The Lowry

Pride & Prejudice* (*sort of)

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Reviewed by Michelle Ewen

Opening Night verdict ⭐⭐⭐⭐⭐

What if you took Jane Austen’s most popular novel, added a tower of Ferrero Rocher, a plethora of iconic pop hits and a life-sized horse on wheels? The answer, my dear, is Pride & Prejudice* (*sort of) – a wickedly funny and outrageously irreverent take on the classic story of the Bennet sisters and their rocky road to lasting love. 

In a genius move, writer/director Isobel McArthur tells the story from the perspective of five ‘below the stairs’ maids who have an invisible hand in helping each sister get several steps closer to marriage (with more success than the meddlesome Mrs Bennet!). 

With an all-female cast of just five players portraying every single character in the Austen universe (both above and below the stairs), the stage is set for a rip-roaring entertainment-fest in which your next giggle is never more than a second away. 

With Naomi Preston Low expertly anchoring the action as the irrepressible Elizabeth Bennet and Christine Steel bringing sweetness and light as Jane Bennet, Rhianna McGreevy is free to showcase her exceptional range – switching effortlessly from potty-mouthed Mrs Bennet to the taciturn Fitzwilliam Darcy. 

Whether thrusting her breasts as chief antagonist Caroline Bingley or wrestling with a tube of Pringles as the hapless Charles Bingley, Emma Rose Creaner is hysterical. But the scene-stealing plaudits must go to Eleanor Kane, whose Mr Collins, once experienced, can never be forgotten!

An honourable mention must go to Mr Bennet, who is represented by nothing more than an armchair, newspaper and cloud of smoke in one of several inventive sight gags throughout the play. 

Other running themes include an impressive array of 1980s confectionery – from a plate of Wagon Wheels to a box of Viennetta ice cream. And, of course, there is always the (welcome) threat of a song around every corner, with the cast taking every opportunity to underpin each character or plot development with a tongue-in-cheek number. Highlights include Carly Simon’s ‘You’re So Vain’, Chris de Burgh’s ‘Lady in Red’ and Pulp’s ‘Something Changed’. 

Comedy supervisor Jos Houben’s lightness of touch ensures no laugh is forced, while McArthur’s direction is imbibed with creativity and ease. Character transitions are helped enormously by the inventive wardrobe choices of multi-award-winning Ana Inés Jabares-Pita. A simple white dress for each maid creates the perfect canvas on which to layer on additional garments, which are whipped off and on before you can blink an eye. 

Above all, this play is about sisterhood – and the bond between the players feels very genuine. They look like they are having a ball on stage, which is an energy that translates to the audience, who need no prompting to rise to their feet for a well-deserved standing ovation. 

Back in 2018, McArthur and her fellow graduates fromThe Royal Conservatoire of Scotland were initially challenged by Andy Arnold, the Artistic Director of Glasgow’s Tron Theatre, to restage a classic. With an instant hit on their hands, the young company lost traction during the pandemic but, thanks to a collective effort from the theatre industry – and the considerable determination of producer David Pugh – this Laurence Olivier Award-winning play lived to see another day. It now stands as a testament to what can happen when talent meets opportunity meets resilience.  

Sometimes considered complex and unwieldly in its classic form, Pride & Prejudice* (*sort of) is a modern-day rom-com triumph that anyone can enjoy. Just be prepared to go home with your cheeks sore from incessant smiling!

Pride & Prejudice* (*sort of) is on at The Lowry until Saturday, 22 March tickets are available here.

The Merchant of Venice 1936

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Reviewed by Matt Forrest

Opening Night verdict ⭐⭐⭐⭐

When picking a film at the cinema, we often like to know what genre of film we’re
off to see, so hopefully there’ll be no nasty surprises for us. Surely the same would
have been said when William Shakespeare was knocking out plays with such
gusto. One play that has often proved difficult to pigeonhole is The Merchant of
Venice, listed as a comedy, mainly because there is a wedding, a spot of farce
and (spoiler alert), no one dies!

