Music Review: The Liverpool Songbook with the Royal Liverpool Philharmonic Orchestra Liverpool Philharmonic Hall

There was a time when the classical music world’s attitude to pop music was one of condescension, considering it simple, commercial, or disposable. Likewise, the pop music world viewed classical music as elitist, inaccessible, or out of touch with current culture. Thankfully for music lovers, these attitudes have been eroded by more open, genre-fluid thinking, as many musicians and listeners have rejected that binary altogether, resulting in an increasingly hybrid and inclusive musical world.

So, we come to tonight’s show: The Liverpool Songbook - star singers from the West End, the Royal Liverpool Philharmonic Orchestra, and a set of tunes written by pop musicians for a truly hybrid and inclusive evening of song, celebrating Liverpool’s rich musical history.

Conducted by Richard Balcombe, the Royal Liverpool Philharmonic Orchestra opened with a Liverpool medley comprising ‘In My Liverpool Home’, ‘Liverpool Lou’, ‘Penny Lane’ and ‘Magical Mystery Tour’. At the end of this, the evening’s host, radio presenter, music journalist, and author Spencer Leigh, came on stage to set the scene, provide a little context for each of the tunes we had just heard, and introduce the singers: Graham Bickley, Patrick Smyth, and Laura Tebbutt.

The songbook proper got underway with Smyth taking lead vocals on Billy Fury’s ‘Wondrous Place’, Bickley singing the Lightning Seeds’ ‘Life of Riley’, and Smyth again on The Coral’s ‘Dreaming of You’. Host Spencer Leigh returned to the stage to introduce the next sequence of songs: Elvis Costello’s ‘Veronica’ (co-written with Paul McCartney), The Real Thing’s ‘You to Me Are Everything’, and ‘Tell Me It’s Not True’ from Willy Russell’s musical Blood Brothers, on which Laura Tebbutt took the lead. Her powerful and thoroughly captivating performance brought the audience to its feet.

Leigh entered the stage again to introduce the songs that would take us to the interval: The Beatles’ ‘Here Comes the Sun’, an instrumental version of Gerry and the Pacemakers’ ‘Ferry ‘Cross the Mersey’, highlighting its melodic beauty and conveying the nostalgia of a distant time and place, Pete Wylie’s ‘Heart As Big As Liverpool’, and Paul McCartney’s Live and Let Die.

The second half began with a medley of Liverpool-related television themes: Z Cars (greeted with a mixed chorus of cheers and boos due to its association with Everton FC), Brookside, Bread, and The Liver Birds. Leigh introduced the next group of songs, all relating to the punk era and Eric’s Club: OMD’s ‘Enola Gay’, Frankie Goes to Hollywood’s ‘The Power of Love’, and Echo and the Bunnymen’s ‘The Killing Moon’. Smyth and Bickley had their best moments with the latter two songs.

Patrick Smyth sang The Farm’s ‘All Together Now’, encouraging the audience to sing and sway along. The night’s standout moment came with Laura Tebbutt’s incredibly powerful rendition of Cilla Black’s ‘You’re My World’, for which she received a standing ovation. The La’s ‘There She Goes’ and The Zutons’ ‘Valerie’ followed.

Much to the audience’s delight, Leigh introduced the former frontman of Pele and Amsterdam, the “Scouse Springsteen” himself, Ian Prowse, who performed his classic ode to Liverpool, ‘Does This Train Stop’ on Merseyside. The songbook concluded with an instrumental version of John Lennon’s ‘Imagine’ and ;Now and Then’.

After a thoroughly deserved standing ovation, conductor Balcombe and the singers returned to the stage for an encore featuring ‘In My Liverpool Home’, ‘The Leaving of Liverpool’, and The Beatles’ ‘Hey Jude’, for which Ian Prowse rejoined them. 

This show proved once and for all that pop and classical music can come together to allow the listener to hear familiar songs in a new and enhanced way. I’m sure those behind this performance are already working on The Liverpool Songbook 2. After all  they have a musical A to Z to chose from; A Flock of Seagulls to The Zutons.

A nice postscript to the evening was a Q&A with Richard Balcombe and Spencer Leigh, chaired by Richard Haswell, Head of Programme (Hall and Events) at the venue. Balcombe said that, working in the classical field, pop music had largely passed him by, so this experience had been a revelation. He hoped his arrangements had highlighted the original songs rather than obscuring them. There is no doubt he had certainly achieved that.

Reviewer – Adrian Cork 

On – 28.06.2025

Music Review: Hejira Celebrating the Music of Joni Mitchell Philharmonic Music Room Liverpool

What sets Hejira apart from other celebrants of Joni Mitchell is their focus on her “jazz period,” from the mid-1970s to the early 1980s, especially material from her album Hejira (the clue is in the band’s name) and the live record Shadows and Light. You won’t hear the familiar hits from her Laurel Canyon years.

They are a seven-piece jazz ensemble comprising Hattie Whitehead on vocals and guitars, a spectacularly trousered Pete Oxley on guitar, Ollie Weston on saxophones and bass clarinet, Chris Eldred on keyboards, Dave Jones on bass, Rick Finlay on drums, and Marc Cecil on congas and some curious percussion utensils.

Fittingly, the band opened with ‘Coyote’, the first track on the Hejira album, and was immediately greeted with applause, clearly, there were some die-hard Mitchell fans in the audience. Next came ‘Just Like This Train’ from Mitchell’s 1974 album Court and Spark. Hattie then introduced herself and described what a significant part Mitchell’s music had played in her life growing up. She even named her dog “Joni Bitchell”! Hattie proceeded to sing ‘The Hissing of Summer Lawns’ and ‘In France They Kiss on Main Street’, followed by a new arrangement of Love from Mitchell’s 1982 album Wild Things Run Fast.

Guitarist Pete Oxley, acting as compère, introduced the next piece, an instrumental titled ‘Phase Dance’, written by Pat Metheny and Lyle Mays. It allowed him to showcase what a technically accomplished and musically expressive player he is. ‘Song for Sharon’ and ‘Be Cool’ concluded the first half of the set. he band returned to the stage and performed ‘Help Me’, which featured an impressive percussive introduction by Marc Cecil. Undoubtedly the highlight of the night was a trio of songs from Shadows and Light that seamlessly segued into each other: ‘Amelia’, sung beautifully by Hattie, ‘Pat’s Solo’, and ‘Hejira’.

