is Lonsdale’s portrayal of the debilitating impact of epilepsy on Curtis that resonates most powerfully.

Brian Gorman delivers a fantastic performance as Tony Wilson. His delivery is uncanny, and he does a spot-on job of bringing Wilson’s mannerisms and at times self-aggrandising nature to life. Lauren Greenwood is good as Debbie, though somewhat underused; you can’t help but feel it was a missed opportunity not to explore more of her perspective and give greater depth to her side of the story.

Where the show misses a trick, is with the live song performances, of the band only Lonsdale  seemed to be performing live, whilst the rest of the band played a long to a backing track, it seems an odd choice considering that all the actors are musicians as well.

The narrative flow also stutters at times. Scene transitions are marked by quick blasts of music as the lights abruptly drop and rise again. The effect can feel jarring and would benefit from a smoother, more seamless approach.

There is, however, much to admire. The playfulness of the first half, using figures such as a Roman general and Friedrich Engels to frame Manchester’s story, adds invention and humour. The band dynamics are engaging, particularly the fiery presence of Peter Hook balanced against Bernard Sumner’s more measured, calming nature, which brings welcome levity. This tonal lightness contrasts effectively with the darker intensity that follows the interval. That said, aside from Curtis, the band members are not fully fleshed out and at times feel somewhat superficial.

This is clearly a labour of love, created with deep affection for the band and the great city of Manchester. While there is much to enjoy, the production ultimately left me wondering what might have been, and wanting just a little more.

New Dawn Fades is on at the Lowry till 4th March tickets are available here.

Priscilla Queen of the Desert

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Reviewed by Jodie Crawford

Opening Night verdict ⭐⭐⭐⭐⭐

Priscilla Queen of the Desert the Musical at the Palace Theatre in Manchester is an absolute joy from start to finish. A dazzling, heartfelt celebration bursting with energy, emotion, glitter, and a fabulous lashing of camp on the side. As an adaptation of the iconic Australian cult film, it follows three performers on a life-changing road trip across the outback aboard their fabulous bus, Priscilla, discovering friendship, acceptance, and their true selves along the way (with a fair few challenges thrown in too).

It’s laugh-out-loud funny one minute and genuinely touching the next, striking that perfect balance between outrageous spectacle and real heart.

Right at the centre of it all, Kevin Clifton was a standout as Tick/Mitzi, delivering a strong vocal performance alongside a warm, endearing, and beautifully layered portrayal of this loving and complex character. He brought real sincerity to Tick’s journey as a parent, performer, and friend, giving the show an emotional core that grounded all the glitter and glamour perfectly.

Alongside him, Nick Hayes was absolutely sensational as the flamboyant and unapologetically in-your-face Felicia/Adam. Full of sass, attitude, and charm, he lit up the stage every time he appeared, while still showing the character’s vulnerability underneath all the sparkle. It was a hilarious yet heartfelt performance that made Felicia both larger-than-life and completely relatable as the adventure unfolded.

Adele Anderson’s Bernadette brought elegance and wit to the production, delivering a confident performance in both the songs and the choreography. She added a lovely sense of poise and emotional depth to the trio, with interactions that felt natural, touching, and often very funny.

The Divas (1, 2 and 3) were mesmerising throughout, vocally powerful, stylish, and completely captivating, weaving seamlessly through the narrative and elevating so many key moments with their stunning harmonies and presence.

Backing it all up was an incredible ensemble bursting with energy and talent, filling the stage with life and joy from beginning to end. The choreography was vibrant, slick, and packed with personality, while the wardrobe and wigs were nothing short of magnificent: bold, extravagant, and exactly what you want from Priscilla.

There were belly laughs, a few misty-eyed moments, and plenty of songs to boogie along to, all building to a finale that felt like a full-on party. The audience were treated to a right old celebration, and you could feel the joy in the room long after the final bow.

Priscilla Queen of the Desert is on at Manchester’s Palace Theatre until Saturday 28th Feb tickets available here.

Beauty and The Beast

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Reviewed by Nikki Cotter

Opening Night verdict ⭐⭐⭐⭐

Tony Peers Productions are back at Warrington’s Parr Hall for their annual Panto production; this year they’re treating audiences to a classic favourite, Beauty and The Beast.

This family friendly production will entertain both young and old alike with its traditional panto elements combined with a talented cast which includes superb performances from TV’s Anne Hegarty and Jake Quickenden.

