Theatre

The Merchant of Venice 1936

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Reviewed by Matt Forrest

Opening Night verdict ⭐⭐⭐⭐

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

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

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

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

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

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

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

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

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

The Parent Agency

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Reviewed by Matthew Forrest

Opening Night verdict ⭐⭐⭐⭐⭐

David Baddiel will be familiar to many of us for different reasons. For some, we know him for stand-up and comedy. Whilst for others, he’ll have provided the soundtrack to another heartbreaking defeat for the England football team. Others may know him for his work as a playwright, or for his charity work. A blind spot for me was Baddiel’s work as an author of children’s literature – with ten books aimed at children, it would be fair to say this aspect of his career is going well.

Well now he can add musical theatre to his impressive CV. Baddiel teams up with composer Dan Gillespie Sells, who composed the mega smash hit Everybody’s Talking About Jamie, to bring The Parent Agency to life as it receives its world premiere at Chester’s Storyhouse.

Based on Baddiel’s first children’s book, The Parent Agency focuses on Barry, a ten-year old boy rapidly approaching his 11th birthday. Barry has big plans for his special day: a James Bond themed party complete with Bond gadgets and a ride in a fancy car. However, things aren’t looking great, with Barry’s dad, Geoff, picking up the wrong Casino Royle DVD for the party, the David Niven one! This is the final straw for the young boy, who resents his parents for naming him Barry in the first place. On top of that he finds them boring and hates that they are poor.

An argument between Barry and the rest of his family sees him storm off to his room. With only his posters of James Bond and French footballer, Kylian Mbappé for company, he wishes he had better parents. With this wish Barry is transported to The Parent Agency or TPA for short. At TPA the children can pick their parents. Barry has the four days before his birthday to be matched up with his perfect parents. If they fail, something that has never happened before, something unspeakable will happen to Barry.

There is so much to enjoy about the production, it’s an absolute treat from start to finish. At tonight’s performance, Max Bispham was in fine form as Barry: charismatic, charming and filled with warmth and wit. He showcases superb comic timing, matched with a tremendous singing voice.

Rebecca McKinnis and Rakesh Boury are an awesome pairing as Barry’s mum and dad, Susan and Geoff. However, it’s as the various potential parents where the pair absolutely smash it. These include the super-rich, monstrous Rader-Welllorffs and the fitness enthusiasts the Fwahms. As well as the self-centred celebrities Vlassorina, and my own personal favourite, the flakey, hippy hipsters the Cools. Both Mckinnis and Boury go all in and embrace the absurdity of each character and it’s an absolute joy to watch.

Under Tim Jackson’s direction, the action is fast paced and slick. The big comic set pieces work brilliantly with the undoubted highlight being the Fwahm’s Van Halen’s Jump inspired fitness routine – as stunning as it is bonkers. Whilst the Cool’s red double decker bus sequence, is more Rik Mayall’s Young Ones, than Sir Cliff’s! The added extra touches of money raining down upon the audience as well as smoke filled bubbles completely enchanted the younger audience members, as well as some of us oldies too!

Baddiel’s script is smart, witty, with the right balance between big laughs, and beautiful, touching observations about family. It’s refreshing to see a show that doesn’t pitch some of its jokes at adults, and some at kids. Here the jokes are universal and highlights how a great gag can be enjoyed by an audience of all ages.

The musical numbers are catchy, with Barry being the perfect opener, whilst The Rador-Wellorffs and Gonna Make You Sweat are superbly silly, aided by some stunning visuals and outstanding work from the insanely talented ensemble cast. Costume design by Sarah Mercadé is outstanding, and combined with the skills of this incredible cast completely transports you into the world of the TPA. Barry’s parents Susan and Geoff (Mckinnis and Boury) convince us entirely that they are different characters with each costume change. All the creatives involved have excelled themselves creating a truly memorable production which will easily sit at home in the West End. Visually it is stunning, with the attention to detail second to none.

This is a truly joyous production, with plenty of heart, and something for everyone: an enormously entertaining and hugely enjoyable story, told with incredible set pieces and super slick humour. We’d better get used to the name Barry coming back in fashion, because The Parent Agency is going to be around for quite some time, and according to my 9 year old mini-reviewer, “The best show I’ve ever seen”.

