Concert Review – Jools Holland and His Rhythm & Blues Orchestra Philharmonic Hall Liverpool

Opening for Jools Holland’s Rhythm & Blues Orchestra was the jazz pianist Joe Webb. Described as ‘an emerging force of the global jazz scene’, he treated the audience to some rousing tunes that really got them going. From Jelly Roll Morton’s ‘The Pearls’ to show tunes from South Pacific and Some Like It Hot, he even included The Beatles’ ‘Mother Nature’s Son’ because, he said, he was playing in Liverpool. He was the ideal opening act for what was to follow.

Jools Holland walked on stage with a demeanour familiar to fans of his annual Hootenanny and Later… with Jools Holland television series. Taking a seat at his piano, he launched into a succession of frantic boogie-woogie tunes, including Fats Waller’s ‘I’m Crazy About My Baby’ and his own ‘Skin the Cat’. Accompanied by his orchestra, they were already delivering a high-energy performance which, by the end of the night, would have the audience dancing in the aisles.

Indeed, the evening was a masterclass in showmanship, with Holland and his bandmates clearly enjoying themselves on stage and engaging with the audience throughout the performance. The Rhythm & Blues Orchestra consisted of five saxophonists, three trombone players, three trumpeters, a drummer, a guitarist, a double bass player, and Holland’s brother on the organ.

There were several special guests throughout the evening, each adding their own vocal style to the proceedings. First up was Sumudu Jayatilaka, a Sri Lankan-British singer known for her smooth jazz style and powerful stage presence. She sang two songs from Holland’s album with Rod Stewart, Swing Fever. 

Opening act Joe Webb was welcomed back on stage and sat with Holland at the piano as they both pounded out a boogie-woogie number—Holland taking the left- hand bass patterns and Webb the right-hand melody and riffs. 

Regular Holland guest Louise Marshall sang four songs that showcased her soulful voice and dynamic performing style.

Holland’s former Squeeze bandmate Chris Difford was next up. He sang ‘Tempted’ and ‘Cool for Cats’, hits for Squeeze, of course, as well as ‘Pants on Fire’, a song he co-wrote with Holland for an upcoming musical, A Taste of Honey.

The night continued with a mix of classic blues and R&B tracks alongside some of Holland’s own compositions, showcasing the breadth and depth of his musical talent. 

They encored with ‘Enjoy Yourself (It’s Later Than You Think)’, a song that had the audience on its feet and singing along.

Holland is a consummate performer, equally at home behind the piano and in front of the microphone. His rapport with the crowd entertained between numbers, with anecdotes and wit to keep everyone engaged. 

If you’re a fan of boogie-woogie, R&B, or just great music in general, then catching this band live is an absolute must.

https://www.joolsholland.com/tourdates.htm

Reviewer – Adrian Cork

On – 30.05.2025

THEATRE REVIEW - STUDENT Musical Theatre Students-in-training DIRTY ROTTEN SCOUNDRELS The Longmore Theatre, UCEN Manchester City College Arden Theatre School Manchester

The film, 'Dirty Rotten Scoundrels', is a 1988 comedy masterpiece which starred Steve Martin and Michael Caine (both at the top of their respective games), and the lesser known but no-less-talented Glenne Headly as the American heiress these two conmen try to swindle. With Frank Oz's direction, these three (along with a very bent French copper played by Anton Rodgers, were given much room to flex their comedic muscles and bring forth superbly drawn characters, making this a film one can watch over and over again. And yes, the film does have a certain comedy musical feel to it and so when Jeffrey Lane and David Yazbek started to set this story to music, it was probably manna from heaven for them. I have seen the musical only a couple of times though since it first came to our shores in 2013, and have yet to see a professional production of it.

