Theatre Review Matilda The Musical – Alhambra Theatre Bradford

 

Currently celebrating 15 years on stage, Matilda The Musical has embarked on a UK and Ireland anniversary tour, bringing Roald Dahl’s beloved story of courage, creativity, and rebellion to vivid life once again. With book by Dennis Kelly and music and lyrics by Tim Minchin, this Royal Shakespeare Company production remains a joyful and deeply clever celebration of imagination and individuality.

At its heart, Matilda follows an extraordinary young girl with a passion for books and a razor-sharp mind, who dares to stand up to her cruel parents and fearsome headmistress, Miss Trunchbull. Along the way, she discovers her own power, both literal and emotional, and learns that even the smallest person can change their story. 

The role of Matilda is shared equally by Madison Davis, Mollie Hutton, Olivia Ironmonger and Sanna Kurihara; whilst Oisin-Luca Pegg, Carter-J Murphy, Brodie Robson and Takunda Khumalo share the role of Bruce. In our performance Matilda was played by Madison Davis, and the role of Bruce was played by Brodie Robson. Both gave confident and endearing performances, with Madison capturing Matilda’s intelligence and quiet determination beautifully. I particularly enjoyed her performance of “Quiet”. Her expressive delivery and control brought the song’s emotion and subtle power to life, making it a standout moment in the show for me. Brodie shone in his big moment during “Bruce”, performing with gusto and charm that won the audience over instantly. The young ensemble delivered their scenes with infectious energy and enthusiasm, though at times it was a little difficult to clearly hear some of the younger cast’s dialogue, leading to a few missed lines here and there.

Tim Minchin’s score remains one of the wittiest in modern musical theatre, packed with wordplay, heart, and mischief. My personal favourite is “School Song”, an ingenious number that threads the alphabet through its lyrics while the choreography unfolds in perfect sync.

The combination of sharp movement and clever phrasing made the scene an absolute feast for the eyes and ears. Equally “Revolting Children” really packed a punch! It was bursting with energy, rebellion, and joy. The cast threw themselves into the choreography with such commitment that it became an exhilarating, triumphant moment, perfectly capturing the spirit of the show.

Richard Hurst as Miss Trunchbull was an undeniable standout. His incredible comedic timing, hilarious physicality, and larger-than-life mannerisms brought the terrifying headmistress to gleefully grotesque life. Every sneer, sniff, and exaggerated movement was pitch-perfect, earning some of the biggest laughs of the night. Another highlight came from Ryan Lay as Rudolpho. Though a smaller role, he performed it with absolute main-character energy. His flamboyant presence, over-the-top charisma, and dance moves were unforgettable—I was genuinely jealous of his flexibility (wow, those splits!) and his silky- smooth hips. Every time he appeared on stage, he completely owned it.

The production design remains inventive and full of energy, with colourful sets and playful transitions that perfectly capture the story’s mix of chaos and wonder. I particularly enjoyed the small details in the set, such as spelling the words “quiet” and “shush” within the stage’s letter blocks during the library scenes. Little touches that really reward careful observation.

However, some of the lighting was a little intense at times, particularly during the hair-swinging scene, where bright flashes and spotlights were almost blinding (be prepared!). While it added excitement and visual punch, it might catch some audience members off guard.

While Matilda The Musical is primarily a show for children, there is so much for adults to enjoy with clever lyrics, sharp humour, and wittily satirical moments ensure that the production is as entertaining for grown-ups as it is for the younger audience.

With its clever wordplay, striking visuals, and heartfelt message, Matilda The Musical continues to prove why it’s such a beloved modern classic. Despite some minor sound clarity issues and a few dazzlingly bright moments this touring production bursts with creativity, confidence, and boundless energy. There was a well-deserved standing ovation at the end, you simply cannot deny the amount of energy and hard work that every performer poured into the show. It’s especially impressive considering that the majority of the cast are young children, who definitely gave it their all. Their enthusiasm, discipline, and talent truly made the production shine.

Reviewer - Bethany Vakulich 

On - 30th October 2025

Theatre Review Countess Dracula Camden People’s Theatre, London

Countess Dracula took me completely by surprise—in the best possible way. From the moment we entered the venue, clutching bulbs of garlic handed out at the door to ward off evil, it was clear this wasn’t going to be a conventional theatre experience. Clocking in at just 60 minutes, this compact yet impactful performance is the result of a collaboration between Joanna Holden and the creative collective ‘Ofthejackal’. Despite its brevity, the show packs a punch, offering a rich blend of humour, physical theatre, and social commentary.

While the title might suggest a traditional horror tale, Countess Dracula is anything but. Instead, it cleverly subverts expectations by using the Dracula mythos as a metaphorical lens through which to explore the complexities of aging, identity, and womanhood. The narrative centres around Joey (played by Joanna Holden) and Jack, a couple whose relationship is marked by an age gap—Joey being the older partner. Through their dynamic, the show delves into the emotional terrain of what it means to grow older as a woman in a society that often marginalizes mature female voices. It asks poignant questions: How do we reconcile our changing bodies with our sense of self? Where do we fit when youth is so often equated with value?