Pete introduced a band original, ‘The Surging Waves’, which gave Rick Finlay’s drums and Dave Jones’s bass space to improvise while blending with Oxley’s guitar demonstrating that the whole truly is greater than the sum of its parts. The set concluded with ‘Free Man in Paris’.

For the encore, Hattie sang her own song ‘The Last to Come Away’ before the band rejoined her for a powerful rendition of ‘A Case of You’ from Mitchell’s classic album Blue.

Hejira isn’t just a regular cover band—they aim to capture the spirit and tight musicianship of Mitchell’s Shadows and Light, while infusing each performance with their own distinctive arrangements and touches.

The tour continues and tickets are available here, https://www.ents24.com/uk/tour-dates/hejira-celebrating-joni-mitchell

Reviewer – Adrian Cork 

On – 26.06.2025

Theatre Review By Royal Appointment Leeds Grand Theatre

It's not often you get to witness royalty on stage.. and to watch them play royalty and essential members of the royal household it an even more rare treat.

I speak of legendary actresses Anne Reid and Caroline Quentin portraying the late Queen Elizabeth II and her confidant and dresser (and personal assistant) Angela Kelly, affectionately nicknamed 'Gigi' by Her late Majesty. Her origins from Wigan mean she wouldn't be out of place in Dinner Ladies (if you know, you know.. ok, Anne was in that). Supported by The Queen's Designer and Milliner (whom one would guess are a mix of Hardy Amies, Normal Hartnell and Stewart Parvin and Australian Frederick Fox) played by James Wilby and James Deyfus respectively, both of whom also have a wealth of experience in the acting worlds.

Opening with simple set comprised of gold gilded wooden chairs with cream upholstery, a desk, stand and mustard yellow drapes towards the back - a depiction of a room in the late Queen's residence in Balmoral perhaps - the play begins as we meet the Dresser post-state funeral as The Last Post sounds. She is preparing to leave her role to be replaced for the new team supporting and advising The Firm. She meets the curator of a new 'immersive' exhibition of The Queen's fashion items, showcasing dresses, hats, brooches and other components to her iconic outfits which "communicated what she was saying without her speaking" or "spoke for her" to put it simply. The problem is that none of the team putting the exhibition together have records of what what worn when.. which, of course, Gigi did - whilst she may not be able to access the jewels anymore, she can remain a key member of the team, after all they "always knew their roles were important", not least in history. Gráinne Dromgoole also acts as narrator for the sequence of scenes, as we are guided through standout moments and outfits from the majority of her 70-year reign (52 years or so of it, although there was no distinct youthfulness or change of age shown in the performance) and wider society from 1969 to 2021 (and a cheeky prediction for 2026). Her desire to not be too modern but stand out in a crowd "so they known it's me", her patience whilst standing still and partaking at various engagements is evident, with her audience with her close (or not so close) team of designers may be seen as light relief to be more human (in the walls of the palace).

Although the whole play takes place in one room, it touches on a variety of topics, adding to this insightful, poignant and heart-warming tribute to the monarch and those who made her look so tidy yet timeless. With the male fashion advisors being gay (well we do dress the best!), and the piece scanning the 70s and 80s to 2021, we inevitably have reference to the AIDS and the impact, as well as old age, greed, the Thatcher Government and music, the latter of which provides a nice addition to the scene 'changes'.

Technically, the show is simple with minimal set changes, with black outs between each scene. The projection of the year and imagery of some of the outfits reference by the narrator, are not clear to see from all sightlines and these were a few issues with levelling the microphones in the first act, but we were ok once we got going, if not with the odd overlap of lines. Th actors all played their parts naturally, with a dynamic of emotions, and footman and understudies Jeremy Drakes and Fiona Tong should not be overlooked.

Well-written by Daisy Goodwin (even the monologue at the end which seemed out of place from the rest of the show, although no less poignant), directed by Dominic Dromgoole, with Jonathan Fensome as designer of the show, the show is a lovely whistle-stop of how her outfits were meticulously put together and how dedicated (albeit a few wobbles) her advisors were to her service (and ultimately rewarded as so).

Also, a reference point.. the interval was at 8.40pm and the show finished around 10pm (or just before).

The show remains at the stunning ornate Grand Theatre in Leeds for the rest of the week before heading to the south, returning to the north west in August. If you have any interest in or affection for fashion, iconism of Queen Elizabeth !!, you'll love this!

Reviewer - Christopher Oatway

On - 24.06.2025

Film Review: Hung Up on a Dream: The Zombies Documentary Picturehouse at FACT Liverpool

Hung Up on a Dream, directed by Robert Schwartzman, offers a heartwarming and insightful look into the enduring career and remarkable friendship of the iconic British rock band, The Zombies.

Rather than the usual tale of sex, drugs, and rock ’n’ roll, this is a story of friendship and resilience. At the film’s core is the genuine bond between the band members — Colin Blunstone, Rod Argent, Hugh Grundy, and Chris White — who have remained friends for over 60 years despite the trials and tribulations of the music industry. This focus on their camaraderie sets the film apart from many other rock documentaries that often highlight conflict and drama.

Through Schwartzman’s use of never-before-seen photographs, film clips, and candid interviews with the surviving band members, a chronological narrative unfolds, telling how the band was formed and what it took for them to have their first major hit with ‘She's Not There.’ Despite being at the vanguard of the British Invasion in America, the band didn't achieve the same level of success as some of their peers. The film addresses this, touching on issues such as poor management and financial exploitation that hindered their progress.

In 1967, frustrated by their lack of success, The Zombies signed a recording contract with CBS Records and began working on Odessey and Oracle at the world-famous Abbey Road Studios. The film, rightly, spends significant time exploring its writing and recording. Two singles were released from the album, but both initially failed to gain traction, leading to the band’s breakup in December of that year.

Unbeknownst to them, a prominent American record producer had taken a copy of Odessey and Oracle back to the U.S. after a trip to London. His company eventually released ‘Time of the Season’ as a single, and after a slow start, it climbed to No. 3 on the American charts. At the time, Blunstone was working in an insurance office.

The film also explores the band members’ post-Zombies solo careers, both within and outside the music industry, their reunion for the 40th anniversary of Odessey and Oracle, and the culmination of their journey with their induction into the Rock & Roll Hall of Fame in 2019.

Hung Up on a Dream is a tender, evocative tribute to a band whose legacy was built not on fleeting fame, but on lasting artistry. It offers a heartfelt portrait of survival, artistic integrity, and the quiet power of music to outlive its creators.

