The Lowry

Sylvia

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Reviewed by Nikki Cotter

Opening Night verdict ⭐⭐⭐⭐⭐

In 1903, Manchester, Emmeline Pankhurst founded the Women’s Social and Political Union (WSPU) to fight for the rights and betterment of women. Her name remains synonymous with the city, and she is almost universally the first name which comes to mind when women’s suffrage is mentioned. However, as the WSPU grew increasingly militant under the leadership of Emmeline and her eldest daughter, Christabel, middle daughter Sylvia and the path she takes gives us the focus of this powerful story.

Disillusioned by her mother and elder sisters increasingly radical methods, Sylvia fights to guide the Suffragettes toward a broader socialist agenda, fearing that their extreme tactics and restrictive focus will leave ordinary working-class people behind.

The production brilliantly captures the ideological rift tearing the Pankhurst family apart, resulting in a powerful exploration of family division as the Pankhurst’s feud over the socialist ideals Sylvia refuses to compromise on.

Beverley Knight takes on the role of Emmeline, an authoritative, no-nonsense presence who refuses to back down. Knight, like Emmeline is truly a force of nature, strong, compelling and utterly formidable. Her vocals are pitch perfect, as she delivers Emmeline with a steely, stirring determination.

Naomi Katiyo absolutely raises the roof in the titular role of Sylvia. She takes the audience on a truly remarkable journey, growing in strength and conviction despite the brutal conditions she endures. Rather than breaking her spirit, frequent imprisonment and regular hunger strikes only fuel her determination to succeed in her fight against inequality. Her vocals are perfection, delivering Kate Prince’s intricate lyrics with seamless control as she moves from heartbreakingly emotive to powerful and punchy with an incredible ease.

While Beverley Knight and Naomi Katiyo lead this cast superbly the production feels like a very special ensemble piece with every single person on stage well and truly at the top of their game. While every member of the cast deserves enormous praise, special mention must go to Ellena Vincent as Christabel, Tachia Newall as Kier Hardie, Uzuazo O’David as Harry Pankhurst, Kristie Skivington as Adela Pankhurst, Ivano Turco as Silvio Corio and Colette Guitart as Clementine Churchill, all are knock out.

The collaborative writing of Kate Prince (lyrics & book), Priya Parmar (book) Josh Cohen and DJ Walde (music) is a joy, covering multiple genres from hip-hop to soul in impressive style. The vocals in this mostly sung-through production are incredible, paired with Prince’s stunning choreography and direction the result is a slick, striking and visually enthralling piece.

There’s a wonderful balance between vocal numbers like Stand Up that feel like a call to arms and the deeply poignant I Don’t Want Blood on My Hands adding depth and complexity to the storytelling. Taking this to the next level is Prince’s choreography which is used to incredibly dramatic effect, none more so than during March Women March/Be The Change at the close of Act 1 which brought me and many of the audience to tears.

Ben Stones mostly monochrome set paired with Natasha Chivers and Hector Murray’s intentionally stark lighting allows the focus to stay firmly fixed on the characters as this politically charged story unfolds. Splashes of politically aligned colour appear as we move further into the timeline of the period adding clarity and broader character definition.

Sylvia is an absolute triumph, the cast are sublime while the production leaves you feeling, educated, entertained and empowered. Sylvia serves as a true reminder of the importance of standing up against injustice and inequality even when the path feels almost impossible. As a woman, from the North West I found the production deeply moving and a true reminder that we can all be changemakers. Inspirational, powerful and incredibly poignant, this is an absolute must-see.

Sylvia is on at The Lowry until Saturday 24th October tickets are available here.

Calendar Girls The Musical

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Reviewed by Sophie Rowley

Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

 

The show about five incredible women who defied tradition, changed the meaning of a sunflower and dared us to “whip our bras off” is now showing at the Octagon in Bolton. In 2003, the world was introduced to the extraordinary story of Calendar Girls, and audiences were certainly not prepared for the emotional rollercoaster they were about to embark on. 

When Annie’s husband John is cruelly taken by leukaemia, her best friend Chris persuades Annie and their friends to come together and create a charity calendar in the hope of raising money for the hospital that cared for him. Their mission seems simple enough: raise enough money to buy a sofa for the hospital’s family room. But, as is so often the case, fate has rather bigger plans. What follows is a whirlwind of friendship, grief, laughter and courage, a story that continues to resonate with audiences more than two decades later. And perhaps the most incredible part of all is that this really happened.

The musical is based on the true story of the Women’s Institute members who made headlines in 1999 by producing a nude calendar to raise money for charity. There is something particularly challenging about bringing a true story to the stage. You need to capture the emotions, preserve the integrity of the story and, most importantly, respect the real people whose lives inspired it. Gary Barlow and Tim Firth have succeeded in all three with this magnificent musical rendition of the inspiring tale of a group of Yorkshire women who decided to do something rather extraordinary for charity.

Women’s Institute members. A nude calendar. A sunflower. Raising money for charity…Quite the plot line, wouldn’t you say?

Director Paul Robinson revives the well-known production of Calendar Girls, but this is far from a production that relies on elaborate sets or spectacle. The use of actor musicians perfectly complements the productions stripped-back approach. It is this simplicity that, ironically, gives the show such impact. As with many Octagon productions, Calendar Girls thoroughly embodies a sense of community. The use of local casting adds an authenticity to the production, while the intimate nature of the theatre itself makes you feel as though you are part of the story rather than simply watching it unfold. Together, these elements create a wonderful sense of family, while the relatability of the characters immediately draws you into their world.

Helen Coyston’s staging reinforces this further. The in-the-round configuration means the audience is in close proximity to the cast throughout, while her staging remains simple and elegant. Nowhere is this minimalist approach more effective than in the infamous calendar scenes. Rather than making these moments exposing, awkward or gimmicky, Coyston treats them with sensitivity and softness. In doing so, the scenes become something far more meaningful: a celebration of body positivity, confidence and the courage to embrace who you are. The strategic placement of props, choreographed seamlessly into the action, feels completely natural and is exquisitely executed. Nothing feels unnecessarily complicated, allowing the characters and their stories to remain firmly at the heart of the production. 