However, over time the play has been reappraised due to its problematic
antisemitism. Director Brigid Larmour and Tracy-Ann Oberman are the latest to
tackle this troublesome play, their ambitious artistic choices pay dividends
with this bold, thought-provoking adaptation.

In their reworking, The Merchant of Venice 1936, the action is shifted to London’s
East End: where the rise of Oswald Mosley’s British Union of Fascists sees the
persecution of the local Jewish community. Here Oberman’s Shylock runs her
money-lending business. She is a strong, feisty Jewish businesswoman, who’s
devotion to her faith is only matched by her love for her family, especially her
daughter, Jessica (Gráinne Dromgoole) evident in a beautifully staged family
gathering at the start of the production.

Shylock is approached by Bassanio (Gavin Fowler), a socialite who has designs
on a wealthy heiress, Portia (Georgie Fellows). Bassanio, asks his friend, Antonio
(Joseph Millson), a local merchant and member of the BUF, to act as a guarantor
in order for him to secure a loan from Shylock. Antonio and Shylock despise each
other, yet the savvy money lender agrees to the loan, but the price Antonio must
pay if he is late with the repayment is a pound of his own flesh. As tensions rise in
the community, romances blossom, and fortunes fall, whilst Shylock and Antonio
are heading for a collision that neither are willing to back down from.

Oberman’s steely Shylock anchor’s the production from the outset, her revenge
mission sets the tone for the unpleasantness that follows. It’s a performance filled
with passion and swagger, ensuring that when the inevitable sucker punch comes you feel her heartbreak all the more. She is more than equalled by Millson’s slimy,
restrained but no less menacing black-shirted Antonio. They are supported by a tremendous cast, with special mentions for Evie Hargreaves’ portrayal of Mary Gobbo (also in a duel as Nerissa) who manages to get under your skin with her treacherous ways. Whilst Georgie Fellows, excels as the thoroughly unpleasant Portia.

Under Brigid Larmour stewardship the production thrives in its 1936 setting. It’s a
harsh world, where you are on high alert ready for the situation to escalate. It’s a
testament to the cast and direction that when that moment comes it rather takes you by surprise.

Liz Cooke’s grimy set design works tremendously well at selling the audience the
fear, and isolation of Cable Street. Whilst her costume design especially for the
more affluent characters look stunning: they dazzle as they showcase not just their
wealth, but their prejudices too. The production is intercut with video footage of the rise of the BUF, on the march through Britain. It’s a terrifying yet timely reminder of a part of Britain’s past that some conveniently choose to forget.

Despite the unsatisfying end to Shakespeare’s play, Larmour and Oberman give
us an optimistic conclusion, with a Oberman delivering a personal powerful
message of unity that will remain with me for some time to come and goes to
highlight the importance of theatre to not just entertain but remind us what it is to be
human.

The Merchant of Venice 1936 runs until 1st March, tickets are available here.

The Girl on the Train

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Reviewed by Jodie Crawford

Opening Night verdict ⭐⭐⭐⭐⭐

Directed by Loveday Ingram, The Girl on the Train pulls you in right from the start, gripping you with its intensity and keeping you hooked throughout. The show is a wild emotional ride, balancing suspense, drama, and just the right amount of humour. This thought-provoking adaptation of Paula Hawkins’ best-selling novel by Rachel Wagstaff and Duncan Abel goes beyond anything you might expect. Taking a popular book and film and making it work on stage is no easy task, but this version is absolutely brilliant.

One of the standout performances is Giovanna Fletcher as Rachel. She brings a raw vulnerability to the role, perfectly capturing Rachel’s emotional fragility. Fletcher’s portrayal of Rachel’s struggles with alcoholism, guilt, and trauma is both powerful and moving. There were moments when I was holding my breath, captivated by how she would navigate her next emotional turn. Fletcher’s performance truly anchors the show, inviting the audience into Rachel’s complicated world, making it impossible to look away. Fletcher is on stage throughout this entire production, her stamina is incredible in this emotionally demanding role – I didn’t know what I was expecting from Fletcher, but it certainly wasn’t what I got. She is the embodiment of the character Rachel.

