reviews

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.

Here & Now

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Reviewed by Nikki Cotter

Opening Night verdict ⭐⭐⭐⭐

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

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

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

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

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

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

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

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

The Rocky Horror Show

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Reviewed by Matt Forrest

Opening Night verdict ⭐⭐⭐⭐

It’s hard to believe that The Rocky Horror Show first hit the screen 50 years ago—but this
latest production proves the cult classic still packs a punch. Bursting with colour, camp,
and energy, Richard O’Brien’s gleefully outrageous homage to 1950s science fiction
remains as fun and provocative as ever.

The story follows the familiar beats of a classic B-movie: newly engaged Brad and Janet
find themselves stranded with a flat tyre and stumble upon the eerie mansion of Dr. Frank
N. Furter and his peculiar household Riff Raff, Magenta, and Columbia. What begins as a
simple detour quickly spirals into a surreal, sexually charged journey that puts their
relationship to the test.

Connor Carlson and Lauren Chia are spot-on as Brad and Janet, capturing the pair’s initial
innocence and their gradual unraveling as they’re drawn deeper into Frank’s wild world.
The pair demonstrate great comedic timing and tremendous vocals throughout.
They’re supported by a strong ensemble: Job Greuther brings a wonderfully sinister edge
to Riff Raff, Natasha Hoebergis shines in dual roles as Magenta and the Usherette,
opening the show with a stellar “Science Fiction/Double Feature”. Whilst Jayme-Lee
Zanoncelli adds eccentric flair and powerful vocals as Columbia.

Jason Donovan returns to the role of Frank N. Furter apart he first tackled in the late ’90s
with a performance that leans heavily into the character’s unhinged eccentricity.
Channeling shades of Grayson Perry and a generous dose of Heath Ledger’s Joker,
Donovan brings a more chaotic, unpredictable energy to Frank than previous incarnations.
At times, he appeared slightly flustered—thanks in part to some malfunctioning stilettos,
however he turned these moments into a positive, using them to heighten the character’s
manic volatility, much to the audience’s delight. While his vocals may not be as strong as
those of his fellow cast members, Donovan more than compensates with a committed,
absurdly entertaining performance.

Actor and comedian Jackie Clune, does a stellar job as the Narrator, holding her own with
wit and playful authority. The audience was clearly in on the fun, with interactive call-outs
and spontaneous reactions creating a palpable buzz throughout the evening. Tonight’s
performance led to some observations about Donald Trump’s second term and Prince
Andrew which landed well with the audience.

Director Christopher Luscombe’s high-octane production keeps things moving at a
breakneck pace. The campy, chaotic energy is perfectly matched by Hugh Durrant’s
classic horror/sci-fi set design: blood-red walls, a giant brain, and even a mounted dodo
head. It’s as weird and wonderful as you’d hope.

While the final act veers into near-total madness, losing a bit of narrative cohesion. It’s a
gripe I’ve always had with the film and previous productions, however tonight’s finale hit
the mark, mainly down to Donovan’s stellar work on “I’m Going Home”.

Whilst the summer is nearly upon us, here is the perfect opportunity to dig out the fishnets
one more time and see why The Rocky Horror Show is still the ultimate feel-good,
anarchic theatre experience. Give yourself over to absolute pleasure. You won’t regret it.

The Rocky Horror Picture Show is at the Palace Theatre until 31st May tickets are available at here.

Mary Poppins: Place Theatre, Manchester

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Reviewed by Matthew Forrest

Opening Night verdict ⭐⭐⭐⭐⭐

First things first, I have a confession to make: I have never watched the 1964 film adaptation of Mary Poppins. I mean, of course, I have seen some scenes featuring the big song and dance numbers and I have watched The Simpsons parody episode featuring Shary Bobbins several times, but I’ve never actually sat through the film from start to finish. Now we have that unpleasantness out of the way, and you can lift your jaw off the ground, please allow me to continue my review.

So, not having the full picture of what to expect actually worked in my favour. Because nothing could have prepared me for how magical and grand this production is. Based on author P.L. Travers’s original books, the stage adaptation of Mary Poppins is co-produced by Disney and Cameron Mackintosh, with book by Downton Abbey creator Julian Fellows, together they have created an enchanting spectacle that will cast a spell over the whole family.

Set in early 20th-century London, we are introduced to the Banks family—father George (Michael D. Xavier) is a hard working junior officer for a major London bank. He has very little time for his devoted wife, Winifred, (Lucie-Mae Sumner) and they have two children Jane and Michael (played at this evening’s performance by Katie Ryden and Charlie Donald).

