Ballet Review We Call it Ballet - Sleeping Beauty Playhouse Theatre Liverpool

 

This show is an entirely new concept for ballet lovers as they can experience the story of Sleeping Beauty like never before in a dazzling ballet dance and light show, a dance show that combines classical ballet with modern technology, using LED costumes that glow in the dark.

From the start the show is mesmerising as the dancers are bedecked in lights, either white or coloured over their normal tutus and costumes.

The show tells the enduring tale of Sleeping Beauty where a cursed Princess is awakened by her Prince with a kiss. The story depicts how a Princess is born, an evil fairy is snubbed, and a tragic curse befalls a Kingdom. A last-minute intervention from the most powerful fairy of them all proves to be a saving grace as all the people are put to sleep for one hundred years as they await the Prince who will lift the curse. This all comes to life in beautiful visual splendour, as perfect pirouettes and gravity-defying leaps cast a kaleidoscope of colours across the stage.

Classical ballet and modern technology have come together to create an artistic masterpiece like nothing before, where exquisite dancers actually light up the stage with glittering routines and glow-in-the-dark costumes.

It is a breathtakingly beautiful production that exceeds tradition, taking the audience on a voyage beyond everything they’ve ever seen in ballet previously.

This is a superb show, in which I was fully immersed, a sensational show of shimmering leaps and beautiful ballet postures.

This was a one night performance but catch Ballet of Lights, Cinderella,  if you can from 13 February – 11 June 2026 at Playhouse Liverpool Tickets available at https://feverup.com/en/liverpool/

Reviewer – Anne Horne

On – 29.11.25

Theatre Review Irish Annie’s Christmas Show Epstein Theatre Liverpool

                                                  

Irish Annie's is a Christmas cracker of a show, it is a celebration of Irish culture, incorporating comedy, Irish music and social history. Having said that, it’s not important to be Irish to enjoy it as it is amusing and entertaining whilst also being very uplifting at the same time, almost inspirational as the sentiments of friendship, community and love are expressed throughout.

This was the final show after the cast having completed 42 shows whilst touring the UK. Writer and Director Asa Murphy and cast thought it fitting that they should end the tour in their Liverpool home. 

The outline of the show is that the audience members are actually in Annie’s bar which is the stage set, which remains constant throughout; it is designed to make the audience feel at home in a traditional Irish pub and it actually feels authentic; various characters visit the bar during the show and 5-piece live band, The Shenanigans are on stage throughout accompanying the vocalists.

The premise of the story is that Moira the Moneylender (Lynne Fitzgerald) wants to close down Annie’s Bar which has been a favourite with the locals who drink there for many years but in the end is persuaded not to do so. Landlady Annie (Samantha Alton) is the lynchpin in the story who everyone loves and wants the best for, who is looking for love but in the wrong places.  A love story between her and Seamus interweaves in the story whilst the lives behind the characters who frequent the bar is told in songs and verse.

The show started with Seamus (Asa Murphy), dressed in Christmas colours, red and green, singing ‘Liverpool Lou’ followed by ‘The Black Velvet Band’, encouraging audience members to join in. One observation/suggestion is that it would have been helpful for audience members to have a copy of the lyrics for each song performed so that they could join in as, like myself, most knew the chorus or first lines of each song, but not the verses and this spoilt the enjoyment a little. There are a number of well-known Irish songs included plus original songs written and performed by Asa. Whilst Asa sang, ‘I Love Galway Bay’  band member, Paul Thompson’s beautiful accompaniment on the flute was much appreciated by the audience.

Ricky Tomlinson plays himself in the production, as a regular customer in the bar, and part of the script includes a Q & A with Asa asking him questions about his TV career and the people he’s worked with.  Ricky shared some personal highlights which were very funny and much appreciated by the audience. Ricky, now 86, is an amusing raconteur and he also sang and danced during the show, much to the delight of the audience who couldn’t wait to shake his hand or applaud and complement him in appreciation of his talents.

Landlady Annie (Samantha Alton) is a talented energetic performer/singer whose enthusiasm for the show shines through, as it does for other cast members, Leslie Longley (Victor/Joe/Porky The Postman) whose Elvis impersonations brought the house down, Richard Barry (Noel Singen-Smithe, a well-spoken self-confessed alcoholic), whose rendition of Danny Boy brought tears to the eyes of audience members, and his excellent delivery of classic poetry and verse enthralled them. Lynne Fitzgerald commands the stage as Moira the Moneylender and performs comedically as Maisie with Leslie Longley as Joe her downtrodden husband and last but not least, Asa Murphy as Seamus delights in performing his original songs and the well-known Irish ditties; his pride in his achievement of getting the show out to theatre-lovers and the pleasure of delivering his storytelling, based on his own personal history, radiates throughout the production.  The show is a joy in that each performer throws themselves into their role and looks like they are having so much fun on stage, it is infectious.

The show is co-directed by Emma Vaudrey and produced by Bill Elms Productions and Asa Murphy; The Shenanigans band members consist of John Wheatcroft (Mandolin/Guitar), Ritchie McGrath (Drums), Paul Thomas (Flute/Irish Pipes), Paul O’Shaughnessy (Bass Guitar) and Asa Murphy (Acoustic Guitar); they gave an excellent performance throughout.

All in all this is a very enjoyable, entertaining show, the joy of live performance shines through and it is a must-see in the run up to Christmas; it has a feel-good vibe and had everyone up from their seats dancing at the end, a real crowd pleaser.

This was a one night performance but be sure to catch it if and when it returns.

Reviewer – Anne Pritchard

On – 29.11.25

Theatre Review Scouse Christmas Carol Royal Court Liverpool

 

The Christmas panto season is upon us and as such The Royal Court production is Charles Dickens’ Christmas Carol, but with a twist – it takes place in 1845 in Liverpool - it’s the Scouse Christmas Carol! It is brazenly scouse, full of risqué innuendo, bawdy one-liners and scouse humour at the expense of local personalities and beloved local football clubs plus many references to scouse culture. It is definitely an adult panto with an Age Advisory 16+ caution due to the very strong language used throughout the show, anyone offended by strong language should give it a miss. 

