Musical Theatre Review: Only Fools and Horses: The Musical at Blackpool Winter Gardens

                                                         
The much beloved Trotters have arrived in Blackpool’s Winter Gardens with their trademark charm, delivering a nostalgic, feel-good evening that captures the essence of the beloved sitcom. Although the performance does not directly follow any of the singular episodes in detail, all your favourite moments are there. However, this is not a comedy, it is a vibrant and interactive theatrical experience that will delight both die-hard fans and newcomers.

Key to the revival of any beloved tv series is that the audience are taken on a journey, not with the original actors but definitely by the original characters. This is a hard gap to bridge, however this group of actor’s manage this challenge with aplomb. Sam Lupton brings a remarkable performance to this show, leading from the front and putting the audience at ease from his first appearance on stage. His energy brings Del Boy to life, capturing the character's cheeky bravado, mannerisms and knack for dodgy dealings outstandingly. His performance is a testament to the enduring appeal of the character. Tom Major, in his professional debut (incredible), portrays Rodney with a blend of youthful exuberance, comedic timing and vocal performance. If you close your eyes, he is Rodney. Georgina Hagen (Raquel) Craig Berry (Boycie), Nicola Munns (Marlene / Cassandra) and Lee VG (Trigger) deliver memorable performances and complete the feeling of authenticity to the show. Paul Whitehouse, who also co-wrote the musical, delivers an excellent comedic and, at times, heartfelt portrayal of Grandad, infusing the role with warmth and authenticity.

He also plays another character in Act 2 but no spoilers here!

The musical score, co-written by Jim Sullivan and Paul Whitehouse, features a mix of original songs and reimagined classics from the sitcom. While some numbers, like ‘Holding Back the Years,’ when Rodney leaves to go on honeymoon with Cassandra leaving Del on his own, are emotionally resonant. Others serve more as nostalgic nods to the original series. Georgina Hagen's Raquel adds depth to the narrative in her poignant solo, 'The Girl' which showcases her vocal prowess and emotional range.

Director Caroline Jay Ranger's staging is energetic, capturing the essence of the sitcom while adapting it for the stage. The choreography adds to the show's lively atmosphere, with ensemble numbers that are both entertaining and well-executed.

Alice Power's set design effectively transports the audience to iconic locations such as the Trotters flat, the Nag's Head pub, and the bustling market stalls. The use of rotating set pieces and props ensures smooth transitions between scenes, maintaining the show's brisk pace. Leo Flint's video design complements the live action, enhancing the storytelling with dynamic backgrounds that shift seamlessly between locations. Lighting design supports the mood of each scene, from the intimate moments to the high-energy ensemble numbers, ensuring the audience remains engaged throughout. 

Costumes by Liz Ascroft are perfectly crafted, with each outfit reflecting the characters personalities and the 1980s setting. One particularly revealing costume worn by Del brings some well-deserved raucous laughter!

Only Fools and Horses The Musical is a delightful evening of theatre and it fulfils the audience desire to be taken back to the 1980’s and fall in love with the Trotter Clan all over again. With strong performances from all the lead characters supported by a wonderful and talented ensemble, the production provides a heartwarming experience for audiences. Whether you're a long-time fan or new to the Trotters world, this musical is a 'lovely jubbly' night out, and who knows this time next year we may all be millionaires.

Runs from 28th April – 3rd May 2025.

For tickets and more information, visit the official Winter Gardens website www.wintergardensblackpool.co.uk or call 01253 629600

Reviewer - Jen O’Beirne

On - 29th April 2025

OPERA REVIEW - Guisseppe Verdi - Simon Boccanegra Opera North at Royal Concert Hall, Nottingham

 

This tale of fourteenth century Venetian political intrigue is one of the composer’s less frequently

performed works, although not for any particular reason - other operas have more ‘big tunes’ or

more famous arias; what Simon Boccanegra has is concise dramaturgy and effective storytelling,

thus making it an ideal candidate for this ‘semi-staged’ concert performance. Like many of Verdi’s

operas from this period, it also contains its fair share of clunky exposition and characters who

express themselves in very broad terms - there isn’t much room for nuance in a tale where people

either love each other very much or hate each other very much. But that’s nineteenth century

romantic opera for you .....

