The Lowry

War Horse

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Reviewed by Matt Broadley-Forrest

Opening Night verdict ⭐⭐⭐⭐⭐

It’s been 17 years since Nick Stafford’s adaptation of writer Michael Morpurgo’s novel, War
Horse first hit the stage. When the book was originally published in 1982, it’s impact was moderate, however, with time and a little attention from The National Theatre, this
heartbreaking, beautiful story was brought to brilliant life, and still today both the book and play manage to wow and amaze audiences of all ages.

Telling the story of Devon farm hand, Albert Narracott (Tom Sturgess) and his relationship
with a foal, Joey. A family feud between Albert’s father Ted (Karl Hynes) and his brother,
Arthur (Gareth Radcliffe), sees the pair try and outbid each other for a young horse, at
market. Ted wins the battle for the horse, but at a hefty financial price.

With Ted not really interested in the care of the horse it falls on Albert, who with time,
patience and a unique understanding strikes up a special friendship with Joey. As Joey
becomes a fully-grown colt the pair can be seen coursing through the fields of the village,
and eventually he becomes a great asset to the family in the upkeep of the farm.

However, with the outbreak of World War One, Joey is sold to the war effort by Ted,
seemingly ending the friendship between Albert and his beloved horse. With Joey out on
the frontline somewhere in mainland Europe, Albert refuses to give up hope of being
reunited with his horse and a year later enlists in the army, much to the anguish of his
mum, Rose (Jo Castleton). So begins a journey that will see them both face great peril and adversity which will change the pair forever.

War Horse is live theatre at its finest: high production values from start to finish,
captivating storytelling and an ensemble cast at the top of their game.
Visually it’s as close to perfection as you’re likely to see. The mesmerising puppet control
of the Handspring Puppet Company who bring not only Joey to life, but other animals
including the great stallion, Topthorn and the Norrcott family’s sassy goose. This
exceptionally talented group of puppeteers/actors pack these creatures full of character
and personality: this married with the superb attention to detail on each puppet makes for
a visual treat.

The set is minimal, with the idyllic Devonshire countryside and later the barbaric
battlefields of the Western front made real using a mixture of drawings and animation,
screened across white fabric at the top of the stage. The visuals lurch from the tranquil to
the brutal and work in a unison with some spectacular lighting and thunderous sound
design.

War Horse doesn’t pull its punches on the brutal nature of war. Characters come and go,
with very little pomp and ceremony, all the death and destruction seen through the eyes of
either Albert or Joey. We are fully exposed to the horrors of the frontline from both sides of
the conflict, as well as the dangers for all the serving horses too. As you would expect, at
times it’s bleak, even shocking but there is also plenty of warmth, humour and kindness,
from Nick Stafford’s classy script, which shows the best and worst of humanity.

Tom Sturgess gives a fine central performance as Albert, a turn filled with warmth, and
determination. In addition there is a solid outing from Alexander Ballinger as the German
Captain Freidrich Müller. It’s a performance filled with anguish and compassion. With the
subject matter it would be easy for the production to drift into melodrama but under Katie
Henry’s direction the whole ensemble cast give measured and at times understated
performances, which is one of the show’s key strengths.

The production showcases the extraordinary vocal talents of Sally Swanson who brings to
life the compositions of Adrian Sutton and the lyrics of folk music legend Jonathan Tams.
Swanson has a tremendous voice, as she glides from scene to scene, soundtracking
moments of beauty between Albert and Joey, and the anguish and fallout from the war.

This is a sublime production that can be enjoyed by audiences young and old alike with
some startling imagery that will live long in the memory coupled with a powerful message
of hope. With a tour going to the end of 2024 and well into 2025 this magnificent beast of a
show shows no signs of being put out to pasture, and on today’s performance it’s easy to
see why.

War Horse is at the Lowry until Saturday 28th September. Tickets are available
here.

Bluey’s Big Play

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Reciewed by Jodie, Bridie and Hetty Crawford

Opening Night verdict ⭐️⭐️⭐️⭐️⭐️


It would be quite the understatement if I were to say that we are fans of Bluey in our house. With a five year old and a seven year old to keep entertained each day of the schools holidays, Bluey can often be our saviour and the reality is that us adults love it as much as our kids do. So the excitement levels that we all felt when we heard we would be reviewing Bluey’s Big Play, were through the roof.