The outstanding script from Kevin Fearon turns Dickens’ classic novel on its head and depicts Barbara and Freddie Marley finding out that that they haven’t inherited Jacob Marley’s business, ‘Jacob’s Biscuits’. Marley had mysteriously disappeared and it’s Scrooge who has inherited the business.  This calls for the Garston Ghostbusters to solve the mystery as to what has really happened and they decide to try to get the answers from Scrooge by haunting him.

This larger-than-life production directed by Mark Chatterton, is a laugh-a-minute show which hardly gives the audience time to catch it’s breath in-between the innuendo and lewd vocabulary. Although expletives are generally accepted in an adult panto, some may think this show is a little over the top in this department, but the audience lapped it up and were shouting for more at the finish.

It’s difficult to name outstanding performances as the whole cast are remarkable performers and vocalists. Lindzi Germain as ‘Dame’ Barbara was born to entertain, she commands the stage in every scene with her full-on personality, loud voice and camaraderie with the audience. In contrast to this, her rendition of Adele’s ‘When We Were Young’ touched the heart of many and showcased her versatility, her whole performance as Barbara was outstandingly superb. As was Paul Duckworth as Scrooge.  His comic timing is spot-on with facial expressions and body configurations exceptionally perfectly executed. His rendition of Right Said Fred’s ‘I’m Too Sexy’ in nightshirt and long-johns is hilarious. He also captivated the audience with his harmonica playing. But no spoilers here as the pleasure will be spoilt for anyone planning to see the show.

What can be said about Royal Court veteran, Keddy Sutton? She is exemplary!  She takes on five distinctive roles throughout the show, and she excels in all. As Town Crier, Housekeeper, Mayor Joe Anderson, Judge and 1970’s DJ, her acting scope is fantastically diverse and knows no bounds, she is a standout performer in every scene, small in stature but enormous in talent.

Helen Carter as Mrs Scratchitt provides excellent stage presence particularly whilst singing as her voice is remarkable and John-Paul Birss, Lydia Rosa Morales Scully, Lenny Wood and Jhanaica van Mook all give excellent performances, they also harmonise beautifully, and each song is a treat to listen to. Every member of the cast have strong vocals and perform confidently making the whole production a pleasure to watch and enjoy.

Commendations must be awarded to the outstanding set design by Ellie Light; Victorian London was brought to life with an amazing set which captured the essence of the era. The stage revolve was made full use of incorporating a quartet of sets depicting four different scenes - the main street, Scrooge's bedroom, Scrooge’s office and the Scratchitt's home.  The show was made even funnier when the turntable failed and backstage crew were called upon to push it to the accompaniment of Salt-N-Pepa’s ‘Push It’.  Whether this was scripted or not was hard to tell as it gelled so well into the storyline.

Cementing the show together are the song-and-dance routines with Ben Gladwin’s four-piece live band and vocalists who were on stage throughout. There were some clever song choices from Music co-ordinator, Greg Joy, such as  ‘Thriller’, ‘It’s My Life’ and ‘The House of Bamboo’ amongst others. Beverley Norris-Edmunds’ choreography was energetic and blended seamlessly, she challenges the cast who always look as though they are having a fun time performing. Adam McCoy particularly stands out during the dance sequences, he is an all-round brilliant performer who also provided comedic interludes as Dame Barbara’s son, Freddie.

Costume choices from Ellie Light were perfect, some of them brilliantly outstanding worn by Dame Barbara and along with Germain’s ad-libs and banter provided further laughs from the audience. Clever use of puppetry is also incorporated.

The Royal Court’s Christmas pantos are a Liverpool tradition, this one has succeeded once again to be highly entertaining, funny and extremely memorable due to the remarkable talents of the cast and hard work of the creatives and crew who combine to bring such wonderful entertainment to the theatre.  It is a combination of scouse silliness and historic twisted fiction. Catch it if you can, it is showing until 17^th January 2026.

Tickets available from https://liverpoolsroyalcourt.com/main_stage/the-scouse-christmas-carol/

Reviewer – Anne Pritchard

On – 29.11.25

Theatre Review Cinderella Shakespeare North Playhouse Prescot

 

Pantomime is one of those great British traditions which shows no sign of diminishing in popularity. It is perhaps that because of these factors, coupled with the fact there are only seven or so base stories in the genre, that a pantomime is often very predictable, right down to the jokes and stock scenes such as the routine of the ghost tapping on the shoulder and so on, ad nauseum. It is therefore extremely refreshing to see a panto where both the writer and the production team have thought a bit outside the box. ‘Cinderella’ at Shakespeare North Playhouse was such a show.

Shakespeare North’s production had all the colour and vibrancy of a traditional panto but was presented in a modern format with all five actors each playing multiple roles (even Cinderella had an Alta ego as a theatre usher!) and props variously brought in, dropped from the ceiling or appearing out of the floor. It is rare for a pantomime to be performed in the round (to best of my knowledge the Royal Exchange has never done one!) which is a shame because it is a wonderful way of introducing young people to the immersive possibilities of theatre. This production showed what can be done with modern technical innovations to make the theatre experience dynamic and vibrant.

By dispensing with the usual set-piece routines, ‘Cinderella’ was able to maintain a fast and consistent pace from start to finish with no section feeling over-long as cast members kept re-appearing in different guises. The songs, which tended to have a 70’s & 80’s theme, were seamlessly woven into the dialogue and were never very long. A particularly noteworthy aspect was that whilst the actual music was pre-recorded, the microphone quality of the live vocals was crystal-clear, with every word sung audible. This made for very smooth transitions in and out of normal speech. Credit must also be given to the way instead of the usual audience sing-along section (typically used as an unimaginative time-filler), this production, in the context of a ball, had the whole audience up from their seats dancing to an amusing routine call the pebble (with helpful illustrative images in the theatre programme!). This was quite something to behold, with everyone clearly wanting to join in the fun.

