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.
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.
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.
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.
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
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.
Back in 2005, Ideal burst onto our screens. A pitch-black sitcom that quickly gained both commercial success and critical acclaim. Created by actor-writer Graham Duff and set in Salford, the show revolved around Moz, a small-time cannabis dealer played by Johnny Vegas. Over seven series, viewers were treated to a cavalcade of wonderfully bizarre characters who dropped by Moz’s grimy flat to score weed, hang out, or both. With its surreal tone and dark humour, Ideal became a cult classic.
In 2011, the BBC abruptly cancelled the show, a move that left its loyal fanbase frustrated. But in 2024, at the Bay International Film & TV Festival in Morecambe, Duff and Vegas made a surprise announcement: Ideal would return in 2025 as a brand-new live show.
Premiering this week at The Lowry, Ideal is officially back and I’m happy to report that it’s lost none of its twisted, unhinged charm. This isn’t a nostalgia-driven rehash of old episodes. It’s a fresh new story, with a few familiar faces along for the ride.
Moz hasn’t changed a bit. He’s still dealing weed and drifting through life in his rundown flat. The revolving door of oddballs is still spinning, there’s Colin (Ben Crompton), a petty criminal just out of prison and struggling to reintegrate into normal life; Brian (Graham Duff), Moz’s loud, flamboyant, and razor-tongued best friend; and Judith (Joanna Neary), the jittery and slightly deranged neighbour, who also happens to be Moz’s ex.
One notable addition is Liza (Lucy Farrett), Moz’s younger, attractive yet possessive new girlfriend. She appears devoted, but jealous, especially toward Moz’s past flames.
Meanwhile, Moz’s old rival Psycho Paul (Ryan Pope) and the ominously silent Cartoon Head (complete with trademark mouse mask) have launched a new venture: a body disposal service called “Dead & Gone,” catering to Salford’s criminal underworld. Trouble arrives when Brian’s sister, Tania (Emma Fryer), turns up with a corpse, which may contain some hidden diamonds.
A party at Moz’s to celebrate Colin’s early release takes a dark turn when one of the guests is later found dead. Can the killer be found?
Duff’s script is sharp and unapologetically odd, delivering rapid-fire laughs through a heady mix of silliness, unease, and outright grotesquery. As expected, the dialogue is peppered with biting one-liners and absurd exchanges.
Performance-wise, Johnny Vegas is as gloriously shambolic as ever — chaotic, loud, but endearingly watchable. Ben Crompton shines as Colin, and his interplay with Vegas is a highlight. Their shared scenes often veer delightfully off-script, to the audience’s clear delight.
Ryan Pope delivers a brilliant performance as the braindead hardman, while Emma Fryer is an absolute treat as the Salford femme fatale. Their chemistry and comic timing are a joy to watch, especially as they compete to out-‘Manc’ each other with their dry deadpan delivery. Joanna Neary puts in an outstanding comedic performance; her twitchy, awkward portrayal of Judith practically steals the show.
Tonight’s performance was affected by some technical issues.There were clearly microphone and sound problems during the first half of the show, which were thankfully resolved after the interval. Scene transitions also lacked polish and could have been smoother, hopefully, these will be addressed as the run continues.
One malfunctioning prop left Vegas and co-star Lucy Farrett in a somewhat compromising situation, but Vegas managed to turn it around with a fun adlib.
Fans of the show will, of course, love it, but even those unfamiliar with the characters can enjoy it, as Duff’s script stands strong on its own. It pulls off the impressive feat of being accessible to both longtime fans and newcomers alike.
Hopefully, the technical issues can be resolved for the rest of the run, as they occasionally distract from what is otherwise a consistently entertaining and often hilarious night out.
Ideal is on at the Lowry Saturday until 13th September.Tickets available here
With hints of Halloween creeping into every supermarket home section despite the 30-degree temperatures outside it feels somewhat fitting that the spooky, ooky Addams family should also make an appearance, arriving at Salford’s Lowry theatre for one gloriously ghoulish week.
Written by Marshall Brickman and Rick Elice with original music and songs from Andrew Lippa, this musical comedy is packed with humour, heart and kooky theatrical flair.
The story is centred around the unconventional teenage love story of sadistic, gothic, Wednesday Adams (played by a brilliant Maria Garrett on as cover for tonight’s performance) and All-American Lucas Beineke (played by a charismatic Jacob Fowler). As the two families come together over dinner at the Addams family mansion, it’s here that the fun and games really begin.
Garrett takes the role of Wednesday and runs with it, passionate and intense with an loveable warmth, her punchy performance is perfection. Her delivery of ‘Pulled’ is every bit as spine tingling as Diego Pitarch’s captivating set design. Her pairing with Jacob Fowler as love-interest Lucas works wonderfully, the two combined give us heavenly harmonies and wicked chemistry.
