Trial By Laughter

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Reviewed by Matt Forrest

Opening Night verdict ⭐️⭐️⭐️

The name William Hone won’t mean that much to most people, which is crying shame. For back in the early 1817 this was a man who campaigned tirelessly for civil liberties, sought reform in the many lunatic asylums, and highlighted the miscarriages of justice that blighted the judicial system. In addition Hone was an investigative journalist, satirical commentator and publisher who along with his friend, George Cruikshank a political cartoonist lampooned the ruling class of the day: that being the Regency government.  So angered by Hone’s work the Prince Regent sought to have him prosecuted by any means possible.

So when it came to the story of William Hone, who better to tell it than Ian Hislop and Nick Newman. Both are champions of a free press, both have great form in sending up and holding to account politicians and world leaders through the magazine Private Eye. Newman is the cartoonist for the magazine and Hislop is the editor.  In addition Hislop is no stranger to a libel case having faced several down the years.  The two writers have reunited with director Caroline Leslie, with whom they worked with on their debut play The Wipers Times, to bring this intriguing story to the stage with their new production: Trial by Laughter.

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The play opens with the Prince Regent and his (alleged) mistresses angered by their depiction at the hands of Hone and Cruikshank, so enraged is he that he orders his government flunkies to prosecute Hone. Hone is charged with blasphemy and arrested, falsely imprisoned and denied legal assistance. With only the support of Cruikshank, and his wife, Sarah, Hone mounts a defence and against all odds wins the trail. This really is the beginning of Hone’s troubles as he faces three criminal trials in as many days, which could see him imprisoned or deported to Australia. With the Regency’s relentless pursuit and Hone’s health deteriorating is this really a battle he can truly win?

There is a lot to admire about this production: Joseph Prowen is on great form as William Hone, playing him with a twinkle-in-the-eye and a great deal of righteous optimism that is gradually beaten out of him as the trials progress. Dan Mersh (playing numerous roles) is equally fine as Hone’s tormentor; Justice Ellenborough who plagues his foe at every turn and cannot hide is distain or prejudices for Foe. Peter Losasso plays Cruikshank, with a cheeky swagger clearly relishing his pun filled part. Whilst Eva Scott is also strong as Hone’s long suffering wife, who in spite of all their trials and tribulations she never loses faith in her husband.

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Despite the subject matter being over 200 years old it relevance today cannot be understated as the play tackles such issues as freedom of speech and freedom of the press and measures how far governments and people of power will go to too stifle this, you only need to look at the recent murder of journalist Jamal Khashoggi to see its relevance. It also tackles the weighty issue of what is fair game for a joke: politicians, religion, the ruling class, and when does a joke go too far and become offensive. These are clearly subject matters that Hislop and Newman feel passionately about and it shines through in their writing.

The production does have a few issues: there are some great gags in here which poke fun at modern day celebrity culture, even Prince Charles is on the receiving end of a roasting. Whilst the jokes come thick and fast, and are exceptionally crafted there is nothing here that will have you rolling in the isles, more a wry smile then a big belly laugh. Despite this being a trail there is little jeopardy for Hone and thus at times the more dramatic elements of the paly can feel a little flat.

Overall this a fascinating, entertaining tale that needs to be told and deserves its platform, it’s worth a watch but you can’t help feel there is something missing.

Trail by Laughter is on the Lowry until 2nd February, tickets available here.

 

Interview | Ian Hislop & Nick Newman | Trial By Laughter

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After the enormous success of The Wipers Times in both the West End and on it’s UK tour, celebrated writers Ian Hislop and Nick Newman have once again joined forces for their new piece of work Trial By Laughter.

This new production based on their critically acclaimed BBC Radio 4 drama of the same name introduces us to William Hone a forgotten hero of free speech and asks if just over two hundred years later our press has any greater freedom. 1817 Hone then a bookseller, publisher and satirist stood trial for parodying religion, the despotic government and the lustful monarchy. The only crime he had committed was to be funny. The show which has been described by critics as ‘a sparky historical comedy’ heads to The Lowry next week. We caught up with writers Ian Hislop and Nick Newman to hear a little more about the show.

How would you sum up the premise of Trial By Laughter?

Nick: It’s a story about press freedom and free speech and a battle for freedom and free speech. It’s the story of a trial in 1817 – the trial of a man called William Hone, who was a sort of shy bookseller and publisher of cartoons and satirical pamphlets. He was taken to court by the Regency government to try and stifle jokes about the monarchy. That’s essentially what it’s about.

