Theatre

The Constant Wife

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Reviewed by Sophie Rowley

Opening Night verdict ⭐⭐⭐⭐

Filled with style, sophistication and sharp wit, W Somerset Maugham‘s 1926 play The Constant Wife explores the institution of marriage, morals and manners turning every expectation on its head with an imaginative alternative telling of infidelity, betrayal and scandal. Being labelled Maugham’s “most clever and captivating creations” he creates the ultimate heroine in Constance Middleton. Always aware of her husband’s extra-curricular activities with her best friend Marie Louise, Constance plays the dutiful wife and in true 1920’s style pretends to live her life in blissful ignorance. That is until the affair is made public, now Constance must decide how she wants to live her new life. Now a century on, how will the 2026 audience receive Maugham’s play?

Fresh from the success of a West End run, Maugham’s story is brought to life in this incredible collaboration by David Pugh, Cunard and the Royal Shakespeare Company. Such a trio, the expectation is high for Laura Wade’s Lowry production. Staring Kara Tointin as the formidable heroine Constance who is far ahead of her time. Once the affair is made public, this allows Constance a clean slate to rewrite her story. Tointin plays this wonderfully, she playfully weaves humour and sarcasm into her sizeable script. Moreover, Tointon brings a wonderful modern twist to Constance and despite being set in the 1920’s era, she still manages to make Constance relevant and daring. Maugham’s script shines though in Tamara Harvey’s direction, it’s clear to see why this show has had the success it has.

Tim Delap brings a subtle depth to John Middleton who has a predilection for women that aren’t his wife. He plays the 1920’s male very well and the entitlement is played to perfection, especially in the second act when John even slips into melodrama. He epitomised the idea that “men are polygamous and should be allowed their indulgences”. Delap mixes charm with arrogance in his portrayal of John, and as an audience member you feel conflicted in your feeling of him. This conflict of character is also seen in Marie-Louise Durham – played wonderfully by Jocasta King, on the surface she should be despised for defying her loyalty to Constance, yet it could be argued she could be pitied for being swept along in a romance that wasn’t hers to take. The obliviousness King shows in Marie-Louise’s actions highlights her selfishness, this combined with her lack of awareness is a very clever character choice and it works. For me both Delap and King excel in their characterisation and must be commended.

Sara Crowe is perfect as a 1920’s mother – filling Constance with the advice of the time yet she managed to get a few cutting insults on her perception of Constance’s life. Combing humour and wit Crowe brings the archetypal 1920’s mother to life. Amy Vicary-Smith is superb as Martha, Constance’s Sister – the “confirmed Spinster” brings postmodernism to the idea of what a woman is – she is independent and fiercely loyal of Constance. She is a businesswoman and unmarried at a time where this was extremely unfeminine. Like Crowe she brings an effervescent humour that makes the play very enjoyable. Jules Brown, whist having a small part as Mortimer Brown plays a pivotal part as the catalyst for the plot unfolding. Alex Mugnaioni’s portrayal of Bernard as the doting lovesick best friend of Constance adds a entertaining side plot to the play. Finally, Philip Rham’s Bentley the butler is endearing as well as a very talented pianist.

Now a moment must be dedicated to discuss the set and costumes created by Anna Fleischle and Cat Fuller. They have been described as ‘fresh and captivating’ and I cannot disagree. The set is filled with 1920’s staple furniture and art deco designs. Fleischle still brings the 1920’s glamour and elegance with a modern twist that you would see on the high street today.  The combination of these sets and costumes complement one another perfectly and the whole creative team have done a sterling job in creating this masterpiece of visual theatre. For the musical score you can do no better than to include original compositions by Jamie Cullum. Cullum’s signature jazzy tones act as perfect scene changes throughout the play.

The whole production team have delivered an exquisite piece of theatre. The cast is superb in each of their portrayals and are complimented perfectly by the beautiful set, stunning costumes and a jazz soundtrack that will fill you with joy.