The rest of the kooky clan are equally as impressive with Alexandra Burke as a sensuous, sophisticated Morticia while Ricardo Afonso hits every mark as a scene stealing Gomez, his vocals are without doubt are some of the best you’ll ever hear while his comedic timing is second to none.
Clive Rowe is a delightfully loveable Fester, while fan-favourite Lesley Joseph as Grandma Addams and Nicholas McLean as Pugsley, pack in the humour delivering their witty one-liners to perfection. Special mention must also go to Kara Lane as Lucas’ mother Alice Beineke who shifts deliciously from ‘normal to ‘unhinged’ right before our eyes at the close of Act One. While Dickon Gough returning to the role of Lurch is spooktacular.
The ensemble of seven skilled performers who make up the Ancestors fill the stage with enthusiasm and energy, helping to cleverly move the story on and bring the undead to glorious life, adding wonderfully to this already strong cast and cementing the true meaning of family by the end of Act Two.
While the Addams Family may have been around for almost 90 years there’s nothing ancient about this quirky, uplifting show. Matthew White’s direction combines nostalgia with fresh energy resulting in an enormously entertaining production. Add to this a cast at the top of their game and you’ve got a captivating, contemporary adventure for young and old alike, creepy, kooky and most fabulously spooky!
The Addams Family is on at The Lowry until Saturday 16th August tickets available here.
Quadrophenia has taken on many guises down the years: From its origins as The Who’s sixth studio album/ rock opera. It later became a hugely popular film, and later a classical opera. Now ballet has a crack at breathing life into this ever changing, highly influential piece of work.
In 2016 composer Rachel Fuller, composer, scored a classical adaptation of The Who’s 1973 album Quadrophenia, written by The Who guitarist and Fuller’s husband Pete Townsend. The reimagined album was called Classic Quadrophenia, and it provides the score for the ballet.
We are introduced to the troubled young man, Jimmy (Paris Fitzpatrick). He is struggling to make his way in the world, his home life with his parents isn’t great, he is being treated for mental health issues, and is struggling with the daily grind of boring dead end jobs. Jimmy is desperate to escape. He sees his way out coming through the mod way of life: drugs, sharp clothes, and great music. In addition, Jimmy is smitten by a young woman (Taela Yeomans-Brown) who is also a fellow mod, who also happens to be dating the leader of a gang of mods, the charismatic Ace Face (Dan Baines).
Director Rob Ashford and choreographer Paul Roberts have done a superb job bringing to life Townsend’s vision and putting it up on the stage. Throughout, the dances range from the frenetic to subtle and measured. There are a mix of huge ensemble routines such as the brilliantly crafted 5:15pm, which sees Jimmy take a packed train to Brighton and the act one closer of Who favourite Can’t Explain intertwined with the ballet’s beating heart: the song Love Reign O’er Me. Where Jimmy finally gets noticed by the Mod Girl of his dreams.
In addition to the big ensemble numbers, the production has some surprising moments of warmth. Cut My Hair, which sees Jimmy meet up with his friend (Euan Garret), who happens to be a rocker, the sworn enemy of the mods, is a tender moment, a brief respite from the conflict raging in Jimmy both internally and externally. Whilst a sequence showing Jimmy’s father PTSD from the war, is a surprising, yet welcome addition.
There are fine performances throughout: Paris Fitzpatrick is fantastic as the angst-riddled Jimmy, he’s managed to bottle up the raw emotion and channel it into his turn, from teenage kicks to a broken heart, you have sympathy with the young mod’s situation throughout. Taela Yeomans-Brown as the Mod Girl gives a delicate performance filled with grace and charm. Whilst Dan Baines is a must-watch as the effortlessly cool mod of the moment: Ace Face. The interaction between Brown and Baines showcases the intensity in their relationship.
One of the absolute joys of the production is just how good it looks. The costumes from designer Paul Smith are fabulous throughout, the suits look crisp and sharp, the dresses are bold and stunning, they pull that neat trick of capturing the spirit of the 60’s whilst still managing to look contemporary. In addition to the costumes the video design and staging is superb. The opening/closing sequence on the rocks at the seaside, are beautifully haunting, whilst other highlights include a scene outside a late-night diner as Jimmy dances with his reflection just adds extra depth to proceedings.
Overall, this is a faithful yet unique take on this captivating story. Fans of the original album will enjoy the fresh arrangements the fuller orchestration brings, whilst ballet fans will enjoy a super talented set of performers at the top of their game. Like the RAF roundel at the heart of mod culture, Quadrophenia, A Mod Ballet more than hits the target.