Ian: It’s exactly that. It’s a courtroom thriller but it’s a historical courtroom thriller with jokes, which means it’s three different genres in one for just one ticket price.

Nick: I think we’d describe it as The Madness Of King George meets A Few Good Men…

Ian: Meets Crown Court.

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What was the original inspiration for the radio play?

Nick: We’d just finished doing The Wipers Times for BBC 2, when we did the film of it, and the head of BBC2 Janice Hadlow sent us an email asking if we’d heard of William Hone. Janice is an expert on Regency history and has written books about it. We both said ‘Who?’ which is often a very good starting point for a story because we think ‘Well, if we don’t know anything about it let’s find out’. We started doing research and suddenly out came this amazing story about this amazing man – a complete nobody really but who took on the might of the government in a landmark case.

Ian: It’s incredible. He had his moment when history beckoned and then fell into obscurity, to our shame really. I’m the editor of Private Eye and Nick’s a cartoonist yet we didn’t know about him, but again that makes for a much better story because you’re telling people something new.

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From researching the tale what were you most surprised or interested to learn about Hone?

Ian: Without giving spoilers, it’s incredible that they tried him three times in three days. At the end of each day when the jury found him innocent they just tried him again the next morning until there were 20,000 people outside the Guildhall and they thought ‘We’re going to have a riot now’. This was only a couple of decades after the French Revolution…

Nick: And a year before the Peterloo Massacre so tensions were incredibly high. The Crown was very worried about the possibility of revolution and there were failed harvests and a lot of famine, squalor and whatnot. Meanwhile the Prince Regent was being portrayed in cartoons and in pamphlets as this libertine voluptuary who was scoffing vast quantities of food while people were hanging outside the windows. The other thing we discovered about Hone as we did more research is what a remarkable man he was because he wasn’t just a satirist, which was our first interest and his friendship with the cartoonist Cruikshank interested me as a cartoonist myself. Their working relationship was also a natural thing for us to explore and Hone was also probably our first investigative journalist. He was a witness to the execution of a young serving girl, a maid called Eliza Fenning, and he was absolutely appalled by it. He did a lot of research into her case and basically proved that it was a miscarriage of justice. We also learned he was an amazing philanthropist and he took a terrific interest in the lunatic asylums and campaigned for better conditions. There was the reform of juries, which he campaigned for and won. He never stopped working.

Ian: And he believed in universal suffrage, which at the time was a good 100 years away. If you look at his range of interests, they are pretty extraordinary.

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What changes have you made in preparing the play for the stage?

Ian: It’s completely different. The thing about radio is that it has to be very words-driven, which is fine because there are lots of bits about speeches and whatever, but to get it to the stage we have to make it more dramatic. There’s a lot more about the role of his wife and we’ve set more of it in pubs.

Nick: It’s a matter of fact that Hone and Cruikshank devised their strategy for the case in all the pubs and coffee houses of London so it’s a very rich milieu in which they were working. Hone was admired at the time by his literary colleagues, even though he was always bankrupt and had schemes which lost him money, and one of his admirers was William Hazlitt, who was one of the most caustic critics of the era. The only person Hazlitt seemed to like was William Hone so we’ve put Hazlitt in the story as well, which is great for the colour.

What do you feel makes Hone’s story a great subject for a play?

Ian: Hone’s tactic in the trial was to appeal to the jury so his whole way of winning was to make it accessible to an ordinary… I’d hate to say viewer but that’s sort of how he approached it. Courtrooms are great theatre on the whole and Hone and Cruikshank, in devising the strategy as it were, realised that playing to the gallery is not a bad thing in a big trial – it’s what you need to do because you need to get them on your side. That’s exactly what happens in the theatre.

Nick: What was slightly unusual about their tactics is that they set out to make the jury laugh. The basic of their entire case was that Hone spoke for six-to-eight hours every day of the trials just producing more and more examples of stuff he thought would make people laugh – and they did. There are some transcripts, which admittedly were edited or written by Hone so he did beef up his own amusingness quite a lot.

Ian: A bit like Oscar Wilde writing the account of his own trial and Hone’s account is fantastic. He’s brilliant in it, unsurprisingly because he edited it.

Nick: History written by the victors…

Ian: Yes and it’s bloody funny.

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How you feel the subject matter resonates for contemporary audiences?

