THEATRE REVIEW PANTOMIME Amateur CINDERELLA NWTAC THEATRE, Moston, North Manchester

We all know the story of Cinderella right? - well, we do now (Oh yes we do), but the story is much older than people think and has gone through many transformations before it ended up with the version that we know and love today. And of course it was this version that NWTAC Company skilfully retold this afternoon. 

Based in Moston, North Manchester, North West Theatre Arts Company offers training to children, young people and even adults and offers professional work with school performances for those wishing to take their training a little further. Their own purpose built theatre inside an industrial unit is their home base and where all their in-house shows are performed.

With traditional cardboard cut-out colourful sets, modern references, upbeat contemporary music, colourful and outrageous costumes, and a few nicely-placed adult jokes thrown in for god measure, this was your traditional Christmas panto to a tee!

It is always very heartwarming to see both staff and pupils share the same stage, and what better medium can there be than a panto for an all-encompassing theatrical treat? Young, old, seasoned, student, professional, amateur, all coming together to learn and feed from each other giving joy and laughter to their audiences. This was a wholly ensemble production, and so it would be wrong of me to try and pick out stand-out performances; everyone played their part from the young girl dancers to the ugly sisters to Cinderella and Buttons themselves.

If anything, then I would say that this afternoon it took too long for the audience to become engaged, but we were a tough crowd and sadly not many of us! Mind you, that did give me the opportunity of moving to the back row in the second act since the young boy next to me was wriggling, fidgeting and playing with his coloured light wand the whole time. And I can attest to the fact that the second act was slicker and more engaging too - although my moving had nothing to do with that!

Produced and directed by the NWTAC team, they had their work cut out being both on stage and in front of , but their hard work paid dividend and once again, they score highly with the result - and their take on the traditional responses was refreshing and worked well too.

Merry Christmas to all!

Reviewer - Alastair Zyggu

On - 20.12.25  

Theatre Review: Strange Case of Dr Jekyll and Mr Hyde The White Bear Theatre, Kennington, London

 

What an outstanding performance unfolded before my eyes tonight. We all think we know the premise of Robert Louis Stevenson’s Strange Case of Dr Jekyll and Mr Hyde—a respectable doctor, a dangerous alter ego, a descent into darkness—but what happened on that stage was a metamorphosis far more horrible, intimate, and sinister than I ever expected. Just like Dr Jekyll himself (pronounced “Geekell,” as we are firmly instructed), the production twisted and contorted the familiar story into something raw and immediate. What I witnessed was not simply an adaptation; it was the transformation of a man into a monster happening in real time, mere feet away.

The entire piece was acted, adapted, and produced by James Hyland—whose name you’ll recognise if you’ve followed my previous reviews, particularly his unforgettable pirate performance in Gold and Silver. My admiration for Hyland is no secret, and tonight only deepened it. As artistic director and founder of Brother Wolf Productions, he has carved out a reputation for intense, visceral storytelling, and this performance was yet another testament to his extraordinary craft.

As Dr Jekyll, Hyland began with a composed, almost scholarly presence, introducing himself with a polite restraint that lulled us into a false sense of security. But as the story progressed, he began to mutate—subtly at first, then with terrifying ferocity—into his monstrous alter ego.

What makes Hyland’s performance so astonishing is not simply that he plays both Jekyll and Hyde, but that he embodies an entire cast of characters. This was a one man show in the truest, most demanding sense: a relentless, breathless display of physical and vocal dexterity. He shifted from character to character with no hesitation, no stumble, no moment of uncertainty. One second he was the distinguished doctor; the next, a snarling, contorted creature whose very posture seemed to warp the air around him.

At times, Hyland appeared to transform involuntarily, as though Hyde were clawing his way out even without the aid of the infamous potion. His body twisted, his face contorted, and his voice dropped into something guttural and inhuman. The deformity and ugliness of Hyde seemed to bloom across him like a disease, and we in the audience could do nothing but watch, transfixed and horrified Sitting in the front row proved to be an experience for those who had chosen seats to have the best view in the house. Hyland’s presence was so threatening, so volatile, that several audience members visibly squirmed in their seats. His booming, tempestuous voice filled the intimate space of the White Bear Theatre, making the descriptions of the murders feel almost too close for comfort. We were no longer passive spectators—we were voyeurs dragged into the dark, unsavoury world of 1800s Whitechapel, forced to confront the brutality lurking beneath Victorian respectability.

And then came the knife. It appeared suddenly, shockingly, and Hyland wielded it with such conviction that the front row collectively tensed. In a space as small as the White Bear, the proximity was genuinely unnerving. This was theatre at its most visceral—raw, immediate, and frightening.

Hyland’s charisma and dynamic vocal range carried the performance effortlessly. He moved from refined gentleman to grotesque creature with a fluidity that was both impressive and deeply unsettling. It may not be the warm, festive fare one expects at this time of year, but it was an outstanding, remarkable piece of theatre—one that leaves you rooted to your seat, heart pounding, unable to look away.

