The Lowry

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.

BRB: Don Quixote

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Reviewed by Maddie Shimwell

Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

Don Quixote, known for its energised Spanish flair, comedy, and vibrant pas de deux, was originally choreographed by Marius Petipa in 1869. Carlos Acosta has brought back his 2022 version, to The Lowry, performed by Birmingham Royal Ballet,

We follow Don Quixote (Dominic Antonucci), who acts as a matchmaker for young lovers Kitri (First Soloist Beatrice Parma) and Basilio (First Soloist Enrique Bejarano Vidal). At the same time, Don Quixote grapples with reality and experiences hallucinations of his dream woman, Dulcinea (Daria Stanciulescu), whom he mistakes Kitri for. 

Of course, there must be a barrier to Kitri and Basilio’s love. Her father, Lorenzo (Rory Mackay), disapproves of the relationship as he wishes Kitri to marry a rich nobleman, Gamache (Jonathan Payn), and not a poor barber like Basilio! After Basilio fakes his death (and comes back to life!), her father gives the couple his blessing, and celebrations begin. 

This performance has everything you want from a ballet…flamboyant costumes, a fantastic live orchestra conducted by Thomas Jung, and dramatic fainting scenes delivered with perfect comedic timing. One element of the story that many other classical ballets have, but is missing from Don Quixote, is tragedy…which was so refreshing!  It is full of fun, joy, and humour…even the ‘suicide’ was comedic! 

Highlights of this particular version were the incredible solos and pas de deux throughout the performance from Beatrice Parma and Enrique Bejarano Vidal. The grand allegro, turns, and lifts were made to look effortless. My favourite pas de deux was their duet against the silhouette of a windmill and sunset, with no other distractions.

The set design by Tim Hatley was stunning, featuring glistening leaves hanging from vines, large brick arches decorated with flowers, and rose petals falling from above. Another element that helped transport the audience to 17th-century rural Spain was the live on-stage guitarists, Tom Ellis and Dan Thomas who played traditional Spanish music around a fire. 

A final mention must go to Amour, performed by First Soloist Riku Ito during the dream scene. Ito had flawless technique, with fast footwork and amazing stage presence. Kitri’s friends, Olivia Chang-Clarke and Katherine Ochoa, also brought contagious energy to the performance. I would highly recommend watching this stunning production if you get the chance!

Don Quixote is on at The Lowry until Saturday 9th 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.

Operation Mincemeat

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Reviewed by Matt Forrest

Opening Night verdict ⭐⭐⭐⭐⭐

A few years ago, a close friend urged me to see a brilliantly talented theatre-comedy troupe called Kill the Beast, who were touring their second show: He Had Hairy Hands. This was a horror/comedy with plenty of bite. I remember laughing from start to finish, completely won over by its blend of absurdity and pitch-black humour. From that moment on, whenever Kill the Beast arrived in town with a new production, they became an absolute must-see for me.

Since then, Kill the Beast members David Cumming, Natasha Hodgson, and Zoe Roberts, alongside long-time collaborator Felix Hagan, have joined forces as the theatre company SpitLip. Together, they’ve created Operation Mincemeat, a new musical that has taken both the West End and Broadway by storm and is now embarking on a world tour.

The story revolves around a daring real-life British intelligence operation mounted in 1943. With the Allies preparing to invade Sicily, a small band of MI5 officers are tasked with distracting Nazi forces elsewhere. Their solution is astonishingly bold: they attach fabricated invasion documents to a dead body and release it where it will fall into enemy hands, trusting the Germans will be deceived. The body is carefully transformed into “Major William Martin,” a fictitious British Army officer furnished with love letters, a photograph of his sweetheart, and an intricately detailed backstory, every element meticulously designed to dupe the Third Reich.

The musical follows the team tasked with seeing the operation over the line from genesis to completion. There is Charles Cholmondeley (Seán Carey), the mastermind of the scheme, but lacking in self-confidence and the ability to present it to the top brass, Commanding officer John Bevan (Jamie-Rose Monk) in desperate need of a plan knowing if it fails it’ll be catastrophic for the British. Then there is Ewen Montagu (Holly Sumpton), whose over inflated self-confidence and ego sadly doesn’t match their actual talent.

