Theatre Review Calamity Jane, Venue Cymru

When I read Calamity Jane was embarking on a new UK tour I was surprised. It’s not the kind of show that springs to mind as a classic, although it does have some very memorable tunes which have cemented themselves into popular culture thanks to the 1953 film, led by Doris Day. The latest revival of the show doesn’t quite match up to the film but if, like me, you have strong childhood memories of your Grandma singing ‘Secret Love’ and ‘Deadwood Stage’ as she did the washing up, then it will at least give you a warm evening of nostalgia.

There’s not an awful lot in terms of plot. Tomboy Calamity Jane brings Katie Brown (who is masquerading as famous actress Adelaide Adams) back to her town of Deadwood, where a love-tangle ensues between the women, Calamity’s love interest Danny Gilmartin and her arch-nemesis Wild Bill Hickock. The strongest laughs come from mistaken identity, which this show has in bucketloads, as all most every character is recognised as someone else at some point in the show!

Carrie Hope Fletcher takes top billing in the title role. She has great presence and, although she had big shoes to fill after Doris Day, she makes a whip-crackin; effort. Her vocals are strong and her powerful belt gives Calamity her trademark fierceness. The stand-out star is Seren Sandham-Davies who lights up the stage as Katie Brown. Her performance is nuanced, from endearingly chaotic to wonderfully composed and charming. She is Calamity’s opposite and it is lovely to see Calamity and Katie’s friendship blossom as they learn from each other. Both Fletcher and Sandham-Davies work well together with great comic timing. Sandham-Davies has good chemistry with Luke Wilson, who plays Danny Gilmartin, though his role seems frustratingly thin. If the character had been fleshed out a bit more, it would have given us a chance to hear more of Wilson’s beautiful singing voice. Gilmartin is a quieter, figure of stability, but in all the chaos he tends to get a bit lost, which is a shame, though a reflection on the script rather than Wilson’s performance. Tomas Wolstenholme played Wild Bill Hickock with devilish wit and charisma. Wolstenholme’s version of ‘Higher than a Hawk’ was also a lovely moment and his voice was a real treat. The banter between him and Fletcher was fun to watch.

Molly-Grace Cutler deserves a mention for her far-too-fleeting appearance as Adelaide Adams, delivering sass and campery as the stagey diva who is dismissive of her poor maid, Katie Brown.

The set looks great, utilising opposing balconies and a faux stage to recreate the watering hole of Deadwood as well as the more glamourous stage of Chicago. The ensemble also works creatively to portray Calamity’s horse and the Deadwood Stagecoach at several points during the show, but it is particularly effective during a high speed chase in the third act.

It is lovely to hear those famous songs again, although they are repeated so much even a first timer could recall them by rote by the curtain call. The band itself is made up of the cast, which is always pleasing to see. It’s clear the cast boasts many triple-threats as they move seemingly from energetic, high-kicking choreography to whipping out a violin or sliding along the keys of a piano, all whilst remaining in character. 

The plot is extremely thin and a lot of the laughs rely heavily on out-dated gender stereotypes. Seeing masculine women and effeminate men as the butt of the jokes doesn’t (and shouldn’t) really land today, so it is strange to see the production embrace that with many an exasperated cry of ‘Females!’. I understand the story comes from a different era, but I would have been interested to see the story adapted for a modern audience, which I appreciate is an opinion not everyone will share. Without wandering too far into spoiler territory, Calamity Jane is a woman who doesn’t conform to the expectations of her society, and the message that is driven hard throughout the show is that, if she wants to get a man, she should. Yikes!

A lot of people have worked hard on this production and there is no doubt it has a very talented cast and crew. It perhaps leans too much on nostalgia rather than bringing the story to a modern audience, rightly or wrongly. There may be an interesting conversation to be had as to why there is an appetite for this kind of story in 2025, but if we look solely at the production, and don’t over-think it’s old-fashioned messages, it’s an entertaining night out.

The production runs at Venue Cymru until 30th August 2025 before continuing its tour to venues around the country.

Reviewer: Gavin Hayes

On : 26th August 2025

Theatre Review The Addams Family (Musical) Blackpool Winter Gardens Blackpool

 

The latest touring production of The Addams Family arrives in Blackpool with a spooktastically wonderful production.

Based on Charles Addams’ beloved cartoons The Addams Family’s appeal has endured through the original black and white 1960’s TV series, the iconic films, and the recent Netflix reboot ‘Wednesday’ proving there is still a huge and enduring appeal for this lovable kooky spooky family. This was clear too on arrival at the busy theatre on a Tuesday night, with many audience members in costume. 

The challenge for a stage musical is to capture the macabre humour of the original while also delivering the spectacle expected of modern musical theatre. This production manages that balance with ease.