The musical score is infectious. Gary Barlow and Tim Firth’s original score has been reimagined for this production, with the cast doubling as the band. I have seen this technique used many times, but it is incredibly effective when executed well, and this cast makes it look effortless. A combination of woodwind instruments and piano adds another layer of intimacy to the production. The absence of a hidden pit orchestra allows the music to exist within the world of the characters, rather than sitting separately from it. You can see and hear the musicians creating the melodies alongside the action, further reinforcing the sense that this is a community telling its own story.

This 12-strong cast is incredibly versatile, seamlessly switching between acting and playing multiple instruments throughout the production. Leading the cast are Karen Holmes as Chris and Christina Meehan as Annie, accompanied by a superb ensemble including Pippa Duffy as Celia, Sarah Groarke as Marie, Annie Kirkman as Ruth, Alicia McKenzie as Cora, Fenella Norman as Jessie, Neil Moors as John, Matt Heslop as Lawrence, Charlie France as Tommo, Grace Pearce as Jenny and Billy Currid as Danny, with Matt Ian Kelly, Rachel Hammond and Angela Caesar who all tackle multiple roles. 

Holmes allows Chris’s feistiness to shine, showing exactly what a force of nature she can be. She is quite the antithesis to Meehan’s Annie, who presents a softer kind of strength. But don’t be deceived: beneath Annie’s gentler exterior is a true fighter, determined never to lose sight of why they are doing this. Meehan makes Annie the backbone of the group, capturing the way grief can change from one moment to the next, sometimes strengthening you and sometimes threatening to overwhelm you. It is perhaps this portrayal of grief that makes Calendar Girls so universally relatable. For many watching, the story may echo their own experiences of loss, and there is something incredibly powerful about seeing those emotions represented so honestly on stage. Annie’s journey reminds us that grief does not follow a straight line. Sometimes it makes you stronger, sometimes it breaks you, and sometimes it does both within the space of an hour. 

Calendar Girls is such an inspiring story, and Robinson’s reimagining of these unyielding Yorkshire women’s formidable quest to raise enough money for a sofa becomes something far more magical. This is a story of courage, compassion and, to borrow the Women’s Institute’s own words, “fun, friendship and enlightenment”. The use of local actors further injects authenticity and community into the production. The emotionally charged subject matter makes for some genuinely moving moments, with scarcely a dry eye in the house. 

Whether you are familiar with the original story or discovering it for the first time, Calendar Girls remains a staple of modern theatre. Setting this extraordinary true story to music brings a new energy and emotional charge to an already electric tale, allowing the laughter and the heartbreak to sit side by side. What begins as a seemingly simple mission to buy a sofa becomes a celebration of friendship, bravery, grief and the remarkable things that can happen when ordinary people decide to do something extraordinary. And perhaps that is the greatest achievement of this production: beneath the laughter, the music and, of course, the infamous calendar, it reminds us that sometimes the smallest acts of kindness can create something much bigger than anyone ever imagined.

Calendar Girls is on at Bolton’s Octagon theatre until Saturday 31st October tickets are available here.

The Silence of the Lambs

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Reviewed by Matt Forrest

Opening Night verdict ⭐⭐⭐⭐

When it was first announced earlier this year that The Silence of the Lambs was being brought to the stage, I have to admit I was both intrigued and a little sceptical. It’s certainly a bold choice for a theatre production, given that the film is widely regarded as one of the greatest of all time and continues to feature highly in film polls. Then, of course, there are those much-loved and Oscar-winning performances from Jodie Foster and Sir Anthony Hopkins.

Thankfully, writer Gina Gionfriddo and director Nikolai Foster have done a superb job of bringing the story to the stage, creating something that feels fresh and distinctive rather than simply being a straight screen-to-stage adaptation.

Leaning more into Thomas Harris’s 1988 novel, the stage adaptation tells the story of FBI trainee Clarice Starling (Mollie Gallagher). She’s top of her class at Quantico and, despite still being relatively green, is given an assignment by Jack Crawford (Oliver Farnworth), head of the FBI’s Behavioural Science Unit. Crawford wants Starling to interview Dr Hannibal Lecter (John Partridge), a brilliant but deeply disturbed psychiatrist who is being held in a Baltimore hospital for the criminally insane. Lecter is also a particularly gruesome serial killer, with a rather unpleasant penchant for eating his victims.

Crawford hopes that Lecter might be able to provide some insight into another killer, known as ‘Buffalo Bill’ (Sam Jackson), who is currently at large. However, getting information from Lecter is never going to be straightforward. Before long, Clarice finds herself drawn into a dangerous psychological game of cat and mouse with a man who knows exactly how to get inside her head.

The production is smart enough to recognise that most of the audience coming to see it will already be familiar with the film, and so it wisely offers us something different. There’s much more interplay between Starling and Lecter, allowing us to delve deeper into their complex relationship, while the relationships between Starling and Crawford, and the shared history between Lecter and Crawford, are also given more room to develop. It adds an interesting new dynamic to the story, giving these familiar characters greater depth and adding further layers to an already gripping tale.

In addition, the production really leans into its theatrical setting, with Michael Taylor’s superb multi-purpose set design helps to create an atmosphere all of its own. As Clarice’s investigation progresses, we simultaneously see Buffalo Bill’s frustration mounting as he races to complete his “masterpiece”. Seeing both storylines unfold side by side creates an added sense of tension and urgency, keeping the pace moving even when the action itself is relatively restrained.

Taylor’s set is filled with dimly lit basements, shadowy corridors and grimy alleyways, it has a suitably dirty and grubby feel that fits the world of the story perfectly. This is in stark contrast to the recreation of Lecter’s iconic Perspex cell, where we get to see John Partridge switch effortlessly between a cold, calculating manipulator and something much more akin to a caged animal.

Partridge is a towering presence as Lecter, delivering a calm, measured performance filled with charm, wit and an unnerving stillness, punctuated by flashes of anger and rage. His physicality adds to the menace, and while a role like this could easily stray into hammy territory, Partridge never lets it, creating a Lecter who is genuinely unsettling.

