Theatre

Robin Hood

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Reviewed by Jodie Crawford

Opening Night verdict ⭐⭐⭐⭐⭐

Robin Hood: The Magical Panto Adventure at the Manchester Opera House is everything a great panto should be: loud, proud, joyfully chaotic, and absolutely hilarious. From the very first moment, it’s clear you’re in safe hands with a production that understands its audience and fully leans into what panto does best. This is a great northern night out, with bells on!

The chemistry between Jason Manford and Ben Nickless is once again pure magic. Year after year they somehow manage to outdo themselves, delivering effortless laughs, perfectly timed chaos, and that wonderful sense that anything could happen at any moment. Their interaction with each other, and with the audience, is the heartbeat of the show. I fear the day when they decide to hang up their Panto boots as it’s hard to imagine a Christmas without them on stage together.

And honestly? It doesn’t matter in the slightest that the plot is inconsistent because it’s completely irrelevant. This panto has all the ingredients that matter. The ghost scene? Brilliant. The “in the gap” scene? Predictably unpredictable. The bloopers, singalongs, cheeky asides, and bang-on cultural references, from the last 12 months, all land perfectly, keeping the audience crying with laughter from start to finish. There are as always, some fabulous surprises in there too!

The ensemble cast is outstanding, bringing energy, polish, and warmth to every scene, while the costumes are the best I’ve seen at an Opera house panto:  vibrant, inventive, and a visual feast that add to the magic at every turn. A huge shout-out also goes to Adam Strong as the Sheriff of Nottingham, who delivers a pitch-perfect performance, gloriously dastardly, fabulously over-the-top, and exactly what a panto villain should be.

This is truly a show for all generations. I took a nine-year-old and a seven-year-old and judging by the laughter (and the conversations afterwards), those memories will last a lifetime. Let’s just say they will forever laugh when they get to page nine… #iykyk

Manchester should be incredibly proud of this panto. It’s a tradition done right, packed with heart, humour, and festive magic. I highly recommend this show. A guaranteed crowd-pleaser and a reminder of just how brilliant panto can be and should be.

Robin Hood is on at Manchester’s Opera House until Sunday 4th January tickets available here.

The Lion, The Witch and The Wardrobe

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Reviewed by Sophie Rowley

Opening Night verdict ⭐️⭐️⭐️⭐️

What a treat this is – midweek show – hot chocolate and mince pies. I’m here at press night – settling down to watch the Lowry’s Christmas show “The Lion, The Witch and the Wardrobe”. As we approach this festive season there tends to be a tradition of household favourites on the theatre scene, this year is no exception, the Lowry is once again hosting the children’s classic, The Lion, The Witch and The Wardrobe, which in 2021 impressed audiences with its contemporary take on an old favourite. Retuning direct from the West End, “the nations favourite novel” promises once again to delight audiences and bring festive cheer to the Salford scene. 

The novel is one of C S Lewis’ fantasy favourites which since the 1950s has gripped children and adults alike. It was the first story to be published from the seven novel collection “The Chronicles of Narnia” and it has seen many adaptations in its time on TV, in film and now on stage. The versatile Lyric stage is transformed as director Mike Fenton brings Sally Cookson’s original production to life. 

Set against the backdrop of wartime England, when children were being evacuated for safety, Lewis takes this one step further and sends the readers into the magical land of Narnia – which lets face it is a character all on its own. The story is mainly driven by the youngest of the 4 children, Lucy, who enters this mysterious land three times through a simple wardrobe in the spare room. The wardrobe acts as a portal to the magical land of Narnia, a land where time stands still and woodland fantasy creatures are in a war of their own, in a bid to bring back hope to their once pleasant land.

Here lies the power of Lewis’ storytelling – how many of you tried getting to Narnia through a wardrobe in your childhood homes – hoping you – like Lucy, could escape the reality of daily life through a doorway of hope. Narnia is brought to life superbly by the creative team. Visually this production is stunning, the contrast between black and white, light and dark throughout is so clever. The contemporary dance routines creates a wonderful parallel to the classic tale. The art of illusion especially with the witches scenes really are special and are delivered perfectly by the cast. A special moment must be taken to appreciate the sheer brilliance of the puppeteers (directed by Toby Olie and designed by Max Humphries). From household pets to woodland creatures the use of puppetry throughout is so creative. The subtle movement they give to all the animals allows them to become incredibly life like – so much so that you forget you’re watching puppets, instead you are drawn into the illusion and believe they are real. This combined with the arial artistry (directed by Gwen Hales) gives the whole production a fourth dimension feel – you are in Lucy’s shoes, you’ve entered Narnia. This show truly is a spectacle.

As Act 1 progresses the mentions of Aslan increase, building the tension ahead of his much anticipated arrival. “The King of the beasts’ finally comes to the stage in the second act through a cloud of smoke and I must admit I was excited – finally the title character is here portrayed by both a puppet and an actor. Aslan (Stanton Wright) commands the stage with a majestic presence that you can’t help but be transfixed by. I felt at times however that I was looking more at Wright than the Aslan puppet, which moments before I was so excited to see. This conflict continued throughout the show and personally as brilliant as Stanton Wright was, having both him and the puppet in equal spotlight made it feel like they were separate characters. In fact at times it felt like Aslan the puppet was a pet to Wrights’ character.