This was a one night only showing across selected UK cinemas.

Reviewer – Adrian Cork

On – 24.06.2025

Concert Review The Very Best of Billy Ocean Performing his Greatest Hits & Fan Favourites The Empire Theatre Liverpool

It’s hard to believe Billy Ocean achieved his first chart success 49 years ago, or that his landmark album Suddenly has just turned 40. Yet here we are, on a wet Monday night in Liverpool, celebrating these very milestones. 

First, though, was the support act: Ada Morghe is a German-born singer-songwriter, actress, and author. Supported by a guitarist and bass player, she played a half-hour set comprising songs from her current album Pure Good Vibes. Her blend of jazz, soul, pop, and reggae certainly found favour with the audience.

As the house lights dimmed, the backdrop simply read BILLY OCEAN, projected in a series of colours. The band entered from stage left and began to play ‘One World,’ the title track from his 2020 album. Billy shuffled onstage and began singing, sending the packed house wild. Clearly, there were many, many long-time fans in attendance. As the song finished, he stood in a single spotlight, obviously enjoying the huge ovation. Then the opening chords of ‘Love Really Hurts Without You’ sent the audience over the top. Everyone was on their feet, singing along. A wet Monday night at the Empire Theatre, Liverpool, felt like a Saturday night at the Empire Theatre anywhere.

At 75 years old, Billy looked extremely dapper in a blue worsted suit, white tie, and matching pocket square. His long grey dreadlocks only added to his obvious charisma. He took his time between songs, engaging with the audience with an easy charm. ‘Nights (Feel Like Getting Down)’ and ‘Stay the Night’ followed, before the next crowd-pleaser from the 1970s, ‘Red Light Spells Danger,’ during which he had the audience singing back to him.

He mentioned where the tour had played so far, including Manchester, which was greeted with a chorus of playful boos. He went on to say that he was an honorary member of the Liverpool Institute for Performing Arts. ‘Get Outta My Dreams, Get into My Car,’ ‘The Colour of Love,’ and a soulful cover of Bob Marley’s ‘No Woman, No Cry’ came next. After a little more chat, he sang ‘Mystery’ and, what the audience had been waiting for, ‘Suddenly.’ Love was definitely in the air. ‘Loverboy’ and ‘When the Going Gets Tough, the Tough Get Going’ closed out the set.

Billy left the stage to an ovation he fully deserved. Naturally, there was an encore. Before singing, he introduced his band, who had backed him magnificently. Standout performers included David Baptiste on saxophone, Sonia Konate on guitar, his daughter Cherie Charles on backing vocals, and the entire horn section.

The encore featured ‘Daylight’ and, of course, ‘Caribbean Queen (No More Love on the Run).’ The audience could not have asked for more. 

Legendary is a term too easily banded about these days but Billy Ocean is arguably the most internationally successful Black British male solo artist of his generation, an artist who paved the way for many that followed, and who is a legendary figure in music history.

Reviewer – Adrian Cork

On – 23.06.2025

Music Review Carole King’s Tapestry An Evening in Laurel Canyon The Lewes Music Group The Cavern Liverpool

Who are the Lewes Music Group? They are best described as a music collective based in Lewes, East Sussex. In fact, they are a not-for-profit Community Interest Company.

Why spend an evening in Laurel Canyon? Laurel Canyon is nestled in the Hollywood Hills above Los Angeles. In the late 1960s, it was home to an enclave of musicians, artists, and counterculture figures who produced a concentrated burst of musical genius that shaped the course of popular music and still resonates today.

The Lewes Music Group wanted to pay tribute to the artists who made the music, particularly Carole King. However, they opened the show with a version of The Doors’ ‘Riders on a Storm,’ demonstrating they were serious. Ethan Holliman’s keyboards and Matt Willis’s (not that one!) guitar and vocals were outstanding. The Cavern Live Lounge audience knew they were in safe hands.

Dan Lauro introduced the group, mentioning that this was the furthest north they had performed. The next song was a cover of The Byrds’ version of ‘Mr. Tambourine Man,’ one of the most iconic songs to emanate from the Canyon. Guitar and vocals were beautifully handled by Han Nelson, who was about to have quite a night.

Matt Willis took lead vocals on America’s ‘Ventura Highway,’ followed by James Taylor’s ‘Carolina in My Mind.’ By now, the audience was singing along to every word. Next was Jackson Browne’s ‘Running on Empty,’ on which Willis played lap steel guitar.

What had already been an impressive set was about to go up a level as singing duties were handed over to Han Nelson, who, Dan Lauro informed the audience, was Canadian so it was only right she should sing songs by her compatriots Neil Young and Joni Mitchell. Young’s ‘Heart of Gold’ was warmly received, followed by a cover of Crosby, Stills, Nash & Young’s ‘Woodstock.’ Brilliant! But what came next was the first half’s ‘wow moment’: Han Nelson sang Joni Mitchell’s ‘The Circle Game’ as wistfully as the Lady of the Canyon herself. The audience was spellbound, and this reviewer suddenly found he had dust in his eye. Nelson finished her mini- Mitchell set with a rousing version of ‘Big Yellow Taxi.’

The first half concluded with Buffalo Springfield’s ‘For What It’s Worth,’ Yusuf Islam’s (formerly Cat Stevens) ‘Wild World,’ and Eagles’ ‘Take It Easy.’

The Lewes Group proved themselves to be incredibly talented musicians. A spectacularly shirted Aaron Carpenter’s drumming anchored the group, and Alice Grace added backing vocals and piano. Her chance to take the lead was about to happen as she performed Carole King’s ‘Tapestry.’ Released in 1971, ‘Tapestry’ is simply one of the most influential and best-selling albums of all time. It blends deeply personal songs with warm, simple production, often centered on piano and voice. King’s honest and unadorned vocal style gives the album an intimate, confessional tone, almost as if she’s singing directly to you in a living room. Alice Grace was about to sing directly to a small yet intimate audience at the Cavern Club.

Sitting at her keyboard, Grace sang the album’s opening track, ‘I Feel the Earth Move,’ and the audience sang every word with her. She continued through the album, often sharing little anecdotes about the songs. Her ‘wow moment’ came with ‘You’ve Got a Friend.’ Although she didn’t need to, she invited the audience to sing along, and they did. You could see her reaction; she was visibly blown away. Four songs later, she performed the album’s closing track, ‘(You Make Me Feel Like) A Natural Woman,’ earning a well-deserved standing ovation. The audience wanted more, so Willis joined her on stage for a rendition of The Drifters’ ‘Up on the Roof,’ written by Carole King and her then-husband Gerry Goffin. The rest of the group returned to the stage to back Grace, belting out Carly Simon’s ‘You’re So Vain.’

