Theatre Review A Christmas Gaiety: A Fabulous Festive Extravaganza Liverpool Philharmonic Hall

 

On paper this looks an unusual collaboration of the Royal Liverpool Philharmonic Orchestra, five drag artists and musical theatre star, Kerry Ellis, but somehow it works.

It was a full house, and it seemed as though a lot of the audience were acquainted with the drag artists as they were given a warm welcome each time they took centre stage.

The Royal Liverpool Philharmonic Orchestra started the show with the seasonal ‘Christmas Festival’ before conductor, Edwin Outwater, introduced presenter, Peaches Christ, an American drag artist who explained she was fully in love with Liverpool and Scousers. She was heavily made-up in full drag, in a shimmering long pink dress, white fluffy bolero, high heeled shoes and an enormous wig. She did a good job warming up the audience with jokes and Liverpool banter.

Peaches introduced Baga Chipz, well known from TV show, Rue Paul’s Drag Race.  She entertained with a comic ballet routine, dancing to ‘The Sugar Plum Fairy’ with a lot of boob shaking, not so perfect pirouettes and comedic high kicks in high heels plus comic creeping across the stage to the music.

Next on was Ginger Johnson, also known from Series 5 of Rue Paul’s Drag Race.  She sported a massive ginger wig commenting that ‘Wigs are high, standards are low’. She entertained accompanied by the orchestra playing ‘The Typewriter’ as she typed a letter to Santa Claus on an old fashioned typewriter, hitting the keys hard to the music.

Then came The 12 Gays of Christmas, a duet by Peaches and Kerry encouraging audience participation with lyrics projected onto the stage backdrop. This was a take on the festive ’12 Days of Christmas’ with a change of lyrics such as each day included  ‘…… my queer love sent to me ….’ instead of ‘………….my dear love sent to me ……’

Kyran Thrax presented himself as a giant cockroach after this, resplendent in thigh high black boots and brown cockroach outfit; he recited a poem and sang ‘Santa Baby’.

Next came Peaches again in a change of costume accompanied by her Whipmaster/Dom, a heavily tattooed, Teddy Price, bare chested in a leather cap and body straps. They  performed a duet with the Whipmaster whipping Peaches whilst Peaches encouraged the audience to moan each time she was whipped. They exited the stage with Price riding on Peaches’ back who was on all fours.

Le Gateau Chocolat, a large, bearded man dressed in a gold sparkly jumpsuit wearing glittery gold glasses and gold fringed headwear told some tales of his Nigerian culture before singing ‘Walking in the Air’ in a very deep voice.

After a short interval the audience were treated to the orchestra playing Troika following by Peaches introducing Le Gateau Chocolat again, this time dressed in a sparkly red strapless jumpsuit with a  large red hat, long red gloves and red sparkly high heeled shoes.  She explained how she was celebrating life after having survived three heart procedures and went on to sing, Sinead O’Connor's hit song, ‘Nothing Compares To You.

After this, Kyran Thrax entered the stage dressed as a female Elvis with a bikini under a typical Elvis white, fringed outfit. She entertained singing a couple of numbers including ‘Fever’ and ended doing a mini striptease and performing the splits.

Ginger Johnson arrived on stage donning a costume change and sang ‘Twas The Night Before Christmas’ and the Bjork hit song, ‘It’s Oh So Quiet’, shushing the audience comedically.

Baga Chipz entertained next, with a costume change, this time in a high blonde wig and a gold dress and sang, ‘Over The Rainbow’. Along with Peaches, they gave a tribute to The Vivienne, the UK Drag Race winner who sadly passed away not long ago.

To conclude the show, Kerry Ellis sang ‘O Holy Night’ wonderfully, followed by the Mariah Carey hit song, ‘All I Want For Christmas Is You’.  It’s reasonable to comment that talented Kerry’s voice is far superior to those of the drag artists, but they were appreciated by the audience.

In conclusion, the full cast appeared on stage to sing ‘Merry Christmas Everyone’ with the audience on their feet dancing and singing.

This is an unusual show, somewhat bizarre in places, (which I think it sets out to be), described as A Queer Christmas Extravaganza, which may not be to everyone’s taste.  There are cautions prior to booking tickets explaining that the concert has an age restriction of 18+ and contains adult themes. As such there is some swearing and there are a lot of sexual themes and innuendo.

Publicity for the show states, ‘Together, our stars will ‘werk’ the Philharmonic Hall stage, serving some shady Christmas roasts, bringing outrageous festive fun and belting Christmas classics as you've never heard them before’. I think they lived up to the blurb.

Reviewer – Anne Horne

On – 13th December 2025

Theatre Review Jack and the Beanstalk The Oak Theatre, Scarisbrick

At this time of year, no can say there is a shortage of pantomimes on offer and whilst there may be only seven or eight basic stories across the entire genre, the presentation and style can vary hugely, from the utterly predictable to the quirky that thinks outside the box. This year’s Anton Benson production, ‘Jack and the Beanstalk’ made no attempt to re-invent the wheel but did include a number of amusing and original features. 

There no doubling up for the cast of six who were aided by two dance troupes of eight and four girls (appearing to represent junior and high schools respectively). The constant pace ensured that the cast had to work hard with there rarely being less than four on stage at any one time but the result was a pacey show which never slacked, with smooth transitions between scenes and the audience carried along in an enjoyable romp. The costumes were bright and cheerful and some thought had clearly gone into getting the right look for each character. There were few props but what there were was made good use of, with the emphasis being on performance, with fast-flowing interactions between the cast.

It was pleasing to see that whilst the overall feel was certainly that of a traditional pantomime, there was minimal regurgitation of the stock scenes which tend to get over-used, an example being the ghost-tapping-people-on the shoulder sketch, which was mercifully absent. Instead, the familiar story was told with mostly original ideas (an exception being a cookery sketch, which is rather cliched). A scene involving a large lavatory was very funny and with loo rolls being thrown at the audience, the show could literally be said to be toilet-humour whilst still being suitable for children. Another very funny scene had the entire cast singing the Twelve Days of Christmas. Yes, this gets done a lot but in this panto the song was performed hilariously with the audience really involved and clearly loving every minute of it.