The Constant Wife is on at the Lowry until 21st March tickets are available here.

The Battle

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Reviewed by Nikki Cotter

Opening Night verdict ⭐⭐⭐


Credit and Copyright: Helen Murray

Exploring the fierce rivalry between Britpop giants Blur and Oasis during the summer of ’95, The Battle offers a satirical retelling of one of British music’s most iconic chart races.

Back in the mid-nineties the media’s fixation well and truly peaked when it was announced that both bands would release singles on the same day, pitting ‘Roll With It’ against ‘Country House’ in a high-stakes battle to the top.

Writer John Niven, who worked in the music industry at the time has created a witty exploration of build-up to release day, the all-consuming nature of the rivalry and its impact on the relationships of those involved.

What began as a seemingly genius marketing ploy quickly begins to consume the lives of not only the band members but their friends, families and the music execs themselves.

Matthew Horne delivers a strong performance as Blur’s manager, Andy Ross, the original mastermind behind the chart battle. Ruthless in his pursuit of success, he focuses entirely on the media hype while underestimating the all-consuming chaos he’s unleashed.

George Usher makes an impressive stage debut as Liam Gallagher, physically embodying Liam to perfection, as he swears and swaggers in true, LG style. He channels Liam’s Gallagher-esque bravado and chaotic presence with skilled precision.

Taking on the more controlled of the brothers, Paddy Stafford is exceptional as Noel, displaying vividly how the cracks begin to show as the pressure mounts, his performance is nuanced and defined, he more than does justice to the legendary lyricist.

Oscar Lloyd portrays the enormously different character of Damon Albarn with clarity while Will Taylor demonstrates superbly the impact of events on an increasingly fraught Graham Coxon, while Brandon Bendell’s Groucho loving Alex James is spot-on.

Amidst the Britpop chaos, Louisa Lytton’s Meg Mathews and Harriet Cains’ Justine Frischmann offer voices of reason for their respective partners, bringing calm to the testosterone fuelled chaos.

The story is told creatively via scenes from industry parties, award ceremony exchanges, backstage discussions and recording studio sessions. As the pressure builds, tempers fray and bold decisions are made.

This talented cast succeed in capturing the 90s spirit, bringing the era back to nostalgic life for their audience. The script however would benefit from some significant editing in order to pack this production with the punch the original source material provides. The reliance on Liam’s frequent outrageous outbursts becomes a little predictable and leads to some missed opportunities regards pushing the story along with a grittier narrative. The simple staging makes great use of screens broadcasting footage from the time and commentary from DJs such a Jo Whiley, Mark and Lard and Chris Evans however the continual use of cast members changing scenery feels clunky.

The final 15 minutes are wholly unexpected, surreal but ultimately succeed in showing just how absurd this whole battle became. For those of us hooked on the original Britpop rivalry, this show is a nostalgic blast from the past, with some creative reworking it has real potential to become a standout success.

The Battle is on at Manchester’s Opera House until Saturday 21st March, tickets available here.

Macbeth

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Reviewed by Nikki Cotter

Opening Night verdict ⭐⭐⭐⭐⭐

Marking the return of Shakespeare to Storyhouse’s stage, this bold, inventive interpretation of the Bard’s ultimate tragedy sets an impressively high standard for Storyhouse Originals 2026 programme.

Adapted and directed by Jamie Sophia Fletcher, the play stays true to the classic text while its vivid modern-day setting leans deliciously into cinematic horror. It’s vibrant, loud, fast-paced fluorescent and unapologetic making it incredibly accessible for 2026 audiences.

The intimate thrust staging has been embraced by set and lighting designer Andrew Exeter who creates an intense sensory experience with a stunning use of Daniel Denton’s imposing video projections, layered sets and atmospheric lighting while Sarah Victoria’s pitch perfect sound design further cements the quality of this gripping production.