Equally impressive is Mollie Gallagher in her professional stage debut. She strikes the perfect balance between Starling’s confidence and vulnerability, while her West Virginia accent is spot-on. She makes Starling a plucky, likeable heroine who is easy to root for.

The chemistry between Gallagher and Partridge is initially excellent, as they constantly jockey for position and size each other up, becoming increasingly fascinated by one another. Unfortunately, the final act loses some of this tension by shifting their relationship towards something closer to love, which doesn’t quite convince.

Sam Jackson gives a strong physical performance as Buffalo Bill, while the increased interaction between Bill and his victims adds an interesting layer to his character. Oliver Farnworth is also impressive as Jack Crawford, bringing warmth to the damaged, repressed mentor and giving us a real sense of his care for Starling, alongside his awareness of the danger he has placed her in.

It would have been easy for the production to rely on big jump scares and lashings of blood and gore. Instead, it wisely tones these elements down, meaning that when those moments do occur, they have far greater impact. The production relies much more on the psychological elements of the story to ratchet up the tension, building steadily towards a thrilling climax.

There are still plenty of memorable scenes and lines from the film, but this production is very much its own entity, offering something different while keeping you engaged from start to finish. Strong performances and high production values make for an entertaining and enjoyable night at the theatre, even if it doesn’t come served with fava beans and a nice Chianti!

The Silence of the Lambs is on at The Lowry until Saturday 10th October tickets and info available here.

How Soon Is Now?

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Reviewed by Nikki Cotter

Opening Night verdict ⭐⭐⭐⭐

Written by Siân Owen, this new production transports us to Manchester nightclub ‘Deja Vus’ on New Year’s Eve 1997. Midnight is fast approaching, New Labour and ‘Cool Britania’ are offering a sense of optimism, and, inside the club, the music is bangin’, the atmosphere’s beltin’ and the possibilities seem endless.

At the heart of this production are three young women, Polly, (Laura Robinson) Angie (Kaitlyn Akinpelumi and Jean (Bethan McLean) each arriving at the club with very different hopes, dreams and emotive back-stories. Angie and Polly are regulars at the club, part of the furniture so to speak and a friend to all, while Jean is an outsider struggling to find where she belongs. Their lives collide against a backdrop of 90s indie classics, creating a story that is as much about friendship and finding yourself as it is about the music.

For anyone who lived through the 90s, the live music is an absolute joy. As someone who was 19 on New Year’s Eve ’97, the production’s nostalgia was a massive draw for me, but Box of Tricks goes far beyond a simple trip down memory lane. Delivering a gritty, visceral piece that bursts with both heartbreak and hope.

The production draws on the era’s defining sound, tapping into a delicious back catalogue of tracks from indie legends including The Stone Roses, Oasis, Pulp, Radiohead and The Smiths to create an atmosphere that feels instantly familiar. The music quickly becomes part of the storytelling, helping to express the characters’ hopes, fears, complex relationships and need for escape.

Director Adam Quayle successfully brings to life Siân Owen’s vision of a club that feels like an entirely separate, magical world where anything is possible. Somewhere you can be anyone you want to be before morning arrives and the real life kicks you in the teeth. As DJ Spin Jim, actor-musician Darragh Cowley brilliantly anchors the production. He guides us through an indie-infused night where reality blurs into pure musical intoxication with enthusiasm and iconic Manc swagger.

The three central performances bring plenty of heart, the friendship between Angie and Polly, portrayed beautifully by Kaitlyn Akinpelumi and Laura Robinson providing the emotional core. An additional dramatic layer comes from Bethan McLean as Jean, a young Welsh woman trying to find her voice despite her controlling boyfriend, brilliantly played by Theo Woolford.

The show’s live music is performed by a hugely talented trio including Darragh Cowley and Theo Woolford who seamlessly pivot from their acting roles to join guitarist and vocalist L J Willow, forming an incredible live band who seamlessly become part of the nightclub environment.

Writer Siân Owen balances cleverly the euphoria of New Year’s Eve with the crushing reality of real life; amidst the celebrations are themes of loneliness, coercive control and domestic abuse, giving the production depth. What makes this production particularly effective is the way it captures that complex feeling of young adulthood, where the characters are young enough to believe anything is possible, but old enough to realise that life doesn’t always follow the soundtrack you imagined, but like the resilient Manchester spirit, hope always rises.

Energetic, nostalgic, funny, tender and packed with absolute tunes, How Soon Is Now? is a celebration of the 90s that manages to be much more than just a trip down memory lane. ‘Ave it!

How Soon Is Now? Is on at The Lowry until Saturday 3rd October tickets available here.

High Society

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Reviewed by Matt Forrest

Opening Night verdict ⭐⭐⭐⭐

The social event of the year has just arrived at The Lowry, and everyone is invited. Cole Porter’s High Society promises plenty of glitz, glamour, gossip and a side order of scandal, but, more importantly, some absolute classic songs from Porter’s back catalogue.

Direct from a sell-out run at London’s Barbican Theatre, this glossy hit show is now touring the UK and Ireland. Based on the 1956 film of the same name, which starred Bing Crosby, Grace Kelly and Frank Sinatra, the musical itself was adapted from the 1940 non-musical film The Philadelphia Story.

Helen George stars as socialite Tracy Lord, a member of the extremely wealthy Lord family. It’s the weekend of Tracy’s wedding to accountant and safe pair of hands George Kittredge (David Seadon-Young), whom Tracy’s family don’t particularly approve of on account of his being, well, rather dull and boring.

Things become considerably more complicated with the arrival of Tracy’s charismatic ex-husband Dexter Haven (Julian Ovenden), who has crashed the wedding with news of a brewing scandal that could potentially ruin the Lord family name.

Adding further fuel to the fire are two undercover reporters from Spy Magazine, Mike Connor (Freddie Fox) and Liz Imbrie (Carly Mercedes Dyer), who have been sent to dig up some dirt and, hopefully, secure a few more salacious stories.