I honestly couldn’t think of a better way to spend a morning than watching this show. It has all the ingredients of a classic Bluey episode: a story with a strong emotional undertone, a lesson to be learnt, some questionable dance moves and some of the greatest Dad jokes of our time. 

I wasn’t sure how this firm family favourite of ours was going to translate onto the stage and the answer is that it does so perfectly. 

These puppets are so engaging! You stop seeing the puppeteers (who do an amazing job by the way) and you just get fully engrossed in the lovable, familiar characters. 

The show tells the story of a scenario that I’m sure we are all faced with as parents, at times. Dad wants nothing more than to sit down and check through an article on his phone, in peace and quiet. But, Bluey and Bingo have other plans. They conspire to steal and hide Dad’s phone so that he has no choice but to play with them. Dad is determined to get his phone back and we are taken on an adventure of laughter, music and dance with our favourite canine family. Until, eventually the phone is found and returned to Dad, who realises that actually there will be plenty of time for sitting on his phone later. Cue – an epic Bluey finale for us all to get involved in. 

My children loved this production so much and, I’m not ashamed to say it, so did I! 

This is the perfect show for fans of this Aussie cult classic. We will be talking about this show for the remainder of the school holidays and I’m pretty sure that there’ll be a return visit, even if it’s just to get involved in the giant game of keepy uppy! 

It also needs mentioning that the Lowry is such the perfect venue for this kind of production. It’s such an accessible space that is managed so brilliantly. It’s always a joy to take the children along to a show here. 

This is an absolute “ripper” of a show, as our friend Bandit would say! For real! And yes, I’m “cereal”!

Bluey’s Big Blue House is on at The Lowry until Sunday 11th August tickets are available here.

A Chorus Line

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Reviewed by Nikki Cotter

Opening Night verdict ⭐⭐⭐⭐

Created by Michael Bennet in 1975, A Chorus Line lifts the curtain on the sacrifices performers make in a bid to book a job within the chorus of a Broadway show. Using real life interviews with Broadway dancers as it’s source material, A Chorus Line offers audiences a wholly authentic glimpse into both the audition process and the lives of the performers we so often see on stage yet know very little about beyond their beaming smiles at the curtain call.

This Leicester Curve production with Director Nikolai Foster at the helm has taken this much-loved story and executed a beautiful, memorable revival.

A Chorus Line is a complete ensemble show, there are no real leads, a stripped back set and few costume changes ensuring the characters and their stories are at the absolute heart of this piece. The whole cast are on stage for almost the entirety of the production as they deliver their own individual stories that go way beyond blood, sweat and tears in a bid to make it to the illustrious Broadway stage.

Opening impressively with I Hope I Get It the standard is quickly set for this revamped production. As numbers get cut the chorus line of hopefuls under the watchful eye of director Zach (Adam Cooper), take their moment in the spotlight, giving us a glimpse into their lives beyond the stage, their struggles to get there and the life experiences which have shaped their personalities.

Ellen Kane’s exquisite choreography is integrated superbly within the individual testimonies, it feels fresh, punchy and exhilarating. This is further enhanced by Howard Hudson’s stunning lighting design, which is at times breathtaking. The addition of close-up filming at times which is then projected largely onto the back of the stage could be polarising for audiences, for me it didn’t feel necessary and at times proved to be a distraction rather than an enhancement.

This cast are undoubtedly excellent, each has a unique ability to draw you in. From Chloe Saunders brilliant and witty delivery of Dance: Ten; Looks: Three to Manuel Pacific’s emotive personal disclosure scene as wannabe star Paul San Marco, each character feels authentic and believable.

Returning to the production are audience favourites Carly Mercedes Dyer as Cassie, and Adam Cooper as Zach, they are joined by an immensely talented cast who each showcase their skills both physically and vocally. Jocasta Almgill as Diana Morales gives a powerhouse performance with her knockout rendition of What I Did For Love. Amy Thornton, Lydia Bannister and Kate Parr are equally as affecting during At the Ballet while Redman Rance showcases Kane’s choreography to perfection during, I Can Do That.

This cleverly crafted revival feels fresh and exciting and takes the audience on a journey of exhilarating highs and painful lows as we feel for each and every auditionee. The devastation for those who don’t make it is swiftly followed by elation for those who do, that’s showbusiness as they say.

Running straight through at 1hr 50mins we are rewarded with a thrilling finale as the familiar intro for One begins. Stories of struggle and sacrifice make this dazzling finale seem all the more magical as the cast high-kick in unison while the pyrotechnics illuminate the stage in a finale that will long live in the memory.