Second in the title ranking is the Witch played by Kate Stephens who with her impressive resume naturally bring a regal essence to the role. Literally at times towering above the audience with her crown of icicles and long fur coat, she definitely makes her presence felt, owning her stage. 

The children are equally as brilliant and the talent within the company is phenomenal. Kudzai Mangombe portrayal of Lucy brings a wonderful playful innocence that develops into a adolescent charm. Peter (Jesse Dunbar) and Susan (Joanna Adaran) bring reason and drive to the story, providing Lucy with a solid foundation – almost like parental figures – a beacon of truth and honesty. Contrasting completely with this is the rebellious Edmund who is played to perfection by Bunmi Osandolor. 

I cannot leave out one of literatures finest fawns – Mr Tumnus played by Alfie Richards – who brings a mystical quality to his performance, and by doing so adds a fantasy element to the show. Honestly the entire cast must be commended – not only for their wealth of talent, but because of their ability to play multiple characters and instruments. Mr and Mrs Beever also deserve a special mention – they bring a comedic element, that breaks up the plot which at times is quite bleak, with the wartime synergy.  

The Lion, The Witch and the Wardrobe fits perfectly into the play with music genre, making it a wonderfully entertaining festive experience. Take that leap this Christmas and step through the wardrobe to see Narnia for yourselves! 

The Lion, The Witch and The Wardrobe is on at The Lowry until Sunday 11th January 2026 tickets are available here.

Tina – The Tina Turner Musical

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Reviewed by Nikki Cotter

Opening Night verdict ⭐⭐⭐⭐

Credit: Johan Persson

Having broken box office records whilst becoming the longest running show at London’s Aldwych theatre, Tina – The Tina Turner Musical arrives at Manchester’s Palace Theatre this month for a six-week run as part of its first ever UK and Ireland tour.

While it would officially fall into the ‘jukebox’ musical category, this gritty, global smash-hit feels anything but a Tina tribute. Telling the fascinating story of the iconic superstar, Tina Turner, this entertaining production is an in-depth biopic of a truly inspirational performer.

The production doesn’t shy away from the often-heartbreaking reality of Tina’s backstory, its unflinching and hard-hitting in its brutal honesty, particularly surrounding the violence Tina endured at the hands of ex-husband Ike Turner. Amidst the struggles however emerges a resilient, unstoppable superstar who is portrayed sublimely by Jochebel Ohene MacCarthy at tonight’s performance. She impressively channels Tina’s strength, determination and stage presence perfectly, her powerhouse vocals are nothing short or remarkable. This is a real masterclass in musical theatre. Her connection with David King-Yombo is superb, together they bring the characters and their strained relationship to vivid life with King-Yombo successfully navigating the complexity of Ike with impressive nuance.

Phyllida Lloyd directs this cast with consistency, from Sophia St Louis as young Tina to Alline Bullcok as Tina’s Mum, this is a West-End worthy cast who commit entirely to delivering Tina’s story with the emotional depth it deserves. While the storytelling is clear, Act 2 comes to a swift and less detailed conclusion making the ending feel a little unexpected in comparison with the intricate storytelling seen in Act 1, however from the very first note to the sensational finale this show will thrill audiences this festive season.

Mark Thomspon’s minimalist set design is lifted by Jeff Sugg’s projections and Bruno Poet’s lighting, making the overall visuals satisfying rather than impressive, while Thomspon’s costume design demonstrates an incredible attention to detail. Anthony van Laast’s exhilarating chorography gifts audiences with the iconic Tina moves they know and love while Campbell Young Associates hair, wigs and make up design ramps up the authenticity of this piece.

Tina – The Tina Turner Musical successfully does justice to the inspirational woman at the heart of the story. Inspiring and entertaining this is a story of true heart, incredible resilience and above all immense talent.

Tina – The Tina Turner Musical is on at Manchester’s Palace Theatre until Saturday 3rd January 2026, tickets available here.

The Red Shoes

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Reviewed by Matthew Forrest

Opening Night verdict ⭐⭐⭐⭐⭐

Credit: Johan Persson

It’s nine years since Matthew Bourne’s The Red Shoes first graced the stage to great critical and commercial success. Now, those elegant yet troublesome rouge ballet slippers have been taken out of storage once more for a nationwide tour in 2025/26, stopping off at The Lowry, where a Matthew Bourne ballet has become something of an autumn tradition.

Based on the 1948 British film The Red Shoes by Michael Powell and Emeric Pressburger, the ballet is set between London, Paris and Monte Carlo and follows ballerina Victoria Page (Ashley Shaw), who catches the eye of dance Svengali Boris Lermontov (Andy Monaghan). Captivated by her immense talent, Lermontov offers Page a place in his prestigious dance troupe. There, she meets another of his protégés, composer Julian Craster (Dominic North), who has been tasked with creating a new ballet.