Dracula, in this context, becomes a symbol not of fear, but of transformation. The blood-sucking demon is reimagined as a metaphor for menstruation and the physical toll of Menopause. Joanna Holden’s performance is particularly striking—her mime work is expressive and evocative, conveying the monstrous and the mundane with equal skill. Along with dialogue, she manages to embody the demon in a way that is both unsettling and darkly humorous.

Audience participation is a key element of the show, and the humour is abundant. This isn’t a passive viewing experience; the performers draw the audience into their world, breaking the fourth wall and inviting us to laugh, squirm, and reflect. The use of props is inventive, often challenging the performers in ways that add to the comedic chaos. There’s a delightful physicality to the performance, with moments of quasi-contortionism and clowning that bring a sense of playfulness to even the show’s heavier themes.

Countess Dracula doesn’t shy away from adult content. Themes of sexuality, mental health, and bodily autonomy are explored with frankness and wit, and the show includes strong language. It’s definitely one for mature audiences, but it never feels gratuitous. Even the blood-sucking scenes—something I’d normally find squeamish—are handled with such theatrical flair and comic timing that they become part of the visual spectacle rather than a source of discomfort.

In short, Countess Dracula is a clever, provocative, and thoroughly entertaining piece of theatre. It challenges societal norms, celebrates female resilience, and with a garlic bulb. I left the theatre feeling amused and mindful.

Countess Dracula at Camden People’s Theatre, London runs from 29th October – 1st November 2025

Reviewer - Penny Curran 

On - 30th October 2025

MUSICAL THEATRE REVIEW AMATEUR THE SOUND OF MUSIC St. Gabriel's ADMS @ The Curtain Theatre, ROCHDALE

"The foothills of the Pennines are alive with the sound of..." St. Gabriel's ADMS's production of the perennial family favourite, 'The Sound Of Music'. This week, Rochdale's bijou Curtain Theatre plays host to this fabulous show, presenting the perfect community production by a local dedicated amateur company, where a small but highly dedicated team put on the best show they are able to do with the stage / technical etc limitations to hand. I have to admit the stage was much deeper than I had remembered and the set for the rear of the Von Trapp house leading down to the lake with the mountains beyond was impressive. 

Surely I do not need to give anyone a resume of the storyline? So let's just get straight down to praising the company for their cumulative energy, dedication, enthusiasm and work ethic for bringing about the production that they did.  Directed by Sarah Croke (who also took on the delightful role of Elsa Schräder) the characters were allowed to 'bloom and grow' as they went along, and we were able to follow them on their journey with ease. I am uncertain that the original newsreel footage of the Anschluss parade in Villach added anything, but it didn't distract too much. However, as lovely as the two Austrian flags were during the concert scene, they were being shown too late.. they should have been shown much earlier, and during the concert we should have had the Reichsflagge (ie.. the Red flag with the "black spider"). Understandably there were quite a few hiatuses whilst scenery and / or costumes had to be changed, but hopefully as the run progresses, these will get shorter and shorter. 

The Musical Direction was by Erin Croke, and as much as I understand the need for using backing tracks (both the stage restrictions and obviously budget make these a necessary evil) the choice of tracks meant that many of the songs the company were tasked in singing started without any accompaniment at all, and so the cast were obviously struggling with notes, and pitch, harmonies, and even sometimes tempo, until the backing track kicked in. 

Michaela Coward and Neil Teggan gave solid performances of Maria Von Trapp and Captain Von Trapp respectively, supported by a stalwart team of seasoned players. However, as we all know, this show belongs to the children, and the company had two teams alternating performances throughout the run. This evening I was privileged to watch TEAM SALZBURG. Jessica Taylor was both demure and confident in her role as the eldest of the children, she is sixteen going on seventeen, and confused about her first love (Rolf - played quite rightly, stolidly by Josh Ingham) and she pitched her character nicely. Then came Joseph Broderick (Friedrich), Libby Sutton (Louisa), Keavy Coward (Brigitta), Ted McCarthy (Kurt), Luisa O'Gorman (Marta), and Georgia Appleton (Gretl), all showing talent and insight, making a lovely ensemble together, each with their different characteristics. Young Appleton melting hearts with, "I've got a sore finger!".

A feel-good piece of family entertainment in the heart of Rochdale over the Half Term holiday.... what's not to like, for "there's no way to stop it"...!