What follows is a fun and thoroughly enjoyable show, packed with big song and dance numbers, top-drawer performances and stunning costumes, all of which do a good job of disguising a rather paper-thin and contrived plot.

This talented ensemble cast seem to have come straight from central casting. Helen George brings plenty of star quality to the role, displaying great comic timing alongside a tremendous vocal range. She is perfectly complemented by musical theatre veteran Julian Ovenden and musical theatre debutant Freddie Fox, with all three displaying terrific chemistry whenever they share the stage.

Fox, in particular, makes a confident transition into a convincing song and dance man. His performance brings plenty of energy to the production, and he clearly looks at home in his musical theatre debut.

They are supported by some fine comedic turns from Nigel Lindsay as the kindly drunk Uncle Willie and Carly Mercedes Dyer. Lindsay’s is an entertaining watch throughout: his turn during the act one ensemble closer Now You Have Jazz, was for me the one of the show’s many highlights.

Meanwhile, Dyer’s dry, deadpan delivery of some of the production’s more stinging lines is perfectly matched by her heartfelt and tender rendition of I’ve Got You Under My Skin.

As this is a Cole Porter musical, the real star of the show is always going to be his fantastic songbook, and this impressive cast and band more than does it justice.

Fox and Dyer deliver a fun rendition of Who Wants to Be a Millionaire?, while George and the ensemble cast bring the house down with the magnificently naughty Let’s Misbehave. Ovenden, meanwhile, excels in the slower and more wistful Just One of Those Things.

Cole Porter’s music sounds magnificent, brought to life by the superb band under the direction of Dan McLaughlin, while Anthony Van Laast’s choreography is slick, complementing the score perfectly.

The production values are first class, bringing to life the decadent lifestyle of the Lord family. John Morrell’s costumes are sharp and elegant, fully recapturing the 1950s razzmatazz, while Tom Rogers’ bold and lavish set design, complete with flowing staircases and a swimming pool, perfectly sets the scene.

Threadbare plot aside, and with perhaps a few too many drunken revellers running around the stage during the second act (we get the point, it’s a party!), I’m always amazed at how quickly affairs and infidelity are forgiven in productions from this era, while being a bit of a bore appears to be the ultimate sin. Different times, I suppose.

High Society is a fun and classy night at the theatre, showcasing talent from across the board who are all at the top of their game. My advice? Should an invitation ever arrive for a Lord family wedding, go. You’ll have a fantastic time and get the chance to revisit some timeless tunes along the way.

High Society is at the Lowry until Saturday 3rd October tickets are available here.

High School Musical

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Reviewed by Sophie Rowley

Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

In 2006, Kenny Ortega sent audiences “soaring… flying” with his “fabulous” creation of High School Musical. The plot centres around two main characters: Troy Bolton, who rules the school as the captain of the basketball team, and Gabriella Montez, a transfer student who excels in her academic studies. When both decide to audition for the school play, neither could have anticipated the impact it would have on the “Status Quo”. Now, 20 years on, Hope Mill Theatre and The Lowry are staging a wonderfully immersive “non-replica” production of the iconic millennial masterpiece.

Walking into The Lowry, you can feel the excitement. The audience are kitted out in replica costumes and themed T-shirts, and there is a sea of red, white and pink weaving through the stalls. Hope Mill’s producers and co-directors, Joseph Houston and William Whelton, remarked, “High School Musical is a show loved and adored across generations. It’s our ambition to create a new stage production to bring together those generations to experience the live spectacle in a completely fresh way.” This enthusiasm is clear and joyously displayed in this exciting production. There is a comforting combination of generational excitement alongside fresh energy from those who are new to the show, bringing an emotional charge to the pre-show atmosphere.

Your eyes are immediately drawn to the stage, in particular the sheer scale of it, mimicking a school gymnasium. Andrew Exeter and the production team bring the film to vivid life through imaginative, interchangeable sets and vibrant background graphics, but the standout feature has to be the onstage seating. Yes, the audience get to sit on stage and witness the action court-side. This idea works well, as from the stalls it mimics the effect of watching a sports game. From the onstage perspective, there is a possibility of losing a little of the show’s essence as you are watching from a side-on view, but a fun experience nonetheless.

Aaron Renfree’s routines are so engaging to watch, well-timed and superbly executed, especially the basketball choreography. Having memorised the “We’re all in this together” routine in my younger years, I was ready to join the cast on stage and dance, as my inner 2006 High School Musical child desperately wanted the original choreography for the chorus but, billed as a “non-replica” production, I completely respect the artistic decision not to replicate the routines. However, with it being such an iconic song from the film, it would have created a delightful synergy with the generation who grew up watching the original.

Let us move onto the cast, and what a cast this is! Every single person on stage thrives in their portrayal, with their passion shining throughout. Starting off strong with the main man himself, Troy Bolton, played by Tobias Turley, who brings a mature, masculine quality to the role. He doesn’t portray Troy as a pompous adolescent wanting to be the star; rather, he brings a quite soft energy that allows us to see why Gabriella (Leonor Correia) falls for him.

Correia and Turley work well together, with Correia offering a new side to Gabriella by bringing elegance, poise and confidence to the role. Their characterisations make you feel safe watching them and, in doing so, reinforces the “fresh” perspective Houston and Whelton wanted the show to have. Their vocals are clear and strong, creating a strong musical theatre quality to the show. Again, this is a difference from the film, where the vocals favoured a pop-culture sound.

Their chemistry is subtle but effective, the complete antithesis to their onstage rivals, the Evans twins: Sharpay (Caitlin Tipping) and Ryan (Luke Bayer). These two are arguably the most recognisable pairing for original aficionados, and Tipping and Bayer do not disappoint. Sharpay is spoilt, arrogant and detestable, everything you want from her. Bayer’s portrayal of Ryan, Sharpay’s impeccably dressed minion, is accurate and adorable.

Coach Bolton (Jason Donovan) does well as Troy’s overbearing father, and Kaycee Stroh, formerly Martha in the original film and now Ms Darbus, proves that she can still “pop and lock and jam and break”. Special mention must go to Curtis Patrick, who plays Jack Scott. His energy is limitless; he uses every inch of the stage and theatre and was a real standout for me.