Here, the graduating students of Arden Theatre School's Musical Theatre course put their own indelible stamp on this production. One of the main problems with this show in general is that although there is a lot of music, much of it is used as dialogue underscoring, and it is very dialogue and set-piece heavy, meaning that characterisations (or in this case shall we be more precise and say caricatures) need to be spot on. And hereby lies the rub. There are 30 students in this graduating class, all of whom need stage time, but only three of these are male. The casting decision to cast all the main leads from the females and have them play males is therefore understandable, but it does make for a couple of complications. First of all these students are not old enough to portray these characters in the first place, and so they are constantly having to act-up which is not an easy ask; but on top of that they have to competently and realistically carry off being the opposite sex - and a womanizer to boot! Two females do not react and interreact with each other in the same way as two males do or a male and female do, and having them wear high heels in their male costumes did not help. It was also bad form for them to be wearing any jewellery - I could see ear-rings, nose studs and nail varnish on the male leads!

That being said however, Thea Docker tried really hard to find her character of smooth-talking, suave and debonair Lawrence (never actually quite getting there, always a little flat, but since she is coping with all of the above, it was a very brave try, and I enjoyed her as Dr. Schaffhausen.) Arianne Kendall fared better as the seemingly hapless and more direct Freddy, and her physical antics won me over. Sadie Samways was the most believable as a male character as the crooked chief of police Andre who is Lawrence's friend and sometime accomplice. There was only a little onstage chemistry between Docker and Kendall which also made it harder for us to fully invest in their performances, whilst the onstage chemistry between Samways and her love interest Muriel, played with a touch of US glamour and sophistication by Gemma Cushion was quite palpable. Evie Glyn relished her role as the hard-up heiress Christine Colgate being swindle only to turn the tables on them in the denouement, playing her role with panache and skill. Whilst the all-American hillbilly hick-girl who thinks she has had a marriage proposal, Jolene, was played with high-kicking cheerleader style fun and a brilliantly placed high-pitched accent by Erin Bannister. 

The stage set was quite impressive, it consisted of a band stand on a raised dais centre stage with two curved staircases, one either side leading to the forestage. It looked very Mediterranean and nouveau-riche, but sadly was not optimal for every scene within the musical. It was sometimes rather difficult to know exactly the location of some of the scenes unless you either knew the musical already or listened very attentively. The live band - led by Robert Purvis, sounded excellent and gave us the correct feel to each song with ease, but sometimes - and this is a sound issue - they overpowered the onstage dialogue and the speaking became inaudible. I also detected a couple of mic issues this afternoon, as well as a couple of hiatuses where the onstage action seemed to stop momentarily before someone decided to speak or move. The lighting design was quite poor at times for this show sadly; we are in the Mediterranean and never once did I feel that was so, since majority of the lighting settings used majority steel lamps giving quite a cold feel to the stage. Where were the lovely warm glow from the straw lamps and the lovely sunsets that the Med is famous for? And finally, whilst writing about the stage management, I did not understand why a) al the suitcases used were 1960s or earlier, some looking like WW1 leather cases, and b) why were there so few? 

Directed by Nick Bond, there was a good pace set and the characters showed a good understanding of their roles and the arcs of their characters. It was a little unclear at times why characters entranced (or exited) from the space above the staircases, and then made their exits (or entrances) from the stage level. Sadly some of the humour of the piece was lost - with jokes not landing properly. Perhaps this also has something to do with male / female role changes and so the humour does not work (?)      

All-in-all an enjoyable if slightly flawed comedic romp, with the students giving their alls to their final show as Arden students.

Reviewer - Alastair Zyggu

on - 29.5.25

MUSICAL THEATRE REVIEW - The Rock ‘N’ Roll Alien at The Adelphi Theatre, London

I was so excited to review ‘The Rock ‘N’ Roll Alien’ as I am a huge David Bowie Fan. I knew it was not going to be the usual tribute act, so I really wanted to see what it was all about. The show is almost a chronological story of Bowie’s music legacy starting with ‘Space Oddity’ and ending with ‘Lazarus’ before the ending encore of ‘Heroes.’ It is essential to add that the visuals are show stopping, I would be happy to just watch the screen behind the performers with the songs playing. The vibrant flashing visuals were a show all of their own and I am disappointed that there was not time to just focus on the backdrop screen while watching the performers. The dancers and their costumes also made the show; without these you would not be able to associate and piece it all together. During ‘Ziggy Stardust’ the dancers all came on stage wearing a variety of costumes similar to Bowie’s iconic looks of the early seventies. In ‘Sound and Vision’ they wore yellow velvet suits with TVs on their heads. In ‘Ashes to Ashes’ the dancers almost replicated the New Romantic look from the video of Steve Strange dressed as a bishop. All this attention to detail which highlighted Bowie’s influence on fashion and trends made the whole evening a spectacle to behold, without even considering the music.