Quadrophenia, A Mod Ballet is at the Lowry until 19th July tickets are available here.
Quadrophenia A Mod Ballet, Lyric Theatre, Lowry, Quadrophenia, Rachel Fuller, Pete Townsend, Paris Fitzpatrick, Taela Yeomans-Brown, Dan Baines, Rob Ashford, Paul Roberts, 5:15pm, Can’t Explain, Love Reign O’er Me, Cut My Hair, Euan Garret, Paul Smith
The revival of the 2023 Olivier Award-winning Best New Play has opened at The Lowry for a month-long away fixture offering regional audiences their first chance to catch this inventive production outside of the Capital.
Following the fascinating story of Gareth Southgate’s memorable eight years as England Manager this National Theatre production has all the exhilarating highs and gut-wrenching lows familiar to football fans; however, it goes far beyond the sport itself offering a thrilling and insightful exploration of culture, connection and what it means to hold the hopes and dreams of a nation in your hands.
Having updated the ending to reflect England’s 2024 Euro’s journey, writer James Graham grabs every opportunity to show the audience that this truly is a game of two halves, at times joyous, other times brutal but always authentically honest.
Beginning with a flashback to Euro ’96 as a young Southgate steps up to take the now infamous missed penalty, this moment cleverly sets the tone and returns as a running theme to challenge Southgate (Gwilym Lee) throughout the piece. As we fast-forward to 2016 we see Southgate drafted in as caretaker manager following Sam Allardyce’s sacking after just one game in charge. Determined to make a positive change and do things differently, Southgate brings in sports psychologist Pippa Grange (Liz White), what follows is an incredible journey that goes way beyond football.
Taking on the role of Southgate is an impressive Gwilym Lee, having seen Lee portray Brian May so accurately in Queen biopic Bohemian Rhapsody it comes as no surprise that he hits the mark once again. With every measured tilt of the head, folding of the arms and blink of the eyes his nuanced performance is perfection. He leads this fine cast with a gentle hand and captures the essence of Southgate perfectly.
Liz White as Pippa Grange is a consistent presence of calm, challenged by resistance from both players and coaching staff she never wavers. Graham in his writing uses Grange’s character to gently remind us that while Southgate was becoming a mentor and father figure to many in the team he was also battling his own demons, struggling to show himself the kindness he was so brilliantly instilling in others.
The ensemble cast compliment Lee and White perfectly, they portray their real-life counterparts with incredible accuracy. Josh Barrow as Jordan Pickford is mesmerising. He fizzes with energy throughout, his subtle shift from raw, untamed, chomping at the bit goalie to trusted teammate and backbone of the squad by the end if fascinating to watch.
Ryan Whittle steps into Harry Kane’s Captain’s boots with a well-observed nervous hesitation and grows in stature throughout while Gamba Cole as Raheem Sterling opens up to reveal his fears and disappointments as he learns to trust in his team mates.
While there is incredible humour and lots of it, the play doesn’t shy away from the harsher themes that sadly have dogged both football and English culture for many years. Most notably here the appalling racism faced by young black players specifically during the 2020 Euros final. Tane Siah, Jude Carmichael and Kadell Herida as Bukayo Saka, Marcus Rashford and Jadon Sancho highlight these dark moments with an honesty that reminds you just how quickly supposed loyal fans can turn and just how important standing up collectively to that hopefully small minority truly is.
The ensemble cast work tirelessly to showcase Rupert Goold’s inventive staging (with Elin Schofield as revival director) with a slick, swift brilliance. Co-movement directors Ellen Kane and Hannes Langolf score no own goals with their incredibly tight sequences as this cast convincingly recreate matches, penalty shootouts and meaningful dressing room moments. Es Devlin’s inspired set design is perfectly lit by Jon Clark while Dan Balfour and Tom Gibbons sound design and Ash J Woodward’s video design hit the back of net.
From euphoria to crushing heartbreak, Dear England takes audiences on a thrilling journey inviting us into the very heart of the action, allowing us to scratch way beyond the surface with its carefully crafted storytelling and visual brilliance. We live through the highs and the lows as one with the team, willing for the result to be different, hopeful, heart-warmed and inspired by the end of this groundbreaking piece. This is theatre at its absolute finest which taps right into the heart of what it is to be human, to believe in yourself and to have the bravery to face your fears regardless of the magnitude of the situation.
Whether you’re a football fan, a theatre fan or just love a fascinating story brilliantly told this is a must-see production that will capture the imagination of audiences night after night, so good, so good, so good!
Dear England is on at The Lowry until Sunday 29th June, tickets are available here.