The ethics of ‘semi-staging’ have been much debated, with some describing them as a

cynical exercise in cost-cutting; no doubt there is a cost-cutting element, but it’s unlikely to be

cynical, with opera companies everywhere strapped for cash and ON lacking the kind of funding

that Covent Garden can rely on. But as long as musical values are present and correct, there is little

need to worry and many of these ‘semi-staged’ performances have been effective because they’re

under-produced. With only a basic set and costumes, the focus is placed where it should always be:

on the playing and the singing.

Both were in fine fettle for this Nottingham performance. Opera North has assembled a

splendid cast of singing actors who do full justice to Verdi’s demanding vocal writing and they

sailed through the complex combinations of duets, trios and quintets with seasoned aplomb. Taking

a cue from baritone Roland Wood in the title role of the Pirate turned Doge, all inhabited their

characters with conviction, in an opera where lower voices predominate: basses Vazgan Gazaryan

(Boccanegra’s enemy Fiesco) and Mandla Mndebele (the treacherous Paulo) were particularly

effective as the opera’s principal antagonists, as was tenor Andres Presno as Boccanegra’s rival and

 successor Adorno. But if there was a standout performance, it was Sara Cortolezzis as

Boccanegra’s daughter Amelia (doubling in the silent role of her mother Maria in the Prologue) - a

performance of real charisma and authority that recalled Mirella Freni at her peak.

Opera North’s orchestra has been described (seriously) as ‘the Vienna Philharmonic of

northern England’ and performances like this one only serve to underline the point: they always

give a flexible and idiomatic reading of whatever score is in front of them. Under conductor

Antony Hermus, who has demonstrated his affinity with this orchestra on several previous

occasions, it becomes the prefect Verdian instrument, with the strings in the Prologue being a

perfect musical representation of the lapping waters of Venice.

Director P J Harris keeps things necessarily straightforward, but the lighting could have

done with being brighter; from a circle seat, it was hard to make out expressions on faces.

Otherwise, a splendid production. 

On tour to Hull, Liverpool and Gateshead until 24th May 2025.

https://www.operanorth.co.uk/whats-on/simon-boccanegra/#cast-creative

Reviewer - Paul Ashcroft

On - 300425

THEATRE REVIEW Education, Education, Education Salford Arts Theatre

 

Using Tony Blair's famous mantra of, 'Education, Education, Education' for the title, this is a 'Bad Education'-esque comedy play set in a comprehensive school during Tony Blair's tenure as Prime Minister (1997 to be precise), and during the 65-minute run (without interval), we see both staff and pupils trying to cope with a rather inept but well-meaning headmaster (Neil Boardman), whose grip on both the school and reality is sadly lacking. During the course of the play - which is set as a series of interconnecting vignettes which take place through just one school day - we see a friendly, well-meaning drama teacher struggle with discipline and the wrath of her colleagues, whilst the most disruptive and problematic student in the school, Emily (Mahlia Pope) is being shunned and ignored by those who should be trying to help her. It is the first day for Tobias (Owen Rowntree), a German teaching assistant, who, despite his lack of knowledge of the school system etc, and his apparent disgust at the way things are being run, he is the only one who is able to make a connection with Emily and he becomes her salvation - but it may already be too late for the drama teacher...!

The use of music throughout, and the many references to Manchester bands was an interesting touch, but the music did, at times, overpower the dialogue and pull focus. Seated as I was at the back of the theatre, I also must point out that some voices did not carry to the rear of the auditorium, and some simply spoke too quickly for me to catch every word. This was a shame, since audience closer to the stage laughed and I did not since I could neither hear nor understand sufficiently (especially when speaking over music).