Now let’s focus now on the performers themselves. Three stars with incredible voices. It’s interesting to see a variety of styles singing the Bowie numbers. Of the three, one stood out a mile, Greg Oliver, and was rewarded by huge applause every time he arrived on stage and sang with a passion that our alien hero would have been proud of. The other two were more like classical stage/musical acts. Not that there’s anything wrong with that, it was just different and as I said before it’s not a copycat tribute show. Both with amazing vocal ranges but we need to remember that Bowie, in fact, was not a great singer, so hearing his lyrics sang differently you need to appreciate their talent and not expect to hear or see the great man at all. Sian Crowe ended the first part of the show with ‘Wild is the Wind’ which sounded more like a theme from James Bond with her dramatically trained stage voice. Sometimes she appeared very child like and innocent but her voice is mightily impressive. Elliot Rose can sing on many distinct levels, with a triple Octave range, but I felt his part of ‘Under Pressure’ where he assumed the role of Freddie Mercury was probably better suited to him. Delivering Bowie in his own indomitable way was great, but he lacked the movement needed to complement the style of those amazing, choreographed dancers moving around the stage at the same time.

The story of this show starts with humble roots and the visuals, dancers, stylists, and costume designers are assembled from people with skill who by chance were brought on board. Looking further into the production you can see that this was a true labour of love and mutual appreciation and admiration for Bowie. Simon Gwilliam’s vision for the Rock ‘N’ Roll Alien has brought all these artists together under one roof. It is Simon’s drive that has put all the music and visuals together to create a combination of Bowie’s life through music and look. Another family member Billy Gwilliam has also been involved with photography and filmmaking for the visual  backdrop. A shout out also to the lighting team and the use of laser beams and torches by the dancers is effective.

The dancers were choreographed by Sophie Quay who auditioned as one of the dancers and then became the choreographer. The dancers were dazzling in both movement and costume; the success of this show is also down to their timing and teamwork.

Sadie Gwilliam, co-producer and the costume director, should be highly praised for putting the whole look together. The costumes were assembled from a collection belonging to Sheila Gwilliam, the mother of the shows vision, Simon Gwilliam. As you can see The Rock ‘N’ Roll Alien is a family affair. Sheila has been collecting and selling vintage clothes since the 60s/70s. Other stunning pieces have been created by Rebecca Martin (Rebel Rebel Doll Dress) and Cathy Kelly (Ashes to Ashes Jacket, Ziggy Frock-coat and more).

The band were also fantastic, and multi dimensional. The sound was true to the original with twists and turns here and there. Alex Turney the musical a director and keyboardist should be congratulated on assembling such a masterful team of musicians; Damon Oliver saxophone and flute, Billy The Rock ‘N’ Roll Alien Stookes on drums, Laura Browne on Guitar and Dave Rice on Bass. Sitting behind us was a pianist who had played with Bowie back in the day and he was extremely impressed. I spoke to many other people in the audience around us who loved every minute. 

Would I go to this show again? Definitely, at the drop of a hat and I do not say that often enough. This show was a one off to fill a night at the Adelphi between its long running Back to the Future. However, at the moment it is a one-off performance so keep following on Facebook or Instagram for future shows which pop up here and there across the country.