Credit: Johan Persson

Lermontov is a perfectionist who demands that his dancers devote themselves entirely to their art – anything else is merely a distraction. Inspired by his patron’s obsessive tendencies, Craster pens a new work based on the grisly Hans Christian Andersen fairytale The Red Shoes. Page takes the lead role in the young composer’s creation, and the production becomes a runaway success, with Page emerging as a star.

But as Page and Craster’s collaboration deepens into romance, their growing bond enrages the controlling and possessive Lermontov, setting in motion a chain of events with devastating consequences for all involved.

Credit: Johan Persson

Once again, Matthew Bourne and the team at New Adventures have delivered a production brimming with talent. With a story rich in passion, tragedy and a generous dose of humour, it offers something for everyone to enjoy.

This is very much a love letter to theatre and dance, highlighting the sacrifices performers and creatives make to bring a show to the stage. We’re given a behind-the-scenes glimpse into auditions and rehearsals, complete with all the tension, jealousy and rivalries that inevitably arise. Then comes the staging of the show itself, followed by the poignant question of what happens when a performer can no longer do what they love to the acclaim they once received. It makes for truly fascinating viewing.

Credit: Johan Persson

As you would expect, the production features several exceptionally choreographed set pieces, with the gloriously colourful “Ballon de Plage” standing out as a particular highlight. This is later contrasted with the beautiful, gothic staging of Craster’s masterpiece in The Ballet of The Red Shoes. My personal favourite, a scene titled A Music Hall, is a perfect example of what this production does so brilliantly – beginning with humour and lightness before descending into a twisted nightmare, merging comedy with horror, the light with the dark.

There are several outstanding performances throughout. Ashley Shaw is fantastic as the lead, guiding us through her character’s journey from a young upstart to the driven, passionate star she becomes. Making her fall from grace is all the more heartbreaking, Shaw portrays it with remarkable sensitivity and depth. Equally impressive is Dominic North as the ambitious writer; his descent from confident, showy musician to frustrated, spurned lover is filled with a quiet sadness.

Credit: Johan Persson

Andy Monaghan cuts a brooding, menacing figure as the embittered Lermontov, while Glenn Graham is a captivating stage presence as Grischa Ljubov, the cherographer/character artist who drifts delightfully between over-the-top comedy and devilish seducer.

Another element that deserves special mention is the superb set design by Lez Brotherston. The almost ever-present movable arch and grand drape become characters in their own right, gliding around the stage, interacting with the dancers and serving as essential components of the storytelling. Visually, it is consistently impressive.

Credit: Johan Persson

The production is further enriched by the music of Hollywood composer Bernard Herrmann, renowned for his work on Citizen Kane, Taxi Driver and more, with selections from Fahrenheit 451 adding depth, atmosphere and dramatic weight.

Yet again, this is another triumph for Bourne and his team, one that will see these Red Shoes continue to dance on and on, dazzling audiences for years to come. It is fantastic storytelling, delivered by a supremely talented company at the very top of their game.

Matthew Bourne’s The Red Shoes is on at the  Lowry until Saturday 29th November tickets are available here.

Blood Brothers

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Reviewed by Sophie Rowley

Opening Night verdict ⭐⭐⭐⭐⭐

So here we find ourselves as Blood Brothers embarks on its 42nd year on opening night at the Lowry Lyric Theatre. The one thing I love when going to the theatre is sitting in the foyer waiting for the show to start. The anticipation from the audience chatting and excitement knowing they are in for a great show. Blood Brothers is no exception to this, hailed the “standing ovation musical” this show promises to be “unmissable”, bringing audiences worldwide to it feet with “applause” and “approval”. With such acclaim its a wonder that this is my first time seeing Blood Brothers, I too share the same anticipation and hope as the audience members currently waiting to take their seats.

Blood Brothers originated as a short play written by Willy Russell in 1981, a play that 2 years later he developed into a full musical; its very first performance was January 8th 1983 at Liverpool Playhouse with Barbara Dickson and Andrew Schofield taking the lead roles. Russell often explores themes of social class inequality, fate, the importance of family and friendships. So the big question for me is, after over 4 decades and countless worldwide performances does Blood Brothers still fit into today’s society.

Bob Thompson’s and Bill Kenwright’s direction of Blood Brothers bring this show to life, as the plot centres around twins who were separated at birth only to be reunited with tragic and disastrous consequences. Russell’s talent is further seen in the Blood Brothers score which is driven by the raw and real  problems of working class life, it is this generic quality that has resulted in the show being dubbed “the Liverpudlian Folk Opera”. Instead of using the music to drive the plot, I would argue the songs act as characters themselves allowing them to serve as a chance for the protagonists to reflect. Moreover the music is very simplistic, mainly comprised of piano and saxophone. This combination of an understated score and little to no moments for applause from the audience made the show more haunting. The first applause being at end of the first half and the second  at the end of the show.

The set was very minimal and understated – the main focal point was the Liverpool skyline, the green country landscape and the terrace housing. This occasionally changed to show the Lyon’s residence or Mrs Johnstone’s new country abode. Again a very clever production choice as it allows the plot to drive itself.