A Chorus Line is on at The Lowry until Saturday 27th July tickets available here.

2:22 A Ghost Story

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Reviewed by Nikki Cotter

Opening Night verdict ⭐⭐⭐⭐

Having wowed the West End with multiple record-breaking runs as well as an ongoing UK tour that continues to sell out, 2:22 returns to The Lowry for another two-week run and judging by tonight’s standing ovation a third visit would be most welcome.

Written by award-winning writer Danny Robins, this supernatural thriller is fast becoming a modern classic, with its clever narrative and inspired cast changes keeping audiences on their toes.

The action takes place over one evening at the home of Sam (George Rainsford) and Jenny (Fiona Wade). Having recently moved into an old house with their baby daughter Phoebe, extensive renovations have begun. Amidst the sleepless nights and with her husband away with work, Jenny has begun to experience some strange goings on, footsteps heard in daughter Phoebe’s room and the sound of a male crying, more curiously always at the same time, 2:22.

When Sam return’s home the couple host a dinner party inviting Sam’s university friend Lauren, (Vera Chok) and her new partner Ben (Jay McGuiness). When Jenny reveals the mysterious goings on to the group husband Sam is sceptical, insisting there must be logical explanations. Support comes primarily from Lauren and Ben, with Ben particularly having a keen interest in the supernatural. Jenny convinces the group to stay up until 2:22 so they can witness for themselves the scary shenanigans.

It’s here that Danny Robins brilliant script really shines, witty and sharp the tension builds as you wait for the jumps that this clever script continually threatens. Act 1 sets the scene while Act 2 ramps up the scares impressively. This is not just a ghost story but an exploration on humans, their beliefs, struggles, strengths and weaknesses. The digital clocks displaying the time ticking towards 2:22 brilliantly aid the uneasy feeling that something bad is about to happen.

Fiona Wade is excellent as Jenny, filled with angst and frustration she portrays the character with believable authenticity. George Rainsford is equally as impressive as the initially arrogant and unlikeable Sam, his journey from start to finish shows an interesting exploration of character which he delivers convincingly. Vera Chok as booze loving Lauren increases the drama as we see her shift from confident to emotionally crushed while Jay McGuiness as Ben brings heaps of charm, humour and likeability as the working-class outsider of the middle-class group.

With an excellent plot twist, masses of misdirection and swathes of suspense 2:22 is a brilliantly crafted piece of theatre. Entertaining, well-acted and surprising right to the end, it’ll make you think twice about things that go bump in the night.

2:22 is on at The Lowry until Saturday 15th June tickets available here.

Jesus Christ Superstar

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Reviewed by Nikki Cotter

Opening Night verdict ⭐⭐⭐⭐⭐

Ever since I saw Timothy Sheader’s bold reimagining of Andrew Lloyd Webber’s Jesus Christ Superstar at Regent’s Park Open Air Theatre I thought how perfect it would look on the Lowry’s Lyric stage, fast-forward several years and here we are in sunny Salford where there’s undoubtedly a buzz in the air.

This innovative restaging of the much-loved classic thrills right from the very first moments as the ensemble excitedly rush through the stalls onto Tom Scutt’s industrial looking set, complete with high scaffold columns and an imposing fallen cross.

As the iconic intro notes to Heaven On Their Minds play out, we see a brooding, hooded Shem Omari James as Judas surveying the scene. Judas and Jesus poignantly lock eyes for the 1st time before Shem Omari James’ crystal clear vocals give us a striking indicator of the quality of the production we’re about to see.

Ian McIntosh is superb in the role of Jesus, his vocals are insanely good, while his performance is rich in empathy and emotion as he accepts the fate he knows lies before him. His delivery of Gethsemane is electric, ensuring every audience member feels his turmoil at this pivotal point in the show. Lee Curran’s lighting design adding to the already spine-tingling scene making this an absolute chef’s kiss moment.

The scenes between Judas and Jesus are intense and loaded, each character is well-defined, and has their own powerful story to tell. The symbolism and poignancy of each heated exchange between the two further engaging us in this beautifully directed piece.

Hannah Richardson gives a heavenly performance as Mary Magdelane, she softens each scene with her gentle, loving characterisation, further opening up the opportunity to show Jesus as a multifaceted, complex man. Her delivery of I Don’t Know How To Love Him is sublime.