The casting team must be commended for their inventive work on this production. Every role is perfectly cast, and the standing ovation tonight demonstrates this further. While Sophia Pardon’s stunning Y2K inspired costumes reimagine the mid-2000s aesthetic for the modern stage.

Houston and Whelton wanted to bring together different generations in reimagining the story of High School Musical. With a film that has such an iconic following, this production succeeds entirely in bringing a fresh take to the original. Clever casting, stunning costumes and vibrant interchangeable sets mean this spectacular production hits all the right notes. The dance numbers are so well thought out, with the routines involving the basketballs being a wonderful nod to the Disney staple. The entire creative team have worked passionately to keep what’s important for fans while creating something exciting, new and thrilling for audiences.

Come on and get’cha head in the game and bop to the top of the queue to get tickets to see this show. You could even be part of the action and watch the show court-side! Go Wildcats!

High School Musical is on at The Lowry until Saturday 19th September, tickets are available here.

Dear Zoo

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Reviewed by Lucy and Adelaide Davies

Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

Dear Zoo has to be one of the best loved children’s books of the century.  2017 marked its 35th anniversary, and Dear Zoo shows no sign of losing its appeal, remaining a firm favourite in schools, nurseries and homes across the country. The question is, would a stage adaptation of this classic be able to live up to Dear Zoo’s legacy? The answer is a resounding yes. The show has managed to create the same sense of captivation that the book does, with some added bonus moments that have children in the audience jumping up and down in their seats!

The show tells the story of a young boy, Ben, who writes a letter to the zoo asking them to send him a pet. Alongside his friend Sally, he eagerly awaits a response. To his surprise, and occasionally his horror, what follows is a series of ‘special deliveries’ from zookeeper Sam. Each animal that arrives is hugely entertaining, but just not quite right for Ben to keep as a pet — until the very end, when all of Ben’s dreams come true…

One of the highlights of this production is its audience engagement, which is perfectly pitched to a younger audience. From the moment the play begins, our zookeeper, Sam, creates an almost pantomime-style atmosphere, encouraging the audience to shout out answers before pretending not to be able to hear them. From the outset, the mini theatre-goers are hooked, and the excitement is palpable. This interaction only intensifies as the story continues, giving children the chance to jump up and down like frogs, join in with some incredibly catchy songs and recite lines from the book itself. It ensures that even the youngest spectators remain captivated from start to finish.

Another, more unexpected, standout feature of the show is the subtle learning opportunities embedded throughout. While the book tells us that the lion is “too fierce” and the camel “too grumpy”, the play really unpacks this vocabulary in a fun and engaging way. The animal puppets sing songs that help young children understand what these words mean, while making them laugh at the same time. When the ‘animals’ aren’t singing, they can be seen bouncing around the stage or popping up to playfully scare the spectators. It’s fantastic to see the words of the book being brought to life in such an entertaining and memorable way.

All in all, this is a must-see show for families, especially if your child is a fan of the book. As an introduction to theatre, Dear Zoo, just like Ben’s final pet, is absolutely “perfect”!

Adelaide’s Comment (delivered as if she was writing a letter)  “Dear Zoo, you were lovely today.  I would make a heart and deliver it to Dear Zoo.”

Dear Zoo is on at The Lowry until Sunday 16tg August tickets are available here

Interview | Helen George and Freddie Fox | High Society

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The most swellegant party of the year is packing up its champagne flutes and heading on tour. Fresh from a sell-out run at the Barbican, the lavish 1950s waterfront estate of Tracy Lord is moving lock, stock, and barrel to Salford, arriving at the Lowry’s Lyric Theatre on Tuesday 22nd September for a limited two-week run.

Ahead of their arrival on the Quays this autumn, we sat down with Helen George and Freddie Fox to talk about living out childhood musical theatre dreams, and bringing Cole Porter’s timeless toe-tappers to Greater Manchester audiences.

Are you looking forward to performing in Salford?

Freddie Fox: Yes, so much, we’re there for two weeks as well, which is really nice. I’ve just done so many things in Greater Manchester over the years. It’s a really special place in my heart, because it was my 1st proper, professional job I shot there. I made one of my best friends on that job so, I feel like I’m sort of, you know, going back home. I love it, I love wandering around the Northern Quarter. I think it’s the most stupendous city. It’s a great place, a really great place to do theatre.

Watching the show we really felt that you embodied the part of Mike Connor perfectly it looked like you were having so much fun on stage.

Freddie Fox: Thank you, I’m loving it, when I get to sing “You’re Sensational” to Helen, it changes subtly every single show. Sometimes it’s funnier and lighter, sometimes it’s more sort of sexy and sometimes it’s, you know, more sort of vulnerable.

Helen George: Yes, yes, it does, it does change every night. Yeah, we were quite fun and flirty tonight, weren’t we? You were making me laugh, we just have so much fun.

Freddie Fox: We do. But also, Helen gives me so much support, she has this extraordinary voice, you know, for someone who hadn’t done a musical before like myself, to feel like I was supported by someone I very much admire, was very, very, very, very nice and very helpful.

It’s certainly not a small role for your first.

Freddie Fox: I’ve been building up to it a long time. I had to choose the right one. You don’t want to just do a six-month run of something that you get bored with in 2 weeks.

For you Helen, you’ve done other big, lavish musicals, what particularly drew you to this?

Helen George: I went to see Guys and Dolls when I was five or six years old at The National, and that American songbook, that era of musicals, it completely stayed with me, it’s still right in my mind. I know all the words to all the songs even now because of that early experience. And so, this feels very, very similar, similar era, similar style. And the part of Tracy Lord is so wonderful. It has these songs that everybody knows and recognises that, you know, it’s an opportunity to make my own. And I just love it.  

We’ve seen you in The King and I, dancing in that stunning yet incredibly heavy dress, how does this role compare?

