Theatre

Lizzie

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Reviewed by Nikki Cotter

Opening Night verdict ⭐⭐⭐⭐⭐

Hope Mill Theatre’s Lizzie gained an army of fans with its original run in September 2023, with many theatre fans making multiple visits, often in Lizzie inspired costumes, while social media was awash with praise, now, comes the turn of an all-new 2024 cast to make their mark on this firm audience favourite. Driven by a killer score delivered by four absolute power-house female performers, Lizzie raises the roof of this much-loved Manchester venue and takes every audience member along for an exhilarating ride.

The infamous story of Lizzie Borden who was famously accused of brutally murdering her father and stepmother in the summer of 1892 may not be the most obvious material for a musical, but my goodness does it deliver! With a small cast of four this is a vibrant exploration of fierce women controlling their destiny at a time when oppression was the norm.

Director and choreographer William Whelton takes these historical figures and ensures that their stories are told in bold, blistering style. Opening with the eerie, infamous nursery rhyme we’re immediately transported into an intense and pressured environment. As the thrilling opening bars of House of Borden kick in, the scene is set for an electrifying production bursting with powerful vocals, edgy choreography, emotional depth and boundless female energy.

Kayleigh McKnight commands the stage as Lizze, you’re never quite sure what she’ll do next while her vocals are to die for. Fiery and ferocious one moment, calm and composed the next, she convincingly and comfortably shifts to vengeful as she takes action to gain control of her life.

McKnight has a wonderful connection with Katie Tonkinson, who plays Lizzie’s best friend and love interest Alice, their relationship is gently and delicately revealed by Tonkinson who brings light to this dark tale with her pitch-perfect, emotive performance. She truly shines in the role.

Emilie Louise Israel is superb as Lizzie’s older sister Emma, she’s strong and decisive while her rich vocals are utterly sublime. Jennifer Caldwell engages the audience from the start as housemaid come narrator Bridget. She packs in the humour with her brilliantly expressive performance, while relishing the menacing threat that something’s about to happen and we quickly get the feeling that she’ll be delighted when it does.

Accompanying this powerhouse cast is an all-female band led by Musical Director Ella Ingram, they are electrifying and further amplify the rebellious, empowering vibe.

Andrew Exeter’s set design and incredible lighting is complimented brilliantly by Dan Light’s vibrant video design, transporting Lizzie from the claustrophobic confides of the Borden House to a place where her hopes and dreams can take flight.

This gripping musical is loud, unapologetic and utterly brilliant. The layered storytelling keeps you engaged throughout while the searing score and gritty lyrics hook you in from the start. This talented cast deliver demanding vocals with an impressive ease; their harmonies are to die for while their transformation into a kick-ass girl group by the finale is deliciously satisfying. Lizzie is back, and as bloody brilliant as ever, unmissable!

Lizzie is on at Hope Mill Theatre until Sunday 17th November, tickets available here.

The Salon – The Sequel

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Reviewed by Nikki Cotter

Opening Night verdict ⭐️⭐️⭐️⭐️

St Helens Theatre Royal do an incredibly impressive job of creating quality theatre for their loyal audiences, this autumn is no exception as they’ve rewarded theatre goers with a sequel to a firm audience favourite. The Salon, first seen in 2009 has opened its doors again for a sequel which brings more chaos, calamity and killer comedy. There’s a surprise pregnancy, the return of the local gangster and an eye watering appendage!

Leading the cast and returning to the role of salon owner Carol, is Leanne Campbell. While Campbell is a firm favourite on the airwaves she’s equally at home on the stage where she confidently leads this production. She’s perfectly suited to the role and has the audience in the palm of her hand from the start. Witty and warm she gives a superb performance. Her paring with best mate Sheila, played by Sarah White is perfection. White is an absolute scream as potty mouthed hairdresser Sheila, her anger management sessions aren’t quite having the desired effect but she certainly ensures she finds her stress relief in other areas. She has the audience roaring with laughter from the minute she arrives on stage.

The rest of the cast are equally as impressive and as an ensemble really deliver. They’re clearly having a ball, going above and beyond to ensure the audience have just as good a time as they’re clearly having. Special mentions must go to Darren John Langford as the bad boy all the ladies love to hate and Conor Barrie who as Damitree gives an epic performance of Genuine’s Pony that the audience won’t forget in a hurry !