The team are supported by two very different but no less essential secretaries; first there is senior secretary, Hester Leggatt (Christian Andrews), the matriarch of the group, a stickler for the rules who keeps the team in check. Finally new starter, Jean Leslie (Charlotte Hanna-Williams) who is ambitious and sees the role as an opportunity to forge a career for herself. Can the group pull together and help to pull off one the biggest ruse the world has ever known?

There is so much to enjoy about this fantastic show. The ensemble cast of five are superb right from the get-go playing over 80 characters between them. All work tremendously hard throughout and it’s a credit to their excellent performances and smooth costume changes that things never become confusing. All five get to showcase great comic timing and a gift for physical comedy.

The tone of the production is pitch perfect. The show brilliantly skewers the sheer absurdity of the situation, gleefully lampooning the British class system and that entrenched “stiff upper lip,” while also delivering a surprisingly sharp critique of gender inequality in the workplace. Even James Bond creator Ian Flemming gets a good going over!

Beneath the wit and rapid-fire comedy lie moments of genuine poignancy. The script takes care to acknowledge the sacrifices made not only by those serving on the front lines, but also by the loved ones waiting anxiously at home. Most moving of all is the tribute to Glyndwr Michael, the forgotten man whose body became the unlikely centre of the operation, a reminder that behind the outrageous deception was a real human life.

The musical numbers are top drawn throughout from the opening number, Born to Lead, a stinging assessment of the class system, right through to the big closer A Glitzy Finale. My own personal favourite Das Übermensch is as outrageous as it is hilarious. It’s the emotional, gut-punch songs Sail On Boys and Dear Bill that will live long in the memory, especially the later which is beautifully performed by Christian Andrews.

Smart, slick and uproariously funny, yet brimming with heart, Operation Mincemeat is an absolute triumph and fully deserving of its Olivier and Tony Awards recognition. Unlike the covert mission at its centre, there should be no secrecy surrounding this production, it richly deserves the spotlight. It’s a show that delights on first viewing and will be rewarded with repeat visits just as generously.

Operation Mincemeat is on at the Lowry until Saturday 28th February. Tickets are available here.

Further tour dates and ticket information can be found here.

The National Lottery’s Big Night of Musicals

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The January Blues-Busting Big Night of Musicals from the National Lottery was back with a bang at the AO Arena in Manchester last night.

In what’s become a staple in the theatre calendar for the region, this year’s show was another feel-good ode to the world of Musical Theatre and the fantastic causes supported by the Lottery.

 

Again hosted by the host with the most Jason Manford the event has become a must-do for both theatre lovers and the biggest and best show – both in the West End and on tour.

And this year was no different with some really exciting exclusives for both the audience in the arena – and later the TV viewers, for when it’s broadcast later in the Spring on BBC & IPlayer.

 

The evening was kicked off in spectacular style by The Lion King with a goosebump-inducing performance of the iconic Circle of Life – complete with the stunning puppets the show is famous for. This is a number that never, ever gets old and it was followed by the joyous He Lives in You from the show.

It was the first of a number big company numbers of that delivered the wow factor to the event – putting the ‘Big’ in Big Night of Musicals. Other brilliant moments included The American Dream from the current tour of Miss Saigon and I Wanna Be a Producer from the West End’s The Producers – which was a genuine treat.

 

Other wonderful performances included As Long as He Needs Me from Oliver! By Ava Brennan, Pretty Little Dead Things from Paddington’s ‘baddie’ Victoria Hamilton-Barritt and the cast of Sunny Afternoo n brought a bit of 60s rock n roll to the night.

Disney legend Alan Menken was celebrated in a gorgeous medley of some of his biggest 90s hits accompanied by incredibly talented young dancers from Lowry’s Centre for Advanced Training in dance.

 

As ever the event showcased the work of programmes funded by the National Lottery. Oldham’s Wild Things Performing Arts joined ‘Miss Hannigan’ La Voix and the young cast of Annie for a rousing rendition of Hard Knock Life. And the tour of Choir of Man performed alongside a real life men’s choir Infant Hercules Choir  (and Jason Manford) in a truly moving version of You’re The Voice.

 VTs highlighted the brilliant shows hitting the UK this year including the world tour of Operation Mincemeat – which launches at the Lowry next month, the new musical by Pippa Cleary and Rob Madge Bank of Dave, also launching at the Lowry and many more.