The familiar story of Belle needs no introduction allowing the fun to quickly begin as panto favourite Daniel Dean packs in the comedy from the start as the loveable but unlucky in love Pee Wee Potts. His scenes with Mervyn Francis as his Mum, Dame Polly Potts have the audiences in stitches, gifting then with plenty of opportunities for shouts of ‘It’s behind you!’.

Taking on the role of Belle is an impressive Charlotte Buxton, who somehow manages to still deliver a performance of ‘My Heart Will Go On’ that Celine Dion would be proud of despite the slapstick chaos unfolding around her.

Anne Hegerty gives a great performance as Fairy Rose marking her second panto appearance at Warrington’s Parr Hall. Add into the mix a scene stealing performance from Jake Quickenden who has the audience in the palm of his hand as a dishy but devilish Gaston and you really have got the recipe for a fabulously fun night at the theatre.

This is an engaging production which will entertain all ages, there’s gags a plenty, brilliant bops and if you’re unlucky a spraying from a super soaker or two!

The traditional sets are simple allowing the cast to take centre stage here, aided beautifully by local dancers from Felicia Burns School of Dance.

There’s plenty to enjoy about this production from the talented cast to the glittering costumes. The audience interaction and local references allow the cast to playfully connect with the audience while the silliness and slapstick ensures the laughter never stops. Panto is unique in offering a great opportunity for families to enjoyed live theatre in a relaxed and accessible way, guaranteeing special memories are made for another year.

Beauty and The Beast runs at Warrington’s Parr Hall until Sunday January 11th, with concessions and family tickets available. Tickets and further information can be found here.

Tina – The Tina Turner Musical

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Reviewed by Nikki Cotter

Opening Night verdict ⭐⭐⭐⭐

Credit: Johan Persson

Having broken box office records whilst becoming the longest running show at London’s Aldwych theatre, Tina – The Tina Turner Musical arrives at Manchester’s Palace Theatre this month for a six-week run as part of its first ever UK and Ireland tour.

While it would officially fall into the ‘jukebox’ musical category, this gritty, global smash-hit feels anything but a Tina tribute. Telling the fascinating story of the iconic superstar, Tina Turner, this entertaining production is an in-depth biopic of a truly inspirational performer.

The production doesn’t shy away from the often-heartbreaking reality of Tina’s backstory, its unflinching and hard-hitting in its brutal honesty, particularly surrounding the violence Tina endured at the hands of ex-husband Ike Turner. Amidst the struggles however emerges a resilient, unstoppable superstar who is portrayed sublimely by Jochebel Ohene MacCarthy at tonight’s performance. She impressively channels Tina’s strength, determination and stage presence perfectly, her powerhouse vocals are nothing short or remarkable. This is a real masterclass in musical theatre. Her connection with David King-Yombo is superb, together they bring the characters and their strained relationship to vivid life with King-Yombo successfully navigating the complexity of Ike with impressive nuance.

Phyllida Lloyd directs this cast with consistency, from Sophia St Louis as young Tina to Alline Bullcok as Tina’s Mum, this is a West-End worthy cast who commit entirely to delivering Tina’s story with the emotional depth it deserves. While the storytelling is clear, Act 2 comes to a swift and less detailed conclusion making the ending feel a little unexpected in comparison with the intricate storytelling seen in Act 1, however from the very first note to the sensational finale this show will thrill audiences this festive season.

Mark Thomspon’s minimalist set design is lifted by Jeff Sugg’s projections and Bruno Poet’s lighting, making the overall visuals satisfying rather than impressive, while Thomspon’s costume design demonstrates an incredible attention to detail. Anthony van Laast’s exhilarating chorography gifts audiences with the iconic Tina moves they know and love while Campbell Young Associates hair, wigs and make up design ramps up the authenticity of this piece.

Tina – The Tina Turner Musical successfully does justice to the inspirational woman at the heart of the story. Inspiring and entertaining this is a story of true heart, incredible resilience and above all immense talent.

Tina – The Tina Turner Musical is on at Manchester’s Palace Theatre until Saturday 3rd January 2026, tickets available here.

The Red Shoes

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Reviewed by Matthew Forrest

Opening Night verdict ⭐⭐⭐⭐⭐

Credit: Johan Persson

It’s nine years since Matthew Bourne’s The Red Shoes first graced the stage to great critical and commercial success. Now, those elegant yet troublesome rouge ballet slippers have been taken out of storage once more for a nationwide tour in 2025/26, stopping off at The Lowry, where a Matthew Bourne ballet has become something of an autumn tradition.