The costuming showed great originality and was both sumptuous and varied. Cinderella actually wore vibrant orange in contrast to the usual drab colours given to the character and how often do you see a dark-haired Cinders? (any more than you might see a blonde snow white!). It was little details like these that helped give the show a feeling of fresh originality. The basics of the familiar story were told but with interesting twists, showing that the writer Nick Lane had made a conscious effort to appeal to adults as well as children (including a nod in the back-story to the James Stewart Christmas classic ‘It’s a wonderful life’).

Tia Larsen excelled in the title-role, giving a gutsy feel to a Cinderella with a taste for adventure. Emma-Grace Arends gave a mischievous, impish aura to her principal role as an apprentice fairy, coupled with a very physical performance. Thomas Cotran and Elliott Kingsley were a great comedy double-act, swinging between playing good and bad characters and Emma Bispam was well cast as both the chief villain and fairy-in-chief, bringing a dramatic gravitas to each of her roles. This was a very much an ensemble production, in which the cast could be seen to be enjoying themselves in front of a very appreciative and physically-engaged audience.

This ‘Cinderella’ could be described a great pantomime for people who don’t normally like pantomimes; an excellent theatrical experience that worked on different levels and a great night out.

Reviewer - John Waterhouse

On - 25.11.25

Theatre Review – Midsomer Murders: The Killings at Badger Drift Lyceum Theatre, Sheffield

When well-loved spinster Emily Simpson is found dead in the picturesque village of Badger’s Drift, her friend Lucy Bellringer refuses to accept it was an accident. DCI Tom Barnaby and Sergeant Gavin Troy are called in to investigate, uncovering a world of hidden passions, long-buried secrets and deadly rivalries. ‘ Based on the novels in the Chief Inspector Barnaby book series created by Caroline Graham, midsummer murders first hit our TV screens back in 1997.

This production at the Lyceum Theatre took us back to Midsomer, the unfortunate fictional county in which you have a disproportionate chance of being elaborately murdered. Interestingly, the role of Inspector Barnaby is played by Daniel Casey, who was Barnaby’s sidekick DS Gavin Troy for the first 6 years of the TV series; Badgers Drift being the first ever episode. 

From the outset, it is apparent that this is a highly theatrical and comedic production. As would be expected from a stage play starring John Nettle’s protege, the origins of the TV show are well represented. Guy Unsworth is the writer and Director who has worked alongside Producer Matthew Green. The writing, casting and direction are all superb.

With Midsomer being a picturesque, if deadly, county, the stage setting and costumes were always going to be key. Congratulations to the backstage team from stage management through to hair and makeup for creating a memorable theatrical experience. The set was as clever as it was spectacular and centred around a large round window at the rear of the stage. The window frame acted as a lens for the production and was used in various guises to set the scenes, recap, or progress the storyline. It was a backdrop to the multiple sets and props, which either appeared from above or glided miraculously across the stage. The set and props varied throughout the 2-hour 25-minute (including interval) duration of the show. The sliding sets were often used in amusing ways and became part of the storyline. Smaller props, such as a set of garden gnomes, were used to recreate a previous crime, relevant to the newer misdemeanours unfolding before our eyes. These visual aids and the recaps through the circular frame were important to keep track of the detailed but well-paced storyline.

There was even time for a surreal and abstract choreographed waltz between DCI Barnaby and some flying cadavers, to represent his internal confusion as he grappled with the mystery.

The acting was fantastic, with all but the two main actors having multiple or ensemble roles. 

At one point, the detectives interviewed two of the characters so quickly that I couldn’t figure out how it was possible until Chandriki Chevli walked off the stage with a split 50/50 costume. Daniel Casey and James Bradwell form a great partnership dynamic; Casey has made the step up to DCI since he left the TV series over two decades ago. 

This is an entertaining, funny and well-produced play, with exceptional staging, which will appeal to fans of Midsomer Murders, old and new.

Production run (The Lyceum Theatre, Sheffield): 25– 29 November 2025

https://www.sheffieldtheatres.co.uk/events/midsomer-murders/datesReviewer:

Reviewer - Matthew Burgin

On - 25 November 2025

Theatre Review The Enigmatist – David Kwong Wilton’s Music Hall London

Just wow! This show is truly mind-bending, and David Kwong himself is nothing short of incredible. Walking into the theatre, I wasn’t entirely sure what to expect, but it quickly became clear that the rest of the audience was ahead of the game. Kwong is an enigma in his own right—a self-confessed puzzler, magician, and the brilliant mind behind many of the New York Times Crossword puzzles. As a subscriber myself, I was already familiar with some of the concepts he discussed and displayed, which made the experience even more rewarding. The audience, however, seemed to know him well already, and I suspect many had heard of his talents or seen him perform before. I was struck by how many Americans were at the show, who obviously knew all about David Kwong, to witness his unique brand of entertainment here in London.

What makes Kwong so captivating is that he is no stereotypical “nerd.” Instead, he has a warm, engaging stage presence and interacts with the audience at every opportunity. He makes sure that everyone feels included, whether seated in the front row or tucked away at the back. Throughout the evening, he selected participants from all corners of the hall, ensuring that the show felt communal rather than exclusive. The performance itself was mesmerising. My family, who are also avid puzzlers and fellow New York Times crossword subscribers, would have adored it. I even texted them during the interval to share my excitement. Without giving too much away, I can say that if you have any interest in magic tricks, puzzles, or crosswords, this is a show you simply must see. Audience participation was central to the experience. At several points, we were challenged to solve visual and audio puzzles, standing up when we thought we had the answer. This quickly became competitive, with individuals leaping from their seats to be the first to respond. Out of the five puzzles presented, I managed to solve one just after the crowd jumped up, but I was particularly proud of myself for cracking the visual puzzle almost immediately. Solving these challenges allowed us to piece together clues that ultimately unlocked a mystery box—its contents seemingly impossible and yet revealed with astonishing flair.