Paul McEwan brings some much-needed levity with his portrayal of DI Gaskell. His comedic timing is spot-on, offering light moments that provide a much-needed break from the heaviness of the rest of the story. McEwan’s warmth and charm balance the darker themes of the play, and his chemistry with Fletcher is electric. Their dynamic adds a unique layer to the relationship, with Gaskell seeing something in Rachel that others don’t. It gives the audience more reason to root for Rachel as the play unfolds, and together, they form a pairing that’s unexpected but works perfectly.

The ensemble cast is key to the success of this production. Their energy and commitment are essential to creating the shifting emotional and physical landscapes of The Girl on the Train. The actors use movement and physical theatre techniques to transform the stage, effortlessly moving between different locations and moments in time. This isn’t just functional; it’s a core part of the storytelling. The way they adapt to changes in atmosphere heightens the emotional tension, ensuring the audience stays fully immersed in the unfolding drama. The entire cast is truly exceptional.

Another standout element of the show is the use of digital technology. The projections aren’t just a backdrop—they’re seamlessly integrated into the narrative, adding so much depth to the story. The digital imagery reflects the characters’ internal struggles, giving us a glimpse into their psychological turmoil. These projections also help show shifts in time and place, mirroring Rachel’s fragmented memories and emphasizing the disorienting nature of her world. The digital elements blend so naturally with the live action, enhancing the flow of the story rather than distracting from it. This is theatre for 2025—innovative, immersive, and captivating in a way that feels fresh and exciting. It engages the audience in a completely new way, without relying on traditional sets or realism, and it works beautifully.

Adam Wiltshire’s minimalist set design complements the production perfectly. The simplicity of the set allows the actors to shine while still providing the flexibility to shift the space for different locations. The starkness of the design contrasts superbly with the vivid projections, creating an environment that feels both intimate and expansive. The projections add another layer to each scene, highlighting the emotional depth of the characters and enhancing the overall atmosphere. The whole staging feels like something we haven’t seen before.

Under Loveday Ingram’s direction, The Girl on the Train is perfectly paced, with every detail carefully thought out to keep the audience engaged. Ingram’s use of physical theatre, combined with the smooth integration of digital technology and the incredible ensemble cast, creates an experience that draws you in and doesn’t let go. The transitions between scenes, whether through the actors’ movements or the shifting projections, are fluid and seamless, making the narrative feel dynamic and cohesive.

Overall, The Girl on the Train is an exceptional production. It combines powerful performances, innovative design, and cutting-edge technology to create an unforgettable theatrical experience. With an incredible ensemble cast, sharp direction, and the brilliant integration of physical and digital elements, this show deserves every one of its five stars. Simply put, I was completely blown away!

The Girl on the Train is on at The Lowry until Saturday 15th February tickets available here.

Coming To England

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Reviewed by Jodie Crawford

Opening Night verdict ⭐️⭐️⭐️⭐️

Coming to England at the Lowry is a heartwarming, exploration of migration, the windrush generation, identity, and the pursuit of a better life. 

The production is based on the children’s book by Florella Benjamin about her life and her family’s journey from Trinidad and the struggles they faced when they arrived in England. 

It is important that stories like this are shared, and this production is a success because it’s at a level that children can access the themes. The plot isn’t heavy, but the key messages about equality and inclusion are prominent. 

The standout feature of the show is undoubtedly its cast, who bring passion and authenticity to their roles. Each actor shines in their portrayal of individuals facing personal and societal challenges, infusing their performances with depth and emotion as well as humour. The chemistry between the ensemble members is palpable, drawing the audience into the struggles and triumphs of their respective characters. The theme of family underpins every scene- you can feel the love shared between the characters. 

Equally impressive are the songs, which are catchy and full of energy. The musical numbers are some of the strongest moments of the show, with a mix of heartfelt ballads and upbeat tunes that capture the emotional range of the story. The music does an excellent job of supporting the narrative, offering both emotional resonance and moments of levity. 