Most of the audience was in their fifties or older so these songs had soundtracked their lives. Yet, they were being performed by musicians young enough to be their grandchildren, which says all you need to know: these songs have transcended time, place, and generations.

This was the last show of The Lewes Group’s tour, but they will return to the Cavern next April to perform Joni Mitchell’s ‘Blue.’

Reviewer – Adrian Cork

On – 22.06.2025

Music Review Holly Johnson Presents 40th Anniversary of Welcome to the Pleasuredome UK Tour 2025 M&S Bank Arena Liverpool

Holly Johnson, supported by Lightning Seeds, delivered a spectacular night at the M&S Bank Arena.

Ian Broudie and the Lightning Seeds were the perfect opening act for Holly. Their blend of guitar-based indie pop and bright, melodic synth-pop loaded with catchy hooks had the audience on their feet from the opening chords of ‘Marvellous’. They performed a nine-song greatest hits set, including ‘Change’, ‘Lucky You’, ‘Pure’, and ‘Life of Riley,’ earning a well-deserved standing ovation.

Then came Holly Johnson. As the lights dimmed and the introductory music began, the band positioned themselves on stage, while a sign beneath the riser welcomed the audience to the Pleasuredome. The performance started with “The World is My Oyster,” as Holly made his entrance from the right side of the stage, moving slowly towards the centre. Dressed in a futuristic leather outfit with an impressive codpiece, his powerful vocal delivery and theatrical expressiveness transported the audience back to 1984 as the next song—all twelve minutes of ‘Welcome to the Pleasuredome’ reverberated around the arena. It received a thunderous ovation that seemed to catch Holly by surprise.

More songs from ‘Welcome to the Pleasuredome’ followed, including ‘Black Night White Light’ and ‘Wish (The Lads Were Here)’.  He then announced he would take a break from Pleasuredome to perform some of his solo material. Highlights included ‘Americanos,’ ‘Atomic City,’ ‘Heaven’s Here,’ and ‘Love Train.’ Each song was accompanied by an individual video projected onto a giant screen behind the band.

Holly introduced his impressive band: David D’Andrade on guitar, Justin Swadling on keyboards and saxophone, Daisy May Khan on keyboards, Vinzenz Benjamin on bass, and Jon Harris on drums.

As tonight’s performance was his last of the tour and his hometown show, he sang ‘Ferry Cross the Mersey,’ with the audience joining in to add emotion and poignancy to the moment. As if the audience weren’t hyped enough, he roared into his iconic cover of Springsteen’s ‘Born to Run,’ which many argue is better than the original. ‘War’ followed before ‘Two Tribes’ and ‘Relax’ sent the audience into a frenzy. The encore featured a single song: ‘The Power of Love.’ The audience wouldn’t let him leave the stage until the house lights came up.

Holly Johnson’s Liverpool roots, achievements, openness about his sexuality and HIV status, and active engagement with Liverpool’s arts and LGBTQ+ communities ensure that he is an icon of the city, both culturally and musically. 

Reviewer – Adrian Cork

On – 21.06.2025

Theatre Review GUMSHOE! At Wimbledon Theatre Studio London

Christian Dart back one week after his venture in Long Live the King, also at Wimbledon Theatre Studio, this time he is on his own in a one man show. Christian Dart has conceived the idea for Gumshoe from old TV and Crime films.

Gumshoe refers to the quiet rubber-soled shoes worn by detectives on cases, which allows a quiet movement of secrecy and stealth. Christian takes on the role of Gumshoe or “Gummo” as he is known, a New York detective with a questionable accent! He embarks on a new case interacting with an audience member who gives him the name of the victim and the suspect. This changes from show to show dependent on the clues given by the willing participant. We spend the next 70 minutes chasing around New York looking for clues. We hear all about his old detective partner, ‘Orson Green’ and his old lover ‘Andrea Bandrea’.

There are car chases, explosions, and rain. Did I say rain? This show would not be a success without the full participation and good humour of the audience. The boys in ‘Blue’ and the Police feature a few times during the investigation. The story gets more contrived at each turn of events. But somehow Christian brings it all together at the end. All the ad-libbing and points when things go wrong add to the hilarity and fun, our faces hurt from the laughing. The mistiming of gunshots and sound was also very amusing. 

Tonight’s show was delivered on one of the warmest evenings this year and it was baking inside. Christian kept his cool despite wearing an overcoat and suit for most of the evening. His respite from the heat was when it rained profusely on a very small stage. I am not sure how he pulled it off in the humidity, tonight, with his long hair and hat accompanying the long tweed coat and suit. He must have been melting inside, but this did not detract from his delivery.

This is a fast paced show and it is a winner; Christian was great at keeping up with the turn of events and remembering lines and names, albeit with a little help from the crowd. The audience are included right from the beginning; being greeted as we enter the seats by Gumshoe himself. This means that we are at ease with Christian and therefore happy to take part throughout. He has developed and written this whole production and created a feel-good show. We all left smiling and happy, it was infectious.

Christian’s sister, Johanna Dart, has been fully involved with the production as a co-director and manager of tech (sound and lighting) as well as designer of the backdrop. All of which have helped to get the show off the ground and add to the ambience and atmosphere.

Christian will be reforming Gumshoe!! at the FUSE Festival in Kingston and touring the new Bad Clowns show Long Live The King and hosting a cabaret in Kingston every month called Bad Clowns; Good Friends. All three of which will be making their way to sunny, sunny Edinburgh for the Fringe. 

Reviewer - Penny Curran

On - 21st June 2025

Theatre Review Craig Revel Horwood Revelations Philharmonic Hall Liverpool

 

Craig Revel Horwood is touring to promote his debut solo album, Revelations and is accompanied by his musical director and long-time friend Ben Goddard on piano.

The set depicted a living room with a large red leather swivel chair, a small bar and a piano; there is a large video projection screen on the black backdrop. This set remains constant throughout.

Videos of Horwood’s stage and TV work were projected onto the screen as Goddard loudly announced Horwood’s entrance, describing him as “A National Treasure’, ‘A Living Legend” and he arrived on stage resplendent in a bright red jacket, black polo neck sweater and black trousers. He started the show singing ‘Everything’s Coming Up Roses’ accompanied by Goddard on the piano, who is wearing a black jacket adorned with rhinestones. Pictures of Horwood as a baby and growing up into an adult are projected as he sings.