This is adult theatre at its most fun and deliciously cheeky. There’s innuendos on innuendos and the audience absolutely lap them up. Director Chantelle Nolan ensures every line in Drew Quayle’s hilarious script is savoured by this cast and delivered with perfect comedic timing, tone and sass. Regal Entertainments set design and costumes are gaudy and garish and suit this play entirely.

The Salon – The Sequel is pure escapism delivered by a hugely talented cast. It’s outrageous, hilarious and will leave you hoping those salon doors soon reopen for a part 3!

The Salon – The Sequel is on at St Helens Theatre Royal until Sunday 13th October tickets available here.

Heathers The Musical

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Reviewed by Nikki Cotter

Opening Night verdict ⭐⭐⭐⭐⭐

Images Pamela Raith

From its beginnings as a concert version back in 2010 to its multiple West End runs and now third UK tour, Heathers the Musical continues to gain fans and cement its cult status as one of the most loved productions for younger theatregoers.

Based on the 1980’s classic film of the same name starring cinematic icons Winona Ryder and Christian Slater, Heathers introduces us to Veronica Sawyer, (Jenna Innes). An awkward, outcast who just wants to make it through her final year at Westerberg High unscathed.

There are the traditional school cliques, the nerds, the jocks and of course the queen bees who in Westberg come in the form of the three Heathers, leader of the pack Heather Chandler (Esme Bowdler) and her loyal sidekicks Heather Duke (Sedona Sky) and Heather McNamara (Daisy Twells). It’s safe to say they rule the school.

After unexpectedly finding favour with the three Heathers, Veronica quickly realises that this newfound friendship could be the key to beating the food hall bullies once and for all. What she doesn’t bargain for however, is the arrival of mysterious new kid, J.D. who brings a whole new level of trouble to her door.

Heathers’ multi-layered storyline cleverly covers numerous dark themes with sardonic wit and a killer score. The quality of the cast ensures that each fan favourite from Candy Store to Seventeen is delivered in truly memorable style, whipping the audience of devoted fans into a Big Fun frenzy.

Making a return to the role of Veronica is a sensational Jenna Innes. She absolutely shines on stage, her development from hopeful opening number Beautiful to the self-assured I Say No is mesmerising to watch while her vocals are sensational throughout. Her pairing with Keelan McAuley is superb, he makes for a marvellously menacing J.D. Brooding and brilliant. His delivery of Meant To Be Yours is next level, really showcasing his impressive talent and incredible range. The two are a match made in heaven…or hell if you’re a Westerberg teen.

Esme Bowdler is a perfect Heather Chandler, sharp and sassy she has the audience in the palm of her hand from the moment she arrives on stage with fellow Heathers, Sedona Sky and Daisy Twells. Their iconic entrance, all dry ice and glamazonian gliding really sets you up for the wild ride they’re about to take you on.

Sedona Sky makes an impressive stage debut as the spoilt Heather Duke while Daisy Wells delivers a stunning and emotionally charged rendition of Lifeboat during her Act II solo. The trio together are terrifically terrorising.

Amy Miles gives us all the feels with her beautiful delivery of Kindergarten Boyfriend while Ivan Fernandez Gonzalez and Jason Battersby as Kurt Kelly and Ram Sweeney ramp up the laughs as deliciously dumb high school jocks.

Heathers is one of the must fun shows of recent years, its connection with its target audience is undeniable. The score is exhilarating while the script feels modern and sharp. Yes, there are dark themes, but the comedic moments and gallows humour comes thick and fast ensuring you’re never more than a few moments away from an iconic put down or some serious sass.

This cast is one of the best I’ve seen, they really elevate an already fun show to the next level capturing perfectly the intensity of High School feeling like your whole entire world. While Heathers may not leave you yearning for your teenage years, it’ll certainly leave you thrilled that you took a trip to Westerberg, albeit from the safety of your seat. Hugely entertaining theatre, jam-packed with unforgettable performances and an assured self-awareness that ensures it really hits the mark, sensational!

