MUSICAL THEATRE REVIEW - ‘Mary Poppins’ at the Alhambra Theatre, Bradford

Cameron Mackintosh and Disney’s spectacular production of this multi award-winning musical ‘Mary Poppins’ is only here at the Alhambra for five weeks as part of its UK and Ireland tour Acclaimed Australian stars, Stefanie Jones and Jack Chambers reprise their roles as Mary Poppins and Bert, having both received critical acclaim and nightly standing ovations for their performances in the recent Australian production.

Based on the stories of P.L. Travers and the Walt Disney film, the story of the worlds favourite nanny arriving on Cherry Tree Lane is even more magical than ever before featuring dazzling choreography, incredible effects and unforgettable songs.

The timeless score includes the classic songs by Richard M Sherman and Robert B Sherman including ‘Jolly holiday’, Supercalifragilisticexpialidocious, and ‘Feed the birds’ with some new songs and additional music and lyrics by the Oliver award-wining British team of George Stiles and Anthony Drewe.

The cosy, middle-class Edwardian madhouse of Cherry Tree Lane has slightly changed since the original film in 1964. The two kids Michael and Jane Banks still run amok. Mr Banks the punctilious Edwardian dad who works in finance, is still a loveable stiff. His wife Winifred still has flustered charm, as the practically perfect Mary Poppins comes to the rescue, after a long line of nannies are sent packing by her feral offspring.

The story line as expected is the same as the original 1964 film. Mary Poppins is the no- nonsense nanny who arrives in the Banks household as if by magic, where the family has lost its way. George Banks is too busy with his job in the city to notice his children, Jane and Michael, are out of control and his wife has lost her identity. The themes are universal with a father pre-occupied with his job, a mother struggling to find herself and a chaotic household in need of some order.

Mary Poppins played by Stefanie Jones had a huge task being on stage for the majority of the show. Jones played this role wonderfully, and was truly believable bringing the role of Mary Poppins to life in her character, both her acting and singing ability did her proud.

Bert played by Jack Chambers was also a very energetic and leading role. Chambers played this role with such precision and energy bought to life in the well-known dancing and singing numbers.

The children Michael and Jane Banks played by Charlie Donald and Katie Ryden were both adorable and truly believable in their roles. Their portrayal of Michael and Jane in their acting abilities at such a young age was an absolute delight to watch.

George Banks played by Michael D Xavier reminded me of Basil Fawlty. Xavier played this role to a tee being the strong willed and disciplined father as he was bought up. But then as a certain magic came over him, his ideals and portrayal of being a father changed for the better and much delight of his children.

Also worth a mention was Mrs Banks played by Luci-Mae Sumner who played the tiresome wife of George Banks. Her frustrations and lack of self-belief and then her joy of being bought back to life in such a better place was well portrayed in both her acting and singing abilities.

The house opened up like a pop-up book to reveal the front living room whilst as the house was turned around revealed the kitchen, with suspended scenery for the children’s bedroom.

The grey park was transformed into a jungle of flowers of so many different colours with statues that came to life dancing around the stage with such procession.

The incredible dance numbers amongst all the colour, light and spectacle, bought across some beautiful messages and gave us such positive thoughts, to consider others and look past what you see.

The show was spectacle and visually entrancing. It was full of magical moments that were created through the whole cast with the advanced scenery changes, and lighting techniques that were a delight to watch unfold.

The production runs from 21st May to 29th June 2025.

Reviewer - Debbie Jennings

23rd May 2025

THEATRE REVIEW - Fringe SIRENS OF THE SILVER SCREEN 53two, Manchester

In a solo performance by Beth Burrows (directed by Mark Giesser), we are taken on a whistle-stop tour of the lives and music of three female Hollywood icons. Burrows not only sings these songs, but acts them too, almost as if she is reincarnating the divas themselves. She obviously has a great affinity with these three and her acting of the songs and the telling of their tragic lives is close to her own heart. In the first half of the production Burrows is Judy Garland. She enters as Dorothy in 'The Wizard Of Oz' and sings, of course, 'Over The Rainbow'. We then learn somethings about Judy's personal life and listen to her interpretations of 'The Trolley Song', and 'The Man That Got Away'. A costume change and she reappears as Audrey Hepburn, and again she sings songs made famous by her and we learn about her life too. Finishing with 'Moon River' there is a short interval. After which the format continues with out third and final 'siren', Marilyn Monroe. Again, dressed and acting like her (as much as possible), we go from 'Diamonds Are A Girl's Best Friend' to 'Bye Bye Birdie'. Burrows's speaking is honest and the information she imparts about the three make us realise how remarkably similar the three actually were, and how reliant on drugs and insecure they were too. But all of this is peppered with Burrow's own style of humour, softening the blows somewhat.

The production uses and relies heavily on archive footage of these three ladies which is projected against the side of the small screen Burrows uses to go behind for her costume changes. Sadly this is not optimal at all. First, the screen is too small for us to see it properly, the sound quality is not great, and moreover the ridges in the wood of the screen and the design of the screen are obvious on the projections and obfuscate and irritate our viewing pleasure. Why not simply project these films on the black curtain at the rear of the stage? 

There were times when Burrows was speaking or singing in an unlit area of the stage, and sound levels were poor too, when she dropped her voice, she was inaudible on the fourth row of the audience!

A very easy-to-watch performer with lovely crystal clear vocals. An entertaining evening.

Reviewer - Alastair Zyggu

on - 23.5.25 

 

THEATRE STUDENTS in-training J B SHORTS Arden Theatre School The Longmore Theatre UCEN City College, Manchester

And so, for a change of scenery and a divergence from the norm, Reallife Theatre Company's J B Shorts have handed six plays and the format over to acting students at Arden Theatre School in Manchester, and their the school's own Longmore Theatre these six plays were given a new lease of life.

Sadly without a programme (there were none available, simply a QR code which I am unable to access) I am able only to give a bland overview of the production. I do not know the play titles, the actors/actresses names, nor the names of directors or writers; and since there were six plays in all to keep on top of - writing notes in the blackened theatre, and coming back to said spider scrawl the day after, this is the best I can offer...!

The stage was arranged as a thrust affair with a more intimate setting of just three rows of seats on three sides of a raised dais. Above the stage were hung many household ceiling lights, created a very warm straw effect bathing the stage in a homely glow. This looked pretty, although sadly I did not work as a stage set design for any of the six plays which followed. For each play some set items were brought on and off as required with the minimum of fuss. In general, the idea of performing these six plays on a thrust stage was interesting ( a word with both positive and negative connotations), since some of the plays lent themselves better to this format than others in both terms of writing and directing, and so the end results had varying degrees of success.