Ian: I think it’s a reminder that this battle has to be won in every generation. We are incredibly privileged to be the beneficiaries of all those battles that were won in Britain in the 19th century but they can be lost again. History doesn’t only go one way.

Nick: And the arguments that are buzzing around now are very similar. Hone was targeted because he wrote parodies of religious text, principally The Lord’s Prayer and the Litany and The Ten Commandments, and they were the sort of stuff we’d put in Private Eye now for a bit of fun. Only the other week you had Rowan Atkinson talking about ‘Should we be allowed to make jokes about religion?’ Hone believed you should if the context is political or whatever and that’s what free speech is. On a global scale there are cartoonists in Turkey and Malaysia who are still being persecuted and there’s this amazing Malaysian cartoonist called Zunar who until recently faced 45 years in jail for seditious libel, which is basically the same charge that was levied against Hone, for making jokes about the Prime Minister and his wife. Zunar, like Hone, could have done a runner. I met him when he was over in England but he was going back to face trial because he felt this was an important case, like Hone did, that establishes what we can and can’t say about our rulers.

You’ve worked with director Caroline Leslie a few times now. What do you enjoy about the collaboration?

Ian: [Laughs] She’s very annoying because she demands you put in new scenes and change things around to try and make it better.

Nick: What’s that joke? ‘How many writers does it take to change a lightbulb?’

Ian: ‘None – don’t change anything!’

Nick: That’s very much our view but Caroline forces her to make changes. We first started working with her on our first play we did, A Bunch Of Amateurs, and she was absolutely brilliant and brought all kinds of things to the script which we didn’t know were there, including a lot of music. Then she directed The Wipers Times and that’s a play that’s full of music and movement and we wrote it accordingly because we thought ‘Caroline’s very good at this so let’s make sure she has a lot of stuff to work with’.

Ian: It’s very good having a woman director, particularly in situations that are quite blokey by definition like the Army and English court in the 1800s. She makes sure that it expands beyond that and that the emotional elements are not ignored.

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This is your third play to be developed by the Watermill Theatre. What do you see as its importance to the UK theatre scene?

Ian: It’s a very exciting place to work.

Nick: It’s a remarkable theatre. Apart from being a jewel in terms of its setting and the closeness to the stage you have as an audience, the standard of productions has been incredible. I first came across it when they did a production of Sweeney Todd in 2004 which transferred to the West End. They’re just brilliant at doing things, particularly with music. When we were invited to do A Bunch Of Amateurs there we knew nothing about the Watermill but we enjoyed the experience so much that if we were able to we’d always go there because the audiences are lovely and it’s a great place to do a play.

You’ve been writing together for a long time. How would you describe your collaborative process?

Ian: We write together, literally. We don’t send each other drafts and we physically work together in the same room. I suppose we try and make each other laugh; that’s the first thing. But we’ve known each other long enough to be able to say ‘That isn’t very good’ or ‘That’s a terrible suggestion’ and then just get on with it. There’s a sort of joint self-editing.

Nick: There’s always a lot of energy when it’s the two of us doing something, particularly because Ian’s time is so precious because he’s everywhere. When we get together we have to get on and do some writing. We tend to work quite fast. We both do stuff independently but to edit each other as we go is a sort of bonus. I’ve got lots of writer friends who write on their own, which I think is a very ghastly prospect. They have to rewrite and rewrite and rewrite; if you look at the greats like Alan Bennett, his diaries are full of the pain of rewriting. We have to rewrite as well but it’s a bit less than if we working on our own.

Ian: Because Nick’s a cartoonist he’s always had a strong visual sense whereas I tend to be a bit more word-bound. So there’s always a point where Nick’s thinking ‘What would look great is this…’ which I usually haven’t thought of. I’m thinking ‘This bit I’ve just written would be really clever’ when actually if might be terribly boring and getting something across visually is what it’s all about. That’s another reason we really enjoy collaborating.

How hands-on are you with your touring productions?

Nick: They take on a life of their own really. If we go do a Q&A we see the show and occasionally have some notes, which we pass on to our producer or to Caroline. But really by opening night it’s all pretty much there.

Ian: [Laughs] Our notes are always ‘Could the actors not ad-lib please? Can they only say exactly what we’ve written?’.

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You are doing post-show Q&As again for Trial By Laughter. What do like about the process?