Watch the official YouTube clips here:-

https://youtu.be/AfrrrrGp2KY?si=hG8KQcLf-UD_Kstg

https://youtu.be/ZEfgDG-ndfQ?si=y1UCMsEDgwnn-xx6

Reviewer - Penny Curran

Tuesday 27th May 2025 

NEWS - New Music From Mariel Buckley – Honest, Heavy & Hauntingly Beautiful - "Vending Machines"

 

Photo Credit – Maggie Geis

 Mariel Buckley. “Vending Machines” explores themes of self-doubt, uncertainty, and questioning 

LISTEN HERE

https://open.spotify.com/track/2Hw8otNNNMks0xHhkFRL8E?si=d52210a471824b15

MUSIC VIDEO

https://www.youtube.com/watch?v=CRcNLllssuE

Unapologetically genuine, wry and soft-hearted, Mariel Buckley has planted her flag firmly as a songwriter who’s in it for the long haul. Never one for following the rules, she aims to find herself squarely on the fringes and exactly where she belongs: writing songs for the underdogs. Raised in the heart of Canada’s rodeo and country music scenes, she was destined to challenge the boundaries around her, both in life and in song. With a fearless spirit that’s consistently broken through both genre and personal barriers, Buckley’s unique blend of angst-driven alt-folk has made her a standout artist, offering a fresh and dynamic perspective on modern Americana music.

Her latest single, “Vending Machines”, marks the beginning of a new sonic and individual chapter. While familiar, darker instrumentation and themes are sprinkled throughout. She shares: “I was itching to try something a little heavier than my previous stuff. I wanted to move away from synths and keys in general, citing references from indie rock, pop music, and alt-country.” An avid admirer of his work, Mariel connected with Nashville based alt-Americana producer, Jarrad K (Ruston Kelly, Lucie Silvas, Fancy Hagood, Goo Goo Dolls) for the new single.

Despite having grittier undertones, the writing is intentionally vulnerable and specific, resulting in something inviting and universal. “Vending Machines” explores themes of self-doubt, uncertainty, and questioning one's path. It beautifully captures the feeling of restlessness and being in a constant, seemingly cyclical state of transition, unsure of where things are headed, and trying to find a way forward. Buckley confides, “I was genuinely questioning my career, personal life as a result of that career, my distant-feeling relationships with family and friends, and how I could restart after yet another big change. It should feel looping, liminal and never ending, like an endless travel day.” 

The song opens with an irresistible pedal steel hook, while a steady backbeat anchors a deep groove. Jangly acoustic guitar creates a bright, rustic charm around Buckley’s smooth and velvety vocals, infused with her signature melancholy tone. As the captivating, storytelling lyrics unfold, they paint a vivid, cinematic picture, drawing you deeper into the song's world with every word. Buckley explains, “My guitar/steel player, Ryan, came up with that amazing riff at the beginning of the tune that works like a magnet and a revolving door. It gives the whole song its swaying motion, huge vibes.” 

Buckley’s past albums, 2022’s Polaris Music Prize nominated Everywhere I Used To Be and 2018’s Driving In The Dark, has been praised by notable publications and recognized with prestigious accolades. Her work has also charted on Sirius XM, college and campus stations across North America, and on local Canadian favs CKUA and CBC radio. Buckley’s live journey has been a strong, steady climb. She’s toured across Canada, America and the EU/UK, as well as showcasing at SXSW, Americanafest, The Philadelphia Folk Fest, and Folk Alliance International. She’s shared stages with artists like Orville Peck, k.d. lang, The Bros Landreth and Frazey Ford, among many others.

"[Driving In The Dark] casually defies genre, drawing upon propulsive heartland rock anthems, pedal steel-fueled alt-country, intimate folk songs, and atmospheric balladry, and Mariel uses her shapeshifting Americana landscape as a vessel for her vivid storytelling." - Brooklyn Vegan

"There’s a grit to Mariel Buckley’s voice that can’t be manufactured with studio wizardry. She can hit heavenly registers, but always with a tinge of angst, like tasting a bit of coffee grounds at the bottom of a cup of velvety coffee, the mark of handcrafted majesty." - Edmonton Journal