All six plays were comedy (only one was semi-serious), and so one must assume that this was a deliberate choice - however, something a little more gritty and hard-hitting would not have gone amiss, and would have heightened the comedy when it came back again. - and two of the plays chosen - I can only assume they were written by the same person - were remarkably similar not only to each other but also to professional touring companies productions of other famous works of literature; I write of course of the lampooning of both 'Wuthering Heights'; and 'War And Peace'. And although both these plays were excellently acted and very funny, there were too similar to include both in an evening of VARIED and DIVERSE new writing. The other four plays were 1) a completely OTT and silly Murder Mystery from the Director Of ITV Drama, 2) A Hen Party in Barcelona 3) A prisoner being escorted to hospital to have a catheter removed, and 4) 'Can We Stop It There?', a play about a director, directing and onstage director, directing a director in the play....!

The lighting design in general was nowhere near as good and as proficient as I have seen at this venue in the past. As I have already stated, the straw colours of the domestic lights above did not work in any play, the strobe seemed unwarranted and did not have the desired effect, and at other times the lighting was a little strange and confusing sadly. Seated as I was on the front row of just three, one would have assumed that I would also have been able to hear every single word uttered from on stage, but again, unfortunately this was not the case; projection(or should I say lack of) from some of the performers on stage this afternoon was a big issue.

I have seen at least two of this afternoon's plays before - at the J B Shorts event at which they were premiered; and so with these I knew what was coming. Although I didn't understand the choice of play (or perhaps casting) when so many male roles were taken by females throughout. It is a large enough task for both actor and audience for the suspension of disbelief to accept that these young performers are playing significantly older characters, which most did with aplomb. For me, the second half three plays were the most coherent and entertaining, but one must not be subjective...! It was obvious that the students put much into this event and their enjoyment of it was obvious at their curtain call; the school has a class of talented and conscientious young actors / actresses but perhaps in this particular production some were not shown to their full potential.  

The final play (the 'War And Peace' Mickey-take) gave us a very strong ending (after Russian nationalistic music, The Marseillaise, and The 'Eastenders' theme), and overall it was an enjoyable, but maybe a little long (2.5 hours) time in the company of a strong and skilled group of student performers.

Reviewer - Alastair Zyggu

on - 23.5.25

Theatre Review - Beating Berlusconi The Dome Grand Central Hall, Liverpool

 

This production, written by John Davies and directed by Matt Rutter stars Paul Duckworth as the loyal football fan who travels to Istanbul with his mates to watch his beloved Liverpool football team battle for the Champions League trophy.

The show was inspired by the real-life experience of Liverpool fan, Mark Radley and a factual encounter inside the Ataturk Stadium on May 25, 2005 at The Champions League Final, when he followed his team to Istanbul and after becoming desolate at seeing Liverpool 0-3 down at half-time, set off in search of a drink, only to find himself in what turned out to be the private VIP area seated next to AC Milan president and Italy’s then Prime Minister, Silvio Berlusconi.

Actor Paul Duckworth reprises his one-man performance which was first seen at the original run in 2009, playing dozens of different characters. It is a heavy script which involves replicating family members and friends, and he has a lot of dialogue to remember and perform. The script is full of Liverpool colloquialisms and use of swear words and bad language so may not be to everyone’s taste.

The set is stark with just two red chairs and a table covered in a red tablecloth; red spotlights and red strip lights adorn the black backdrop with a large screen projection displaying videos and photographs. It was a full house of diehard Liverpool football fans who cheered as photographs of Bill Shankly, Bob Paisley and veteran players such as Tommy Smith were shown and booed loudly as videos of Margaret Thatcher were shown. The audience re-lived memories via videos of the Toxteth riots in the 1980’s and nostalgic pictures of Liverpool landmarks plus remembered the war in Iraq and the tragic events at Heysel and at Hillsborough.

The Dome auditorium is dark and cavernous void of any real ambiance; the acoustics aren’t what they should be, and the building itself has fallen into disrepair and neglect.  Additionally, the seating isn’t perfect, fold-up aluminium chairs with no backs to lean on makes it uncomfortable and they are placed too close together, plus tickets have no seating numbers so it is a bit of a free-for-all and a first-come, first-served, arrangement. There is a bar in the auditorium which is open throughout the performance which means people are coming and going getting drinks thus disturbing the enjoyment of the show by blocking the view to the stage; all seats are on the same level, so it is somewhat difficult to see the stage properly through the sea of heads in front.

Unfortunately, there were some sound issues during the performance.  Duckworth wore a head mic but it was difficult to catch what he was saying at times, particularly when he moved his head quickly to the left or right and I could see members of the audience straining to hear what he was saying which was a shame as most of the dialogue was humorous repartee and jokes which were left hanging mid-air, the audience not able to enjoy the taglines or quips.

This show will appeal especially to Liverpool football fans who have a major reason to celebrate this production at this time as Liverpool have proved themselves champions again, 20 years after that iconic evening in Istanbul, by being placed at the top of the Premier League at the final weekend of the football season.  This show is an exploration of working-class pride, obsession, and political engagement and football culture, particularly of Liverpool FC and its fans. 

This show runs for two nights, this performance was staged on 23^rd May, it then moves to the newly reopened Epstein Theatre, Liverpool on  24th May 2025.

Tickets are available from https://beatingberlusconi.com

Reviewer – Anne Pritchard

On – 23.5.25

 

 

Music Review: Grateful Fred Presents Bijou Sessions - Naomi Campbell Bijou Cinema Southport

In the intimate setting of Southport’s independent Bijou Cinema, Naomi Campbell delivered a quietly captivating acoustic set as part of the Grateful Fred Presents Bijou Sessions, supporting Jocelyn Petit and Ellen Gira. With a modest but attentive audience, largely composed of older, seasoned music lovers, Campbell’s performance stood out for its warmth, storytelling, and subtle musical craftsmanship.

Opening with ‘Across the Waves’, a reflective piece charting her personal journey from Ireland to Liverpool, Campbell immediately set the tone for a selection of songs rooted in emotion and place. Her delicate guitar work and clear vocals created a close connection with the audience. The second song, ‘Don’t You Mind’ — which she recorded during a stint in Memphis — brought a touch of Southern soul, enriched with harmonica flourishes that reappeared later in the set.

A heartfelt rendition of Neil Young’s ‘Harvest Moon’ offered a familiar anchor for the audience, showcasing Campbell’s ability to reinterpret classics with respect and originality. She followed with ‘Your House’, a track by her band Motel Sundown from their 2024 EP El Dorado, which carried echoes of Crosby, Stills and Nash in its intricate vocal phrasing and nostalgic tone.

Her 2024 solo single ‘Tuesday’s News’, influenced by David Crosby, deepened the sense of introspection and West Coast folk homage, while the acoustic version of her current single ‘Remembering’ allowed her songwriting to take centre stage, stripped of studio polish and even more affecting for it.