Many smaller pantomime productions rely heavily on backcloths for sets but the Oak Theatre has a huge video screen that must be in excess of 18m in width (virtually the entire width of the stage). This was used to great effect with various back images having a cartoonish dayglo effect, enhancing the feeling that this was indeed pantomime. Another technological feature was an excellent sound system ensuring all the vocals were crystal-clear and perfectly balanced to the music. The Oak Theatre benefits from having a quite a large performance area but the 200 or so raked-seat auditorium ensures a sense of intimacy whilst providing the full experience of going to the theatre. This was taken advantage of by the cast, in particular the two female members, who used facial expressions almost as much as speech to express themselves in a way that would be lost in a large theatre.

DG Foster had stepped in at very short notice as the Dame due to cast illness and appeared remarkably relaxed and in control, often joking to great effect about not having had much time to learn his lines. Danny Childs played Jack as a funny hapless character in love with the elusive Princess Jill, stylishly played by Suzanne Fulton. Mary Shanker was very amusing as the fairy, frequently making un-fairylike gurning facial expressions with Michael Lawless giving regal presence as the gold-loving King Bling. It is often only when you saw stars from Coronation Street away from Coronation Street that you learn whether or not they act and in the case of Calum Lill, the answer is a positive yes, turning in a great performance of the villainous Fleshcreep. All the cast were clearly enjoying themselves throughout the show and the audience were thoroughly entertained. A great, fun night for everyone, both young and old.

‘Jack and the Beanstalk’ is on until 24th December.

Reviewer - John Waterhouse

On - 13.12.25

Theatre Review The Nutcracker Created by Little Bulb St Martin’s Theatre, London

We arrived to find a theatre buzzing with anticipation, the kind of atmosphere that only a room full of children can generate. The audience was made up largely of preschoolers, with a scattering of slightly older children, all brimming with excitement and dressed in Christmas party wear. Their energy was infectious, and it set the perfect tone for what was to come. Before the performance even began, the Mouse Quintet took to the stage, filling the theatre with a lively medley of Christmas pop songs and well-known festive hits. This clever pre- show entertainment immediately engaged the young crowd, who sang along. It was a joyful way to ease everyone into the spirit of the production, and it cleverly blurred the line between audience and performers right from the start.

The show itself was deliberately relaxed and easy-going. Children were free to move around, leave their seats, and make noise without anyone batting an eyelid. This openness created a welcoming environment, especially for families introducing little ones to theatre for the first time. It felt less like a rigid performance and more like a shared festive experience. And let’s not forget the venue itself: this is the famous theatre where Agatha Christie’s The Mousetrap runs all year round. The playful nods to mousetraps throughout the show were a witty touch, tying the production to its iconic setting.

The five musicians of the Mouse Quintet transformed seamlessly into the characters of The Nutcracker. While the central magical figure of the original tale remained, this version offered a fresh twist—a new “tail,” if you will. Written and devised by Clare Beresford, the production leaned into whimsy and humour while still retaining the essence of the classic story.

Beresford herself took on the role of the evil King Mouse, commanding the stage with a strong singing voice that soared through the theatre. Her performance balanced mischief and menace, delighting the children while giving the story its necessary antagonist. 

The supporting cast added layers of fun and warmth. Dominic Conway played Fritz, the mischievous young boy, while Lakeisha Lynch-Stevens embodied his sister Clara with charm and energy. Both performers connected beautifully with the young audience, drawing them into the story with ease. Shamira Turner doubled as both the children’s father and the Sugar Plum Fairy, showcasing versatility and musical talent, particularly on the accordion which she played in the Mouse Quintet. Caroline Partridge brought energy, humour and eccentricity to her roles as Auntie Hilda Drosselmeyer and Elder Mouse.

It’s worth noting that Beresford and Conway also served as musical directors for The Nutcracker while also being key members of the mouse band while juggling their stage roles. This dual responsibility added to the sense of a close-knit troupe, each member contributing creatively in multiple ways.

The set and props were a highlight in themselves. Constructed primarily from cardboard boxes, they were transformed into imaginative 3D creations that astonished both children and adults. Designed by Paul and Sophie Brown, Michael Douglas, and Sam Wilde, the props and costumes were inventive and playful. Lighting effects by Joshua Pharo and Joe Hornsby elevated the cardboard structures, turning simple materials into magical landscapes. Who would have thought mouse tails, spiders, and fantastical creatures could be conjured from cardboard? It was a testament to the ingenuity of the creative team.

Overall, The Nutcracker by Little Bulb was a visually striking, musically engaging, and thoroughly entertaining festive treat. It is perfectly pitched for children under ten, offering them a chance to experience theatre in a relaxed, welcoming environment. Parents will appreciate the creativity and humour, though some of the toilet jokes may feel a little unsavoury for older audiences. Still, for its intended age group, the show hits the mark with charm, energy, and a generous dose of festive fun.

Reviewer -  Penny Curran

On - 12th December

Concert Review Creedence Clearwater Review The Cosmo’s Factory Tour Hanger 34 Liverpool

Creedence Clearwater Review are ‘the UK’s number one tribute band dedicated to the music of the legendary American rock group Creedence Clearwater Revival (CCR).’ They promised an authentic, power-packed live show that captured the raw ‘swamp rock’ style of the original CCR, featuring their greatest hits alongside Cosmo’s Factory for their final UK show of the year. And boy, oh boy, did they deliver.

The show opens with a narrated introduction describing how CCR were formed, taking the audience through the band’s history. Creedence Clearwater Review emerge on stage through clouds of dry ice, and bandleader Dale Taylor informs the crowd that the songs will be played chronologically, telling the story of CCR right up to Cosmo’s Factory.

So how do you tell the story of CCR in one set? Recreate the 1969 California vibe with plaid, denim and a bandana; use period-accurate vintage gear; select key tracks from the early albums and go from there.