Reviewer - Penny Curran

On - 21st December 2025

Theatre Review Wishes The Libra Theatre Cafe London

 

Wishes is a sentimental and heartfelt story of love, loss, and the fragile beauty of human connection. At its core, the play carries echoes of A Christmas Carol, with an ‘angelesque’ figure guiding Adam through visions of Christmas Past and Christmas Present. Yet unlike Dickens’ tale, this production situates its magic in the everyday, grounding its narrative in the familiar chaos of a modern hospital.

The story begins on Christmas Eve, where Adam, suffering from a head injury, waits his turn in a crowded and impersonal A&E waiting room. His frustration and anxiety are palpable—he is already late for a family dinner and dreads the encounter with his stuffy, snobbish parents.

Into this tense atmosphere bursts Agnes, a jolly and exuberant figure who seems to know Adam intimately. From this moment, the play unfolds into a journey that blends memory, fantasy, and reality, leading Adam to observe his relationships with his partner, sister, and family and onto a sad conclusion.

Curtis Burrows (he could be mistaken for a young Robert Downey Jr) plays Adam with remarkable depth. His performance is layered, moving seamlessly from enthusiasm to despair, and finally to tears. There is a striking authenticity in his portrayal through his ability to convey vulnerability. Adam’s longing for the perfect Christmas Eve, where his partner Harry proposes to him, is both touching and bittersweet.

Harry, played by Sonny Simonelli, brings warmth and humour to the stage. His character is the only one to change costumes during the show, swapping Christmas jumpers three times, a small but effective detail that adds levity to the otherwise emotional narrative. Simonelli’s presence balances Adam’s turmoil, embodying the comfort and stability of love even in moments of uncertainty.

Jess Cole is Agnes, a character who defies easy categorisation. She is exuberant, almost as bouncy as a Christmas Elf, yet grounded enough to feel like a real person. Whether angel, elf, or visionary, Agnes becomes Adam’s advisor and confidant, dressed in festive attire that underscores her role as both guide and catalyst. Her energy is infectious, and she provides much of the play’s narrative.

Simina Ellis plays Anna, Adam’s sister, with a natural ease that makes her instantly relatable. I was amused to realise I had spoken to her in the café upstairs before the performance, where she had prepared my hot chocolate. Beyond her role on stage, Ellis is also the co-writer of Wishes, alongside Glenn T Griffin, who directs the production, with contributions from Simonelli. This collaborative spirit is evident in the play’s cohesion and emotional resonance.

The production is intimate, with a cast of only four actors and a runtime of eighty minutes. Despite its brevity, the show manages to be fast-paced, amusing, and deeply moving. The Christmas dinner set in Adam and Harry’s flat is particularly memorable. Assembled by Iulian Bilc, it captures the imperfections of real life — a wonky tree and borrowed chairs. It is a scene that many of us can relate to, and its authenticity makes the emotional stakes even higher.

Lighting and sound effects are used to enhance the atmosphere without overwhelming the small performance space. The technical elements are impressive, especially given the intimate setting of the Libra Theatre Café in Camden Town. With its café upstairs and theatre downstairs, the venue itself deserves recognition as an ideal spot for creative work.

Ultimately, Wishes is a play that blends humour, sadness, and hope in equal measure. It is a reminder of the fragility of life, the importance of family, and the enduring power of love. The short run makes it even more precious—this is a production to catch before Christmas, one that will linger in your memory, it is designed to make you assess the importance of life and enjoying every moment, even the difficult ones.

Wishes runs from 17th – 21st December 2025

Reviewer - Penny Curran

On -18th December

Theatre Review Beauty and the Beast Victoria Theatre, Halifax

A trip to the pantomime is a cherished Christmas tradition, and Beauty and the Beast at the Victoria Theatre, Halifax delivers everything you could hope for – laughter, spectacle, and plenty of festive cheer. Leading the story are Sam Willison as the Prince/Beast and Beth Woodcock as Belle.

Willison impresses with a great singing voice while Woodcock embodies the classic princess character beautifully – kind, spirited and instantly likeable. Cathy Breeze adds plenty of humour as Professor Potage, while Nikki Schofield’s Fairy Flutterby is a wonderfully Yorkshire fairy, full of local charm. Neil Moors is deliciously dastardly as baddy Benedict Bourbon, drawing plenty of well-deserved boos.

The real comic highlight comes from Andrew Pollard as Dame Madeline Marzipan, joined by Matthew Allen as French Frank. Their chemistry as a double act is superb, with constant ad-libbing producing some cracking lines throughout. Their antics had the whole theatre laughing – even my husband!

The production is packed with popular feel-good songs that have your toes tapping and hands clapping throughout, supported by an amazing live band who cleverly add extra humour to the slapstick scenes. Classic pantomime moments are delivered in abundance, including the gloriously messy scene where French Frank is covered head to toe in soap bubbles, the audience being gleefully squirted with water guns, and the traditional song sheet finale.

The set features detailed backdrops that cleverly support the many scene changes, while Dame Madeline Marzipan’s outrageous costumes become funnier and more extravagant as the show goes on. One standout moment is the hilarious 12 Days of Christmas scene, involving a three-cup bra, rubber chickens and toilet rolls… I’ll say no more! The production is also supported by some incredibly talented dancers – Nathan Christy, Chloe Mae McDonald, Jacob Stebbings and Naomi Tower, who particularly shine during the energetic wolves scenes. Of course, no pantomime is complete without a group of very talented dancing youngsters who add lots of fun to the scenes, particularly as the angry villagers! 