The premise of the show is love and acceptance. Wednesday Addams, now eighteen, falls in love with Lucas Beineke, a sweet and normal boy from Ohio. This relationship introduces a new dynamic, as Wednesday's parents (Gomez and Morticia) must navigate their daughters desire for independence while grappling with their own fear of change. Matters become even trickier when Wednesday reveals her plan to marry Lucas, swearing Gomez to secrecy, something he has never before kept from Morticia.

As the story unfolds, Wednesday invites Lucas and his parents to dinner, leading to a night filled with comedic misunderstandings and cultural clashes. The Addams family, who embrace their unique values and traditions, must put on a facade of normalcy to impress the Beinekes, which proves to be a challenge given their unconventional lifestyle.

At the centre of the production is Gomez Addams, played by Ricardo Afonso with a buoyant mix of charm and mischief. He effortlessly commands the stage, assuring the audience from is first entrance that the show is in very good hands. His comic timing and vocal performance throughout were exceptional and every song was performed with power or emotion. Happy Sad, in Act 2 with Wednesday, showed too that he was also very capable of pathos. Morticia was played by Alexandra Burke with an icy elegance and her rich vocals helped to enforce a ghoulish and overall polished performance.

The younger cast members were excellent. Lauren Jones as Wednesday played the role superbly and delivered a performance with both biting sarcasm and genuine vulnerability. Jacob Fowler as Lucas, was a perfect foil and there was a real warmth and chemistry between these two characters which made the unlikely romance fully believable. Nicholas McLean played the teenager Pugsley with cheek and charm and his rendition of ‘What If’ was deservedly well received by the audience. Clive Rowe as Uncle Fester and Lesley Joseph as Grandma were the shows comic relief. Rowe confidently drew easy laughs with slapstick and fourth wall breaks. Dale Rapley (Sam Beineke) and Kara Lane (Alice Beineke) were suitably starchy and uptight parents, that is until Alice’s “transformation” in the number ‘Full Disclosure’. Lane’s performance here was exceptional, and it brought the house down.

Lurch (Lee VG) slowed the pace down at every opportunity and his entrance down the stairs as the Beineke’s arrived was perfectly timed and had the audience holding its breath with every step. The ensemble of 7 ghoulish ancestors was a tour de force. (Abigail Brodie, Jak Allen Anderson, J.R. Ballentine, Eamonn Cox, Siobhan Diffin, Maria Garrett, Chloe Gentles and Sario Solomon) They filled the stage with spectacle and style, with their fabulous costumes and slick choreography. They seamlessly moved around the set being seen by the Adams’s and not seen by the Beinekes allowing them to spookily turn pages and make handbags float in in the air!

Choreography by Matthew Ives is slick and at each stage helps the overall visual storytelling. Set design, Diego Pitarch, is perfect, the cast seamlessly moving pieces to fit the scene and give a haunted house feel. The balconies on each side, which allowed cast members to be present or not present in a scene, were particularly effective allowing extra detail and dimension to the story line.

MD Andrew Hilton and his band provided excellent backing to the story, at no point overpowering the performers and when needed, adjusting the tone to provide a rich musical backdrop.

Overall, this is an excellent production, and Matthew White has created a production that is fun to watch, and even though, there are no well-known songs, there is a lot to enjoy here. The first night audience standing to applaud at the end was further confirmation of this must- see production. Certainly, this production should not only be watched during Halloween.

The show runs from 26 August - 30 August 2025

Reviewer - Jen O'Beirne

On - 26.08.2025

An Audience with Freda Kelly at The Liverpool Beatles Museum

 

This was a nostalgic trip down memory lane and an afternoon of pure enjoyment for those in the audience who had the pleasure of living through the 1960’s and experiencing the phenomena of The Beatles.  The icing on the cake is that Freda Kelly was recounting her personal experiences with The Beatles.  At the tender age of 17, Freda Kelly had the job all teenage girls wanted at that time, she was secretary of the Beatles Fan Club, and she was editor of The Beatles fan magazine. As fan club secretary she managed the club's correspondence and interacted closely with the band. Her job gave her exclusive insights into the band's early years, and she developed strong relationships with John, Paul, George, and Ringo. She also provided a newsletter in The Beatles fan magazine, keeping fans up to date with tour news and events in the personal lives of the Fab Four.  Initially she did everything from home at her own personal expense and even listed her home address as a postal address for fans to send their letters.  Her dad put a stop to this once the number of letters became too much, somewhere in the region of nearly one thousand per week.

Freda was later secretary to Brian Epstein working at the NEMS store in Liverpool and ran The Beatles fan club for ten years until she retired from the role to concentrate on family life, her retirement coinciding with the demise of the fan club and The Beatles going their separate ways.  According to Paul McCartney's stepmother, Angie, The Beatles saw Freda as a sister and their families saw her as a daughter.  Freda would visit the homes of the Fab Four regularly and she was particularly close to Ringo’s mum having lost her own mum when she was just 18 months old. 