However, while the cast and songs are excellent, the plot itself feels a bit uneven at times. Some parts of the story could benefit from further development, it would be wonderful to see how Florella rose to fame. Despite this, the production as a whole is a hugely enjoyable experience, thanks to its talented performers and the strength of its music. It’s an important story to tell.  The production is aimed at children, and that is where it is pitched- it addresses important themes about discrimination and racism, but equally highlights the love of a family and the way in which they don’t let the discrimination define who they are. 

Coming to England is a show that delivers strong performances and memorable songs. For fans of Florella Benjamin and those interested in heartfelt stories about migration and the windrush generation it’s a wonderful watch.  

Coming To England is on at The Lowry until Sunday 9th February tickets available here.

The Shark is Broken

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Reviewed by Matthew Forrest

Opening Night verdict ⭐⭐⭐⭐

Hard to imagine really that a mechanical shark by the name of Bruce, very nearly killed the Hollywood blockbuster, even before anyone knew what a Hollywood blockbuster was. Bruce was one of the main stars of the first Hollywood mega movie: Jaws. Bruce had a habit of breaking down on a regular basis, leading to several halts in production, and a great deal of frustration from his fellow co-stars. But how do a trio of actors pass the time, when cooped up on a small fishing boat? They argue, they drink, they gamble and get on each other’s nerves!

Co-written by Joseph Nixon and Ian Shaw, son of Robert Shaw, The Shark Is Broken is set in 1974, on the Orca, the fishing boat used in the film. Here we find the three principal actors, Roy Scheider (Dan Fredenburgh), Richard Dreyfuss, (Ashley Margolis) and Robert Shaw (Ian Shaw), struggling to fend off boredom, as Bruce is repaired. They discuss their careers, their families, and gamble. However not all is plain sailing, and soon tempers fray, with Scheider playing peacekeeper to the warring Dreyfuss and Shaw, with the former feeling disrespected by Shaw. Whilst Shaw sees Dreyfuss as arrogant, more interested in fame than the craft of acting.

There is a great deal to enjoy and admire about this production. The script is funny, witty and packed with cracking gags and one-liners. Opening with a nod to John William’s famous score, we see a shark fin, gliding through the ocean projected on a screen at the back of the stage, and soon any dramatic tension disappears as the shark breaks down, it’s a superb joke that sets the tone for the show. Other standout big laughs come when Scheider rules out doing a sequel to Jaws, which of course he did. Another highlight is Shaw’s making reference to Steven Spielberg’s next project: “Aliens? What next, dinosaurs?”

It’s a classic situation comedy set up, as three very different people find themselves in a cramped environment and the script plays up to this throughout. Duncan Henderson’s Orca recreation is beautifully claustrophobic, and dingy, as the cast clamber over it and at times each other.  It looks so authentic that at times you almost smell the stench of fish guts and hard liquor coming from the stage.

The cast are in form throughout: it’s quite disconcerting how captivating Ian Shaw’s portrayal of his father is. Obviously, the close resemblance helps, but this is a performance filled with fire and passion as Shaw doesn’t flinch from showing his father’s battle with his demons including alcoholism, insecurities and disdain for elements of his profession that provided well for him and his family. It’s a towering presence that commands your attention throughout.

Equally impressive is Ashley Margolis’s unflattering portrayal of Richard Dreyfuss, filled with a nervous energy and self-doubt that in lesser hands could have been grating, but he navigates that tightrope perfectly. Finally there is a Dan Fredenburgh’s excellent understated, if slightly under-written turn as Schieder, who is essential in keeping proceedings grounded. Special mention to Carole Hancock’s whose flawless make helps to transform the actors into mirror images of the stars they are portraying.

The play tackles some weighty issues such Shaw’s alcoholism, and how it wasn’t just Bruce that was causing issues with production. It alludes to the well documented issues Dreyfuss would have with cocaine addiction in later years. One touching scene where the men bond over issues with their father’s is well played out, and one of the show’s highlights, you just wish there was a bit more of this depth in places

This is a funny, sharp insight into the magic of Hollywood, understandably executed with a great deal of love and affection for its subject matter. Fans of Jaws, and the Hollywood movie machine will undoubtedly love it. There is something for everyone to enjoy from the towering performances, high quality production values, all anchored by a sharp, poignant and well-crafted script.