The cast of 8 worked well together, changing their characters from scenelet to scenelet - from teacher to student and back, and the changes were swift and smooth. Directed by James Henderson and Ewan Sowerby, the pace was kept light and flowing, and the story easy to follow, with some nice characterisations coming through.

Reviewer - Alastair Zyggu

on - 25.4.25

THEATRE REVIEW - Supersonic Man (UK Premiere) Southwark Playhouse

This was an eye-opening performance touching on the adversaries of Motor Neurone disease and how it affects the lives of several people following a diagnosis.

Unbelievably this is a humorous and uplifting musical. I thoroughly enjoyed the show and have been very impressed with the quality of the performers, music and lighting in such a small and quiet venue.

Chris Burgess, the writer, based this musical on the story of Peter Scott Morgan who was known as the Human Cyborg. Peter Scott Morgan was also one half of the first gay couple to get married in England and featured in a reality TV show. Peter battled Motor Neurone disease which is debilitating for anyone, but almost destroyed the spirit of this flamboyant and larger than life character. Chris was inspired to put this story to music and lyrics and has achieved an intoxicating mix of fun, empathy and catchy songs.

There are only five performers in this show and they have created a team that appear to have fun and enjoyment in their camaraderie. I do hope they are friends outside of the musical. This is why the musical works.

Dylan Aiello (RADA trained) steps into the main character of Adam (Peter) and his life partner, Daryl, is played by Dominic Sullivan (Yale and Lamda trained). These two performers have strong and vibrant voices. They complement each other and move from a life of hedonism into a relationship of love and need. Adam’s voice changes throughout the performance echoing the loss through the decline of motor neurone disease and then into the Supersonic Man.

Usually I would talk about the other cast members as supplementary figures, but this time their parts are as important as the main two. Mali Wen Davies, Adam’s closest friend, almost becomes the narrator and keeps the show moving forward. She has a voice like a Nightingale as she demonstrates in her performance! An incredible talent waiting for even bigger things to come calling. Jude St James who can turn herself into a myriad of characters but straying a constant voice of reason throughout with another remarkable voice. Finally, James Lowrie, who makes a stunning opening performance during the first song ‘Once upon a time’ was in my eyes the character who lightened the whole show. He reminds me of a young Louis Spence in his movements, but with a fine singing voice as well, but I should say he will be a star in his own rite.

Aaron Clingham should be commended as the musical director and Steven Edis the musical arranger both with a huge portfolio of work, have given this little musical show a real base for the story to build on. There is a fluid transitioning between song and dialogue throughout. The musical arrangements bring this songs to life and with catchy and memorable tunes. David Shields the designer has created an effective backdrop of Brighton seafront so you know we are at the centre of the universe and everything that Brighton has to offer. Although it’s a smaller London Venue the lighting was effective and showcased the sunset effects and created more sombre moments when needed as well as full sunlight on Brighton Beach.

The show is fun despite the underlying storyline and Chris Burgess has created a musical out of sorrow and despair and made it a tribute to Peter Scott Morgan.

Running from 9th April – 3rd May 2025

www.southwarkplayhouse.co.uk

Telephone: 02074070234

Reviewer -  Penny Curran

On - Friday 25th April 2025.

Vanessa Larry Mitchell - Comedian On Tour - Teardrops on My Dildo Hotwater Comedy Club at Blackstock Market Liverpool

                                                                       

Blackstock Market is a beautifully restored factory with an amazing atmosphere and vibe, housing many eateries catering for all tastes including vegetarian and vegan with ample seating areas on 3 levels including a roomy roof terrace. It’s modern retro design is a fabulous concept that allows everything under one roof needed for a fabulous day or night out. There are various stages for performers to entertain and seating areas to relax and chill.