 

Arguably the most exciting moment of the evening was the world exclusive of Sam Ryder performing Gethsemene from the forthcoming new production of Andrew Lloyd Webber’s Jesus Christ Superstar. If there were any nerves they didn’t show and it was a moment no one in the room will ever forget!

The evening closed on a high note with a moving performance of For Good from Wicked by the West End’s current Elphaba and Glinda, Emma Kingston and Zizi Strallen followed by a medley from Alexandra Burke and the cast of the Chaka Khan musical I’m Every Woman that got everyone on their feet.

 

Big Night of Musicals is absolute must-watch for musical fans when it airs and a welcome reminder of the amazing work and theatre programmes that the National Lottery supports.

 

To Kill a Mockingbird

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Reviewed by Nikki Cotter

Opening Night verdict ⭐⭐⭐⭐⭐

Oscar winning writer Aaron Sorkin’s stage adaptation of Harper Lee’s literary classic To Kill a Mockingbird arrived at the Lowry this week as part of its first ever UK tour. Having received rave reviews on both Broadway and in the West End this much anticipated production directed by Tony award-winning director Bartlett Sher, is bold, necessary and profoundly affecting.

Set in the racially charged American South during the 1930s, To Kill a Mockingbird introduces us to important themes and unforgettable characters. Racial injustice, social inequality, human morality, male pride, empathy and the loss of innocence are woven into the tapestry of this captivating piece as we follow incredible character arcs that grip us from the start.

Lee introduces us to Alabama lawyer Atticus Finch (played tonight by John J. O’Hagan) who, committed to fighting injustice takes on the controversial case of Tom Robinson, (Aaron Shosanya) a local black man who has been falsely accused of raping white teenager, Mayella Ewell (Evie Hargreaves). This decision both impacts and exposes Finch’s children Scout (Anna Munden) and Jem (Gabriel Scott) to the harsh realities of racism and prejudice while posing questions about their own moral integrity and ability for empathy.

Events are told through the eyes of Scout, older brother Jem and Dill Harris (Dylan Malyn) who is visiting the neighbourhood for the summer. All three excel enormously in bringing a child-like innocence to their roles, high-spirited and filled with adventure they bring an easy light to the shade of this often-dark story, making Act 2 all the more impactful as innocence is lost and heartbreaking truths are revealed. Special mention must go to Dylan Malyn, making his professional debut as Dill, his joyful innocence feels all the more devastating as the reality of his homelife is later revealed.

Sorkin’s decision to have the courtroom action feature throughout the play rather than in one climactic scene works superbly, a decision which ensures the pace never wanes as the three children cleverly narrate flashbacks ensuring the storytelling remains clear and entirely captivating.

John J. O’Hagan makes for a tremendous Atticus Finch, he is calm, considered and utterly committed to the role, he carefully explores and exposes the emotional depth of Atticus as the story unfolds and he’s truly tested by the moral limitations of those around him. His scenes with Andrea Davy as an excellent Calpurnia act as a powerful example of the novels themes of moral integrity.

Oscar Pearce gives a dedicated performance as the loathsome Bob Ewell while Richard Dempsey as prosecuting attorney Horace Glimer is every inch as odorous as you’d expect him to be. Aaron Shosanya is utterly devastating in his portrayal of the falsely accused Tom Robinson. His quiet resignation to his wholly abhorrent fate is heartbreaking to watch, yet despite the cruelty and injustice he remains dignified throughout.

This is a stunning adaptation which succeeds entirely in bringing Lee’s characters to vivid life. While the source material was written in 1960 its themes, language and terrifying injustice sadly do not feel alien in today’s society particularly when we think about Trump’s America. This Mockingbird is powerful, engrossing and deeply poignant. Sorkin successfully retains the core essence of Lee’s classic novel while exposing a modern relevance reminding every theatregoer that we’re not just a viewing audience but morally we each have a societal role and responsibility to play.

To Kill a Mockingbird is on at The Lowry until Saturday 24th January tickets are available here.

The Enormous Crocodile – The Musical

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Reviewed by Jodie Crawford

Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

The Enormous Crocodile is a joyful, high-energy production that brings Roald Dahl’s much-loved story to life in a way that completely captivates both children and adults alike. From the moment it begins, the show is bursting with colour and imagination, making it a wonderful outing for the whole family.