Nick: The ones we have done for The Wipers Times are always very instructive because we meet people who’ve got their own stories to tell. We did a Q&A down in Chichester last year and a lady in the front row said ‘I have a little knowledge of this subject because my grandfather was Fred Roberts [who edited the paper]’ so we said ‘Please come up on stage’ and we just sat there asking her questions about him. It’s a great way of interacting with your audience. In Salisbury we were talking about trying to make The First World War accessible to younger audiences through a humorous story and a young girl at the back who was around 13 went ‘Well, it works!’ With the Q&As you get a bit of a discussion going and a bit of a debate.

Ian: There was a great moment just before one of the Q&As where someone said ‘There’s an Army chap in the audience who said he thought you’d got it pretty much right’ and when we asked who he was they said he was Deputy Supreme Commander Allied Nato Forces.

What you hope to get out of the Trial By Laughter Q&As?

Ian: We want to know what they think really, what bits they’re interested in and whether they think we should still be worried about this sort of thing. Hopefully they’ll think we very much should be.

Nick: We’ve become very energised by this subject matter and we’ve found it fascinating. All we’re really trying to do is try and get other people as interested in it as we are. We happen to think Hone is one of the most brilliant men in history and we hope other people share our opinion.

Trial By Laughter will be at The Lowry from Tuesday 29 January until Saturday 2 February 2019 tickets can be booked here.

 

 

 

 

 

 

 

 

 

 

 

 

The Band

Reviewed by Nikki Cotter

Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

The fastest selling musical theatre tour of all time returned to the North West last night to a sell-out audience and a thundering standing ovation; confirming this life-affirming, laugh out loud production first seen at Manchester’s Opera House back in September 2017 is back for good….well until Saturday 26th January at least.

The Band offers a heart-warming trip down memory lane taking us back to 1993 when for four 16 year old friends their favourite boyband was literally their everything. They lived, breathed and worshipped at the TV when Top of the Pops came on, anything for their idols who provided the soundtrack to their lives and for one a much needed escape from reality. We then fast forward 25 years to a place where life has moved on, friendships have diminished but somewhere deep down a love for The Band continues to flicker and could be the key to bringing the girls back together again.

What comes next is an emotional, relatable and incredibly funny journey of not only self-discovery but also a much longed for opportunity to reconnect with each other and remember the hopes and dreams of their sixteen year old selves.

The Band opened to four and five star reviews last time it was in Manchester almost eighteen months ago; I loved it then and can confirm it’s even slicker now. While its charm and relatability remains there’s an added joy that comes from the deepening of the cast’s on stage chemistry, for this story to touch audiences the characters absolutely had to be believable, they feel authentic, lovable and even more real than they did before.

The five actresses playing the younger girls are outstanding, their delivery of uncomplicated and innocent friendship entirely believable. Full of life and boundless energy Faye Christall, Rachelle Diedericks, Katy Clayton, Lauren Jacobs and Sarah Kate Howarth tell their story with all the energy and enthusiasm of a sixteen year old on the cusp of life’s adventures. Jubilant, frivolous and here for the fun, then packing an emotional punch when tragedy strikes, each character is beautifully developed and unique from the next.

Playing the wide-eyed teens 25 years on are four outstanding actresses; hilarious, surprising and above all entirely relatable. Their journey of reconciliation perfectly embodying the reality of fragmented friendships; Rachel Lumberg, Alison Fitzjohn, Emily Joyce and Jayne McKenna more than do justice to Tim Firth’s uplifting script and through the duration of the evening have the audience both fighting back the tears and roaring with laughter. There is heartache, celebration, great humour and above all great heart.

BBC’s Let It Shine stars AJ Bentley, Curtis T Johns, Harry Brown, Nick Carsberg and Yazdan Qafouri deliver some stunning harmonies and slick choreography as the members of The Band.  The musical arrangements add something new to Take That songs we’ve heard so many times before, there’s a deeper significance to the lyrics as the boys intertwine them subtly into scenes to both powerful and even at times comedic effect.

Jon Bausor’s multi-layered set transforms from teenage bedroom to busy airport with ease while directors Kim Gavin and Jack Ryder ensure the cast utilise every inch of the expansive set.

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The Band musical really is the perfect package, a beautiful story delivered in a real and honest way. While you will more than likely laugh as well as cry you will undoubtedly leave feeling uplifted, deeply moved and enormously entertained.

Cathch The Band at The Lowry until Saturday 26th January tickets available

Interview | Zoe Bourn | Twirlywoos Live

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Over the last 10 years there’s been a huge increase in the number of children’s TV shows making the leap from screen to stages across the country allowing little ones the opportunity to see their favourite characters in the flesh and offering a first theatrical experience in the process.