Reviewer - Alastair Zyggu

On - 29.10.25

Theatre Review Adventures in Modern Recording: An Intimate Evening With Trevor Horn Floral Pavilion New Brighton

The house lights dimmed, causing a ripple of excitement to pass through the audience. Then a pre-recorded introduction to the night was played, which went something like this: “From Seal to Frankie Goes to Hollywood, from ABC to Yes, from Grace Jones to Belle and Sebastian, and from Robbie Williams to Pet Shop Boys, one man has been at the heart of some of Britain’s most important pop music of the past 50 years: Trevor Horn.

The super-producer has been described as the man who invented the eighties, and he was also responsible for the sound of such artists as Dollar, Malcolm McLaren, t.A.T.u. and countless more, including Hans Zimmer, Marc Almond, Tori Amos, Peter Gabriel, Tina Turner, Art of Noise, Rod Stewart and LeAnn Rimes.

After achieving a number one hit with his band The Buggles, with ‘Video Killed the Radio Star’, Horn became a member of Yes before becoming the most important hit- maker of the 1980s – and beyond. Awards followed: four BRITs, a 1995 Grammy for Seal’s Kiss from a Rose, a 2010 Ivor Novello for his Outstanding Contribution to British Music, and a CBE.

Following the publication of his best-selling memoir Adventures in Modern Recording: From ABC to ZTT, Horn is visiting a select handful of theatres to talk about his exploits as a bona fide legend of pop.”

Danielle Perry (British broadcaster, music journalist, and musician), our host for the night, came on stage and introduced Trevor Horn. The pair sat in armchairs with a table between them, Perry asking the questions and Horn responding with stories and anecdotes about his life and career in music.

Horn was born in County Durham in 1949. His father was a maintenance engineer at the neighbouring dairy and, crucially, a professional musician who played double bass in the Joe Clarke Big Band. At around eight years of age, Horn learned to play double bass from his father and became proficient enough to stand in for him in the band. He later taught himself bass guitar and how to sight-read music.

Perry knew that the best way to get the most out of Horn was to let him talk. Her real role was to keep him to time and ensure the highlights of his career were covered, thus, we had something of a whistle-stop tour. But it was engaging and amusing, nonetheless.

Horn talked about a musical epiphany he had when seeing Bob Dylan sing on the BBC. From that moment, he knew what he wanted to do. To get there, though, he had to endure some menial jobs, including working at the John Bull Rubber Plant and a plastic bag factory, though he was usually fired by his employer! By then, he had moved to Leicester with his parents and played in pubs before being offered a contract to play bass in a local semi-professional band at a Top Rank ballroom.

He moved to London in the early 1970s and landed a tenure with Ray McVay’s Big Band. He earned enough money to return to Leicester and build a recording studio, where he recorded a single with Leicester City Football Club. From 1977 to 1979, Horn worked on various records as a songwriter, producer and orchestra director. It was around this time that he met Geoff Downes and Bruce Woolley, with whom he would form The Buggles. Horn described the writing and recording of ‘Video Killed the Radio Star’ and how The Buggles signed to Island Records. The song went to number one in 16 different countries. As if they needed reminding, the audience were treated to an audio clip of the song.

Horn then went on to talk about his time recording and touring with prog-rockers Yes. After the interval, Perry simply said, “The eighties”, and let Horn take us through them. His late wife had suggested he should drop any ideas of continuing as an artist, he would always be second-rate, she said, but as a producer, he could be world-class. How right she was. The acquisition of a Fairlight CMI digital synthesiser with its embedded sampler, at a cost of £18,000, enabled him to make records that sounded like nothing that had gone before. He cut four singles with Dollar before producing ‘The Lexicon of Love’ for ABC. He set up his own record label, ZTT, and publishing company. The first act he signed was Frankie Goes to Hollywood, whose singles ‘Relax’ and ‘Two Tribes’ became cultural phenomena. Perry moved him swiftly into the 1990s so he could talk about his work with Seal. 

After a brief Q&A, Perry brought the show to an end. Trevor Horn proved to be an entertaining, articulate and humorous raconteur, and even stayed behind after the show to meet fans, pose for photographs and sign autographs.

The tour runs until 12th November and tickets can be purchased through the official tour website, link below, or directly from the box offices of individual venues. https://www.awaywithmedia.com/tours/trevor-horn

Reviewer – Adrian Cork 

On – 29.10.2025

Theatre Review – Inspector Morse: House of Ghosts. Lyceum Theatre, Sheffield

It’s hard to believe that  25 years have passed since the last episode of Inspector Morse. During its heyday, the fictional detective was a national institution and was once voted the greatest British crime drama of all time by readers of the Radio Times. The TV series was based on the books by Colin Dexter about a Senior Officer at Oxford Police and his junior sidekick. A quarter of a century later and we return to 1980s Oxford for this stage adaptation from writer Alma Cullen, who scripted many of the TV episodes. 

One of the reasons for the success of the TV show was the chemistry between John Thaw as the eponymous Morse and Kevin Whately as Lewis, both giants of the British small screen throughout the 80s and 90s. Tom Chambers (Morse) and Tachia Newell (Lewis) certainly had big boots to fill.