Heathers The Musical is on at Chester’s Storyhouse until Saturday 21st September tickets are available here.

The Gangs of New York

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Reviewed by Matt Forrest

Opening Night verdict ⭐⭐⭐⭐⭐

Images by Mark McNulty

Storyhouse and Grosvenor Park Open Air Theatre productions have become somewhat of a must for theatre lovers during the summer months. With its purpose built theatre set in the beautiful picturesque surroundings of this Victorian park, it is the perfect setting for live theatre.

The venue has hosted some fantastic productions over the years which have included Little Women and The Great Gatsby. Continuing with the theme of adapting celebrated works of literature, one of this year’s offerings is The Importance of Being Earnest, the other is a far more daring prospect: the world premiere of The Gangs of New York, based on the factual book of the same name by celebrated American journalist, Herbert Asbury.

Set in the mid 1800’s, we are introduced to John Morrisey (Oisín Thompson) and Hellcat Maggie (Hanora Kamen) , a pair of Irish immigrants fresh off the boat arriving in America. It would appear that they have a certain skills set which will help them to survive the mean streets of New York, Maggie, is a light-fingered pickpocket, whilst Morrisey is equally as good with his hands as a boxer.

Almost immediately Morrisey’s growing reputation draws the ire of local gangland chieftain, William Poole (James Sheldon) a.k.a ‘Bill the Butcher’, as he puts it “a true American ”. Poole’s love of violence is only matched by his hatred for all immigrants landing in America hoping to make a better life for themselves. Soon the pair enter into a blood feud, which threatens to cost both of them not just their business ventures, but their lives as well.

As a huge fan of the 2002 Martin Scorsese, Gangs of New York, I was intrigued to say the least by how the production was going to unfold, and I’m more than happy to say it does not disappoint. The story doesn’t just focus on the prejudice and bigotry that many immigrants faced, but also the seedy criminal underworld of New York. Crooked cops, and bent politicians are all thrown into the mix, rather sadly it would appear that 1840’s USA isn’t too different from modern society.

At its core writer Kieran Lynn’s adaptation focuses on two love stories: Morrisey and Suzie Smith (Yolanda Ovide), a young women, from a wealthy family who has ambition to be more than just some rich man’s trophy wife. Whilst the other is the forbidden romance between Maggie and Lew Baker (Lucas Button), a local beat police officer, indebted to Bill the Butcher. It’s a bold move and one that pays dividends as you firmly invest and care about what will become of them all.

Director John Young’s production despite its weighty subject matter is filled with energy and a surprising amount of humour, there are sly, on point one liners which hit the mark throughout. In addition, the glorious in-the-round setting allows for some audience interaction, with some (un)willing audience members dragged up to be part of the show.

Throughout there are various cast members playing all manner of musical instruments, and performing songs giving an authentic folk/roots feel to the production. These light touches mean that when an act of violence does take place, it’s all the more brutal and comes as a bit of a shock.

The cast are in fine form throughout, Oisín Thompson gives a performance packed full of charisma. James Sheldon has a commanding stage presence, full of menace and rage. Hanora Kamen puts in a turn full of sass and grit, whilst Yolanda Ovide gives a restrained, measured performance, as one of the few voices of reason. Lucas Button is equally impressive as the troubled police officer, with a performance full of nervous energy and subtle comic timing, his arc is the one that underpins the entire production.

It’s a bold, brave choice to adapt this weighty, historical book for the stage, but one that rewards its audience with an entertaining and surprisingly fun watch. It’s a production performed by a super talented ensemble cast of actors and musicians, in an as perfect (weather permitting) setting as you’re going to get, live theatre doesn’t get much better than this!

The Gangs of New York is on at Grosvenor Park Open Air Theatre until 31st 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.

Hairspray

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Reviewed by Matt Forrest

Opening Night verdict ⭐⭐⭐⭐

Based on the 1988 cult classic by John Waters, which featured Rikki Lake and Debbie Harry, Hairspray transports us to 1960’s Baltimore focusing on the Turnblad family, who are the living embodiment of the American dream: a happy family, with both parents running and owning their own business, and a child who dreams she can be anything she wants.