Their early rock ’n’ roll influences are showcased through ‘Suzie Q’, ‘I Put a Spell on You’ and ‘Good Golly Miss Molly’. The band’s development into swamp rock follows with ‘Born on the Bayou’, ‘Green River’ and ‘Commotion’.

International success arrives with ‘Bad Moon Rising’, its B-side ‘Lodi’, and ‘Down on the Corner’. Their move towards country rock is represented by ‘Cotton Fields’, ‘It Came Out of the Sky’ and ‘Midnight Special’.

That’s the set on paper, but the way Creedence Clearwater Review deliver it is simply outstanding. From the moment he steps on stage, frontman Dale Taylor is pure energy, utterly committed to making the music as authentic as possible. He never stands still, constantly interacting with fellow band members and the audience alike. He leaves everything on stage. Honestly, he could start a party in an empty room.

The rest of the band, Bob Bampton on bass, Rich Gray on guitar and Sean Gregory on drums, are perfect foils for Taylor’s antics, and each gets their moment in the spotlight.

Audience participation is key, with Taylor encouraging sing-alongs whenever possible. The payback he gets is that the audience are on their feet throughout and their energy never dips.

After the interval, the band perform CCR’s 1970 album Cosmo’s Factory in full. Widely regarded as the band’s most expansive and accomplished record, it captures CCR at the height of their creative and commercial powers. Named after the warehouse space where the group rehearsed, nicknamed ‘the Factory’ by drummer Doug Clifford, the album blends swamp rock, blues, country, R&B and extended psychedelic jams into a cohesive, high-energy statement.

The record features some of CCR’s most enduring tracks, including ‘Lookin’ Out My Back Door’, ‘Up Around the Bend’, ‘Who’ll Stop the Rain’ and ‘Long as I Can See the Light’, all driven by John Fogerty’s gritty vocals, which Taylor emulates superbly. With its mix of tight singles and adventurous deep cuts, Cosmo’s Factory stands as one of the defining American rock albums of its era.

It’s fair to say Creedence Clearwater Review more than did Cosmo’s Factory justice, they absolutely nailed it. Highlights included ‘Lookin’ Out My Back Door’, which sparked wild audience participation, and ‘Up Around the Bend’. The extended grooves of ‘Ramble Tamble’ and ‘I Heard It Through the Grapevine’ gave the band space to really express themselves.

Amazingly, there were still some huge hits left for the well-deserved encore. ‘Proud Mary’, ‘Fortunate Son’ and ‘Have You Ever Seen the Rain’ brought a brilliant night to a perfect close.

If you want to experience the magic of Creedence Clearwater Revival live but don’t have a hot tub Time Machine to take you back to 1969 then Creedence Clearwater Review offer as authentic a tribute show as you will find anywhere. One of my gigs of the year, for sure.

The tour continues in 2026, and tickets are available here - https://www.creedenceclearwaterreview.co.uk/tourdates

Reviewer – Adrian Cork 

On – 12.12.2025

Theatre Review Panto Beauty and the Beast Storyhouse Chester

 

This is a wonderful start to the Christmas season, Storyhouse presents a panto with a Christmas twist on a classic fairytale, it is the perfect family show.

I arrived at the theatre full of Christmas panto anticipation, hoping for festive silliness and pleased to report, Beauty and the Beast delivered it with a production that felt heartwarming and was packed with enthusiastic merriment from the rise of the curtain. This adaptation is written by acclaimed playwright Anne Odeke and directed by John Young.

Commencing the merriment is Fairy Lavender (Emmy Stonelake), dressed head to toe to match her name, who comically entertains and pulls each scene together and interacts with the audience at every chance. Her quick improvisations are to be commended; she is vibrant and full of festive fun.

Lavender introduces the audience to Belle, played confidently with sincerity by Katarina Zofia and her sister Amélie (Caitlin Drake), whose vocals are outstanding.  They live in the wonderfully named Fromage Village (lots of cheesy jokes ensue) with their father, the village Mayor (Tom Richardson) who has double roles as Mayor Marcel Bernard,  Belle’s rather awkward father and human-turned-clock, Pascal, living in the castle with the Beast. He delivers fine performances as both as he capably switches between nervous father Marcel and high-spirited Pascal. While Marcel seeks out Belle, Pascal is otherwise engaged dancing on tables with her and candlestick Grégoire (Tom Lloyd) whose performance glows with comic timing and witty interactions with Pascal.

Beast, Henri (Daniel Bowskill) has only three days left of his century-long curse and is desperate for a final chance at breaking the spell through true love. He has an instant attraction to Belle which is reciprocated and their romance merges the storyline; their encounters blend well with Bowskill’s compelling voice portraying the gentle side to his nature belying his scary looking appearance.

Of course there has to be a baddie in the story and Miriam O’Brien as Nightshade is perfect as the  delightfully wicked villain.  She is chief mischief-maker and excels with an energetic performance of the baddie everyone loves to hate.

Vocals from Caitlin Drake (Amélie) are superb and there are plenty of sing-along sections of pop favourites such as ‘Pink Pony Club’, ‘I Wanna Dance with Somebody’, ‘I Put a Spell on You’ and K-Pop hit, ‘Golden’, (Musical Director, Rebecca Applin, Choreographer, Christopher Tendai). The sets were colourful and attractive with lighting design by Aaron Dootson and sound design by Kieran Lucas, all blending together exceptionally. The costumes are simply stunning, adding to the visual magic (Shellby Hamer).

A big applause to the whole ensemble and cast whose energy and clear enjoyment of delivering the show shone through plus the backstage creatives who have put together a wonderful two hours of family entertainment.

The audience thoroughly enjoyed the show, joining in from the very start and all went home very happy, ready to welcome the festive season in full.  It was a great start to Christmas 2025; it’s definitely worth time out from Christmas shopping whilst visiting Chester.

All in all, this is a pantomime that delivers exactly what’s expected at Christmas and more - giggles, sing-a-longs, solid performances, heart-melting moments and lots of Yule time fun.

Each performance is captioned, with additional audio-described, British Sign Language-interpreted and relaxed performances offered throughout the run to ensure everyone can enjoy this heartwarming, family show.

