Opera Review - La Boheme By Giacomo Puccini The Alhambra, Bradford

Opera is a very distinct genre which like the great ballets, Gilbert & Sullivan and certain other well-defined genres very popular during the nineteenth century, continues to keep winning new generations of devotees. It is also very much an acquired taste and this reviewer thought it was about time he acquainted himself with opera, with La Boheme seeming a good place to start.

This production by the Ukrainian Opera and Ballet Theatre was, perhaps unsurprisingly, a very sumptuous experience with impressive sets and a vibrant array of period costumes, complimented by the grandiose décor and huge stage of the Alhambra; clearly designed for this kind of show, together with a large orchestra pit. The main element however, the music, was somewhat surprising. Bearing in mind that it is just over a century since the death of Puccini, considered the last of the great Italian composers, the music had a remarkably fresh and modern feel to it, relying more on the woodwind and horn sections than the kind of strings one might associate with say a Tchaikovsky ballet score. The music was also very continuous, not breaking down into the kind of clearly identifiable songs typically found in a musical or even a rock opera, although there were several stand-out duets.

Opera, if La Boheme is anything to go by, is about using music to express passion and feelings whilst telling a story. There was a running screen above the stage translating the libretto into the English and this was vital not just for understanding the story but for realising the emotions or feelings that the music was conveying. It was in this context that it became progressively evident that La Boheme was a great work. The singers were very much actors, using facial expressions and body movement to convey the drama and this brought over the extent to which opera is very much a finely-tuned and delicately balanced art form.

Musically and thematically, La Boheme could be described as an emotional roller-coaster. In reading about Puccini’s own life, it became apparent that in living the free and unrestricted bohemian lifestyle, it was not possible to completely escape the personal and emotional consequences of individual actions with at times tragic results and this was largely the message of La Boheme. The story focussed on four main characters but this was set against the backdrop of gay Parisian life around the 1830’s (interestingly set at pretty much exactly the time most of the action in Les Miserables takes place).

The settings ranged from the studio apartments of four bohemian men to a public fair, complete with marching military, balloon sellers and a general feeling of Joie de vivre, with a large amount of people on stage. In sharp contrast, the next scene set in winter (complete with snowfall) conveyed an austere feel which was mirrored by the changes in the lives of the main characters. In each setting there was a lot of attention to detail, the studio having a skeleton wearing a hat amongst other bric-a-brac with the fair scene having a lot of street furniture. It was notable that lighting did not appear to alter throughout the show but this is a minor point.

Ellen Kent, who has a long association with the Ukrainian Opera and Ballet company, did a sterling job in directing this production and the cast did full justice to the powerful emotion and drama of the story. Elena Dee as Mimi and Viktoria Mewlnyk as Musetta were perfectly cast in the lead soprano roles with a powerful performance by Iurie Grisca as Marcello, their mutual lover. A splendid visual and musical experience and, for this reviewer at least, a great introduction into the world of opera.

Reviewer: John Waterhouse

On - 15th April 2025

Entertainment Venue Review - Blackstock Roof Garden, Blackstock Market, Blackstock Street, Liverpool

 

I spent a very pleasant time at the new Blackstock Market, Liverpool at the unveiling of their new Roof Garden when it opened its doors to the public, at the official launch with visitors and VIP guests being treated to entertainment from vocalist/guitarist, Ahmed Khwaja.  The Mediterranean-themed roof garden is one of the largest roof terraces in Liverpool and has been designed to seat 220 people with its own fully licensed bar area.

The Roof Garden is accessed from a long staircase as you enter the Market itself; there is a lift for anyone unable to manage the stairs.  There was a large pink balloon arch at the entrance and a greeter to guide guests to a table of their choice. There are colourful faux flowers adorning the walls and seating areas which helps provide a pleasing ambiance and helps makes the venue a very pleasant place for afternoon drinks or an evening meet-up.

Everyone was feeling chilled; the sun was out, and the atmosphere felt very Mediterranean. The Roof Garden layout provides tables and chairs as well as cushioned alcoves along with outdoor heaters and indoor seating is available in case of rain.  The small bar is housed undercover just by the entrance door. The DJ’s and artistes have a small, raised stage to perform on and vocalist/guitarist, Ahmed Khwaja provided the afternoon’s entertainment.

The Roof Garden will host weekly events all year round with DJs and entertainment each weekend. It is available for hire for private and corporate events, parties, celebrations and wedding receptions, and is fully wheelchair accessible.

Additionally, there is a selection of culinary delights from Blackstock Food Market’s street food traders housed on the Ground Floor of the market which features nine culinary outlets.  I sampled an amazing vegan burger from Forked Up which was delicious.

Blackstock Market is the brainchild of Hot Water Comedy founders Paul and Binty Blair and first opened its doors in April 2024. Over the past 12 months it has attracted more than 300,000 visitors. It spans 60,000sq ft, and the site in Blackstock Street is the home of Hot Water Comedy Club and also houses a total of four theatre spaces of varying sizes, including a purpose built, state of the art 589-seat auditorium, the largest regular comedy club space in the world. Together they can accommodate around 1,000 people each night.

Blackstock Market is open from Wednesday to Sunday with no need to book to access the main market areas and most attractions, and free live music daily. It is also wheelchair-friendly, dog-friendly and provides free on-street parking.

Visit www.blackstockmarket.co.uk.

Reviewer – Anne Horne

On – 13.4.25

GASTRONOMY REVIEW The Lowry Restaurant The Lowry Theatre Salford

A theatre restaurant with delusions of grandeur is possibly the best description of my experience at this Lowry Restaurant. The menu is small, with a choice of only 5 different starters, main courses and desserts. And this is a set price menu. Two courses for £30 or three for £35. With such a small choice then one should expect the meals to be top quality but sadly this was not the case.

My starter, honey poached pear (whistle when you find one of the very few small pieces in this dish!) with Lancashire cheese (too much - the overpowering ingredient and flavour), pickled walnuts (3 to be precise!), some apple blossom, pea shoots etc (OK), and several very hard mini crisp wafers (not entirely sure what they were, not on the menu, and did not work in this dish at all). 

My main, herb-crusted trout (a steak of trout that was so easily confused with salmon, even tasted like salmon, could easily have been salmon. The crusty herb affair was ok, but would have been nicer without), Saffron new potatoes (could not taste any saffron!), caramelised cauliflower puree (this was an awful swirl of grey-brown mulch which looked extremely unappetising and tasted of next to nothing!), samphire and sauce vierge (which I did not have and am rather glad I did not, it would not have complemented the trout in any way).The potatoes were plentiful but, like the rest of the food on my plate, was all slightly undercooked.