The story follows the mischievous (and very hungry) Enormous Crocodile, who decides he’s bored of eating fish and comes up with a series of “clever tricks” to try and catch a child for his lunch. Disguising himself in increasingly ridiculous ways, he believes he’s unstoppable but his plans are repeatedly foiled by a group of sharp-eyed jungle animals who work together to protect the children. The tale is playful and funny, with a reassuring message about kindness, and teamwork.

Visually, the show is an absolute treat. The costumes are incredible, they are bold, inventive, and full of personality.  They add so much to the storytelling. The Enormous Crocodile himself is particularly impressive and delightfully dramatic, prompting plenty of excited reactions from the younger audience members. 

The audience engagement is another standout feature. The incredible cast interact brilliantly with the audience, keeping children fully involved and entertained throughout. The pacing is spot on, the atmosphere is warm and lively, and there’s never a dull moment. We loved the monkey nut scene!

All in all, this production is a real family treat. It is imaginative and memorable. A fantastic way to enjoy live theatre together and a show we would all happily recommend to any family.

 A truly brilliant family theatre experience!

The Enormous Crocodile is on at The Lowry until Sunday 4th January tickets are available here.

Unfortunate: The Untold Story of Ursula the Sea Witch

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Reviewed by Nikki Cotter

Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

She’s been giving main character energy since the premier of Disney’s The Little Mermaid back in 1989, so it’s only fitting that Ursula, finally gets her own moment in the spotlight. 

This outrageous musical parody with book and lyrics by Robyn Grant and Daniel Foxx and music by award-winning composer Tim Gilvin returns to The Lowry for festive season and is bigger, better and bolder than ever.

Taking on the role of Ursula is the insanely talented Sam Buttery who delights in deep diving into this delicious diva’s backstory. Buttery perfectly embodies this badass octowitch, flirty, filthy and frothing with talent, she draws your attention from the moment she splashes onto the Lowry stage. Blasting out the powerhouse vocals with ease while delivering every killer line with perfect precision, most importantly she is a whole lot of fun and will soon make you realise maybe we’ve been wrong about Ursula all along.

Her scenes with Blair Robertson as King Triton are outrageously funny, together they deliver this genius script with razor sharp precision. Buttery is effortlessly cool while Robertson hams it up to perfection, the result is laugh-out-loud scenes throughout.

Allie Dart returns in the role of Sebastin (as well as multiple other characters) and proves once again what a talent she is. She commits entirely to each and every role, never missing a beat in this fast-paced romp with some of her characters even appearing on stage at the exact same time! Her scenes with James Spence as Ursula’s slippery sidekicks Flotsam and Jetsam are particularly brilliant. Spence like Dart also takes on multiple roles, from the weirdly tactile King Neptune to the wildly camp Prince Eric he’s utterly superb ensuing this precessional debut is one to remember.

Miracle Chance returns as the desperate and dim Ariel, when has the audience in stitches from the off with her deliciously crude lines, each one more outrageous than the last. Her quest to find her own Prince Charming, played superbly by James Spence is a scream, adding another enormously entertaining element to this perfect parody. Special mention must also go to ensemble members Freya McMahon and Fionan O’Carroll who complete this talented cast.

While the adult jokes come thick and fast there’s also a gorgeous theme of individuality and acceptance which weaves its way through the story adding depth to an already impressive show. The shorter running time for this revamped production ensures the pace is fast and the show feels fresh. This gloriously queer, creatively camp, celebration of difference offers a hilarious alternative for theatre goers this Christmas, it’s gaudy, glittery and utterly gorgeous!

Unfortunate – The Untold Story of Usrula the Sea Witch is on at The Lowry until Sunday 11th January, tickets are available here.

 

 

The Lion, The Witch and The Wardrobe

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Reviewed by Sophie Rowley

Opening Night verdict ⭐️⭐️⭐️⭐️

What a treat this is – midweek show – hot chocolate and mince pies. I’m here at press night – settling down to watch the Lowry’s Christmas show “The Lion, The Witch and the Wardrobe”. As we approach this festive season there tends to be a tradition of household favourites on the theatre scene, this year is no exception, the Lowry is once again hosting the children’s classic, The Lion, The Witch and The Wardrobe, which in 2021 impressed audiences with its contemporary take on an old favourite. Retuning direct from the West End, “the nations favourite novel” promises once again to delight audiences and bring festive cheer to the Salford scene. 