The set closed with ‘The Cottage’, a wistful meditation on an empty house near her local train station — a quietly powerful ending to a set that would make a perfect side-1 for a solo album.

In a world of loud, overblown performances, Naomi Campbell’s stripped-back set was a reminder that sometimes, all you need is a voice, a guitar, and songs that tell the truth.

The Grateful Fred Presents Bijou Sessions are a series of intimate live music events held at the Southport’s Bijou Cinema. Organized by Grateful Fred's Americana, Roots & Acoustic Nights, these sessions showcase a diverse range of acoustic, folk, and roots artists from around the world.

Reviewer – Adrian Cork

On – 22.05.2025

THEATRE REVIEW - FRINGE new writing LOVE The Edge Theatre, Chorlton (Manchester)

 

When a father's past life - one which he moved away from and deliberately tried to hide - comes back to haunt him and threaten to tear the family apart; how will his two young adult daughters take the news? And who exactly is Joanie? Playing out like a lost episode of 'Eastenders', this 80 minute play is full of those "dum dum dum" moments. 

The acting from this four-strong cast is naturalistic honest and emotional. Leslie Davidoff plays the central character of Mac, who left a wife and son in London to start a new life up north. His descent into morose introvertedness was a little sudden perhaps, but given the constraints of the play, it was necessary. The same goes for Emily's reaction to this bombshell news. Played by Eve Phillips, Emily is the one-year-older-than-her-sister daughter, who whilst she tries to get her own life (which seems to be in pieces a little at the moment) back into some kind of order is living at home with her dad and looking after him after the death of her mother. Joanie - the best friend of Mac's first wife back in London knocks on the door one day, and this is the catalyst for a descending spiral of emotions. Melissa Roberts plays this role with obvious enjoyment, still playing the seductress despite her protestations otherwise. It takes the more sensible, younger, university student and religious daughter, Jessica (Emily Ward) to come and put the family back in order again as best she can. 

The four performers worked excellently together, there was a good chemistry between them all, and their character arcs nicely paced. We never for one moment did not believe their characters or relationships, providing the audience with some truly tender and emotionally charged moments.

The set and acting area was very strange. A table with a couple of chairs (facing the audience) sufficed as the dining room, the kitchen (hidden behind some uncomely and out-of-place speakers) behind, whilst the living room (hardly used) was a single occasional chair and table - again staring directly out to the audience. However, behind all of this was a huge stage area which was completely unused, save for making too-long entrances and exits. This made for a stilted direction, and indeed the unnaturalness of the directing in general (Adam Cachia and Lauren Ellis-Stretch) made for some rather awkward and strange juxtapositional interchanges with the cast.

I am also uncertain why the play relied so heavily on food and drink. Was this an extended metaphor - i.e. Peter Greenaway-esque - and if so, did this all lead to Joanie putting butter on his cake in the final scene? 

Reviewer - Alastair Zyggu

on - 22.5.25

Theatre Review - Picture You Dead by Peter James Floral Pavilion, New Brighton

‘Picture You Dead’ is the latest theatrical adaptation of the best-selling series of novels by Peter James and is currently touring regional venues across the UK. As always, the action is focused on the Brighton based investigations of Detective Superintendent Roy Grace, here skilfully and confidently portrayed by George Rainsford. With regular sidekick Glenn Branson away on holiday in Barbados, Grace is instead partnered by DS Bella Moy (Gemma Stroyan) with whom he has a good rapport.

The first point I must make about this play is the extraordinary set, brilliantly conceived and designed by Adrian Linford. On one side, you see the plain, sparsely furnished apartment of Freya and Harry Kipling (Fiona Wade and Ben Cutler). On the other side is the ramshackle and cluttered studio occupied by local artist Dave Hegarty (Mark Oxtoby).

The performance begins with Freya and Harry bringing in a second-hand swivel chair they have a bit of fun with, and a painting, both purchased at a local car boot sale. Whilst this is going on, we see Dave hard at work on his latest creation, his forte being carefully and lovingly crafted copies of masterpieces by the likes of Lowry and Canaletto. Freya and Harry are intrigued when they suspect that the picture has been painted over another earlier image and decide to discover what lies underneath. Harry is a builder and had previously built a garage for Dave. Freya calls Dave and he guides Harry on how to remove the layer of paint without damaging the original painting. What Freya and Harry do not know is that Dave has a criminal past, having been arrested by Grace for forgery. Whilst in jail, Dave studied art and honed his craft to a highly proficient level.

An antiques-based TV programme was being filmed locally, so Freya and Harry take the painting along to see if it might be valuable. We learn that she is unemployed, and Harry is owed money from a previous job, which means they are rather short of cash. Suave host Oliver De Souza (Adam Morris) is thrilled when he instantly recognises the style of a famous French artist and effusively extols its potential value, all of which is captured on the broadcast episode.

Unsurprisingly, Freya and Harry are delighted that their money worries might be over, and they are advised to have the painting valued by Sotheby’s. Unfortunately for them, the programme catches the attention of devious and arrogant millionaire collector Stuart Piper (Ore Oduba) and his associate Roberta Kilgore (Jodie Steele). For a long time, Piper has been searching for the long-lost artwork to complete a series of four as he already owns the other three. He is determined to acquire it at all costs, with the assistance of the worldly-wise Roberta and local burglar Archie Goff (Sean Jones). The room where his art collection is housed is cleverly revealed as part of the intricate set.

I am not going to say anything more about the plot itself, so as not to spoil it, but instead, I will concentrate on other aspects of the drama. This is a multi-layered piece of theatre by award-winning director Jonathan O’Boyle, and the pace was well maintained throughout. As you would expect, the scene changes were slickly performed, and all the lighting and sound cues were highly effective. 

Although I would definitely recommend it, my only criticism is that a few of the actors were, at times, too quiet when delivering their lines. I was sat near the back of the stalls and could not hear every word, which is rather surprising from a fully professional cast.

The production runs until Saturday, including a matinee on that day, and tickets can be purchased from the theatre’s website: https://www.floralpavilion.com/

David Swift

20/05/2025

THEATRE REVIEW AMATEUR MUSICAL Little Shop Of Horrors PADOS @ The Met Theatre, Bury

 

'Little Shop Of Horrors' has now become something of a cult musical, and yet started out, as these things often do, in the seemingly most innocent and unlikely of places, as an off-off Broadway production with a micro-budget and a small but very talented cast, which transferred to an Off-Broadway theatre and ran for a record-breaking 2209 performances.! It tells the darkly humorous spoof horror story - an affectionate lampooning of the B-Movie Horror genre - of a young man called Seymour who works in a run-down and failing flower shop in an even more run-down and slum neighbourhood in NYC, who finds a 'strange and unusual plant', and tends for it with his own blood (quite literally, and thereby hangs the problem, and the premise for the whole show...!)