The show began unexpectedly with a scene from Hamlet, which had me wondering if I had arrived at the wrong theatre.  But soon the ruse was clear, with the Shakespearean drama a setting for an even more dramatic murder. Morse suddenly appeared from the back of the theatre as a fellow spectator to take command of the situation and seal the crime scene. It was a strong yet playful theatrical start. 

Another memorable aspect of the TV show was the filming locations around the beautiful City of Oxford and its world-famous University. Colin Richmond was responsible for taking us back in time and transporting us to Oxford with the set and costume design. Like many aspects of this play, it was always going to be difficult due to the familiarity of the original. The stage was used well, as were the lighting and music to set the scene. There was an element of clunkiness to the use of props.

In between sets, the spare props could be seen clearly from the stalls. However, this wasn’t a distraction and may have been intentional, as much of the play was set in a theatre where this would be a usual backdrop. 

Thankfully, Chambers and Newell brought their own impressive interpretation of Morse and Lewis to the party with a respectful nod to the original. The rest of the cast breathed life into the ensemble with Robert Mountford's portrayal of Morse's nemesis, Lawrence and Olivia Onyehara as Lawrence’s wife, catching the eye.

Anthony Banks's direction took advantage of the on-stage setting to create an experience for the audience. The use of multiple on-stage settings, which were switched between using lighting and music, worked well. The Easter egg hunt of nostalgic references to hammer home the era was successful and drew the audience in. But the script itself was slow-paced, convoluted and often a little far-fetched in places. Nevertheless, by the end, all of the loose ends had been tied up. 

It isn’t always a good idea to resurrect a dormant character, especially one so popular and recognisable. This stage adaptation is particularly difficult due to the strength of the original main characters and the stunning on-screen locations.

But, in the end, this production is a welcome chapter to his legacy. It is close enough to the original without being verbatim and will satisfy both existing Morse fans and newbies alike.

Production run (The Lyceum Theatre, Sheffield): Tuesday 28– Saturday 01 - November 2025

https://www.sheffieldtheatres.co.uk/events/inspector-morse/dates

Reviewer: Matthew Burgin

On:  28th October 2025

MUSICAL THEATRE STUDENTS (Amateur) The STOLLER HALL DISNEY'S DARE TO DREAM

The National Youth Music Theatre are almost at the end of their season of productions, performing full scale musicals in London and Birmingham, devised shows in Birmingham etc, and for one night only one of their many youth companies, Crescendo, came along to the Stoller Hall in Manchester to perform their own devised production - a Disney Juke-box mash which they called, 'Disney's Dare To Dream'.     

This was a 50 minute non-stop ensemble production which saw a cast of 19 young people - I am guessing between the ages of 12 and 15 - perform their own take on the Disney oeuvre nicely wrapping a story around these songs. The premise being that 17 of these youths were at school and they are visited by 2 Imagineers. They come to tell them that they too can become Disney Imagineers and make their dreams come true if they take part in this one day seminar, which they all do. In turn they come forward and share their dreams, and realise, with a little help from the Imagineers, that they had the power to be anything they wanted to be all along...."when you wish upon a star your dreams come true".

The costuming was rather poor, with the 17 school children all dressed in uninteresting and drab jeans / t-shirts etc, which did little to differentiate them or give them a visual of their characters. There was a little, but it wasn't enough  More colour and variation was needed, whilst the two Imagineers could easily have been far more fantastical than they were. The same comment for the set sadly... drab, utilitarian, uninteresting, colourless, and mostly pointless. The live music was performed by a pianist and percussionist on a kit at the rear. This did not create the right sound / feel for the vast majority of the songs sadly, sounding far too bare and drum heavy. The whole effect of costumes / music / set etc felt and looked like a rehearsal rather than a performance.

Sound levels were very poor, and we did not hear everything that the young cast spoke. Generally the levels for the singing was fine and I enjoyed the lovely harmonies which came through, but their speaking voices were sometimes completely inaudible. Other times their diction and enunciation was not clear enough and their projection not sufficient enough, although this is clearly not the students' fault since they have not been taught these techniques yet.     

The cast however gave this show their cumulative alls and their energy, commitment, enthusiasm and indeed prowess needs applauding. 

Directed by Katie Bonna. Choreography (very enjoyable) by Adam Haigh. Musical Direction by Ben Garnett. Designed by Libby Todd.

Reviewer - Alastair Zyggu

On - 25.10.25

AMATEUR MUSICAL THEATRE Charlie and the Chocolate Factory Altrincham Garrick Playhouse

It has been a little while since I last saw an inhouse production at Altrincham's Garrick Theatre. (the last one I should have seen and was truly annoyed for having missed it due to illness was A Chorus Line!) I've said it before and I'll iterate it here, this company produce some of the finest amateur theatre for miles in all directions. Roald Dahl's 'Charlie And The Chocolate Factory' has been made into a new musical - no, not the wonderful 1971 film version staring Gene Wilder sadly, but this new version does use at least two of the more familiar songs from it. And the Garrick's production is just flawless and superb.