I was given a large knife and fork for this dish, when we truly needed something a little more delicate, and a fish knife.

We were given an option of extra side orders of vegetables. Today's two options were priced at £4 or £6 respectively.

In the restaurant's favour the place is light and airy with views over the canal. The tables have plenty of space between them and the staff are polite and inobtrusive. The dishes are nicely presented, but without wanting to be derogatory, this is pub grub trying to be haute cuisine!. 

Reviewer - Chris Benchley

On - 12/4/25

Theatre Review - The Rise and Fall of Little Voice Saddleworth Players Millgate Arts Centre, Delph

Having never been to Millgate Arts Centre before, I was interested to see how the group would tackle the challenges of Jim Cartwright’s The Rise and Fall of Little Voice . It is is a demanding play to stage not just dramatically but the doll’s house interior of the main set plus a nightclub set which flits between settings. The play is a kitchen sink drama with a dark heart a real poke at dysfunction and trauma. Saddleworth Players delivered a production of a high standard dramatically and musically and its production values were high and hit the target for the most part.

The show explores all its characters hopes and dreams, flaws, desperation and chaos all ingloriously colliding. The casting was especially strong. Each actor brought depth and nuance to their role, achieving a careful balance between authenticity and theatricality. Helen Rose showed stunning vulnerability as the titular Little Voice, portraying her journey from almost claustrophobic social disconnect and withdrawal to stunning singer. Helen has a solid track record of great performances; most recently playing Carole King in Beautiful the musical. She uses her ability as a great singer to imitate some of the greats. I was particularly impressed with her Garlandesque song bites. Her vocal impressions were not only technically impressive but emotionally charged – interpretations rather than imitations, the Gracie Fields song didn’t land as well as the rest but was still delivered with the passion to make it work. She sang and performed with real pathos behind every note and her believable acting and nervous persona was super and completely believable as she unwrapped throughout Act 2.

Jo Lord brought boundless energy and complexity to the role of Mari – loud, chaotic, lewd and at times grotesque, but never without a core of vulnerability. I think some ad-libbed expletives may have been added and the audience enjoyed this addition to the script. It made her destruction and deconstruct of her life choices affecting her life in Act 2 have more gravitas. When Ray Say shuns and verbally abuses her, you saw her physically shrink and their were audible gasps from a contemporary audience who hated hearing the misogynistic comments. Her performance was magnetic and Lord added lots of physicality to the part to make it bigger than I’ve seen it played before. She was the perfect foil for the greasy and social climbing impresario Ray Say ( Colin Smith) with a nauseating charm they were a good match as we watched him manipulate and coerce both Mari and LV. When he slapped LV after she refused to perform he had come full circle and we saw his desperation. This driver of desperation was the through line for all the actors in this production each had his own and it was tangible.

Nathan Simpson brought a nerdy and socially awkward but calm and gentleness to the character of phone engineer Billy, this created a calming balance of chaos downstairs and his and LV’s upstairs Romeo and Juliet balcony scenes through the window as he offered to show her his lights in his grandad’s shed. John Crebbin’s Mr Boo was charismatic and full of comic flair, in front of an impressive 1970’s silky draped traveller curtain, he held his own breaking the fourth wall and interacting with the audience. He would make a decent stand up or warm up man. His soupersex joke was very funny and the audience took a while to settle. A confident and competent performer who was completely at ease in the role and made it look a breeze. While Peter Dignan provided solid support as the Phone Man, he also doubled up as a maraca percussionist in the cabaret band. Alison Wood made an impression as Sadie, delivering quiet comedy with expert timing and although the foil for some fattist one liners from Mari, she gave me Miranda vibes. Although silent, she noticed it all and was there for LV when she was needed.

Special mention should also go to Jeremy Sleeth and Andy Hall, who doubled as Mr Boo’s club performers –resplendent in frilly, satin shirts adding colour and life to a setting reminiscent of the 1970’s ‘Wheel Tappers and Shunters Club’. The biggest challenge of the night was the switch between Boo’s night club front of stage by opening and closing the glitzy curtain revealing the world behind.

Scene changes were sometimes slowed by curtain logistics and covering the band’s instruments and moving the mic which briefly disrupted the flow, but were handled with as much care as the space allowed.

The decision to have the band playing live was excellent and dramatic for the first scene there but it did start to jar as the transitions were slow as the play progressed. I couldn’t see any solution to it but maybe stage crew could have done some of the striking. However, as they lifted and played for LV’s finale song which the audience loved.

Direction, by Phil McCarthy throughout was thoughtful and deliberate. Lots of physicality between Mari and Ray who weren’t afraid to tackle the lip locking frenzy and rolling around on the sofa.

The pace was mostly tight, with quieter moments given space to develop without losing dramatic momentum. Mari begging LV to stay at the end of the play in the dark was beautifully played out.

The staging made clever use of the intimate Millgate space. The house was claustrophobic and looked like an electrical hazard zone and unsurprisingly a fire hazard! The uncomfortableness of Mari’s poverty and desperation was there; minimal furnishing, empty fridge and lots and lots of empty alcohol bottles.

The design team – Chris Bannatyne, Frank Brown, John Lees, Mary Elliott, and Richard Wallis – did an admirable job creating these two distinct worlds. The set was particularly effective in the final act, where the difficulty of physically and emotionally dismantling Little Voice’s stage world was brought to life with poignancy and precision. The fire was very impressive and I felt quite alarmed for a few seconds.

In short, The Rise and Fall of Little Voice by Saddleworth Players was a heartfelt and well-executed production, marked by strong casting, thoughtful direction, and a clear understanding of the play by its director and actors. It was a rewarding night of theatre that combined humour and heartbreak with a lovely dose of nostalgic music from the greats performed with aplomb by a diva of a songstress.

The Rise and Fall of Little Voice by Saddleworth Players is on until 12th April at Millgate Arts Centre, Delph.

Reviewer: Kathryn Gorton

On 11th April 2025

THEATRE REVIEW THE MOTH The Lowry Theatre Aldridge Studio Salford

 

We walk into a TV set, and we are the audience. It is a current affairs and hard-hitting news talk show called 'Confessional' wit it's host John Josana. His guest this week an Afrikaaner called Marcus Muller. In the two hours that follow, we are taken back to their first meeting, on a train from Scotland to London, and we learn about who these two people are and how very much more interconnected they are, more so than perhaps either would like to believe. Josana is a black South African, proud of his heritage, despite fleeing the country with his father to live in England when only a small baby, whilst Muller obviously represents all that Josana was fighting against, he is a white Boer and pro Apartheid.