Now in her 80^th year, Freda related her memories of her time with The Beatles prompted by questions from Roag Best, brother of Beatles ex drummer, Pete Best. They sat on the small stage together and after the interval Freda answered questions from the international audience who treated her to a rendition of ‘Happy Birthday’ to commemorate her birthday which she celebrated last month. For ardent Beatles fans, the memories Freda related may not have been particularly exciting as they may have heard them before as most of the stories she related were documented in the film about Freda’s life with The Beatles entitled, ‘Good Ol’ Freda’ but her reminiscences were met with due appreciation and reverence by the many fans who attended.

The events room at the Beatles Museum may not be ideal for an event such as this as due to the set-up of the seating, views of the stage and the people on it is very restricted for those sitting in about row five backwards. Additionally, the hard, plastic seats are crammed together, six to a row; for those seated far left by the wall it is extremely difficult to manoeuvre from the seats across the row of seated people to get to the bar.  Additionally, the room has a very low ceiling making it rather claustrophobic and oppressive. This event was held on a particularly hot day, and the room was airless and extremely hot even though the back door was open to the street. This being said, the event was enjoyed by those attending and Freda was given the respect and appreciation she deserved for her insights of her time with The Beatles.

Further events at The Beatles Museum may be found via https://liverpoolbeatlesmuseum.com/

Reviewer - Anne Horne 

On – 23.08.2025

Theatre Review Murder She Didn’t Write – An Improvised Whodunit at the Edinburgh Fringe Festival

 

Terrible title, terrific show. Murder She Didn’t Write might sound like a tortured pun that never should have made it out of the brainstorm, but the production itself is a sparkling gem of quick-witted, high-energy improv.

The concept is deliciously simple: before the show even begins, the audience chooses three elements — the victim, the murderer, and the murder weapon. From there, the cast conjures a fully formed murder mystery in the style of a classic whodunit, complete with a flamboyant detective who unravels the case in real time.

On the show I saw, the setting became a disco wedding, with the murder weapon — an egg with a green yolk. It’s absurd, of course, but the actors pulled it off with such commitment that the ridiculous quickly became riveting. The joy here is in the tightrope walk: every twist, alibi, and red herring is invented on the spot, yet the ensemble’s chemistry makes it feel like a meticulously rehearsed play that just happens to be wildly, gleefully unpredictable.

The sleuth — equal parts Poirot, Columbo, and mildly confused substitute teacher — guides the action with knowing winks and theatrical flair, before pulling off a climactic reveal that somehow, against all odds, ties the chaos together.

The title may be groan-worthy, but the show itself is a clever, inventive, and relentlessly funny masterclass in improvised theatre.

After the Fringe Festival this show is touring across the UK.

Reviewer - Kathryn Gorton 

on 14th August 2025

Theatre Review Shamilton Edinburgh Fringe Festival

Shamilton is a fast-paced, fully improvised musical parody inspired by the hit Broadway sensation Hamilton. Created and performed by the award-winning company Baby Wants Candy, the show blends razor-sharp wit, improvised lyrics, and live musical accompaniment to create a brand-new performance every night. At the Edinburgh Fringe Festival, this particular edition revolved around a delightfully absurd yet strangely satisfying subject of being true to yourself and blue collar aspiration. Tonight, one of the female actors became the “original role” driving the story.

In the improvised world, she was transformed into Claudio Winkleman — an eccentric, fictional counterpart to the real Claudia Winkleman. Suggested by the audience. Far from being a distant celebrity, Claudia was cast as both ambitious presenter and daughter of a jellied eel, cockney father transported into creative mentor, offering wisdom and support to wannabe X factor contestants with an unlikely Simon Cowell hiding behind his scowl. Their number ‘ Close the Gates’ was magnificent.

The disregarded subjects for the evening — Mike Tyson, the Dalai Lama, and Spider-Man — somehow managed to be part of the plot as disregarded Simon rejects. The transformative nature of drama allowed the underdog to triumph; a band of pianists who couldn’t pick a key who after bonding on a lads holiday to Zante with a Z not a zee who form a One D combo and the underdog comes through. I can’t even explain the subplots they shifted and twisted so quickly and I have a word count.

Much of the hilarity in the audience was from the fact that the cockney Claudia was evolving into something not quite as the British public know her but somehow the Shamilton cast managed to create a shape of her that we also laughed at: fringe, dandruff and raccoon eye makeup with a rousing finale of being loyal and not a traitor. Clever! Very.

Having seen Baby Wants Candy in the UK last year — coincidentally on the day Larry the Downing Street Cat was the key role — I knew this was a troupe worth following. Their ability to stitch together seemingly random elements into a coherent, hilarious whole is astonishing. Their long-standing connection with the Fringe makes them feel like part of the festival’s DNA, and every performance is a once-in-a-lifetime creation.