Robin Morrissey captures Macbeth’s spiral into the dark side perfectly as he shifts compellingly from curious social climber to power hungry, murderous King, following his first meeting with the three witches. Yolanda Ovide as Lady Macbeth is equally as impressive, calculating and cold as she plunges powerfully into psychosis, unravelling viscerally before our eyes.

Mika Onyx Johnson’s vulnerability and rawness as Macduff kicks you in the guts while Roly Botha shines playing multiple memorable roles, Witch 1, Porter and Lady Macduff. Special mention must also go to Pete MacHale who brings depth, humour and warmth to Ross.

Storyhouse stay true to their community ethos offering actors from their Youth Theatre an incredible opportunity to make their professional debuts. This is a true ensemble piece with each and every cast member working together cohesively to create unforgettable theatre magic alongside a team of impressive creatives, including April Dalton, costume designer, Michela Meazza movement director, Kaitlin Howard fight and intimacy director. Storyhouse have also worked together with Dan Parr from Hear the Picture for creative audio description while each performance is captioned.

If you thought you knew Macbeth, think again — this production is full of surprises, from unexpectedly brilliant dance breaks while Murderer 1, 2 and 3 will never quite be seen the same again.

The palpable sense of foreboding throughout is added to continually by the striking set and lighting design, visually stunning and adding enormously to the clever creativity of this exceptional piece of theatre.

This Macbeth feels startlingly fresh and fiercely relevant, leaving you longing for a Storyhouse revival of every one of the Bard’s classics. It doesn’t merely retell the tragedy, it grabs you from the first moment and lingers long after the final curtain, a superb piece of theatre that deserves rich praise.

Macbeth is on at Storyhouse until Saturday 21st March tickets are available here.

Operation Mincemeat

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Reviewed by Matt Forrest

Opening Night verdict ⭐⭐⭐⭐⭐

A few years ago, a close friend urged me to see a brilliantly talented theatre-comedy troupe called Kill the Beast, who were touring their second show: He Had Hairy Hands. This was a horror/comedy with plenty of bite. I remember laughing from start to finish, completely won over by its blend of absurdity and pitch-black humour. From that moment on, whenever Kill the Beast arrived in town with a new production, they became an absolute must-see for me.

Since then, Kill the Beast members David Cumming, Natasha Hodgson, and Zoe Roberts, alongside long-time collaborator Felix Hagan, have joined forces as the theatre company SpitLip. Together, they’ve created Operation Mincemeat, a new musical that has taken both the West End and Broadway by storm and is now embarking on a world tour.

The story revolves around a daring real-life British intelligence operation mounted in 1943. With the Allies preparing to invade Sicily, a small band of MI5 officers are tasked with distracting Nazi forces elsewhere. Their solution is astonishingly bold: they attach fabricated invasion documents to a dead body and release it where it will fall into enemy hands, trusting the Germans will be deceived. The body is carefully transformed into “Major William Martin,” a fictitious British Army officer furnished with love letters, a photograph of his sweetheart, and an intricately detailed backstory, every element meticulously designed to dupe the Third Reich.

The musical follows the team tasked with seeing the operation over the line from genesis to completion. There is Charles Cholmondeley (Seán Carey), the mastermind of the scheme, but lacking in self-confidence and the ability to present it to the top brass, Commanding officer John Bevan (Jamie-Rose Monk) in desperate need of a plan knowing if it fails it’ll be catastrophic for the British. Then there is Ewen Montagu (Holly Sumpton), whose over inflated self-confidence and ego sadly doesn’t match their actual talent.

The team are supported by two very different but no less essential secretaries; first there is senior secretary, Hester Leggatt (Christian Andrews), the matriarch of the group, a stickler for the rules who keeps the team in check. Finally new starter, Jean Leslie (Charlotte Hanna-Williams) who is ambitious and sees the role as an opportunity to forge a career for herself. Can the group pull together and help to pull off one the biggest ruse the world has ever known?