Beauty and the Beast is at Storyhouse until 4th January 2026.

For details see https://www.storyhouse.com/whats-on/

Reviewer – Anne Pritchard

On – 12.12.25

 

 

 

 

Concert Review Cliff Richard Can’t Stop Me Now Tour Royal Albert Hall London

 

Who would have thought after first seeing Cliff Richard at The Empire Theatre, Liverpool in the 1960’s he would still be touring, and I would see him again at The Royal Albert Hall in 2025?

I arrived with some trepidation, knowing Cliff is now 85 and having seen him being interviewed on TV recently, I thought he looked rather frail.  But he put all my doubts to one side as soon as he started to sing. Cliff totally delivered; his voice is stronger than ever and is still flawless, it sounded better than I remembered and the whole night was a reminder of why he’s one of Britain’s greatest performers and why he is one of the most enduring and beloved figures in British music. Whilst speaking to some of the fans after the concert, they did not simply remark that it had been enjoyable, they stressed how exceptional and far beyond what they had expected it to be from a pop star with a career who has spanned generations, and I completely agreed with them.

From the first number, (his first hit), ‘Move It’ to the last encore song, ‘My Kinda Life’ his performance was immaculate; he also chatted to the audience throughout, sometimes quite comically as he forgot what he was about to say, whether this was included for humorous reasons, only he knows, but it endeared him to his fans hanging onto every word he uttered.

A lot of the fans were festooned with fairy lights and many held up placards at the front of the stage; additionally the hall was decorated with Christmas lights. It was clear that Cliff loves interacting with his fans and he doesn’t take himself too seriously.  Conversely, he at times even remarked that he doesn’t really understand how and why he is still performing but he reminisced often about his many pop chart hits, the other groups who beat him to the Number 1 spot and the groups who followed him to record at Abbey Road.

He also bopped along to all his songs, not quite dancing but definitely rocking it out in his own way and at times doing the famous Shadows guitar walk, much to the delight of his fans. He looks remarkably fit for his age, no doubt due to his fitness regime and regular tennis playing. He spoke about his regrets at never breaking America and the fact that his fame is confined to the UK and Australia and New Zealand stating he restricts his concerts to no more than thirty shows a year now, so his schedule is not as physically demanding as some other longstanding pop stars.

Song followed song and the atmosphere in the hall was filled with admiration and warm appreciation. Fans described the night as one of his best concerts and expressed how they felt unexpected emotion, mentioning how music can deeply affect those listening intensely when performed with such skill and genuine connection such as Cliffs.

Supporting Cliff  was his band, perfectly attuned to him and his performance. Band members are Keith,(Guitar/Music Director), Don,(Keyboards/Guitar), David(Bass/Guitar), Ian(Drums/Percussion), Tim (Guitar/Vocals), Bobby (Vocals/Guitar).  Each musician and vocalist contributed with polished sounds and instrument playing which accompanied Cliff’s performance rather than overwhelming it. One could not help but note the undeniable chemistry and camaraderie between Cliff and his band; the musicians played with authority and respect for the music they were bringing to life, whilst at the same time showing their enjoyment for it. The arrangements had been realigned making them fresher and their interpretations brought new energy into songs loved by so many.

This was a nostalgic night for many, having loved Cliff and his music for so many years but it was also a night of surprise and wonder at his resourcefulness and incredible agility for a man of his age; many wondered what his secret is for his amazing youthfulness and vitality.  The ‘Peter Pan of Pop’ truly didn’t disappoint and many of the fans were asking when his next tour would be

For many, the concert will be remembered as proof of the enduring power of music and the extraordinary capability of one singer to bring such enjoyment to the hundreds of fans. The verdict from the fans was unmistakable: Cliff Richard absolutely delivered, and the experience was not merely enjoyable, it was unforgettable. Long live Cliff, may he reign for many more years.

For full set list, please see https://www.setlist.fm/setlist/cliff-richard/2025/royal-albert-hall-london-england-2b519446.html

Tour dates information is at https://www.cliffrichard.org/latest-tour/

Reviewer – Anne Pritchard

On – 9.12.25

Theatre Review Snow White & the Seven Dwarfs The Alhambra Theatre Bradford

Bradford’s festive season came alive with this timeless classic fairytale and certainly got everyone into the Christmas spirit with a glittering treat that was packed full of all the traditional panto ingredients you know and love. Starring once again our very own Yorkshire’s panto legend Billy Pearce and indeed this is his 25th Bradford Alhambra’s performance. Billy played the leading role of The Man in the Mirror with such enthusiasm and wit as always.

It was a joy to watch and listen to the wonderful singing voice of Sinitta (The Spirit of the Pantomime). Myra Dubois (Queen Lucretia) also played a wonderfully loud and gloriously over-the-top part and certainly portrayed this well. Both Sarah Pearson (Princess Snow White) and Callium Connolly (Prince William of Wakefield) also played excellent leading roles that were warmly greeted by the audience.

Also worth a mention were the wonderfully witted seven dwarfs who all had their own individual characters played with such joy and laughter. The whole cast certainly put lots of energy and life into their roles with the main characters also encouraging audience participation with their endless usual panto jokes and frivolity. There were lots of traditional panto Christmas magic too with a melody of Christmas traditional songs and the famous 12 days of Christmas.

The show was a spectacle and visually entrancing with plenty of colourful backdrop scenery that swiftly changed between scenes. It was full of magical moments that were created through the whole cast and lighting techniques that were a delight to watch unfold.

The costumes were wonderfully spectacular for all the cast and especially the exquisite ensemble dancers with bright colours and layers of fabric and feathers. The costume designer Teresa Nalton certainly bought the show to life with her wonderful costume designs. This along with the excellent choreographed dance routines by Stillie Dee made the show a delight to watch.

What a feast of frivolity. Oh yes it was. The amount of energy expended by the cast in this wonderful production was absolutely fantastic. Billy Pearce and the cast literally threw themselves into this production and even the youngsters in the Sunbeams were of excellent quality.