In 2002 writers Mark O’Dohnell and Thomas Meehan took to adapting Hairspray for Broadway, which led to a West End run, several UK tours and even a glitzy Hollywood remake starring John Travolta and Queen Latifah.

Right from the opening number, Good Morning Baltimore, we are treated to a snapshot of what life is like across America in 1962, with racial inequality sadly rife. Our guide on this journey is high school misfit Tracy Turnblad (Alexandra Emmerson-Kirby) constantly at odds with the school authorities due to her massive hairdo!

Tracy has dreams of being a TV star, with her only insight into this world coming in the form of popular teen magazine show, “The Corny Collins Show”,  a music and dance show catering for the tennagers of Balitmore, evening boasting of “Negro Day”.

Soon fate intervenes for Tracy, after befriending Seaweed (Reece Richards), a black dancer on the show, who teaches Tracy some killer dance moves which help her to land a  part of her favourite show. Here she meets her crush, teen heartthrob, Link Larkin (Solomon Davy). Tracy becomes an instant hit with the audience, however not everyone is pleased about the new TV sensation with, the show’s bitchy producer, Velma Von Tussle (Gina Murray), and her dim daughter Amber Von Tussle (Allana Taylor), doing everything in their power to halt Tracy’s meteoric rise in popularity.

There is so much to admire about this production, from its messages about body positivity and its strong core themes of tackling prejudice and bigotry head on.  Packed full of catchy tunes including the delightful Mama, I’m a Big Girl Now, and the huge, joyous finale You Can’t Stop the Beat.

The production is littered with great performances, with newcomer Alexandra Emmerson-Kirby giving a star making debut as Tracy.  Equally impressive is Freya McMahon as Tracy’s best friend Penny Pingleton, again on debut, with both showcasing superb comic timing and great vocals.

Gina Murray is deliciously devious as the vile Velma Von Tussle, played with no redeeming qualities whatsoever, yet still a captivating watch. Whilst Allana Taylor, as daughter Amber,  equally as hideous as her mother, who’s little comic touches are a treat to watch.

Reece Richards, gets to showcase some excellent dance moves throughout, spearheading Drew Mconie’s excellent choreography. The choreography throughout is bang on point, all the more impressive from the huge ensemble cast. Full of energy and vibrancy it really is the heartbeat of the show.

For me the show’s standout moment was the comedic yet beautifully touching duet between Tracy’s parents Edna (Neil Hurst) and Wilbur (Dermot Canavan) on the song, You’re Timeless to Me. The pair have great chemistry with one another, occasionally breaking into the odd unscripted aside, making it all the more special.

My only wish was that more thought was given to the staging and set. The costumes all look fabulous, but their staging and set design are somewhat lacking and don’t represent the high production values the rest of the production has.

Tackling weighty issues, such as equality and acceptance, whilst shining a light on the struggle of the Civil Rights Movement and  the importance of plus sized role models appearing in the mainstream media, Hairspray is a constant joy from start to finish, and a great reminder that theatre can tackle and address some of the biggest challenges we face, but also have a lot of fun at the same time!

Hairspray is on at Manchester’s Palace Theatre till 27th July tickets are available here.

& Juliet

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Reviewed by Nikki Cotter

Opening Night verdict ⭐⭐⭐⭐⭐

After bursting onto the musical theatre scene back in 2019, & Juliet has gone from strength to strength. There’s been a hugely successful West End residency, an on-going Broadway run, a recently announced US tour, a critically acclaimed Aussie offering and now a triumphant return to where it all began for the start of its first ever UK tour.

This joyful jukebox musical featuring Max Martin’s biggest bops rewrites The Bard’s tragic tale introducing some much-needed herstory, style and sass to proceedings.

After Anne Hathaway (Lara Denning) tells hubby William Shakespeare (Matt Cardle) that his penned ending isn’t exactly a barrel of laughs, she sets about rewriting Juliet’s (Gerardine Sacdalan) story herself, opening up a whole new world for the star-crossed lover. As Juliet (with a little help from Hathaway) realises she wasn’t the only recipient of Romeo’s sweet nothings, she takes herself off on a road trip of self-discovery with nurse Angelique (Sandra Marvin), bestie May (Jordan Broatch) and ‘other best friend April’, Anne Hathaway, who cleverly writes herself into the story.