Kwong’s ability to entertain while educating is remarkable. He moved energetically around the stage, drawing us into his world of codes, wordplay, and illusions. For puzzlers like myself, he was inspiring, offering clever insights into cracking codes and even sharing strategies for winning at Scrabble. His passion clearly stems from childhood, nurtured by his mother, a history professor, who introduced him to problem-solving at an early age. One of the most fascinating segments of the evening was his retelling of the story of the Fairfields; a husband-and-wife team who played a pivotal role in American code-breaking history. 

Kwong’s credentials extend far beyond the stage. As the magic consultant for the Now You See Me films, he has proven himself a master of illusion with a wealth of tricks up his sleeve. Having performed in New York City, Los Angeles, Washington DC, Chicago, and Toronto, it feels like a privilege to have him here in London. Wilton’s Music Hall, with its historic charm, provided a unique backdrop, though in truth, it almost felt too modest a venue for such a dazzling talent.

The audience’s reaction said it all. At the end of the show, the entire hall rose to its feet in a standing ovation, a testament to the sheer brilliance of the evening. If you can secure a ticket, do not hesitate—this is one of those rare theatrical experiences that should not be missed.

As for me, I left the theatre inspired, eager to dust off my Scrabble set and renew my New York Times crossword subscription. David Kwong has not only entertained but shown me that my love of puzzles is a great way to stretch your mind, proving that the art of problem- solving can be as thrilling as any magic trick.

Performances run Mon 24 - Sat 29 Nov, at Various Times

Booking and more information: https://wiltons.org.uk/whats-on/the-enigmatist/

Reviewer - Penny Curran

On - 24th November 2025

Opera Review Susanna (Opera North) Theatre Royal Nottingham

Handel’s oratorio Susanna (1749) tells a surprisingly resonant tale of wronged honour and hypocrisy set in Old Testament times. The virtuous Susanna, blissfully married to husband Joacim, falls prey to the lecherous machinations of the Israelite Elders while Joacim is away on a mission; while attempting to have their way with her, they accuse her of infidelity and, it being their word against hers, manage to prevail; all looks black until, in time-honoured fashion, a deux ex machina reveals the truth and all ends happily.

This co-production between Opera North and Phoenix Dance Theatre incorporates movement and choreography into what is many ways a static, pictorial story though it’s open to debate whether or not the choreography (by Marcus Jarrell Willis) aids the storytelling or distracts from it. I was inclined to think it did neither. The singing cast, not ideally large-voiced enough to be heard even under Handel’s spare orchestration, did what they could to flesh out characters who, for the most part, are less people than archetypes, the one exception to that rule being Susanna herself, sung by Anna Denis. Denis brings physical grace to this demanding role as well as some psychological insight; but it is not enough to raise Susanna into a figure of real agency; she remains someone to whom things happen rather than an instigator - even her redemption is brought about entirely by a third party. The fault here lies in the source material, which was never intended for operatic treatment and suffers most when director Olivia Fuchs attempts to give it dramatic heft (a risible attempted rape scene which was more preposterous than horrifying).

Elsewhere in the cast, James Hall’s attractive it small counter-tenor handles the laments well and Colin Judson and Karl Huml are suitably despicable as the abusive Elders. Johanna Soller conducts authoritatively from the keyboard and the forces of the Opera North Orchestra are customarily impressive. But this seemed a strangely unoperatic project for an opera company to undertake; it’s long been the fashion to attempt to give dramatic treatment to Requiems, Oratorios and other non-operatic works but when so many great operas are still awaiting their British premieres, is this the kind of thing ON should be doing?

Reviewer - Richard Ely

On - 22.11.25

Theatre Review The Rock ‘n’ Roll Panto 2025: Jack and the Beanstalk Everyman Liverpool

 

Once again, devotees of the Hope Street entertainment temple otherwise known as The Liverpool Everyman, made their pilgrimage to the annual Rock ‘n’ Roll pantomime, this year to enjoy Jack and The Beanstalk.  And they weren’t disappointed; in fact they left singing ‘I’m A Believer’ happily content having experienced two hours of panto worship delivered by specialists in their craft.

The audience was a mix of children with brightly illuminated wands, parents, grandparents and cast family relatives ready to enjoy their annual indulgence of panto fun and it was a full house.

True to form, the Everyman production team have taken a well-known fairytale and has spun the story on its head and presented it in a fun, comedic style incorporating music, humour, one-liners and energetic performances with splendid costumes. There are lots of Liverpool colloquialisms included in the script plus mentions of local landmarks with comedic name changes.

Without giving too much of the story away, it basically revolves around hero, Jack (Malek Alkoni) who is on a mission to save Cosmic Crystals, the shop belonging to his mum (Liam Tobin) from going under by climbing the beanstalk to meet the giant and capture the goose that lays the golden eggs.  In between this he battles with baddy Alan Sucre (Zoe West) and his sidekick, Roginald (Theo Diedrick). Of course being a panto story there are two fairies involved, Fairy Spacecake (Adam Keast) and Jill (Amy Bastani) who has yet to obtain her wings.

The panto has the musical backing of a five piece band which sometimes becomes more as some of the performers join in with Goose/Daisy/Officer Nimbus (Elaine Hua Jones) and Ruby/Officer Cirrus (Rebecca Levy) dancing whilst playing saxophones on a couple of numbers with the rest of the cast and Fairy Spacecake (Adam Keast) on guitar.

The set is resplendent with bright colours and twinkling lights with the band sited on a platform above the stage and there are many ins and outs of the cast and props through a curtained doorway and using the steps either side of the stage. The theatre provides a very intimate atmosphere with the actors on stage because of the seating being so close to the stage and the actors made full use of the stairways either side of the seating, running up and down each during the performance.  Many popular songs were included in the show and were delivered with enthusiasm by the full cast and songstresses, Amy Bastani and Rebecca Levy, both have terrific vocal talent.  