Russell’s signature style of social values and inequality are presented in such a way that it almost feels like he is trying to stun the audience into the reality of working class hardships. The difference between Mickey and Eddie’s upbringing highlights the age old question of nature versus nurture. We see the twins navigate through their childhood and adolescence with the normal teenage rebellion and peer pressures as Russell appears to be asking the audience – how far does fate play a part in the journey to adulthood.

Reprising their roles are Sean Jones as Mickey Johnstone and Joe Sleight as Eddie Lyon. Sean Jones’ portrayal of Mickey is quite brilliant as he brings a raw and real authenticity to the character; and honestly watching him I can’t help but draw multiple parallels with todays society and the social and political problems we are seeing in 2025. Similarly Joe Sleight’s characterisation of Eddie pairs perfectly with Jones’ and at times you forget you are watching a show – more if feels as though you’re a fly on the wall for conversations you shouldn’t be hearing.

Straight from the west end – Vivienne Carlyle’s Mrs Johnstone is emotionally charged, she presents Mrs Johnstone in such a haunting way that you cant help but feel sorry for her. Her continuous reprise of Marilyn Monroe further shows how tragic this character really is. The audience see Mrs Johnstone’s bravery in making hard family decisions and instantly see the devastation these decisions cause. The song “Tell Me It’s Not True” can’t fail but bring a tear to your eyes. Paula Tappenden returns as Mrs Lyon’s, her Thatcherite fashion and conservative values demonstrate the difference between the 2 mothers. Kristofer Hardings continues his role as the narrator, continuously breaking the fourth wall with his Shakespearean style rhymes, he almost forces the audience to question their own morals. Gemma Brodrick’s portrayal of Linda brings humour and light to the show – but again fate does not spare her from hardships.

In conclusion, Blood Brothers is not for the faint hearted – it is not a happy mood boosting musical, rather it is a gut wrenching take on society and how far are we in control of our destiny. It’s almost Dickensian in its portrayal of working class hardship presented alongside wealth and entitlement. Coming back to my original question at the start – does Blood Brothers still have a place in 2025? Yes, absolutely it does. Kenwright and Thompson bring Russells play to life remarkably well, through an emotionally charged score and characters who could quiet easily fit into today’s society. It’s rightly earned the title of ‘standing ovation musical’ and I couldn’t help but join in. It could be argued that not only is Blood Brothers still relevant today but I would go further and say we need more shows like this in theatres – and the fact that this show was written in 1981 and is still selling out venues worldwide in its 42nd year completely justifies this view, and it rightly deserves a 5 star review.

The Talented Mr Ripley

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Reviewed by Matt Forrest

Opening Night verdict ⭐⭐⭐

There is undeniably something compelling about Tom Ripley. Patricia Highsmith’s most famous creation first emerged in 1954 in The Talented Mr. Ripley, followed by four additional novels and several film adaptations featuring actors such as Dennis Hopper and John Malkovich. The latest screen version stars Andrew Scott in Netflix’s Ripley. Yet it was arguably Matt Damon’s 1999 portrayal in The Talented Mr. Ripley that propelled this chilling character back into public consciousness and introduced him to a new generation.

In 2015, writer and director Mark Leipacher adapted Highsmith’s The Talented Mr. Ripley for the stage. That production has now been revived and is currently touring nationwide.

“Have you ever had the feeling you’re being watched?” is a recurring line uttered by Tom Ripley (Ed McVey), an unemployed loner with a talent for mathematics—and an even greater talent for spinning lies. Ripley’s paranoia comes from the implied list of crimes he has committed that he fears will eventually catch up with him.

However, one day, Ripley is tracked down to his favourite bar not by the law but by Herbert Greenleaf (Christopher Bianchi), a wealthy shipping magnate and the father of Ripley’s old school acquaintance, Dickie Greenleaf. Believing the two young men to be close friends, Greenleaf offers Ripley a financial incentive to travel to Italy and convince Dickie to return home, visit his dying mother, and join the family business. Sensing a chance to escape New York and the trail of crimes he’s left behind, as well as make some easy money, Ripley eagerly accepts.

 In Italy, Ripley meets Dickie (Bruce Herbelin-Earle) and Dickie’s lover, Marge Sherwood (Maisie Smith). Dickie is initially cool toward Ripley’s attempts at friendship, but a shift in approach brings the two men closer. Soon, Ripley finds himself drawn into Dickie’s carefree, playboy lifestyle, one that appears to revolve entirely around Dickie Greenleaf, with little regard for anyone else, including Marge.

However, Tom is clearly beginning to develop feelings for his new best friend, but is it romantic feelings, or the desire to have his lifestyle or both that is driving him. Eventually a confrontation between the two sees Ripley having to use his charm, intellect and many gifts to stay one step ahead of the chasing pack.

This intriguing stage adaptation reaches moments of real brilliance, but these are occasionally undermined by its bloated running time and some convoluted artistic choices. Certain scenes labour their point a little too heavily, while others blur the line between reality and Ripley’s imagination in ways that can become confusing.