The Barn, a small purpose-built theatre inside the venue was the setting for Australian stand-up comedienne Vanessa Larry Mitchell, originally from a sheep farm in Victoria, her background in mental health and special needs, she delivers a hilariously punchy show, designed in mind for those who are not easily offended.

She touches on all subjects relating to the trials and tribulations of being female, with no holds barred. She is most definitely not demure, but downright dirty and direct and approaches all aspects of her material with ease and comic experience.

She explains she is wearing ‘teardrops on my dildo’ earrings, which are her signature merchandise for this show, and how popular they are with farmers wives back in Australia.

She expertly interacts with the audience, incorporating them into her unpredictable witty side-splitting performance, and shares how impressed she is at the number of young men in the audience there are tonight in Liverpool, the highest number of men in the audience she has had on tour so far.

Amongst the audience were two ‘stag do parties' who became the intermittent intentional butt of her jokes, and they along with the rest of the audience loved it loudly laughing all the way through.

If you wish to spend an hour of relentless laughter, then this is the show for you.

Her solo show is on tour until 10:05.25 and her sequel tour ‘Lube Me Alone’ starts 16:05:25, I seriously recommend you catch it. 

info@larrylaughsloud.com 

Reviewer - Jill Ollerton

On - 26.04.25

 

 

MUSICAL THEATRE REVIEW - SIMPLY DYLAN THE ATKINSON THEATRE, SOUTHPORT

Simply Dylan is a celebration of the rich and diverse work of Bob Dylan. The band proclaims compellingly in all their publicity that Simply Dylan is ‘A Tribute to Bob Dylan, Not A Bob Dylan Tribute’ and perform Dylan’s wide extensive array of musical compositions, much to the delight of Dylan’s many fans.

The band comprises of six members, lead singer, John O'Connell - vocals. acoustic guitar, harmonica and banjo, Kath Ord – violin, viola and saxophone, Helen Seymour – bass guitar, Treva Goldup - acoustic and lead guitar, mandolin and harmonica, Phil Larkin – keyboards and Martin Douglas – drums. Lead singer, John is a former member of Liverpool group, Groundpig, who played at many Irish bars across Liverpool, such as Flannigan‘s, Rosie O‘Gradys, Guinans and Kitty O'Shays.

Simply Dylan started as a modest project recognising Dylan's 70th Birthday in 2011 when the band played at a sell-out gig at the Cavern Club 6 times; since then they have found fame and received fantastic reviews from the Spanish Press, to impressing Dylan fans from across the UK on their Tours with SJM Concerts, to opening up the IOW Festival 2019, performing on the Big Top Stage. They will be playing at the Costa Festival, Ibiza, 25 April - 1 May 2025.

The difference with this tribute is that lead singer, John doesn’t try to replicate Dylan’s voice, mannerisms or characteristics, thus enhancing their logo which states, it isn’t a tribute band, but a tribute to Dylan. John is constantly in touch vocally with the audience and interacts with stories, personal disclosures and pleasant repartee throughout the performance, encouraging audience participation.

The band played a selection of Dylan’s well-known songs with a few lesser known album tracks to the audience’s delight.  It was a full house and many of the audience members seemed to know the band well will lots of friendly inuendo being shouted out at John whilst he introduced many of the songs.

John played some solo acoustic numbers plus duets with Ord as well as playing with the full members of the band. The set was simple and well-suited for the performance with a large backdrop with the band’s name and logo. Supporting band members did a grand job on guitars, harmonica, banjo, violin, saxophone, mandolin, keyboards and drums.

This was a very enjoyable evening, and it was well-received by the enthusiastic Simply Dylan fans. Simply Dylan – Simply Superb!