Horwood then described the format of the show telling the audience there will be a Q & A session when they can “Ask me anything” and he gave a synopsis of his new album, Revelations, a picture of which was displayed on the backdrop.

Horwood, encouraged by Goddard, started reminiscing about his childhood, particularly about his recorder playing and a video was shown of him at school playing the recorder at which he excelled. There was then a recorder duet by Horwood and Goddard, Horwood mentioning that his recorder cost £300 and was the same one bought by his mother when he was young for seven pounds.  This then led to a recorder solo by Horwood of ‘Hello Dolly’ and a video of him dressed as a woman singing the same song with Horwood exclaiming how when he was playing ‘Hello Dolly’ on the recorder all those years ago, he never expected to be singing the same song and getting admiration for it many years later. This is all very ‘look at me’ and how successful I am, with Horwood stating that he is now wealthy enough to have his own tennis courts and swimming pool.  He follows this with a rendition of ‘Waltzing Matilda’, encouraging the audience to sing along.

A catalogue of work Horwood has been involved in follows – he is an author, dancer, choreographer, conductor, theatre director, and former drag queen, as well as the longest serving judge on Strictly Come Dancing, since 2004; this was accompanied with some very risqué jokes and innuendo and Horwood drinking from a bottle which he said contained vodka which he is very fond of.  He then went on to describe his pantomime history followed by a rendition of Ursula’s song, ‘Poor Unfortunate Souls’, from The Little Mermaid; he squeezed into a black dress with inflatable tentacles and put on a blonde wig before prancing off in it for the interval.

After a welcome short break, Horwood delivered a tribute to The Vivienne, James Lee Williams, who he worked with before his passing earlier this year and sang ‘Somewhere Over The Rainbow’ dedicated to his memory, along with showing a video of him wearing a pair of boots he had made especially for him.

Then came an unusual cooking segment where Horwood demonstrated his cooking ability, mentioning he won the TV Christmas Special of MasterChef. He cooked peanut butter cookies on stage as he related how a previous 15  year relationship had broken up involving the discovery of peanut butter in his pantry every time he returned home from being on tour. He later distributed the cookies to the audience.

The audience Q & A came next with Horwood using Strictly-like paddles with numbers on to award points for the questions. Many of the questions revolved around Horwood’s personal life especially about how he met his partner and plans for his wedding which has been delayed a few times plus who he thinks is the best and worst judge on BBC TV’s Strictly.

Horwood then detailed how his family life with his abusive, alcoholic father, led to him leaving home at the age of 15 and how his love of dancing helped him deal with an unhappy childhood; this was accompanied with photographs of his four siblings, his mother and his father through the years before he passed away.  There were some personal disclosures which were uncomfortable to hear at times as his father had tried to shoot his mother and his brother-in-law and then spent a short time to prison only to be released when his mother dropped the charges. However he paid tribute to his father by singing his favourite song, Frank Sinatra’s ‘My Way’, which he said he sang at his father’s funeral. 

His encore was Shirley Bassey’s ‘This Is My Life’ for which he adorned himself in a very over-the-top long pink frilly coat, Goddard describing it as ‘Very camp’, telling the audience how honoured he is to be Bassey’s friend and how along with his friend, Queen Camilla, he is an Ambassador for the Osteoporosis Society, and relating the amount of money he has donated to the cause.

The auditorium was about two thirds full with a lot of empty seats, which affected the atmosphere, despite this Horwood (and Goddard) performed as though to a packed house but unfortunately, I noticed some people leaving during the performance and before the end of the show.

Horwood, at times reminded me of the late Kenneth Williams, sounding so much like him when he exaggerates his vowels when speaking, such as when he frequently uses  the words ‘Darling’ and ‘Fab-U-Lous’ for which he is known.

This show is a very indulgent personal performance which will appeal to Horwood’s fans, many of whom were in the audience cheering him on. It is a platform for him to exhibit his talents past and present, an almost ‘This is Your Life’ in pictures and songs delivered by him, for him to smugly give himself a pat on the back for his achievements whilst also relating personal moments through songs such as ‘Memories’ and ‘This is Me’.

Whilst fans of BBC TV’s Strictly or musical theatre may find entertainment in the behind-the-scenes gossip and disclosures, it may not have wide-ranging enough demand to fully engross a wider audience.

Craig Revel Horwood is on a UK tour until the end of June.

For tour dates see https://www.craigrevelhorwood.com/

Reviewer – Anne Horne

On – 21^st June 2025

Opera Review: The Magic Flute Greenwich Theatre

Such a pleasure to be invited to review at Greenwich Theatre. A place I have walked past hundreds of times and never been inside. I was not disappointed to find that this is a hidden gem of South London. The theatre has been collaborating with Greenwich Opera who are working with emerging talent and have jointly put this production together.

The Magic Flute composed by Mozart, is an almost mythological and medieval style fairytale including tasks to be undertaken by our hero Tamino in an attempt to win the love of the princess, Pamina. It is a convoluted story of light and dark, good, and bad, freedom, exile, escape, and peace. This production has all opera parts in German and speaking parts in English. There are English subtitles on the screen, however, in the second part the subtitles were being a bit temperamental, but this did not detract from the performance.

This performance of The Magic Flute is a valiant community opera assembled mainly from young semi-professional performers, some of whom are still studying at very prestigious music colleges, with long lists of previous musical backgrounds and performances. The director Valeria Perboni and co-director William Ely have put the production together, with assistance from Ishan Bhadra the musical director and conductor, alongside co-producer Phoebe Whitley.

The space was small but the direction has managed it well and used the aisle for entrancing and exiting through the audience. There were some lovely visual backdrop projections and the small stage was well used by the cast.

At times it was hard for the performers to see the conductor and occasionally the singers were not in tune with the orchestra. Possibly due to not being in sight line with the conductor; leading to moments of inconsistent timings between orchestra and singers. The production could have benefitted from stronger orchestral playing, but as I have said these are several young performers coming together for maybe the first time with a few accomplished notable exceptions. The conductor - Ishan Badra is currently studying for an MA at the Royal academy and has led the orchestra well. It Is important to consider that this was the first night and all will settle down and bed in over the run. But affordable tickets, and a good auditorium with good views of the stage give an easy access to opera. 