Based on the 1948 British film The Red Shoes by Michael Powell and Emeric Pressburger, the ballet is set between London, Paris and Monte Carlo and follows ballerina Victoria Page (Ashley Shaw), who catches the eye of dance Svengali Boris Lermontov (Andy Monaghan). Captivated by her immense talent, Lermontov offers Page a place in his prestigious dance troupe. There, she meets another of his protégés, composer Julian Craster (Dominic North), who has been tasked with creating a new ballet.

Credit: Johan Persson

Lermontov is a perfectionist who demands that his dancers devote themselves entirely to their art – anything else is merely a distraction. Inspired by his patron’s obsessive tendencies, Craster pens a new work based on the grisly Hans Christian Andersen fairytale The Red Shoes. Page takes the lead role in the young composer’s creation, and the production becomes a runaway success, with Page emerging as a star.

But as Page and Craster’s collaboration deepens into romance, their growing bond enrages the controlling and possessive Lermontov, setting in motion a chain of events with devastating consequences for all involved.

Credit: Johan Persson

Once again, Matthew Bourne and the team at New Adventures have delivered a production brimming with talent. With a story rich in passion, tragedy and a generous dose of humour, it offers something for everyone to enjoy.

This is very much a love letter to theatre and dance, highlighting the sacrifices performers and creatives make to bring a show to the stage. We’re given a behind-the-scenes glimpse into auditions and rehearsals, complete with all the tension, jealousy and rivalries that inevitably arise. Then comes the staging of the show itself, followed by the poignant question of what happens when a performer can no longer do what they love to the acclaim they once received. It makes for truly fascinating viewing.

Credit: Johan Persson

As you would expect, the production features several exceptionally choreographed set pieces, with the gloriously colourful “Ballon de Plage” standing out as a particular highlight. This is later contrasted with the beautiful, gothic staging of Craster’s masterpiece in The Ballet of The Red Shoes. My personal favourite, a scene titled A Music Hall, is a perfect example of what this production does so brilliantly – beginning with humour and lightness before descending into a twisted nightmare, merging comedy with horror, the light with the dark.

There are several outstanding performances throughout. Ashley Shaw is fantastic as the lead, guiding us through her character’s journey from a young upstart to the driven, passionate star she becomes. Making her fall from grace is all the more heartbreaking, Shaw portrays it with remarkable sensitivity and depth. Equally impressive is Dominic North as the ambitious writer; his descent from confident, showy musician to frustrated, spurned lover is filled with a quiet sadness.

Credit: Johan Persson

Andy Monaghan cuts a brooding, menacing figure as the embittered Lermontov, while Glenn Graham is a captivating stage presence as Grischa Ljubov, the cherographer/character artist who drifts delightfully between over-the-top comedy and devilish seducer.

Another element that deserves special mention is the superb set design by Lez Brotherston. The almost ever-present movable arch and grand drape become characters in their own right, gliding around the stage, interacting with the dancers and serving as essential components of the storytelling. Visually, it is consistently impressive.

Credit: Johan Persson

The production is further enriched by the music of Hollywood composer Bernard Herrmann, renowned for his work on Citizen Kane, Taxi Driver and more, with selections from Fahrenheit 451 adding depth, atmosphere and dramatic weight.

Yet again, this is another triumph for Bourne and his team, one that will see these Red Shoes continue to dance on and on, dazzling audiences for years to come. It is fantastic storytelling, delivered by a supremely talented company at the very top of their game.

Matthew Bourne’s The Red Shoes is on at the  Lowry until Saturday 29th November tickets are available here.

The Talented Mr Ripley

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Reviewed by Matt Forrest

Opening Night verdict ⭐⭐⭐

There is undeniably something compelling about Tom Ripley. Patricia Highsmith’s most famous creation first emerged in 1954 in The Talented Mr. Ripley, followed by four additional novels and several film adaptations featuring actors such as Dennis Hopper and John Malkovich. The latest screen version stars Andrew Scott in Netflix’s Ripley. Yet it was arguably Matt Damon’s 1999 portrayal in The Talented Mr. Ripley that propelled this chilling character back into public consciousness and introduced him to a new generation.

In 2015, writer and director Mark Leipacher adapted Highsmith’s The Talented Mr. Ripley for the stage. That production has now been revived and is currently touring nationwide.

“Have you ever had the feeling you’re being watched?” is a recurring line uttered by Tom Ripley (Ed McVey), an unemployed loner with a talent for mathematics—and an even greater talent for spinning lies. Ripley’s paranoia comes from the implied list of crimes he has committed that he fears will eventually catch up with him.