The band are playing various UK gigs, https://www.simplydylan.com/gigs-1.html

They play on Bob Dylan's birthday, on 24th May 2025 at The Citadel Theatre, https://www.seetickets.com/.../simply.../the-citadel/3228022

Reviewer – Anne Horne

On – 24042025

THEATRE REVIEW A PINEAPPLE 53two, Manchester

In this world premiere production of Olivia Mace's bitter-sweet dystopian play, 'A Pineapple', we are shown a claustrophobic insight into our possible near future, to 2058 to be precise. Natural disasters have created huge storms where the icecaps have melted and Leeds is now underwater. It is a world where we live in isolation from each other in 'pods' - or at least those who could afford them. But we don't have money, since there is nothing to buy and there are no shops. The atmosphere outside is almost insupportable for human life, and the fear and threat of contamination is very real. Despite the obvious 'poverty' of this situation, there are still three very distinct social classes, and the government is run by the children of the ones who were in power previously, keeping the 'old boy network' alive despite the crises the human race faces. This is a world where a video-style computer screen is almost Big Brother-like occupying the garden wall, whilst claps and voice controls activate artificial bird song and turn on the lights. It is a world where the grandma, only 74 years' old, is in constant pain from, among other things diabetes, and has requested to 'opt out', wishing to end her life by legal lethal injection before she becomes a burden to her 28 year old granddaughter with whom she lives together in their own 'pod'.

The garden of this pod is cleverly constructed on 53two's theatre stage. Scaffolding creates the small square in which the actors must use, whilst plants and vegetables are growing in bags and trays all around. Grandma lives more and more in the past and is constantly filling her granddaughter's head and thoughts with such things as fish swimming the rivers, black tea with milk, etc, and despite her being 28 years' old, is actually very childlike and immature in many resects. Having known almost nothing except for the inside of this pod, she is obviously socially inept and shy, but that does not stop her from having feeling for the minister who comes to discuss and fulfil grandma's wishes. In fact, in a world where only the elite are destined to procreate in the hope the human race can continue, whilst everyone else is condemned to isolation, the minister chooses to court her, and does this by bringing her presents of foodstuffs only available to the ruling class, which of course, is, hence the title, a pineapple. 

The set design is excellent, and the transformation into prison was both unexpected and cleverly executed. The lighting is a times a little too dim, and the overuse of haze didn't really help in this regard. The music used is at times too loud and interferes and obfuscates the comprehension of the narrative or the tension f the moment. The acting however is both naturalistic and very believable. I have tried to see if I can find a programme online but have failed, and since I do not have the ability to use QR codes, then apologies, but cannot credit anyone by name. Grandma's arc of deterioration was superbly measured, and her onstage chemistry with her granddaughter was palpable. The granddaughter's character was very hard to pin down since she flit from moment to moment from innocent and petulant child to cognisant and capable adult, but she managed this with unerring singularity. Whilst Charles, the minister who enters her life is sweet, polite, almost robotic (especially vocally - a nice idea working well), and slightly creepy.  

The dialogue is a heady mix of naturalism, memory, hard-hitting realism, and risqué comedy! The director did well to make these flow as well as they did, signposting the narrative drive of the piece easily whilst not overlooking some of the darker undertones the piece creates.

Reviewer - Alastair Zyggu

on - 24.4.25 

MUSICAL THEATRE REVIEW OF “Bat out of hell – Rock and Roll Dreams come through” at Leeds Grand Theatre

This heart-pounding experience, with a powerhouse eight-piece live band on stage, delivered a new production with sprawling multi-level platforms to transport you from Raven’s bedroom to the  underground world of the Lost domains, through the diverse worlds of Bat Out of Hell, in a visual feast that pushed the boundaries of live theatre.

Headlining this epic production, were Luke Street, Harriet- Richardson Cockerline, and Rob Fowler in the iconic roles of Strat, Sloane, and Falco, joined by the sensational Katie Tonkinson as Raven. Their unmatched vocal talents bought the Meat Loaf’s anthems to life, including I’d Do Anything For Love (But I Won’t Do That) Paradise By The Dashboard Light, Two Out of Three Ain’t Bad, Dead Ringer For Love, and, of course, Bat Out of Hell.