The Parent Agency runs until 2nd March tickets are available here.

Images Mark McNulty and also supplied by the production.

The Girl on the Train

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Reviewed by Jodie Crawford

Opening Night verdict ⭐⭐⭐⭐⭐

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

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

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

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

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

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

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

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

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

Coming To England

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Reviewed by Jodie Crawford

Opening Night verdict ⭐️⭐️⭐️⭐️

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

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

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

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

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

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

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

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

Kinky Boots

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Reviewed by Nikki Cotter

Opening Night verdict ⭐⭐⭐⭐⭐

To say there was a buzz when Strictly icon Johannes Radebe was announced as Lola in this all-new Kinky Boots revival would be a wild understatement, as a firm audience favourite and a passionate promoter of authentic self-expression this casting felt like an absolute match made in heaven. Tonight’s Manchester press night proved in utterly fabulous style just how perfect that inspired casting really was as Radebe and the rest of this talented company bring the party to town in glorious, glittering style.

Based on the 2005 film this beloved Broadway and West End musical with music and lyrics from the legendary Cyndi Lauper introduces us to Charlie Price (Dan Partridge). Charlie is unexpectedly made responsible for saving the family business, a shoe factory that was the lifelong passion of his late father. Charlie, however, has little interest in shoes and things quickly begin to fall apart, that is until a chance meeting with a flamboyant drag queen named Lola (Johannes Radebe). With the help of Lola, Charlie soon begins to realise that he might just have what it takes to save the factory while unexpectedly saving himself as he learns to accept who he really is.

This uplifting production is an absolute joy and delivers the most wonderful message of friendship, acceptance and love, as we see Charlie and Lola embrace each other’s differences while creating the most sensational (and sturdy) stilettos on the market.

Johannes Radebe fills Lola’s six-inch stilettos spectacularly. Every moment he is on stage is thrilling, he delivers Leah Hill’s intricate choreography with ease, totally transfixing the audience, he is utterly mesmerising and an absolute star. He also has a beautiful vulnerability when it comes to the quieter more heartfelt moments, his duet with Dan Partridge during Not My Father’s Son is deeply moving. The addition of young Charlie and young Lola (played superbly by Joshua Beswick and Sekhani Dumezweni) taking this already touching moment to the next level.

Partridge wonderfully embodies Charlie Price, taking us on an emotional journey as he shifts from frustrated heir to a confident can-do factory owner. Stuck between the expectations of family and trying to keep his relationship afloat, Partridge gives an emotional and complex performance. His vocals sore and he has an undeniable likeability that has the audience rooting for him from the start.

Courtney Bowman is a delight as factory worker Lauren. Her comedic timing is sensational while her delivery of History of Wrong Guys is truly iconic. Joe Caffrey’s portrayal of Don is a fantastic secondary story to the main plot, his character arch from angry ‘real man’ to someone accepting of both difference and change is wonderful to see while Manchester’s own Scott Paige is as entertaining as ever in the role of factory foreman George, he takes every magical moment in the spotlight and runs with it.

The energy given by this cast is infectious, they radiate positivity while celebrating each and every character’s individuality. The feel-good vibes this show delivers are unmatched, you’ll leave the theatre uplifted, empowered and feeling a whole lot more positive about the world around us. There couldn’t be a better time for a revival of this celebratory show, with its vital and important message. This incredible cast, stunning production and slick delivery will ensure audiences fall in love with Kinky Boots all over again. Be quick to book as these Kinky Boots must surely strut into the West End soon, sensational!

Kinky Boots is on at Manchester’s Palace Theatre until Saturday 8th February tickets available here.

NOW That’s What I Call a Musical

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Reviewed by Nikki Cotter

Opening Night verdict ⭐⭐⭐

Written by Pippa Evans and directed and choreographed by Craig Revel Horwood, NOW That’s What I Call a Musical takes everyone’s favourite compilation collections and delivers a jukebox musical bursting with 80s bangers.