Add a touch of fairytale sparkle to your festive season at the Alhambra theatre with this year’s magical pantomime Snow White and the Seven Dwarfs.

The production runs from 6th December 2025 to 18th January 2026

Reviewer - by Debbie Jennings

On - 9th December 2025

Theatre Review Aladdin Lyceum Theatre, Sheffield

Is it panto season already? Oh yes, it is. It seems to come around quicker every year, with this year’s offering being Evolution Productions' version of Aladdin.

Alongside Cinderella, Snow White and Jack and the Beanstalk, the Middle Eastern folk tale is one of the big four festive favourites. As usual, the perfectly suited and booted Lyceum is Sheffield’s venue for the show, written and directed by Paul Henry.

With theatre stalwart and pantomime giant Damian Williams once again in residence as the Dame, the Pharaoh Rocher was surely spoiling us as we ventured down to the pyramids of Attercliffe. There were many local references and colloquialisms throughout the 2 and a half hour (including interval) performance.

Damian delivered another accomplished display in a wide array of frocks and was as funny as ever. His performance as Tommy Cooper in The Last Laugh has secured him many accolades recently, a role he played at this venue earlier in the year. One of Dame Dollie’s skirts was an inverted Fez- a crafty nod to a legendary magician. 

From the lively start to the show, it was clear that there would be much music, dancing, comedy and merriment. It was indeed a particularly theatrical show. Musical Director James Harrison is also an all-round entertainer and played his part in a bright musical start to the show, which continued throughout. It was fitting that all the musicians got their moment on the stage during the evening.

With former Strictly Come Dancing’s Kevin Clifton in the role of pantomime villain, Ivan, there was a large element of dancing on display. Clifton’s dancing, choreographed by Sarah Langley, was superb, as was the rest of the cast. It was exhausting just watching. His acting was equally on point, landing his jokes as expertly as his jumps.

CBeebies Evie Pickerill’s role of Spirit of the Ring summed up the spirit of the pantomime. Her performance was bubbly, funny and full of joy. Sario Solomon took the role of the eponymous hero with similar energy and verve.

Morgan Brinds set and costume design were colourful and stylish, with a multitude of props playing their part in the storyline. The culminating scene was Aladdin’s magical mid-air carpet flight around the Lyceum. The set changes were smooth and quick, with the lighting sequences playing a clever game of hide and reveal. 

This year’s festive offering from Sheffield Theatres is a slick affair full of dancing, laughter and audience participation. 

Aladdin is standard pantomime fayre which presses all the right buttons and will appeal to novices and seasoned pantomime aficionados alike. A great night out for all the family.

Production run (The Lyceum Theatre, Sheffield): 5th December– 4th January 2026

https://www.sheffieldtheatres.co.uk/events/aladdin-panto-2025/dates

Reviewer: Matthew Burgin

On:  9th December 2025

Theatre Review A Christmas Carol The Kings Arms, Salford

‘A Christmas Carol’ has become almost as much a part of the Christmas Season as pantomimes, with numerous TV, film and stage versions coming round each year, each almost invariably set in Charles Dickens’ Victorian London (not even the Muppet showed dared to change that!). A rare exception was a BBC contemporary version based around ‘Eastenders’. David Thakers’ adaptation took a bold a change in emphasis, with the story remaining true to Dicken’s tale but told from the perspective of a homeless person, and with a Northern Irish accent!

One of the pleasures of seeing productions at The Kings Arms is that both the performance area and seating layout changes with virtually every production and here again, the staging for ‘A Christmas Carol’ took a fresh direction with the seating set out in a café format, complete with all the tables having tablecloths and a small table light. The look of a café was completed with sophisticated dim lighting which was subject to only subtle changes throughout the performance. In contrast to this gentile environment was a central block on which the narrator lay asleep under a sleeping bag. The symbolism was stark between those who had, as the audience watched on, and he who had not, asleep in front of them. 

The Proud Chorus choir were loudly singing carols as the audience congregated, continuing with a couple more songs once everyone was assembled. How the central figure continued to sleep with the volume they produced was a mystery and once they departed, the homeless sleeper, played by Colin Connor woke up and after staring around the room in a somewhat bewildered state, started his narrative.

The one-man show typically involves the actor moving around the stage to some degree, sometimes using props but David Thacker’s direction took this a stage further with Colin Connor making full use of the entire auditorium. 

Much of the narrative was performed on and around the central block but Connor would frequently move amongst the audience, on occasion engaging directly with individuals (but never in any obtrusive manner). What really stood out was the extent to which this device was used to help the audience engage with their imagination. For example, in an early scene, Scrooge was looking out of a window, when in fact Connor was actually looking at a mirror but it worked and other instances like this helped the audience feel they were being carried along as the three spirits took Scrooge on a journey to visit his past, present and future.

This was very much a one-man play as opposed to just narrative story telling. Connor presented himself in the character of the narrating homeless man but through the course of the story played 33 other characters. The range of voices, from high-pitched Tiny Tim to the abrasive Jacob Marley to the ebullient Ghost of Christmas Present was impressive but what really made everything come alive was the level of performance. Scrooge was shown to display real terror, with no small amount of physicality so that Colin Connor needed not just to keep changing voices in quick succession but come in and out of physical performance.

This was in essence a faithful adaptation of the famous Dickens story but given a fresh, modern perspective as a reminder that the poor and needy are still with us. This point was given added emphasis with the production supporting the Mustard Tree homeless charity and the George Trust HIV charity.

A vibrant and interesting take of a popular story, powerfully performed with creative use of the venue.

Reviewer - John Waterhouse

On - 9.12.2025

Pub Theatre Launch Circle and Star Theatre Hampstead London

The venue known as one of London’s first modern pub theatres had its glittery re-launch open night on December 8th and welcomed a small intimate crowd to join in with the welcoming of its new name, ‘Circle and Star’ Theatre. Lenny Beige championed the evening which was full of cabaret, music, comedy and live entertainment. There follows a packed programme ahead over the coming weeks with line up’s that include many familiar names such as David Walliams, Mel Giedroyc, Guy Chambers, Clinton Baptiste, David Arnold and Liane Carroll. With comedy acts, spoken word, cabaret, in-house conversation and live music being part of this new theatre space’s vision.