Peggy Seeger’s 25th and final solo album, released the month before her 90th birthday, is a fitting tribute to over 70 years as a working musician, feminist and activist. Peggy’s 25-date tour of the UK and Ireland in May & June will be her very last. After the tour, Peggy will retire from recording and live performance.
This is no apologetic or quiet farewell – she’s going out with a thoughtful, philosophical and very satisfying BANG. Peggy’s voice and songwriting are still major forces to be reckoned with. Nine brand new songs and two reinterpretations span the pillars that have sustained her career. Written and recorded with family members – established musician sons Neill and Calum (Calum also produced the album) and daughter-in-law Kate St John – this album is sheer class, suffused with love and respect.
Teleology is the belief that everything that has happened is an arrow aimed at a target called now, and this album celebrates both the now and the timeline that has led her here.
Peggy says: “It is unavoidable that at 90 I am preoccupied with life, love, loss, old age and death but I’ve never abandoned politics or the compulsion to speak up when something isn’t right. How I got here is still a bit of a mystery, but I’m exactly where I should be right now, and I’m at peace with that.”
Peggy plays The Lowry on Wednesday 21st May with tickets available here.
Back in 2019 I was lucky enough to see Stephen Fry’s Mythos shows. Fry gave a brief history of Greek mythology, regaling a captive audience with tales of spiteful gods, gruesome monsters and heroic mortals. Well, Sir Stephen may want to revisit the Lowry, as Zeus and Hera have arrived in Salford filled with malice and wrath!
Commissioned by the Lowry as part of their 25th Anniversary celebrations, Gods of Salford, sees ancient Greece relocated to the Greater Manchester city nestled on the banks of the river Irwell. The mortals work and toil away in order to pay tribute to the King and Queen of the Gods, Zeus (Emmerdale’s Anthony Quinlan) and Hera (West End star Laura Harrison). However, soon the humans grow tired of being at the whim of the Gods and a few brave individuals begin voicing their concerns about their treatment at the hands of the immortal rulers.
Zeus, upon hearing the discontent of the people, proposes a series of tasks whereby the humans could win their freedom. However, the humans soon realise that God’s don’t always play fair, whilst the omnipotent overlords soon learn that you underestimate human endeavour at your peril.
Not Too Tame are gaining a reputation for putting on fun, interactive shows that deliver a hugely entertaining night out and Gods of Salford carries on with that tradition. High energy, action packed and innovative, the myths and legends of ancient Greece are intertwined with stories of folklore from the pubs and streets of Salford.
The show has something for everyone: a punchy, witty script from Andrew Butler and Louise Haggerty, which playfully weaves the bizarre and absurdities of Greek Myth, with no nonsense Northern charm and honesty. Brutal one-liners and well observed social commentary mesh to make the classic underdog story.
Under director and co-writer Jimmy Fairhurst, we are treated to a cross between a Saturday night entertainment show and gladiator style combat as Zeus’ tasks are revealed. The show has the luxury of having a super talented cast of young actors at its disposal, giving performances packed full of energy and attitude. They fully embody the resilience and ‘never give up’ attitude at the heart of the story.
This innovative piece features impressive, choreographed set pieces, fine solo offerings, some ballet, contemporary dance, powerful vocal performances and even the theme tune to 80’s kids show Fun House for the nice little nostalgia hit.
Anthony Quinlan is an imposing figure of Zeus. It’s a turn packed full of menace, reminiscent of the local hardman you meet down the pub, who you want to be friends with only so he doesn’t smash you in the face, which he probably will do anyway. He is more than matched by Laura Harrison’s devious Hera, her stunning vocals are equalled by her ruthless streak. Jimmy Fairhurst and Max Healey bring a touch of razzmatazz to the mischievous compares for the tasks, Hermes Alpha and Hermes Beta while ensemble cast of young adults all get their chance to shine right from the get-go.
The set looked fabulous as the Quays Theatre transforms into Mount Olympus, if Mount Olympus were a building site. Jen McGinley’s impressive set design looks both gritty and majestic, but also allows for the cast to interact with the audience, and the audience to feel they are part of the drama, not immune from the Gods’ wrath.
Tonight’s show did have a few issues: at times during the first 15 minutes, it was hard to hear some of the cast members due to the frenetic nature of the show, however this was a minor quibble and understandable when you have a 20+ strong cast zipping around the stage.
This is a joyous, fun filled night at the theatre which showcases the talents of some fine young adults and allows them to do what they love and perform, and they do so with so much gusto and energy. Every Not Too Tame production I’ve previously seen has plenty of heart, soul and takes enormous pride in its working-class roots, everyone involved should be proud of what they have achieved: it is a no-nonsense, highly entertaining night out, which the Gods would more than approve of…👍
Opening Night 