A superb cast has been chosen, who all work excellently with each other, allowing the more obvious comedy moments to speak for themselves, whilst adding a few smaller more nuanced comedic moments too which, thanks to Joseph Meighan's intelligent directing, allows each character to shine in their own right as well as making a beautifully orchestrated ensemble piece of theatre. The young boy who had the onerous task of performing the role of Charlie Bucket, namely Rui Yang Lau, deserves a special mention of course. His grasp of the character and his performance were way beyond his years. I also truly enjoyed the wonderful interpretation of Conor Collins's Willy Wonka, truly making this part his own he had a wonderful stage presence, a lovely gift for comedy timing, and a rich and sonorous singing voice to boot.

The live band sounded wonderful and note perfect throughout under the direction of Andrew Saunders. the set was a pure delight, with stunning costumes and great choreography (Emma Kay), and the sound and LX were on point all evening. 

The FOH staff were even dressed as Oompa-Loompas and the kiosk was selling Wonka Chocolate bars - genius!

This is a very short review I understand that, but seriously, when everything was just so utterly brilliant from start to finish, there's nothing more to say! One of the best, and most professional amateur theatre shows I have seen in a VERY long time. Thank you everyone involved for making it so!

Reviewer - Alastair Zyggu

On - 25.10.25

Theatre Review The Wizard of Oz Theatre Royal St Helens

This audience favourite was produced and directed by Chantelle Joseph and creative director Jane Joseph, choreographed by Nazene Langfield with music supervised by Callum Clarke, and was without a doubt an amazing show.

It truly was a feast for the eyes and ears, and I can best describe it as somewhere in-between a panto and a musical. A fabulous collaboration of acting, singing, dancing and comedy delivered in the most professional way.

Credit must be given to those behind the scenes from the creative director, stage and deputy stage managers, choreographer, scenery, wardrobe, costumes and sound and lighting to bring together this evening’s spectacular extravaganza.

The theatre was packed, a wide age-ranged audience were in attendance and the night was filled with laughter, interaction, boos at the wicked witch, excitement and singing, and happiness.

The curtain lifted to the good witch Glinda and wicked witch of the North on stage in dazzling sequinned costumes, Glinda donning a blue Cinderella gown and wicked Elphaba a black and green slinky number. The show follows the story of Dorothy and her dog Toto as they embark on an exciting adventure to the Emerald City, meeting enchanting characters including Scarecrow with no brain, Tin Man with no heart, Lion with no courage and cheeky monkey Nikko. Along the way they meet Munchkins in Kansas, played by the amazingly talented young juvenile dancers from Nazene Danielle School of Performing Arts in Liverpool.

Will the Wicked Witch succeed in stopping them reaching their glittering destination? Or will the good witch Glinda help the friends in their mission to meet the wonderful Wizard himself? I strongly suggest you go along and see for yourself.   

The cast includes the fabulous Chantelle Morgan, who steps into the famous ruby red slippers to play Dorothy, and sings and acts superbly; she has graced the stage with well- known actor Luke Evans and performed with Gareth Malone. She wore the characters signature pigtails, gingham dress and red glittery shoes. David Heath plays the Scarecrow, he trained in musical theatre at the Merseyside Dance and Drama Centre, before shooting to fame on X Factor and Eton Road. His performance was my standout favourite of the night, his acting, singing, comedic timing and interaction with the audience was sublime; especially before the final scene when he invites children from the audience to join him singing ‘Old McDonald Had A Farm’ which was heartwarming.

Shea Ferron plays the Tin Man, Shea studied performing arts at the Institute of Contemporary Theatre in Manchester and he helped the Welsh singing group to the semi- finals of Britain’s Got Talent in 2023.

Conor Barrie plays the Lion; he graduated from Liverpool Theatre School and has most recently appeared at St Helens Theatre Royal playing Gaston in the enchanting Beauty and the Beast. Hayley Russell plays Glinda; originally from Greater Manchester, Hayley has spent twenty years working as a professional production vocalist, band singer and dancer, supporting artists including Billy Ocean and Gareth Gates, she has appeared in many productions for Regal Entertainments.

Katy McKenna plays the Wicked Witch; she has appeared in many productions and is a favourite with St Helens fans, she is an experienced panto performer. Warren Donnelly plays the Wizard; Warren is well-known to TV viewers as Stan in the five series of Shameless and for his roles in hit shows like Tin Star, Moving On, Cold Feet, Life on Mars, and Roscoe in Coronation Street.

Toto was played by a real dog and was such a well-behaved cutie. He is one of two dogs, Buddy and Benny to perform during the week’s performances. 