Also, some performances will be live streamed with proceeds from this helping to find a suitable and enthusiastic General Manager for the venue from February 2026. Re-launching under its new name comes nearly three months after the fringe theatre company that had been resident there for more than 50 years was evicted. Having been invited along to witness this new-name creative space for myself it felt warm, inviting, certainly intimate with its 50/60 seated area and you feel right up there almost on stage yourself with the performers which is marvellous. Its curator and founder Steve Furst is extremely excited and enthusiastic about Circle and Star Theatre and its new re-birth and journey ahead. Furst who also performs a cabaret under the glorious name of ‘Lenny Beige’ has shared his thoughts about this new venture and hopes the theatre would act as a rehearsal space and also R&D for new work, including musicals. Furst talks about a friendship he formed where, over the the years, they have done shows together and tried to book the theatre above the Horseshoe pub space (during timings of Covid and post Covid) and sadly by peering through the window it looked like there was nothing going on, hints of it being a bit unloved and needy of some new life. Then, randomly, (but in hind site perhaps fate) there was an eviction notice through the window. Pentameters Theatre, which arrived in the Horseshoe pub in 1971 and hosted figures there such as Nigel Havers, Celia Imrie and Ben Elton, was instructed to vacate the premises in August. The pub’s operator, hospitality company Urban Pubs and Bars, reportedly had noticed that there had been a “significant decline in performances” but Pentameters Theatre’s artistic director Léonie Scott-Matthews believed it had fallen custom to a “David and Goliath situation”

Furst explained he was aware of the history of Pentameters and what Scott-Matthews had really worked on to nurture the space. A legacy had formed and it was now time to gently take over the reigns. However, whilst always being grateful for its old history and the work Scott-Matthews had done before him, taking on this new venture Furst was very clear it was going to be a new experience. He wanted to look back and appreciate the hard work for that legacy being built up in the local area,  and also wanted to bring this new name/new feel intimate theatre space bang up to date into the 21st century! This takes some efforts as Furst planned on modernising the space and brought in new sound and lighting, cameras for screenings and filming, and a more airy and larger backstage space for performers. Furst has shared that a deal with Urban Pubs and Bars that was certainly generous, really did enable the revamping, re-working and allowed for improvements to be made. So much so that without it the relaunch may never have been a possibility. It really does have flavours of a teamwork effort on this and everyone involved embraces the importance and value of what is trying to be created in the heart of Hampstead village. Furst himself raised money to organise the theatres new needs, including but not limited to sound, lighting and seating in a space that hadn’t seen any new renovation for 50 years! I sense Furst is extremely grateful for the support, encouragement and financial aid, and realises without it the Circle and Star theatre would not be in existence today.

Circle and Star theatre is situated just 30 seconds from Hampstead underground and is ideally situated for people heading in as a warm and inviting option away from the west end for intimacy and exclusivity. Audiences can also enjoy The Horseshoe pubs acclaimed food and drink before and after performances which keeps the feeling, spirit and history of the old Pentameters well and truly alive and well. Circle and Star theatre really has that community feel to it, and I sense will bring audiences together regularly and with some performances already selling out quickly, I’m convinced of this new energy theatre space being a complete success. Hats off to Furst and all involved in making this vision a reality for all to enjoy.

You can find a full line up of upcoming events and booking facilities at www.circleandstar.com

Reviewer - Mary Fogg

On - 8th December

REVIEW CONCERT Music / Entertainment ROB BRYDON and His Fabulous Band The Bridgewater Hall, Manchester

This evening saw the first of my several Christmas concerts, and, having never seen Rob Brydon before - other than his famous television incarnations [Gavin And Stacey / Would I lie To You et al...], I was very interested and curious to see what he would be like as a live entertainer. The evening flowed amiably along with melody after melody of mostly Christmas tunes, and Brydon proved to have a pleasant baritone crooning voice which worked well for the material he chose. We we taken on a journey through (to name just a few) 'Winter Wonderland', 'Sleigh Ride', 'I'll Be Home For Christmas', 'Rudolph The Red-Nosed Reindeer', and 'O, Come All Ye Faithful'.

Backed by an 8-piece band, Brydon entertained for nearly two hours without support; save a brief appearance from Coronation Street's Antony Cotton, who helped him with their rendition of 'Silver Bells' and an unnamed youth choir who came on at the end to help with the denouement's harmonies. 

Brydon is obviously a very accomplished entertainer and very at home on stage and in front of an audience. He started with a few jokes at the audiences' expense, which had they been told by anyone else, could easily have been taken as offensive and downright rude, but somehow, the audience members with whom Brydon interacted seemed to take it all in good part; and he came back after the interval with a song which included their names, ages, etc - i.e. all the things he had talked about in the first half appeared in the lyrics of this song. Clever and received a deserved round of applause.

In between songs (and the occasional laugh), there were a few of his more famous impressions and impersonations, and his Elvis Presley was better than some pro Elvis impersonators I have seen! His final incarnation though threw me, since he played Bryn from Gavin And Stacey, and I have never seen this and so was at a little bit of a loss, but it was enjoyed by those in the audience who recognised it.

I enjoyed the running gag with the Maltesers, but perhaps a real Fortnum and Mason bottle of champagne could have been given to either the man whom you brought on stage to play the xylophone for 'Last Christmas' or lovely 94-year old Mavis up in the gallery. That would have been truly appreciated I feel.  

A couple of things which did not work quite as well as they could have however. First, the sound levels were all wrong, and the enunciation became muffles at times. basically everyone was over-mic'd and the sound too loud. You chose to perform in the Bridgewater Hall - possibly the most acoustically perfect venue in the whole of the UK, and yet you rigged a huge velvet curtain behind the stage, and put microphones on everyone, making the sound blurred and unclear; the volume was also an issue too sadly, and needed to be several decibels quieter for maximum aural pleasure. The second thing I would suggest is that the band wear a "uniform" of sorts. It would look smarter and certainly appear more professional.