The setting is In a dystopian future, Manhattan — now renamed Obsidian which has become a desolate wasteland lorded over by ruthless dictator and businessman Falco (Rob Fowler) from his Trump-like tower, with his will enforced by a violent riot squad.

Down among the detritus of the city live “The Lost”, a group of kids whose DNA is permanently frozen at 18-years-old following the “chemical wars”, and who are a thorn in the side of Falco Industries’ plans to develop the city. Among The Lost is the tormented Strat, who is in love with Falco’s daughter Raven, who herself is just about to turn 18 but destined, unlike Strat, to carry on ageing.

As the lost boys and girls flee into the tunnels below the city from its ruler Falco, his teenage daughter Raven locks eyes with the fearless leader of the Lost, the immortal Strat, and the immensity of their love-at-first-sight-obsessions threatens to destroy both of their families.

The story starts its life as Neverland, the futuristic rock world of Peter Pan.  Its core feature was rebellious, angst driven teenagers who didn’t want to grow up.  It continues this theme as we meet Strat, leader of the group known as The Lost, whose DNA were frozen as teenagers.  Living in exile in the underground subway tunnels of a dystopian city, they are despised by its oppressive leader Falco and deemed dangerous creatures who have no place in his vision of Utopia.  In fact, he plans to demolish the subways.  Falco not only bully The Lost, but also his wife Sloane and daughter Raven, he believes it is for their own protection.  He has kept Raven prisoner all these years, forbidding her to step foot outside Falco Towers for ‘her own safety,’ and controlling her thoughts with dream supressing medication.

So, when Strat and Raven meet and fall in love, Falco believes he must do whatever it takes to ensure they are kept apart.  What follows is a series of plot twists, betrayals, kidnappings, battles, unrequited love stories, tests of friendships, abuse of power and the chance to start over – all in the name of love!  

This is a tale of unrequited love between kids from different sides of the track, with a parent determined to keep them apart. This show was totally about the music and the spectacular way in which the songs are staged. Jim Steinman’s work lends itself perfectly to a theatrical setting.

Director Jay Scheib threw every theatrical trick into the mix, with staging that was a constant and thrilling assault on the senses, including fire flames and explosions of various particles.

Street is flawless, as he reaches stratospheric dimensions with his songs, injecting them with his own adrenalin fuelled vision and quite literally has the entire theatre bouncing!  He is dripping with testosterone, as he permeates the air with rebellious intent, and he rips the sound barrier apart with his torpedo interpretations, leaving you electric, alive, and lost for words. 

Fowler as Falco is domineering, foul, and fabulous, creating a strong identifiable character that we can all unite against.  He oozes power, arrogance, and privilege, yet equally brings us humour in abundance.  

The live eight-piece band were fabulous, transporting the Leeds Grand Theatre into the rebellious realms of Rock and Roll.  Guitar chords vibrated the foundations of the building, before being absorbed into our pounding hearts.  Drums drove pulsating rhythms into our veins, striking out through our hands and feet and we matched the beat of the show.  This is live music at its best and serves to marry musical theatre with a rock concert.

The cast not only belted out some of the most challenging songs to date, but did it over a multi-tiered set, reminiscent of a bohemian style play centre!  Scrapbooked together in an imperfectly perfect way, Jon Bausor has designed a revolutionary fairy tale world, befitting of a future stained with the shards of a broken misplaced youth, nestled alongside oppressive wealth.  A luxurious apartment nestles alongside the underworld of The Lost, and has even been designed to house the band, ensuring that the musicians are given the spotlight they deserve.  The show also used live camera feeds and handheld microphones. 

In summary ‘Bat Out of Hell’ was a spectacular performance that was complimented by excellent vocals, music and stage settings with special effects that exploded onto the stage, and all in all delivered a spectacle show that left me quite breathless!