With jokes that land for everyone – from young children to grandparents – Beauty and the Beast is a joyful, feel-good pantomime that perfectly captures the spirit of Christmas. 

Seeing a panto is a festive staple, and I 100% recommend catching Beauty and the Beast at the Victoria Theatre, Halifax.

https://www.victoriatheatre.co.uk/whats-on/beauty-and-beast

Reviewer - Bethany Vakulich 

On - 18/12/25

Theatre Review Live At Christmas: Liverpool Philharmonic Hall

 

This was the final show of the year for the comedians appearing in this compendium of laughter. The acts showcasing their comedy were Simon Amstell, Lucy Beaumont, Phil Wang, Kiri Pritchard-McLean, Sharon Wanjohi; all were unique in their own right and delivered different aspects of stand-up comedy.

Kiri Pritchard-McLean was hostess for the night, introducing each comedian and delivered a lively warm-up session at the start.  She reminisced about living in Liverpool whist at university and portrayed her love of the city and Scousers. She hails from Anglesey and is proud of her Welsh heritage and she talked about how she started stand-up in working men’s clubs over 15 years ago.  She shared some personal disclosures exalting the challenges and benefits of being a foster parent and did a shout out for more people to think about fostering.  She had the audience in the palm of her hand from the start with some well-crafted jokes and included an abundance of audience participation which went down well with the audience.

Her first introduction was for Phil Wang looking a little different with a bushy moustache which he confided was very difficult for Chinese men to grow.  He used his heritage for the butt of many of his jokes and told tales of Peckham where he lives. He spoke about how Millenniums have no knowledge of using A-Z street maps etc…, having been brought up in the Internet age and expanded on many Urban Myths and how they came about.

After a short interval, Kiri introduced Sharon Wanjohi who entertained with comedy about pregnancy and motherhood involving audience members who were pregnant.  She complained comedically about not being able to afford to own a house and entertained with a rendition of Slam Poetry.  There were a few sound issues which meant some of the endings of her jokes were lost but overall she was appreciated by the audience.

Next on stage was Lucy Beaumont, well-known for her many TV appearances, recently starring in The Traitors.  She gave some insights into the TV programmes she’s been involved with such as Would I Lie to You, along with her experiences appearing in them and the well-known celebrities she’s worked with.  She also talked about her life with her nine year old daughter, family tales from her hometown, Hull, menopause issues and memories from growing up in the 1980’s and 1990’s.  She was very enjoyable to listen to and much appreciated by the audience who I think wanted more from her.

After another short interval Kiri delivered a short section with lots of banter with the audience, some reminiscences from past times and comments on the UK class system.

The final act was Simon Amstell whose humour centred mainly on his sexuality with stories from his youth, visiting Los Angeles and being invited to a showbiz party where his idol, Leonardo DiCaprio and a singer he had a crush on were attending.  He spoke about the song he had composed for the singer and his disappointment at his rejection. He shared anecdotes about his boyfriend and their Civil Partnership ceremony as well as commentating on the different roads comedy has taken him down since deciding to become a stand-up comedian.

All in all this was a very entertaining night.  All acts were very much appreciated by the audience, who clapped and shouted, showing their appreciation and all went home happy.

There was a Guidance caution stating that the material was suitable for those aged 14+.  I think this would have been better placed at 16+ year-olds as some of the content was of a sexual nature, particularly from Amstell.

Reviewer – Anne Pritchard

On – 17th December 2025 

Theatre Review Cinderella Epstein Theatre Liverpool

 

This is the first pantomime since the Epstein Theatre reopened. The performance opened with a spectacular firework display and a song from the Fairy Godmother played by Leanne Campbell: a hugely popular Liverpool actress. Leanne narrated the story and set the scene for this traditional tale.

We were introduced to Cinderella, Katie McGlynn of Coronation Street and Hollyoaks fame who was cleaning the house for her step sisters. These ugly sisters were played brilliantly by Shania Pain and Brenda LaBeau. They interacted comically with the audience who booed loudly each time they appeared on stage.

Buttons, played by Kevin Duala, from Radio Merseyside and The One Show, was a strong character who loved Cinderella and tried to protect her from her ugly sisters. He encouraged audience participation and shared lots of Liverpool humour.

Conor Barrie as Dandini had a range of facial expressions which had the audience in stitches. He was funny, energetic and engaged with the theatre crowd. The Prince was played by Michael Nelson [Grease} who sang valiantly, but was often drowned out by the background music.

The sets were colourful and attractive. The costumes were stunning, especially those of the Ugly Sisters adding to the visual magic. How did those baddies manage to change so quickly? Their costumes were topical and colourful and complemented their outrageous hairstyles, which were fabulous.

The production, directed by Chantelle Joseph, was a credit to her experience. The choreography by Nazene Langfield, was excellent. Some set pieces, especially the hunting scene was outstanding.

The audience thoroughly enjoyed the show; joining in enthusiastically with ‘The Twelve Days of Christmas’ which was a show stopper involving rubber chickens and toilet rolls. The special effects were completed by a soaking of the audience with water but we had also been snowed on, and tickled with bubbles. An ideal show for children and adults alike.