The play takes us through the conflicts of both South Africa and Angola and their and their families respective places in them, and despite both these characters being fictional we learn much about the politics and recent history of southern Africa and racism in general, as well as trip into war-time Berlin and Nazicism.

The whole is intense and intimate, and you really have to listen hard and not allow your attention to wander. It is not an easy play to watch in that regard, but the two actors are superb. Josana utterly believable as the TV chat show darling with a much deeper and more fundamental core. His vocal control superb, although at times his voice dips just a tad to much for those seated at the rear. However his voice is clear and articulate and his manner sincere. Whilst Muller has a thick Afrikaans accent, which at first takes a little getting used to, but again, his characterisation is solid and perhaps also a little (deliberately so) freaky. 

There is a screen centre stage which is used to show archive images and footage of the conflicts and people mentioned, and is very apt. Extremely cleverly done since the images are of the two protagonists in various stages of their lives. The train journey footage worked less well however. A nice idea, but it went on too long, did not show an accurate journey into London King's Cross, and was actually a little focus-pulling too diffusing the dialogue happening beneath it. 

A wordy play with both actors having long monologues and yet we never lose interest nor do they lose intent. It is compelling and powerfully portrayed. Two people meet on a train, not by chance but by design, and this is their story. Fantasy and reality combine in a sensitive and absorbing blend in the form of a metaphorical moth. 

Reviewer - Alastair Zyggu

on - 11.4.25

Comedy Theatre Review - Shaparak Khorsandi – ‘Scatterbrain’, Shakespeare North Playhouse

 

Ms Khorsandi has always been one of my favourite comedians ever since I first saw her on ‘Live

At The Apollo’ many years ago. I really liked her self-deprecating style as she relayed stories from

her fairly manic and eventful life.

I am absolutely delighted to say that she has not changed, although the diagnosis of ADHD at age

47 definitely seems to have given her a clearer level of meaning amongst all of the madnesses.

Hence, the title of her tour and book, which, of course, Shappi was signing after the show.

Unsurprisingly, there was quite a queue for people, including yours truly, who were happy to part

with their cash for the chance to meet her.

She received a very warm welcome when she walked onto the iconic thrust stage, based on the

design of the original ‘Cockpit’ theatre. A very simple set consisted of a microphone and a table

with some printed notes, a diary and a copy of her aforementioned book.

The evening was split into two. There was a shorter first half of around 35 minutes or so where

she explained that she was her own ‘warm up’ act. After the interval, there was a much longer

second half as she provided many examples of how ADHD controls her life, affects her emotions

and is dealt with by her teenage children. I did not know beforehand, but she told us that her two

children have different fathers, both of whom she now has amicable understandings with.

Throughout the show, she was a ball of nervous energy, rarely taking a breath or staying still,

except to take a sip of water or to dig out a letter or a page from her book or diary. In fact, the time

flew by very quickly as we were given a whistle stop autobiography, permeated by hilarious and

manic anecdotes. One particularly quirky fact is that she has ‘accidentally’ signed up for a degree

course and is now training to be a psychotherapist. Her actual long-term therapist himself has

ADHD, which has been instrumental in helping her understand the condition which he stated she

is ‘riddled’ with!

Bucking the modern trend somewhat, Shappi rarely descended into the use of coarse language.

However, she was most definitely frank when she recounted stories of lost lovers, disastrous

encounters and drink fuelled evenings. There was an especially memorable tale of the eulogy she

gave at the funeral of one of her former boyfriends.

She was at pains to make sure that she involved all sides of the audience and, at one point,

practically told herself off for not addressing a particular section of the assembled throng. It is safe

to say that she is very adept at working with a live audience – “a gig’s a gig” – and seemed

genuinely thrilled to be performing at this most beautiful of venues. She regularly connected with

individuals and responded quite naturally to comments and the odd question or quip, without ever

losing the general thread of the show.

Thank you very much to the staff and volunteers at the Shakespeare North Playhouse for their

assistance and hospitality.

I can wholeheartedly recommend catching one of the remaining shows on her nationwide tour,

which continues until mid-July. 

Tickets can be purchased at:

https://shaparakkhorsandi.seetickets.com/tour/shaparak-khorsandi

Reviewer - David Swift

On - 10/04/2025

Theatre Review Joseph and the Amazing Technicolor Dreamcoat – The Winter Gardens, Blackpool

 

As a child Joseph and the Amazing Technicolor Dreamcoat was the first professional

show I went to see, so going to review it, and having not seen it for some time, it’s

fair to say I had mixed emotions. Would it be as amazing as I remembered, would

my childhood memories be dashed or would I see something that made me fall in

love with show all over again? Thankfully it was the latter, the curtain rose to reveal a

bold, brilliant retelling of my beloved show, and from the very first chord, it’s clear this

production is brimming with colour, energy, and a deep affection for the classic

musical. Andrew Lloyd Webber and Tim Rice’s biblical romp has long been a staple

of the musical theatre canon, and this staging honours its legacy with creative flair

and heartwarming touches.

From the outset, the choreography sets the tone for the evening: imaginative, tightly

executed, and bursting with variety. In particular, One More Angel in Heaven is a

standout moment — the tap number injects the scene with a delightful old-Hollywood

charm and by the end of the number it is hard not to believe you are watching

something by Rogers & Hammerstein. It's a joyful surprise, elegantly performed and

crisply timed, offering a wink to musical theatre’s golden age while keeping the

energy fresh and contemporary. This theme continues throughout the show, with

choreography that nods respectfully to musicals of yesteryear, weaving in styles from

Western to calypso, Parisian café to Elvis-inspired rock & roll. It’s a smorgasbord of

styles, executed with discipline and charisma by a well-rehearsed ensemble.

At the centre of the show, of course, is Joseph himself tonight played superbly by

Davide Fienauri. He was a charismatic and vocally impressive figure, commanding

the stage with charm and poise. The role demands both vocal dexterity and genuine

pathos, and he delivered on both fronts, especially in Close Every Door, where his

performance was deeply felt and vocally rich. This needs to be a standout number

and this performance did not disappoint, from the unaccompanied opening to the

final note it was an emotional and wholly believable performance. This setting was

simple and the children arriving ghost like at the start and their accompaniment

throughout made this one of the most enjoyable memorable performances I have

witnessed.