Standout performances for me were Zoe West as bad boy Alan Sucre and ‘Dame Vera’, Liam Tobin. Both gave excellent performances.  Adam Keast (Fairy Spacecake), a renowned Everyman panto trouper excelled as usual, his cheeky grin and clever one-liners and adlibs are always brilliant, and he is excellent at interactive theatre delivering humorous asides to the audience and seamlessly blending the scenes together. He is also expert at drawing the audience into the panto plots and getting them involved either with singing, clapping or full on integration into the theatrical production.   But no spoilers here, you will have to go along and experience it for yourself. But praise indeed to all those taking part who are multi-talented actors and fantastic musicians who can interchange from one ability to the next at the drop of a hat. Each actor contributed to the production with energy, enthusiasm and artistic ability par excellence.  It is a musical romp with actor-musicians, rock 'n' roll music, funny interludes, and colourful costumes, consistent with the Everyman's usual well-loved panto style. It blends a family-friendly fairy tale into a musical concert suitable for all ages.

A big round of applause goes to Writer,  Chloë Moss, Director, Kash Arshad, Set and Costume Designer, Katie Scott, Arranger and Musical Supervisor, Jamie Noar, Musical Director, Henry Brennan, Choreographer, Rebecca Levy and Lighting Designer, Charly Dunford  who have all done an excellent job at pulling together a panto which once up and running, gives everyone the feeling that Christmas is just around the corner.

This is a perfect night out for the lead-up to the Christmas festivities.

The Rock ‘n’ Roll Panto 2025: Jack and the Beanstalk runs until 17th January 2026 at Liverpool Everyman. Tickets from https://everymanplayhouse.com/event/the-rock-n-roll-panto-2025-jack-and-the-beanstalk/

Reviewer – Anne Pritchard

On – 20.11.2025

 

 

THEATRE REVIEW Children and Young Peoples' Theatre / AMATEUR North Stars Theatre Company present ELF Jr @NWTAC Theatre, Moston, Manchester

My first seasonal offering came yesterday as I travelled to Moston, North Manchester to watch North Manchester-based young peoples' theatre company, North Stars, perform their latest production of ELF Jr. at the NWTAC Theatre.

North Stars Theatre Company is a fully inclusive outfit, their ethos to make theatre accessible for all, which takes in youths of all ages from the very young up to adult, and encourages those who have disabilities that might in other circumstances be discouraged or overlooked, and so a good number of her students have some physical or neurological disability, and these work alongside everyone else and the whole ensemble work as one. This is both heartwarming and laudable. It does however, become a little problematic when coming to review the production in the form of any critique. What I can and will say is that the whole cast were enjoying themselves immensely, which was palpable, and their infectious enthusiasm and energy carried the show through from beginning to end. This was a very happy production, where the putting on of the show was placed in higher regard than the actual technical objectives, which was absolutely fine since that was made clear, however this did make the production a much longer show than was necessary. The Jr. version of Musicals indicates that the musical has been pared down to about a 60 minute running time, with all the "adult" stuff removed, and so, had the company decided to run the show as per, then the 3pm show should have finished at 4pm. However, even with their deciding to put a 20 minute interval in the proceedings, the show was not over until 5pm, which means that far too much time was spent on changing scenes, playing all the incidental music whether appropriate or not, and all this had the effect of diluting any pace and narrative drive that the cast were trying so desperately to build. Each short scene was preceded and succeeded by blackouts, pre-recorded playbacks, and long pauses whilst the set was changed. It became boring and predictable, and sadly the youngsters in the audience were not able to keep their focus either. Perhaps a much simpler, multi-purpose set would have worked better, and not used all the music supplied.

However, the costuming was of a good standard, and the characters for the main leads were well chosen. Oliver Williams provided a very cheery and personable Buddy, and was very easy to watch. He was ably supported by Abigail Jones (Jovie), Amelia Ubhi (Santa Claus), Kaya Read (Walter), Daisy Allen (Emily), Anthony McCoy (Michael), and Ruby Moores (Greenway). And in turn they were all supported by a lively ensemble playing the minor characters as required. The choral singing was lovely, and I enjoyed the choreography too, although I had the distinct impression that given a larger dance area, some of the cast could have done much more. (Sparklejolly was my favourite).

A feelgood piece of seasonal family entertainment produced with passion and heart.

Reviewer - Alastair Zyggu

On - 16.11.25

Theatre Review ABBA Forever The Epstein Theatre, Liverpool

Tribute bands are the mainstay of many theatres these days with many of the great celebrated groups and artists from the 60’s to the present day often spawning numerous replicants. A tribute act requires of course for the band being impersonated to remain appreciated by the public but the popularity of 70’s supergroup ABBA shows no sign of diminishing, there being a small industry of ABBA tribute acts. However, such was the quality of ABBA, both in writing and performing, that only a very select few have achieved lasting success in their own right. ABBA Forever are such a group and there a number of keys reasons to justify this assertion.

            A main factor is that ABBA Forever have completely avoided copying the style of long-established ABBA tribute Bjorn Again, whose shows blend comedy with the music, each group member acting as a caricature of one the actual members of ABBA. ABBA Forever are all about the music and performance. An additional keyboardist/guitarist as well as bass and drums help ensure an authentic full sound with the only back-up tape (as far as could be discerned) being the saxophone in ‘I do, I Do, I do’. ABBA Forever really do sound authentically like ABBA in the vocals as well, with the female members harmonising well whilst getting right the various nuances of Agnetha and Annifrid.  

            Whilst ABBA Forever genuinely sound like ABBA, there are some subtle differences which are deliberate and worth noting. First of all, however great the ABBA recordings were, the drums had an annoying tendency to sound like a drum machine, often with a monotonous disco beat. ABBA Forever have a proper drummer and the sparing use of drum rolls and heavy cymbals are a welcome addition without seriously diminishing the authentic sound of ABBA. Secondly, ABBA Forever’s ‘Bjorn’ is a genuine guitarist. In ‘Eagle’ for example, there was an extended guitar solo which included Eddie Van Halen-style hammer-on fingering; again, used sparingly so as not to diminish sounding like ABBA but a welcome addition none the less.