The Banks children have a reputation for causing mischief in the local area, and seeing off the many Nannies previously employed to look after the pair. However, the arrival of the enigmatic Mary Poppins, (Stefanie Jones) whose no-nonsense, unconventional methods soon add a touch of sparkle to the Banks family.

Mary Poppins along with her trusted friend, the ever chipper chimney-sweep Burt (Jack Chambers) take the children on a series of adventures involving dancing statutes, singing toys, tap dancing chimney sweeps and a spot of word invention, which teaches the children a few valuable lessons and provides the love and attention they lack from their father.

What an absolute joyous experience this production is! Director Richard Eyre along with co-director/choreographer Matthew Bourne, and co-choreographer Stephen Mear have crafted some spectacular set-pieces. The colour explosion from “Jolly Holiday” looks glorious, whilst the dazzling roof-top dance of Burt and his fellow chimney sweeps during “Step in Time” is magnificent: the magnitude and scale, with the huge ensemble cast showcase what the show is all about: high end production values, performed by creatives at the top of their game.


The musical numbers sound terrific under musical director Isaac McCullough’s skillful baton. The Sherman’s brothers penned, “Supercalifragilisticexpialidocious”, “A Spoonful of Sugar”, and “Let’s Go Fly A kite” sound as good as you want them to be, whilst new songs penned by George Stiles and Anthony Drewe give the production a contemporary feel, the pick of the bunch being touching, “Being Mrs Banks”, beautifully sung by Lucie-Mae Sumner.

Stefanie Jones is in sparkling form as Mary Poppins: it’s a sassy turn which beautifully shows the complexity of the character. Her vocals throughout are outstanding and her physical performance as the super-nanny is captivating. She has a true star quality which fills the stage. The same can also be said of Jack Chambers: it’s a performance full of charm, charisma and athleticism, a full on song-and-dance tour-de force highlighted in the previously mentioned “Step in Time”.

Michael D. Xavier is impressive as the uptight, repressed Mr Banks. His performance has a contemporary quality which adds more layers to the production. Lucie-Mae Sumner is the perfect foil, with her sweet, strong, yet mildly eccentric Mrs Banks, ready to show she is more than just a wife, but a strong, capable woman. Finally Katie Ryden and Charlie Donald are a fun watch throughout and more than hold their own with their fellow adult-actors, with both showcasing great comedic timing.

Bob Crowley’s enchanting dolls house set design looks gorgeous and sets the tone of the show perfectly, whilst some very clever stage trickery shows just how magical, and unique Mary Poppins truly is.

Mary Poppins is a testament to the enduring appeal of its source material, offering a theatrical experience that is both timeless and innovative. With stellar performances, imaginative design, and memorable music, it’s a fantastic showcase for how good live theatre can be……as the song says – Practically Perfect!

Mary Poppins is at Manchester’s Palace Theatre till 17th May, tickets are available here.

Inside No.9 Stage/Fright UK Tour Announced

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Following a sold out West End season, Steve Pemberton and Reece Shearsmith are taking the critically acclaimed Inside No.9 Stage / Fright, to theatres around the UK this autumn. Tickets for the 12 week tour go on sale at 12 noon on Wednesday, 2 April.

Pemberton and Shearsmith will once again star in the “Dazzlingly Entertaining” (The Sunday Times) stage version of their award-winning television comedy Inside No.9. Receiving rave reviews across the board, with the Mail on Sunday’s five star review lauding the show as “absurdly entertaining. There’s simply nothing like it”, this is the chance for fans outside of London to witness the “wildly clever” (Financial Times) show. “A Bold West End debut… Bravo” (The Daily Telegraph).

Nominated for a prestigious Olivier Award this year in the Best New Entertainment or Comedy Play category, Stage / Fright features comedic, spooky and dramatic moments as fans of the TV show have come to expect, with some familiar characters and stories mixing with brand new material. Further casting will be announced soon.

Steve Pemberton and Reece Shearsmith said: “We have been bowled over by the success of Inside No 9 Stage / Fright at the Wyndham’s Theatre. Selling out every performance before the run started and being nominated for an Olivier Award was fantastic enough, but the nightly reaction from fans and newcomers alike has been exhilarating and really quite moving.