I was accompanied on this review by my friend, an accomplished Royal Opera House Singer, who was able to give me a few insights about the quality of the singing and performance. I need to say that this run at the Greenwich Theatre has two casts, we saw the Friday cast and it would certainly be interesting to see the alternative cast to compare the performances. The community chorus were very strong indeed and held the performance together.

Pamina- performed by Kennedy Blair Miller sang with a silken quality at the top of her voice and by far was the most enjoyable and likeable of the characters.

Tamino – performed by Gregory Riciu had a good voice, although he did not exude enough leading man/ hero qualities. 

Papageno – the Bird Man- performed by Ben Watkins – was really good and was much more at ease in the operatic stage than the younger ones. He held the role throughout and commanded the stage alongside Papagena (Rose Rands) with her strong voice and good characterisation. We both felt that she could have been cast in a bigger role.

The three ladies (Antonia Kocharova, Megan Artemova Thomas, and Lizzie Hawes) were a well put together ensemble with a matching quality of voices that worked well together. They acted out the parts well and developed a style and sound that made their performances memorable.

Queen of the night – performed by Meliza Metzger requires some high notes as part of the role. Meliza has a strong powerful voice, but needed more stage presence to convince the audience that she was a powerful queen. 

Sarastro (David Banbury) has a notable voice.

Speaker - Charles Naylor is a seasoned operatic professional who although having one of the minor roles in this production actually shone and would be an ideal role model for the company.

Monostatos – (Ash Howard) gave a strong solid vocal performance. 

The three Spirits is usually sung by young boy trebles. In this production they have been assembled form three amazing women with good voices, timing, and movement. These three lovely spirits are performed by Emily Varney, Antonia Thwaites, Jessica Harper.

It was an enjoyable evening and as I said earlier, this production will definitely settle down and improve at each performance. Runs from Friday 20th June- 22nd June

Reviewer - Penny Curran

On - 20.06.2025

Music Review Down in Laurel Canyon with Motel Sundown and Friends Shakespeare North Playhouse Prescot

 

Down In Laurel Canyon is a celebration of iconic music from the 1960’s and 1970’s celebrating the artists of the era who lived in the vicinity such as Joni Mitchell, Neil Young, James Taylor and The Byrds. Laurel Canyon, hidden deep within California’s Hollywood hills was home to some of America’s most influential artists throughout the late 60s and early 70s.

Motel Sundown is a 7-piece band of musicians and friends who remember in song the heady days of the hippie era with nostalgic songs beloved by many and still played today by the younger generation.  The band was  originally  formed by singer-songwriters Naomi Campbell, Karen Turley and Rob Johnson in 2018 who got together through their love of rock, blues and Americana and through Karen and Naomi’s love of country music. The band  combine the sounds they grew up with such as The Beatles, Johnny Cash and Bob Dylan, with three-part harmonies inspired by the likes of Fleetwood Mac and Crosby, Stills, Nash & Young. All of the band’s voices blend superbly and makes for easy listening. 

Shakespeare North Playhouse is a 470 seated timber-framed in-the-round theatre which has a very intimate atmosphere and lends itself well to this type of performance as the audience are seated close-up to the stage on ground floor level; there are also two tiers of seating above. Unfortunately the seats aren’t as comfortable as they could be, most are bench seats without a back to them which doesn’t lend itself well to a two and a half hour performance.  All staff are very helpful and affable and there are also volunteer staff helping out. On this particular evening the performance was interrupted with a fire alarm going off which meant the audience had to evacuate the theatre just before the interval, luckily it was a false alarm, and everyone returned to their seats after a welcome break outside to cool off as it was a very warm evening.

All songs delivered were exceptional, but a few deserve a further mention such as Rob’s beautiful rendition of James Taylor’s ‘Fire and Rain’, and Joni Mitchell’s ‘Ladies of the Canyon’ which was delivered by the two female vocalists who sang it exquisitely. ‘Both Sides Now’ was a crowd pleaser and the band encouraged the audience to join in with the singing which they did. Carly Simon’s ‘You’re So Vain’ and Carol King’s ‘It’s Too Late Baby’, plus Dylan’s ‘My Back Pages’ were delivered effortlessly, and strong audience appreciation was shown with loud cheers and applause.

This was a very pleasant evening of nostalgia and reminiscence of the memorable timeless catalogue of songs produced in the 1960’s and 1970’s and the band delivered a very cool performance with ease and composure. Catch them if you can on June 21st, 2025 at 3:00pm and 8:00 pm.

Reviewer – Anne Horne

On – 20^th June 2025

REVIEW DANCE AMATEUR CHILDREN / STUDENTS / YOUNG PEOPLE SALFORD DANCE EXPLOSION 2025 THE LOWRY THEATRE SALFORD

This annual event has grown exponentially over the years, and now this event takes place over four evenings. Further more, rather than being simply dance companies from Salford, as was the original remit years' ago, it has now broadened its boundaries to include most of the North West! The format still remains the same however; with the use of a singing compere and accommodating dancers of all ages, abilities and types of dancing school. Primary School after school clubs to professional training academies to charities working with both physically and mentally disabled adults. No-one is left out and all are welcomed and supported equally. Obviously with so many groups and dances happening across the three out of the four evenings I was able to come along to, it would be impossible for me to write about all the groups; furthermore I am not going to critique them in any professional capacity, that would be most unfair and not what this event is all about. However, I can tell you my own criteria. First and foremost I am looking for a whole presentation - a piece of choreography which is also a stand-alone piece of theatre. Lighting, SFX, set (if used), costumes, make-up and chosen music all cohere and compliment each other, and thought has gone into the overall 'look' and 'feel' of the piece, especially if there is a narrative drive within it. The choreography should be exciting and varied, with good use of space, levels, and techniques / moves, but should always be within the comfort zone of the dancers being tasked in performing them. And finally, I watch the dancers' faces to see if they are acting or just simply dancing. I am a Musical Theatre trained actor and theatre director and so perhaps this also might hold a slight bias in my affections and affiliations.

MONDAY: DAY 1 saw 14 groups take to the stage, some doing so for the first time. I enjoyed the Baven School's performances this evening. These were something a little bit different for me, since the school is obviously for the Chinese living amongst us, for them to immerse themselves in and learn about their own culture through dance. These very young girls (all preteens) took us through three short dances, which all had elements of Chinese traditional dance styles but updated and modernised for them to be more easily accessible for today's youngsters. Lovely to watch. I also enjoyed the routine from the Co-Op Academy in Walkden. This saw 7 teenage girls go through a range of dance styles and worked excellently together. It was obvious they had danced together many times, as they were able to anticipate each others' moves and work as a true ensemble. 