What follows is an absolute masterclass in musical theatre, from knock-out vocals to killer choreography, & Juliet has it all. This wonderfully diverse cast fuelled with classic pop hits and an infectious energy make this a sparkling night to remember.

The book, penned by Emmy Award-winning Schitt’s Creek writer David West Read is as witty as you’d expect with micro-storylines introducing us to brilliantly written characters. While Jenn Webber’s iconic choreography perfectly emulates the nineties and noughties biggest bangers.

As Hathaway and Shakespeare, Lara Denning and Matt Cardle weave in and out of the narrative guiding us as both authors of the piece and players in the story, with Ann ultimately redesigning her own destiny too.

The pair have an incredible warmth and superb chemistry as they bounce off each other brilliantly. Their vocals blend beautifully while Denning receives a well-deserved mid-show standing ovation for her stunning rendition of Celine Dion’s That’s The Way It Is.

Gerardine Sacdalan is a smart and sassy Juliet, her powerhouse vocals more than do justice to the pop classics she so perfectly delivers, every note is pure pop perfection. From her first moments on stage you know this performance is going to be something special.

Jordan Broatch gives a beautifully executed performance as May with their delivery of Britney’s I’m Not A Girl, Not Yet A Woman packing an incredibly emotional punch while Kyle Cox as love interest Francois adds an unexpected yet brilliant twist to proceedings.

Sandra Marvin as Angelique is a scream. Her pairing with Ranj Singh (otherwise known as TV’s Dr Ranj) is pure joy, as she unleashes her inner urges the duo provides some of the biggest laughs of the night, it’s clear they’re having as much fun on stage as the audience is watching them.

Then of course there is Romeo who Jack Danson plays superbly. He’s a dorky douche bag who has made himself familiar with many a balcony, much to Juliette’s surprise.

The leads are supported by in incredibly talented ensemble who under Luke Sheppard’s direction really take this show to the next level. Their vocals are effortlessly on point through every complex piece of choreography, they are totally mesmerising.

& Juliet is a breath of fresh air, its infectious sense of joy will lift your spirit and warm your heart while it’s empowering themes will ensure you leave the theatre with a little more sass and sparkle than when you arrived. It’s well-researched historical references mixed with its celebratory themes, mega hits and hilarious script result in a truly gorgeous piece of theatre, the perfect night out for music lovers of all ages, poptastic!

& Juliet is on at Manchester’s Opera House until Saturday 20th July before heading across the UK and Ireland on tour tickets available here.

Burlesque

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Reviewed by Nikki Cotter

Opening Night verdict ⭐⭐⭐⭐

Credit: Johan Persson

Based on the iconic 2010 film starring Cher and Christina Aguilera, Burlesque introduces us to Ali, a small-town girl who finds herself in the big city where life is about to get spicy, and the stakes are gonna get a whole lot higher.

This much-anticipated stage adaptation switches up elements of the film’s storylines so those looking for a faithful retelling will without doubt find something new to discover here. Some storylines and characters have been removed while others are further developed adding new dynamics to the production.

Credit: Johan Persson

We follow Ali (Jess Folley) as she leaves her home in the Midwest in search of her birth mother Tess (Jackie Burns). A stressed-out debt-ridden Burlesque club owner isn’t quite who Ali expects to find but she sticks around nonetheless as she awaits an opportunity to tell Tess the real reason she’s there. Life suddenly begins to take a dramatic turn and almost accidentally Ali becomes the star of the Burlesque show.

Taking a keen interest in Ali is Jackson (Michael Mather) the friendly bartender who has more than bourbon on his mind while there’s added depth given to Tess’ husband Vincent (George Maguire) who becomes the villain of the piece, adding an entertaining element of jeopardy as well as an opportunity for a gloriously camp male tap ensemble piece.

Credit: Johan Persson

Jess Folley is superb as Ali, her vocals are incredible, she has big shoes to fill taking on the role made famous by Christian Aguilera and she does so convincingly, while managing successfully to make the part her own. She is a true star. Her talents don’t end on stage as she also takes writing credits for several of the show’s new songs, it really feels like we’re witnessing the launch of a world-class talent here.