"Mariel Buckley's compassionate candour for the rearview mirror makes for some of the most beautiful country music of the year. It's not just her exceptional craft as a songwriter; Buckley's voice is frank and warm, wry when necessary, and shows the strength it takes to be truly vulnerable." - CBC Music

https://www.marielbuckley.com/

https://www.instagram.com/marielbuckley

https://www.facebook.com/marielbuckleymusic/

https://x.com/mariel_buckley

NEWS - KILL YOUR BOYFRIEND 'DISCO KILLS' EP

 

KILL YOUR BOYFRIEND

 

'DISCO KILLS' EP 

OUT NOW HEAR FOCUS TRACK 'YOUTH'

Italian post-punk duo Kill Your Boyfriend released their new EP 'Disco Kills' via Sister 9 Recordings today.

 

 

LISTEN TO 'DISCO KILLS EP' HERE

 

 

Focus track 'Youth', presented in a clear 80s style, is illuminated with lights, contrasting the gloom of the rest of the EP, to depict the dreams of young people with the hope that they do not fade at dawn.

 

LISTEN TO 'YOUTH' HERE

 

'Youth' follows previous singles 'Obsession' and 'Discretion'.

 

'Disco Kills' was created from the band's desire to explore the hopes, obsessions, illusions, and disappointments of the many young people who frequent clubs and meeting places during the so-called "growth" years, at a point when everyone is still searching for their true selves.

The EP sees Kill Your Boyfriend experimenting with new sounds that lean towards electronic music, creating a more rarefied space for the guitars while maintaining the dark atmospheres that distinguish them. It features 6 songs drawing inspiration from past greats such as Kraftwerk, Moroder, and New Order, while also keeping an eye on artists like the Chemical Brothers, Daft Punk, and Paul Kalkbrenner.

 

Kill Your Boyfriend have confirmed a series of European live dates in May and September this year, with more to be announced soon.

 

Fri 30 May -  PMK - Innsbruck, Austria w./ New Candys

Sat 31 May -  Rockhaus - Salzburg, Austria w./ New Candys

Fri 12 Sept - Kampus Hybernska - Prague, Czech Republic

Sat 13 Sept - UV Klub - Lodz, Poland

Sun 14 Sept - Chmury - Warsaw, Poland 

Wed 17 Sept - Kult 41 - Bonn, Germany

Fri 19 Sept - Parkside Studios - Offenbach, Germany

Sat 20 Sept - Kradhalle - Ulm, Germany

BUY 'DISCO KILLS' EP (UK) HERE

BUY 'DISCO KILL' EP (EUROPE) HERE

 

WATCH 'OBSESSION' VIDEO HERE

WATCH 'DISCRETION' VIDEO HERE

 

www.killyourboyfriend.net

www.instagram.com/killyourboyfriendband

 

Musical Theatre Review – The Simon & Garfunkel Story Royal Liverpool Philharmonic Hall

The Simon & Garfunkel Story is an enthralling musical experience that honours the legendary folk-rock duo, Paul Simon and Art Garfunkel. Rather than following the format of a traditional jukebox musical, the production blends live performances with historical narratives and archival footage

projected on a screen behind the performers, providing context for each song. The audience is taken on a chronological journey through the duo's stellar career.

At the heart of the show are the remarkable performances by lead actors Israel Bloodgood (Paul Simon) and Luke Hogan (Art Garfunkel), who channel the essence of Simon and Garfunkel with impressive vocal harmonies and skilled guitar playing. 

The evocative opening song, ‘The Sound of Silence’, immediately reassures the audience that they are in safe hands. The second song, ‘He Was My Brother’, is one of the duo’s early and more overtly political tracks. Written by Simon and released on their 1964 debut album Wednesday Morning, 3 A.M., the song reflects their early commitment to folk traditions and social commentary.