The cast — mostly Americans with one Englishman — thrived on the premise. The Englishman’s familiarity with the real Claudia Winkleman offered the closest tether to reality, while the rest of the troupe joyfully drifted into surreal territory: inventing , fabricating , and weaving the “Rewind” into their musical numbers with a Harry Potter rewind device! Political references slipped into verses, harmonies bloomed out of nowhere, and entire songs bent and reshaped themselves mid-performance.

The result? A whirlwind of improbable connections, audacious invention, and theatrical daring — proof that Baby Wants Candy is one of the most inventive and crowd-pleasing companies at the Edinburgh Fringe.

Performing nightly at the festival and a later show as Baby Wants Candy set. The show we watched was justifiably sold out earning the five star reviews they’ve achieved.

Reviewer - Kathryn Gorton 

on 13th August 2025

Theatre Review Furniture Boys Buttercup Theatre Edinburgh Festival

Furniture Boys, a brand-new show at the Edinburgh Fringe Festival by American artist and creator Emily Weitzman, is a unique and immersive piece of theatre — creative, buoyant, and presented in episodes by a single performer in the intimate Buttercup Theatre space.

The opening performances were well attended, with an enthusiastic audience behind her from the very start. The show begins with an introductory monologue poem, Why I Am Wishing to Elope with a Couch. With an acerbic, sardonic face and a flat yet punchy delivery of I am, I am, she convinces us — utterly — that the couch gives her everything she needs and wants in life. There are segments that draw out real pity in the pathos of her situation, and others that are irresistibly funny. The case for furniture is convincing: it’s long-lasting, durable, dependable… and it doesn’t answer you back.

Every piece of furniture on the set carries the ghost of a past relationship. The grandfather clock — too old, obviously. Maté the bookcase — a lasting and enduring companion. Frank the Fridge — far too cool. The silliness of these characterisations is matched by an absurdity you can’t help but laugh at, yet each choice has structure and meaning. A personal highlight was the Busby Berkeley-inspired sequence: couches as hand puppets that evolved into foot puppets, culminating in a full swimming scene. The audience — particularly those of a certain age — laughed heartily at this clever homage.

The first segment of the show is loaded with puns, built on the premise of one woman’s exploration of her relationship with chairs — especially chairs — as metaphors for relationships and her investment in furniture far beyond boys. Her monologue on the word boys is a sharp and persuasive argument: men is short, abrupt, and over quickly — “hard on the tongue” — whereas boys has a beginning, a middle, and an end. “Why,” she asks, “should we take seriously a word whose plural form doesn’t end in an ‘s’?” It’s a witty observation that had me thoroughly tickled.

Emily is a very accomplished performer who holds her audience’s attention for the full hour. One imagines her director must have had an absolute joy of a bundle of creativity and enthusiasm to work with in bringing this to the Fringe. It deserves strong audiences — as opening show proved — and is an excellent piece of theatre: silly yet frothy, frothy yet meaningful, and even a little thought-provoking.

Finally, if you’re in Edinburgh and looking for something to do, Furniture Boys runs daily at 12:45 in the Buttercup, part of Underbelly Theatre. It’s a lovely touch that audience members can speak to the performer and director afterwards — a chance to share your own thoughts and take away a souvenir chair .

Reviewer - Kathryn Gorton 

On – 13 August 2025

Theatre Review: Showstopper! The Improvised Musical at the Pleasance Courtyard Edinburgh Fringe

It’s hard to believe a West End-quality musical could be created entirely on the spot in just over an hour— but that’s exactly what happened at the Pleasance Courtyard with Showstopper! The Improvised Musical. This year’s Fringe performance, produced by Pyromaniac, was built from scratch before our eyes, shaped entirely by audience suggestions.

On this night, the crowd offered Arthur’s Seat as the setting. From that, the cast spun Hot Seat, a riotously inventive tale set on Edinburgh’s most famous hill. The musical styles chosen by the audience were an eclectic trio: the propulsive rap and rhythmic storytelling of Hamilton, the lush romance of South Pacific, and the soaring, defiant anthems of Wicked.

From the first scene, the show moved with electric energy. One minute we were in the middle of a tightly choreographed rap battle between rival hill goers ; the next, swept into a tender South Pacific-style duet overlooking the city. Each shift in style felt effortless, with the live band changing gears so smoothly you’d swear they had rehearsed it for months.

Although Showstopper! can fill the stage with a full complement of 20 performers and a 10-piece band, the version we saw at the Pleasance had a more intimate set-up: 8 actors and 3 musicians. The smaller scale brought a different kind of energy — looser, warmer, and more collaborative. With fewer people on stage, each performer’s presence felt magnified, and the band’s nimbleness kept the music fresh and reactive, able to change pace or style at the slightest provocation. The result was a show that felt both tightly knit and wide open to possibility — a reminder that this company’s magic doesn’t depend on numbers, but on the way its players work together in the moment.