If I were to say that I have seen this musical at least 50 times over the years it would not be an exaggeration, and so knowing exactly what is in store as an audience member comes with both its joys and disappointments; hopes and surprises. And as much as one would like to be - indeed every reviewer aspires to it but none truly reach it - completely objective; our own tastes and expectations will always affect the way we review a show. It is the nature of the beast so to speak. However, the cast need not have any worries at all from this particular reviewer this evening, as I was watching a very fresh and inspired look at some rather tired and oftentimes mono-dimensional characters. Here, working with director Alexander Cohen, the cast had found a lot more depth and humanity in their characters than the usual cardboard cut-outs most companies are content with. Seymour was not the insipid geek but a believable and real person with emotions and depth (Kit Phillips); Audrey was not the ditsy peroxide blonde bimbo here, but again a real character with heart and feeling, and even intelligence and sympathy (Isobel Cunliffe), and our sadistic dentist boyfriend Orin was given a shiny new make-over in a characterisation which worked superbly (Ciaran Lockwood). I have seen several versions of this show where Mushnik has been a female, and here Andrea Berger truly 'went for it!'. Her NY Jewish accent and demeanour gave her the right starting point and gave a lively and loud performance, but for me at least was just a little OTT.

The show is commented upon and the storyline progressed in a very 'Greek Chorus' sort of way, as a trio of all-singing / dancing ladies - very much in the style of The Supremes or The Ronettes - come in and out of the action throughout. This evening's trio of close-harmonising sisters were Katie Johnson (Ronnette), Rachel Garrett (Chiffon), and Francesca Groves (Crystal).Their singing and dancing a delight, although I would have preferred a couple more costume changes. The plant itself (aka Audrey 2) was manipulated by an uncredited member of the society, whilst the speaking and singing (backstage and unseen) was performed excellently by Izzi Smith. This was only the third time (to my memory) that there has been a female plant voice, and this gives it a very different nuance, and again, I was pleasantly surprised at how a slight change of vocal intonation can change the whole character of something I know so well.

The musical was never written to include a chorus - just a couple of "extras" - and in this show this was an ensemble of just 6. Perhaps that was enough but if so, then they were not used enough to create the illusion of more people passing the shop, lurking in the gutter, and visiting after fame comes to the area. That being said, I loved Arthur Roadnight's frequent character changes towards the end of the second act.

For me it was the set this evening which was not optimal. We were presented with the outside of Mushnik's shop and the Skid Row street running parallel. This then opened up - picturebook-like -  to reveal the shop's interior. For a start this became very predictable and over fussy... it just kept happening too often and ruined the flow of the show. Why couldn't both street and shop interior be shown on stage together. Moreover, the whole was far too clean and well-kept! Skid Row should have been dirty, full of rubbish and graffiti. Even the bricks of the shop wall were in perfect condition! But I think the most irritating thing for me this evening were the two posts either side of the stage holding the lamps for certain parts of the LX design. First, they were in the way. From where I was seated the whole of the SL steps were obliterated, and could not see any action on them, and they pulled focus in other scenes too, being big, black and obvious. Second, they were not used very much anyway, and even when they were, did not truly add much to the overall effect of the stage lighting. However if they were needed, then why not place them on the auditorium floor away from the stage.

The live band sounded wonderful, and I loved Tom Bowes musical direction as he allowed the freedom to find their own particular nuances through the songs, and most of the songs were taken just a tad slower than normal, making them enunciate the lyrics more carefully, this bringing the story closer. 'Somewhere That's Green' was nicely done, and 'Suddenly Seymour' was simply one of the best interpretations I have thus far seen.

Sound levels were good, and the overall feel of the show was excellently realised. If you have seen the show before, then perhaps the finale was a little tame, but if not, don't worry, just sit back, relax, and enjoy this talented society's romp into 1950's sci-fi USA.... just whatever you do, don't feed the plants!

Reviewer - Alastair Zyggu

on - 21.5.25

THEATRE REVIEW AMATEUR Priscilla, Queen Of The Desert HAODS @ Middleton Arena

Where there is glamour there has to be glitz, the two go hand in glove, and so it follows that where there is Priscilla, there has to be drag queens. Heywood AODS's latest theatrical offering had it all... the glitz, the glamour, and more drag than you could throw a stick at!! Canal Street beware... you have got fierce competition!

Priscilla, Queen Of The Desert is a musical romp based on the camp Australian film about three drag queens who travel across the outback from Sydney to Alice Springs. The music is juke-box style, and so we have many pop hits from the likes of Kylie Minogue (obviously!), The Weather Girls (It's Raining Men), Tina Turner, and goodness knows how many other 'gay' icons, whilst the story follows the film which takes these three drag artistes as they find love, understanding, and even adulation from the most unlikely of sources. They do however, have to suffer much too, and neither the film not this evening's production shied away from the gritty reality, much to the director's credit.

The voice-over at the start of the show told us what to expect... "drag, disco and drama"... and that is exactly what we got in equal measure throughout. The costumes were fantabulous, outrageous and 'divine'; whilst the lighting design (along with some special effects) created the right moods and gave the show that 12980's disco feel nicely, and the sound levels were optimal throughout, never overpowering, but loud enough to think you were watching a drag act in a dingy mid-Australian dive. The live band - conducted by David Abendstern, sounded lyrical and professional, giving the score the correct feel. The chorus singing was good, and I enjoyed listening to some nice harmonies this evening, whilst the choreography (Jessica McEvoy) was quite simple but cleverly tuned to the abilities of the chorus nicely, and taking the huge costumes into consideration too!  

The three main principals, and driving force behind the show, all worked well both individually and as a trio. They seemed to bond with each other more as the show went on, just as it would in real life, and there were some lovely touching moments from them. Nick Angus, no stranger to either drag or Heywood AODS, was Tick, the main with a secret wife and even more secret child tucked away in Alice Springs, and the reason for their trip there. A sensitive portrayal, and his handling of being a gay drag artiste in front of his young son at the end was just lovely. The younger, more impetuous, overtly camp and OTT Felicia was played with enthusiasm and skill by Chris Griffin; and the trio was completed with Darren Fricker's interpretation of aging transvestite Bernadette; again, a sensitive and sensible portrayal.