Together all the performers and everyone involved behind the scenes created a top-class performance that would not look out of place at the West End in London. My only criticism is, this production is only being performed here in St Helens for a week which means unfortunately there are a lot of  people who will miss out on this memorable experience.

Different areas of St Helens are referenced to like ‘Fingerpost’ during the show, and fabulous songs like ‘Somewhere Over The Rainbow’ a ballad sung by Dorothy, and the full cast sang Meatloaf's ‘Bat Out Of Hell’ and were joined by the audience singing along. 

There were many changes of amazing scenery, beautiful creations, being a creative soul myself, I was in awe of them all, as I think audiences will be too. An ingenious interlude section towards the end of the show before the finale, was circus puppets performing to fabulous tracks like ‘Gangnam Style’ and ‘Jump Around’ by House Of Pain, finishing with two huge dinosaurs dancing. A real crowd pleaser for all ages.

This amazing panto delivered perfect performances, sensational costumes and set, and a fabulous soundtrack to sing all the way home to. I can sum up this enchanting production in just two words, “flabbergastingly good.” So come along all you young theatregoers and all, and allow yourselves to be transported to a magical mystical world of fun adventure and excitement.

Regal Entertainments Ltd presents this much-loved Panto ‘The Wizard of Oz’ from Saturday 25th to Friday 31st October.

Reviewer - Jill Ollerton

On - 26/10/25

Theatre Review Different Kind Of Normal Hope Street Theatre, Liverpool

 

This production presents thought-provoking themes of identity, creative realisation and the promise of love whilst dealing with extraordinary challenges through drama and music in the form of a rock opera. Told through the lives of five young university students who are thrown together during the Covid-19 outbreak, it blends multiple genres with a psychedelic rock score.

The students comprise of Deacon (George Fragakis), a struggling musician with anxiety and OCD who is in his final year of university, Bonzo, (Joel Diamond), a geeky drummer who has ADHD and autism challenges and a dependency on alcohol and drugs, Harley (Emily Guilfoyle), a visual artist in her early 20s with personal issues,  Logo (Tom Foley), an unsavoury drug dealer and young hippie Regan (Lauren Dwyer), the peacekeeper and mediator of the group.

The story explores important themes such as neurodiversity, mental health, addiction and the emotions felt during isolation whilst also dealing with a threatening pandemic and the challenges of experiencing grief and love at a young age.

The small theatre housing approximately 80 seats is ideal for this intensive, thought provoking story. The set remained constant throughout depicting the interior of a student flat with well-worn, shabby furniture and trappings. A projection screen at the backdrop displayed texts from the students mobile phones along with headlines from newspapers plus psychedelic images. Three-piece Liverpool alt-rock band, Tripwire, (whose sound has been influenced by Queens of the Stone Age and Deftones) consisting of Eddie Min (guitar), Luke Dolphin (bass guitar) and Toby Fletcher (drums)  were back of stage throughout accompanying the actors who sang 11 original rock songs composed by Writer/Lyricist Eddie Min, a 26-year-old California-born graduate of Liverpool Institute for Performing Arts (LIPA) whose concept for the show led to this notable production.

The five young actors performed superbly, and their vocal talents excelled. Emotions were at a high during their passionate portrayals, and the audience consisting mainly of student-age theatre/rock music lovers, showed their appreciation at the interval recess and the final scene. This show will appeal to lovers of theatre, rock and all things psychological and dystopian. Guitarists Min and Dolphin showcased their talents, performing guitar solos and duets during some of the songs.

Director Luke Sookdeo, who recently won Best Director at the Liverpool Fringe 2025 and Costume and Set Designer, Joe Yates are to be commended for their contributions to this captivating production.

This show delivers an ambitious script which incorporates strong language and drug use themes.

The production was staged on three nights on 24th, 25th and 26th October 2025.

Eddie Min’s band Tripwire is featured on Instagram.

Reviewer – Anne Pritchard

On – 26.10.2025

 

 

Theatre Review Spraywatch The Kings Arms, Salford

‘Spraywatch’ is a new musical that is hard to pigeonhole. It has a lively score with a strong 1980’s musical feel, being in a large part inspired a certain 1980’s American TV show whilst being a satire of both Northern English attitudes and isolated English coastal communities. The show is a comedy but it has something to say and can at times be quite biting.

Spray is an English coastal town which has seen better days and the premise is that a glamourous beach lifeguard call Pam based in Santa Monica, California receiving an unlikely request to fly across the pond to Spray, who were apparently in need of a lifeguard.  Accepting this invitation as a personal challenge, Pam quickly discovered that life in England was not what she expecting and her initial interactions with the locals were less than harmonious but she was harbouring a dark secret that could jeopardize her employment. What followed was an exploration of the life and characters in a faded seaside town coupled with some cynical observations of Americans.