There is so much to enjoy about this fantastic show. The ensemble cast of five are superb right from the get-go playing over 80 characters between them. All work tremendously hard throughout and it’s a credit to their excellent performances and smooth costume changes that things never become confusing. All five get to showcase great comic timing and a gift for physical comedy.

The tone of the production is pitch perfect. The show brilliantly skewers the sheer absurdity of the situation, gleefully lampooning the British class system and that entrenched “stiff upper lip,” while also delivering a surprisingly sharp critique of gender inequality in the workplace. Even James Bond creator Ian Flemming gets a good going over!

Beneath the wit and rapid-fire comedy lie moments of genuine poignancy. The script takes care to acknowledge the sacrifices made not only by those serving on the front lines, but also by the loved ones waiting anxiously at home. Most moving of all is the tribute to Glyndwr Michael, the forgotten man whose body became the unlikely centre of the operation, a reminder that behind the outrageous deception was a real human life.

The musical numbers are top drawn throughout from the opening number, Born to Lead, a stinging assessment of the class system, right through to the big closer A Glitzy Finale. My own personal favourite Das Übermensch is as outrageous as it is hilarious. It’s the emotional, gut-punch songs Sail On Boys and Dear Bill that will live long in the memory, especially the later which is beautifully performed by Christian Andrews.

Smart, slick and uproariously funny, yet brimming with heart, Operation Mincemeat is an absolute triumph and fully deserving of its Olivier and Tony Awards recognition. Unlike the covert mission at its centre, there should be no secrecy surrounding this production, it richly deserves the spotlight. It’s a show that delights on first viewing and will be rewarded with repeat visits just as generously.

Operation Mincemeat is on at the Lowry until Saturday 28th February. Tickets are available here.

Further tour dates and ticket information can be found here.

Priscilla Queen of the Desert

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Reviewed by Jodie Crawford

Opening Night verdict ⭐⭐⭐⭐⭐

Priscilla Queen of the Desert the Musical at the Palace Theatre in Manchester is an absolute joy from start to finish. A dazzling, heartfelt celebration bursting with energy, emotion, glitter, and a fabulous lashing of camp on the side. As an adaptation of the iconic Australian cult film, it follows three performers on a life-changing road trip across the outback aboard their fabulous bus, Priscilla, discovering friendship, acceptance, and their true selves along the way (with a fair few challenges thrown in too).

It’s laugh-out-loud funny one minute and genuinely touching the next, striking that perfect balance between outrageous spectacle and real heart.

Right at the centre of it all, Kevin Clifton was a standout as Tick/Mitzi, delivering a strong vocal performance alongside a warm, endearing, and beautifully layered portrayal of this loving and complex character. He brought real sincerity to Tick’s journey as a parent, performer, and friend, giving the show an emotional core that grounded all the glitter and glamour perfectly.

Alongside him, Nick Hayes was absolutely sensational as the flamboyant and unapologetically in-your-face Felicia/Adam. Full of sass, attitude, and charm, he lit up the stage every time he appeared, while still showing the character’s vulnerability underneath all the sparkle. It was a hilarious yet heartfelt performance that made Felicia both larger-than-life and completely relatable as the adventure unfolded.

Adele Anderson’s Bernadette brought elegance and wit to the production, delivering a confident performance in both the songs and the choreography. She added a lovely sense of poise and emotional depth to the trio, with interactions that felt natural, touching, and often very funny.

The Divas (1, 2 and 3) were mesmerising throughout, vocally powerful, stylish, and completely captivating, weaving seamlessly through the narrative and elevating so many key moments with their stunning harmonies and presence.

Backing it all up was an incredible ensemble bursting with energy and talent, filling the stage with life and joy from beginning to end. The choreography was vibrant, slick, and packed with personality, while the wardrobe and wigs were nothing short of magnificent: bold, extravagant, and exactly what you want from Priscilla.