At the heart of the production is a story based on friendship through the generations, and how while life and its challenges can often get in the way, true friendships stand the test of time (even if they do need a little assistance from an 80’s icon to remind them of the good times).

The story is set in Birmingham and simultaneously takes place in both 1989 and 2009 when a school reunion is on the horizon. In 1989 we meet younger Gemma and April (Nikita Johal and Maia Hawkins). The best friends are about to turn 18, both are ambitious and excited for what life has to offer. Gemma is keen to become a nurse while April has her sights set on stardom in the States. Both Johal and Hawkins shine in their respective roles, wide eyed and hopeful they perfectly encapsulate the characters teenage dreams.

Twenty years later their ambitions haven’t quite materialised and older Gemma and April (Nina Wadia and Sam Bailey) are no longer the close friends we first met. Gemma lives an unfulfilled life while April hasn’t been seen in the last decade. Sam Bailey and Nina Wadia make for a great pairing, although we see very little of Bailey until Act 2 with Act 1 largely being used to build an opportunity for her to return, an unusual choice and one that leaves you thinking the show would have been richer for including her character more throughout. When the two are together Bailey’s voice stuns while Wadia’s comic timing is superb. Once reunited the duo navigate their complex friendship with heart and humour as they’re forced to look back at their younger selves in a bid to work out what happened to those joyful dreamers portrayed so wonderfully by Johal and Hawkins.

The show very much follows the classic jukebox musical format. The characters are relatable, there’s plenty of humour, and of course brilliant bops which the talented cast deliver enthusiastically throughout. The result is a fun, feelgood show offering audiences a night of nostalgic escapism. While the humour is uncomplicated it’s well received by tonight’s audience.

The supporting characters complement the leads well with Gemma’s husband Tim (Keiran Cooper in 1989 and Chris Grahamson in 2009) portraying the villain of the piece convincingly making it very easy to hate him while April’s brother Frank (Luke Latchman in 1989 and Shakil Hussain in 2009) is a likeable addition to the story.

A notable positive to this production is the body diversity reflected on stage, something we’re thankfully seeing more and more and long may it continue.

As with many jukebox musicals there’s a significant level of shoehorning into scenes without adding anything to the narrative other than another tick on the song list count. However, when they are such bops as Video Killed the Radio Star and Hey Mickey, do we really care that much about their placement in the show? Judging by the audience’s reaction tonight I’m guessing probably not. They are here for a fun time and that’s exactly what this cast deliver.

The Act Two cameo by an 80’s icon; on this occasion Scouse sensation Sonia, adds to the fun of this piece as audiences get to indulge in even more uplifting nostalgia, even if it does feel a little like a fever dream (albeit a very fun one).

The plot while fairly predictable is entertaining and enjoyable as this confident cast deliver each much-loved track in this mixtape with bouncy enthusiasm ensuring a happy audience who, by the finale are bursting to boogie during the hit-filled megamix.

NOW That’s What I Call a Musical is on at Manchester’s Opera House until Saturday 1st February tickets available here.

Cinderella

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Reviewed by Nikki Cotter

Opening Night verdict ⭐⭐⭐⭐

Tony Peers Productions returns to Warrington’s Parr Hall this month with this year’s Panto offering, a sparkling spin on the classic fairytale, Cinderella. Combining traditional panto elements with wonderful modern touches this is a production all the family will undoubtedly enjoy.

The show tells the tale of Cinderella, who, despite being bossed around by her horrid stepsisters, lives a happy and hopeful life with the help of her loyal friend Buttons. With a yearning to meet the man of her dreams never too far from her thoughts she luckily meets a fabulous Fairy Godmother (TV’s Anne Hegarty) and a happy ending is hopefully in sight.

This entertaining production is well tailored for young audiences, there’s lots of gentle humour, a sprinkling of magic and plenty of brilliant bops woven perfectly into the familiar narrative. While the traditional sets are simple the glittering costumes and intricate choreography superbly delivered by local youth dancers from Felicia Burns School of Dance really ramp up the visuals in this super fun show.