            

A wide range of musical genres were employed throughout the performance, fun catchy arrangements being the bread and butter of the musical from start to finish, allowing the cast to really show off a wide range of different vocal production techniques from upbeat dance numbers to your more typical west end style ballads. The singing was quite evenly spread across the cast of six and a fast, consistent pace ensured that the singing and dialogue seamlessly blended into each other, aided by tight direction by writer Hywel Evans.

A standout performance was Kit Rodgers as Fred, having very clear diction, being easy to understand and his voice really projected, whilst being versatile in terms of the different styles he could sing. Izabella Web as Pam, The Lifeguard was also really good, making great use of West End/Broadway delivery with singing reminiscent a lot of the style used in musicals like Hairspray and Wicked. However, this was very much an ensemble piece with lots of great technique and very entertaining styles delivered in an amusing and jovial fashion. The varied styles of singing showcased each of the individual vocalists’ talents. Every member of the cast had their own unique style but as a cohesive unit they really came together, frequently providing backing harmonies for each other’s songs.

The set was essentially one long beach windbreak but it set the scene and simple but effective use of props made great use of the venue, the limited space forcing the production to come up with a unique use of bench chairs to denote the locations in the various scenes.

There were many genuinely laugh out funny moments, well delivered and punctuated by some often very strong language reminiscent of the comedy often associated with Northern England.  The use of swearing did have a minor effect on the tone of the performance but in general was used to good effect portraying the Northern locale in an accurate manner. The show had its darker moments and at times the picture painted of a Northern seaside town was quite grim but never to the point of being depressing. You found yourself rooting for the various characters and overall message was one of hope.

‘Spraywatch’ developed an unlikely and unusual premise into a vehicle for the audience to engage with some very quirky characters in challenging scenarios and managed to avoid pulling any punches whist ultimately being a genuinely feel-good show, comparable in that regard to ‘The Full Monty’. A varied and catchy musical score helped ensure that the pace never slowed and this is a musical which is likely to appeal even if you don’t like musicals! 

An imaginative and vibrant new show performed with gusto and energy which will both amuse and give pause for thought.

 

Reviewers - John Waterhouse and Simon Mason

On - 24th October 2025

Bloody Mary and the Nine Day Queen Union Theatre London

I was so excited to see the world premiere of Bloody Mary and the Nine Day Queen. As one of the biggest Tudor history fans, I know this period inside and out. What this production did so brilliantly was make me reflect on new dimensions and consequences of what happened to the tragic Lady Jane Grey.

“Bloody Mary,” the daughter of Henry VIII, who had witnessed her mother’s suffering at his hands, emerges here as a deeply troubled and bitter queen. Jane Grey, by contrast, is portrayed as a pawn on the chessboard of the English throne—manipulated by noble families jockeying for power during a time of great instability. It’s important to remember that there were two queens in play.

The show opens with the young King Edward on his deathbed. An ensemble cast of two women and three men sets the tone with a stunning harmony in the opening number, “Our Lady Jane.” From there, it’s one knockout song after another.

Gareth Hindes has created an outstanding new musical that feels destined for the West End. Debuting in Southwark—just a stone’s throw from London’s major venues—was a clever move. I can easily imagine Bloody Mary and the Nine Day Queen expanding with a few tweaks and additional cast members to captivate larger audiences. I believe American audiences and tourists will embrace it with enthusiasm.

The cast’s vocal performances were superb—so much so that it’s hard to single anyone out. That said, the two queens were exceptional. Cezarah Bonner’s Bloody Mary was fierce, regal, and indomitable. Her stage presence was magnetic—she swept onto the stage with the authority of a true monarch, and her powerful voice embodied her character’s gravitas. Anna Unwin, who also co-created the show, portrayed Lady Jane Grey with a beautiful blend of innocence and strength. Her angelic voice and heartfelt performance made Jane’s tragic journey all the more poignant. As a seventeen-year-old girl thrust into a role she didn’t choose, Jane is shown here as someone who knew her own mind and was willing to die for her beliefs.

The supporting male cast added depth and dimension. Constantine Andronikou brought a touch of humour and a commanding voice to the role of the Duke of Northumberland, King Edward’s regent and a master manipulator in the political game. King Edward himself was cleverly represented by a puppet—created by Picture to Puppet—which was a brilliant and beautifully executed idea. Johnnie Benson portrayed Guildford Dudley, Jane’s husband, with emotional resonance. Artistic licence allows us to believe in their deep connection, and their duet “Faithful” was a standout moment—poetic, moving, and beautifully performed. Gareth Hindes, the show’s creator, also took on the roles of Jane’s father, the scheming Henry Grey, and Father John Feckenham, delivering both with a distinctive and resonant voice.

The harmonies throughout were rich and seamless, a true pleasure to hear. The small three-piece band was top-notch, and I found myself particularly drawn to the percussionist, whose contributions added so much texture to the performance. The lighting design was another highlight—subtle yet powerful, it created tension and emotion on an otherwise stark stage. The red lighting during the execution scenes evoked bloodshed without the need for graphic props—a masterstroke of theatrical suggestion.

