reviews

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

Sones in His Pockets

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Reviewed by Nikki Cotter

Opening Night verdict ⭐⭐⭐⭐⭐

After premiering at Cirencester’s Barn Theatre, before a sellout transfer to Belfast’s Lyric Theatre in 2022, Marie Jones’s 25th anniversary, award-winning Stones in His Pockets embarked on a limited regional UK tour stopping in Bolton for the next two weeks.

Set in a nameless town in picturesque County Kerry, a Hollywood film company has arrived to make a movie. The film offers great employability opportunities for the locals especially those selected to be extras; however, tensions soon arise as the reality of creating the ‘outsiders’ shiny Tinseltown version of Ireland forces the ‘natives’ to assess what’s real and what’s cinematic fantasy in their own worlds.

Told through the eyes of local extras Charlie Conlon (Gerard McCabe) and Jake Quinn (Shaun Blaney), this is a beautifully told and cleverly crafted production. While there have been some small updates to freshen the script the essence remains the same, as the frank observation on the film making industry, it’s impact on the rural community, and the heartfelt pursuance of one’s dreams remain.

Charlie’s DVD shop has gone bust; however he sees it as an opportunity to explore Ireland and focus on the script he hopes to pitch to the film makers, he meets Jake Quinn during filming as they both form part of a crowd scene, it is here that their friendship is set. Charlie is optimistic (some may say deluded) while Jake is rather resigned and more realistic having attempted to live his own American dream which sadly never materialised. The two provide a tremendous commentary about the drama unfurling around them in addition to taking on the role of every other character in the script. From English movie director Clem to the glamorous American lead Caroline, the two do it all via quick costume changes, sometimes merely the shift of a hat, and an impressive array of accents.

Both are superb, the energy, authenticity and believability of each character is incredible. Their comic timing and characterisation is sensational while their energy never wanes. The darker moments in the script are handled delicately and feel all the more poignant as they come unexpectedly amidst the comedy.

Director Matthew McElhinney, who is the son of the playwright Marie Jones and the play’s original director Ian McElhinney has crafted this piece with love and the audience reap the rewards. The pacing is perfect as we shift from hilariously comedic scenes to moments of penetrating social commentary which feel poignant and sensitively delivered. The staging featuring vibrant video design further adds to the quality of this joyous production.

This is theatre at it’s absolute best, heartfelt, enormously entertaining, hugely emotive and beautifully delivered. A total masterclass.

Stones in His Pockets is on at Octagon Theatre Bolton until Saturday 2nd November tickets available here.

Lizzie

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Reviewed by Nikki Cotter

Opening Night verdict ⭐⭐⭐⭐⭐

Hope Mill Theatre’s Lizzie gained an army of fans with its original run in September 2023, with many theatre fans making multiple visits, often in Lizzie inspired costumes, while social media was awash with praise, now, comes the turn of an all-new 2024 cast to make their mark on this firm audience favourite. Driven by a killer score delivered by four absolute power-house female performers, Lizzie raises the roof of this much-loved Manchester venue and takes every audience member along for an exhilarating ride.

The infamous story of Lizzie Borden who was famously accused of brutally murdering her father and stepmother in the summer of 1892 may not be the most obvious material for a musical, but my goodness does it deliver! With a small cast of four this is a vibrant exploration of fierce women controlling their destiny at a time when oppression was the norm.

Director and choreographer William Whelton takes these historical figures and ensures that their stories are told in bold, blistering style. Opening with the eerie, infamous nursery rhyme we’re immediately transported into an intense and pressured environment. As the thrilling opening bars of House of Borden kick in, the scene is set for an electrifying production bursting with powerful vocals, edgy choreography, emotional depth and boundless female energy.

Kayleigh McKnight commands the stage as Lizze, you’re never quite sure what she’ll do next while her vocals are to die for. Fiery and ferocious one moment, calm and composed the next, she convincingly and comfortably shifts to vengeful as she takes action to gain control of her life.

McKnight has a wonderful connection with Katie Tonkinson, who plays Lizzie’s best friend and love interest Alice, their relationship is gently and delicately revealed by Tonkinson who brings light to this dark tale with her pitch-perfect, emotive performance. She truly shines in the role.