However, one day, Ripley is tracked down to his favourite bar not by the law but by Herbert Greenleaf (Christopher Bianchi), a wealthy shipping magnate and the father of Ripley’s old school acquaintance, Dickie Greenleaf. Believing the two young men to be close friends, Greenleaf offers Ripley a financial incentive to travel to Italy and convince Dickie to return home, visit his dying mother, and join the family business. Sensing a chance to escape New York and the trail of crimes he’s left behind, as well as make some easy money, Ripley eagerly accepts.

 In Italy, Ripley meets Dickie (Bruce Herbelin-Earle) and Dickie’s lover, Marge Sherwood (Maisie Smith). Dickie is initially cool toward Ripley’s attempts at friendship, but a shift in approach brings the two men closer. Soon, Ripley finds himself drawn into Dickie’s carefree, playboy lifestyle, one that appears to revolve entirely around Dickie Greenleaf, with little regard for anyone else, including Marge.

However, Tom is clearly beginning to develop feelings for his new best friend, but is it romantic feelings, or the desire to have his lifestyle or both that is driving him. Eventually a confrontation between the two sees Ripley having to use his charm, intellect and many gifts to stay one step ahead of the chasing pack.

This intriguing stage adaptation reaches moments of real brilliance, but these are occasionally undermined by its bloated running time and some convoluted artistic choices. Certain scenes labour their point a little too heavily, while others blur the line between reality and Ripley’s imagination in ways that can become confusing.

What is never in doubt, however, is the exceptional performance of Ed McVey. Across the two-and-a-half-hour running time, he delivers a towering portrayal, present in nearly every moment. McVey shifts effortlessly from cool charmer to unhinged narcissist, anchoring the production with a charismatic turn made even more impressive by his command of the dense, dialogue-heavy script.

He is supported by strong performances from Bruce Herbelin-Earle and Maisie Smith. Herbelin-Earle is impressive as the conceited, self-centred pleasure seeker, treading the line between arrogance and charm with remarkable finesse. Smith, meanwhile, brings a much-needed calm and understated presence to the production. In a role that could easily slip into melodrama, she keeps things measured and controlled throughout.

Holly Pigott’s minimal stage design is another standout, enabling characters to enter and exit in inventive and visually striking ways. One of the production’s cleverest tricks is how the set can appear expansive one moment and suddenly feel claustrophobic the next, reflecting Ripley’s spiralling paranoia. At several points, the stage transforms into a 1950s film set, offering a glimpse into Ripley’s inner thoughts, a stylistic choice that works particularly well.

This is an entertaining if slightly drawn-out night out at the theatre. There are some fantastic performances, at times visually stunning complete with a script packed full of intrigue and suspense.

The Talented Mr Ripley is on at the Lowry until Saturday 22nd November

Tickets available available here.

Fiddler on the Roof

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Reviewed by Nikki Cotter

Opening Night verdict ⭐⭐⭐⭐⭐

Credit: Johan Persson

Jordan Fein’s multi award-winning Fiddler on the Roof, which began its life last summer at Regent’s Park Open Air theatre arrived at Manchester’s Palace Theatre this week proving to audiences just how incredibly special this timeless giant of the theatre world really is.

Fiddler on the Roof introduces us to impoverished Jewish milkman Tevye, (Matthew Woodyatt), a proud father, committed to honouring the traditions of his culture in an ever-changing and often incredibly testing world. This powerful story truly stands the test of time as its themes resonate just as strongly today as they did when it first premiered over 60 years ago. At its core is a poignant portrayal of a family man trying to raise his five daughters to honour the traditions of his Jewish faith, there is humour, joy, enormous poignancy and an abundance of heart.

Tom Scutt’s rustic design sets the scene beautifully, the straw ceiling upon which the fiddler plays gently moves up and down ensuring our focus never shifts from Tevye’s intimate and fascinating world. Aideen Malone’s stunning lighting design is subtle yet superb, bathing the Palace Theatre stage with rising dawn sunsets and flickering firelight glows.

Matthew Woodyatt’s Tevye is breathtakingly brilliant, warm, nuanced, reflective, loving and painfully real. His observations, considerations and deliberations are delivered with captivating authenticity. This is a performance packed with huge emotion, every moment is perfectly measured whilst he balances the turmoil Tevye goes through with a palpable realism. The journey he takes Tevye on is entirely mesmerising, ending the show a different man from the one we first meet at the start of Act I.

Jodie Jacobs’ performance as Tevye’s wife, Golde, is equally as impressive. Respectful of her husband’s desperate need to uphold tradition yet strong and resolute in her own sense of self, the two make for a perfect pairing. Their rendition of Do You Love Me? is a joy, relatable and real.