The Shark is Broken is on the Lowry till 8th February tickets available here.

The National Lottery’s Big Night of Musicals

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Back for the 4th year the National Lottery’s Big Night of Musicals yet again proved the perfect way to beat the January blues and celebrate the wonderful work done by the National Lottery AND the very best of musical theatre.

Superbly hosted by comedian Jason Manford as well as offering performances from some of the hottest West End shows, the event showcased a range of touring productions – some which are headed to Greater Manchester soon.

The show also highlighted the support the National Lottery has given to more than 20,000 theatre-related projects over the last 30 years.

North West theatregoers got to see sneak peaks of some of the touring shows heading our way in 2025 – with exciting peformances from Chicago (Lowry, August), Bat Out of Hell (Palace Theatre, February), Mary Poppins (Palace Theatre, April), Dear Evan Hansen (Palace Theatre, February) and Here & Now – The Official Steps Musical (Opera House, September).

Stand out moments from West End productions included a first look at Marisha Wallace’s Sally Bowles from Cabaret – with Maybe This Times – and a brilliantly bonkers number from the new cult hit Titanique – starring Layton Williams and the brilliant Lauren Drew (you might remember her from starring in Lizzie at Hope Mill Theatre last year).

Perhaps most exciting was the chance to for a first look at the brand-new Disney’s Hercules, which is coming to the West End this summer, with a spectacular performance of ‘Zero to Hero’ and ‘Go The Distance’  from Luke Brady (Hercules) and his fiercely fabulous Muses.

Undoubtedly one of the most moving parts of the evening was when musicals legend Michael Ball made a special appearance, singing a spine-tinglinh rendition of ‘The Impossible Dream’ alongside National Lottery-funded charity, Our Dementia Choir, founded by actress Vicky McClure. It’s not an exaggeration to say the performance moved many audience members to tears.

There was also a beautiful performance of Electricity from Billy Elliot by two youth theatre groups from Stockport and Yorkshire – the young people absolutely did themselves proud.

The National Lottery’s Big Night of Musicals celebrates 30 years of The National Lottery funding theatre and performing arts across the UK and serves to thank players who have helped support theatre-related projects to the tune of £1.3BN. National Lottery funding has helped restore theatres as well as enabling hundreds of performing arts projects.

The National Lottery’s Big Night of Musicals will air on BBC One, BBC Radio 2, BBC iPlayer and BBC Sounds this Spring.

A Christmas Carol

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Reviewed by Nikki Cotter

Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

There something so very special about A Christmas Carol, with its timeless story and perfect message for the festive season, this classic Dickens tale is a firm audience favourite. 

This Christmas, Hope Mill Theatre bring Scrooge’s redemption to magical life at The Lowry with the added twist of the Ebenezer Scrooge we all know and love becoming Evelina Scrooge, played superbly by Claire Moore. 

Seeing Scrooge as a woman offers an incredible opportunity to revisit a story we think we know so well and see it through fresh eyes as the tale takes on new meaning. We see an increased depth to Scrooge and gain a deeper understanding of what led to her life of stingy frugality. 

Set amidst the inky pages of a book this stunning musical adaptation is everything you want from a Christmas production. This traditional take oozes quality with its stunning set, impressive projections, wigs and costumes while the cast are truly phenomenal.

From Claire Moore as Scrooge right down to Team Holly’s Marnie Fletcher as an 8 year old Eveline, this cast is second to none. Their vocals are sublime while the ensemble deliver George Lyons choreography to perfection. 

Director Joseph Houston alongside co-director William Whelton have created a production that would be at home on any West End stage, how lucky we are to have it right here in Salford.