However, there were four groups this evening who for me went that little bit beyond, thought about a holistic presentation, and produced something that was both theatrical and proficient. These were: 1) The Allegiant Dance Company: a small group of teenagers performing a contemporary dance with great skill. Dressed al in white futuristic garb with make-up highlighting their veins along their arms and almost zombie-like face make-up, they could indeed have been the undead as their silent screams and jagged movements illustrated. 2) Theatreworks, Bury. Here we were given pure Musical Theatre and I loved it. A large group of youngsters not only danced, but acted and sang their way through 'Take Me To Heaven' from 'Sister Act'. It was exciting, clever, with good harmonies, and showcased this groups' cumulative talents excellently. Of course the sparkly nuns' costumes helped, but this was my favourite of the whole evening, just lovely! 3) The Joanne Farnell School Of Dance performed excerpts from their upcoming end-of-year show, 'Everything Old Is New Again'; and here we saw a large group of teenage girls perform three varied dances. The first was a proper can-can, choreographed and danced with the correct steps and routine for this dance, and was done with elan. The other two, with costume changes throughout, were contemporary dances with excellent choreography with good use of the stage's space and good pictures. Nice coordination and togetherness throughout. In between these were saw a young boy perform a solo contemporary ballet, and two young girls perform a lovely contemporary duet. All were very talented and a joy to watch. 4) The final dancers of the evening came from Holy Cross College, and here we saw a bright and colourful, and extremely upbeat routine titles, 'The Synergy Of Motion'. This commercial routine combined full company with smaller ensembles, duets and solos seamlessly and the use of space and creative ideas within the piece were very impressive.  A super end to the showcase. 

TUESDAY: DAY 2 was no less exciting, and on this occasion I enjoyed the FD Academy Of Irish Dance, as they, like the Chinese dancers of the day before, took us through some lovely Irish traditional and traditional-inspired routines. It was very 'Lord Of The Dance' and was lovely. Whilst the Abigail Bibby School of Dance gave us a cheerleading experience with 'I Wanna Dance With Somebody', The Joanne Farnell School Of Dance showed us a few more items from their forthcoming showcase with a slice of classical ballet and including an excellently danced solo contemporary routine; and St. Andrews Primary School, Boothstown started the second act of with a lively 'Girls, Girls, Girls' in leopard print costumes. Energetic and fun, and nicely executed.

However, two groups this evening were my favourites. First of these was the Fun Key Dance Academy's Invincible Team with their Beyonce -inspired mash-up of commercial / hip hop dance; whilst the second act gave us St Phillip's Primary School's street dance 'Commander', with a young but perfectly-timed group of youngsters whose drill and precision as well as coordination and energy impressed greatly.  

WEDNESDAY: DAY 3 brought more groups and more energy to the Lowry Theatre. Three groups this evening deserve special mention. These were St Mark's Primary (both groups) 28 youngsters in the first group with colourful t-shirts street dancing, whilst the second group made a very good effort of their Michael Jackson homage. Whilst the first half ended with once again some more excerpts from the Joanne Farnell School of Dance's showcase. There were five sections to this in all, starting with an Alice In Wonderland section, which segued nicely into a jazz dance solo from a talented teenage girl, which turned into a full company jazz routine before another solo teenage girl performed a beautifully executed contemporary solo, and then they finished with an full ensemble contemporary dance.

Three groups caught my attention this evening however as my favourites of the night. The evening opened with three routines from The Danceworks in Eccles. 'Time After Time' - a preteens contemporary ballet routine - was followed by a duet of two young girls dancing beautifully together, their timing was absolutely spot on. This was then followed with a jazzy upbeat routine for the preteens again using Abba's 'Voulez-Vous'. The second group to perform this evening was the Rachel Ann Walker School of Dance giving us their choreography for a few of the songs in the musical, 'A Chorus Line'. A lot of girls to fit on the stage, but some clever choreography and good spatial awareness made this possible. Nicely done. We then had to wait until the final act of the evening for the funky hip-hop choreography of the teenage girls from the Fred Longworth High School, as they danced with real attitude, poise and precision. 

Finally, allow me to mention all the other groups who I have not written about. They are al deserving of praise and approbation. These events are not about being best, and it is not a competition, rather a celebration of dance and creativity. Working together and supporting each other is most definitely the order of the day, and for all involved their time at the Lowry Theatre will be a wonderful learning curve and experience for them. It is wonderful and inspiring to see such energy, dedication and commitment from so many youngster and youths, and rue the fact that opportunities such as this were not available to me when I was young... they don't know how lucky they are! Congratulations!

Reviewer - Alastair Zyggu

on - 18.6.25

REVIEW MUSIC Classical Choral Concert Kantos Chamber Choir: Elements The Carole Nash Hall The Stoller Hall, Manchester

What happens when an upcoming choir combine improvised soundscapes, poetry and song  in a concert which takes us through the four elements (Earth, Air, Water, Fire) with a poignant but understated message about climate change, in a concert of just over one hour in length without stopping, or even truly pausing for breath? This... Kantos Chamber Choir's latest concert called 'Elements' performed in the smaller and more intimate performance space of The Carole Nash Hall in Manchester's Stoller Hall.

To say that this was absolute perfection would not be a lie. The thought that had gone into producing this concert was immense and every item chosen worked perfectly. We were taken on a journey through the elements, with each one being introduced by a soundscape (credit to Katerina Gimon), the first being in complete surround sound as the choir stood in a perfect circle all around us. This was a wonderful aural experience and something that simply would not have worked in a larger venue. Each section then had one of the choir members read a poem, and this was the followed by a few songs relating to the theme. It was clever, skilful, intelligent and beautiful. 

The choir is an a capella group and how they found their notes for some of the songs I am at a loss (and I am a singer myself!). The diction and enunciation was superb throughout (apart from a little of the Italian, the vowels sounded too English), but that is a very minor critique. The 17 members of this choir under the direction of their Artistic Director, Ellie Slorach, gave me goosebumps at times. In fact I could go on writing compliments all day, but suffice to say that this choir pitched this concert utterly spot on. It was exactly the right length, said succinctly what they needed to say, and performed with elan and skill throughout. 

Wonderful!