Ryan O’Donnell gives a commanding, considered performance as Pilot his incredible vocals during Trial Before Pilot are a thrilling highlight of the show. Timo Tatzber makes the most of every minute on stage as the brilliantly brattish, bawdy Herod, his physicality and flamboyance perfectly embodying the character.

Jad Habchi and Stephen Lewis-Johnston as High Priests Caiaphas and Annas are incredible, strong and striking as they plot to bring Jesus down, they have the most unbelievable ranges and deliver Tim Rice’s lyrics in memorable style.

In addition to the leads the tremendous ensemble ensure this visually arresting production surprises and impresses throughout. They deliver Drew McOnie’s modern choreography with stunning accuracy, switching from celebratory crowd to baying mob with powerful precision.

The inspired choreography paired with stunning performances ensure this Jesus Christ Superstar is one which will live long in the memory. Breathtakingly brilliant from start to end.

Jesus Christ Superstar is on at The Lowry until Saturday 25th May, tickets available here.

42 Balloons

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Reviewed by Nikki Cotter

Opening Night verdict ⭐⭐⭐⭐⭐

Bursting with bops, bangers and brilliant ballads, 42 Balloons tells the incredible true story of Larry Walters, his determination to fulfil his dreams and the amazing people who helped him to take flight.

Using just a lawn chair and 42 helium filled weather balloons, Larry Walters achieved the seemingly impossible, flying sixteen thousand feet above Los Angeles; and so, ‘Lawn Chair Larry’ was born.

How he achieved his dream, and what happened during and after his 1982 flight are all wonderfully revealed in this exhilarating new musical.

This uplifting production which was originally performed as a semi-stage concert back in 2022 makes its world premier at Salford’s Lowry theatre and soars from the moment the Prologue begins. The original score with its strong 80’s influence feels both inventive and nostalgic while Godfrey’s catchy lyrics ensure you’ll be singing these tracks long after the curtain call.

The impressive staging ties-in superbly with the 80’s influence as Andrzej Goulding’s retro video projections illuminate Milla Clarke’s impressive set design, lit to perfection by Bruno Poet. 

Charlie McCullagh takes on the role of Larry and delivers a heartfelt, heartwarming performance. He immediately hooks you in, taking you along for this emotional ride while ensuring you are rooting for Larry from the off. His depth of character allowing us to truly believe in Larry, his dream swiftly becomes a goal we all collectively wish for while his vocals are simply stunning.

Portraying Larry’s partner, Carol Van Deusen, is an excellent Evelyn Hoskins. She brings warmth and wit to the role while giving us world class vocals. Her solo Helium in particular offers the perfect opportunity to showcase her incredible range, ensuing this power ballad packs an emotional punch any 80’s diva would be proud of.

Gillian Hardie has incredible stage presence as Carol’s Mom, singing the Blues in superb style while Lejaun Sheppard, as Larry’s friend Ron adds a further level to this fascinating story. His rich vocals and slick delivery reminding us of Hamilton one moment, The Fresh Prince of Bel-Air the next, so creative and inventive is this score.

The leads are supported by an incredible ensemble. They feature almost consistently throughout taking on various roles and elevating this already glorious production to the next level. They deliver Alexzandra Sarmiento’s 80’s inspired choreography with sass as they cleverly move the story along with each impressive scene.

It really does feel like you’re watching the next big thing with its inspired writing, brilliant songs and wonderful storytelling. 42 Balloons truly soars.

The highs are exhilarating while the lows are sensitively and delicately portrayed resulting in a contemporary piece of theatrical perfection. The nostalgic feel will appeal to audiences who lived through the era while its innovative design along with bops a plenty will cement 42 Balloons popularity with younger audiences too.

Special mention must also go to orchestrator, arranger and musical supervisor Joe Beighton. This score will no doubt become a firm favourite amongst theatre fans across the county and no doubt beyond. Delivered on the night by an impressive band led by Flynn Sturgeon with superb sound design from Paul Gatehouse.

The Sky’s the limit for this truly special piece of theatre, get yourself to the Lowry immediately and watch Larry take flight.

42 Balloons is on at The Lowry until Sunday 19th May tickets available here.

Images by Pamela Raith

The Mousetrap

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Reviewed by Dan Grimes

Opening Night verdict ⭐⭐⭐

Agatha Christie’s The Mousetrap embarked on a triumphant 70th Anniversary tour two years ago and this week it takes a welcome sojourn at The Lowry’s Lyric theatre.