With the scene now set, the storytelling aspect of the production truly begins as the audience is taken back to 1957 and the duo’s first record, released under the name Tom & Jerry: the Everly Brothers-influenced ‘Hey Little School Girl.’ ‘Bleeker Street’ closes out their first album before the performers move into the next phase of their rise to stardom with songs from Sounds of Silence including ‘Leaves That Are Green,’ ‘Kathy’s Song,’ ‘I Am a Rock,’ and ‘Richard Cory.’ The lead actors are just as comfortable telling the stories behind the songs as they are singing them. 

At this point, they introduce the band: Nick Martin (bass guitar), Harry Denton (drums), and Harrison White (keyboards and guitar). The lighting design keeps the focus on the duo out front, but each musician is given their moment in the spotlight.

The narrative progresses into 1966 with selections from Parsley, Sage, Rosemary and Thyme. ‘Homeward Bound,’ ‘Scarborough Fair,’ and ‘The 59th Street Bridge Song (Feelin’ Groovy)’ close the first half, with the audience singing along in full voice.

The second half opens with a projection about the iconic film The Graduate, followed by a rousing rendition of ‘Mrs. Robinson.’ ‘Hazy Shade of Winter’ comes next, followed by perhaps the show’s one misstep: a collage of voices set against a projection of changing faces. Only those familiar with the Bookends album would recognise this as the track ‘Voices of Old People.’ Fortunately, the show quickly recovers with more songs from Bookends, including ‘America’ and ‘Old Friends.’

The story moves to 1970 and the release of the epic Bridge Over Troubled Water, the best-selling album of that year, and the next two. ‘Cecilia,’ ‘Keep the Customer Satisfied,’ and what is described as the duo’s breakup song, Simon’s poignant ‘The Only Living Boy in New York’ have the audience on its feet, clapping and singing along. Despite its success, the recording of Bridge Over Troubled Water had been fraught, and Simon and Garfunkel's relationship had deteriorated to the point where they could no longer work together. The stage darkens, and a projected backdrop carries the audience through the 1970s while the band plays a medley of Simon’s solo songs.

The duo returns to the stage to recreate their 1981 comeback at The Concert in Central Park. They perform ‘Late in the Evening,’ ‘Baby Driver,’ and end with a cover of the Everly Brothers’ ‘Bye Bye Love.’ Another set of projections carries the story through the 1980s and up to the present day.

The audience wants more, and the duo returns for an encore—a jaw-dropping rendition of ‘Bridge Over Troubled Water.’ Luke Hogan, as Art Garfunkel, has the audience absolutely rapt, and when Israel Bloodgood, as Paul Simon, returns for the ‘sail on, silver girl’ part, the roof comes off. The final song of the night is a stirring version of ‘The Boxer.’

The Simon & Garfunkel Story is a truly memorable show, made exceptional by the talent of its two lead performers. Their voices blend so closely that they often sound like a single, unified voice rather than two individuals. Their close harmonies capture the very essence of Simon and Garfunkel. Catch it if you can, for a nostalgic and thoroughly enjoyable evening of musical entertainment.

https://www.thesimonandgarfunkelstory.com/events/uk-eire/1/1/

Reviewer – Adrian Cork

On – 27.05.2025

THEATRE REVIEW - Fringe MOJO King's Arms, Salford

The first thing that strikes you when walking into the small fringe studio theatre above Salford's King's Arm's pub, is that instead of the usual cabaret seating, this has been completely forsaken for a larger stage with just a scattering of chairs around the periphery of a circular acting space, crammed full of 1950's era paraphernalia. The set dressing was excellent, from larger items such as juke box and sofa, to the much smaller, it all looked authentic and gave the very realistic appearance of the back room / office space of a seedy London night club in that era. The next thing that strikes you is that one of the characters - we later learn is Silver Johnny - is pacing and agitated, which is something that director capitalises on as a running theme throughout this very edgy and realistic portrayal.