Emilie Louise Israel is superb as Lizzie’s older sister Emma, she’s strong and decisive while her rich vocals are utterly sublime. Jennifer Caldwell engages the audience from the start as housemaid come narrator Bridget. She packs in the humour with her brilliantly expressive performance, while relishing the menacing threat that something’s about to happen and we quickly get the feeling that she’ll be delighted when it does.

Accompanying this powerhouse cast is an all-female band led by Musical Director Ella Ingram, they are electrifying and further amplify the rebellious, empowering vibe.

Andrew Exeter’s set design and incredible lighting is complimented brilliantly by Dan Light’s vibrant video design, transporting Lizzie from the claustrophobic confides of the Borden House to a place where her hopes and dreams can take flight.

This gripping musical is loud, unapologetic and utterly brilliant. The layered storytelling keeps you engaged throughout while the searing score and gritty lyrics hook you in from the start. This talented cast deliver demanding vocals with an impressive ease; their harmonies are to die for while their transformation into a kick-ass girl group by the finale is deliciously satisfying. Lizzie is back, and as bloody brilliant as ever, unmissable!

Lizzie is on at Hope Mill Theatre until Sunday 17th November, tickets available here.

The Salon – The Sequel

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Reviewed by Nikki Cotter

Opening Night verdict ⭐️⭐️⭐️⭐️

St Helens Theatre Royal do an incredibly impressive job of creating quality theatre for their loyal audiences, this autumn is no exception as they’ve rewarded theatre goers with a sequel to a firm audience favourite. The Salon, first seen in 2009 has opened its doors again for a sequel which brings more chaos, calamity and killer comedy. There’s a surprise pregnancy, the return of the local gangster and an eye watering appendage!

Leading the cast and returning to the role of salon owner Carol, is Leanne Campbell. While Campbell is a firm favourite on the airwaves she’s equally at home on the stage where she confidently leads this production. She’s perfectly suited to the role and has the audience in the palm of her hand from the start. Witty and warm she gives a superb performance. Her paring with best mate Sheila, played by Sarah White is perfection. White is an absolute scream as potty mouthed hairdresser Sheila, her anger management sessions aren’t quite having the desired effect but she certainly ensures she finds her stress relief in other areas. She has the audience roaring with laughter from the minute she arrives on stage.

The rest of the cast are equally as impressive and as an ensemble really deliver. They’re clearly having a ball, going above and beyond to ensure the audience have just as good a time as they’re clearly having. Special mentions must go to Darren John Langford as the bad boy all the ladies love to hate and Conor Barrie who as Damitree gives an epic performance of Genuine’s Pony that the audience won’t forget in a hurry !

This is adult theatre at its most fun and deliciously cheeky. There’s innuendos on innuendos and the audience absolutely lap them up. Director Chantelle Nolan ensures every line in Drew Quayle’s hilarious script is savoured by this cast and delivered with perfect comedic timing, tone and sass. Regal Entertainments set design and costumes are gaudy and garish and suit this play entirely.

The Salon – The Sequel is pure escapism delivered by a hugely talented cast. It’s outrageous, hilarious and will leave you hoping those salon doors soon reopen for a part 3!

The Salon – The Sequel is on at St Helens Theatre Royal until Sunday 13th October tickets available here.

Heathers The Musical

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Reviewed by Nikki Cotter

Opening Night verdict ⭐⭐⭐⭐⭐

Images Pamela Raith

From its beginnings as a concert version back in 2010 to its multiple West End runs and now third UK tour, Heathers the Musical continues to gain fans and cement its cult status as one of the most loved productions for younger theatregoers.

Based on the 1980’s classic film of the same name starring cinematic icons Winona Ryder and Christian Slater, Heathers introduces us to Veronica Sawyer, (Jenna Innes). An awkward, outcast who just wants to make it through her final year at Westerberg High unscathed.

There are the traditional school cliques, the nerds, the jocks and of course the queen bees who in Westberg come in the form of the three Heathers, leader of the pack Heather Chandler (Esme Bowdler) and her loyal sidekicks Heather Duke (Sedona Sky) and Heather McNamara (Daisy Twells). It’s safe to say they rule the school.

After unexpectedly finding favour with the three Heathers, Veronica quickly realises that this newfound friendship could be the key to beating the food hall bullies once and for all. What she doesn’t bargain for however, is the arrival of mysterious new kid, J.D. who brings a whole new level of trouble to her door.