Reviewer -  Debbie Jennings

On - 22042025

Musical Theatre Review - The Rise and Fall of Vince and Paul. (The Van Gogh Musical) - The Glitch Creative Arts Space, Waterloo.

 

Let’s start by saying that I rushed home to look at Van Gogh’s and Paul Gauguin's paintings as I needed to reference all the images created in my mind by this brand-new musical.                                   

Who knew singling about Cadmium, Yellow Ochre and Prussian Blue would enliven my mind so much. I am a great fan of Van Gogh’s artwork but never really knew that much about his mental health issues apart from the ‘ear’ event.

So, this is a musical about the nine weeks that Van Gogh and Paul Gauguin spent together at Van Gogh’s house in Arles, France, written by Neil Bastian.

Gauguin arrived at the invitation of Van Gogh who it seemed had a growing adulation of him. The relationship started off well as friends and ended unexpectedly with Van Gogh’s deterioration into extreme mental illness and psychotic episodes. What started off as a joy and love of painting and colour ends abruptly with Gauguin leaving Arles.

The first three introductory songs 'Sunflower Power,' 'Fistful of Brushes' and 'Like a Painter Man' are full of hope and happiness of what they can create in their Artists Colony. Vinnie played by Max Alexander-Taylor is performed in a manic frenzied way that is it was completely plausible that you are watching Van Gogh in the present day. Max Alexander-Taylor was cast so well in this part and has a wonderful voice. Paul Gauguin was played by Nicolas Carter who had performed in Les Miserables in London’s West End, so you knew he would have a powerful and extraordinary voice. Together, these two performances were made for each other with outstanding parallels and complementing each other throughout. Gauguin, known for not being the most pleasant of people was harsh and difficult and Nicolas Carter developed this demeanour as the show continued, starting off happy to work together and share his earnings from selling his artwork and becoming frustrated with Van Gogh and never understanding the struggles of mental health.

The show used very few props, but it worked rally well, creating a visualisation in your mind. The descriptions in the songs were so vivid I could even imagine being in Arles.

As the show draws towards the bitter end the songs intensify in their resonance and delivery. 'Take a Trip to your Mind,' 'Way Past Midnight,' 'Me and My Friend,' Welcome to My Funeral,' ‘Wheatfield with Crows' and 'Red is the Colour.' You can watch/listen to some of these songs through YouTube and Soundcloud. www.vinnie- and-paul-musical.com.

Neil Bastian has written this one-hour musical with the intention of making it into a full-length musical in the future. If we view this as a taster of what is to come, I can only say “bring it on.” Kirstie Davis has directed this performance with only two actors in a small setting and created a visual atmosphere and encouraged these two amazing young men to perform with passion and emotion. The audience also needs to know that this show has been brought to life by modern day crowdfunding with an appeal launched in January 2025. Every penny has been worth it.

The Rise and Fall of Vinnie and Paul is currently running at The Glitch Theatre with in am alternative Creative Arts venue at Lower Marsh, Waterloo. As it is Easter Bank holiday weekend, the audience tonight was quite small, but this great little arena has a capacity of about 40 seats and the atmosphere would be further enhanced once everyone has returned to London this week. I would recommend seeing this little musical before it hits the big time. The Rise and Fall of Vinnie and Paul is going somewhere.

The show runs from 16th – 28th April

Reviewer - Penny Curran

on - 19th April 2025.

CLASSICAL MUSIC CONCERT NATIONAL YOUTH ORCHESTRA of GB TO THE BEAT Bridgewater Hall, Manchester

 

Sadly I was unable to attend last year's annual concert due to ill health, and this has always been a highlight of my Spring diary, and so I was really looking forward to this evening's concert which absolutely did not disappoint.

'To The Beat' is this year's offering from the talented 14 - 18 year old musicians who come from all over the UK to perform as one unique and highly talented 89 piece orchestra, giving two public performances, the second of these being here at the Bridgewater Hall in Manchester (the first  was in London).