Helen George: Oh, yes, it was about 10lbs! It was a lot of fun. With Tracy it’s nice to sort of discover a part that is completely different and free, and gets drunk, and is irreverent, and, you know, is just silly, and I think, we have so much fun on the stage, and it’s not often that I have the chance to play fun characters.

That comes across so well to the audience too, we had so much fun just watching.

Helen George: I feel like I’ve reverted back to before I had children, I feel like it’s really been so beneficial to my life as well. I feel like I’ve got my silly back, which feels really nice.

And you exude that, both of you. You could tell you’re having a ball with it.

Freddie Fox: This is fun to do, it really is. And we worked a lot to get it right, changing things, putting things in. So, we were trying to find the sort of ultimate, um, hand-picked, bespoke version of the show. And so, there’s a lot of tightening the scripts and a lot of focus on the pace and the laughs.

Helen George: Also, it’s such a good cast, everybody is just really fun and wants to have a nice time. I think everybody was like, let’s just make it funny, and enjoy ourselves. It’s light on its feet.

You must see that at the end when the lights come up and you’re greeted by that wonderful reaction from the audience.

Freddie Fox: Yes, it feels great, because we’re splattered every day with such terrible news about this, that and the other thing. And so, the great thing about live theatre, in particular, is it is the most human of mediums, you know, and it is the greatest way to remember you’re alive on this earth and you’re here to have a good time and, you know, forget the bad stuff for a bit. You’re transported somewhere where you’d really like to be.

The choreography is beautiful, we remember your Strictly days Helen, did that experience help?

Helen George: I haven’t danced in years, and then I came in, and Anthony, the choreographer had watched my strictly things and was like, she can dance a bit and put lots of choreography in. Yeah, it’s really nice to dance again and there’s bits of everything in there too.

The enjoyment you’re all clearly having with this, that must make it easier knowing that you’re going on tour with it.

Helen George: I think, because we’ve all got our lives in London, we don’t actually get to socialise together, I haven’t really been out for drinks. with anybody. So, it would be nice to hang out, it will be really nice to do those sorts of things. I also think changing it up in every single city keeps it fresh, there’s always something else to look forward to, something new to get used to and then boom, you’re off and onto the next one.

It will be interesting to see how audiences react differently as well in different cities.

Helen George: Yes, further north you get, the the louder it gets, it’s the escapism we all need right now, absolutely.

The “swelleget, elegant” party opens at The Lowry on Tuesday 22nd September and runs until Saturday 3rd October tickets are available here.

The Spy Who Came in from the Cold

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Reviewed by Matt Forrest

Opening Night verdict ⭐⭐⭐⭐

Adapting one of the most celebrated and admired novels of the twentieth century for the stage is a daunting challenge, but playwright David Eldridge has approached John le Carré’s The Spy Who Came in from the Cold with remarkable confidence and skill. It is easy to understand why it has taken so long for one of le Carré’s novels to make its way to the stage, as expectations from devoted fans were always going to be high. Thankfully, Eldridge, alongside director Jeremy Herrin and tour director Joe Lichtenstein, have risen to the challenge. Together they have brought this intelligent and suspenseful thriller vividly to life, preserving the novel’s atmosphere of intrigue while delivering a production filled with twists, turns, betrayals and double-crosses. The result is a gripping and compelling evening of theatre that does full justice to its acclaimed source material.

Set in 1963, with Cold War tensions between East and West at breaking point and the Berlin Wall still a recent and imposing symbol of division, the story introduces us to Alec Leamas (Ralf Little), a weary British intelligence officer preparing to leave Berlin and the dangerous world of espionage, following the death of his trusted agent and friend, Karl Riemeck (Jonny Burman). Instead of a quiet retirement Leamas is persuaded to undertake one final mission, lured by the promise of revenge against Hans-Dieter Mundt, (Peter Losasso) the ruthless East German intelligence officer responsible for Riemeck’s death.

Hovering over the operation is the seemingly retired master spy George Smiley (Tony Turner), whose reputation and mentoring is ingrained in Leamas’s conscience throughout the mission. As his carefully constructed assignment unfolds, Leamas finds himself navigating an increasingly tangled web of deception, where every move appears to have been anticipated. Matters become even more complicated when he meets Liz Gold (Gráinne Dromgoole), a kind-hearted young Jewish Communist librarian whose growing affection for Leamas offers him a glimpse of a life beyond espionage.

As Leamas begins to question not only who he can trust but also the morality of the organisation he has served so loyally. He desperately tries to stay one step ahead of the lies, manipulation and betrayal in the hope of getting out alive.

Despite an opening that is perhaps a little too reliant on exposition, the script soon finds its rhythm, navigating the novel’s intricate plot with clarity. At the heart of the production is a superb performance from Ralf Little as Alec Leamas. Little brings real depth to the role, portraying the veteran spy with an air of paranoia, cynicism and emotional fatigue, while never losing sight of the resilience and unwavering sense of duty that define the character. He also finds moments of dry humour that puncture the tension and provide welcome flashes of levity, although one comedic moment towards the conclusion feels slightly out of place and doesn’t quite land.

The relationship between Leamas and Liz Gold forms the emotional core of the production, and the chemistry between Little and Gráinne Dromgoole ensures the audience remains fully invested in their growing connection. Dromgoole is equally impressive, portraying Liz as a compassionate, idealistic and quietly courageous young woman who becomes an unwitting pawn in a dangerous game of political manipulation. Her warmth provides a striking contrast to Leamas’ hardened exterior, making their relationship all the more poignant.

Despite the vast scale of the Lyric Theatre stage, production designer Max Jones creates a world that feels remarkably claustrophobic and oppressive. Through a minimalist set, cleverly configured to suggest multiple locations, the production evokes the suffocating atmosphere of Cold War Berlin with impressive economy. Paul Englishby’s haunting, noir-inspired score heightens the sense of unease throughout, while Azusa Ono’s atmospheric lighting design makes striking use of shadow and darkness to reinforce the themes of secrecy, surveillance and deception. It is a perfect example of the old adage that less is more, with every design element working in harmony to immerse the audience in le Carré’s morally ambiguous world.