This show from Regal Entertainments, delivered a pantomime that was traditional and anarchic. A production that provided joy , laughter music and colour. In all a lively family friendly experience, that should ensure a healthy future for the Epstein Theatre.

The production runs from 05/12/2025 to 04/01.2026

Reviewer - Linda Wright 

On - 15/12/2025

Theatre Review A Christmas Gaiety: A Fabulous Festive Extravaganza Liverpool Philharmonic Hall

 

On paper this looks an unusual collaboration of the Royal Liverpool Philharmonic Orchestra, five drag artists and musical theatre star, Kerry Ellis, but somehow it works.

It was a full house, and it seemed as though a lot of the audience were acquainted with the drag artists as they were given a warm welcome each time they took centre stage.

The Royal Liverpool Philharmonic Orchestra started the show performing the seasonal ‘Christmas Festival’ before conductor, Edwin Outwater, introduced presenter, Peaches Christ, an American drag artist who explained she was fully in love with Liverpool and Scousers. She was heavily made-up in full drag, in a shimmering long pink dress, white fluffy bolero, high heeled shoes and an enormous wig. She did a good job warming up the audience with jokes and Liverpool banter.

Peaches introduced Baga Chipz, well known from TV show, Rue Paul’s Drag Race.  She entertained with a comic ballet routine, dancing to ‘The Sugar Plum Fairy’ with a lot of boob shaking, not so perfect pirouettes and comedic high kicks in high heels plus comic creeping across the stage to the music.

Next on was Ginger Johnson, also known from Series 5 of Rue Paul’s Drag Race.  She sported a massive ginger wig commenting that ‘Wigs are high, standards are low’. She entertained accompanied by the orchestra playing ‘The Typewriter’ as she typed a letter to Santa Claus on an old fashioned typewriter, hitting the keys hard to the music.

Then came The 12 Gays of Christmas, a duet by Peaches and Kerry encouraging audience participation with lyrics projected onto the stage backdrop. This was a take on the festive song, ’The 12 Days of Christmas’ with a change of lyrics such as each day included  ‘…… my queer love sent to me ….’ instead of ‘………….my dear love sent to me ……’

Kyran Thrax presented himself as a giant cockroach after this, resplendent in thigh high black boots and brown cockroach outfit; he recited a poem and sang ‘Santa Baby’.

Next came Peaches again in a change of costume accompanied by her Whipmaster/Dom, a heavily tattooed, Teddy Price, bare chested in a leather cap and leather body straps. They  performed a duet with the Whipmaster whipping Peaches whilst Peaches encouraged the audience to moan each time she was whipped. They exited the stage with Price riding on Peaches’ back who was on all fours.

Le Gateau Chocolat, a large, bearded man dressed in a gold sparkly jumpsuit wearing glittery gold glasses and gold fringed headwear told some tales of his Nigerian culture before singing ‘Walking in the Air’ in a very deep voice.

After a short interval the audience were treated to the orchestra playing 'Troika' followed by Peaches introducing Le Gateau Chocolat again, this time dressed in a sparkly red strapless jumpsuit with a  large red hat, long red gloves and red sparkly high-heeled shoes.  She explained how she was celebrating life after having survived three heart procedures and went on to sing, Sinead O’Connor's hit song, ‘Nothing Compares To You'.

After this, Kyran Thrax entered the stage dressed as a female Elvis with a bikini under a typical Elvis white, fringed outfit. She entertained singing a couple of numbers including ‘Fever’ and ended doing a mini striptease and performing the splits.

Ginger Johnson arrived on stage donning a costume change and sang ‘Twas The Night Before Christmas’ and the Bjork hit song, ‘It’s Oh So Quiet’, shushing the audience comedically.

Baga Chipz entertained next, with a costume change, this time in a high blonde wig and a gold coloured dress and sang, ‘Over The Rainbow’. Along with Peaches, they gave a tribute to The Vivienne, the UK Drag Race winner who sadly passed away not long ago.

To conclude the show, Kerry Ellis sang ‘O Holy Night’ wonderfully, followed by the Mariah Carey hit song, ‘All I Want For Christmas Is You’.  It’s reasonable to comment that talented Kerry’s voice is far superior to those of the drag artists, but they were appreciated by the audience non-the-less.

In conclusion, the full cast appeared on stage to sing ‘Merry Christmas Everyone’ which had the audience on their feet dancing and singing along.

This is an unusual show, somewhat bizarre in places, (which I think it sets out to be), described as A Queer Christmas Extravaganza, which may not be to everyone’s taste.  There are cautions prior to booking tickets explaining that the concert has an age restriction of 18+ and contains adult themes. As such there is some swearing and there are a lot of sexual themes and innuendo.

Publicity for the show states, ‘Together, our stars will ‘werk’ the Philharmonic Hall stage, serving some shady Christmas roasts, bringing outrageous festive fun and belting Christmas classics as you've never heard them before’. I think they lived up to the blurb.

Reviewer – Anne Horne

On – 13th December 2025

Theatre Review Jack and the Beanstalk The Oak Theatre, Scarisbrick

At this time of year, no can say there is a shortage of pantomimes on offer and whilst there may be only seven or eight basic stories across the entire genre, the presentation and style can vary hugely, from the utterly predictable to the quirky that thinks outside the box. This year’s Anton Benson production, ‘Jack and the Beanstalk’ made no attempt to re-invent the wheel but did include a number of amusing and original features. 