There were belly laughs, a few misty-eyed moments, and plenty of songs to boogie along to, all building to a finale that felt like a full-on party. The audience were treated to a right old celebration, and you could feel the joy in the room long after the final bow.

Priscilla Queen of the Desert is on at Manchester’s Palace Theatre until Saturday 28th Feb tickets available here.

Single White Female

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Reviewed by Matt Forrest

Opening Night verdict ⭐⭐⭐⭐

The 1990s was a decade of cultural phenomena—Britpop, Grunge, and “Girl Power.” It also saw Hollywood churning out a wave of erotic psychological thrillers; while many were straight-to-video fare, a select few cracked the mainstream to become cult classics. Chief among them was the 1992 film Single White Female, boasting standout performances from Bridget Fonda and Jennifer Jason Leigh, some notoriously “cringy” dialogue, and a stiletto-based scene that still makes audiences wince over 30 years later.

In 2026, we have a bold stage adaptation currently on a nationwide tour. Written by Rebecca Reid, this reimagining sharpens the story for the digital age, seamlessly weaving social media into the plot and introducing several narrative shifts that work superbly well. Crucially, much like the original film, the production boasts two powerhouse central performances: Kym Marsh and Lisa Faulkner who more than deliver.

Relocated to modern Britain, the story finds single mum Allie (Lisa Faulkner) and her teenage daughter Bella (Amy Snudden) in a crumbling city-centre apartment. While the move places Allie closer to her tech-partner and best friend Graham (Andro), the building has a few structural/maintenance issues and Bella is struggling to adapt to a new school.

Financial pressure peaks when Allie’s ex-husband, Sam (Jonny McGarrity), announces he is halving his child support payments, forcing Allie to advertise for a lodger. Enter Hedy (Kym Marsh), a roommate who initially seems too good to be true: she’s helpful, supportive, and remarkably patient with Bella’s adolescent outbursts. However, the atmosphere quickly sours as Hedy’s “meddling” turns into a dark obsession, systematically targeting Allie and those she loves most.

Kym Marsh is in fine form as the unhinged Hedy; in a role that could easily stray into melodrama, her restraint makes the performance feel chillingly cold and terrifying. Lisa Faulkner is equally impressive as the good-natured Allie; her frustrations are deeply relatable, ensuring the audience roots for her long before things turn ugly.

Andro provides excellent value as Graham, injecting much-needed levity, while Jonny McGarrity is suitably slimy as the arrogant Sam, a character who surprisingly garners more sympathy as the narrative unfolds. Meanwhile, Amy Snudden does a fine job of making the troubled Bella both sympathetic and relatable.

Rebecca Reid’s adaptation makes bold, successful narrative choices. Integrating social media, cyberbullying, and grooming gives the production a contemporary feel, further grounded by topical references to Vinted and Mounjaro. Reid’s significant departures from the original script keep the audience on their toes, while well-placed moments of pitch-black comedy provide a welcome relief to the anxiety.

The tension is ratcheted up by Morgan Large’s set design, which, paired with Max Pappenheim’s unsettling soundscape, creates a palpable sense of claustrophobia within the single-apartment setting.

This is a fresh, entertaining night at the theatre with more than enough surprises to remain engaging throughout. It is certainly one of the strongest screen-to-stage adaptations of recent years. One word of advice: leave the stilettos at home and opt for flats—it’s just a bit safer for all involved.

Single White Female is at the Opera House Manchester till 14th February, tickets are available here.

The National Lottery’s Big Night of Musicals

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The January Blues-Busting Big Night of Musicals from the National Lottery was back with a bang at the AO Arena in Manchester last night.

In what’s become a staple in the theatre calendar for the region, this year’s show was another feel-good ode to the world of Musical Theatre and the fantastic causes supported by the Lottery.

 

Again hosted by the host with the most Jason Manford the event has become a must-do for both theatre lovers and the biggest and best show – both in the West End and on tour.