Heathers’ multi-layered storyline cleverly covers numerous dark themes with sardonic wit and a killer score. The quality of the cast ensures that each fan favourite from Candy Store to Seventeen is delivered in truly memorable style, whipping the audience of devoted fans into a Big Fun frenzy.

Making a return to the role of Veronica is a sensational Jenna Innes. She absolutely shines on stage, her development from hopeful opening number Beautiful to the self-assured I Say No is mesmerising to watch while her vocals are sensational throughout. Her pairing with Keelan McAuley is superb, he makes for a marvellously menacing J.D. Brooding and brilliant. His delivery of Meant To Be Yours is next level, really showcasing his impressive talent and incredible range. The two are a match made in heaven…or hell if you’re a Westerberg teen.

Esme Bowdler is a perfect Heather Chandler, sharp and sassy she has the audience in the palm of her hand from the moment she arrives on stage with fellow Heathers, Sedona Sky and Daisy Twells. Their iconic entrance, all dry ice and glamazonian gliding really sets you up for the wild ride they’re about to take you on.

Sedona Sky makes an impressive stage debut as the spoilt Heather Duke while Daisy Wells delivers a stunning and emotionally charged rendition of Lifeboat during her Act II solo. The trio together are terrifically terrorising.

Amy Miles gives us all the feels with her beautiful delivery of Kindergarten Boyfriend while Ivan Fernandez Gonzalez and Jason Battersby as Kurt Kelly and Ram Sweeney ramp up the laughs as deliciously dumb high school jocks.

Heathers is one of the must fun shows of recent years, its connection with its target audience is undeniable. The score is exhilarating while the script feels modern and sharp. Yes, there are dark themes, but the comedic moments and gallows humour comes thick and fast ensuring you’re never more than a few moments away from an iconic put down or some serious sass.

This cast is one of the best I’ve seen, they really elevate an already fun show to the next level capturing perfectly the intensity of High School feeling like your whole entire world. While Heathers may not leave you yearning for your teenage years, it’ll certainly leave you thrilled that you took a trip to Westerberg, albeit from the safety of your seat. Hugely entertaining theatre, jam-packed with unforgettable performances and an assured self-awareness that ensures it really hits the mark, sensational!

Heathers The Musical is on at Chester’s Storyhouse until Saturday 21st September tickets are available here.

101 Dalmatians

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Reviewed by Jodie Crawford

Opening Night verdict ⭐️⭐️⭐️⭐️

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

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

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

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

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

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

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

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

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

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

The Gangs of New York

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Reviewed by Matt Forrest

Opening Night verdict ⭐⭐⭐⭐⭐

Images by Mark McNulty

Storyhouse and Grosvenor Park Open Air Theatre productions have become somewhat of a must for theatre lovers during the summer months. With its purpose built theatre set in the beautiful picturesque surroundings of this Victorian park, it is the perfect setting for live theatre.

The venue has hosted some fantastic productions over the years which have included Little Women and The Great Gatsby. Continuing with the theme of adapting celebrated works of literature, one of this year’s offerings is The Importance of Being Earnest, the other is a far more daring prospect: the world premiere of The Gangs of New York, based on the factual book of the same name by celebrated American journalist, Herbert Asbury.

Set in the mid 1800’s, we are introduced to John Morrisey (Oisín Thompson) and Hellcat Maggie (Hanora Kamen) , a pair of Irish immigrants fresh off the boat arriving in America. It would appear that they have a certain skills set which will help them to survive the mean streets of New York, Maggie, is a light-fingered pickpocket, whilst Morrisey is equally as good with his hands as a boxer.

Almost immediately Morrisey’s growing reputation draws the ire of local gangland chieftain, William Poole (James Sheldon) a.k.a ‘Bill the Butcher’, as he puts it “a true American ”. Poole’s love of violence is only matched by his hatred for all immigrants landing in America hoping to make a better life for themselves. Soon the pair enter into a blood feud, which threatens to cost both of them not just their business ventures, but their lives as well.

As a huge fan of the 2002 Martin Scorsese, Gangs of New York, I was intrigued to say the least by how the production was going to unfold, and I’m more than happy to say it does not disappoint. The story doesn’t just focus on the prejudice and bigotry that many immigrants faced, but also the seedy criminal underworld of New York. Crooked cops, and bent politicians are all thrown into the mix, rather sadly it would appear that 1840’s USA isn’t too different from modern society.