            ABBA Forever is a very visual experience and in addition to frequent costume changes by the girls (always into authentic ABBA outfits from the 70’s), the choreography is slick and executed with real precision. This included performing numerous ABBA dance routines in perfect synchronisation coupled some of the personal trademarks of each of the ABBA girls, such as Annifrid’s high-kicks. A large video back screen was an interesting addition, with the content ranging from AI-generated animations to live footage of both ABBA and ABBA Forever performing live. The inclusion of images of ABBA themselves (with some clips from their best-known music videos) worked well in its honesty. Rather try to try to fool the audience into thinking they were seeing they weren’t, this was a bold statement the show was indeed a tribute act but it was a classy act, performed with both energy and close attention to detail. The audience certainly agreed, many dancing in the aisles and raucously demanding more after the last song in the set.

            The emphasis of ABBA Forever is to have fun so the entire set comprised of all the well-known hits you might expect to find on any ABBA compilation album. There are several lesser-known but interesting tracks hidden away on ABBA albums but ABBA Forever clearly wanted familiarity, in costumes, imagery and the numbers played. The only deviation to this overarching rule was audience name requests being read out, which had a pantomime feel, slightly reducing aura of everything you saw and heard being pure ABBA.  This was a fun and very enjoyable night out.

Reviewer - John Waterhouse

On - 13th November 2025

 

           

Theatre Review Look After Your Knees Playhouse Theatre, Sheffield

‘Look After Your Knees – A show about the pain and beauty of getting older, sprinkled with joy and ridiculousness. Performed by a clown delving into the space inside us left behind by loss.’ The show was co-created by Natalie Bellingham and Jamie Wood and performed by Bellingham.

It’s an interesting and unique production about the absurdity and challenges of modern-day survival, using comedy as a vehicle to explore themes that are difficult to discuss. 

The sparsity of the stage set suited the intimate layout of the Playhouse, but was used to great effect. Natalie entered the stage to a warm reception and her first comment was about the size of the audience, which covered all 3 levels of the auditorium. She commented on how numerically it was ‘a lot’ whilst lamenting it was also ‘a lot’. We knew what she meant, but the self-doubt seemed at odds with her natural stage presence. However, this is a key component of the show; a jarring rollercoaster of emotions which moves without warning in the opposite direction.

The narrative is both rapid and relaxing without being jumbled. There are poems and musical interludes, mixed with interpretive dancing. The dialogue moves from abstract reflection to searing anger in the blink of an eye.

It is worth noting that Natalie’s mother died in 2020, the impact of which is evident in this show. A solo show exposes the actor to the audience regardless of the production, but one that touches on intimate personal grief is courageous and should be commended. 

What makes the show enjoyable, and the 75 minutes pass so quickly, is the warmth and honesty of Natalie Bellingham, who has clearly been through ‘a lot.’ Despite this, the general tone was one of levity with many funny and lighthearted moments. I liked the analogy of wearing your clothes now because they won’t fit or be out of fashion soon. But the overall sentiment is hope and gratitude for those around you and the overwhelming message that you are in control of your own life.

Oh, and don’t forget to look after your knees; you will miss them when they are gone.

Production Run (Playhouse Sheffield): Wednesday 12th November 2025

Reviewer - Matthew Burgin

On - 12 November 2025

Theatre Review Grayson Perry Are You Good? Philharmonic Hall Liverpool

This one man show by Sir Grayson Perry, Turner Prize winner and one of Britain's most powerful cultural icons, known for his ceramic vases, tapestries and cross dressing, was an evening spent satirically and interrogatively dissecting our views on what we, the audience perceive as being good or evil with society today, and comparing it with other parts of the country. The Philharmonic Hall was packed; excitement and anticipation filled the air.

Perry graced the stage in a lilac curly wig, a silver oversized sparkly dress and huge pink shoes wearing his iconic dramatic make up, almost a clown-like appearance, and proceeded to cover complex delicate subjects from politics, identity, gender, class, social media, the Ten Commandments and the Seven Deadly Sins through humorous audience participation throughout the show. He starts off his show by saying “I always start out with the assumption that people are born good and then life happens, are you as virtuous as you think?”

The audience are asked to be his focus group and to scan the QR code to join the event, whereby questions were asked throughout the show with the replies displayed in either percentages or words on the screen, there was even a competition with a prize given to the winner thrown in for good measure.

He even managed to sing three songs, all poking fun at political correctness. His outfit change for the second half of the show was into a black and white patent leather-look dress and shoes, which indicated that he was going to playfully pursue all that is bad and evil in the world.

He questions our views on the difference between being good and being right in a clever non-judgemental way, occasionally adding some of his own views with a smattering of loud swearing to indicate his distaste. We are taken on a fantasy journey through the power of AI imagery from heaven to hell projected onto the stage. Grayson at one point playfully and hilariously depicted as Gandolph, and Donald Trump. His love of his wife and his cats are also referenced to during the show with beautiful pictures displayed on the screen. He indicates how long he and his wife have been together and questions how has she put up with him for all these years, in a loving display of affection and appreciation.

This witty, artistic and thought-provoking entertaining show had the audience spellbound under his expertise, through comedy, knowledge and his understanding of human nature. A very enjoyable show.

Grayson Perry Are You Good? Tour Philharmonic Hall Liverpool, runs until 7th December 2025.

Reviewer - Jill Ollerton 

On - 11.11.25

Theatre Review Ocean Child – A Poignant Tale of Tragedy and Hope Irish Cultural centre, Hammersmith, London

 

Ocean Child was a deeply poignant and moving performance that told a haunting tale of misfortune and loss following a shipwreck. This tragic true story was conveyed through a powerful blend of narration and music, immersing the audience in the emotional aftermath of a maritime disaster. It was a story not widely known, yet one that deserves to be remembered.