The Narrator, meanwhile, carried the connective tissue of the story with clarity and

warmth. The role’s demands are unique and Christina Bianco’s performance as part

storyteller, part cheerleader, part emotional anchor was perfect. The role has

certainly changed since my initiation into the Technicolour world and Bianco

interacted with the company adults and children seamlessly, balancing being present

and noticeable when needed but not undermining the other performers during their

spotlight moments.

Joseph’s brothers did not disappoint and were brilliantly led by Hugh Cotton as

Ruben, Those Canaan ( or was it Can Can ) Days was superbly executed.

Of course, no production of this show is complete without a good Pharaoh, thankfully

Joe McElderry certainly did not let us down. Clearly enjoying the role and the power

the character has with both, performers and audience alike, making the most of

every note and every hip thrust!

A bold choice that paid off handsomely was the casting of the children not only as

ensemble but as leading characters. In fact, the entire use of children in the

production was remarkably effective. Rather than feeling tokenistic or gimmicky, their

presence brought a sense of community and wonder, grounding the production with

an earnestness that was both refreshing and moving. Their enthusiasm was

contagious, their vocals strong, and they navigated the choreography with

remarkable confidence.

Visually, the production dazzled without overwhelming. The costume design was

faithful to the show’s famously vibrant aesthetic. Lighting was used to excellent

effect, especially during the more introspective numbers, and the set design was

cleverly versatile, allowing for smooth transitions between scenes without ever losing

pace.

Musically for me this too was a triumph. Whether it was adults or children performing

the emotion, pathos or joy, came across enormously and whilst this is in part of

course due to the talented performers I cannot believe a huge part of it is not down

to the Musical Director conductor John Rigby. Rigby even before the show started

built a rapport with the audience and throughout the performance rocked and

flamboyantly conducted, his enthusiasm spreading to both performers and audience

alike and he and the orchestra fully deserved their applause and the end of the

performance.

What ultimately makes this production of Joseph such a success, though, is its sheer

sense of joy. It captures the essence of why this show continues to endure — its

catchy melodies, its emotional accessibility, and its ability to appeal across

generations. Whether it’s a cheeky Elvis Pharaoh, a mournful jail cell ballad, or a

rousing megamix at the end, which had almost the entire audience on their feet,

each moment feels considered, heartfelt, and fun.

However, one questionable directorial choice (only my opinion) came at the curtain

call, where the Narrator and Pharaoh were given the final bow over Joseph. While

this might have been intended to acknowledge the demanding nature of the

Narrator's role, and star billing for Pharaoh, it felt somewhat misjudged given that

Joseph is, after all, the titular character and emotional core of the show, and certainly

for me Fienauri’s performance deserved recognition, however this was a minor

misstep in an otherwise well-structured finale.

Final Verdict: A vivid, charming and skilfully choreographed revival that honours the

spirit of the original while bringing its own vibrant energy. This is a production that

soars — a technicolor triumph in every sense of the word. Get your reasonably

priced compared to some productions (again my opinion) tickets whilst you can !!

This show is from Wednesday 9th April to Sunday 13th April 2025

Reviewer: Jen O’Beirne

On:  11.4.25

THEATRE REVIEW Alas! Poor Yorick The Met Theatre, Bury

 

A studio theatre / fringe theatre production, performed in Bury Met's 'The Box' with an audience of only 26 people, this was a rather intimate, grass-roots, and up-close 70 minute production played through without interval. The two actors, John Gorick and Jon Haynes performed all the roles between them, and despite a very slow and uninspiring start, once the play got into its stride, the audience understood the production more, relaxing into it, and the laughter started to flow, it did become quite enjoyable. It just took too long a time to get there. The premise of this story and indeed the story's starting point was that of them being the two gravediggers (Act 5 Scene!) of Shakespeare's 'Hamlet', albeit in modern dress and in the present day. These roles have most usually been seen as comedy relief in the Shakespeare tragedy, and despite them musing on the meaning of death, the rights and wrongs of a Christian burial, and social status in general, that is how they were portrayed here too... as figures of fun, maybe even ridicule. 

Majority of the comedy, at least in the first half of the play, relied very much on body language and repetition of monotonous actions, there was very little dialogue. It really only came into its own once the two started truly "mucking about", telling silly jokes, interacting with the front row of audience (grave stones) and the whole Shakespearean 'dream sequence'. Had we got here much sooner, the play would, I feel sure, have been better received. Too little too late was the cry! The denouement, and the rewind was a very good and funny idea, which was sadly quite poorly executed. In this particular reviewer's opinion it would have worked so much better had they used silly rewind music to accompany it, not the monotonous drone we were given, whilst it should have been speeded up instead of played out almost real-time. It was quite funny for the first 30 seconds, after that, it as simply boring and predictable. The actual ending (suitcases) was also a good idea, but again, why could they not have finished where they did instead of coming back on stage again, spoiling the illusion. Directed by David Woods and Jon Haynes, I feel the production was in danger of being rather too self-indulgent and introvert. Many of the jokes didn't work because they were too slow in being performed, and there was no sense of urgency built in any of the scenes. The gun fire was never explained. Sight lines, despite the smallness of the auditorium was also a huge problem and seated on the back row (of 5) I was unable to see anything on the floor, or what happened to the characters when they were on the floor. 

It was obvious that the company cares much about what it does and for a company which call themselves Ridiculusmus, perhaps take themselves a little too seriously. Overall it was a pleasant hour spent in their company, but it was a totally unmemorable production which felt much more like a drama school exercise than anything else.

Reviewer - Alastair Zyggu

on - 10.4.25

THEATRE REVIEW AMATEUR - LADIES DAY - THINGWALL PLAYERS at THINGWALL COMMUNITY CENTRE

 

First time Director, Charlotte Holguin directs Amanda Whittington’s highly compelling and witty play, Ladies Day which tells the tale of four ordinary down-to-earth females, working in a fish factory in Hessle, near Hull. They live hum-drum lives with not much excitement and do the same thing day-in and day-out, each with their own lives outside of the factory. 

The four work-mates, Jan (Lorna Pout), a single mother who has an only child she dotes on and is about to leave for University, Linda (Jasmine Oates) an only child intimidated by an overbearing mother, Pearl (Angela McComb) who is about to leave the factory but has a guilty secret and Shelley (Laura Powell) who wants the bright lights of stardom and to meet a millionaire; they think they know everything about each other, but secrets unfold and emotions ride high on a day out to Ascot.