Then came the shift. The “fire” spoke. Not with a shout, but in a slow, measured voice, the two performers gave the blaze a consciousness. It told of the travellers it had guided, the legends it had burned into memory, the nights it had illuminated and the days it had consumed. The on-stage narrator, usually directing the story, found himself listening as intently as the audience. For a moment, the show belonged entirely to this elemental presence until we all fell apart laughing as their intertwining scarves and choreography fell apart hysterically.

The cast reprised the night’s themes in a big Wicked-style closer.

Verdict: Showstopper! Hot Seat was more than just a clever display of improvisation. It was a vivid reminder that live theatre — especially at the Fringe — can combine comedy, music, and pure visual poetry in ways that surprise and move an audience. With clever and talented performers like this with wit and skill galore, this was one night on Arthur’s Seat we’ll never climb again, but will remember for years to come. Showstopper! plays daily throughout the festival . Grab a ticket if you can.

Reviewer - Kathryn Gorton 

On 13th August 2025

Theatre Review Earnest? – by Say It Again, Sorry ?/ Earnest Show Edinburgh Fringe

Running for the entire month of August at the Edinburgh Fringe, Earnest? is a playful reimagining of Oscar Wilde’s classic, but not in the way you might expect. Conceived by theatre-makers Josh King and Simon Paris under the banner of Say It Again, Sorry, this production blends scripted comedy with sharp improvisation and generous audience participation. Staged in the iconic Udderbelly venue, it is attracting large audiences throughout its run. On a very hot day of the festival, it delivered a riot of wit, chaos, and charm, pulling the crowd into the action and making them part of the story.

The cast — Ashley Cavender as Terry, Rhys Tees as Graham, Josh Haberfield as Simon, Ben Mann as Josh, Tryity Silk as Jenny, Judith Amsenga as Eleanor, and Brendan Barclay as George — were joined at various points by other company members who stepped in with impromptu flair. These moments of spontaneous involvement kept the energy high and the surprises coming, with performers happily throwing themselves into the action and weaving audience contributions seamlessly into the unfolding chaos.

The audience responded wholeheartedly to the show’s improvisational style, engaging with it 100% and feeding energy straight back to the performers. In fact, when the cast attempted to “restart” the play Earnest? just a few minutes before the end — as part of the chaotic, self-aware conceit — the audience firmly said “no,” eager to keep the momentum going rather than return to the beginning. It was a perfect example of the production’s playful power dynamic, where the crowd felt just as responsible for steering the story as the cast themselves.

As the performance came to a close, it was clear this had been a big, joyous occasion. Outside the venue, audience members happily chatted with the cast, took photographs, and shared laughter — the atmosphere as buoyant as the show itself. And if you know Oscar Wilde’s work, you can’t help but delight in this inventive, irreverent, and very funny piece of theatre.

Reviewer - Kathryn Gorton 

On - 13th August 2025

Theatre Review - Edinburgh Fringe Queen – A Night at the Cabaret Opera, by Dr H

This unique, cabaret-opera performance titled Queen – A Night at the Cabaret Opera, was written and performed by Dr H, fresh from the Adelaide Fringe Festival. The venue was St Mark’s Church in Edinburgh an unusual and yet atmospheric setting in a Unitarian church for such a show, with the audience seated in the pews, adding a sense of intimacy and novelty to the evening whilst Dr H paid homage to Queen’s music with a biopic narration and lots of audience participation. (Air guitars included).

Most of the audience seemed to be devoted Queen fans, drawn to the Fringe and to this performance to relive the music of their favourite band. Dr H wasn’t attempting to impersonate Freddie Mercury — instead, he invited us into Queen’s world, celebrating their songs in a way that was both personal and theatrical, engaging and refreshingly energetic. Dr H is an accomplished musician and performer but with a self depreciating style which endeared us, immediately.

From start to finish, it was a rollercoaster concert–cabaret of Queen’s greatest hits, with inventive arrangements, masterful piano work, and a commanding vocal performance that honoured the originals while adding his own distinctive touch. His energy and charisma filled the church, turning the space into a shared celebration.

Dr H is a captivating, engaging, entertaining, and magnetic presence on stage. It was hard to resist his charm as he drew us into the evening and the music of Queen. He actively encouraged us to become part of what he called “the finest Queen choir” — with as much effort as possible and a few audience members rose to the challenge, stepping forward to join in the fun. The altar, crowned with a piano, became the focal point for this joyful exchange between performer and his audience.

It was an evening of music, creativity, and community — an unusual and memorable Fringe piece. Catch Dr H or one of his other guises including ABBA, Meatloaf, Billy Joel, Frank Sinatra and Elton John across the festival. It was great fun and highly recommended.