Scrooge’s night of reckoning begins with a visit from a ghostly Jacob Marley, played superbly by Barry Keenan. His words ring true as the clock strikes one and the Ghost of Christmas Past (Mari McGinlay) appears. McGinlay is wonderful, full of memories and merriment as she reminds Scrooge of monumental moments from past which seem long buried by the Scrooge of present. Both painful and perfect memories emerge culminating in a celebratory scene at the Fezziwig’s Annual Christmas Ball.

This big company number is tremendous, showcasing George Lyons’ choreography while allowing Alan Menken and Lynn Ahrens stunning music the ideal opportunity to shine. Alexander Evans and Josie Benson play the perfect hosts as Mr and Mrs Fezziwig, comedic and commanding.

Next we meet James Hume as the Ghost of Christmas Present. Hume is an absolute joy while the staging of his scenes is a total triumph and a real highlight in an already wonderful show. His witty approach combined with a stunning company number will live long in the memory.

As Josie Benson returns to the stage as the Ghost of Christmas Future we see Evelina Scrooge repent as she lightens and brighten before us. Claire Moore shows such incredible versatility in her characterisation, from the cantankerous early Scrooge to the jovial Scrooge of the finale she takes us with her, every step of the way on this heartwarming journey. 

The entire company all deserve high praise, their vocals are breathtaking while their skilful set changes become beautifully crafted choreography. Special mention must go to Matthew Jeans and Team Holly’s Joel Tennant whose pairing as Bob Cratchit and Tiny Tim is a joy.

From Andrew Exeter’s stunning set design to Alex Musgrave’s rich lighting magic has been made. The band led by Joseph Clayton solidify the sheer quality of this production.

After 9 award-winning years producing their own in-house productions, this is the first Hope Mill Theatre have created and produced for another venue and to say the bar has been set high would be a wild understatement. A Christmas Carol : The Musical is sublime. It will lift your spirits, warm your heart and remind you just how magical live theatre can be, sensational!

A Christmas Carol : The Musical is on at The Lowry until Sunday 5th January tickets available here.

Come From Away

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Reviewed by Nikki Cotter

Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

Telling the incredible real-life story of remarkable human kindness in the face of unimaginable tragedy, Come From Away has arrived in Salford for a heartwarming festive season. 

Having thrilled audiences from Broadway to the West End, Come From Away transports us to the small community of Gander, a town in Newfounland, Canada, which on September 11th 2001 suddenly found itself home to over 7,000 international visitors, grounded due to the 9/11 attacks.

Having been in New York myself on September 11th I put off seeing this much loved musical for several years, concerned I’d find it upsetting or triggering. I finally took the plunge as its award-winning run on the West End came to a close, my one regret was that I waited so long. I left the theatre uplifted, inspired and desperate to watch it again.

Come From Away while created as a result of the real-life stories of grounded passengers, crew and the wider Gander community is anything but dark. It shines the most beautiful light on the absolute best parts of humanity as the locals embrace their ’come from aways’ while their visitors find hope and heart in the most challenging of circumstances.

The cast of 12 take on multiple roles from Captain Beverley Bass, the first female pilot to fly for American Airlines to Claude Elliot, who was Mayor of Gander at the time of the attacks. Personal accounts are beautifully interwoven with stories of community all set to an addictively catchy score while the script is littered with witty, heartwarming moments which draw you in from the start. 

Irene Sankoff and David Hein’s book, music and lyrics are seamlessly delivered by this brilliant company. From opening number ‘Welcome to The Rock’ right through to the joyous finale where the talented band led by Andrew Corcoran are given their moment in the spotlight, this life-affirming production delivers over and over.

The cast move both themselves and the props around the simple yet highly effective set to great effect. One moment we’re in Tim Horton’s at breakfast time, the next we’re on a flight, about to make an unplanned landing, every tightly woven movement pushes the narrative on wonderfully. 

Christopher Ashley’s slick direction ensures despite the multiple characters every scene is delivered with clarity and precision. The perfect pacing and intricate transitions keep the flow just right while the cast carry you through this emotional journey with them as if you too are a Newfoundlander.