Excellent writing from playwright, Whittington providing a look into life at the fish factory with the ladies hopes and dreams being uncovered; Pearl is leaving the factory to spend more time with her husband; the other three call it her retirement, she insists it isn’t, but she wants to mark her leaving with a day out and the four make some suggestions, but Pearl comes up with the idea of going to Ladies Day at Ascot which is being held in nearby York. Little do the others know but there is a reason for her suggesting it and she even offers to meet the expenses for the day when some of the others say they can’t afford it, she is determined to go for her own reasons.

Each lady has a tale to tell, some details coming as a surprise to the others, and they are all wishing that their hopes and dreams will come true if they get a big win at the races. There are some highly emotive sections, beautifully written and excellently performed, which highlight fear and loneliness underneath the bravado of excitement and hilarity.

The opening scene shows the ladies at work in their white overalls, hairnets and wellies filleting fish in the factory but it’s not long before the transformation takes place with them in their finery at the racecourse.

This is a laugh-a-minute production which relies heavily on the four main female characters who are superb in their roles as is Conner Jones who plays Jim, the TV broadcaster and Patrick the jockey with Tom Large playing four different supporting roles exceptionally well. Great comic timing from a talented cast who are to be applauded for their delivery and stupendous portrayals; the cast deliver perfect Yorkshire accents which they maintained throughout the piece.

After a pretty catastrophic day at the races, all ends well but no spoilers or story reveals here as it will spoil it for those planning on seeing the show.

The simple set portrayed the fish factory at the start and finish of the show, and a colourful backdrop helped the audience visualise the racecourse during the rest of the production with the cast also performing off stage in front of the audience and in the aisle. Lorna Pout as a drunken Jan, deserves an Oscar.

Commendations to Stage Manager Catherine Flower, the Light and Sound effects by Duncan Young and Scott Inglis, Costume and Set by Carol Golightly and Robert Bowes with the support of Tim Saint and Hayley Jeffrey for set painting.

The show starts at a leisurely pace and romps home at the finish. Overall, the script kept the audience entertained throughout and they showed their appreciation lavishly at the end of the show with cheers and loud clapping; Thingwall Players are backing a winner with Ladies Day.

The show runs from 10th-12th April 2025

Thingwall Players is a community theatre based in the Wavertree Garden Suburb in South Liverpool with a history stretching back over seventy-five years. Further information including details of their next production at https://www.facebook.com/ThingwallPlayers/

Reviewer - Anne Horne

On – 10.4.25

THEATRE REVIEW - Pride and Prejudice* (*sort of) New Brighton Floral Pavilion

 

This production is a humorous satire on the famous Jane Austen novel, Pride and Prejudice. It takes Austen out of the classic genre and re-packages it in a very funny, modern way with a plethora of swear words and vintage ‘Carry On’ type comedy, managing to weave modern nuances through the narrative to comic effect and at the same time, be the faithful plot.

The piece, written and directed by Isobel McArthur incorporates a strong female cast of five who showcased their talents with acting, singing and dancing along with the many nifty costume changes and multi characterisations.

The show starts cleverly  with the audience hardly being aware it has started as the cast of five servants busy themselves cleaning the theatre and interacting with the audience, as the audience take their seats and await the start of the show.

The all-female cast comprising, Emma Rose Creaner, Eleanor Kane, Rhianna McGreevy, Naomi Preston Low and Christine Steel are accomplished in all that they do, their talents excel particularly by bringing Austen's servants out from the peripheral below-stairs scenario and thrusting them head-first into the spotlight; they are outstanding in their delivery and timing and are truly a delight to watch. 

Unfortunately there were sound issues, and this reviewer was unable to hear most of the dialogue particularly when the actors turned their heads to the side or backwards.  Ironically, they had hand-held mics when singing the songs interspersed in the plot. The production would have benefited with them having head mics so that everyone in the auditorium could have enjoyed the show more by being able to hear the dialogue.  This reviewer was sitting three rows from the back of the stalls, not very far away from the stage and yet even though the actors were shouting most of the time, they could not be heard well enough to make out what they were saying.  This sound issue must be addressed as it was so disappointing not to be able to hear the dialogue properly whilst listening to the audience in the first half a dozen rows or so of the stalls, laughing loudly at what was being said.

Considering the actors had a very weighty script, a multitude of roles from the Bennetts and Bingleys to the priggish Fitzwilliam Darcy, plus the multitude of accents, the many costume changes at break-neck speed and the karaoke-style singing flung out to hilarious effect on a mini boom box, this was a superb performance from the all-female cast who have proved to have conquered their craft, it is  one outstanding piece of theatre.

The show works in songs from Carly Simon to Chris de Burgh and features a string of pop classics such as  ‘Young Hearts Run Free’, ‘Will You Still Love Me Tomorrow’ and ‘You’re So Vain’, all delivered perfectly at strategic parts of the plot.

The simple stage set remained constant throughout depicting the Bennett’s drawing room and Mr Darcy’s home with a lavish staircase put to good use and with many different pieces of furniture rolled in and out, again by the cast. Additionally, the costumes pulled everything together starting with the actors in very simple dresses to the finery and feather plumes in all their lavish glory for attendance at the many Balls and events of the era.

Isobel McArthur's joyous reinvention of Jane Austen's beloved Pride and Prejudice is a joy, but it would have been even better had the sound been en point.

The show is touring until 14^th June 2025, more details here - https://prideandprejudicesortof.com/

Reviewer – Anne Horne

On – 8.04.2025

Operation Beach Hut – Mikron Theatre Company – Halifax Playhouse

 

There’s a special kind of magic that Mikron Theatre Company brings to its productions — an

intimacy, warmth, and inventiveness that feels right at home whether on a canal towpath or

in a village hall. Operation Beach Hut, their latest touring show, is no exception. Written by

Harvey Badger and scored by Amal El-Sawad, the piece blends nostalgia, humour, and

social commentary in a charming and thoughtful exploration of Britain's ever-shifting

coastline culture.

Set against the backdrop of Britain’s enduring love affair with the humble beach hut,

Operation Beach Hut delves into the community tensions, nostalgic longings, and

bureaucratic battles that unfold along the coastline. What unfolds is a delightful tug-of-war

between personal memory and public progress, full of colourful characters, catchy songs,

and that hallmark Mikron mix of wit and warmth.

Harvey Badger’s debut script is sharp and full of heart, weaving in reflections on community,

gentrification, and the power of shared space with a light touch. The dialogue zips along,

peppered with seaside puns and affectionate nods to British holiday traditions. It's grounded

yet playful, political without being preachy — a balance that Mikron has always managed

with skill.