Reviewer - Kathryn Gorton 

Review date 12th August 2025

Theatre Review - Edinburgh Fringe Trainspotting — In Your Face Theatre Productions Pleasance Theatre Edinburgh

I begin with the original Trainspotting film, released in 1996, whose influence on cultural identity and representation of destructive behaviour remains unmistakable nearly three decades later. I’d not watched the film for 25 years but Ren’s opening monologue was still there echoing in my mind .” Choose life…”

Far more than a simple adaptation of Irvine Welsh’s novel, it became a defining moment in British cinema, capturing the chaos, humour, and bleak yet hopelessness of 1990s youth culture for the disadvantaged. Its unapologetic portrayal of heroin addiction, urban alienation, and the search for meaning resonated deeply — both as a celebration of subcultural rebellion and as a stark warning about its cost. This cultural legacy forms the backdrop for the stage production I saw at the Edinburgh Fringe, where those same themes are not only revisited but physically embodied in the space between performer and audience. This production was jaw dropping and belly punching in equal measures.

In Your Face Theatre Productions deliver a fearless staging that retains the grit, energy, and raw humanity of the original text while pushing the boundaries of audience engagement sometimes far beyond the level of what most would consider comfortable.

Though the story is firmly set in Scotland, this production brings it into the present moment with striking immediacy. Audience members are greeted at the door by ushers, issued wristbands, and ushered into the throbbing energy of a rave. The cast roam the space, singling out individuals for bursts of interaction and guiding them to different corners of the venue. It feels chaotic yet precise, with an authenticity that draws people into spontaneous and non negotiable interaction . The atmosphere is electric, though not for the shy; if you prefer to remain unseen, this is not your show. The toilet is there mid audience to be used and abused. Ren’s soiling scene in a girlfriend’s bed was vile and yet almost pantomime as he hurled the sodden sheets around the audience and showered and dried off his excrement covered body mid audience.

The company’s use of promenade theatre erases the traditional line between performer and spectator. The pulsing soundtrack, rhythmic lighting, and relentless physicality create a hypnotic atmosphere, priming the audience before the main narrative takes hold. The compact, adaptable set becomes both playground and battleground, immersing the crowd in the characters’ fractured, intoxicating world of squats and pool hall and bars and DSS room . It’s a dark, swampy trench as a metaphor for the characters entrapment in a life they cannot quite clamber out of.

From its pounding opening to its unflinching close, Trainspotting doesn’t just tell a story — it engulfs you in it. A bold, visceral piece of theatre that leaves an aftertaste of adrenaline and unease long after the lights go down.

We were shocked and mesmerised. The cast are stellar many having occupied the roles in previous productions and the fluidity of character interchangeability a credit to their acting prowess. In the lead role, Andrew Barrett as Mark Renton ( The McGregor part) voice and protagonist was magnetic . The cast we saw were : Alice Glass, Craig McDougall, Olivier Sublet and Conrad Williamson were stellar .

This is a theatrical experience that will leave you reeling, feeling uncomfortable and unsettled and reflecting on it afterwards a profound testimony to quality theatre .

Reviewer - Kathryn Gorton 

Reviewed on 12th August 2025

Concert Review: Epstein Live The Epstein Theatre Liverpool

Throughout its chequered history, the Epstein Theatre has always stood tall as a venue for local talent, be they playwrights or musicians, so it was a pleasure to be back in the renovated and reopened auditorium for an event billed as Epstein Live.

This was the first of what is hoped will be a recurring platform showcasing grassroots music in Liverpool. The inaugural bill was co-curated with the opening act, Jennifer Vaudrey. Jennifer is a name familiar to many on the local arts scene as a multifaceted creative known for her work as a festival producer, drama and music facilitator, events manager, and singer-songwriter—the version of her we would see tonight. She opened her set with ‘Storms’ and followed it up with a stripped-back version of her 2023 single ‘Blue Shadows’. Her next song, ‘River’, written in lockdown about Liverpool and her dad, had an emotional depth and resonance that connected with the audience. She played two songs from her debut EP ‘Goodbye Mister’ and perhaps her best-known track, ‘Hideaway from Love’. Her final offering was ‘Don’t Worry Baby’, a tribute to the recently passed Beach Boys legend, Brian Wilson.

The next performer was Rafaela Dias, described as “a queer, mixed-race artist with roots in Portugal and Angola…”. She played guitar and was supported by a bassist, keyboard player, and congas tub thumper. Her opening song was ‘Summer Rain’, a soulful, jazz-tinged tune. She upped the tempo with ‘Baby You’re a Rock Star’, written, she said, on a bike ride to Formby Beach. Despite saying she didn’t write love songs, she played two in a row: ‘Trouble’ and the beautiful ‘Deep Blue’, for which she sat on a stool and sang with only keyboard accompaniment. This was a lovely moment. Her band were each given their time in the spotlight during ‘Whatever’, but I couldn’t hear their names to credit them properly. Apologies. She closed her set with ‘Father Like You’, written about an uncle who passed away, and a “lesbian heartbreak song”, ‘Fading Fast’. Rafa’s set had been one that promised much for the future.