There no doubling up for the cast of six who were aided by two dance troupes of eight and four girls (appearing to represent junior and high schools respectively). The constant pace ensured that the cast had to work hard with there rarely being less than four on stage at any one time but the result was a pacey show which never slacked, with smooth transitions between scenes and the audience carried along in an enjoyable romp. The costumes were bright and cheerful and some thought had clearly gone into getting the right look for each character. There were few props but what there were was made good use of, with the emphasis being on performance, with fast-flowing interactions between the cast.

It was pleasing to see that whilst the overall feel was certainly that of a traditional pantomime, there was minimal regurgitation of the stock scenes which tend to get over-used, an example being the ghost-tapping-people-on the shoulder sketch, which was mercifully absent. Instead, the familiar story was told with mostly original ideas (an exception being a cookery sketch, which is rather cliched). A scene involving a large lavatory was very funny and with loo rolls being thrown at the audience, the show could literally be said to be toilet-humour whilst still being suitable for children. Another very funny scene had the entire cast singing the Twelve Days of Christmas. Yes, this gets done a lot but in this panto the song was performed hilariously with the audience really involved and clearly loving every minute of it.

Many smaller pantomime productions rely heavily on backcloths for sets but the Oak Theatre has a huge video screen that must be in excess of 18m in width (virtually the entire width of the stage). This was used to great effect with various back images having a cartoonish dayglo effect, enhancing the feeling that this was indeed pantomime. Another technological feature was an excellent sound system ensuring all the vocals were crystal-clear and perfectly balanced to the music. The Oak Theatre benefits from having a quite a large performance area but the 200 or so raked-seat auditorium ensures a sense of intimacy whilst providing the full experience of going to the theatre. This was taken advantage of by the cast, in particular the two female members, who used facial expressions almost as much as speech to express themselves in a way that would be lost in a large theatre.

DG Foster had stepped in at very short notice as the Dame due to cast illness and appeared remarkably relaxed and in control, often joking to great effect about not having had much time to learn his lines. Danny Childs played Jack as a funny hapless character in love with the elusive Princess Jill, stylishly played by Suzanne Fulton. Mary Shanker was very amusing as the fairy, frequently making un-fairylike gurning facial expressions with Michael Lawless giving regal presence as the gold-loving King Bling. It is often only when you saw stars from Coronation Street away from Coronation Street that you learn whether or not they act and in the case of Calum Lill, the answer is a positive yes, turning in a great performance of the villainous Fleshcreep. All the cast were clearly enjoying themselves throughout the show and the audience were thoroughly entertained. A great, fun night for everyone, both young and old.

‘Jack and the Beanstalk’ is on until 24th December.

Reviewer - John Waterhouse

On - 13.12.25

Theatre Review The Nutcracker Created by Little Bulb St Martin’s Theatre, London

We arrived to find a theatre buzzing with anticipation, the kind of atmosphere that only a room full of children can generate. The audience was made up largely of preschoolers, with a scattering of slightly older children, all brimming with excitement and dressed in Christmas party wear. Their energy was infectious, and it set the perfect tone for what was to come. Before the performance even began, the Mouse Quintet took to the stage, filling the theatre with a lively medley of Christmas pop songs and well-known festive hits. This clever pre- show entertainment immediately engaged the young crowd, who sang along. It was a joyful way to ease everyone into the spirit of the production, and it cleverly blurred the line between audience and performers right from the start.

The show itself was deliberately relaxed and easy-going. Children were free to move around, leave their seats, and make noise without anyone batting an eyelid. This openness created a welcoming environment, especially for families introducing little ones to theatre for the first time. It felt less like a rigid performance and more like a shared festive experience. And let’s not forget the venue itself: this is the famous theatre where Agatha Christie’s The Mousetrap runs all year round. The playful nods to mousetraps throughout the show were a witty touch, tying the production to its iconic setting.

The five musicians of the Mouse Quintet transformed seamlessly into the characters of The Nutcracker. While the central magical figure of the original tale remained, this version offered a fresh twist—a new “tail,” if you will. Written and devised by Clare Beresford, the production leaned into whimsy and humour while still retaining the essence of the classic story.

Beresford herself took on the role of the evil King Mouse, commanding the stage with a strong singing voice that soared through the theatre. Her performance balanced mischief and menace, delighting the children while giving the story its necessary antagonist. 

The supporting cast added layers of fun and warmth. Dominic Conway played Fritz, the mischievous young boy, while Lakeisha Lynch-Stevens embodied his sister Clara with charm and energy. Both performers connected beautifully with the young audience, drawing them into the story with ease. Shamira Turner doubled as both the children’s father and the Sugar Plum Fairy, showcasing versatility and musical talent, particularly on the accordion which she played in the Mouse Quintet. Caroline Partridge brought energy, humour and eccentricity to her roles as Auntie Hilda Drosselmeyer and Elder Mouse.