As expected in a Cold War thriller, moments of violence are inevitable. Though used sparingly, they are impactful, uncomfortable and gripping, adding to the production’s realism rather than feeling gratuitous. Expertly choreographed by fight director Salvatore Sorce, they leave a lasting impression.

This is a well-crafted and faithful adaptation that captures the spirit of le Carré’s novel and keeps the audience engaged from the very beginning. It is refreshing to see a literary adaptation make such a successful transition to the stage. A must-see for devoted le Carré fans, it also serves as an excellent introduction for newcomers to his work.

The Spy Who Came in from the Cold is at the Lowry until 25th July tickets are available here.

Something Rotten!

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Reviewed by Matt Forrest

Opening Night verdict ⭐️⭐️⭐️⭐️

There’s something rotten in Manchester. Usually, that phrase would be more at home describing the city’s famously miserable weather, but on one of the hottest days ever recorded in the UK, the culprit is something altogether more entertaining.

The source of this particular rot is Something Rotten!, the award-winning Broadway smash hit making its UK premiere in Manchester. Packed with razor-sharp wit, infectious musical numbers and a gleeful irreverence towards Shakespeare, the production arrives with lofty expectations,and comfortably clears them, setting the bar(d) impressively high from the outset.

Set in 1590s London, the story follows brothers Nick Bottom (Jason Manford) and Nigel Bottom (Cassius Hackforth), who run a struggling theatre company and are desperately searching for their next hit. Unlike most sibling partnerships in showbusiness, the Bottom brothers actually get along remarkably well. Their only real point of contention is the megastar, A-list celebrity and rival playwright William Shakespeare (Richard Fleeshman). Nigel idolises the Bard, while Nick can barely conceal his contempt.

As financial pressures mount, Nick becomes increasingly desperate. Determined to secure a future for his ever-supportive wife Bea (Marisha Wallace), and realise their dream of owning a cottage big enough to start a family, whilst perhaps most importantly taking the spotlight from Shakespeare, he turns to increasingly unconventional methods in pursuit of theatrical success. But can his bold vision of introducing music and song into theatre really become the next big thing, and what will it cost him along the way?

This production is tremendously fun, absurd, ridiculous, and consistently entertaining. John O’Farrell’s book, combined with the songs by brothers Wayne and Karey Kirkpatrick, creates a witty and joyous love letter to musical theatre while delivering a sharp satire of celebrity culture. Standout numbers include the spectacular ensemble piece A Musical and the delightfully silly Make An Omlette, just two highlights in a score packed with memorable moments.

The cast are in excellent form. Jason Manford is, as ever, a dependable leading man, once again showcasing his impressive vocals and impeccable comic timing. Richard Fleeshman is clearly having an absolute blast as the egotistical playwright, portraying him as a gloriously pompous rock star. He has superb vocals, on the wonderfully ludicrous Will Power and the Queen-inspired Hard to Be the Bard, once again providing another highlight.

Broadway star Marisha Wallace is excellent, if somewhat underused, as Bea. The role provides ample opportunity to showcase her exceptional vocals and natural gift for comedy, leaving you only wishing she had more stage time. Corey English is a delight as Nostradamus, delivering a scene-stealing performance, with his contribution to the aforementioned A Musical alone worth the price of admission.

Meanwhile, Cassius Hackforth has the unenviable task of playing perhaps the closest thing the show has to a level-headed presence. As the insecure yet immensely talented Nigel, he brings warmth, sincerity and likeability to the role, providing the perfect foil to the larger-than-life characters around him. 

The show boasts impressive production values throughout. Director and choreographer Tim Jackson delivers a series of superbly staged and choreographed song-and-dance numbers that burst with energy and spectacle. Colin Richmond’s set design perfectly captures the grime and atmosphere of Elizabethan London, creating an impressively detailed version that serves as a fitting backdrop to the action.

Completing the visual feast are Rebecca Brower’s bold and vibrant costume designs, which provide the perfect finishing touch. Their bright, flamboyant style complements the show’s larger-than-life personality and reinforces its gloriously unapologetic, in-your-face sense of fun.

This is escapist theatre at its finest, a joyous production that will leave you grinning from start to finish (and craving an omelette). As Shakespeare famously wrote, “If music be the food of love, play on”; and this show serves up a banquet of music, laughter and pure entertainment. I would wholeheartedly recommend tucking into this giant musical feast while it’s in Manchester.

Something Rotten! is on at Manchester Opera House until 19th July. Tickets available here.

Bank of Dave the Musical

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Reviewed by Nikki Cotter

Opening Night verdict ⭐⭐⭐⭐

Dave Fishwick is no ordinary man, having left school aged 16 with no qualifications, he defied the odds to become a self-made millionaire through pure grit, hard work and steely determination. After inspiring two Netflix films, a best-selling book, and a BAFTA-winning documentary, the story of Burnley’s favourite community champion is now taking to the Lowry stage in Bank of Dave the Musical.

With a book and lyrics by Rob Madge (My Son’s a Queer (But What Can You Do?)), music and lyrics by Pippa Cleary (The Great British Bake Off Musical), and direction by Leicester Curve’s Artistic Director Nikolai Foster (Kinky Boots, A Chorus Line), Dave Fishwick’s story is in very good hands. At its heart the show follows Dave’s mission to establish Burnley Savings and Loans, an alternative banking offering for the local community who have been failed by traditional corporations. Dave’s defiant stand against the big financial hitters offers an irresistibly inspiring, underdog story making it perfectly suited for dramatisation.

Taking on the larger-than-life role of Dave is a hugely impressive Sam Lupton. Lupton superbly embodies the Burnley entrepreneur, balancing steely determination with undeniable charm. Lupton portrays Fishwick’s infectious optimism with a genuine warmth and sincerity, ensuring you’re rooting for him wholeheartedly from the start. His pairing with Hayley Tamaddon as Nicky, Dave’s wife works wonderfully. There’s a genuine chemistry adding authenticity to the piece as we see their unshakable foundation encourage and support Dave every step of the way while their vocals are perfection.