The novel is one of C S Lewis’ fantasy favourites which since the 1950s has gripped children and adults alike. It was the first story to be published from the seven novel collection “The Chronicles of Narnia” and it has seen many adaptations in its time on TV, in film and now on stage. The versatile Lyric stage is transformed as director Mike Fenton brings Sally Cookson’s original production to life. 

Set against the backdrop of wartime England, when children were being evacuated for safety, Lewis takes this one step further and sends the readers into the magical land of Narnia – which lets face it is a character all on its own. The story is mainly driven by the youngest of the 4 children, Lucy, who enters this mysterious land three times through a simple wardrobe in the spare room. The wardrobe acts as a portal to the magical land of Narnia, a land where time stands still and woodland fantasy creatures are in a war of their own, in a bid to bring back hope to their once pleasant land.

Here lies the power of Lewis’ storytelling – how many of you tried getting to Narnia through a wardrobe in your childhood homes – hoping you – like Lucy, could escape the reality of daily life through a doorway of hope. Narnia is brought to life superbly by the creative team. Visually this production is stunning, the contrast between black and white, light and dark throughout is so clever. The contemporary dance routines creates a wonderful parallel to the classic tale. The art of illusion especially with the witches scenes really are special and are delivered perfectly by the cast. A special moment must be taken to appreciate the sheer brilliance of the puppeteers (directed by Toby Olie and designed by Max Humphries). From household pets to woodland creatures the use of puppetry throughout is so creative. The subtle movement they give to all the animals allows them to become incredibly life like – so much so that you forget you’re watching puppets, instead you are drawn into the illusion and believe they are real. This combined with the arial artistry (directed by Gwen Hales) gives the whole production a fourth dimension feel – you are in Lucy’s shoes, you’ve entered Narnia. This show truly is a spectacle.

As Act 1 progresses the mentions of Aslan increase, building the tension ahead of his much anticipated arrival. “The King of the beasts’ finally comes to the stage in the second act through a cloud of smoke and I must admit I was excited – finally the title character is here portrayed by both a puppet and an actor. Aslan (Stanton Wright) commands the stage with a majestic presence that you can’t help but be transfixed by. I felt at times however that I was looking more at Wright than the Aslan puppet, which moments before I was so excited to see. This conflict continued throughout the show and personally as brilliant as Stanton Wright was, having both him and the puppet in equal spotlight made it feel like they were separate characters. In fact at times it felt like Aslan the puppet was a pet to Wrights’ character.

Second in the title ranking is the Witch played by Kate Stephens who with her impressive resume naturally bring a regal essence to the role. Literally at times towering above the audience with her crown of icicles and long fur coat, she definitely makes her presence felt, owning her stage. 

The children are equally as brilliant and the talent within the company is phenomenal. Kudzai Mangombe portrayal of Lucy brings a wonderful playful innocence that develops into a adolescent charm. Peter (Jesse Dunbar) and Susan (Joanna Adaran) bring reason and drive to the story, providing Lucy with a solid foundation – almost like parental figures – a beacon of truth and honesty. Contrasting completely with this is the rebellious Edmund who is played to perfection by Bunmi Osandolor. 

I cannot leave out one of literatures finest fawns – Mr Tumnus played by Alfie Richards – who brings a mystical quality to his performance, and by doing so adds a fantasy element to the show. Honestly the entire cast must be commended – not only for their wealth of talent, but because of their ability to play multiple characters and instruments. Mr and Mrs Beever also deserve a special mention – they bring a comedic element, that breaks up the plot which at times is quite bleak, with the wartime synergy.  

The Lion, The Witch and the Wardrobe fits perfectly into the play with music genre, making it a wonderfully entertaining festive experience. Take that leap this Christmas and step through the wardrobe to see Narnia for yourselves! 

The Lion, The Witch and The Wardrobe is on at The Lowry until Sunday 11th January 2026 tickets are available here.

Blood Brothers

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Reviewed by Sophie Rowley

Opening Night verdict ⭐⭐⭐⭐⭐

So here we find ourselves as Blood Brothers embarks on its 42nd year on opening night at the Lowry Lyric Theatre. The one thing I love when going to the theatre is sitting in the foyer waiting for the show to start. The anticipation from the audience chatting and excitement knowing they are in for a great show. Blood Brothers is no exception to this, hailed the “standing ovation musical” this show promises to be “unmissable”, bringing audiences worldwide to it feet with “applause” and “approval”. With such acclaim its a wonder that this is my first time seeing Blood Brothers, I too share the same anticipation and hope as the audience members currently waiting to take their seats.