After the interval, Helen Maw took to the stage with her band and opened her set with ‘Growing Pains’, the title track of her 2024 album. She played her first single, ‘Your Little Secret’, next, followed by her most recent single, ‘The Moment’, a beautiful song of heartache and reflection. Like the previous artists, Helen had a lockdown song, ‘Wait’, then performed a cover of Chappell Roan’s ‘Pink Pony Club’, showcasing her ability to deliver power pop as well as she does everything else. Her final song was her 2021 single, ‘How I Feel. Helen’s band were outstanding, but again, I can’t credit them properly as I didn’t catch their names. Her bassist, drummer, and saxophonist all contributed to a vibrant and uplifting set.

The final act of the night was Naomi Campbell, fresh from a sold-out gig at the Libra Theatre Café in Camden. She was backed by a great band who, once again, I can’t credit, but they know who they are. Naomi opened with ‘Pancho and Lefty’ and ‘Nothin’ Better’, before ‘Across the Waves’, a song about her journey from Northern Ireland to Liverpool. Her natural joie de vivre and easy-going charm make for an engaging stage presence. Her 2024 single ‘Don’t You Mind’ was next, followed by  ‘The Cottage’. This reviewer’s favourite song of 2025, ‘Remembering’, came next before she concluded with ‘Green Eyes’, during which the band really expressed themselves. Although short, Naomi’s set clearly demonstrated why she’s been described as a rising star in the UK roots and soul scene.

For the finale, all the artists returned to the stage for a euphoric rendition of Fleetwood Mac’s ‘Dreams’.

It had been a tremendous night of music and one for which the Epstein Theatre should be lauded, particularly for opening their new platform with an entirely female bill. It’s vital that events like this, at venues like this, are supported if the live music scene in Liverpool is to survive and prosper.

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Reviewer – Adrian Cork 

On – 2.08.2025

REVIEW THEATRE YOUTH Worn Out The Lowry Theatre, Salford

Whilst the cast of the musical, 'Six' were blasting their pop-infused songs out to an eager audience of tweenies in one theatre, the British Youth Music Theatre were on stage at The Quays Theatre showing their audience not six, but twelve strong independent females! Girl power was certainly alive and kicking in The Lowry this evening. 

'Worn Out', by Zoe Morris and Meg McGrady told an updated and slightly bastardised version of the European folk tale, 'The Twelve Princesses'. (not known in the UK). It basically tells us that a King with autonomous power over his realm and subjects has 12 daughters, all of whom are kept in the finest luxury and waited upon hand and foot, but are not allowed outside the castle grounds. However, unbeknownst to the King his daughters all disobey him and find a way to visit the local town and see the people for themselves. They also see the poverty, the squalor, and the hatred the townsfolk have of the King and his rule. He cares nothing for them or their lives, except as slaves and a means for him to earn more money. The daughters infiltrate and help the people overthrow their father and restore justice to the realm. All ends happily ever after! This version however was, as already stated, quite so twee. Here we have children being killed in a mining disaster, eco-problems and concerns, and most interesting of all an LGBTQ angle using gender-blind casting and same sex relationships. 

Director Francesca Goodridge seemed obsessed with material. It was used for the set, draping the backcloth, the steps to a material-covered chair sufficing as a throne, used as drapes, cloaks, additional set items, and even pieces of white material for the princesses to use as their peasant disguises. However, some of these ideas worked better than others and especially when it came to the costuming (Jida Akil), there was a truly strange mix of the modern, the not-so-modern, and pieces of material, none of which cohered. I am uncertain of what 'look' she was aiming for, but sadly it left me cold. There was nowhere near enough contrast either between rich and poor. As concerns the set too, a platform on wheels was utilised vagariously throughout, and yet, despite the foot pedal brakes being clearly visible they were never used, and the platform was unstable causing a health and safety hazard when the cast jumped on and off it.

The cast - youths between the ages of 11 and 21, from all over the UK, put their collective alls into this musical. the programme lists the cast in alphabetical order and so I cannot credit the 12 princesses by name sorry, but it was one of the elder ones who carried the narrative and had the majority of songs. The King's (Thomas Grimsley) overthrowing and downfall was very weak - a fault in the writing nothing more, and the end also did not truly feel like an end  The song wasn't upbeat enough, nor did it finish with a triumphal flourish, but more of a whimper as the cast waited for a blackout. Vey strange. There were also three comedy royal suitors, and Goodridge had sadly tasked them into comedy routines which were beyond their tender years. If they had been given something much more simple and obvious they would have had the audience in stitches, but as it was their slapstick (something which takes years to perfect) simply didn't land, a real shame.

The choreography (Paul Smethurst) worked excellently. He gave the youths moves which were within their capabilities, allowing them to show off their rhythmic prowess with catchy movements which were apt and modern, lovely. Musical Direction (Bianca Fung) was secure and sounded superb throughout. A small live band was "hidden" behind one of said pieces of veil-like material. And apart from from a couple of mic issues (which can easily be rectified), the technical side of this production (lighting and sound) worked well too. It was a visually interesting show, and I enjoyed the use of lanterns and shadow-work. 