What is never in doubt, however, is the exceptional performance of Ed McVey. Across the two-and-a-half-hour running time, he delivers a towering portrayal, present in nearly every moment. McVey shifts effortlessly from cool charmer to unhinged narcissist, anchoring the production with a charismatic turn made even more impressive by his command of the dense, dialogue-heavy script.

He is supported by strong performances from Bruce Herbelin-Earle and Maisie Smith. Herbelin-Earle is impressive as the conceited, self-centred pleasure seeker, treading the line between arrogance and charm with remarkable finesse. Smith, meanwhile, brings a much-needed calm and understated presence to the production. In a role that could easily slip into melodrama, she keeps things measured and controlled throughout.

Holly Pigott’s minimal stage design is another standout, enabling characters to enter and exit in inventive and visually striking ways. One of the production’s cleverest tricks is how the set can appear expansive one moment and suddenly feel claustrophobic the next, reflecting Ripley’s spiralling paranoia. At several points, the stage transforms into a 1950s film set, offering a glimpse into Ripley’s inner thoughts, a stylistic choice that works particularly well.

This is an entertaining if slightly drawn-out night out at the theatre. There are some fantastic performances, at times visually stunning complete with a script packed full of intrigue and suspense.

The Talented Mr Ripley is on at the Lowry until Saturday 22nd November

Tickets available available here.

Fiddler on the Roof

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Reviewed by Nikki Cotter

Opening Night verdict ⭐⭐⭐⭐⭐

Credit: Johan Persson

Jordan Fein’s multi award-winning Fiddler on the Roof, which began its life last summer at Regent’s Park Open Air theatre arrived at Manchester’s Palace Theatre this week proving to audiences just how incredibly special this timeless giant of the theatre world really is.

Fiddler on the Roof introduces us to impoverished Jewish milkman Tevye, (Matthew Woodyatt), a proud father, committed to honouring the traditions of his culture in an ever-changing and often incredibly testing world. This powerful story truly stands the test of time as its themes resonate just as strongly today as they did when it first premiered over 60 years ago. At its core is a poignant portrayal of a family man trying to raise his five daughters to honour the traditions of his Jewish faith, there is humour, joy, enormous poignancy and an abundance of heart.

Tom Scutt’s rustic design sets the scene beautifully, the straw ceiling upon which the fiddler plays gently moves up and down ensuring our focus never shifts from Tevye’s intimate and fascinating world. Aideen Malone’s stunning lighting design is subtle yet superb, bathing the Palace Theatre stage with rising dawn sunsets and flickering firelight glows.

Matthew Woodyatt’s Tevye is breathtakingly brilliant, warm, nuanced, reflective, loving and painfully real. His observations, considerations and deliberations are delivered with captivating authenticity. This is a performance packed with huge emotion, every moment is perfectly measured whilst he balances the turmoil Tevye goes through with a palpable realism. The journey he takes Tevye on is entirely mesmerising, ending the show a different man from the one we first meet at the start of Act I.

Jodie Jacobs’ performance as Tevye’s wife, Golde, is equally as impressive. Respectful of her husband’s desperate need to uphold tradition yet strong and resolute in her own sense of self, the two make for a perfect pairing. Their rendition of Do You Love Me? is a joy, relatable and real.

As Tevye’s daughters begin one by one to move away from the traditional Matchmaker approach to finding a suitable husband the battle between head and heart really begins for Tevye. Woodyatt does an incredible job of taking us with him on this captivating journey, we share in his joy, his frustrations and his pain.

Woodyatt and Jacobs are supported by an incredible cast. Each and every person on stage is entirely committed to telling this beautiful story. Special mention must go to Natasha Jules Bernard, Hannah Bristow and Georgia Bruce who play Tevye’s daughters Tzeitel, Hodel and Chava. Each bring their very different characters to life beautifully, adding further depth and heart to this moving tale while their partners Motel, Perchik and Fyedka are portrayed superbly by Dan Wolff, Greg Bernstein and Gregor Milne.

Choreographer Julia Cheng respectfully mixes the traditional with the modern resulting in exhilarating ensemble numbers that will make you wish you too were part of the uplifting celebrations. The traditional bottle dance remains and is just as thrilling as ever. The additional orchestrations from music supervisor Mark Aspinall really take this score to the next level while sound designer Nick Lidster ensures that every note is crystal clear.

This is without doubt the best production of Fiddler on the Roof I’ve ever seen, from the fiddlers haunting melodies delivered superbly by Roman Lytwyniw to the sheer beauty of Tom Scrutt’s set design this production is perfection. This timeless classic is stunningly reimagined yet maintains a respectfully traditional feel cementing its place as a musical theatre masterpiece.

Fiddler on the Roof is on at Manchester’s Palace Theatre until Saturday 1st November tickets available here.

Young Frankenstein

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 Reviewed by Matt Forrest

Opening Night verdict ⭐⭐⭐⭐⭐

Mel Brooks is undeniably one of the greatest comedy writer-directors of all time, in my opinion. The Producers, Blazing Saddles, and Young Frankenstein form a trio of comedic masterpieces. After The Producers received the Broadway musical treatment in 2001, it was almost inevitable that Young Frankenstein: The Musical would follow, making its debut in 2007.