Amal El-Sawad’s music lifts the show beautifully. From toe-tapping ensemble numbers to

more contemplative solos, the score is tuneful, varied, and perfectly suited to the show’s

tone. There’s a hint of the whimsical seaside postcard in the melodies — but also an

undercurrent of something deeper, more reflective, mirroring the show’s emotional core. The

cast, multi-talented as always, handle the musical demands with ease, shifting between

instruments, characters, and choreography with impressive fluidity.

Marianne McNamara’s direction ensures the piece moves at a brisk pace without losing its

intimacy. The staging is inventive and resourceful — as ever with Mikron’s signature style,

the minimal set is used to great effect, transforming swiftly between beach, town hall, and

seafront protest with little more than a clever prop or costume change.

The cast is small but mighty, features Mikron stalwarts, James McLean and Rob Took, and

some new faces to the tour Georgina Liley and Catherine Warnock, each member taking on

multiple roles with energy and flair. The performances are engaging, full of heart, and

brimming with the kind of chemistry that only comes from a company truly in sync with its

mission.

Operation Beach Hut is everything we’ve come to love and expect from Mikron: it’s

entertaining, socially conscious, and joyfully unpretentious. Whether you’re a regular at the

theatre or catching a show at your local pub garden, it’s a reminder of the power of

community — both on and off stage.

Thank you for a lovely evening, Mikron Theatre Company

Reviewer - Simon Oliver

Om - 08/04/25

GASTRONOMY REVIEW MAMUCIUM Restaurant Manchester

 

This was my third visit to this restaurant situated next to Victoria Railway Station in the heart of Manchester. The first two were uninspiring visits to say the least, however, the hotel-based restaurant has undergone a few changes since then, and is now under different management. The menu is also changed. The dining area is light and airy, soft music is playing in the background and is not intrusive at all. The only thing which spoils this atmosphere are the strange metallic industrial vents and tubing hanging from the ceiling throughout the place. 

However, the waiters were attentive but not over-fussy; always polite, and the food was swerved promptly but unrushed. The menu was correctly priced for the venue and location, and the portions were of a good size, but not over-facing.

I opted for a starter of seared king scallops. The scallops were delicious, and indeed plentiful. However, they were served with a rather odd, dare I say unique, combination of food, some of which worked much better than others. A bed of four-herb salad (lovely), caviar buerre-blanc (rather strange, but actually quite flavoursome and worked well with the scallops once I got used to it), and grapefruit. - the kind you find in a tin of a supermarket and generally have for breakfast. An odd choice, and on consideration, did not work with scallops or caviar at all. The main course was farfalle, steak and broccoli. Again, this was very much a mix of the sublime and the not-so-good. The strips of steak were nicely cooked and tasty, but they had a huge strip of gristle along the side of them which was completely inedible. The broccoli was delightful, and indeed the farfalle pasta was nicely cooked, but it was simply the wrong choice of pasta for this dish. We needed a pasta with a whole or bowl in it in order to capture and retain the sauce, which the butterfly-shaped pasta was unable to do. Perhaps there was also a little to much sauce, and it was far too peppery - even for me, and I tend to put ground black pepper on everything! The pine nuts in the dish was a nice touch and worked well. My dessert was a complete and utter delight. A large portion of passion fruit and mango cheesecake with a dollop of similarly flavoured sorbet, beautifully decorated with edible flowers. 

Overall the quality of the food was very good and I would happily dine there again; but a little more attention to flavour combinations, details, and presentation (no garnish on either the starter or main dish), would be the icing on the cake. 

REVIEWER - Alastair Zyggu

THEATRE REVIEW The Waiting Game Arden School Of Theatre The Longmore Theatre, Manchester College, Manchester

Every year the second year students attending Arden Theatre School's Musical Theatre degree course are tasked in devising, writing, and performing their own musical. As a musical theatre trained actor myself, I know just how difficult and daunting a task this can be, Over the years I have seen many different styles and approaches to this task, some working better than others, and this afternoon's offering, 'The Waiting Game' was actually not really a musical at all. Instead this group opted for performing a song cycle with original songs all on a similar and through-running theme. The theme they chose was that of 'waiting' with especial reference to love and relationships. The musical ran for just over one hour through without interval, and we were treated to 23 original songs written and performed by this talented group. 

Performed on a bare stage with just a couple of raised daises we needed to rely on some subtle and clever lighting, a little haze (overused), costumes (nicely done), and the performances themselves. There was a nice mix of comedy songs, upbeat numbers and the power ballad, although it would have been a little more interesting and varied from an audience's perspective to have had some more choreography and a couple more full chorus songs. We did have a poetic dialogue in the second act - a modern mickey-take of Romeo And Juliet, which was a lovely respite from weepy and heart-felt torch songs.

Throughout the hour we visited many different places for these songs, including a wedding, prison, an airport, and the Oscar ceremony!  The one thing that was constant throughout however was the performers chose to use local accents (either their own or deliberately "put-on") which I didn't quite understand the need for. Subjectively I have to say that my favourite song this afternoon was without doubt, 'Redemption' - It was sung beautifully by four girls in close harmony a capella.

Without a storyline / narrative, and without any through-characters, it is impossible to say more about this "musical". It was proficiently performed, and nicely showcased the abilities of this group of students.

REVIEWER - Alastair Zyggu

on - 4.5.25

JESUS CHRIST SUPERSTAR Cosmo Rodewald Concert Hall, The Martin Harris Centre, Manchester University, Manchester UMMTS and MUMS joint venture students

 

Apologies right at the start of this review, but sadly I am unable to credit anyone by name. The only programme available was by QR code, and since I do not have any facility to be able to access this, then without a physical programme, I am at a loss. A short note about QR programmes. I understand the need to "save the planet" etc, and in essence I applaud this decision, however, when we are always being reminded that the use of mobile devices is forbidden within the theatre during the performance, how are we to access the programme for reference? We certainly need something to refer to throughout - tangible to hold and see. And furthermore, programmes make excellent keepsakes and memorabilia for cast / crew and audience too.