As Tess, Jackie Burns delivers a Broadway quality performance right here in the heart of Manchester, she has a strong chemistry with Jess Folly and the duet Got It All From You between the two is one of the most heartfelt moments in the production. Burns brings strength and sass to the role while gradually allowing her softer side to show.

Credit: Johan Persson

Ramping up the fabulous is a sensational Todrick Hall as Tess’ right-hand man and club assistant Shaun. An incredible performer who commands attention from the moment he appears on stage. His epic numbers are flawless, showcasing his extraordinary talents perfectly. His performance feels fresh, effortless and uniquely creative. A generous performer, he pitches things just right ensuring while his lead numbers pop his shared scenes are balanced and nuanced.

Special mention must also go to Nina Ann Nelson who is clearly having great fun as mean girl Nikki. While B Terry makes for a wholesome Midwest bestie, reminding us just how different life is becoming for Tess.

Credit: Johan Persson

The ensemble numbers are sensational, proving that Burlesque really is BIG. Film favourites Express and Show Me How You Burlesque whip the audience into a frenzy with Nick Winston’s sizzling choreography matching the quality of the stunning vocals perfectly. Add to this Soutra Gilmour’s lavish set design combined with Ryan Dawson Laight’s incredible costumes and Jack Knowles’ dramatic lighting and these pieces have wow factor worthy of winning awards. The additional element of Nina Dunn’s video design further takes the visuals up a notch.

Steve Antin’s book is fairly light and frothy but manages to steer away from cheesy however it’s the epic ensemble scenes that really steal the show. Some punchier dialogue in parts would bring a little more balance to the piece however judging by tonight’s audience reaction no one really came her for the convos.

Credit: Johan Persson

This incredibly talented cast go all out to deliver an exhilarating night of fierce, feel-good, fabulousness. The audience lap up the dazzling design and killer choreography with expectations of outrageous escapism fulfilled as we all head off into the Manchester night feeling a whole lot sassier than when we arrived. Burlesque will go far with the West End and Broadway surely beckoning, catch it in Manchester while you can!

Burlesque The Musical is on at Manchester’s Opera House until Saturday 29th June, it will then return from Thursday 3rd October until Saturday 2nd November tickets are available here.

Twelfth Night

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Reviewed by Nikki Cotter

Opening Night verdict ⭐⭐⭐⭐

Having brought audiences a boundary breaking version of A Midsummer Night’s Dream in 2022, Not Too Tame return to Shakespeare North Playhouse this month with their inspired interpretation of Twelfth Night, with the aim to rock your socks off!

This modernised version centres the action within the music industry, there’s raunch, romance and a whole lot of riffing as this Shakespeare classic is given the rock star treatment. Utterly irreverent and a whole lot of fun this is Shakespeare for today. There’s a glorious mix of modern language which marries perfectly with Shakespeare’s script, it’s extremely funny, a little bit naughty and as far from stuffy as you can possibly get.

This is the second co-production between Warrington based Not Too Tame and Shakespeare North Playhouse and it’s clear both know this stage and setting well. Director Jimmy Fairhurst ensures his cast use every inch of the stunning Cockpit Theatre, making this production all the more exhilarating as you wait in anticipation of who will appear next, from where and when. The theatre becomes the cast’s playground and it’s clear for all to see just how much fun they’re having with it.

Twelfth Night is often described as one of Shakespear’s greatest comedies and Not Too Tame have gone full throttle with this, the production is bursting with top quality comedic moments, well-timed delivery and wisecracks galore. There is of course the classic Shakespeare tropes of unrequited love, mistaken identities, and subterfuge as separated twins Viola (Georgina Frost) and Sebastian (Tom Sturgess) arrive in Illyria each thinking the other is dead. This is Illyria as you’ve never seen it before, no longer is it a shipwreck that separates the siblings but a euphoric night on the nose candy.

Frost and Sturgess are both excellent in their roles, the addition of multiple genres of music to this innovative production allows them to show their talent as singers while Dean Fairhurt’s musical composition gifts them with great opportunities to lyrically progress the story.