The RMS Tayleur left Liverpool on her maiden voyage in January 1854, bound for Melbourne, Australia. She was a precursor to the Titanic—a cautionary tale that unfolded decades earlier. The Tayleur was an incredible new clipper, built with the latest modern conveniences, including flushing toilets, and designed with advanced sailing technology. She was a clipper with tall masts, vast sails and with an Iron deck which interfered with the ship’s compasses, she carried an estimated 650 passengers and crew, all full of hope and anticipation for a new life in a far-flung land. On board were people from all walks of life, united by the dream of starting afresh in Australia, far from their families and familiar surroundings.

The tale of the Tayleur was narrated with eloquence and compassion by Oscar-nominated Irish actor Stephen Rea. His voice carried the weight of sorrow and empathy, drawing us into the story with quiet intensity. The melancholic music, composed by Neil Martin, who also played the cello, was performed by the West Ocean String Quartet. They were joined by a gifted harpist and a multi-instrumentalist who played the uilleann pipes, tin whistle, and flute.

The music ebbed and flowed throughout the performance—at times deep and troubled, at others tender and heart-breaking. It blended traditional Irish melodies and instrumentation into the unfolding narrative, enhancing the emotional depth of the story.

There were also interludes of beautiful singing from a young chorister, a Year 7 student whose name I unfortunately did not catch. Supported in the audience by his family, he sang offstage, which I felt was a missed opportunity. It would have been lovely to see him perform in person, as it was difficult to identify the source of the singing. His voice added a layer of innocence and purity to the production, reinforcing the theme of hope amidst tragedy.

At times, the music slightly overpowered Stephen Rea’s narration. However, this did not detract from the overall impact of the performance. The audience was utterly captivated—you could hear a pin drop. The atmosphere was reverent, as if we were collectively bearing witness to a sacred story. This performance was the centrepiece of the Irish Cultural Centre’s 30th Anniversary season, which made it even more special.

The Ocean Child survived the shipwreck and became a symbol of hope amid the terrible loss of life on Lambay Island, near Dublin in the Irish Sea. Of the estimated 650 on board, only 280 survived. The story did not end with the wreck—it continued with an equally moving conclusion that brought a lump to the throat, as the music reached into our hearts and stirred something profound.

This was Irish storytelling at its finest—raw, emotional, and unforgettable. But be prepared: this is not the joyful Irish music one might expect on a night out. Ocean Child is an emotional rollercoaster, a tribute to resilience, and a reminder of the fragility of life.

Reviewer - Penny Curran

On -8th November

Concert Review - Rianne Downey The Arts Club Liverpool

It’s not often you feel you are witnessing the defining spirit of music for a particular  moment in time — the zeitgeist, if you will — but those at Liverpool’s Arts Club tonight may just have done so. Rianne Downey’s superb performance confirmed her status as one of the rising stars of 2025.

With her debut album The Consequence of Love riding high in the national album chart, Downey had every reason to feel confident as she bounced onstage to Dolly Parton’s ‘9 to 5’.

She opened her set with the catchy ‘Sunblind’, a breezy tune that belies the heartbreak at its core. Next came ‘Blue Eyes Burnin’’ followed by ‘The Song of Old Glencoe’, a Celtic folk-inspired track that conjures up her homeland.

Her next two songs, ‘Because’ and ‘The Consequence of Love’, explore that missing link between heartbreak and reflection. It’s the influence of those no longer around, in this case her granny, on the ones left behind that matters most to her. She can’t perform the latter without holding back tears.

‘Angel’, perhaps the standout track from the album, was performed so beautifully it caught me unawares and genuinely moved me to tears. During the Scottish/Irish folk song ‘Wild Mountain Thyme’, Downey, much to her delight, had the audience singing the “Will Ye Go, Lassie, Go?” refrain.

Downey’s rise this year began when she replaced Jacqui Abbott as co-vocalist with former Housemartins and Beautiful South frontman Paul Heaton. Having sung on his album The Mighty Several, she included two of its tracks tonight, ‘Silly Me’ and ‘Quicksand’. She followed with ‘Nothing Better’, the first song she wrote for her own album after moving to Liverpool in 2021. There’s certainly a hint of The Beatles within it. ‘Lost in Blue’ came next, followed by the song that changed her life, ‘Rotterdam’, the old Beautiful South number. She then performed the closing track from her album, ‘Heart of Mine’, lyric that suggests it’s not the action that touches the heart but the desire, the emotional clarity that eventually comes before moving on.

Downey shared how she got to where she is today: busking around Glasgow at 15, playing in pubs, returning to her bedroom to upload videos and eventually connecting with Paul Heaton. She moved to Liverpool at 21 with just her guitar and a dream in her luggage. Now she feels like she belongs, as she sings in the joyous ‘Home’.

The set closer was always going to be ‘Good in Goodbye’, her only original that, to my ears, sounds like a Heaton song. Downey appeared genuinely touched by the audience’s affection for her. She thanked them for their support, saying how excited and grateful she is for the opportunities she’s been given.

Her all-star touring band, affectionately called The Jeezos, comprises Liverpool-based musicians Nathaniel Laurence (guitars), Phil Murphy or Paul Kelly (drums), Sam Topping (bass), and Jade Vowles (violin).

A word, too, about the support act, Amelia Coburn — a folk singer-songwriter originally from Middlesbrough. Her songs are populated with characters drawn from the dark shadows of literature, film noir, and other strange lands. The audience really warmed to her.

But back to Rianne Downey. It’s not too big a leap to compare her to a young Dolly Parton. Both artists share a similar artistic spirit — a blend of authentic songwriting, strong vocal presence, and a clear affection for classic country style. Downey has that rare combination of natural charisma, magnetic presence, and undeniable talent that makes her captivating and sets her apart from others. She’s on a superstar trajectory.