This was a concert version of the famous Lloyd-Webber / Rice collaboration which unbelievably first came into being in 1971 (and I remember it doing so....!). We were warned about there being a continuous high volume of noise throughout, although the volume was not the issue, it was the balance of sound which was not correct this evening sadly. The large orchestra - MUMS (Manchester university Musical; Society) - played well throughout, and I have heard them play in this venue many times before. They needed no amplification. However, the performers (UMMTS - University of Manchester Musical Theatre Society) were sometimes mic'd and sometimes not, and even when mic'd the balance was very poor. Audibility passed the first couple of rows was almost nothing for the unmic'd singers, and even when using microphones, we had difficulty understanding or hearing clearly. This was a real shame, since the students were obviously talented, and had put much time and effort into creating these roles, and if we cannot hear the fruit of their labours, it was a little disappointing.

The orchestra was conducted by two young female student conductors, one for act 1 one for act 2. However, in my humble opinion, the orchestra seemed to respond better to the second. Whilst with the idea of using majority black costumes in various forms and guises for the cast the whole 'look' of this show was very monochrome. It felt a little more like a rehearsal than a performance since there was hardly any show of colour at all.

The actor portraying Judas was excellent. A very sensitive performer and obviously a proficient singer too. His character arc was excellently measured; a sympathetic and genuine actor. The whole cast including the ensemble were all credit-worthy, and the direction (mise-en-scene) and choreography (such as there was in a concert version was excellent) - although there needed to be a bit more light on stage, especially on the rear door when used in the second act. I enjoyed the pairing of bass Caiaphas and mezzo-soprano Annas. Annas did not necessarily need to be a male role, and yet this actress's body language and whole demeanour changed considerably for this role and it worked nicely. I also enjoyed the ideas of a saxophone-off during 'Damned For All Time'. This working well in the context of a concert rather than the actual show. But of course, the showstopping number / routine was - as it usually is - 'Herod's Song'. Here a little bit of colour was added to the black costume by a flowing gold robe, and this actor even had a tap dance together with the conductor half-way through this song. It  unsurprisingly garnered the biggest applause. UMMTS obviously have a large group of very talented actors / performers, and I would love to be able to see them perform a musical properly, this did not showcase either their talents - nor indeed the musicians of MUMS - quite nearly enough. It was an entertaining and well-thought out production, but had the sound been more acceptable it would have been much more enjoyable.

REVIEWER - Alastair Zyggu

on - 3.4.25

U.DANCE NW Amateur dance The Lowry Theatre

 

Set over the course of a weekend, The Regional U Dance festival incorporates workshops, masterclasses, presentations and activities for aspiring dancers from all over the North West. One Dance UK, in partnership with NorthWestDance and The Lowry have presented and hosted this yearly event for several years, and indeed this was the 7th time I have had the pleasure and privilege of being able to cover the two public shows on Saturday and Sunday evenings.

This time 24 teams of dancers were chosen to present their work over the course of two evening shows open to the public. In previous years there has also been a pre-show audience presentation too by junior (under 11 year old) groups but sadly, this did not happen this year.

This year the vast majority of the dances on stage for both evenings were contemporary ballet / dance, despite U.Dance's ethos of being all-encompassing and treating all styles of dance equally. With there being so many pieces from different schools / academies, I simply cannot mention them all! Therefore I ask you, dear reader, to allow me some subjectivity in this review, whilst I mention those dances which, for me at least, I found the most satisfying. I am unaware of the criteria upon which these dances are judged by the region and national panels; however, I can tell you my own criteria. First and foremost I am looking for a whole presentation - a piece of choreography which is also a stand-alone piece of theatre. Lighting, SFX, set (if used), costumes, make-up and chosen music all cohere and compliment each other, and thought has gone into the overall 'look' and 'feel' of the piece, especially if there is a narrative drive within it. The choreography should be exciting and varied, with good use of space, levels, and techniques / moves, but should always be within the comfort zone of the dancers being tasked in performing them. And finally, I watch the dancers' faces to see if they are acting or just simply dancing. 

On SATURDAY  we started with Chameleon Youth Juniors performing "It's Our Turn To Talk". It started slowly and sedately with a balletic twist before becoming more funky and upbeat. The co-ordination and togetherness was well observed and I liked the good use of and understanding of space. The company themselves devising the theme and narrative drive of the piece, asking us to stop and listen to what the modern youths have to say about our planet and how we run it... this piece is a protest, a rebellion, so listen to us!  This was followed by LastAct Studios and their piece, 'The Last Dance'.  With some lovely 'pictures' this was a very fluid and nicely choreographed piece which excellently matched the lyrics of the chosen song. The third piece was something new to U.Dance. At least I have not seen this before, but this was a solo performance by student dancer Emily Wild. Her contemporary routine was professional and highly stylistic, combining jagged robotic movements with fluid, liquid ballet. The first half ended with LIPA Sixth Form College's performance of 'Echo Of Yesterday'. Again this was contemporary dance, but the choreography here reminded me and was perhaps influenced by renowned American choreographer Alvin Ailey. This was a happy, external dance-for-dances-sake piece which was superbly choreographed and danced. A lovely end to the first half.

In the second half my favourites included Infinity Dance And Theatre School's 'The Threshold Of Falling'. This was a contemporary ballet nicely costumed and intelligently realised. Oldham College's Tenfold Dance Theatre's 'If Money Were No Object'; another contemporary piece but using just 7 dancers with good lifts and balancing, the told their story internalising their narrative with ease. Fusion Dance Company's 'Game Of Survival' also impressed with their use of lifts, pictures, and theme. Once again the narrative drive of the piece nicely matching the lyrics and the aim of the dance. 

On SUNDAY  we sadly had a little accident on stage as one of the dancers in the second piece (Swati Youth Dance) injured herself whilst on stage and so the running of the rest of the programme was delayed significantly. We waited in the foyer patiently for the all-clear, but sadly by the time the actual end of the first half came around, I was unable to stay to watch the second half, since public transport - especially the last train on a Sunday evening - don't tend to wait for their passengers! I therefore can only comment on the first 6 acts on this day, apologies. We started with a lovely piece by Creo Dance Theatre from Liverpool. Costuming, choreography, narrative drive, and especially here the LX design (including Haze) had been superbly thought through. However, amongst those six were my two favourite routines from all I was able to watch both days.  One was Elysium Dance Company's 'Mother Of Dragons'. Again the LX design and use of haze was superb, which only added to the spectacle. The choreography, choreographic ideas, costumes and make-up all made for a holistic performance and was pure theatre. Whilst the first half ended with Woodhey High School's 'Pave The Way'.  Again the costuming (this time black leotards and white pants) creates the mood, with excellent choreography, great use of space, dynamics well observed, and the lifts and pictures performed with panache. A lovely ending to the first half. Excellent. A real shame I was not able to stay longer and enjoy the final 7 dances. Truly sorry and can only hope the poor girl who fell at the end of their dance routine was not too badly injured and is now back on her feet again. 