The Mousetrap really needs no introduction. The play has long since passed the point where it has become a brand in its own right, having played continuously on London’s West End for almost 72 years (COVID notwithstanding). In fact, the production now has its own catchy tagline. “Have YOUdunnit?” probes the poster on the way into the auditorium, reminding me that participation in the audience is as much about being part of a collective experience as it is about enjoying a well-crafted murder mystery.  

Now, having seen the play (for the first time I might add, and without any idea at the outset of WHOdunnit) I feel as though I have been initiated into a secret society which precludes me from giving away too much of the plot. However, I think it’s safe to state that the action centres on events that take place at Monkswell Manor Guest House, a newly opened hospitality venture run by relative newlyweds Mollie and Giles Ralston (Hollie Sullivan and Barnaby Jago) and involving their intake of idiosyncratic lodgers. As news spreads of a murder in London, this group of strangers find themselves snowed in at the remote countryside location. When a fresh-faced police sergeant arrives, the guests discover – to their horror – that one of them, is in fact, the one WHATdunnit.  

This touring production, with well-paced direction from Ian Talbot and Denise Salvey, does a very solid job of bolstering the Mousetrap brand. The staging is at the same time sumptuous and robust. The set elegantly recreates the interior of an English country manor house, complete with gothic oak panelling and stone architraves. The actors work the set hard throughout with doors slammed, staircases tramped, curtains yanked, and windows clambered through. However, testament to the skill of the designers and the construction engineers, there was not even a hint of a wobble. The costumes were in-keeping with the period and each outfit was precisely chosen to enhance the characterisations. Well-cut tailoring and hard-wearing fabrics, these clothes evoked a time before fashion became disposable. The props and furniture items were equally evocative of the time and similarly high quality, with every component coming together to create an overall sense of opulent dependability.

The lighting design was simple but effective. With all the action contained within the same box set, the use of wall lighting and lamps helped punctuate the passing of time and the way the ambient lighting gradually faded as the dark winter night drew in, created the right atmosphere to frame the suspense. I especially enjoyed the care taken over the critically timed blackout at the end of Act 1 with the remaining auditorium lighting also being temporarily dimmed to enhance the depth of the blackout and add to the disorientation.  Unfortunately, sound on this occasion was less reliable, with more than one occasion when miscued microphones pulled you out of the action. I was also a little disappointed with the realism of the snow used on stage. Seeing each newly arrived character lightly dusted with snow from the imminent blizzard was initially pleasing. Unfortunately, the fact that the snow lingered a little too long on clothes when characters were stood in front of the roaring fire, and that some of the dustings appeared more like dollops was ultimately more jarring than was likely intended.  

Performances from all eight actors admirably matched the solidity of their surroundings, with each actor delivering their own well-crafted characterisation. Stand-out performances came from Shaun McCourt as the eccentrically camp Christopher Wren, Amy Spinks as the enigmatic Miss Casewell and TV stalwarts Gwyneth Strong and Todd Carty as the acerbic Mrs Boyle and bumbling Major Metcalf respectively. However, the real star of our show was Hollie Sullivan who was pulled off the understudy bench to play Mollie Ralston. Hollie looked and sounded every inch the 1950s inheritress but also managed to find a depth of emotional connection to the role that caused her to shine that little bit brighter.

Overall, this was an extremely competent production with excellent staging and well delivered performances. That being said, I was left feeling much more enrolled than entertained. I can now say that I have ‘dunnit’ and I will dutifully keep its secret locked in my heart as bid, but overall it was an experience more akin to visiting Madame Tussauds than watching an edge-of-the-seat thriller penned by the Queen of Crime. Whilst I appreciated the craftsmanship and I’m glad to have ticked it off the bucket list, it all felt a bit lacklustre in the end. Very much like the solid oak table mentioned in the script, the play is undoubtedly a genuine antique but it may now be starting to show some signs of woodworm.  

Agatha Christie’s The Mousetrap (70th Anniversary Tour) runs at The Lowry, Salford, from Monday 8th to Saturday 13th April 2024. Tickets are available here.

Cluedo 2

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Reviewed by Matt Forrest

Opening Night verdict ⭐⭐⭐

Following the huge success of Cluedo (stage play), writers Maurice Gran and Laurence Marks have followed it up with the rather aptly named Cluedo 2, which hopefully will contain more mayhem, more murders, as well as some laughs.