Aiding and abetting this trio along their journey were several cameo and smaller roles. All were performed with great gusto as they obviously were enjoying their stage time this evening. Special mention should be made of Max Freeman's turn as acerbic drag artiste Miss Understanding and his almost Tiller Girl routine as the Young Bernadette; whilst Keith McEvoy's Bob was sincere and heart felt. Special mention to the plucky youngster Jack Walsh who appears at the end of the show as Tick's son. However, of al the lesser roles in this show it was the three Divas who truly made this a retro disco superbo! Dressed like, as well as moving and singing like The Supremes or similar, Helen Ireland, Tilly Smith and Courtney McLean added the female glamour to a very male dominated show, which had more scantily clad and bare-chested males in it than seen at G.A,Y. Bar in Manchester of a Saturday night! My only real negative criticism with the cast is that the Australian accents were never consistent and some were sadly non-existent; this would have been the cherry on top of the icing, but the icing was never in question!

The "star" of the show though simply has to be Priscilla - the bus. This takes up a huge amount of stage space, but is totally worth it, and the Stage Management team have their work cut out in forever turning it to reveal it's interior, and pulling / pushing it up/down stage as required. 

A few very minor tech issues this evening, but it was opening night and so these are easily overlooked. This is a fun, inclusive (even if it is foul-mouthed), and intelligently realised production full of showstopping production numbers and 80's glam!

Reviewer - Alastair Zyggu

on - 20.5.25

Theatre Review - The Deep Blue Sea by Terence Rattigan Bolton Little Theatre

This intense drama is ideally staged in the theatre Forge, an intimate space that has around sixty seats on three sides. Hence, as an audience member, you are close to the action and can see every nuance and expression, something I particularly like. Director Peter Scofield made effective use of every inch in his well-designed set, a small Northwest London flat in the early 1950s.

The play is inspired by the breakdown of the playwright’s own relationship with his former lover. It opens with Hester Collyer (Rebecca Carney) entering from the bedroom in a very distraught state. Her intention to commit suicide is clear as she switches on the gas fire and lies next to it, covering the back of her head with a pillow. Evidence of pill taking and recently drunk alcohol is on the table near the centrally positioned sofa.

Frantic knocking and shouting are then heard. Wily housekeeper Mrs. Elton, played with admirable gusto by Carol Butler, and tenants Philip and Ann Welch (Alfred Howard and Eleanor Maxwell) barge in and find Hester just in time. Luckily, the gas had run out as she had forgotten to top up the meter. Mr. Miller (Chris Dunn) is called for – he used to be a doctor, although the reasons for this only become clear later.

Suffice it to say that Miller insisted on being referred to as “Mr", not “Doctor”, and now has a job as a bookmaker’s assistant. 

Hester is helped into the off-stage bedroom to recover, and to allow Miller to examine her. In an emotional and rather tragic play, it is important that the mood is tempered with humour, and this is largely provided by the housekeeper who regularly refers to elderly Mr. Elton, but we never see him.

As the first act continues, we are introduced to the rest of the cast. Firstly, Hester’s estranged husband Sir William Collyer (Simon Mott), who is summoned from his duties as a high court judge. Then we meet Freddie Page (Ben Kilburn), whom Hester has been having a tempestuous affair with for the last 10 months. It is interesting to note that Hester calls herself Mrs. Page to the Welches, Miller and Elton as she has obviously tried to hide the fact that she left her husband for Freddie. Lastly, we come across Page’s close business associate Jackie Jackson (Tom Wilson).

Whenever Hester meets or speaks to her actual husband, she calls him Willy. There is good chemistry between Hester and Willy. Sadly though, it is plainly obvious why she left him for the flamboyant, much younger Freddie. Unfortunately for Hester and anyone else who encounters Freddie, he is unpredictable and bad tempered, especially when drunk. His penchant for whisky is both witnessed by the audience and referred to in conversation regarding his frequent visit to the golf course, gentlemen’s clubs and other venues of ill repute. We learn that Freddie was a highly skilled pilot in the RAF during the Second World War, and we hear of his efforts to secure alternative employment as a test pilot.

Every actor was ‘on point’ as far as their individual characters were concerned. All lines were well delivered with strong diction and good changes of emphasis and passion when required. The pace of what is quite a verbose play was maintained throughout, and I can highly recommend it.

Thank you to Peter and the front-of-house staff for their welcome and hospitality. Free street parking is available along Hanover Street from 6:30pm. The production runs until Saturday 24.05.2025 and tickets can be purchased from the theatre’s website: https://www.boltonlittletheatre.co.uk/

Reviewer - David Swift

On - 19/05/2025

STUDENT THEATRE REVIEW Arden Theatre School Theatre And Performance Third Year Graduate showcase - UnTaPped. The Lowry Theatre - Salford.

"UnTaPped" is the annual title of the graduating class of Arden Theatre's Schools TAP Course [Theatre And Performance], and each year the students produce their own 'farewell' festival. Over the years these have been performed in various theatre and non-theatre locations throughout Manchester, but none as prestigious as where these students were given rein for this UnTaPped; Salford's Lowry Theatre - taking over the Aldridge Studio and other locations around it for two whole days.

As always the students on this course aim to push boundaries, rip open the envelope, challenge, provoke and shock. These are the movers and shakers of the 21st century theatre, and we are not talking conventional theatre, but a theatre where rules are broken or ignored completely, and one where audiences are routinely challenged and taken out of their comfort zones. Experimental Theatre it used to be called; but even that moniker seems somehow too tame for some of the productions I have witnessed by students on this course over the years, although thankfully not today's particular students. 

These students were a truly lovely bunch. I had the good fortune to converse3 with several of them between shows today, and I am more than happy to say that they were a delight to engage with. Focussed, intelligent, knowledgeable, and above all friendly and open.

The whole 'idea' behind this year's farewell party was simply that: these students are all graduating, they all need their Prom (such an American idea, and so foreign to my sensibilities... we did not have these back in the day!). The whole audience waiting area was festooned with flowers, drapes, candles, etc, and there was even a VIP photo wall for guests to have their photos taken and pinned up. And of course best bib and tucker for the students when ushering FOH. As audience members we were also invited to put on out glad rags if we so desired, a nice idea, although I have to say I declined; sitting in theatres all day wearing a DJ and bowties did not appeal. (I did concede to wearing a pair of checked trousers though!)

Today's programme boasted 3 Durational performances - a solo actor / actress continues a monologue in character for sometimes several hours whilst audiences can dip and out at will; and six pieces of a more conventional nature. Obviously I shall not do 'in depth' reviews for all the shows, that would simply be overkill, but I shall write down my own musings and impressions of each as we go along.