The cast are clearly having a ball onstage with standout performance coming from the Ugly Sisters, played by Philip Meeks and Matt McInnes who provide laughs a plenty and that all important audience interaction. Buttons, played by Daniel Dean packs in the comedy with his much-loved silliness while The Chase’s very own Governess, Anne Hegerty really gets into the spirit of things delighting us all with superb vocals and great comedic timing.

There’s so much to enjoy about this production from the witty script to the vibrant costumes (shoutout to the Ugly Stepsisters and their epic costume changes). There’s plenty of innocent fun for the kids and just the right amount of innuendo for the adults. The localised references in the script allow the cast to really connect with the audience while the physical humour ensures the laughs keep on coming. It’s always wonderful to see families experiencing live theatre together and this show will guarantee magical memories for years to come.

Cinderella runs until Sunday January 12th, with concessions and family tickets available. Tickets and further information can be found here.

Accessible Performances 

Relaxed/Dementia Friendly performance – Saturday 11th January @ 9.45am – Created for people with special educational needs, this performance uses lower volumes for sound effects and fewer flashing lights. Special effects will also be reduced, so pyrotechnics and strobe lighting will not be used. For more information, please contact our box office on 01925 442345.

Signed performance – Sunday 12th January @ 11am – This performance will feature a British Sign Language interpreter who will stand to one side of the stage to translate the script as it is being performed. For more information, please contact our box office on 01925 442345.

Special Offers

Family – Buy 2 adult and 2 child tickets for just £43 (plus fees)

10th Ticket Free – Buy 9 or more tickets and get your 10th ticket free

Seniors BOGOF – Buy one senior citizen ticket and get one free (max 4 free tickets per customer) – Tuesday 7th Jan @ 1.30pm only

A Christmas Carol

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Reviewed by Nikki Cotter

Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Come From Away

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Reviewed by Nikki Cotter

Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

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

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

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

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

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

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

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

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

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

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

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

Matthew Bourne’s Swan Lake: The Next Generation

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Reviewed by Matthew Forrest

Opening Night verdict ⭐⭐⭐⭐⭐

It may come as a shock but Matthew Bourne’s ground breaking retelling of Tchaikovsky’s Swan Lake premiered some 30 years ago. The show sent shockwaves through the ballet world, and is about to do the same again as Matthew Bourne’s Swan Lake: The Next Generation is spreading its wings and taking flight for a full UK tour, in 2024/25. Hopefully it won’t break any arms (strangely the third most internet searched thing about swans), but may well leave you heartbroken.

Arriving at the Lowry this week, this contemporary version sees a young Prince (Stephen Murray) woken from his slumber by a nightmarish vision of a swan. Not long after the dream, the Prince is thrust into public life by his emotionally distant mother the Queen, (Ashley Shaw), who is far more interested in flirting with the guards than showing her son any affection.

The Private Secretary (Benjamin Barlow Bazeley) sets the Prince up with a young woman, known as The Girlfriend (Bryony Wood), with the pair hitting it off. However, a series of very public gaffs by the Prince’s girlfriend leads to a near violent altercation between the Prince and the Queen, which sees the Prince flee in a drunken rage. With thoughts of suicide, the Prince goes to a local lake, only to be saved by a swan, (Jackson Fisch) the same swan from his dream. The pair are instantly attracted to each other and fall in love.

However, the course of true love doesn’t run smooth, a grand ball is hosted by the Queen, with princesses from across the land in attendance. At the ball, the Private Secretary’s son arrives, who has more than passing resemblance to the swan the Prince has fallen for. The man, dressed in all in black soon, begins to wow the princesses and even the Queen with his sexually charged dance moves and confident swagger, which upsets the males in attendance as well as the Prince, leading to the evening ending in tragedy. 

Even after 30 years this bold, innovative adaptation still manages to cast a spell on an audience like no other. The sight of muscular male dancers playing the part of the elegant swans is a powerful image and one that will stay long in the memory. It’s a master stroke, that the swan’s shift from elegant beautiful creatures to aggressive protectors, hissing and stomping at anyone who dares cross them. Visually it looks stunning as Bourne’s exceptionally choreography moulds perfectly with long-time collaborator Lez Brotherston’s gorgeous swan costumes.  It’s as intense as it is captivating.