The cast were well chosen and all obviously enjoyed their stage time (which is after all more than half the battle!), and they all gave 100% during the show, proving to be talented singers, dancers and actors / actresses. The show itself was not particularly exciting, but this energetic, enthusiastic, and highly proficient cast made it more than worthwhile.

Reviewer - Alastair Zyggu

on - 1.8.25 

THEATRE REVIEW FRINGE Missed Calls Halle St Michaels, Manchester

A large, empty rectangular space with just 30 chairs around the perimeter for audience, this was what awaited the few of us who took the chance on an experimental piece of new writing called, 'Missed Calls'. There was no programme sadly, so I do not know who wrote this piece, nor do I know the name of the company presenting it. All that was given was the director, Bradley Shore, and his dynamic duo of performers for this piece, Kamila Pytel and Charlie Sloboda-Bolton. 

The performance lasted approximately 45 minutes, and for the vast majority of this we were tasked into wearing headphones through which the voice messages from the girl were played onto the boy's answer machine. We also listened to her inner monologue too: her feelings, thoughts, aspirations, and the growing, all-consuming love she felt for him despite their differences. Whilst all this was happening, the duo onstage presented an interpretive dance. Physical theatre and movement more than actual ballet, but this strove to emulate and ameliorate the words we were hearing. Sometimes this worked superbly, and other times it seemed strangely at odds. The choreography though was interesting and intelligently thought-out. A sluggish and nonchalant reprise of the opening sequence happening when their relationship was falling apart for example; and moments when one seemed to be pushing and the other pulling. The main problem evidenced what that that rather than the narrative and the dancing being thought of as one, the simple act of having our ears blocked, taking away one of our senses to focus on just one thing whilst our other senses attended to the visual was a little disconnecting. If that was the intent then it worked, but I am not entirely convinced that that was what the director hoped for. . 

The final section, after the couple had predictably split-up, was a predictable chance meeting some time afterwards, and their predictable conversation that ensued. This was shall we say in real time, with the actors speaking and the headphones discarded. There were no surprises in the text or the narrative drive, the only thing different here was the use of headphones.

Reviewer - Alastair Zyggu

on - 1.8.25

Concert Review Are you Ready for Love - Elton John Tribute Epstein Theatre Liverpool

 

Charles Michael Duke burst onto the stage dressed as Elton John in his sparkly white and blue baseball outfit complete with baseball cap and bat, with the words Elton emblazoned on the back. His entrance was met with loud cheers and clapping from his fans in the audience who I suspect may have seen his performance before.

The theatre was only half full but the audience’s enthusiasm for Duke made up for the many empty seats. Duke sat at the piano, placed centre stage accompanied by his band, two guitarists, a keyboard player and drummer. Black curtains draped the backdrop whilst large, coloured spotlights shone on the performers. Bright searchlights scanned the audience at times, and much use was made of dry ice on stage.

Duke encouraged audience participation throughout, and the audience were keen to sing along as he went through Elton’s musical repertoire. In between songs Duke related Elton’s musical history and part of his life story especially relating his songwriting partnership with lyricist Bernie Taupin and always referring to him as Sir Elton John.

Although slight of stature, Duke has a strong, powerful voice which is similar to Elton John’s at times. Considering he was given three years to live when he was 19 and underwent a double lung transplant in May 2018, he is testament to what he calls being given ‘the gift of life’ as he was born with cystic fibrosis and needed the transplant operation having been told if the operation had been left any longer, he may not have survived. Now, aged 29 he looks strong, and his voice sounds remarkable.

Duke delivers Elton’s hits well and his costume changes reflect those worn by the music legend. He tottered on stage in red, five inch platform-heeled boots, with a bare chest and wearing bright yellow pants with braces and a red bowler hat for ‘Pinball Wizard’. He categorized Elton’s songs into “Very depressing love songs”, “Rocky songs” and “Party songs” and concentrated on the latter two to get the audience into a party mood.

Duke has performed as Elton John worldwide with his self-production ‘Are You Ready For Love: The Story of Sir Elton John’ and the tribute show has already been performed more than 120 times since its launch in 2022. He has perfected his act for the satisfaction of the many Elton John fans who attend his shows; his love of Elton’s music and the man himself is demonstrated throughout his performance, from the use of replicas of Elton’s unmistakable flamboyant costumes to his similar voice and stage presence.

All of Elton’s timeless classics are included such as ‘Rocket Man’ ‘Tiny Dancer’, ‘Daniel’, ‘Your Song’ and ‘Candle in the Wind’, all accompanied with some musical background history. This show celebrates the songs of one of music's legends and is a ‘must’ for Elton John fans.

This show was a one night event, for more information and tickets for future shows, visit: https://www.readyforloveshow.com/tour-dates

Reviewer – Anne Horne

On – 31^st July 2025