So let's start with the Durational Performances. These were 'The Speech' performed by Lila Gardner, 'At The Viewer's Discretion' performed by Teigen-Lea Rouse, and 'I'm Working On It' performed by Jacob Lisle. All three were really quite different from each other but all showing a much deeper insight into the performer than at first we might consider. As Gardner uses excerpts from political speeches  and manuscripts in a vain attempt at promoting her own vanity - she is mechanical, an automaton perhaps, as she accepts an award, a beauty queen without, but what is within?? whilst Rouse sits at her bedroom mirror applying make-up, as we watch her from the opposite side of said mirror; again it is intimate and personal. However here there is no dialogue, we gleam everything from her facial expression and body language. She is striving for an ultimate but unobtainable beauty, and we watch her voyeuristically. It is quite sensual and seductive at times, but there is something not quite right - one audience member wrote that she was "quite psychotic but slightly beautiful" -  her sadness, a dissatisfaction lurks just under the surface. Lisle's performance was a change of pace completely as he performed anarchic comedy with skill. Inviting the audience to control his performance by switching lights on and off, playing music or voice overs and pulling party poppers anytime they liked. Again, on the surface this was just a bit of fun, however, he was ostensibly striving to write the perfect novel, trying to be the best - again, an unachievable aim. All three powerful performers showed both courage and skill in these performances, although Lisle also showed he was a very personable actor too. The subject matters were deeply personal to them, and this is why they worked as well as they did.

These three performances were the perfect introduction to "the weird and crazy world" (thank you to one of the students for providing me with this phrase) of the TAP Team. It was now time to enter the theatre and be entertained by the rest of the squad.

First came 'Stitching Sparks' (Max Lait and Viktor Wild). Here we saw a mad inventor create a humanoid 'monster' for her own sexual pleasure, I-
Gor. In this Mel Brookes-esque dark comedy horror there is physical comedy and much body language, as the monster has not yet learned speech. Her advances at a romantic liaison with her are directed by her own AI programming on her computer, and these are disastrous. It finally ends with the compromise, "I don't want you to be perfect - I just want you to be OK". Following this as a double bill was 'threezasqueeze'.performed by Bronwyn Bull, Brooke Maloney, and Jade Rothera. Dressed in shorts and t-shirts with their 'trademark' long multi-coloured stripy socks they use clowning, physical comedy, song, and dance to perform what is ostensibly a children's show, but as the play progresses it is more a therapy session as they expunge their own childhood memories, and become saddened by the fact that many of their memories include the last time they did a certain activity, as the child disappears and they are forced to embrace the mundaneness of adulthood. This was an interesting concept and worked well however the actresses needed to project their voices more, audibility at the back of the auditorium was a struggle at times. Next was 'Women Lying On A Floor', performed by Sophie Meakin and Ella Roberts. This saw the two of the doing exactly what the title suggested, as they were prostrate on the stage as the show began. This was a potted history of Salford's Lowry Theatre (it celebrates 25 years this year), and this was done with historical references, and re-enactments of some of the productions the Lowry has hosted - as well as the Nightingale Court which was housed in this building as an overflow Crown Court. Two things marred this particular production for me; first was the decision to put the video screen right at the front centre of the stage and have it so small. From where I was seated it was impossible to read so I missed whatever was projected on there. This leads me to my second point, the denouement and ending of their play, which relied entirely upon this screen, and the two cast end up lying on the canal-side outside - the blinds are lifted so we can see - but of course we cannot, and few of us stand up to look out of the window in any case. Why not put a full-sixed screen behind the performance? (or would that have been too conventional?)

Next we were into another double bill: 'The Desperate (Mis)Guide To Being A Feminist', saw Josh Berrisford and Nina Bussink working together excellently. Records are played as they take it in turns to seduce each other with varying degrees of unsuccess. There is no speaking throughout, as they let their bodies do the talking with aplomb. Comedy, mime, and playfully provocative using the music and their obvious delight in performing with each other to show us a microcosm of a long term relationship ending in, what most relationships find themselves agreeing to, a reconciled mediocrity. After this was 'The Art Of Manipulation', performed by Ava Cannon and Nicole Ravenscroft. For me this piece was the most abstract and least accessible of all them today, and as such, perhaps fitted the remit of the TAP course the most (?!) There was obviously a political message to be garnered from this performance, but was left a little uncertain as to what it was by the end. These two kept trying to one-up each other and in so doing ending up cat-fighting. There was a lot of fighting, and if indeed this fighting was choreographed then it was superbly done, since it looked both spontaneous and real. It did go on for a very long time though. And why on earth was there a blow-up doll in the middle?

And finally, the culmination of their three years at Arden, the full company came together to perform, 'The Last Act'. This is a reworking of a piece of theatre I have already seen, and using multi-media and even audience participation, it was anarchic, chaotic, and heart-felt. The premise being they they were trying to find the perfect end - the perfect way to say good-bye. Using all the skill-sets that they had been taught over the years and bringing everything together, they still seemed unable to find a suitable conclusion. Quotes from the show which resounded included, "I tried to quit, but the theatre wouldn't let me", "Endings scare me, so I keep writing beginnings", "We care the story". Full gas, full power, no punches pulled performance from al 15  A shame they stayed on the floor until the audience left, we all wanted to give them the applause they so rightly deserved and wish them well for the future.

It was clear, finally, that all the plays, presentations and pieces of theatre prior to 'The Last Act'  were simply fragments of or extensions of characters or situations in their final piece. Of course, all the pieces could be taken individually and seen on their own merit, but after watching their final show it was abundantly clear that they had cleverly taken  and developed ideas from it for their own purposes.  The whole two-day festival led inexorably to their final bow, and then, given the opportunity for them to do just that, stand and receive their farewell applause, they chose deliberately to lie on the floor and reject their audience's approbation. A truly fitting end for students on a course such as this, just one more snub at the conventional saying, 'This is not the end, but it is now a new beginning. Like seeds sown on the ground, we will start to go and grow our own ways.'

Reviewer - Alastair Zyggu

on - 17.5.25 

CONCERT REVIEW - Amateur music TOM AND CILLA NWTAC Theatre Moston

Who doesn't like a bit of Tom Jones and Cilla Black.. and the promise of a whole evening of music devoted to them seemed like manna from heaven. This was the latest presentation from North West Theatre Arts Company (NWTAC), based in Moston, North Manchester. 

The concert was in two halves, with the first act devoted to Cilla Black. Here, actress Beth Singh portrayed the Liverpudlian icon in her younger years - the mid sixties - perhaps at the height of her popularity. This was not the first time I have seen Singh as her alter ego, and she truly embodies Black. From the moment she walked on stage and throughout her 50 minute stage-time, she simply WAS Cilla. Her voice, her actions, her gait, and her voice all giving a fully-rounded, sympathetic, and superb impression of the former pop icon. Her set included some favourites, interspersed with a few of her lesser known songs, including a couple I have (as far as I know) never heard before.