At its core writer Kieran Lynn’s adaptation focuses on two love stories: Morrisey and Suzie Smith (Yolanda Ovide), a young women, from a wealthy family who has ambition to be more than just some rich man’s trophy wife. Whilst the other is the forbidden romance between Maggie and Lew Baker (Lucas Button), a local beat police officer, indebted to Bill the Butcher. It’s a bold move and one that pays dividends as you firmly invest and care about what will become of them all.

Director John Young’s production despite its weighty subject matter is filled with energy and a surprising amount of humour, there are sly, on point one liners which hit the mark throughout. In addition, the glorious in-the-round setting allows for some audience interaction, with some (un)willing audience members dragged up to be part of the show.

Throughout there are various cast members playing all manner of musical instruments, and performing songs giving an authentic folk/roots feel to the production. These light touches mean that when an act of violence does take place, it’s all the more brutal and comes as a bit of a shock.

The cast are in fine form throughout, Oisín Thompson gives a performance packed full of charisma. James Sheldon has a commanding stage presence, full of menace and rage. Hanora Kamen puts in a turn full of sass and grit, whilst Yolanda Ovide gives a restrained, measured performance, as one of the few voices of reason. Lucas Button is equally impressive as the troubled police officer, with a performance full of nervous energy and subtle comic timing, his arc is the one that underpins the entire production.

It’s a bold, brave choice to adapt this weighty, historical book for the stage, but one that rewards its audience with an entertaining and surprisingly fun watch. It’s a production performed by a super talented ensemble cast of actors and musicians, in an as perfect (weather permitting) setting as you’re going to get, live theatre doesn’t get much better than this!

The Gangs of New York is on at Grosvenor Park Open Air Theatre until 31st August tickets are available here.

Burlesque

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Reviewed by Nikki Cotter

Opening Night verdict ⭐⭐⭐⭐

Credit: Johan Persson

Based on the iconic 2010 film starring Cher and Christina Aguilera, Burlesque introduces us to Ali, a small-town girl who finds herself in the big city where life is about to get spicy, and the stakes are gonna get a whole lot higher.

This much-anticipated stage adaptation switches up elements of the film’s storylines so those looking for a faithful retelling will without doubt find something new to discover here. Some storylines and characters have been removed while others are further developed adding new dynamics to the production.

Credit: Johan Persson

We follow Ali (Jess Folley) as she leaves her home in the Midwest in search of her birth mother Tess (Jackie Burns). A stressed-out debt-ridden Burlesque club owner isn’t quite who Ali expects to find but she sticks around nonetheless as she awaits an opportunity to tell Tess the real reason she’s there. Life suddenly begins to take a dramatic turn and almost accidentally Ali becomes the star of the Burlesque show.

Taking a keen interest in Ali is Jackson (Michael Mather) the friendly bartender who has more than bourbon on his mind while there’s added depth given to Tess’ husband Vincent (George Maguire) who becomes the villain of the piece, adding an entertaining element of jeopardy as well as an opportunity for a gloriously camp male tap ensemble piece.

Credit: Johan Persson

Jess Folley is superb as Ali, her vocals are incredible, she has big shoes to fill taking on the role made famous by Christian Aguilera and she does so convincingly, while managing successfully to make the part her own. She is a true star. Her talents don’t end on stage as she also takes writing credits for several of the show’s new songs, it really feels like we’re witnessing the launch of a world-class talent here.

As Tess, Jackie Burns delivers a Broadway quality performance right here in the heart of Manchester, she has a strong chemistry with Jess Folly and the duet Got It All From You between the two is one of the most heartfelt moments in the production. Burns brings strength and sass to the role while gradually allowing her softer side to show.

Credit: Johan Persson

Ramping up the fabulous is a sensational Todrick Hall as Tess’ right-hand man and club assistant Shaun. An incredible performer who commands attention from the moment he appears on stage. His epic numbers are flawless, showcasing his extraordinary talents perfectly. His performance feels fresh, effortless and uniquely creative. A generous performer, he pitches things just right ensuring while his lead numbers pop his shared scenes are balanced and nuanced.

Special mention must also go to Nina Ann Nelson who is clearly having great fun as mean girl Nikki. While B Terry makes for a wholesome Midwest bestie, reminding us just how different life is becoming for Tess.