Blood Brothers originated as a short play written by Willy Russell in 1981, a play that 2 years later he developed into a full musical; its very first performance was January 8th 1983 at Liverpool Playhouse with Barbara Dickson and Andrew Schofield taking the lead roles. Russell often explores themes of social class inequality, fate, the importance of family and friendships. So the big question for me is, after over 4 decades and countless worldwide performances does Blood Brothers still fit into today’s society.

Bob Thompson’s and Bill Kenwright’s direction of Blood Brothers bring this show to life, as the plot centres around twins who were separated at birth only to be reunited with tragic and disastrous consequences. Russell’s talent is further seen in the Blood Brothers score which is driven by the raw and real  problems of working class life, it is this generic quality that has resulted in the show being dubbed “the Liverpudlian Folk Opera”. Instead of using the music to drive the plot, I would argue the songs act as characters themselves allowing them to serve as a chance for the protagonists to reflect. Moreover the music is very simplistic, mainly comprised of piano and saxophone. This combination of an understated score and little to no moments for applause from the audience made the show more haunting. The first applause being at end of the first half and the second  at the end of the show.

The set was very minimal and understated – the main focal point was the Liverpool skyline, the green country landscape and the terrace housing. This occasionally changed to show the Lyon’s residence or Mrs Johnstone’s new country abode. Again a very clever production choice as it allows the plot to drive itself.

Russell’s signature style of social values and inequality are presented in such a way that it almost feels like he is trying to stun the audience into the reality of working class hardships. The difference between Mickey and Eddie’s upbringing highlights the age old question of nature versus nurture. We see the twins navigate through their childhood and adolescence with the normal teenage rebellion and peer pressures as Russell appears to be asking the audience – how far does fate play a part in the journey to adulthood.

Reprising their roles are Sean Jones as Mickey Johnstone and Joe Sleight as Eddie Lyon. Sean Jones’ portrayal of Mickey is quite brilliant as he brings a raw and real authenticity to the character; and honestly watching him I can’t help but draw multiple parallels with todays society and the social and political problems we are seeing in 2025. Similarly Joe Sleight’s characterisation of Eddie pairs perfectly with Jones’ and at times you forget you are watching a show – more if feels as though you’re a fly on the wall for conversations you shouldn’t be hearing.

Straight from the west end – Vivienne Carlyle’s Mrs Johnstone is emotionally charged, she presents Mrs Johnstone in such a haunting way that you cant help but feel sorry for her. Her continuous reprise of Marilyn Monroe further shows how tragic this character really is. The audience see Mrs Johnstone’s bravery in making hard family decisions and instantly see the devastation these decisions cause. The song “Tell Me It’s Not True” can’t fail but bring a tear to your eyes. Paula Tappenden returns as Mrs Lyon’s, her Thatcherite fashion and conservative values demonstrate the difference between the 2 mothers. Kristofer Hardings continues his role as the narrator, continuously breaking the fourth wall with his Shakespearean style rhymes, he almost forces the audience to question their own morals. Gemma Brodrick’s portrayal of Linda brings humour and light to the show – but again fate does not spare her from hardships.

In conclusion, Blood Brothers is not for the faint hearted – it is not a happy mood boosting musical, rather it is a gut wrenching take on society and how far are we in control of our destiny. It’s almost Dickensian in its portrayal of working class hardship presented alongside wealth and entitlement. Coming back to my original question at the start – does Blood Brothers still have a place in 2025? Yes, absolutely it does. Kenwright and Thompson bring Russells play to life remarkably well, through an emotionally charged score and characters who could quiet easily fit into today’s society. It’s rightly earned the title of ‘standing ovation musical’ and I couldn’t help but join in. It could be argued that not only is Blood Brothers still relevant today but I would go further and say we need more shows like this in theatres – and the fact that this show was written in 1981 and is still selling out venues worldwide in its 42nd year completely justifies this view, and it rightly deserves a 5 star review.

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.