Jack Brown as Sir Toby Belch and Reuben Johnson as Sir Andrew Aguecheek are hilarious, Brown nails it as the odious Sir Toby, the hard-drinking, hard-partying, high-spirited (or is that just high?) uncle of Olivia (Purvi Parmar). His pairing with Reuben Johnson is perfection, as Jonson gives us a hilarious Tim, Nice-But-Dim-esque interpretation of Sir Andrew, the two together are a joy.

Purvi Parmar as Olivia is excellent, while Louise Haggerty as Feste gets the party started right from the off. Returning to Shakespeare North Kate James takes on the roles of both Maria and Antonia and delivers both brilliantly.

Then of course we come to Les Dennis who shines as Malvolio, there is little Les hasn’t done in his incredible career and now he can well and truly say he’s not only ticked performing Shakespeare off his list but he’s well and truly knocked it out the park. His Malvolio is multifaceted, starting off as a confident, sharp suited tour manager and transforming entirely in Act 2 in a scene I don’t think anyone will forget in a long time – iconic! A gifted actor he has the ability to draw you in and break your heart a little as he shifts impressively from victimiser to victim.

This is Shakespeare with sass, spunk and seriously bangin’ beats. The relocating of the action does at times in Act 1 make the story a little more complex to follow but once you’re on board the anthemic beats and knock-out cast will whip you up and carry you along for this feelgood ride. If music be the food of love, play on, and on and on!

Twelfth Night is on at Shakespeare North Playhouse until Saturday 29th June tickets available here.

2:22 A Ghost Story

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Reviewed by Nikki Cotter

Opening Night verdict ⭐⭐⭐⭐

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

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

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

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

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

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

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

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

Disney’s Aladdin

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Reviewed by Jodie Crawford

Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

Photography by Deen Van Meer

There really isn’t anything more Disney than this incredible production of Aladdin. It has all the key ingredients of a magical Disney tale, with bells on, and maybe just a little bit of glitter thrown in! 

This stage adaption has a plot true to the original Disney film. With our main characters: Aladdin (Gavin Adams) The Genie (Yeukayi Ushe), Jafar (Adam Strong), Jasmine (Desmonda Cathabel) , Sultan (Jo Servi) and the hilarious Iago (Angelo Paragosa) coming together to tell us the tale of poor street urchin Aladdin being tricked by Jafar, meeting a Genie and falling in love – with a few magnificent musical numbers, many jazz hands, beautifully choreographed ensemble pieces, sword fights, magical carpets and big belly laughs (even the wicked ones).

This production is mesmerising, it’s like nothing I’ve seen before. You are taken to a whole new world (couldn’t help it – sorry) where you can forget all your worries and just be transported to the land of Agrabah and enjoy the ride – specifically the carpet ride. 

Act one introduces us to the lives of our characters and we are treated to some wonderful musical numbers  – including favourites from the original movie like Arabian nights . 

The show stopper of Act 1 is, without doubt, Yeukayi Ushe (Genie) performance of Friend Like Me I don’t want to spoil it for anyone, but this number is a feast for the soul: glamour, costumes, dancing, the set design, and more enthusiasm than I have ever seen on stage. Yeukayi Ushe, take a bow Sir – you are incredible. Hands down the star of this show for me! 

Act 2 treats us to more ensemble magic with Prince Ali and everyone’s favourite A Whole New World – the melody, the lyrics, the carpet. I found myself sitting with a great big, wide smile plastered on my face – there is something so comforting about hearing a song that you loved as a child brought to life on stage. 

This production is colourful in every way, the set changes are phenomenal – I will never understand how they can store so many set structures backstage for this show. The use of technology was clever in the small touches on the back drops in several different scenes. Everything is so carefully constructed by the set design team, there is so much attention to detail everywhere from the props to the costumes. If there is stronger word for “vibrant” I would use it – but vibrant is what it is, from start to finish. Everything comes together so perfectly and much of that is thanks to the fabulous ensemble, and the choreography. Both are flawless. 

I have to say that I feel the real love story in this tale is not that of Jasmine and Aladdin, but of Aladdin and the Genie. Their friendship is a rollercoaster ride and in the end their bond is stronger than they could ever have imagined and quite frankly, it was beautiful to watch. 