This time around the action takes place in the ‘Swinging Sixties’, at the country estate of fading rockstar, Rick Black (Liam Horrigan), as he is about to offer an exclusive first airing of his latest album. In attendance are Black’s shady American manager Colonel Mustard (Jason Durr), Black’s wife, the scheming socialite Mrs Peacock (Hannah Boyce) and Black’s friend and tech expert, Professor Plumb (Edward Howells).

In addition, there is the seemingly ever-present housekeeper, Mrs White (Dawn Buckland) and interior designer, Miss Scarlett, (Ellie Leach), who has been brought in to give the crumbling manor house a bit of a makeover. Later they are joined by Wadsworth (Jack Bennett), a jobbing actor typecast as a butler, and finally the Reverend Green (Gabriel Paul), a friend and musical collaborator of Rick Black.

As more guests arrive, the body count increases, and soon everybody becomes a suspect. Everyone has a motive, and everyone has the means, but will they all survive long enough to catch the killer?

Cluedo 2, is very much a mixed bag, it does a great job of introducing all the familiar tropes associated with the boardgame: each of the characters are given a fresh take, subverting expectation, but still present are the classic murder weapons and rooms within the manor house.

Writers Gran and Mark’s script is fun throughout but doesn’t always deliver the big laughs that it needs. There are no wasted lines, and every bit of dialogue could be a clue, so be sure to pay attention! I expected more bite from the team behind one of my favourite sitcoms, The New Statesman. Director Mark Bell, arguably best known for directing The Play That Goes Wrong has tried to incorporate what worked so well on the Mischief Theatre smash hit into Cluedo 2, with again, mixed results: there are elements of farce, quick gags, and physical comedy which work well, you just wish there was more of it.

What this production does have is several strong performances. Dawn Buckland steals nearly every scene as the no nonsense Mrs White, she has the lion’s share of the best lines, and she delivers them with exceptional comic timing. Equally impressive is Jack Bennett as the former butler-turned actor, now playing a butler, Wadsworth. It’s a great comedic turn full of energy, which demands your attention throughout.

There are strong performances from Liam Horrigan as Rick Black as well as several other characters (no spoilers) who fully invest into the silliness you expect from the show. Hannah Boyce is in fine form as the mean, selfish Mrs Peacock.

The big draws for the productions are former Heartbeat star Jason Durr, who goes OTT as the big Texas music manager Colonel Mustard; it’s a performance as absurd as it is enjoyable. Whilst former Coronation Street and 2023 Strictly Come Dancing winner, Ellie Leach makes a fine stage debut as Miss Scarlett.

Whilst never hitting the big laughs, there are enough gags and comedic set-pieces to keep you entertained for the two-hour running time, and despite a slow start, the pace quickens as soon as the body count rises, leading to a suitably absurd and thoroughly satisfying conclusion.

Cluedo 2 is at the Lowry till 6th April. Tickets available here.

Unfortunate – The Untold Story Of Ursula The Sea Witch

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Reviewed by Nikki Cotter

Opening Night verdict ⭐️⭐️⭐️⭐️

Malifcent and Cruella have both had their moments in the spotlight, so now feels like the perfect time to spill the tea on Disney’s most iconic villain, the queer queen herself, Ursula.

This is a deep dive like no other and a musical parody you won’t forget in a hurry as Ursula’s mysterious past is explored in the most hilarious way. It’s camp, colourful and completely outrageous.

Shawna Hamic takes on the titular role and succeeds entirely. She’s sassy, self assured and super fun with a hint of vulnerable where necessary. She blasts out powerhouse vocals with ease and quickly makes you realise perhaps you were wrong about Ursula all along.

Her scenes with Thomas Lowe as Triton are superb. They bounce off each other brilliantly ensuring this sharp script gets the quality delivery it deserves. They’re deliciously OTT, Hamic delivering Ursula’s cool, effortlessly while Lowe camps it up as Triton, all hair flicks and wanting sighs, hamming it up to perfection.

Allie Dart as Sebastian and multiple other characters is incredible, she delivers and then some. Such a brilliant actor, she doesn’t miss a beat in this fast paced parody. Her scenes with Jack Gray are a joy, their interpretations of Ursula’s faithful eels Flotsam and Jetsam are hilarious, a real highlight of the show as they weave effortlessly through Melody Sinclair’s brilliant choreography.