Translating the larger than life fantastical world of Children’s TV into the physical world of theatre whilst still ensuring the magic remains the same is no easy feat, one which for Zoe Bourn has become a full-time job. Her passion for creating engaging, memorable and unique live experiences for even the youngest of theatre goers has led to her bringing some firm favourites to theatrical life including the world famous Thomas and Friends and Fireman Sam.

Zoe now turns her attention to Twirlywoos whom have been a firm favourite on CBeebies since they first appearance back in 2015. The stage production will feature inventive handcrafted puppets of the mischievous bird-like creatures and will feature everyone’s favourite characters from the much-loved TV show.

We caught up with Zoe ahead of the show’s arrival at The Lowry on Friday 15th February to hear a little more about bringing this show to life.

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Twirlywoos has enjoyed phenomenal success on TV. What do you think makes it so popular?

“I think its success is largely due to the playful nature of the characters. The humour appeals to everyone and really helps to make it universally accessible.”

What can audiences expect from Twirlywoos Live?

“We have purposely stayed close to the TV format so our little audience members will feel safe and familiar with what they’re seeing. But they can expect a very different experience as we invite them into the action and bring the Twirlywoos magic to life all around them.”

Do you have a favourite Twirlywoos character and why?

“I actually love Peekaboo! It’s such an easy character for children of this age group to relate to and offers a really lovely interlude from the chaos the Twirlywoos create. And I love the fact that no one else ever sees or interacts with it and yet you never feel sorry for it – that’s a powerful character!”

What are the challenges of transporting Twirlywoos into the 3D world of theatre?

“There have been many! Due to the nature of the show we have needed to have lots of research and development sessions in order to figure out how best to translate it. One of the main challenges is how to present the real world scenes as the characters are very small and we have to ensure they are seen from every seat in the auditoriums. The team who look after the TV show have worked really closely with our production team to give us the flexibility we needed on the scale of our puppets without them appearing any differently.”

You have adapted other much-loved children’s titles for the stage. How do you go about writing new stories for these well-known characters?

“It’s important to immerse yourself in the TV episodes and to respect the rules and structure that their writers have invented wherever possible. Shows of this calibre have a whole science behind them and I think if you can balance the inclusion of this with the golden rules of live theatre then you have a winning formula. Children are also sticklers for detail. They will be the first ones to tell you if you’ve got it wrong!”

Why do you think it’s important that children experience theatre at a young age?

“Giving young children the opportunity to experience live theatre opens them up to a new dimension of experience and can inspire their own creativity. The earlier we can do this and the more regularly the better – especially in the UK where our education system doesn’t always recognise the importance and value of the arts to our growth and wellbeing.”

You can catch Twirlywoos at the Lowry from Friday 15th until Monday 18th February, tickets available here.

 

An Evening of Eric and Ern

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Opening Night verdict ⭐️⭐️⭐️⭐️

Reviewed by Matthew Forrest

There are so many iconic images associated with Christmas: a piping hot turkey with all the trimmings, presents under the tree, pictures of drunken revellers plastered across the national press, and of course Eric Morecambe and Ernie Wise dancing a merry jig. The Morecambe and Wise Christmas specials have been engraved into the festive TV listing since 1969 the reason simply being that they’re just bloody funny!

Well if you need your Eric and Ernie fix this Christmas you can go one better and see the pair in the flesh as An Evening of Eric & Ern comes to the Lowry for the festive season. Staring the Olivier nominated Jonty Stephens and Ian Ashpitel as the comedy duo, they treat us to an evening of cabaret and familiar sketches which include, Eric’s Mr Memory, the pairs take on ventriloquism and the iconic Greig’s Piano concerto sketch.

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Adding a touch of glamour, as well as acting as a comedic foil to the pair is super talented singer Becky Neale who pops up throughout the evening, at one point belting out a fantastic version of the Mariah Carey hit All I Want for Christmas is You.

Despite an initial slow start, this is a hugely fun, trip down memory lane. All the classic gags are there, including those infamous well aimed barbs at Des O Connor. Stand out sketches include are of course the ventriloquist dummy which is brilliant in its simplicity and a beautiful rendition of the Stephen Sondheim’s Send in the Clowns by Neale which Eric and Ernie do there best to ruin.