If I had one minor qualm, it would be the length—it ran a little long, but with so many strong musical numbers, it’s understandable.

All in all, this is a remarkable production. I feel privileged to have seen it in its earliest incarnation. Bloody Mary and the Nine Day Queen is a bold, moving, and musically rich show that deserves to be seen by a wide audience. I have no doubt it’s on its way to becoming a major success.

Bloody Mary and the Nine Day Queen Union Theatre London runs from 21st-29th October 2025

Reviewer - Penny Curran

On - 24th October 2025

 

Concert Review - This Flight Tonight: The Songs of Joni Mitchell The Atkinson, Southport

Joni Mitchell needs no introduction, but for the uninitiated, she’s a Canadian-American singer-songwriter and multi-instrumentalist, celebrated as one of the most influential musicians of her generation. Known for her personal and unconventional lyrics, she emerged from the 1960s folk scene, and her music evolved to incorporate elements of pop, jazz, and rock. Her critically acclaimed work includes albums such as Songs to a Seagull, Court and Spark, and Blue, the centrepiece of tonight’s show.

This Flight Tonight are Welsh singer-songwriters Kathryn Pepper (vocals and dulcimer) and Paul Zervas (acoustic guitar), supported by Michael Blanchfield on keyboards, Andrew Brown on bass guitar, and Dan Edgecombe on congas and electric guitar.

Like Carole King’s Tapestry, released four months earlier, Blue was a defining record for the baby boomer generation. Even today, decades after its release, people have cited Blue as helping them connect with basic human emotions, proving its continued relevance across generations.

Rather than play Blue in the album’s running order, This Flight Tonight took what is known of Mitchell’s life at that point and sang the songs in the order she may have written them. They opened with ‘California,’ a song Mitchell penned while travelling through Europe as a paean to her home state. At first, I thought there was an issue with the sound balance as I heard an echo on the vocals, but at the end of the song Pepper asked the sound engineer to reduce the reverb on her monitor. This made all the difference, as everything that followed was pitch-perfect.

It was already clear that Pepper bore a resemblance to Mitchell, not just visually, with her long blonde hair, but vocally too. She matched Mitchell’s voice perfectly: its sweet, high, and sometimes piercing soprano range that slides effortlessly between registers. I also thought Zervas had a touch of James Taylor about him.

In early 1970, Mitchell had just ended her relationship with Graham Nash and started seeing James Taylor. Her song ‘All I Want’ reflected this.

‘Little Green’ was next, a song the band left the stage for, leaving only Pepper and Zervas to perform. The duo then sang ‘This Flight Tonight’ before Zervas left the stage to be replaced by keyboard player Michael Blanchfield for ‘My Old Man.’ He stayed on for ‘The Last Time I Saw Richard’ before the band returned for ‘Carey' and ‘A Case of You.’ The final two songs, ‘River’ and ‘Blue,’ featured Pepper singing accompanied by Blanchfield.

It had been an exhilarating opening set. Pepper’s haunting vocals and Zervas’s exceptional guitar playing were supported by Brown’s rhythmic and harmonic bass, Edgecombe’s soft-toned and atmospheric electric guitar, and Blanchfield’s keyboards, which seemed to let the music flow through him to an audience who were clearly transported to another time and place.

The second half of the show moved on from Mitchell’s folky singer-songwriter style toward her more complex, jazz-oriented sound. Pepper and Zervas opened with ‘Chelsea Morning’ from her second album, Clouds. They followed that with ‘Cactus Tree,’ dedicated to David Crosby, who had seen Mitchell performing in a Florida club and was so captivated by her voice and songwriting that he helped her secure a record deal.

The band returned to the stage as Pepper announced they would be playing songs from Court and Spark, which drew an audible gasp from the audience. The eponymous title track was followed by ‘Help Me’ and ‘Free Man in Paris.’

1975’s The Hissing of Summer Lawns provided two songs, the title track and ‘Edith and the Kingpin’, before a wonderful show was brought to an end with ‘Amelia' and ‘Coyote’ from Mitchell’s Hejira album.

However, the audience weren’t ready to let This Flight Tonight leave the stage just yet, so they encored with ‘Woodstock,’ ‘Big Yellow Taxi,’ and ‘Both Sides Now.’

This had been an intimate show in which the audience clearly felt a strong connection to the music. The historical anecdotes and insights into Mitchell's life added depth to the performance. This reviewer found it a powerful and emotional experience, being moved to tears during some songs. This Flight Tonight have certainly captured the true essence of Joni Mitchell's original work, making it a heady experience even for those who may not be die-hard fans.

This Flight Tonight’s tour continues and tickets can be purchased here, Zervas and Pepper Present - THIS FLIGHT TONIGHT - The songs of Joni Mitchell

Reviewer – Adrian Cork 

On – 24.10.2025