Lucca Chadwick-Patel gives a sensational performance as Dave’s Solicitor Hugh, a Southern fish out of water who goes on his own journey of self-discovery. His partnership with Lauryn Redding as no nonsense A&E Doctor Alex adds another interesting layer to this feel-good story. While Redding gives an excellent performance with vocals to die for, I’d love to see a tweak to the writing with Dr Alex staying fierce but with a little more nuance to the character.

Special mention must go to Samuel Homes whose characterisation as super toff Sir Charles Denbigh is outstanding. His delivery of hilarious number Rich Boys Club is as deliciously vulgar as you’d hope for. Claire Moore as landlady Maureen brings both playfulness and emotional depth to the piece while Hannah Nuttall’s comedic timing as Mavis is a joy.

The immensely talented ensemble takes on multiple roles throughout, collectively creating a community the audience very quickly cares about. Vocally they will blow your socks off, with large-scale stirring numbers capturing the true spirit of working-class solidarity. Can You Hear The Mill? being the perfect example of this, leading us into the interval in the most song-tingling way.

Amy Jane Cook’s set and costume design anchors the production beautifully while video design from Duncan McLean elevates it visually. Musical Supervisor Toby Higgins and Orchestrator Tom Curran ensure Pippa Cleary’s melodic score is perfectly executed.

Witty wordplay flows throughout this production ensuring the storytelling both engages and entertains, there is so much to love here and the thunderous standing ovation at curtain calls confirms this. The pacing is good with just a few moments where things could perhaps feel even sharper, this however is a minor quibble for an enormously entertaining show.

With its proud Northern heart on full display, The Bank of Dave is an uplifting, laugh-out-loud triumph that radiates pure joy. This feel-good underdog story is a true celebration of community, determination and an inspiring reminder of what can be achieved when we truly believe in both ourselves and each other.

Bank of Dave the Musical is on at The Lowry until Saturday 16th May tickets are available here.

The Boy at the Back of the Class

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Reviewed by Gill and Stan Selkirk

Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

The Boy at the Back of the Class is a well-loved book for many school children. This award-winning book by Onjali Q. Raúf has been adapted by Nick Ahar and is now a 2026 Oliver Award-winning stage show. It tells the story of Ahmet, a refugee boy from Syria. Even though the book is aimed at children this play can absolutely be enjoyed by all ages.

We follow Ahmet played by Serkan Avlik as he tries to settle into his new school in a different country. He is welcomed by a very caring girl called Alexa played by Sasha Desouza-Willock and her friends “The A Team” as they try and help this new boy, who sits quietly at the back of the class. They learn he is a refugee, which is a word they are not familiar with, after learning more about his heartbreaking situation they make it their mission to help reunite Ahmet with his family.

Despite most of the children being welcoming and trying to find ways around the language barrier using games and sharing snacks, Ahmet still must deal with awful treatment from the school bully Brendan played by Max Jordan, some of the parents, and even a teacher.

The story is told through the children’s eyes. Which gives it a refreshing innocence. It challenges why things are accepted by so many in the current world we live in. At no point during this production did I feel it had been dumbed down for children. 

It manages to be accessible, thought provoking and interesting for all. Even with the difficult topic the creators still managed to include plenty of giggles for all the audience. More political moments, are handled well and clearly show the responsibility politicians and the press have in how they portray refugees. 

The brilliantly talented cast are played by adults which works extremely well. Together as the friends Alexa, Michael, Josie and Tom all provide plenty of humour without losing the more serious message in the story. Alexa is also our narrator, she does this with a child’s innocence but allows her incredible determination for justice to shine through as she switches from directly addressing the audience back to the story seamlessly, fidgeting throughout, like many 9-year-old children but then can switch to play the adult characters perfectly.

Jonny Walker is the over-enthusiastic American Tom, who is full of energy and positivity, even managing to continue his performance upside down exercising. Natasha Lewis plays Mum and Mrs Khan, she does this brilliantly with care and compassion being the sort of teacher we all would want. 

Petra Joan-Athene plays star-crazy friend Josie, as well as some of the adult roles, easily switching between her many personas. Serkan Avlik plays Ahmet, our title character in such a way we instantly warm to him, and we are all in his corner, his sadness and fear at the beginning is all-encompassing but we slowly see him become a happier and more confident person as the show goes on. 

Direction by Monique Touko ensures the energetic pace means the audience attention is held throughout thanks to this well told story; incorporating Ahmet talking to the audience making us feel like we are even more invested in the outcome of this story, we see the situation through his eyes and the genuine struggle of many refugees, allowing us to see them as individuals with their own stories rather than the way they are shown often in the media. 

Set design is by Lilly Arnold and adds wonderfully to the storytelling. The backdrop is the kind of PE apparatus that many school children still know and adults remember. This backdrop is easily adaptable, making way for many scenes and works incredibly well along with some great sound effects even transforming to the gates of Buckingham Palace as well as the classroom.

Nick Ahad’s stage adaptation of this best-selling novel has been done beautifully. It manages to be funny and incredibly moving (tissues needed at the end) and portrays such a difficult subject with humanity.

Stan Selkirk – aged 10

I saw The Boy at the Back of the Class at The Lowry and I really enjoyed it. Some bits were funny and made everyone laugh, but other parts were serious and made me feel a bit sad for Ahmet. It taught me a lot about refugees and how hard life can be for them, and it also showed how important it is to stand up to bullying.

The show made me think about how even small acts of kindness can help someone. I liked how the kids in the story tried to help instead of just talking about it. Even though I don’t think I could travel to Buckingham Palace I always try and be kind and help others and I hope as I get older, I can do this more to change the way people treat refugees like Ahmet.

The whole show was produced well – the acting, the set, everything. When it finished, I felt like I’d learned something important and I kept thinking about it afterwards.

We talked about it driving home last night and all thought things need to change, and we all need to be part of this. I learnt that we shouldn’t worry about asking questions and what words mean to help us understand and change things for the better, I hope I can do this more as I get older. 

The Boy at the Back of the Class is on at The Lowry until Saturday 18th April tickets and further information are available here.