 Now, as part of Hope Mill Theatre’s spectacular 10-year anniversary celebrations, Young Frankenstein is brought back to life once more, and I’m happy to report that it’s just as hilarious and joyfully outrageous as ever.

Staying true to the plot of the original film, we meet Dr. Frederick Frankenstein (Ore Oduba)—“pronounced Fronkensteen”—who leaves his fiancée Elizabeth (Rhiannon Chesterman) and travels to Transylvania to claim his inheritance following the death of his infamous grandfather, Victor Frankenstein.

There, Frederick encounters a wild cast of eccentric characters, each eager for him to continue Victor’s notorious experiments. These include the intimidating, horse-frightening Frau Blücher (Jessica Martin), the loyal yet delightfully deranged Igor (Curtis Patrick), and the flirtatious lab assistant Inga (Julie Yammanee),complete with outrageous accent! 

Will the daring Doctor succeed in raising the dead and restoring honour to the Frankenstein name?

Ore Oduba is in sparkling form as the leading man, it’s a turn packed with charisma and excellent comic timing. He certainly hasn’t lost a beat from his Strictly Come Dancing triumph in 2016, showcasing all the slick moves that led him to the glitterball trophy.

Oduba is backed by a strong supporting cast, with standout comedic turns throughout. Curtis Patrick shines as Igor, displaying a natural flair for physical comedy—his facial expressions alone are worth the price of admission. Julie Yammanee is equally impressive as Inga, particularly during the cheeky and delightfully risqué number “Roll in the Hay.”

The musical numbers, much like the laughs, come thick and fast. Highlights include the hilariously lewd “Please Don’t Touch Me” and the wonderfully playful “Together Again for the First Time.” But the undeniable showstopper is the iconic “Puttin’ on the Ritz”. It’s still one of my all-time favourite scenes in film, and recreated here with precision, panache, and sheer joy by the entire cast.

Director Nick Winston pulls off the impressive feat of enhancing Mel Brooks’ brilliant original script. Every element is spot on: from the loving homage to the classic Universal horror films of the ’30s and ’40s, to the absurdist humour, rapid-fire gags, and new show-stopping song-and-dance numbers.

With Young Frankenstein, Hope Mill Theatre once again proves that bold, ambitious programming pays off. This production is a triumphant celebration not only of Mel Brooks’ comic genius but of the theatre’s first decade,  filled with laughter, creativity, and heart. The future looks very bright indeed.

Young Frankenstein is at Hope Mill Theatre till 30th November tickets are available here.

13 Going on 30

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Reviewed by Nikki Cotter

Opening Night verdict ⭐️⭐️⭐️⭐️

Based on the iconic 2004 film starring Jennifer Garner and Mark Ruffalo, 13 Going on 30 introduces us to 13-year-old Jenna Rink who, following on from her not so successful 13th birthday party wakes up as her 30-year-old self, a highly motivated New York magazine editor. Successful she may be, but she soon realises that life as a high-flyer isn’t all it’s cracked up to be. At 13 she wished to be thirty, flirty and thriving yet the reality isn’t quite as fulfilling as she hoped for. In a desperate bid to figure out who she really is Jenna tracks down an old friend which sends her on a path of self-discovery, lucky for us she’s taking us along for the ride.

Lucie Jones is perfectly cast as Jenna, kooky and charismatic with soaring vocals she takes the role and truly makes it her own. Her Jenna is warm, witty and enormously likeable. The pairing of Lucie Jones and David Hunter as Matt is perfection, they bounce off each other brilliantly and have you rooting for them from the start. Hunter is a joy as Matt, retaining the witty sarcasm Ruffalo gave us in the film while ensuing the character brings a genuine charm and vulnerability to this uplifting production. Their relationship feels entirely believable and as an audience we fall just a little bit in love with them both.

Of course, every good story needs a little jeopardy, and we have that in the form of Grace Mouat as Lucy Wyam, a mean girl from Jenna’s high school days who now works alongside her at Poise magazine. As a faux friend Mouat is deliciously devilish, her razor-sharp comebacks are hilarious while her sour-faced sass slays.

Both young Jenna, Amelia Minto and young Matt, Max Bispham at tonight’s performance are absolute knockouts, immensely talented and totally mesmerising on stage. Long and successful careers no doubt lie ahead of this talented duo. A special mention must also go to the young company who are incredible throughout, their energy and talent is unrivalled.

While the film soundtrack brought us absolute bangers from Pat Bentar’s Love Is a Battlefield to Madonna’s Crazy for You, the musical mostly uses original music and lyrics from Alan Zachary & Michael Weiner. Opening number Wanna Be is superbly delivered by the young company, (Team Thirteen at tonight’s performance) while Too Late is the perfect Act 1 closer giving us beautifully moving moments as we see the younger and older versions of Jenna and Matt perform together.

One song we absolutely couldn’t lose from the film soundtrack gladly remains giving us the iconic Thriller scene. Choreographer Jennifer Weber adds to the beloved original choreography making this a real stand out moment in the show that could even afford to go a little bigger, really taking this scene to the next level.