And this year was no different with some really exciting exclusives for both the audience in the arena – and later the TV viewers, for when it’s broadcast later in the Spring on BBC & IPlayer.

 

The evening was kicked off in spectacular style by The Lion King with a goosebump-inducing performance of the iconic Circle of Life – complete with the stunning puppets the show is famous for. This is a number that never, ever gets old and it was followed by the joyous He Lives in You from the show.

It was the first of a number big company numbers of that delivered the wow factor to the event – putting the ‘Big’ in Big Night of Musicals. Other brilliant moments included The American Dream from the current tour of Miss Saigon and I Wanna Be a Producer from the West End’s The Producers – which was a genuine treat.

 

Other wonderful performances included As Long as He Needs Me from Oliver! By Ava Brennan, Pretty Little Dead Things from Paddington’s ‘baddie’ Victoria Hamilton-Barritt and the cast of Sunny Afternoo n brought a bit of 60s rock n roll to the night.

Disney legend Alan Menken was celebrated in a gorgeous medley of some of his biggest 90s hits accompanied by incredibly talented young dancers from Lowry’s Centre for Advanced Training in dance.

 

As ever the event showcased the work of programmes funded by the National Lottery. Oldham’s Wild Things Performing Arts joined ‘Miss Hannigan’ La Voix and the young cast of Annie for a rousing rendition of Hard Knock Life. And the tour of Choir of Man performed alongside a real life men’s choir Infant Hercules Choir  (and Jason Manford) in a truly moving version of You’re The Voice.

 VTs highlighted the brilliant shows hitting the UK this year including the world tour of Operation Mincemeat – which launches at the Lowry next month, the new musical by Pippa Cleary and Rob Madge Bank of Dave, also launching at the Lowry and many more.

 

Arguably the most exciting moment of the evening was the world exclusive of Sam Ryder performing Gethsemene from the forthcoming new production of Andrew Lloyd Webber’s Jesus Christ Superstar. If there were any nerves they didn’t show and it was a moment no one in the room will ever forget!

The evening closed on a high note with a moving performance of For Good from Wicked by the West End’s current Elphaba and Glinda, Emma Kingston and Zizi Strallen followed by a medley from Alexandra Burke and the cast of the Chaka Khan musical I’m Every Woman that got everyone on their feet.

 

Big Night of Musicals is absolute must-watch for musical fans when it airs and a welcome reminder of the amazing work and theatre programmes that the National Lottery supports.

 

The Bodyguard

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Reviewed by Matt Forrest

Opening Night verdict ⭐️⭐️⭐️

Pop-musical juggernaut, The Bodyguard returns to the Palace Theatre this month as part of a nationwide tour, bringing with it high-gloss production values, plenty of glitz, glamour, and a soundtrack stacked with undeniable crowd-pleasers.

Based on the 1992 film starring Kevin Costner and Whitney Houston, the story follows global music icon Rachel Marron (Sidonie Smith), who becomes the target of a disturbed stalker. As threats escalate and personal items go missing, her alarmed manager Bill Devaney (John Macaulay) enlists former Secret Service agent Frank Farmer (Adam Garcia) to protect her.

Unsurprisingly, sparks fly. Strong-willed and fiercely independent, Rachel bristles against Farmer’s rigid methods and the restrictions imposed on her lifestyle, while Farmer struggles with her diva tendencies. His remit soon extends to Rachel’s family, including her overlooked sister Nicki (Sasha Monique), whose unspoken feelings for Farmer add an extra layer of tension.

An ill-advised nightclub appearance brings the danger sharply into focus. As Farmer shields Rachel from an unruly fan, a romantic connection begins to form. As the relationship deepens, so too does the threat—forcing Farmer to balance emotional involvement with professional vigilance.