The acting is close, very close, in fact perhaps too close for comfort at times, as these low-life gangsters are constantly at each others' throats, and the physicality is superbly realised as we completely believe their fighting and bullying. An old cutlass is wielded with gay abandon perilously close to both character and audience, whilst a derringer pistol is pointed willy-nilly at unsuspecting audience members. Though I should point out that never once did the cast acknowledge the audience; the fourth wall was firmly in place the whole time and despite having to walk over over legs (literally at times) we did not exist for them. As an actor myself I know just how difficult this is, and it requires a certain type of actor / acting and so I take my hat off to them all!

The story follows the manager of this nightclub and his workers as they are challenged by a rival gang. Whether this is a real threat or not is left in the air, but the important thing is that they do believe it is. One of their member gets cut up and placed in a dustbin, whilst the dinger is kidnapped. It's a bit soap-opera-ish in the plot development, but the reality of their predicament is clear. There is much bravado and childhood / playground squabbling - making us realise that mentally these are still boys - they have not yet grown into men; indeed there are no women in the play, and none are mentioned. This is a boys' game being played by men with real weapons. The script is a heady mix of dark humour, contemporary references, and hard-hitting mobster lines, and the whole is a mix of 'The Sopranos-meets-David Mamet'. 

The play is a theatrical gem, which was masterfully directed and acted. The acting - by all six of these very talented actors - was utterly mesmeric, spine-chillingly good, and totally real. It is such a great pity that there was no programme available. I now do not have any keepsake from the show, and moreover, I have no idea who the creatives involved in this production were!

Reviewer - Alastair Zyggu

on - 24.5.25

Concert Review - China Crisis, Celebrating Flaunt the Imperfection’s 40th Anniversary Royal Liverpool Philharmonic Hall

Released in 1985, ‘Flaunt the Imperfection’ was China Crisis’s third album and marked a shift in the band's sound and production style, thanks to the influence of Steely Dan’s Walter Becker, who was hired as producer. Widely regarded as their most polished and mature work, the band softened their earlier, more angular post- punk tendencies in favour of a smoother, jazz-tinged sound. The result was a sophisticated pop record with emotional depth and intelligent lyrics. Could they reproduce this in a live environment some 40 years later?

The opening set comprised the first side of ‘Flaunt the Imperfection’, played in order. Each song was preceded by film or photographs from the era, projected onto a screen, and an anecdote told by singer Gary Daly. If you’ve seen the band in recent years, you’ll know that Daly is a witty raconteur whose stories can last as long as the songs themselves. ‘The Highest High’ was accompanied by a video shot on a grey and wet day in early ’80s Kirkby.

Daly described ‘Strength of Character’ as a rare reggae excursion for the band—one he joked was difficult for “Caucasians from Merseyside” to pull off with any degree of authenticity. ‘You Did Cut Me’ was preceded by the tale of how they had never met George Michael but did use Steve Gregory, the saxophone player who performed on ‘Careless Whisper’.

As track four on the album, fan favourite ‘Black Man Ray’ appeared earlier in the set than usual but had an already excited audience on its feet. Daly proceeded to talk about age, Eddie Lundon’s receding hairline, and their growing need for medical consultants.

The first half of the set—like side one of the album—closed with the rhythmic ‘Wall of God’.

The second half of the show comprised side two of the album. ‘Gift of Freedom’ was followed by ‘King in a Catholic Style’, introduced with the story of how its memorable riff was written by Walter Becker—though he wasn’t credited at the time. Before ‘Bigger the Punch I’m Feeling’, Daly credited his and Lundon’s sisters for influencing the band’s musical taste, particularly their love of soul and pop.

The final song from ‘Flaunt the Imperfection’, ‘Blue Sea’, was dedicated to the album’s engineer, Phil Brown. Its soft, ambient instrumentation and oceanic imagery offered a sense of release, ending the album—and the second half of the show—on a beautifully melancholic note.

The encore featured their greatest hits and more stories from Daly: ‘African and White’, ‘Arizona Sky’, and ‘Tragedy & Mystery’. Daly told a story about how Alice Cooper once played ‘Flaunt the Imperfection’ on his tour bus. The final two songs of the night were ‘Wishful Thinking’ and ‘Christian’. Daly’s closing anecdote recounted the band’s irritation at being billed below Carole Decker, Sonia, and Go West at retro festivals.