Three works were performed this evening, and they opened with the brilliant  1947 version of Stravinsky's 'Petrushka'. Ballet music it might be (and not at all easy to dance to.... just ask any ballet dancer!), but it is essentially a tone poem, a lyrical and musical narrative journey through the life of Petrushka. The work is scored in one continuous movement despite it being split into many 'sections', some more recognisable than others: we have a Viennese Waltz, a march etc, and all the time he plays with tonality and structure like a child might play with a doll. Indeed, many of the music in this work have Central or Western European influences - we hear music from Austria, France and even England in this piece, but the overriding influence is of course soviet (Russian / Ukrainian). The strident passages of Russian folk hymns blend with his inimitable way of combining melody with discord.  The score also gives ample scope for members of the orchestra to shine as soloists too, which for an orchestra such as this was a lovely idea and worked well. Under the direction of this evening's conductor, Alpesh Chauhan, the cumulative sound was impressive, and this was a truly excellent rendition of this difficult-to-interpret work.

After the interval we heard Jennifer Higdon's Percussion Concerto. This was the most contemporary of the three pieces composed in 2005. Playing the percussion this evening  was guest soloist Jordan Ashman, who was as much a showman as musician, toying with the audience in an extemporised "encore" as he played and clapped with the audience during the set change for the final work; however, before that he had his work cut out as he was required to play marimba, glockenspiel drum kit and various other percussion instruments moving swiftly and deftly between them all. The work was much more harmonic and melodic in structure than I thought it might have been, since I am not truly a fan of the modern tendencies amongst composers. However I found this an interesting listen, as Ashman had an unusual start to the concerto, which, despite the percussion taking centre stage, still was heavily scored for the orchestra's own percussion which sometimes followed or mirrored (echoed) the soloist and other times complemented him with their own response. Finishing with a fff flourish from the drums, this was quite a whirlwind of a piece and provided an excellent showcase for Ashman's talents.

The final work this evening brought us back to terra firma and to a piece that all the youths in the orchestra would be both familiar with and could easily relate to; Bernstein's Symphonic Dances from 'West Side Story'. Chauhan here was a little more restrained perhaps than necessary giving the piece a little too much reverence and not allowing the orchestra reign as they had done in the two previous pieces. Indeed the quieter sections needed to be quieter, and the faster sections, faster. However, that did not diminish the quality of the playing, and Bernstein gives each member of the orchestra a thorough workout in this score.

Once again, the National Youth Orchestra of Great Britain impressed greatly, they obviously enjoying themselves too, bringing live music and joy to the responsive audience. Bravissimi tutti and can't wait until your next concert in 2026!

Reviewer - Alastair Zyggu

on - 18.4.25

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

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

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

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

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

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

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

Reviewer: John Waterhouse

On - 15th April 2025

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

 

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

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

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

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

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

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

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

Visit www.blackstockmarket.co.uk.

Reviewer – Anne Horne

On – 13.4.25

GASTRONOMY REVIEW The Lowry Restaurant The Lowry Theatre Salford

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

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

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

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

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

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

Reviewer - Chris Benchley

On - 12/4/25

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Reviewer: Kathryn Gorton

On 11th April 2025

THEATRE REVIEW THE MOTH The Lowry Theatre Aldridge Studio Salford

 

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

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

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

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

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

Reviewer - Alastair Zyggu

on - 11.4.25

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

 

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

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

her fairly manic and eventful life.

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

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

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

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

with their cash for the chance to meet her.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

is ‘riddled’ with!

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

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

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

gave at the funeral of one of her former boyfriends.

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

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

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

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

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

losing the general thread of the show.

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

assistance and hospitality.

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

which continues until mid-July. 

Tickets can be purchased at:

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

Reviewer - David Swift

On - 10/04/2025