It’s worth noting that Beresford and Conway also served as musical directors for The Nutcracker while also being key members of the mouse band while juggling their stage roles. This dual responsibility added to the sense of a close-knit troupe, each member contributing creatively in multiple ways.

The set and props were a highlight in themselves. Constructed primarily from cardboard boxes, they were transformed into imaginative 3D creations that astonished both children and adults. Designed by Paul and Sophie Brown, Michael Douglas, and Sam Wilde, the props and costumes were inventive and playful. Lighting effects by Joshua Pharo and Joe Hornsby elevated the cardboard structures, turning simple materials into magical landscapes. Who would have thought mouse tails, spiders, and fantastical creatures could be conjured from cardboard? It was a testament to the ingenuity of the creative team.

Overall, The Nutcracker by Little Bulb was a visually striking, musically engaging, and thoroughly entertaining festive treat. It is perfectly pitched for children under ten, offering them a chance to experience theatre in a relaxed, welcoming environment. Parents will appreciate the creativity and humour, though some of the toilet jokes may feel a little unsavoury for older audiences. Still, for its intended age group, the show hits the mark with charm, energy, and a generous dose of festive fun.

Reviewer -  Penny Curran

On - 12th December

Concert Review Creedence Clearwater Review The Cosmo’s Factory Tour Hanger 34 Liverpool

Creedence Clearwater Review are ‘the UK’s number one tribute band dedicated to the music of the legendary American rock group Creedence Clearwater Revival (CCR).’ They promised an authentic, power-packed live show that captured the raw ‘swamp rock’ style of the original CCR, featuring their greatest hits alongside Cosmo’s Factory for their final UK show of the year. And boy, oh boy, did they deliver.

The show opens with a narrated introduction describing how CCR were formed, taking the audience through the band’s history. Creedence Clearwater Review emerge on stage through clouds of dry ice, and bandleader Dale Taylor informs the crowd that the songs will be played chronologically, telling the story of CCR right up to Cosmo’s Factory.

So how do you tell the story of CCR in one set? Recreate the 1969 California vibe with plaid, denim and a bandana; use period-accurate vintage gear; select key tracks from the early albums and go from there.

Their early rock ’n’ roll influences are showcased through ‘Suzie Q’, ‘I Put a Spell on You’ and ‘Good Golly Miss Molly’. The band’s development into swamp rock follows with ‘Born on the Bayou’, ‘Green River’ and ‘Commotion’.

International success arrives with ‘Bad Moon Rising’, its B-side ‘Lodi’, and ‘Down on the Corner’. Their move towards country rock is represented by ‘Cotton Fields’, ‘It Came Out of the Sky’ and ‘Midnight Special’.

That’s the set on paper, but the way Creedence Clearwater Review deliver it is simply outstanding. From the moment he steps on stage, frontman Dale Taylor is pure energy, utterly committed to making the music as authentic as possible. He never stands still, constantly interacting with fellow band members and the audience alike. He leaves everything on stage. Honestly, he could start a party in an empty room.

The rest of the band, Bob Bampton on bass, Rich Gray on guitar and Sean Gregory on drums, are perfect foils for Taylor’s antics, and each gets their moment in the spotlight.

Audience participation is key, with Taylor encouraging sing-alongs whenever possible. The payback he gets is that the audience are on their feet throughout and their energy never dips.

After the interval, the band perform CCR’s 1970 album Cosmo’s Factory in full. Widely regarded as the band’s most expansive and accomplished record, it captures CCR at the height of their creative and commercial powers. Named after the warehouse space where the group rehearsed, nicknamed ‘the Factory’ by drummer Doug Clifford, the album blends swamp rock, blues, country, R&B and extended psychedelic jams into a cohesive, high-energy statement.

The record features some of CCR’s most enduring tracks, including ‘Lookin’ Out My Back Door’, ‘Up Around the Bend’, ‘Who’ll Stop the Rain’ and ‘Long as I Can See the Light’, all driven by John Fogerty’s gritty vocals, which Taylor emulates superbly. With its mix of tight singles and adventurous deep cuts, Cosmo’s Factory stands as one of the defining American rock albums of its era.

It’s fair to say Creedence Clearwater Review more than did Cosmo’s Factory justice, they absolutely nailed it. Highlights included ‘Lookin’ Out My Back Door’, which sparked wild audience participation, and ‘Up Around the Bend’. The extended grooves of ‘Ramble Tamble’ and ‘I Heard It Through the Grapevine’ gave the band space to really express themselves.

Amazingly, there were still some huge hits left for the well-deserved encore. ‘Proud Mary’, ‘Fortunate Son’ and ‘Have You Ever Seen the Rain’ brought a brilliant night to a perfect close.

If you want to experience the magic of Creedence Clearwater Revival live but don’t have a hot tub Time Machine to take you back to 1969 then Creedence Clearwater Review offer as authentic a tribute show as you will find anywhere. One of my gigs of the year, for sure.

The tour continues in 2026, and tickets are available here - https://www.creedenceclearwaterreview.co.uk/tourdates

Reviewer – Adrian Cork 

On – 12.12.2025

Theatre Review Panto Beauty and the Beast Storyhouse Chester

 

This is a wonderful start to the Christmas season, Storyhouse presents a panto with a Christmas twist on a classic fairytale, it is the perfect family show.