Special mention has to go to the orchestra led by the talented Dave Rose – every single note spot on and seamlessly woven into the plot. 

I took my seven year old to see this and I will never forget the smile on her face, the squeals of delight and the awe in her eyes. As we left the auditorium she whispered to me “This has just been the most magical night, I won’t forget it, ever” and yes I did have to wipe a little tear away. So thank you cast, crew, orchestra, costume, production team, and everyone else involved – including the wonderful lady from front of house who was so very kind and sang to us all so beautifully during the interval, while selling ice creams- you all made my little girls dreams comes true. Her last words before she fell asleep to me were “It’s just like when we went to Disney- can we go again tomorrow”. Well no, we can’t – but if you’re quick, you might be able to snap up a ticket before it completely sells out – you’ll regret it if you don’t – trust me! 

Aladdin is on at Manchester’s Palace Theatre until Sunday 7th July tickets available here.

Little Shop of Horrors

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Reviewed by Matt Forrest

Opening Night verdict ⭐⭐⭐⭐

At the start of April the world witnessed the unusual phenomenon of a total solar eclipse. This rare occurrence plunged parts of North America into total darkness. It’s probably too early to tell if that event has led to any strange goings on: a martian invasion or even the introduction of a “strange and interesting plant” into the echo’s system. I mention the latter because this is the premise of one of the Octagon Theatre’s big spring shows, Little Shop of Horrors.

Set in 1950’s New York, we are transported to the dark side of the city, Skid Row, where we meet timid florist Seymour, (Oliver Mawdsley). Seymour works for the rather unpleasant Mr Mushnik (Andrew Whitehead), who blames his failing shop on the meek botanist. To add to Seymour’s worries, he is desperately in love with his friend and work colleague, Audrey (Laura Jane Matthewson). However, Audrey is blinded to his affection due to her turbulent relationship with the sadistic dentist Orin Scrivello, (Matthew Ganley).

However soon the fortunes of Mushnik’s soon change when Seymour discovers an unusual looking plant. Naming it Audrey II the strange flower soon becomes a media hit, bringing in more customers, more money as well as bringing Audrey and Seymour closer together. However, following an accident with a rose bush, Seymour soon learns that Audrey II has an appetite for something a little stronger than Miracle Grow. With Seymour running out of veins he looks at other means to feed the wanting weed, but the big question is, is it worth it for fame, fortune and him landing the girl of his dreams?

What absolute joy this production is: jam packed with great catchy tunes and a super talented cast, this is another triumph for the Octagon Theatre.

Oliver Mawdsley is in fine form as Seymour, showcasing great comic timing and a fine singing voice to boot. Laura Jane Matthewson is equally impressive as Audrey, with the pair’s stunning duet on Suddenly Seymour being just one of the production’s several highlights.

Matthew Ganley is suitably deranged and perfectly OTT as cruel Orin Scrivello DDS and very nearly steals the show, however the undoubted star is of course Audrey II, masterfully controlled by puppeteer Matthew Hewood, and superbly voiced Anton Stephans. His vocals on Feed Me (Get it) and Suppertime are sublime.

Musical director, Levi Van Warmelo has done a great job with the score, who along with drummer Migdalia Van Der Hoven and the supporting cast do a great job transitioning  between slow tempo tunes and funky upbeat numbers.

Throughout the performance Janna May, Zweyla Michell Dos Santos and Chardi Shaw showcase their talents as the do-wop trio Chiffon, Crystal and Ronnette, acting as our guides around Skid Row as the drama unfolds. Not only do these actors have tremendous voices, and a commanding stage presence, they are also talented musicians pitching in on guitar, bass, and keyboards.

All that said, the show isn’t without its flaws: I did find the closing sequences between Audrey, Audrey II and later Seymour and Audrey II looked awkward. In addition, the subject matter of domestic violence does make it unsuitable for younger audience members.

This is a highly entertaining, joyous night at the theatre, filled with black comedy, catchy toe-tapping tunes and plenty of bite!

Little Shop of Horrors is at the Octagon Theatre till May 18th tickets available here.