 

The original songs are melodic and warmly uplifting, while the nostalgic amongst us may well go away wishing a sprinkling more of the original soundtrack would have made an appearance new audiences won’t feel anything is missing.

Book writers Josh Goldsmith & Cathy Yusp have done a great job of staying true to the film while adding depth and creativity for theatre audiences. 

Director Andy Fickman has done a brilliant job of ensuring this talented cast deliver each scene with real heart and precision.

13 Going on 30 is like a cosy hug with your favourite fluffy pillow, uplifting, joyful and a whole lot of fun. It’ll remind you that life is all about the connections we make along the way while thoroughly entertaining you from start to finish.

13 Going on 30 is on at Manchester’s Opera House until Sunday 12th October tickets are available here

Here & Now

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Reviewed by Nikki Cotter

Opening Night verdict ⭐⭐⭐⭐

Set in seaside superstore, Better Best Bargains, Here and Now follows the lives and loves of four co-workers and firm friends Caz, Vel, Robbie, and Neeta all set to a camptastic back catalogue of Steps classics. From 5,6,7,8 to One for Sorrow there’s nothing tragic about this feelgood musical, from the moment the first bop begins you know you’re in for a fun time. With Claire, H, Faye, Lee and Lisa all involved in the creative process this really is a celebration of their iconic hits and has clearly been crafted with love and careful consideration.

The story centres around Caz whose husband has walked out on her just as they’re on the verge of adopting, she makes a vow with her besties Vel, Robbie and Neeta to have a summer of love that they’ll never forget. Deep in the throes of heartbreak Caz meets Max who adds a little jeopardy to proceedings by offering her all she dreams on the condition she blackmails store manager Patricia, which unbeknown to Caz will devastate her friendships as a result.

Rebecca Lock is outstanding Caz, she truly shines on stage and gives the character depth and genuine likeability. Her vocals are rich while her acting is nuanced and heartfelt, she is a true leading leady and heads up this talented cast with gentle confidence and perfect control. Her delivery of Heartbeat is a real showstopper and a tender moment of calm amidst the sparkle and glitter.

Blake Patrick Anderson beautifully portrays the character of Robbie, showing sensitively how deeply abandonment issues can run. His pairing with River Medway as Jem is joyful, River brings a lightness to Jem that scoops not only Robbie up but every audience member too.

Rosie Singha hits every mark as loveable Neeta, desperately in love with co-worker Ben (Ben Darcy) but lacking in confidence to tell him how she truly feels while Jacqui Dubois is great fun as Vel, displaying some brilliant comic timing. Special mention must also go to Finty Williams who gives us the iconic and hilarious store manager Jackie, très bien!

The hits come thick and fast and unlike many other jukebox musicals never feel shoehorned in. Their placing is just right, giving this entertaining show perfect pacing and so much to enjoy. The classics are given the attention they deserve while the beloved ballads allow the quieter moments to truly shine.  

This is the epitome of feelgood, every creative element has been carefully considered resulting in a slick, stylish and hugely entertaining show. The talented ensemble take the legendary Steps routines we all know and love to the next level while Adam Fisher’s sound design ensures no beat it missed. This super fun show will ensure audiences head home happy, remind of us of just how many brilliant bops this iconic band have brought us while feeling joyful for the true friendships life brings our way.  

Here & Now is on at Manchester’s Opera House until Saturday 13th September tickets available here.

Sherlock Holmes

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Opening Night verdict ⭐⭐⭐⭐

The game is afoot at  Grosvenor Park Open Air Theatre 2025 as Chester Storyhouse bring an all-new adventure by ever-popular sleuth Sherlock Holmes to life.

From misdirection to missing valuables, criminal masterminds to secret codes, ‘The Chester Conundrum’ is everything you’d want from an adventure featuring the deer stalker donning detective – ably assisted by his right hand woman Dr Jo Watson.

Written with wit and imagination by Molly Taylor and directed with pacy fun by Ellie Taylor, the open air theatre is the perfect setting for such an enjoyable summer romp.

The scene is set in modern day Chester (no musty Victorian parlours for our ‘Sherly’) at a popular ‘Crime Con’ convention (it’s fun to spot the various other famous crime icons including Poirot, Kojack and yes, Velma from Scooby Doo!)

Dr Watson (a sparky Alyce Liburd) is one of the guests at the convention, organised by a childhood friend (Eddy Westbury) who also doubles up as a delightfully daffy Duke of Westminster.

Organisers hope her partner Sherlock Holmes (a snarky and sardonic Ethan Reid) will also make an attendance – and they aren’t disappointed, although I won’t spoil the manner of his arrival.

But the duo’s Crime Con appearance sparks a madcap mystery featuring, among other things (and minus any spoilers that would ruin the fun) a missing painting, a grisly murder, a supremely silly bust-up in a Liverpool Irish boozer and even a mass karaoke session.

And of course, this being the open air theatre, some audiences members are also recruited to play a part in proceedings – which they gamely did, getting lots of laughs.