Otherwise a most enjoyable evening in the company of a multi-talented entertainer.

Reviewer - Alastair Zyggu

On - 8.12.25

Theatre Review The Fit Prince At the King’s Head Theatre, Islington, London

Slay! The catchphrase of the evening, and one that perfectly encapsulates the energy, wit, and sheer joy of this production. From the moment the Fit Prince came alive on stage, it was clear that this was not going to be a conventional night of drama. Before the show even began, several members of the audience were invited to take on roles that would become integral to the performance.

Arriving a little before curtain up, I was a little puzzled and confused about what was unfolding before my eyes. Soon, however, it became apparent that this was part of the magic: the blurring of boundaries between performer and spectator, a hallmark of The Fit Prince. You can only imagine the different feel and outcomes that will happen each night depending on how the audience plays it. This was the first show in the run and despite the initial technical blips, took off at a fast pace.

At its core, the show is driven by two partners, actors and co-creators, Linus Karp and Joseph Martin, who have already taken this production to Edinburgh and beyond. For this particular run, the piece was cleverly adapted to suit the festive season, adding a layer of holiday sparkle without losing its sharp satirical edge. The audience participants embraced their roles, guided by an autocue that provided instructions and dialogue. Their enthusiasm was infectious, and the resulting performances—from BAAB (a hilariously camp ABBA tribute) to orphans, doppelgangers, and a priest who nearly stole the entire show—were met with rapturous applause. We must not forget the additional puppets that made several appearances throughout the show taking it to yet another level.

The production values were equally impressive. Original music by Leland added a vibrant soundtrack, while Stella Backman’s design created a playful yet immersive world. James Appleby’s lighting and Kate Marlais’s sound design ensured that every moment was heightened, whether through dramatic shifts in tone or cheeky comedic beats. Zack Pinset’s additional costumes brought flair and flamboyance, while Sam Carlyle’s choreography injected movement and rhythm that kept the energy high. The producers, Awkward Productions and King’s Head Theatre Productions, clearly assembled a team that understood the show’s unique blend of satire, camp, and audience participation.

The Fit Prince unfolds in the fictional country of Swedonia, a kingdom without a king. The central problem is that the prince must find a husband to preserve the monarchy—a premise that allows the show to explore themes of love, duty, and identity with both humour and heart. Alongside the live performers, cameo appearances via video link added another layer of comedy. These included Tove Lo as the Prime Minister of Swedonia, Sebastian Croft as Prince Balthazar of Bashington, Malte Gårdinger as Prince Carsten of Markden, and Joshua Whitehouse as Simon, Jacob’s fiancé. Misia Butler, Yshee Black, Kate Butch, Geri Allen, and Julia Bender also contributed memorable cameos, portraying figures ranging from Michelle Obama to Angela Merkel, each greeted with much hilarity.

What makes The Fit Prince so distinctive is its ability to balance satire with sincerity. While the show revels in camp excess and absurdity, it also carries a message about inclusivity, representation, and the joy of celebrating love in all its forms. The audience’s standing ovation at the end was not just a response to the humour and spectacle, but also to the warmth and generosity of spirit that the production radiated. 

The evening concluded with gingerbread and Glühwein, a festive touch that perfectly complemented the seasonal adaptation. Though these treats may not be available every night, they symbolized the communal atmosphere that the show fosters—a sense of shared celebration between performers and audience.

In the end, The Fit Prince is more than just a play; it is an event, a party, and a statement rolled into one. With its clever writing, charismatic performances, and inventive staging, it leaves audiences not only entertained but uplifted. To borrow its own catchphrase: Slay! 

Running from 8th December 2025 until 3rd January 2026

Reviewer - Penny Curran

On - 8th December 2025

Theatre Review Beauty and the Beast, The Grand Theatre Blackpool

Pantomime season has arrived once again, and with it comes everything we secretly love about this very British tradition — the laughter, the chaos, the jokes that are somehow funnier each year and definitely older than most of the cast. There’s something wonderfully familiar about settling into a seat surrounded by excited children, amused grown-ups, and performers determined to give it their all. Panto is loud, silly, good-natured, and a little bit unhinged — and that’s exactly why Britain can’t get enough of it.

There’s a timelessness to panto that makes it hard to resist. The formula hasn’t changed much over the decades, yet it continues to feel fresh — mixing big characters, classic stories, topical humour, and plenty of self-mockery. For many, pantomime is the first introduction to live theatre, and those early memories draw us back every year, this time with kids of our own. It’s a shared experience across generations, and in a world that moves far too quickly, it’s nice to enjoy something that happily refuses to.

The Grand Theatre Blackpool’s production of Beauty and the Beast captures everything people love about panto and delivers it with confidence, style, and a huge amount of heart. From the opening number, the show is a full-throttle mix of music, comedy, and spectacle. The staging is genuinely impressive — Andy Batty’s set design makes the most of every inch of space, with a revolving centrepiece that transforms effortlessly from staircases to a balcony, making the final rooftop scenes particularly memorable. The bright and bold lighting by Neil Dolman gives the whole show an almost animated charm, while Elizabeth Dennis’s costumes are simply stunning, adding to the visual magic.

The cast brings tremendous energy. Steve Royle (Louis La Plonk) and Betty Legs Diamond (Polly La Plonk) are the beating heart of the comedy, both experienced crowd-pleasers who know exactly how to work an audience — and how to turn tiny mishaps into comedic gold. Marc Baylis (Coronation Street) shines as the villain Hugo Pompidou, relishing every boo and teasing the crowd with perfect poise and a spot-on (and very funny) French accent. Kitty Harris gives a lovely performance as Belle, both vocally and emotionally, while Ella Williams (Fairy Bon Bon) floats in and out like she owns the sparkle factory. Luke Harley dominates the stage as Beast and delivers a fantastic transformation scene, and David Alcock makes for a warm and likeable father figure as Clement.