So we are delighted to be able to bring the show to a wider audience around the country. The phrase ‘swan-song’ refers to a final performance, often associated with the ancient belief that swans sing beautifully just before their death. Which is a load of bollocks of course as all swans do is shit and honk. So come along to the swan-song tour of Inside No 9 and see for yourselves how we bow out. There won’t be a dry seat in the house.”

Each performance will see a different celebrity ‘hostage’ perform with Steve and Reece. The West End run included cameos from Stephen Fry, Lenny Henry, Mel Giedroyc, Matt Lucas, Michael Sheen, Tamsin Greig, Adrian Dunbar, Bob Mortimer, David Walliams, Micky Flanagan, Meera Syal, Mackenzie Crook, Emilia Fox and Rob Brydon, as well as many others.  Which famous faces will join them on stage for the regional dates?

Inside No.9 Stage/Fright will come to Manchester’s Opera House on Tuesday 14th October and run until Saturday 18th October, the show will also play Liverpool’s Empire Theatre from Tuesday 18th November until Saturday 22nd November.

Further info and tickets available here.

Dear Evan Hansen

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Reviewed by Nikki Cotter

Opening Night verdict ⭐⭐⭐⭐

Just over two years since it closed in London’s West End, multi-Tony, Grammy and Olivier award-winning musical Dear Evan Hansen has embarked on a UK tour, stopping this week at Chester’s Storyhouse.

Dear Evan Hansen follows the story of socially anxious high school student Evan who accidentally gets caught up in a lie which quickly snowballs beyond all control. Following the death of fellow pupil, Connor Murphy, a therapy letter Evan wrote to himself is mistakenly confused as the pupil’s suicide note and Evan soon becomes deeply entrenched in the grieving families lives. The musical has received some criticism over the years with some audiences finding the subject matter and elements within the story problematic however there’s no doubt it’s beautiful score with music and lyrics by Benj Pasek and Justin Paul (La La Land/The Greatest Showman) has confirmed its status as a modern classic.

This new production has clearly examined the previous problematic elements and softened Evan, that combined with Ryan Kopel’s superb physical and emotional interpretation of the schoolboy results in a gentler, more likeable Evan and one who we feel more compassion towards. Kopel’s portrayal really is mesmerising, his Evan is a fidgeting, hand-wringing, blinking bundle of nervous energy while his deep longing for connection is sensitively and gently explored. His characterisation is incredible while he delivers stunning vocals throughout, notably Word’s Fail which is breath-taking as we witness him visually unravel under the pressure of the lie that’s seemingly unstoppable.

The rest of the cast compliment Kopel perfectly. West End favourite Alice Fearn’s portrayal of Heidi, Evan’s Mum is perfection, her rendition of So Big/So Small brought many in the audience to tears while her unconditional love for her troubled teen Evan plays out beautifully, frustratingly and authentically.

Killian Thomas Lefevre is fantastic as troubled teenager Connor Murphy, popping up when we least expect it enriching the story with each surprising appearance. Lauren Conroy plays Connor’s sister Zoe Murphy with strength and sensitivity while Richard Hurst and Helen Anker’s performances as Connor’s parents are deeply moving, portraying parents who have so tragically lost a child with raw and honest emotion. Will Forgrave covering tonight as Evan’s ‘family friend’ Jared Kleinman brings some welcome light relief while Vivian Panka is a driven and determined Alana with vocals to die for.

Morgan Lane’s box set design is lined with mirrors and sliding doors which allows us to see each scene from various fractured angles while allowing the action to easily shift location. The use of video screens is hugely effective cementing that feeling of social media’s all consuming impact while Matt Daw’s lighting design is equally as impressive.

The small ensemble replicate Evan’s frantic, racing mind through Carrie-Anne Ingrouille’s modern choreography, although they feel a little underused in the piece when the do feature they impress.

This thought-provoking, intricately crafted piece of theatre will long live in the memory. At times a gut-wrenching watch, it’s important messages about visibility and self-acceptance remain strong while the spotlight it shines on the influence of social media, isolation, anonymity and connection feel ever poignant. This is a quality piece of theatre with a story that will connect with many and by far one of the best scores of recent years. With tickets selling fast you won’t want to miss this musical masterpiece.

Dear Evan Hansen is on at Storyhouse Chester until Saturday 22nd March limited tickets available here.

Bat Out of Hell

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Reviewed by Michelle Ewen

Opening Night verdict ⭐⭐⭐

Having electrified petrol-heads and die-hard rockers around the globe, ‘Bat Out of Hell’ has once again returned to its spiritual home almost eight years to the day it made its world premiere in Manchester. 