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The main strength of the show comes in the performances of Stephens and Ashpitel. The physical resemblance is clearly noticeable from the outset, but it’s more about how the mannerisms and facial tics are matched to perfection. You can see the two actors have analysed their heroes to give a genuine, authentic performance which sucks you in. Add to that the undoubted chemistry between the two as well as some exceptional choreography from Nicola Keen and you have all the parts for a heart-warming night of comedy and nostalgia.

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The show inevitably closes with a rendition of Bring Me Sunshine, from all three performers as well as the audience; and like a nice mug of hot mulled wine, it sends you out into the cold winter’s night with a nice warm glow, a spring in your step, and the perfect way to start the Christmas celebrations.

An Evening with Eric and Ern is at the Lowry till 6th January. Tickets available here.

SIX the Musical

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Reviewed by Matt Forrest

Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

It was just a month ago that the Spice Girls announced a series of comeback gigs that seemingly sent the music world into a feverish frenzy: Girl Power was back and back with vengeance. However way, way, way before Girl Power was a thing, we had Queen Power in the form of six strong, powerful, inspirational ladies who just so happened to be married to the same man, Henry something or other.

With the exam aiding rhyme of: Divorced. Beheaded. Died. Divorced. Beheaded. Survived coursing through your brain from the outset Six bursts into life with the vibrant, ballsy opener Ex-Wives where we are introduced to our six monarchs: Aragon, (Jarneia Richard –Noel) Boleyn, (Millie O’Connell) Seymour, (Natalie Paris) Cleves, (Alexia McIntosh) Howard (Aimie Atkinson) and Parr (Maiya Quansah-Breed. This certainly sets the tone for the evening, there are big tunes, ostentatious costumes, and some seriously sublime and sassy performances.

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The premise for the show is a simple one, the women want to step out from the shadow of their husband, Henry VIII, with each of them convinced that their story is more interesting than their counterparts. The only way to find out who the ‘Queen Bee’ is, is for each one to tell their story and let the audience decide.

Writers Toby Marlow & Lucy Moss have created a modern masterpiece. Songs weave historical facts with smart, cutting and cheeky lyrics. The show is a hybrid between a traditional musical and what could easily be a huge stadium concert marrying the two together whilst at the same time sending them up in the process. The pair poke fun at the X Factor whilst in addition making some serious points about the media trying to divide strong females instead of encouraging unity and sisterhood.

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The all-female cast are on fabulous form with each of them getting their moment in the spotlight. All the ladies demonstrate their huge talent by singing various styles: drawing inspiration from artists such as Beyoncé, Lily Allen, Adele, Britney Spears and Alicia Keys to name but a few. They are supported by a great backing band who perform a wide range of musical genres, from hip-hop, to German techno, with some unique interpretations of Greensleeves thrown in for good measure.

Stand out songs (and believe me it’s difficult to pick as they are all exceptional) are the brilliant and bizarre German electro pop ditty, Haus of Holbein, and the catchy Anna of Cleves solo, Get Down. It’s not all fun and frolics as the Katherine Howard led, All You Wanna Do takes the show into a momentary but necessary dark place, as we vividly realise the abusive treatment she endured, so relevant today with the #meto movement, brilliantly and cleverly performed by Atkinson.

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This is a fun and enormously entertaining show filled with glitz, glamour, plenty of attitude and more than a razors edge to it, it’s addictive and then some. Whilst sisters may be doing it for themselves isn’t it better when they work to unite, in this case six heads are better than one, even if two of them have been chopped off!

Six is at the Lowry Quays Theatre until 16th December. Tickets available https://thelowry.com/whats-on/six/

First look Doctor Dolittle

Have you booked your tickets yet?

Be quick as you’ve never seen anything like it!

We are absolutely loving these production shots from Doctor Dolittle which opens at The Lowry next week.

The magical musical which promises festive fun for all the family will run from Tuesday 11th December until Saturday 6th January.

Starring Harry Potter star Mark Williams at the Doctor, Corrie favourites Brian Capron as both Albert Blossom and the mighty Straight Arrow, Vicky Entwistle as trusty side-kick Polynesia while Adele Anderson (Fascinating Aïda) will be playing Lady Bellowes and Poison Arrow.

The spectacular stage show follows Doctor Dolittle on his magical adventure in pursuit of the Giant Pink Sea Snail which holds the secret of life and making the world a happier place. We’ll meet marvellous humans as well as some mighty impressive animals along the way including the Pushmi-Pullyu and the Doctor’s trusty sidekick Polynesia the Parrot. The show promises to be a thrilling Christmas treat for young and old.

Tickets are available now and can be found here.