I arrived at the theatre full of Christmas panto anticipation, hoping for festive silliness and pleased to report, Beauty and the Beast delivered it with a production that felt heartwarming and was packed with enthusiastic merriment from the rise of the curtain. This adaptation is written by acclaimed playwright Anne Odeke and directed by John Young.

Commencing the merriment is Fairy Lavender (Emmy Stonelake), dressed head to toe to match her name, who comically entertains and pulls each scene together and interacts with the audience at every chance. Her quick improvisations are to be commended; she is vibrant and full of festive fun.

Lavender introduces the audience to Belle, played confidently with sincerity by Katarina Zofia and her sister Amélie (Caitlin Drake), whose vocals are outstanding.  They live in the wonderfully named Fromage Village (lots of cheesy jokes ensue) with their father, the village Mayor (Tom Richardson) who has double roles as Mayor Marcel Bernard,  Belle’s rather awkward father and human-turned-clock, Pascal, living in the castle with the Beast. He delivers fine performances as both as he capably switches between nervous father Marcel and high-spirited Pascal. While Marcel seeks out Belle, Pascal is otherwise engaged dancing on tables with her and candlestick Grégoire (Tom Lloyd) whose performance glows with comic timing and witty interactions with Pascal.

Beast, Henri (Daniel Bowskill) has only three days left of his century-long curse and is desperate for a final chance at breaking the spell through true love. He has an instant attraction to Belle which is reciprocated and their romance merges the storyline; their encounters blend well with Bowskill’s compelling voice portraying the gentle side to his nature belying his scary looking appearance.

Of course there has to be a baddie in the story and Miriam O’Brien as Nightshade is perfect as the  delightfully wicked villain.  She is chief mischief-maker and excels with an energetic performance of the baddie everyone loves to hate.

Vocals from Caitlin Drake (Amélie) are superb and there are plenty of sing-along sections of pop favourites such as ‘Pink Pony Club’, ‘I Wanna Dance with Somebody’, ‘I Put a Spell on You’ and K-Pop hit, ‘Golden’, (Musical Director, Rebecca Applin, Choreographer, Christopher Tendai). The sets were colourful and attractive with lighting design by Aaron Dootson and sound design by Kieran Lucas, all blending together exceptionally. The costumes are simply stunning, adding to the visual magic (Shellby Hamer).

A big applause to the whole ensemble and cast whose energy and clear enjoyment of delivering the show shone through plus the backstage creatives who have put together a wonderful two hours of family entertainment.

The audience thoroughly enjoyed the show, joining in from the very start and all went home very happy, ready to welcome the festive season in full.  It was a great start to Christmas 2025; it’s definitely worth time out from Christmas shopping whilst visiting Chester.

All in all, this is a pantomime that delivers exactly what’s expected at Christmas and more - giggles, sing-a-longs, solid performances, heart-melting moments and lots of Yule time fun.

Each performance is captioned, with additional audio-described, British Sign Language-interpreted and relaxed performances offered throughout the run to ensure everyone can enjoy this heartwarming, family show.

Beauty and the Beast is at Storyhouse until 4th January 2026.

For details see https://www.storyhouse.com/whats-on/

Reviewer – Anne Pritchard

On – 12.12.25

 

 

 

 

Concert Review Cliff Richard Can’t Stop Me Now Tour Royal Albert Hall London

 

Who would have thought after first seeing Cliff Richard at The Empire Theatre, Liverpool in the 1960’s he would still be touring, and I would see him again at The Royal Albert Hall in 2025?

I arrived with some trepidation, knowing Cliff is now 85 and having seen him being interviewed on TV recently, I thought he looked rather frail.  But he put all my doubts to one side as soon as he started to sing. Cliff totally delivered; his voice is stronger than ever and is still flawless, it sounded better than I remembered and the whole night was a reminder of why he’s one of Britain’s greatest performers and why he is one of the most enduring and beloved figures in British music. Whilst speaking to some of the fans after the concert, they did not simply remark that it had been enjoyable, they stressed how exceptional and far beyond what they had expected it to be from a pop star with a career who has spanned generations, and I completely agreed with them.

From the first number, (his first hit), ‘Move It’ to the last encore song, ‘My Kinda Life’ his performance was immaculate; he also chatted to the audience throughout, sometimes quite comically as he forgot what he was about to say, whether this was included for humorous reasons, only he knows, but it endeared him to his fans hanging onto every word he uttered.

A lot of the fans were festooned with fairy lights and many held up placards at the front of the stage; additionally the hall was decorated with Christmas lights. It was clear that Cliff loves interacting with his fans and he doesn’t take himself too seriously.  Conversely, he at times even remarked that he doesn’t really understand how and why he is still performing but he reminisced often about his many pop chart hits, the other groups who beat him to the Number 1 spot and the groups who followed him to record at Abbey Road.

He also bopped along to all his songs, not quite dancing but definitely rocking it out in his own way and at times doing the famous Shadows guitar walk, much to the delight of his fans. He looks remarkably fit for his age, no doubt due to his fitness regime and regular tennis playing. He spoke about his regrets at never breaking America and the fact that his fame is confined to the UK and Australia and New Zealand stating he restricts his concerts to no more than thirty shows a year now, so his schedule is not as physically demanding as some other longstanding pop stars.