The cast are all first rate – we particularly enjoyed Howard Chadwick’s exasperated police detective DCI Chadwick, Victoria Brazier’s dotty Mrs Hudson and Jessica Jolley’s Scouse crimelord. And Lauren Chinery and Hannah Baker were also excellent in their various roles.

(It’s worth noting that not only do the cast play all the instruments that help bring the story to life, they also double up in the theatre’s other summer outdoor production Pride & Prejudice – in case you want to see them in alternative guises.)

It’s particularly nice to see two young actors, Morgan Lewis & Alex James Mason making their professional debut thanks to the Storyhouse Young Company training scheme – which the audience was encouraged to donate to on the night.

Packed with local gags and insider jokes, slapstick physical comedy but with moments of real menace – as well as all the twists and turns you’d expect from a Sherlock mystery, this is a crime caper that fully lives up to the Sherlock name.

The Adventures of Sherlock Holmes is on at Grosvenor Park Open Air Theatre until Sunday 31st August tickets available here.

The Last Laugh

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Reviewed by Matt Forrest

Opening Night verdict ⭐⭐⭐⭐⭐

It would be fair to say that if Tommy Cooper, Eric Morecambe, and Bob Monkhouse, were still alive today they would be selling out arenas across the land. These three are legends of the business we call show: Cooper regarded as the comedian’s comedian, Morecambe part of one of the greatest double acts of all time, whilst Monkhouse is unquestionably one our greatest writers/performers to ever grace the stage. So, a stage play featuring the lives of these three colossuses of comedy promises something a little special, and I’m pleased to say it more than delivers.

The Last Laugh opens in a dingy dressing room of an unnamed theatre, the wall is adorned with pictures of British comedy legends: Sid James, Arthur Askey and George Formby. Rather strangely one picture is blank. A half-dressed Tommy Cooper (Damian Williams) complete with giant chicken feet is preparing for another performance. Soon he is joined by Bob Monkhouse (Simon Cartwright) complete with precious joke book and later Eric Morecambe (Bob Golding). The trio, though surprised to be on the same bill, share stories, discuss their craft, their careers and inevitably some light hearted ribbing of each other.

We get classic routines and jokes from them which include: Cooper’s magic duck, numerous Monkhouse’s ‘wife gags’ and of course Morecambe’s killer André Previn line, which the audience lapped up. There will be some who will have witnessed these routines multiple times over, for others this will be the first time, but judging by the audience reaction they went down a storm!

With the highs of course comes the lows, and the play offers moments of poignancy as each man looks back on the sacrifices, struggles and personal tragedies each has endured: Cooper’s battle with alcohol and the toll it’s taken. Morecambe’s health struggles coupled with time away from family. However, it’s Monkhouse’s tragic losses that puncture his life story which really hit-home.

This production is an absolute joy from start to finish: A superb script from writer/director Paul Hendy, who celebrates the work of these three comic maestros. With all three performers, there is that element of the ‘sad clown’, that is essential but in no way defines their story. However, Hendy’s play is a love letter to the three. It’s a showcase of their talents, and explains why we find them still appealing long after they passed, which simply put is their ability to make us laugh and smile, then and now.

Lee Newby’s set design complements the story beautifully. It captures the less glamorous, more intimate side of showbiz: a cramped, cluttered, almost claustrophobic space, strewn with props and steeped in faded charm. Portraits of comedy icons line the walls, offering both inspiration and a subtle reminder of the pressure to live up to their legacy. You get the sense that if these walls could talk, they’d reveal a treasure trove of secrets—some dark, mostly joyful, all rich with history.

Undoubtedly, the heart of the show lies in the three lead performances, each of which are pitch-perfect. Damian Williams brilliantly captures the chaotic, absurd charm of Tommy Cooper. Filling those iconic shoes is no small task, but Williams more than rises to the occasion—his timing, and that unmistakable laugh are spot on. Simon Cartwright’s portrayal of Bob Monkhouse is equally impressive. From the voice and mannerisms to the polished delivery of quick-fire jokes, every detail is meticulously rendered. His performance is as smooth and refined as one of Monkhouse’s own gags. The real-life friendship between Cartwright and Monkhouse adds an extra layer of authenticity to the role. Bob Golding shines as Eric Morecambe, effortlessly capturing the comedian’s playful spirit, trademark charm, and unmistakable comic quirks. His performance is brimming with charisma and warmth.

These are far more than mere impressions. Each actor delivers a performance that truly honours the legacy of the comedy legends they portray. The Last Laugh is a heartfelt tribute to the genius and legacy of three truly great entertainers, brought to life with not just skill, but a deep sense of love and affection. For newcomers, it serves as the perfect introduction to a cheeky, family-friendly, and delightfully playful style of comedy. For more seasoned audience members, it’s a joyful, nostalgic trip down memory lane. For me, it was a powerful reminder that if a joke or sketch makes you genuinely laugh, it’s worth its weight in gold—and The Last Laugh is nothing short of priceless.

The Last Laugh is on at the Manchester Opera House until Saturday 2nd August

Tickets are available here.