Sharing top billing are Adam Garcia and Sidonie Smith, and both deliver. Garcia is a convincing, restrained protector, playing the role with a blend of stoicism and dry humour. Smith, however, commands the stage. Charismatic and glamorous, she has the vocal firepower the role demands, soaring through Greatest Love of All and One Moment in Time. Her goosebump-inducing rendition of I Will Always Love You predictably brings the house down.

The chemistry between Smith and Garcia is undeniable, nowhere more so than in their karaoke bar scene, which strikes a pleasing balance between warmth and playfulness, allowing the audience to fully invest in their relationship.

Sasha Monique is equally impressive as the slighted and overlooked Nicki, her frustration and heartbreak keenly felt throughout. Her performance of Saving All My Love for You is beautifully delivered, while her duet with Smith on I Have Nothing stands as one of the production’s emotional high points.

The ensemble cast work tirelessly, with the opening number, Queen of the Night, setting the tone through slick, well-choreographed sequences that recur throughout the show. They are supported by Tim Hatley’s fabulous costume designs: the dance troupe’s outfits dazzle in the opening sequence, while Rachel’s glamorous evening gowns add further sparkle.

The production is not without its flaws. Some slow-motion moments lack polish, and the fight sequences didn’t look authentic, with one intended moment of tension prompting unintended laughter from the audience. The use of video screens adds little, serving more as a distraction than a meaningful enhancement.

Ultimately, this is a celebration of a much-loved film and a reminder of Whitney Houston’s extraordinary talent. Anyone stepping into those vocal shoes needs to be exceptional, Sidonie Smith undoubtedly rises to the challenge. The show closes with a joyous full-cast rendition of I Wanna Dance with Somebody, inviting the audience to their feet for a singalong and dance, providing the perfect finale to this glossy, nostalgia-driven slice of jukebox musical theatre.

The Bodyguard The Musical is at the Palace Theatre until the 31st January. Tickets are available here.

 

Beauty and The Beast

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Reviewed by Nikki Cotter

Opening Night verdict ⭐⭐⭐⭐

Tony Peers Productions are back at Warrington’s Parr Hall for their annual Panto production; this year they’re treating audiences to a classic favourite, Beauty and The Beast.

This family friendly production will entertain both young and old alike with its traditional panto elements combined with a talented cast which includes superb performances from TV’s Anne Hegarty and Jake Quickenden.

The familiar story of Belle needs no introduction allowing the fun to quickly begin as panto favourite Daniel Dean packs in the comedy from the start as the loveable but unlucky in love Pee Wee Potts. His scenes with Mervyn Francis as his Mum, Dame Polly Potts have the audiences in stitches, gifting then with plenty of opportunities for shouts of ‘It’s behind you!’.

Taking on the role of Belle is an impressive Charlotte Buxton, who somehow manages to still deliver a performance of ‘My Heart Will Go On’ that Celine Dion would be proud of despite the slapstick chaos unfolding around her.

Anne Hegerty gives a great performance as Fairy Rose marking her second panto appearance at Warrington’s Parr Hall. Add into the mix a scene stealing performance from Jake Quickenden who has the audience in the palm of his hand as a dishy but devilish Gaston and you really have got the recipe for a fabulously fun night at the theatre.

This is an engaging production which will entertain all ages, there’s gags a plenty, brilliant bops and if you’re unlucky a spraying from a super soaker or two!

The traditional sets are simple allowing the cast to take centre stage here, aided beautifully by local dancers from Felicia Burns School of Dance.

There’s plenty to enjoy about this production from the talented cast to the glittering costumes. The audience interaction and local references allow the cast to playfully connect with the audience while the silliness and slapstick ensures the laughter never stops. Panto is unique in offering a great opportunity for families to enjoyed live theatre in a relaxed and accessible way, guaranteeing special memories are made for another year.

Beauty and The Beast runs at Warrington’s Parr Hall until Sunday January 11th, with concessions and family tickets available. Tickets and further information can be found here.

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.