For me the greatest trick Bourne pulls is how accessible his ballets are and Swan Lake is no different. There is a mixture of classical ballet, jazz and contemporary dance, which allows for a different viewing experience.  In addition, despite the tragedy at its core, the production is littered with some great comedic moments, from the appearance of a puppet dog, to a hilarious scene at the theatre. Whilst there is always something going on in the background with arguing couples or many a suggestive glance.  I laughed more at the comedic elements in this than I have at many supposed comedies.

The performances of Jackson Fisch and Stephen Murray as the ill-fated lovers is a triumph, with both putting their heart and soul into the performance. Bryony Wood puts in a scene stealing turn as the Girlfriend: it’s a comedic turn that entertains throughout. Benjamin Barlow Bazeley cuts an imposing presence as the villainous Private Secretary. The whole ensemble cast work tirelessly throughout, mastering the various dancing styles and making this a truly memorable experience.

In addition to the fabulous costumes, Lez Brotherston’s huge set design is impressive: from grand palace interiors to seedy back street night spots. It fills the stage, making it feel huge. The lake setting is hauntingly beautiful.

It’s another triumph for Matthew Bourne: rich, engaging storytelling, beautifully assembled by a true master of his craft.


Matthew Bourne’s Swan Lake: The Next Generation is at The Lyric Theatre, Lowry until 30th November. Tickets available: Here

Elf: The Musical –  Palace Theatre, Manchester

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Reviewed by Matt Forrest

Opening Night verdict: ⭐⭐

The film Elf has established itself as a firm family favourite in homes across the land every holiday season. The same could also be said of Elf: The Musical, which since its West End debut in 2015, which has led to  numerous UK tours playing theatres and arenas. Once again Buddy the elf is out on the road again arriving in Manchester, and hoping to spread a little festive cheer, however sadly this time around the magic just isn’t there.

Elf: The Musical tells the story of Buddy (Jordan Conway), a human who is raised by Santa and his elves in the North Pole. Soon Buddy begins to notice he isn’t like his fellow  work colleagues. He  often wonders why he isn’t as good at making toys as everyone else; and questions why he is much taller than everyone around him? Eventually Santa (Philip Day) puts Buddy straight, informing him that his real dad lives in New York and even more important than that….he is on Santa’s naughty list.

Buddy travels to New York, where he meets his Dad, Walter Hobbs (Barry Bloxham) , a workaholic book publisher who spends more time at work than he does with his wife and son. Walter isn’t too thrilled to meet Buddy or the chaos that comes with him. Buddy is sent to a department store, where he meets Jovie (Kelly Banlaki), a slightly world-weary shop employee, fed up with New York and indeed of some Christmas spirit. Can Buddy work his magic and help Jovie find some Christmas cheer, save his dad from the naughty list and more importantly save Christmas!

Like Buddy himself Elf: The Musical has a crisis of personality as to what it wants to be: a musical or a panto? It pitches itself somewhere between both camps coming across as disjointed. There were some fabulous feats of acrobatics from Romy Bauer, and other cast members  which look impressive but didn’t really add anything to the story.

At times actors went off script, even breaking into laughter, which gave the proceedings a shambolic quality and charm, which on occasions I did enjoy, however these are best saved for pantomime.  The big screen at the back of the stage shows videos throughout, that don’t look good, and at times pointless.

Jordan Conway is good as the title character, in a performance packed full of energy and mischief. He just about strikes the balance between innocent charm and playful irritant. Kelly Banlaki is fine, if somewhat under utilised as Jovie. Whilst Barry Bloxham does a good job as the embittered Walter Hobbs. To be fair the ensemble cast work their socks off throughout, you only wish their energy levels were matched by the production values. 

Most of the musical numbers are instantly forgettable, with the exception of the excellent Nobody Cares About Santa, which looked and sounded great. The orchestra are in good form throughout, fair play to them for not missing a beat during the snow fight.

Elf: The Musical does have its moments, with younger audience members lapping up the more anarchic scenes. However for a 2 hour 20 minute show, there aren’t enough big set piece moments that really hold your attention.  We’re not even in December yet and I’m sad to say this elf should be left on the shelf this Christmas.