After the interval and it was the turn of Adam Parker-Brown to reinvent himself as Sir Tom Jones. Once again, he performed a solo 50-minute set, and again, mixed many of Jones's standards with a few lesser-known or unknown tracks. There was one huge difference though here with Parker-Brown. Right from the start he made it clear to us that he was not Tom Jones, he was simply doing an impersonation, and as such, we knew he was just acting. Again, Parker-Brown chose to impersonate Jones in his most popular years, when he truly was a sexy pop superstar, and although at times he did sing very much like Tom Jones, he never sounded like him when speaking. It was also quite unnerving sitting on the front row during his performance, whereas I never felt at all vulnerable or uneasy during Cilla Black's stage time.  

Sadly for me the sound levels were set far too high for the size of the venue, and seated as I was, very close to one large speaker, I was bombarded with noise rather than being able to hear the songs at a suitable level. Both acts used pro playback tracks which worked nicely. and the lighting and effects worked well throughout. I had thought though that perhaps, with NWTAC being a training academy and having its own company, they might have used a few of its members to fill out the stage and provide backing vocals or dances to some of the songs, but unfortunately that was not the case. 

Beth Singh WAS Cilla Black and was obviously very at home and enjoying herself; whilst Adam Parker-Brown's Tom Jones routine would be ideal for a summer season at either Butlins or a sea-front Blackpool hotel. He would go down a storm there!

Reviewer - Alastair Zyggu

on - 16.5.25  

Outdoor Concert Review - Back to Boogie Concert, Arley Hall, Northwich

 What could be more enjoyable than sitting in the sun with a glass of wine listening to 1970’s disco icons Boney M headline the Back to Boogie Concert celebrating the band’s 50th anniversary? It was super enjoyable. 

Added to that, US chart-toppers Odyssey and Liverpool soul legends The Real Thing plus Hot Chocolate frontman Kennie Simon also added to the enjoyment.

Live At Arley launched last year and enjoyed huge success with amazing live performances from superstar performers along with delicious food and drink.

This was the first of a two day event which was blessed with amazing sunny weather, and everyone was in the mood for singing and dancing with the crowd being well equipped with chairs, picnic tables and food but there was plenty of food available for those who wanted to purchase something hot and tasty. Local entrepreneurs, Dexter & Jones run by husband and wife team, Adam and Katy Rickett were on hand in the VIP area providing drinks and ambiance. 

Hot Chocolate frontman Kennie Simon who has enjoyed a prolific music career spanning more than six decades, as Hot Chocolate’s lead singer and keyboard player for the past 15 years, kicked off the entertainment singing all the band’s hits people love and remembered from their heyday.  He was accompanied on stage by two girls dressed in silver sparkly costumes wearing space-age silver helmets.

He was followed by US chart-toppers Odyssey famous for their 1977 hit ‘Native New Yorker,’ and ‘Inside Out’. The Real Thing entertained next, with lots of Liverpool themed repartee, thrilling the crowd dancing in front of the stage. 

The main event of the evening were Boney M featuring Maizie Williams, the only original band member now performing.  The three female singers and single mail vocalists all wore different coloured sparkly outfits and performed all their hits and more, much to the delight of the crowd, many videoing and photographing the performance.  Mega large latex coloured balloons were thrown into the crowd who hit them high into the air and over the heads of all who were watching. The crowd, as expected didn’t want Boney M to finish their set and they were treated to an encore of two more songs including another rendition of ‘Ma Baker’. The evening finished with a splendid firework display, much enjoyed by the crowd.

This two day  event culminates in Salford-born superstar singer Russell Watson, crowned the UK’s best-selling classical artist of all time who is celebrating 25 years since the release of his landmark debut album The Voice, taking to the stage on Sunday 18^th May with a Proms and Anniversary concert supported by a host of musicians and singers from brass and pipe bands to 100-strong local choirs and performers.

This year’s Live at Arley is supporting local charity The GEM Appeal which fundraises for the Willink Unit based at the Royal Manchester Children’s Hospital and its vital research into genetic diseases. A video was shown of TV actress/presenter, Denise Welch, patron of the charity, appealing for funds and there was a raffle supporting the cause. 

It was a thoroughly enjoyable way to spend an afternoon and evening, and the crowd went home happily at the end of the evening which ran from 4pm – 10pm.

Reviewer – Anne Pritchard

On - 17052025

Theatre Review - Confusions By Alan Ayckbourn Droylsden Little Theatre

Of the seventy plus plays written by Alan Ayckbourn, ‘Confusions’ can be classed as one of his early works, and is still a relatively popular choice for smaller theatres, though not as widely performed as the likes of say ‘Bedroom Farce’ or Absurd Person Singular.’ Droylsden Little Theatre did full justice to this play which is actually five one-act plays, quite different from each other in both setting and characters but bound together by a common exploration of people’s foibles, the chaos of relationships and the need for companionship.

‘Confusions’ was written in 1974 and whilst many elements of the human condition never change, the play is certainly a time-piece, in which the male attitudes to women in particular looked extremely dated, with old-fashioned stereotypical images of the housebound housewife and men’s position as the sole breadwinner. Imagine a man trying to chat up a woman up today by marvelling at how liberated females are?

Droylsden Little Theatre did an excellent job of presenting the five different scenes of a domestic house, a restaurant, a hotel bar, a village fete and a park, with just the right of amount of furniture and props to create a convincing atmosphere whilst still being effectively minimalist in style.

This play demanded a high level of acting ability from the cast because to work effectively, each cast member was required to play several very different characters from contrasting backgrounds. Amy Evans appeared in all five plays, from an over-maternal mother in a dressing gown, to a sophisticated wealthy diner to a leather-jacketed goth (complete with black lipstick), convincingly giving life to each role. Claire White also appeared in each scene, with Ayckbourn have made each of her characters, in varied ways, effectively ‘the straight man’, against which other characters sparked off their eccentricities. This is not to downplay the important of her roles; would Eric Morecombe have been nearly so funny without Ernie Wise to act against?

Keith Thompson was very funny as a hapless waiter struggling to do his job in the face of increasing antagonism, amongst his customers. He was also well cast as the manager of a village fate, trying to keep everything together in the face of mayhem. The funniest performance of the night was however almost certainly Dale Nugent’s role as a salesman getting progressively drunk whilst displaying a Basil Fawltyesque failure to recognise his own failings and how he was actually viewed by others. In his next role as an uptight businessman in a restaurant, it was hard to believe it was the same actor and he later gave an amusing portrayal of a vicar (albeit in the form of another outdated 60’s/70’s cliché from another age).

Credit must also be given to Damien Frendo for some very varied presentations, from an alpha-male husband who liked to think he was in control of everything to a very nerdy jobsworth out to dinner in a restaurant. Should DLT every decide to put on ‘Allo Allo’, they have a perfect casting choice here for Crabtree the policeman!