Credit: Johan Persson

The ensemble numbers are sensational, proving that Burlesque really is BIG. Film favourites Express and Show Me How You Burlesque whip the audience into a frenzy with Nick Winston’s sizzling choreography matching the quality of the stunning vocals perfectly. Add to this Soutra Gilmour’s lavish set design combined with Ryan Dawson Laight’s incredible costumes and Jack Knowles’ dramatic lighting and these pieces have wow factor worthy of winning awards. The additional element of Nina Dunn’s video design further takes the visuals up a notch.

Steve Antin’s book is fairly light and frothy but manages to steer away from cheesy however it’s the epic ensemble scenes that really steal the show. Some punchier dialogue in parts would bring a little more balance to the piece however judging by tonight’s audience reaction no one really came her for the convos.

Credit: Johan Persson

This incredibly talented cast go all out to deliver an exhilarating night of fierce, feel-good, fabulousness. The audience lap up the dazzling design and killer choreography with expectations of outrageous escapism fulfilled as we all head off into the Manchester night feeling a whole lot sassier than when we arrived. Burlesque will go far with the West End and Broadway surely beckoning, catch it in Manchester while you can!

Burlesque The Musical is on at Manchester’s Opera House until Saturday 29th June, it will then return from Thursday 3rd October until Saturday 2nd November tickets are available here.

Twelfth Night

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Reviewed by Nikki Cotter

Opening Night verdict ⭐⭐⭐⭐

Having brought audiences a boundary breaking version of A Midsummer Night’s Dream in 2022, Not Too Tame return to Shakespeare North Playhouse this month with their inspired interpretation of Twelfth Night, with the aim to rock your socks off!

This modernised version centres the action within the music industry, there’s raunch, romance and a whole lot of riffing as this Shakespeare classic is given the rock star treatment. Utterly irreverent and a whole lot of fun this is Shakespeare for today. There’s a glorious mix of modern language which marries perfectly with Shakespeare’s script, it’s extremely funny, a little bit naughty and as far from stuffy as you can possibly get.

This is the second co-production between Warrington based Not Too Tame and Shakespeare North Playhouse and it’s clear both know this stage and setting well. Director Jimmy Fairhurst ensures his cast use every inch of the stunning Cockpit Theatre, making this production all the more exhilarating as you wait in anticipation of who will appear next, from where and when. The theatre becomes the cast’s playground and it’s clear for all to see just how much fun they’re having with it.

Twelfth Night is often described as one of Shakespear’s greatest comedies and Not Too Tame have gone full throttle with this, the production is bursting with top quality comedic moments, well-timed delivery and wisecracks galore. There is of course the classic Shakespeare tropes of unrequited love, mistaken identities, and subterfuge as separated twins Viola (Georgina Frost) and Sebastian (Tom Sturgess) arrive in Illyria each thinking the other is dead. This is Illyria as you’ve never seen it before, no longer is it a shipwreck that separates the siblings but a euphoric night on the nose candy.

Frost and Sturgess are both excellent in their roles, the addition of multiple genres of music to this innovative production allows them to show their talent as singers while Dean Fairhurt’s musical composition gifts them with great opportunities to lyrically progress the story.

Jack Brown as Sir Toby Belch and Reuben Johnson as Sir Andrew Aguecheek are hilarious, Brown nails it as the odious Sir Toby, the hard-drinking, hard-partying, high-spirited (or is that just high?) uncle of Olivia (Purvi Parmar). His pairing with Reuben Johnson is perfection, as Jonson gives us a hilarious Tim, Nice-But-Dim-esque interpretation of Sir Andrew, the two together are a joy.

Purvi Parmar as Olivia is excellent, while Louise Haggerty as Feste gets the party started right from the off. Returning to Shakespeare North Kate James takes on the roles of both Maria and Antonia and delivers both brilliantly.

Then of course we come to Les Dennis who shines as Malvolio, there is little Les hasn’t done in his incredible career and now he can well and truly say he’s not only ticked performing Shakespeare off his list but he’s well and truly knocked it out the park. His Malvolio is multifaceted, starting off as a confident, sharp suited tour manager and transforming entirely in Act 2 in a scene I don’t think anyone will forget in a long time – iconic! A gifted actor he has the ability to draw you in and break your heart a little as he shifts impressively from victimiser to victim.