Daly and Lundon were supported by an outstanding five-piece band—whom they unfortunately failed to properly introduce. However, the lineup included Jack Hymers on keyboards, Eric Animan on saxophone, and Stuart Nisbet on guitar. 

This was a night of nostalgia for sure, but a radiant Gary Daly, Eddie Lundon and their band ensure China Crisis’s musical legacy endures. 

This was a one-night show, but China Crisis: Celebrating Flaunt the Imperfection’s 40th Anniversary is on a UK tour throughout 2025.

Tickets available here: https://www.ents24.com/uk/tour-dates/china-crisis

Reviewer – Adrian Cork

On – 24.05.2025

Theatre Review - Blackadder the Third By Richard Curtis and Ben Elton The Daneside Theatre, Congleton

 

Theatre adaptations of 70’s and 80’s TV comedy series have become increasingly popular in recent years, starting with ‘Fawlty Towers’ where most of the action takes place in the hotel foyer and dining rooms. ‘Blackadder the Third’ presented the added challenge of frequent short scenes set in various places with the default locations being the prince’s lounge and the butler’s pantry. This problem of staging was resolved by a split set of the lounge and the pantry with most other scenes created with just a few representational items, requiring the imagination of the audience. This was a wise move because it allowed the play to remain very faithful to the TV episodes.

Perhaps the biggest issue of presenting a stage version of a hugely popular comedy series like Blackadder, Fawlty Tower or Dad’s Army is that the main stars are inextricably linked to the series and comparisons are inevitable, although the job of the actors should be to get to the essence of the characters rather than do impersonations of famous actors. In this regard, Pheonix Theatre did a truly excellent job with the popular main characters, with the costumes looking just right and very identifiable. Michael Unett actually looked like Rowan Atkinson in his black butler outfit and wig but more importantly sounded like him, capturing all the mannerisms from Blackadder’s frequent dry sarcasm to regular burst of anger at the incompetence of those around him. Dain Hobson was well-cast as the foppish Prince George, displaying good comic timing and Daniel Wood was superb as Baldrick, putting his own mark on the character whilst keeping to the essence of Tony Robinson’s interpretation.

A number of the secondary characters deserve special mention; in particular Jen Brassington who superbly captured the style of as the style of Miranda Richardson’s portrayal of Highwayman Amy Hardwood. Barnaby Thomas was great as Pitt the Younger, interacting well with Blackadder (and putting in a good small turn as the loud-mouthed poet Lord Byron). Anna Burke was amusing as coffee shop owner Mrs Miggins and although it was a very small part, Dante Burke was a very memorable Pitt the even Younger. 

The comedy of Blackadder the Third (more so than in the other three series) essentially comes from Blackadder’s interactions with the main characters (the Prince and Baldrick) and various guest actors, usually in the form dry, sarcastic comments in the face of loud, bombastic characters. Without the right overacting for the Blackadder to spark off, the comedy fails. In this regard, Paul Thomas was miscast as Dr Johnson, not delivering loud, forceful lines for Blackadder to react to (think how over-facing Robbie Coltrane was in the TV episode). The same was the case with Matthew Sanders as the drunken Sir Talbot Buxomly, whose lines castigating the Prince needed to be delivered loudly and clearly to have real comic effect. In Blackadder, subtle, understated performances just don’t work. 

Mark Bailey was good as the ludicrous, over-the-top Ivor Biggun and would have been more suited to playing the pompous Dr Johnson. Overall, Phoenix Theatre gave a faithful rendition of Blackadder the Third with many nice attentions to detail, such as the sumptuous curtain entrance into the Prince’s lounge and Hogarth pictures on the wall (although Vincent Hana’s very 20th century glasses did not work, being so out of period). By and large, the essence of all the main characters were very well brought to the stage and with just a couple of mis-castings. This was a worthy tribute to a classic TV comedy series and an enjoyable night out.

Reviewer - John Waterhouse

On - 24.05.2025

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