This is a story of kindness, human connection and compassion delivered by a cast at the absolute top of their game. Amidst the witty, melodic scenes there are more serious, emotive moments which are given just the right amount of time to breathe before the next wave of joviality whips you up again. There is also an important and frank spotlight shone on Islamophobia, something I remember vividly witnessing flying back from JFK in the days after 9/11.

This is real, authentic ensemble theatre where cast members collectively create a truly memorable production. At a time where darkness can often feel so prevalent Come From Away will restore your faith in humanity and remind you that every single one of us has the ability to make a difference. This is is incredible storytelling, beautifully told. Let Come From Away whisk you off to Gander, fill your heart with joy and remind you there is always light amidst the darkness.

Come From Away is on at The Lowry until Sunday 5th January tickets available here.

Here You Come Again

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Reviewed by Nikki Cotter

Opening Night verdict ⭐⭐⭐⭐

Set during the first Covid lockdown, 40 something Kevin is down on his luck, work sucks and to top it all off he’s just been dumped. Seeking refuge in the attic of his childhood home, Kevin soon realises quarantining can be a lonely business, especially when you’ve only got your old Dolly Parton records and posters for company.

Fortunately for Kevin, Dolly quickly makes her presence felt, think Mary Poppins but with more sass, bigger boobs and a whole lot of sparkle. Through Dolly, Kevin gradually begins to remember just how wonderful and varied life can be, as he finds the courage within to pick himself up, dust himself off and transform his life for good. It reflects on the madness of the pandemic while demonstrating that we all have the ability to expand our own personal horizons even while stuck in our parents’ attic.

Written by multi-Emmy award-winning comedy and songwriter Bruce Vilanch with Gabriel Barre (who also directs) and writer/actor Tricia Paoluccio (who co-writes and stars as Dolly), Here You Come Again has already enjoyed successful runs in the US, ahead of embarking on this current UK tour the creatives called on much-loved writer Jonathan Harvey who added additional material for UK audiences. The result is a joyful, feel-good, heartwarming musical that will delight theatregoers for years to come.

Steven Webb is tremendous as Kevin, he bursts with loveable energy endearing him to audiences immediately. While incredibly funny Webb also skilfully taps (quite literally) into Kevin’s vulnerabilities which adds depth and relatability to this beautiful story. Sharing the stage with Webb is Tricia Paoluccio as Dolly, she absolutely shines in the role, her characterisation of Parton is perfection. She has real star quality and gives an unforgettable performance. The relationship between Webb and Paoluccio is what really anchors this show, cementing it as a wholesome, heartfelt production. They bounce of each other brilliantly, keeping you guessing as to what’s to come while skilfully engaging the audience with their animated performances.

Joining Webb and Paoluccio on stage are Charlotte Elizabeth Yorke and Aiden Cutler. Both brilliantly bring multiple characters in Kevin’s world to life adding further heart and humour to proceedings. They also add gorgeous backing vocals which in turn further lifts the energy of this joyous production. Special mention must also go to the onstage band made up of Luke Adams, Ben Scott and Kevin Oliver Jones who frequently become part of the scenes with great effect.

Paul Wills’ set design is intricate and effective, transporting the rest of us forty somethings in the audience to a place of sentimentality as the attic plays host to artefacts from our childhoods, a Bluebird Toys Big Yellow Teapot, a creepy Chucky doll and of course a box of discarded tangled tinsel.

This show is all about fun and ensures that’s exactly what the audience experience, the cast cleverly acknowledge that there may be Dolly fans in the audience bursting to sing along and that opportunity is given while being gently controlled by the cast, so it remains within the predetermined moments.

The placement of Dolly’s songs has clearly been done with great care. The lesser known are given their moment in the spotlight while the big hitters like 9 To 5 arrive just when you want them to.

Here You Come Again while set during the pandemic is anything but heavy, it’s uplifting, hopeful and sparkles with joy. A reminder to us all to: ‘Stop looking in mirrors and start looking out of the window.’

Here You Come Again is on at The Lowry until Saturday 2nd November tickets available here.

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.