Amanda Kenyon did an excellent job in her directorial debut with this production, getting the actors working together in close harmony, whilst using the generous stage area to good effect. The transition between scene was also noticeably very smoothly executed. Credit should also be given to Drolysden Little Theatre itself which is something of a hidden gem, offering wide, comfortable seating and a very pleasant (and spacious) bar whilst clearly having excellent technical facilities and a big stage. This was a very consummate production from an enthusiastic and creative theatre.

Reviewer - John Waterhouse

On - 16.05.2025

Theatre Review - “BUFF” Waterside Arts Centre Sale

“Buff” by Ben Fensome is an enjoyable one-man show about the insecurities and challenges of a gay man who does not fit the Grindr ideal. Presented by Emmerson & Ward Productions, this performance was at the Waterside Arts Centre in Sale as part of the Pride in Trafford season.

The unnamed main character is a Year 4 teacher of cuddly proportions; and he has just rented out his spare room to a new flatmate: Jamie. Jamie works out at the gym at 5am every morning. Jamie has sharply-defined transversus abdominis muscles where our hero has a generous muffin-top. Jamie is a star on Instagram. In short: Jamie is buff. Desired, and sought after. And his new host is not.

This short play skips rapidly through multiple time zones as we get a snapshot of the protagonist’s life over the duration of Jamie’s residency in his flat. Sometimes, the character literally gets out only one line before lights and sound dramatically change, and we are in another location and another day or night. Quite a few times we are snapped into a classroom, where the protagonist tries to keep order among his lively nine-year-olds, while avoiding queries about weddings and girlfriends. It was interesting to note the demeanour of respectability and age-appropriateness he kept in those scenes (and that he is a genuinely lovely teacher!), and the contrast to the completely unfiltered side of his personality that he demonstrated everywhere else.

This character is a very nice man, who yearns to be loved and in love, but also is dealing with the gay sex dating world in all its crudest glory. Over the period of the play he develops from a sweet teddy bear to a figure of piteous desperation, bitten by repeated rejection and loneliness. And yes, he starts getting feelings for Jamie…..

Jamal Franklin was utterly delightful as the main character. His beaming charisma filled the stage, and his mercurial fluidity poured sixteen different expressions into every sentence. All his lines were dialogue to other characters, so he had to bring multiple invisible people to life quite rapidly, and we could envisage every one of them.

Director Scott Le Crass worked his tech team hard, with every micro-scene broken up into changes of lighting and sound that helped transport us further. The set was of only one single pink chair, but between the technical effects and Franklin’s performance energy as an actor, the stage was always filled with a swirl of whatever new world the script was taking us to now.

Currently on national tour.

Reviewer - Thalia Terpsichore

On - 15.05.2025

Musical Theatre Review - Walk Right Back The Atkinson Southport

 

Walk Right Back tells the story of the singing duo who were hailed as the most successful duo of all time, The Everly Brothers - Don and Phil. The show relates the musical journey of the two brothers and how their parents supported them plus the fall-outs, managerial hitches and the ups and downs of fame.

It was a full house with a mixed audience of all ages, showing just how popular The Everly’s music still  is. A quote from Paul McCartney was displayed on the opening credits of the video projection on the stage backdrop saying, ‘Phil Everly was one of my great heroes, when me and John Lennon began writing songs, I would be Phil and John would be Don’.

The set was constant with a dais for the keyboard player and drummer. ‘Everly’s’ – Jake Byrom (Don) and Luke Wilson (Phil) fronted the band on retro mics with guitars throughout; band members, Michael Clancy (guitar and vocals), Peter Ravenhill (bass), Curtis Lavender (keyboards, guitar and vocals) and Chris Webb (drums and vocals) were tremendous support with solo spots for Clancy and Lavender adding to the enjoyment.

A screen projection on the stage backdrop displayed various stills and videos of past musical stars in their heyday with posters and vintage newspaper clippings from the 1950’s and 1960’s. The use of dry ice and coloured spotlights was used throughout.

The Everly’s story was told by Luke and Jake in chronological order relating the mood and feel of the time during  the rock and roll era of the 1950’s which eventually overtook the popular  country music of stars such as Hank Williams and Chet Atkins.

The two lead vocalists, Luke and Jake, outstandingly relate the story in-between delivering outstanding vocals and heart-wrenching storytelling with many lyrics of the songs bringing a tear to many eyes in the audience. The duo ensured that the audience felt involved and engaged in the show, which connects not just to the music, but to the story and family bond as well. Both have fantastic voices, together their voices are wonderful and their stage presence as both themselves and the Everly brothers, is outstanding.

The duo opened with ‘Temptation’ before singing The Everly’s first number one hit which was turned down by over 30 other recording artists including Elvis, ‘Bye, Bye Love’, which sold over one million copies. Their second big hit came next, ‘Wake Up Little Susie’ which caused some outrage at the time because the lyrics were thought to be too raunchy and then they followed with the hit which was in the charts for half a year, ‘All I Have To Do Is Dream’. All the Everly’s hit songs are included such as, ‘Love Hurts’, ‘Let It Be Me’, ‘Love Is Strange, and Cathy’s Clown,

Guitarist Michael Clancy performed fantastically as Buddy Holly singing hits such as ‘Not Fade Away’ (which was written for the Everly Brothers who turned it down) and keyboard player Curtis Lavender shone brightly as Roy Orbison, singling some of his hits including  ‘Only The Lonely’. All six band members are incredibly talented and the group gel together well demonstrating their talents.

After a short interval, the band returned to the stage with Luke and Jake wearing black tie and dinner suits depicted the Everly’s at the Royal Albert Hall reunion after a 10 year hiatus due to their fall-out. A special tribute to Albert Lee was included along with a Buddy Holly montage.

As expected at the end, the audience wanted more, and we were able to enjoy ‘Lucille’ and ‘Bye Bye Love’ again with the audience joining in.

The evening was a delight and truly memorable, the band and two main vocalists had the audience in the palm of their hands from start to finish encouraging audience participation and cracking jokes with repartee throughout. The music was outstanding and performed to perfection by the two lead vocalists and the band. As a whole, the production really excels and it is pulled together brilliantly, they are all having fun and work really hard throughout.

This production is packed with highs and lows and took the audience on a wonderful sentimental journey of life’s highs and lows through beautiful music with its lyrics and melodies. If you were lucky enough to have grown up with this music or just love The Everly Brothers, this is definitely the show for you.  It is a cross between a rock concert, a biography and a nostalgic journey into the 1950’ and 1960’s.

This was a one-night show, but Walk Right Back is on a UK tour throughout 2025 and into 2026. 

Catch it if you can for a nostalgic and enjoyable evening of musical entertainment. https://www.ents24.com/uk/tour-dates/walk-right-back-the-everly-brothers-story-1

Reviewer – Anne Pritchard

On – 15.05.2025