This is Shakespeare with sass, spunk and seriously bangin’ beats. The relocating of the action does at times in Act 1 make the story a little more complex to follow but once you’re on board the anthemic beats and knock-out cast will whip you up and carry you along for this feelgood ride. If music be the food of love, play on, and on and on!

Twelfth Night is on at Shakespeare North Playhouse until Saturday 29th June tickets available here.

Disney’s Aladdin

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Reviewed by Jodie Crawford

Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

Photography by Deen Van Meer

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

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

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

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

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

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

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

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

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

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

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

Little Shop of Horrors

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Reviewed by Matt Forrest

Opening Night verdict ⭐⭐⭐⭐

At the start of April the world witnessed the unusual phenomenon of a total solar eclipse. This rare occurrence plunged parts of North America into total darkness. It’s probably too early to tell if that event has led to any strange goings on: a martian invasion or even the introduction of a “strange and interesting plant” into the echo’s system. I mention the latter because this is the premise of one of the Octagon Theatre’s big spring shows, Little Shop of Horrors.

Set in 1950’s New York, we are transported to the dark side of the city, Skid Row, where we meet timid florist Seymour, (Oliver Mawdsley). Seymour works for the rather unpleasant Mr Mushnik (Andrew Whitehead), who blames his failing shop on the meek botanist. To add to Seymour’s worries, he is desperately in love with his friend and work colleague, Audrey (Laura Jane Matthewson). However, Audrey is blinded to his affection due to her turbulent relationship with the sadistic dentist Orin Scrivello, (Matthew Ganley).

However soon the fortunes of Mushnik’s soon change when Seymour discovers an unusual looking plant. Naming it Audrey II the strange flower soon becomes a media hit, bringing in more customers, more money as well as bringing Audrey and Seymour closer together. However, following an accident with a rose bush, Seymour soon learns that Audrey II has an appetite for something a little stronger than Miracle Grow. With Seymour running out of veins he looks at other means to feed the wanting weed, but the big question is, is it worth it for fame, fortune and him landing the girl of his dreams?

What absolute joy this production is: jam packed with great catchy tunes and a super talented cast, this is another triumph for the Octagon Theatre.

Oliver Mawdsley is in fine form as Seymour, showcasing great comic timing and a fine singing voice to boot. Laura Jane Matthewson is equally impressive as Audrey, with the pair’s stunning duet on Suddenly Seymour being just one of the production’s several highlights.

Matthew Ganley is suitably deranged and perfectly OTT as cruel Orin Scrivello DDS and very nearly steals the show, however the undoubted star is of course Audrey II, masterfully controlled by puppeteer Matthew Hewood, and superbly voiced Anton Stephans. His vocals on Feed Me (Get it) and Suppertime are sublime.

Musical director, Levi Van Warmelo has done a great job with the score, who along with drummer Migdalia Van Der Hoven and the supporting cast do a great job transitioning  between slow tempo tunes and funky upbeat numbers.

Throughout the performance Janna May, Zweyla Michell Dos Santos and Chardi Shaw showcase their talents as the do-wop trio Chiffon, Crystal and Ronnette, acting as our guides around Skid Row as the drama unfolds. Not only do these actors have tremendous voices, and a commanding stage presence, they are also talented musicians pitching in on guitar, bass, and keyboards.

All that said, the show isn’t without its flaws: I did find the closing sequences between Audrey, Audrey II and later Seymour and Audrey II looked awkward. In addition, the subject matter of domestic violence does make it unsuitable for younger audience members.

This is a highly entertaining, joyous night at the theatre, filled with black comedy, catchy toe-tapping tunes and plenty of bite!

Little Shop of Horrors is at the Octagon Theatre till May 18th tickets available here.

Vignettes 6

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Reviewed by Jodie Crawford

Opening Night ⭐⭐⭐⭐⭐

Vignettes returns to Hope Mill theatre with 6 exceptional pieces of theatre, which are short in minutes but packed with character, emotion and in parts good old Mancunian humour. These 6 pieces of stand alone theatre, are a celebration of the great talent that female identifying playwrights have to offer us in Manchester. The cast, production team, and direction live  up to the writing – each piece captivating in its own right. 