Elf: The Musical  is at  Palace Theatre until 17th November. Tickets available: Here

Only Fools and Horses: The Musical – The Opera House, Manchester

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Reviewed by Matt Forrest

Opening Night verdict: ⭐⭐⭐⭐

Undoubtedly the most famous Reliant Regal in the world has rolled into Manchester this week, for a two week stop, as Only Fools and Horses: The Musical arrived as part of a UK tour.

Often voted Britain’s best loved sitcom, the show has countless fans who love it, whilst those that don’t will still have some reference point as memorable scenes are seldom far from our TV screens. So it almost seemed inevitable that it would receive the musical treatment and in 2019 writers Paul Whitehouse and Jim Sullivan (son of the TV show mastermind John Sullivan) created Only Fools and Horses: The Musical which had a very successful West End run and now embarks on its first UK tour.

We are transported back to Peckham at the end of 1980’s. Del Boy (Sam Lupton) is attempting to wheel and deal his way, rather unsuccessfully to becoming a millionaire. However, younger brother Rodney (Tom Major) is sick of being the family lackey for Del and Grandad (Paul Whitehouse). Both Del Boy and Rodney are in need of a change: Del, tired of seeing everyone settle down, joins a dating agency in a bid to find love. It is here that he meets aspiring actress Raquel (Georgina Hagen) and the two instantly hit it off.

Rodney needs £2000 in order to secure a flat for him and fiancée, Cassandra (Nicola Munns). However things don’t run so smoothly for the brothers as Del’s penchant for exaggeration catches up with him and the involvement of local gangsters, Danny (Peter Watts) and Tony Driscoll (Darryl Paul) throws a massive spanner in the works.

Whilst it may have initially seemed a foolhardy venture, Whitehouse and Sullivan have played it safe by drawing on two of the show’s most cherished episodes Dates and Little Problems for the plot. They have also cherry picked some of the most memorable gags, one liners, and set pieces from the TV show’s 22 year broadcast back catalogue to fill out the show. It’s a smart move as these gags still stand the test of time now. The pair have managed to strike the right balance between comedy, pathos and sentimentality which was always the beating heart of the series.

As well as the trademark catchphrases, much loved characters all pop up, including dodgy used car salesman Boycie (Craig Berry), complete with his trademark laugh, his long suffering wife, Malrene (Nicola Munns in a dual role) and everyone’s favourite dim-witted street sweeper, Trigger (Lee VG). 

The cast is superb. Sam Lupton is excellent as Del Boy, a performance packed full of charm and charisma. The main concern would be this impression of Derek Jason, playing Del Boy, but those fears soon disappear as Lupton puts his own stamp on Derek Trotter and you soon become immersed in his world. Tom Major is somewhat underused as Rodney, whilst it’s an impressive turn, you just wish there was more for him to do.

Paul Whitehouse brings a touch of star power to proceedings and is clearly having a ball as Grandad, lighting up every scene he’s in, but make no mistake this is Sam Lupton’s show from start to finish. 

The supporting cast are in great form throughout but special mention to Craig Berry and Lee VG, who are both outstanding as Boycie and Trigger.

Where the production struggles is the musical numbers are something of a mixed bag.  The Only Fools and Horses/Hooky Street mash up at the beginning perfectly sets the tone of the show, however some of the original songs are forgettable, especially when it comes to the more sentimental numbers. The songs that do work well are ones that have a bit of cheek to them like the Del Boy led Mange Tout and later Bit of a Sort. I also enjoyed the bonkers Gaze into my Ball, a send up of the future gentrification of Peckham. The Tadpole Song is anything but subtle, but no less enteraining. The undoubted music highlight was Gloria Acquaah-Harrison’s spine tingling rendition of Simply Red’s Holding Back the Years.

Whilst not perfect, this is an enjoyable, nostalgic trip down memory lane, which showcases some of Britain’s finest comedy writing. Gags and one liners a-plenty are performed by a great ensemble cast that will have you grinning throughout. 

Only Fools and Horses: The Musical is on at Manchester Opera House until 23rd November. Tickets available Here