Death on the Nile

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Reviewed by Matthew Forrest

Opening Night verdict ⭐⭐⭐

As the nights grow darker and winter edges closer, many of us start daydreaming about a spot of winter sun. Would Devon be charming this time of year? What about a glamorous rail trip across Europe, or a cruise along one of the world’s most iconic rivers — the Nile, with its breath‑taking views of the pyramids and whispered secrets of ancient Egypt? Just one warning: if a gentleman with an outrageous Belgian accent and an even more impressive moustache joins your party, consider changing your plans immediately as chances are high somebody on board won’t make it home!

Following the success of last year’s Murder on the Orient Express tour, writer Ken Ludwig and director Lucy Bailey return with another thrilling Agatha Christie adaptation, and once again, everyone’s favourite Belgian detective, Hercule Poirot, is at the heart of the mystery.

Death on the Nile sees Poirot (Mark Hadfield) and a host of high society types take a trip down the Nile on the luxurious, S.S. Karnak, as the party returns a sarcophagus which has been loaned to the British museum. Amongst the party is wealthy museum benefactor Linnet Ridgeway (Libby Alexandra-Cooper) and her husband Simon Doyle, (Nye Occomore) celebrating their honeymoon.

Also in attendance is Doyle’s former fiancée, Jacqueline de Bellefort (Esme Hough), who was also best friends with Linnet till she ‘stole’ her fiancé. Poirot’s friend Colonel Race (Bob Barrett) is also on board, as is renowned British thespian Septimus Troy (Terence Wilton), and his companion, former novelist turned aspiring actress Salome Otterbourne (Glynis Barber). Salome’s daughter, Rosalie (Camilla Anvar) has joined the trip along with Doctor Ramses Pread (Nicholas Prasad) and his father, British museum curator Atticus Pread (Howard Cossington). Finally, there is Annabelle Pennington (Helen Katamba), a business associate of Linnet.

As the paddle steamer makes its way down the Nile it is apparent that one passenger has made a few enemies and when they end up dead it’s up to Poirot to untangle the web of lies and crack the case.

Sometimes the trouble with some adaptations of Christie’s more famous works is that you are so familiar with them that you already know who the killer is. I’ve seen at least three different film/tv versions of Death on the Nile, which may have some slight differences yet ultimately the mystery elements remain the same, which is the same here. What Ken Ludwig’s script does so well is lean on humour, poking fun at the familiar tropes of the ‘whodunit’ and calling out Poirot’s penchant for the big reveal. It adds a welcome freshness to proceedings that doesn’t seem at all out of place.

With the crime genre there are lots of expedition and plot dumps which though necessary can seem shoe-horned in, however Ludwig’s script just about pulls off the trick of making it natural, as Poirot hovers about picking up nuggets of information, while various cast members air their grievances.

Mark Hadfield does a solid job as the super sleuth even though at times his accent does wander slightly. Both he and Bob Barrett make a good team as old friends attempting to crack the case. The love triangle at the heart of the story is well played with by Esme Hough, Nye Occomore, and Libby Alexandra-Cooper. Hough is on form as the unhinged women scorned. Whilst Occomore plays the part of the cad very well. Alexandra-Cooper manages to evoke sympathy as the brash troubled socialite.

The ensemble cast do a fine job of selling themselves as possible suspects with each one making sure, they are an essential part of the plot. Special mentions for Glynis Barber and Terence Wilton who make a great comedic pairing as the two aging actors.

Where this production excels is the well-crafted set design by Mike Britton, first bringing to life the interior of the British museum, and later the interior of the paddle steam. The set looks fantastic, with its shifting panels, coupled with Oliver Fenwick’s superb lighting design, as prominent suspects lurk in the shadows. It adds a film-noir quality to proceedings and further ratchets up the intrigue and suspense. Finally, Mic Pool’s atmospheric sound design hits mark the bringing to life the hustle and bustle of life luxury cruise down the Nile, whilst throwing in the odd moment of shock to boot.

Death on the Nile, whilst not perfect, is an entertaining night at the theatre. Fans of Christie’s work will notice little differences from previous adaptations, whilst those coming at this fresh are in for an enjoyable couple of hours even if the big reveal can be telegraphed from a mile away. However, very much like a cruise down the Nile itself, surely the fun isn’t the destination and all about the journey.

Death on the Nile is on at the Lowry Saturday 4th October.

Tickets available https://thelowry.com/whats-on/death-on-the-nile-q4jt