Rianne Downey’s tour continues, and ticket information is here, Tour Dates — Rianne Downey

Amelia Coburn tour information can be found here, Music | Amelia Coburn

Reviewer – Adrian Cork 

On – 8.11.2025

Theatre Review - David Olusoga: A Gun Through Time Philharmonic Hall Liverpool

David Olusoga presented his new live show, A Gun Through Time for only the fourth time tonight. Known for the hit BBC series A House Through Time (a season of which was filmed in Liverpool) and his recent appearance on Celebrity Traitors, Olusoga brought his trademark blend of erudition, empathy and charm to one of the most provocative subjects in our history, the gun.

Far from a straightforward history lecture, A Gun Through Time is a visually ambitious and intellectually layered performance. The stage itself sets the tone; four deactivated guns (the Brown Bess musket, the Lee–Enfield rifle, the Thompson submachine gun and the Maxim gun) rest against a sleek, modern backdrop that projected historic photographs, charts, and interactive polls. The contrast between antique artefacts and digital media underlines Olusoga’s central thesis: that the past is inseparable from the present, and that the gun remains both a relic and a symbol of modernity. This was a theme he would return to.

Olusoga opened by inviting the audience to consider their own relationship with firearms, noting how unusual Britain is in its detachment from them. The audience is invited to vote via an app called Slido and can see the results compiled on screen in real time. Charts reveal that 42% of American households own a gun, while 71 million civilians in India possess firearms. By contrast, a live poll shows that only a third of the audience had ever handled one. “We are,” Olusoga observes, “historically unusual and fortunate.” Yet he warns that this detachment may not last, suggesting that we are “coming to the end of a bizarre and aberrant historical period” — a time of relative peace, sustained by the shadow of nuclear deterrence.

From there, Olusoga traces the evolution of weaponry through the four guns on stage. The Brown Bess musket, Britain’s standard firearm for over a century, evokes the empire’s far-reaching conquests, its image accompanied by a projected list of wars and uprisings it helped define. Whilst Olusoga was demonstrating how it worked, two sound effect shots were fired, much to the shock and amusement of the audience. The Lee–Enfield rifle and Thompson submachine gun mark the industrialisation of war, their mass manufacture blurring lines between killing, commerce and social change. Olusoga deftly links the rise of munitions work with the mobilisation of women, describing their political awakening as “inevitable” after the First World War. The Thompson, he notes, also transformed the gun into a cultural symbol, glamorised by Hollywood movies and gangster folklore. 

After the interval, attention turns to the Maxim gun, or “Devil’s Paintbrush”, the first fully automatic machine gun. Its invention ended the cavalry age and ushered in mechanised slaughter. Yet astonishingly, Olusoga tells us it remains in use today in Ukraine, where it has proved to be extremely effective against Russian drones. “A high-tech modern form of warfare,” he remarks, “is being countered with a weapon invented when Queen Victoria was on the throne.”

In closing, Olusoga reflects on Britain’s “post-war complacency”, urging his audience to confront how fragile our detachment from violence really is. A Gun Through Time transforms instruments of death into prompts for self-examination, asking: “Is our luck about to run out?” Only time will tell.

A Gun Through Time continues into 2026 and tickets are available here,

https://www.fane.co.uk/david-olusoga#event-listing

Reviewer – Adrian Cork 

On – 7.11.2025

Theatre Review The Sea Horse Golden Goose Theatre London

The Sea Horse is a play by Edward J. Moore, first staged in New York back in 1974. Now revived and adapted for a London performance—not in the West End, but in a relatively new theatre venue nestled in one of the trendiest parts of South London. It’s one of the best shows I’ve seen in recent months.

This is a hard-hitting play. Although essentially a love story, it is difficult to watch at times. It’s not the usual tale of unrequited love, but a modern-day narrative steeped in low self-esteem, anxiety, and complex backstories that shape how people interpret love. Despite being over 40 years old, the play resonates powerfully with today’s world—where feelings of inadequacy and the pressure to be attractive in an Instagram-perfect society are all too familiar. It presents two lost souls who struggle to connect, unable to communicate in a love language that either of them truly understands.

It’s a two-hander, and both actors hail from the USA. Gertie, played by Rachael Bellis, owns The Sea Horse Bar, located beside the docks in an American backwater. As the landlady, Gertie runs the bar with an iron fist—cross her at your peril. Rachael Bellis brings this indomitable woman to life with remarkable intensity. Her ferocity and hidden vulnerability ebb and flow throughout the performance, creating a character both formidable and deeply human.

Harry, played by Jay Rincon, is a worldly seafarer with grand, unrealistic dreams—schemes to make a quick buck and likely a girl in every port. Rincon strides onto the stage with swagger and confidence, portraying Harry as a man on a mission. After years at sea, he’s ready to settle down. Though he carries the bravado of a man-about-town, his vulnerability shines through. He’s no angel and has a fondness for drink, but he believes in love. That’s why we root for him. Rincon wins the audience over, even though we know he’s a bit of a scallywag—perhaps because most of us are romantics at heart. His performance is totally believable and impressively strong.

The production is held together by a talented creative team. Director Mandi Riggi was still taking notes during tonight’s performance, a testament to her dedication. Candace Leung served as intimacy director—a new concept to me, but clearly instrumental in helping the actors connect during the play’s more tender moments. The set, essentially a bar, was designed by Shahaf Beer. Sound designer Danny Taggart included a few of my jukebox favourites, and the timing was spot-on throughout. Flick Hemming, responsible for lighting and stage management, created a simple yet thoughtful setting with active movement around the space. A final nod goes to producers Mark Cheng and Vicky MacRae for bringing this revival to life.

I’m also delighted to note that the production was supported by Ruth Anna Phillips from sizeinclusivity.org, an organisation championing the acceptance of performers of all sizes. It’s a refreshing reminder that good acting comes from talent, not body type. Inclusivity should encompass size and shape, not just race and disability. This play, and its casting, reflect a more authentic and diverse representation of real people—and that’s something worth celebrating.

Running from 4th – 15th November 2025

Reviewer - Penny Curran

On - 6th November 2025