We begin Act 1 with Race for Life. Written by Christine Mackie, Directed by Joyce Brannagh. Our two main characters, Alice (Christine Mackie) and Stevie (Ellaney Hayden), have a chance encounter after taking part in their local Race for Life event. The two women have very different reasons for entering the event, but ultimately both women find something in the other that they were searching for. 

This piece is so beautifully and humorously written by the incredibly talented Mackie. The characters are so well connected and real. Often stories about women feature women who are downtrodden or who have achieved the unexpected. But this piece tells the story of two types of women that society don’t really talk about or identify with greatly. This story is about two women that people maybe don’t notice. There is a real vulnerability in both characters (not that they’d ever want you to see it). A well told story, with lots of heart and humour. 

Our second piece in Act 1 is a powerful piece written by Nasima Bee, and Directed by Nikki Mailer. Haiesha Mistry is a triumph in this piece. She just pulls you in from the minute she begins in her role of Ranad. She is mighty and strong. She fully encompasses this role and I was mesmerised by her from start to finish. Lamin Touray, as Ali, also works well on stage with Mistry. They together deliver a narrative about freedom, expression and the importance of having a voice. The written dialogue is compelling and is delivered with such energy. It is worth the ticket price alone to see this performance. 

The final piece of the first act is Interesting written by Alex Keenan and directed by Jess Gough. This piece is clever, well developed and insightful. It explores so many themes that are relevant with so many of us. The loss of a child in pregnancy, depression, marital difficulties and so much more. The character of Bo, the daughter of a counsellor, is played by the talented Eleanor Booth. Bo is angry and depressed, she is struggling to connect with her mother and in an act of childish retaliation towards her she impersonates her mother in an online counselling session. The couple attending the session, played by Stacey Harcourt and Barney Thompson, are experiencing so many emotions relating to the loss of a child in pregnancy at 5 months. The husband Max just can’t communicate how he is feeling and the wife Laura is desperate to talk about their loss. Bo’s prank doesn’t go to plan and exposes so many complex feelings and emotions for all three characters. A wonderfully written and acted piece that gives us insight into the difficulties experienced in grief and mental well being. 

Act 2 begins with Anatomy of Desire written by Obesi Osi-Lyere and directed by Justina Alna. This piece introduces us to HER played by the brilliant Ntombizodwa Ndlovu. HER is easy to identify with, HER is desperate to be successful, loved and respected, but things aren’t smooth sailing. HER takes us on a journey through time and events that are at times quite confronting. At times the chronology is hard to follow, but the acting is powerful and the main themes are present. I think we can all identify with the hopes and dreams of HER in this highly emotive piece of theatre. 

The second piece of Act 2 is one of the highlights of this entire production: Birds Don’t Run. They Fly. This beautifully crafted script is written by Lauren-Nicole Moyes and directed by Laura Woodward. Here we meet Ashleigh (Laurie Ogden) and Helena (Kate James), two women with a connection from school, reunited at a Blackpool Park Run. This piece starts with so much humour and banter, that when we begin to peel away the layers of these women’s armour we are aghast to the hidden reality they are in. 

I found this piece moving, confronting and heartbreaking. It is so cleverly constructed by Lauren-Nicole Moyes- the use of the bird analogies throughout is inspired. Both actors deliver exceptional performances, but Ogden was truly breathtaking in her portrayal of Ashleigh: this piece will stay with me for a long time. 

And the final play is Maharani of Manchester. Written by Anshan d’souza-lodhi and directed by Gituka Buttoo. Described in the programme as  “If the Godfather was a South Asian woman with morals.” This play takes place in the wilds of Rochdale. Here we meet Maharani (Ifeoma Uzo) who is determined to take Joshua (Raphael Santiago) out into the wild to see whether he is good enough for her daughter. Joining them on the expedition is Princess (Riah Amelle) who isn’t completely unbiased! This play is fun, simple and shows us that the truth is often the best place to start. 

Vignettes 6 is an incredible evening of a diverse selection of plays. Each wonderful in its own right. It is a feast of entertainment with something for everyone. So many characters delivered by an incredibly talented group of actors. An absolute celebration of 6 playwrights, telling six very different stories. How lucky we are to have this wonderful selection of theatre here in Manchester, all on one stage together. 

Vingettes is on at Manchester’s Hope Mill Theatre until 24th April tickets available here.