River Medway as the flame haired Ariel is hilarious. Ditsy, dim and desperate for a fumble ensuring the audience understand completely why Ursula sent her down the path she chose. Of course where there’s a whiff of Disney there’s always a Prince Charming, step forward Jamie Mawson as Eric. Mawson hams it up perfectly as the brattish, flute playing royal. Every line and every lyric exaggerated to level ten, he is a scream.

The cast are supported by a talented ensemble who bring further sass to this brilliant piece, they hold nothing back and make you feel like you’re part of this inclusive party.

There are bops and bangers, all delivered by a top notch cast. At two and a half hours this is a fairly long parody which might pack a little more punch with a slightly shorter running time but this really is a minor quibble.

Unfortunate is bold, brilliant theatre. Outrageous, unapologetic and a whole heap of fun.

Unfortunate – The Untold Story of Ursula The Sea Witch is on at The Lowry until Saturday 2nd March tickets available here.

The Time Machine

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Reviewed by Dan & Jacob Grimes

Opening Night verdict ⭐️⭐️⭐️⭐️

Direct from its London festive run at Park Theatre, Original Theatre’s hit comedy The Time Machine comes to Salford to help deliver some post-Christmas cheer to audiences.

Based (very loosely) on H.G. Wells original novel by the same name the play reads like a love letter to the genre with elements from every well-known time travel tale of the last century and a quarter cleverly woven into the piece. From Groundhog Day to Back To The Future via Quantum Leap the writers Steve Canny and John Nicholson are clearly superfans of this reference material. However, despite familiar anchor points throughout, the whole thing, when put together, was constantly surprising. Without giving too much away (which I’m not sure I could, even if I wanted to) you spend most of act one feeling like you have seen this before, with elements of high farce like in The Play That Goes Wrong or gentle parody like in The 39 Steps. Yet, you enter the interval wrong-footed and act two pinballs you through a trippy fever-dream, which comes across as a combination of a Royal Society Christmas Lecture and a Monty Python sketch.

Apart from being very funny, the play is also quintessentially British and taps into that madcap, nerdy, eccentricity that we wear like a cosy cardigan, replete with leather arm patches.

The staging was simple but effective, with heavy reliance on an intricate array of props which the actors dealt with skilfully. The costumes had a cobbled-together quality, with period jackets and bustles worn over jogging bottoms and trainers, which worked perfectly for the bargain basement vibe that I’m sure the director Orla O’Loughlin and the design team were aiming for.

Light and sound had a similarly lo-fi feel but were expertly cued in sync with the comedy. The whole thing, in fact, was harmoniously well-executed and just like Acorn Antiques or Les Dawson’s piano playing you were left admiring the skill required, from performers and creatives alike, to give something the illusion of shoddiness when it was impeccably tight.

The stand-out aspect of the production, by far, was the three talented performers. This was a true ensemble piece with George (George Kemp) portraying the instantly recognisable, public-school poseur, Amy (Amy Revelle), the highly-strung rep actor with irritatingly lefty sensibilities, and Michael (Michael Dylan), the comedic stooge, acting as the butt of the joke. Whilst each of the characters fit cosily into a recognisable stereotype, the actors had an earnestness to their delivery which only added to the comedy – especially as the bizarreness crescendos. 

The supporting cast was played by the audience and be prepared, the fourth wall is well and truly knocked through. On this point, and this is primarily a personal preference issue, whilst some of the audience participants absolutely added to the delightfully bonkers feel by virtue of their pleasantly baffled demeanour, others (usually those a little TOO willing to volunteer) became a little grating. This always feels like the dice-roll when audience participation is encouraged and, credit to the performers, they did a grand job of weeding out the more insistent elements.

Overall, this was an incredibly enjoyable and unique theatre experience and if you are looking for a night of mind-bending quantum physics offset by some great gags, all-round silliness and reflections on existentialism then look no further.

Steven Canny and John Nicholson’s The Time Machine – A Comedy, runs at The Lowry, Salford, from Tuesday 23rd to Saturday 27th January 2024 tickets available here.

The National Lottery’s Big Night of Musicals

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Now a much-welcome fixture to lift the January spirits, the National Lottery’s Big Night of Musicals returned to the AO Arena in Manchester on Monday evening – bringing once again some spectacular musical theatre performances expertly compared by seasoned pro Jason Manford.

Featuring a mix of absolute classics to more modern hits, the evening was a big-budget affair that saw some of the biggest and best shows in London and on the road performing alongside a full size orchestra and host of talented singers.