The ensemble and performers from Barbara Jackson Theatre Arts Centre deserve plenty of praise too — their precision and enthusiasm elevate every number. Musical Director Sam Coates and his band support the action beautifully with smartly chosen underscoring that adds mood without ever distracting. 

All in all, this is a pantomime that delivers exactly what you want and more — laughs, spectacle, heart, and a whole lot of fun. Director Kyle Butler’s vision lands perfectly, and Katie Hill’s choreography keeps things lively from start to finish.

Whether you’re a die-hard panto fan or you usually avoid anything involving water guns and audience shouting, this production is absolutely worth your afternoon or evening.

Simply put — this is Beauty and the Best.

Tickets are selling fast, so grab them while you can!

The show runs at The Grand Theatre Blackpool until 4 January 2026.

Reviewer -  Connor O’Beirne

On - 7 December 2026

Concert Review The Bootleg Beatles in Concert Philharmonic Hall Liverpool

 

What a FAB way to spend an evening – being entertained by The Bootleg Beatles who are FAB-U-LOUS in every way, from their singing and musical talents to their resemblance to The Beatles themselves.

The Bootleg Beatles were formed after the show ‘Beatlemania’ closed in 1980. British musicians, Neil Harrison, Andre Barreau, David Catlin-Birch and Jack Lee Elgood became the UK cast and were signed up to the late Brian Epstein’s NEMS Agency. Geoff Britton (formerly of Wings) briefly joined the band before Rick Rock from punk band Sham 69 took over as Ringo. 

The band have toured extensively all over the world, and in1987 headlined The Liverpool Beatles Convention and Paul Cooper joined as the band’s new Paul McCartney. The same year Bjorn Again and The Australian Doors toured in Britain and so along with the Bootleg Beatles the term ‘Tribute Band’ was coined and in 1990 The Bootleg Beatles annual UK tour was established.

The band have played at the London Palladium and The Liverpool Empire in their own right and they played Glastonbury in 1994 for the first time, headlining on the Acoustic Stage.

In 1996, they  opened the two day event Knebworth concerts and earlier that year they played in front of, and then met, former Beatle George Harrison at Dave Gilmore’s (Pink Floyd) Birthday Bash.

In 1997, they kicked off the emotional Hillsborough Justice Concert at Anfield, Liverpool and 1998 saw them established as a regular festival band; the following year the Bootlegs were the last band to play at the old Wembley Stadium at a gig featuring Elton John and football legend, Pele in the audience.

Over the years band members have changed but the Bootleg Beatles have returned this year with their focus on a Famous Five, The Beatles top five selling albums - the Dylan influenced Rubber Soul, the experimental Revolver, Sgt Pepper heralding the Summer of Love and psychedelia, The ‘White Album’ with its glorious eclectic mish-mash of styles, and their grand finale, the musically sophisticated Abbey Road.

Each album was brought to life on stage with the help of the Bootleg orchestra and their talented backing musician, Steve Allen.

The Bootleg boys firstly appeared  on stage in Beatle suits and mop top wigs; they sang 'Drive My Car', 'Nowhere Man' (Paul Canning, a new band member, who joined last year, emulated John Lennon’s vocal style perfectly) and 'You Won't See Me', (full of teenage angst). Miles Frizzell, the most recent addition to the lineup, was perfect as McCartney, absolutely nailing the vocal impression and capturing Macca’s movements perfectly.

'In My Life' received rapturous applause after a beautiful vocal performance complemented by black and white photos of Liverpool life in the post-war period; it was a predictable crowd-pleaser but nevertheless well-received by all, audience members were rapped up in their own memories and Canning’s vocals reached the plaintive heights of Lennon’s original transporting the audience back to when the original recording was first heard.

The boys had a costume change into red shirts and suits and the audience enjoyed 'Taxman' from the Revolver album. Next came Eleanor Rigby which gave the string section of the Bootleg Orchestra a chance to join in, and 'Yellow Submarine' had everyone singing along with Gordon Elsmore (Ringo) for his first of three numbers as lead singer.

The boys adopted Sgt. Pepper outfits for a rendition of the album title track. Then, the evocative, 'She’s Leaving Home' was emotionally performed and beautifully delivered with backdrop comic book format visuals telling the story of the song.  The interval came at the end of the final crescendo of 'A Day in the Life', accompanied with a tableau of the iconic album cover.

Rounding off the set Canning was bedecked in Lennon's famous white suit with the iconic beard singing more melodies from the Abbey Road album and the boys gave in to the crowd’s demands for an encore; they eclipsed their performance with 'Hey Jude', much to the audience's delight. They rounded things off with the ever popular Isley Brother's, 'Twist and Shout', and everyone was up out of their seats dancing and singing.

This truly was an enjoyable walk down memory lane with so many favourite Beatles songs being performed.  It is difficult to choose which song was most enjoyable but stand-out performances for me were by Stephen Hill as George Harrison singing, ‘While My Guitar Gently Weeps’ and ‘Something’.  But each individual performer excelled in their own right; Paul Canning (John Lennon), Miles Frizzell (Paul McCartney)  and Gordon Elsmore (Ringo Starr) were outstanding and deserved the standing ovation and encore the audience gave them at the end of their performance.

The audience sang along from the very start, encouraged by the band members and their performance was enhanced by a large video screen projecting footage of former bands from the 1960’s and 70’s along with news footage from the same eras. Coloured spotlights further enhanced the show and the orchestra on stage throughout deserve due commendation as they sang and clapped, joining in when not playing their instruments consisting of a brass section and string quartet.

The band will be back to perform songs from The Beatles Blue Album at the Philharmonic Hall next year; for all future shows see https://bootlegbeatles.com/gigs/

This tribute is for Beatle fans of all ages; it has been hailed as “Less a tribute – more a reincarnation” by The Telegraph newspaper and Rolling Stone magazine said it has “The magic of perfect illusion” as the band members depict the Fab Four so well. 

Catch them if you can, it will not disappoint.

Check out The Bootleg Beatles at https://bootlegbeatles.com/news/

Reviewer – Anne Horne

On – 7th December 2025