As Tevye’s daughters begin one by one to move away from the traditional Matchmaker approach to finding a suitable husband the battle between head and heart really begins for Tevye. Woodyatt does an incredible job of taking us with him on this captivating journey, we share in his joy, his frustrations and his pain.

Woodyatt and Jacobs are supported by an incredible cast. Each and every person on stage is entirely committed to telling this beautiful story. Special mention must go to Natasha Jules Bernard, Hannah Bristow and Georgia Bruce who play Tevye’s daughters Tzeitel, Hodel and Chava. Each bring their very different characters to life beautifully, adding further depth and heart to this moving tale while their partners Motel, Perchik and Fyedka are portrayed superbly by Dan Wolff, Greg Bernstein and Gregor Milne.

Choreographer Julia Cheng respectfully mixes the traditional with the modern resulting in exhilarating ensemble numbers that will make you wish you too were part of the uplifting celebrations. The traditional bottle dance remains and is just as thrilling as ever. The additional orchestrations from music supervisor Mark Aspinall really take this score to the next level while sound designer Nick Lidster ensures that every note is crystal clear.

This is without doubt the best production of Fiddler on the Roof I’ve ever seen, from the fiddlers haunting melodies delivered superbly by Roman Lytwyniw to the sheer beauty of Tom Scrutt’s set design this production is perfection. This timeless classic is stunningly reimagined yet maintains a respectfully traditional feel cementing its place as a musical theatre masterpiece.

Fiddler on the Roof is on at Manchester’s Palace Theatre until Saturday 1st November tickets available here.

Young Frankenstein

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 Reviewed by Matt Forrest

Opening Night verdict ⭐⭐⭐⭐⭐

Mel Brooks is undeniably one of the greatest comedy writer-directors of all time, in my opinion. The Producers, Blazing Saddles, and Young Frankenstein form a trio of comedic masterpieces. After The Producers received the Broadway musical treatment in 2001, it was almost inevitable that Young Frankenstein: The Musical would follow, making its debut in 2007.

 Now, as part of Hope Mill Theatre’s spectacular 10-year anniversary celebrations, Young Frankenstein is brought back to life once more, and I’m happy to report that it’s just as hilarious and joyfully outrageous as ever.

Staying true to the plot of the original film, we meet Dr. Frederick Frankenstein (Ore Oduba)—“pronounced Fronkensteen”—who leaves his fiancée Elizabeth (Rhiannon Chesterman) and travels to Transylvania to claim his inheritance following the death of his infamous grandfather, Victor Frankenstein.

There, Frederick encounters a wild cast of eccentric characters, each eager for him to continue Victor’s notorious experiments. These include the intimidating, horse-frightening Frau Blücher (Jessica Martin), the loyal yet delightfully deranged Igor (Curtis Patrick), and the flirtatious lab assistant Inga (Julie Yammanee),complete with outrageous accent! 

Will the daring Doctor succeed in raising the dead and restoring honour to the Frankenstein name?

Ore Oduba is in sparkling form as the leading man, it’s a turn packed with charisma and excellent comic timing. He certainly hasn’t lost a beat from his Strictly Come Dancing triumph in 2016, showcasing all the slick moves that led him to the glitterball trophy.

Oduba is backed by a strong supporting cast, with standout comedic turns throughout. Curtis Patrick shines as Igor, displaying a natural flair for physical comedy—his facial expressions alone are worth the price of admission. Julie Yammanee is equally impressive as Inga, particularly during the cheeky and delightfully risqué number “Roll in the Hay.”

The musical numbers, much like the laughs, come thick and fast. Highlights include the hilariously lewd “Please Don’t Touch Me” and the wonderfully playful “Together Again for the First Time.” But the undeniable showstopper is the iconic “Puttin’ on the Ritz”. It’s still one of my all-time favourite scenes in film, and recreated here with precision, panache, and sheer joy by the entire cast.

Director Nick Winston pulls off the impressive feat of enhancing Mel Brooks’ brilliant original script. Every element is spot on: from the loving homage to the classic Universal horror films of the ’30s and ’40s, to the absurdist humour, rapid-fire gags, and new show-stopping song-and-dance numbers.

With Young Frankenstein, Hope Mill Theatre once again proves that bold, ambitious programming pays off. This production is a triumphant celebration not only of Mel Brooks’ comic genius but of the theatre’s first decade,  filled with laughter, creativity, and heart. The future looks very bright indeed.

Young Frankenstein is at Hope Mill Theatre till 30th November tickets are available here.