Reviewer - Alastair Zyggu

on - 5/6. 4.25

THIS IS WHERE IT ALL BEGAN Castlefield Viaduct, Manchester performed by 2nd year students - Arden School of Theatre, Manchester STUDENTS

 

I have to admit, I am always just a little bit nervous when watching a performance by students of the Theatre And Performance course at Manchester's Arden School Of Theatre, since this course allows the students to push the normally accepted boundaries of theatre and almost create their own rules as to what the next generation of theatre-makers will produce. Sometimes I find their ideas unrelatable or they go against everything I have learnt and practised myself as both an actor and director - but I am told that is the whole point of this course. However, I need not have worried, this production by the course's current second year students was the most accessible, relatable, and indeed enjoyable I have witnessed from students on this course in a very long time. 

The students were tasked with finding a non-theatre site-specific performance space and creating a theatrical experience that responds to that site. Choosing Castlefield Viaduct seemed like a gift from the Gods, as it gave them ample scope to mention not just the recent history of the Industrial Revolution, but also the beginnings of the city as Mamucium, (the Roman fort and settlement), and everything in between. Manchester (and Salford) have been a fertile ground for producing men and women of prominence and excellence in many different fields of endeavour and they focussed on four of them throughout this 50 minute presentation - Friedrich Engels, LS Lowry, Emmeline Pankhurst, and Marie Stopes. Starting with these four characters interacting with the Roman ruins, we strolled through the regenerated viaduct (last used as a railway line in 1969) led by both these four characters (Deacon Galimore, Finlay Briars, Nika Irwine, and Emma Grave), a tour guide (Iris Bell), and various "experts"  (Christopher Mountain, Lee Fletcher, Kate Dixon, and Hanna Larouci), a banner and a song! We learned about many famous Mancunians and about the history of that specific area, without it being a lecture. There was humour, and time for reflection, and it was nicely paced. The "tour" ended seated in a circle, learning a short song together, whilst eating a piece of cake and enjoying a cup of tea! Highly civilised!

My only one negative criticism would be the chiming of a hand-gong - used throughout - which signified that a tram or train was passing and we should wait and watch them before continuing with the narrative. This became a little off-putting and annoying. Yes, the trams and trains were noisy, but we are standing on a disused train line right next to the current one in the centre of Manchester, there is bound to be a lot of noise. Could the performers not have raised their voices? Had microphones? Surely there was a better way around this slight problem. Otherwise, though, this was an excellently thought-through, entertaining and informative production.

Oh, and I have planted the sweat pea and it seems to be thriving!

Reviewer - Alastair Zyggu

on - 3.4.25

THE WORST WITCH Altrincham Garrick Playhouse Amateur Theatre

 

'The Worst Witch' is a series of books aimed at the tweenie market by Jill Murphy. They lie somewhere between Roald Dahl's 'The Witches' and J K Rowling's Harry Potter series, since there are parallels of both in her writing. They were subsequently made into both a film and a TV series, and now they have been adapted into a stage play by Emma Reeves, with original songs by Luke Potter. 

Kathleen Valentine is no stranger to either acting or directing, and her directing of this production seemed to hit home amongst its target audience. I have to confess to having only a scant knowledge of the original source material, and so was relying much more on this as an original presentation and watching the reaction from those who knew the characters well - the children. The set was minimalist, consisting of a large pile of old chairs forming a wall / hill at the rear with lights etc contained within, whilst other set items were brought in and out by SM as required. It lacked atmosphere and lacked place, and didn't truly work in my opinion. In fact, there was something missing from this show, and I am still trying to put my finger on exactly what it was: perhaps a culmination of many smaller things, but despite the small cast working well together there was no real sense of a true ensemble, and there was a lack of energy throughout (perhaps due to the weather?), and yet, the cast were completely focussed and their characters clear, but the whole was a little fuzzy around the edges.  There was pace in the production, and yet it lacked pace and urgency as a whole. Perhaps the cast was too small for a "musical", and especially when two of the characters - two of the teaching staff - were not necessary to the narrative drive of the production in any way this did not help, so perhaps the adaptation was not the best either. The songs were unmemorable and the choreography very simplistic and repetitive, and Valentine failed to create any real jeopardy and adventure into the production, and the malevolence became rather pantomimic rather than scary. And some of the special effects needed a little more practice to make them work effectively. However, all of this comes from my adult perspective watching a new-to-me production for the first time.

Altrincham Garrick cannily put this production on during a school holiday time to entice families with young children along to be entertained. It was a hot and sunny Saturday afternoon when I saw the production, and so pulling in punters suddenly became a lot harder! However, judging by the response from the youngsters in the audience, and their comments afterwards, they really enjoyed the show, and since this show was aimed at them in the first place, they must be our ultimate arbiters on the show's success, and by and large, on that score, it was mission accomplished. Certainly the costuming and the characterisations were as near to the source / film / TV series as possible, and so the youngsters found these familiar characters on stage, even chatting to them in the auditorium prior to the start of the show - a nice touch.

Heading this cast of nine females was the very proficient and lovely actress, Helen Horridge in the dual role of twins Ada and Agatha Cackle. Obviously very much at home on stage she was very easy to watch and her changing of character was superbly measured. Her Deputy Head, Hecate Hardbroom, was also very accomplished, and I enjoyed the on-stage chemistry between these two. Lindsey Barker's characterisation of her was lovely to watch. As the protagonist schoolgirl Mildred Hubble, Megan Sorrel impressed with her Garrick debut and hope we will get to see more of her in the future, as again, she impressed with her stagecraft. The entire school of young witches-in-training completed with Georgina Brame's bubbly Enid Nightshade, Sasha Corillo's arrogant, haughty, and egocentric Ethel Hallow, and Isabel Stuart-Cole as Ethel's sidekick Drusilla Paddock. However, full credit is due to Eilidh Pollard, again no stranger to the Garrick stage, for stepping in at the last minute to play the role of Maud Spellbody. Performing with the book in hand - although she hardly ever referenced it - her characterisation was excellent and enjoyable. 

This afternoon was only the show's second performance and so hopefully, given a little time to bed-in, it will work a little more deftly and find its true sparkle, which I am sure is there somewhere, it certainly has the potential. It runs at the Garrick until April 17th.

Reviewer - Alastair Zyggu

on - 5.4.25