Reviewer - Alastair Zyggu

on - 14.6.25

Theatre Review ‘A Midsummer Night’s Dream – Nightmare’ Play – Keats House Hampstead, London

 

A captivating, dramatic and at times, humorous play which gives the classic Shakespeare story an unique supernatural twist. The Director and production team intertwine the supernatural elements seamlessly into the main, well-known story. Despite actors playing multiple roles the use a actions (to demonstrate a character being possessed) , sounds and music cleverly enables them to take the audience with them, easily knowing when a character changes from one role to another. This transition is done throughout the play and is even managed perfectly at the end during the wedding scene when in the original and this play all characters come together in the same scene. The decision to stick to the original text also worked well as the exaggerated non-verbal acting put across meanings which otherwise may have been lost to such an extent that Shakespeare language seemed bizarrely familiar and easy to understand. Even the decision to cast a woman as both Egeus and Oberon did not you detract from the story or the audiences enjoyment, it as an adaptation after all.

The venue I saw the play at was in the gardens of Keat’s house, in Hampstead. This was an outdoor performance which create a ‘Theatre in the Round’ whereby the actors came on to the stage from multiple directions and performed in the centre of the garden (stage) with the audience seated around them. This stage choice created a connection between the actors and the audience where you really did at times feel a character was talking to you personally. This no doubt created an added challenge for the actors who needed to rotate their posture and voice about the stage to capture the attention of all audience members. This was done particularly well by Midnight circle productions.

The play got off to a strong start with lots of action and noise, drawing the audience’s attention and letting everyone know the play was starting. This same subtle technique was also used after the interval. The complicated love story or the original play was used and built upon with fantastic acting from the characters of Hermia, Lysander, Helena and Demetrius who showed us the traits, weaknesses and interwoven relationships of these friends and lovers. From the moment Hermia was told she couldn’t just choose who she wanted to be with, the audience was invested but not just with her with also with both men and Helena.

This uniquely was a play where roles, importance and time on stage were shared equally amongst all the actors. Casting was faultless with each actors personality and skill perfectly matched to the role they were playing.  Of particular note were Nadia Lamin (Helena/snug/goblin) and Jed McLoughlin (Bottom/Goblin). Nadia seem to note the difficult acoustics and made the extra effort to project her voice, use exaggerated expressions, move and look around so everyone could see and hear her and did on occasion make full eye contact with audience members close to her, as if they too were part of the play. Jed demonstrated much appreciated comic timing in almost all the roles he played, drawing laughter from the audience. His diction and voice projection was also one of the best in the cast.

There were very few negatives in this performance one being the difficulty to hear some actors when birds or planes were flying overhead. It would have also added to the atmosphere if seating, even if just bean bags, had been provided. Venue assistance to explain to people where to sit would also have avoided some of the confusion when people arrived of where you could and couldn’t sit

This production is on for another month travelling to Essex with more locations and venues to be added. This was a fantastic performance and adaptation by Midnight circle, consistent with the reputation that precedes them.

Original book/play by: William Shakespeare

Adaptation by: Midnight Circle Productions

Director: Cecilie Fray

Produced by: Niamh Handley-Vaughan, Nadia Lamin and Miles Blanch

Runs at various locations (as touring) until end of June 2025 although more dates are being added

Midnight Circle Productions

Reviewer - Julie Freedman

On - 15.06.2025

THEATRE REVIEW What Does It Take To Slay A Dragon? 53two, Manchester

 

Performed straight through without interval, this 80 minute production flaunts convention in the face as it tackles a rather tricky issue, which - albeit for me not to draw parallels, we should be very mindful of, since we have seen what happens when hatred, xenophobia and racism are taken to their extremes already - actually could make the audience feel a little uncomfortable, and asks more questions about our allegiances, beliefs, and our understanding of race and nationality, than it actually answers. 

Rebecca Harrison is no stranger to having her plays performed in Manchester, and having seen quite a few of her works over the years (especially in the days of the 24/7 Festival), I can honestly say that she has definitely grown as a playwright, and this, her latest piece of theatre, is really something quite special. 

The plot is simple enough in itself; a middle-aged white Englishman drives a white van for a living. He has a Polish wife and a couple of children at home. His boss is Asian, but this is not a problem to him he says, they have been friends for a long time and went to the same school. He is not racist, or at least so he keeps telling himself. He does however fly a small English flag in the cab of his van (the flag of St George), his dad is very old-school and both hates and fears the "take-over" of non-whites in his country, and he does start a very unhealthy friendship with a young trouble-causing influencer who could quite easily be a member of the EDL or similar. His boss asks him quite rightly and politely to take the flag down, as it goes against company policy, but of course, he refuses, and it is this decision which is the catalyst for the rest of the play, which snowballs into contentious and dangerous territory, and even out of control.

Where this play is completely different is that from the start and at points throughout, Harrison herself speaks directly to the audience stopping the action on stage, ameliorating, exemplifying, and explaining her choices and reasons for writing certain scenes I do believe this play is unique in this regard. The cast also take directly to the audience as they introduce each scene, and English songs which one would associate with patriotism and nationalism and belonging are sung by certain characters at certain times as another way of pursuing narrative drive and emotional response. 

The stage setting is optimal and clever, with the use of a van side as a projector for the titles of scenes etc to be screened upon, and the lighting (including haze) is beautifully created, giving no-one a complete unshadowed spotlight. meaning that al the characters are always only partially lit and this creates both atmosphere and tension.

The six cast are a true ensemble, with obvious latent energy behind each performer, creating the impression that this situation could blow up at any moment. Shaban Dar, Chiara Dev Galli, George Miller, Simon Naylor, James Quinn, and Olivia Sweeney are all deserving of high praise, as indeed is director Olivia Sweeney for managing to tackle the subject of racism in such a thought-provoking and honest way. The play focuses on what it means to be British by highlighting the vulnerability and later alienation of Billy, out antihero van driver, and shows us with candour how easy it is to be persuaded and even radicalised, and how soon such events, in today's technically advanced society, can soon become global and terrifying. It is in the beauty and skill of Naylor's underplaying of some of his interchanges which creates the opportunity for the radicalisations from the slimy Stevie Smith to begin. 

It is a rare occasion for me to have a lump in the throat and tears in my eyes when at the theatre, I thought I was thicker skinned and inured to this due to the number of plays I have seen over the years; but not this time; you got me!

Produced by Take Back Theatre and 53Two this is (and I cannot remember the last review I wrote this on) a must-see.

Reviewer - Alastair Zyggu

on - 15.6.25