An award-winning smash hit, this global phenomenon brings to life the musical genius of Jim Steinman and Meat Loaf in a production that is practically impossible not to sing along to (though audience participation is understandably discouraged). 

With Glenn Adamson, Sharon Sexton and Rob Fowler reprising their iconic roles of Strat, Sloane and Faldo respectively, the principals are completed by powerhouse vocalist Katie Tonkinson, who plays Raven. 

Set in the dystopian near future, the action takes place in the city of Obsidian (formally Manhattan), where a band of anarchic bikers live in a subterranean network of tunnels – condemned by a DNA-altering earthquake to be forever 18.

Above ground, devoted father Falco (Rob Fowler) would do anything for love, but when it comes to letting his wayward daughter Raven (Katie Tonkinson) spread her wings with the leader of The Lost, rock ‘n’ roll-loving Strat (Glenn Adamson)… He won’t do that. 

Preoccupied with putting the brakes on Raven’s love affair, Falco is oblivious to another drama under his roof at Falco Towers: his bored and frustrated wife Sloane (Sharon Sexton) is feeling ‘All Revved Up with No Place to Go’. 

Can Falco and Sloane put their own problems in the rearview mirror, team up and stop Raven joining Strat in the underground tunnels and becoming one of The Lost? The stage is set to see whose ‘Rock ‘n’ Roll Dreams Come Through’. 

If the plot sounds convoluted and paper-thin, that’s because it is. Not that it matters.  After all, we’re all there for the music, which is why it’s fantastic to see the eight-piece live band situated prominently on the stage with their virtuoso skills on full display. 

Equally impressive are the vocals throughout, with Sexton and Fowler delivering a truly show-stopping rendition of ‘What Part of My Body Hurts the Most’, and Ryan Carter (Jagwire), Carly Burns (Valkyrie) and Luke Street (Ledoux) emoting ‘Objects in the Rearview Mirror’ to perfection. 

Adamson’s big vocal moment comes with his performance of the titular number ‘Bat Out of Hell’, where pyrotechnics, blood, glitter bombs and a cataclysmic motorcycle crash bring Act One to a rip-roaring close. His voice is a match made in heaven for Tonkinson, with the pair duetting seamlessly on ‘It’s All Coming Back to Me Now’. 

While the music and vocals are beyond reproach, some of the acting choices are questionable – notably Adamson’s over-exaggerated facial expressions which, at times, border on maniacal; however, Sexton’s Sloane is deliciously irreverent, and Carla Bertran is joyfully childlike as Tink. Full credit to both Sloane and Fowler too for romping fearlessly on a Cadillac in their underwear during a raunchy rendition of ‘Paradise by the Dashboard Light’.

Some technical choices work better than others. The roving handheld camera adds a multimedia effect to the production – giving an alternative perspective to the on-stage action, with players interacting with the camera to great effect. More distracting is the curious choice to have every player singing into a hand-held microphone, necessitating some fiddling around as they unholster and re-holster their mics multiple times through set pieces. Jon Bausor’s set looks flimsy compared to previous productions, which detracts from the overall ‘wow’ factor of the show. Staging-wise, however, the tunnel works brilliantly as a device for spectacular entries and exits. 

Casting-wise, when the current run ends, this reviewer would be curious to see ‘Bat Out of Hell’ rebirthed with a younger cast – more in-keeping with the characters’ status as forever-teens. 

Overall, however, this production – directed by Jay Scheib – hangs together very well as a series of high-energy set pieces and crackling duets. The principals are a set of safe hands and, if their curtain call speech is anything to go by, there is a genuine, enduring love for the musical among the whole cast. 

It was genuinely touching to listen to Sexton lead a tribute to Jim Steinman and Meat Loaf – hoping they would be looking down favourably from heaven (or maybe up from hell) – and the audience were especially appreciative when Sexton acknowledged Manchester and gave a nod to its status as hosts of the world premiere. 

For this reviewer, having been to all three runs in 2017, 2021 and now 2025, it’s a case of ‘Two Out of Three Ain’t Bad’. But while the current production may not be a perfect five out of five, there is still plenty to celebrate – not least the very talented cast, crew, creatives and musicians who continue to honour Steinman and Meat Loaf through their hard work. 

Bat Out of Hell is on at the Palace Theatre Manchester until Saturday, 8 March. Tickets available here.

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.

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.