Photo by Jeff Spicer/Getty Images for The National Lottery

Tanisha Spring and Dom Simpson gave an absolutely gorgeous performance of ‘Your Song‘ from the current West End hit Moulin Rouge. With thousands of mobile phones lighting up the arena, it was a really beautiful moment.

The Broadway hit Hadestown is due to open this side of the pond soon, so it was a really exciting moment getting to watch the first UK TV performance of the West End cast as they performed ‘Wait For Me’.

Photo by Jeff Spicer/Getty Images for The National Lottery

The cast of the critically-acclaimed immersive revivial of Guys & Dolls, lead by Cedric Neal as Nicely Nicely Johnson raised the roof and audiences to their feet with the brilliant number ‘Sit Down You’re Rocking the Boat’.

Daniel Boys popped down the road from the Palace Theatre to give a crowd-pleasing turn as King George III with ‘You’ll Be Back’ from Hamilton, showing again what a gift of a number for a performer that song is.

Photo by Jeff Spicer/Getty Images for The National Lottery

Another clear winner was the quartet of Jean Valjean’s from Les Miserables (Milan van Waardenburg, Alfie Boe, Killian Donnelly, Pete Jöback) singing a specially-arranged version of the beautiful ‘Bring Him Home’. 

Another iconic show performing to big cheers was The Phantom of the Opera – John Robyns and Lily Kerhoas clearly enjoying belting out the famous title number to a 12,000 audience.

Photo by Jeff Spicer/Getty Images for The National Lottery

And plenty of shows heading towards Manchester in the next few months also got a chance to show what audiences can look forward to.

Curve’s production of A Chorus Line heads to The Lowry in July, ahead of a London run, and the dazzling full company performance of the show-stopping ‘One’ was a highlight of the evening.

Photo by Jeff Spicer/Getty Images for The National Lottery

The tour of Disney’s Aladdin heads to the Palace Theatre in May and Genie Yeukayi Ushe gave a brilliantly high energy rendition of ‘Friend Like Me’.

There was also a glimpse of new musicals to look forward to this year – including 42 Balloons which comes to The Lowry in April.

Other shows performing included clear audience favourite Everybody’s Talking About Jamie, new musical Mrs Doubfire, as well as classics Grease and Wizard of Oz, both of which come to Manchester this year.

(Photo by Jeff Spicer/Getty Images for The National Lottery)

And the show also shone a welcome spotlight on the important work done by the National Lottery in funding theatres and theatre programmes around the country. Also highlighted time and time again was the important of supporting your local regional theatre.

 You can catch the show on BBC One and Iplayer this Saturday – it genuinely is a must-watch for musicals fans.

We’re Going on a Bear Hunt

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Reviewed by Emily Aitchison and Mummy Jo

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The much loved theatre production of Michael Rosen and Helen Oxenbury’s ever popular children’s book returns to Salford this Christmas and our mini reviewer Emily took her Mummy Jo to The Lowry to check it out.

Sally Cookson’s adaptation is hugely inventive, paired with a beautiful score from Benji Bower, this really is the perfect introduction to theatre for little ones. With a strong emphasis on fun, the cast cleverly use everyday objects to help tell this wonderful story; transporting us into their playful world as they go.

Emily’s Mummy Jo said “Emily was beaming all the way through. She loved it! Especially the during the snow storm and splashing through the river. The interaction with the audience was wonderful, it was such an entertaining production. Emily loved that the audience were encouraged to join in and sang along to every song, it was so much fun.”

We join the family, including their musical dog, as they go outdoors in search of a bear, lead by great outdoors lover Dad, played brilliantly by Tim Hibberd. Daughter Neha Eapen bursts with energy and interacts wonderfully with the little ones in the audience while her brother Benedict Hastings ramps up the fun of the piece. Ben Hills shows off immense talent as the musical family dog, playing multiple instruments and singing throughout.

Benji Bower’s superb soundtrack really helps to set the tone of this family friendly piece with much of the fun coming from their insistence that they’re not scared. The multiple invitations to shout out and interact with the performers as they encounter so many wonderful things along their way from the oozy squelchy mud to the splishy splashy river really makes this piece stand out. It felt welcoming, relaxed and had little ones enthralled from start to finish. In Emily’s worlds “It was brilliant!”

We’re Going on a Bear Hunt is on at The Lowry until Sunday 7th January. Tickets are available here.