Song followed song and the atmosphere in the hall was filled with admiration and warm appreciation. Fans described the night as one of his best concerts and expressed how they felt unexpected emotion, mentioning how music can deeply affect those listening intensely when performed with such skill and genuine connection such as Cliffs.

Supporting Cliff  was his band, perfectly attuned to him and his performance. Band members are Keith,(Guitar/Music Director), Don,(Keyboards/Guitar), David(Bass/Guitar), Ian(Drums/Percussion), Tim (Guitar/Vocals), Bobby (Vocals/Guitar).  Each musician and vocalist contributed with polished sounds and instrument playing which accompanied Cliff’s performance rather than overwhelming it. One could not help but note the undeniable chemistry and camaraderie between Cliff and his band; the musicians played with authority and respect for the music they were bringing to life, whilst at the same time showing their enjoyment for it. The arrangements had been realigned making them fresher and their interpretations brought new energy into songs loved by so many.

This was a nostalgic night for many, having loved Cliff and his music for so many years but it was also a night of surprise and wonder at his resourcefulness and incredible agility for a man of his age; many wondered what his secret is for his amazing youthfulness and vitality.  The ‘Peter Pan of Pop’ truly didn’t disappoint and many of the fans were asking when his next tour would be

For many, the concert will be remembered as proof of the enduring power of music and the extraordinary capability of one singer to bring such enjoyment to the hundreds of fans. The verdict from the fans was unmistakable: Cliff Richard absolutely delivered, and the experience was not merely enjoyable, it was unforgettable. Long live Cliff, may he reign for many more years.

For full set list, please see https://www.setlist.fm/setlist/cliff-richard/2025/royal-albert-hall-london-england-2b519446.html

Tour dates information is at https://www.cliffrichard.org/latest-tour/

Reviewer – Anne Pritchard

On – 9.12.25

Theatre Review Snow White & the Seven Dwarfs The Alhambra Theatre Bradford

Bradford’s festive season came alive with this timeless classic fairytale and certainly got everyone into the Christmas spirit with a glittering treat that was packed full of all the traditional panto ingredients you know and love. Starring once again our very own Yorkshire’s panto legend Billy Pearce and indeed this is his 25th Bradford Alhambra’s performance. Billy played the leading role of The Man in the Mirror with such enthusiasm and wit as always.

It was a joy to watch and listen to the wonderful singing voice of Sinitta (The Spirit of the Pantomime). Myra Dubois (Queen Lucretia) also played a wonderfully loud and gloriously over-the-top part and certainly portrayed this well. Both Sarah Pearson (Princess Snow White) and Callium Connolly (Prince William of Wakefield) also played excellent leading roles that were warmly greeted by the audience.

Also worth a mention were the wonderfully witted seven dwarfs who all had their own individual characters played with such joy and laughter. The whole cast certainly put lots of energy and life into their roles with the main characters also encouraging audience participation with their endless usual panto jokes and frivolity. There were lots of traditional panto Christmas magic too with a melody of Christmas traditional songs and the famous 12 days of Christmas.

The show was a spectacle and visually entrancing with plenty of colourful backdrop scenery that swiftly changed between scenes. It was full of magical moments that were created through the whole cast and lighting techniques that were a delight to watch unfold.

The costumes were wonderfully spectacular for all the cast and especially the exquisite ensemble dancers with bright colours and layers of fabric and feathers. The costume designer Teresa Nalton certainly bought the show to life with her wonderful costume designs. This along with the excellent choreographed dance routines by Stillie Dee made the show a delight to watch.

What a feast of frivolity. Oh yes it was. The amount of energy expended by the cast in this wonderful production was absolutely fantastic. Billy Pearce and the cast literally threw themselves into this production and even the youngsters in the Sunbeams were of excellent quality.

Add a touch of fairytale sparkle to your festive season at the Alhambra theatre with this year’s magical pantomime Snow White and the Seven Dwarfs.

The production runs from 6th December 2025 to 18th January 2026

Reviewer - by Debbie Jennings

On - 9th December 2025

Theatre Review Aladdin Lyceum Theatre, Sheffield

Is it panto season already? Oh yes, it is. It seems to come around quicker every year, with this year’s offering being Evolution Productions' version of Aladdin.

Alongside Cinderella, Snow White and Jack and the Beanstalk, the Middle Eastern folk tale is one of the big four festive favourites. As usual, the perfectly suited and booted Lyceum is Sheffield’s venue for the show, written and directed by Paul Henry.

With theatre stalwart and pantomime giant Damian Williams once again in residence as the Dame, the Pharaoh Rocher was surely spoiling us as we ventured down to the pyramids of Attercliffe. There were many local references and colloquialisms throughout the 2 and a half hour (including interval) performance.

Damian delivered another accomplished display in a wide array of frocks and was as funny as ever. His performance as Tommy Cooper in The Last Laugh has secured him many accolades recently, a role he played at this venue earlier in the year. One of Dame Dollie’s skirts was an inverted Fez- a crafty nod to a legendary magician. 

From the lively start to the show, it was clear that there would be much music, dancing, comedy and merriment. It was indeed a particularly theatrical show. Musical Director James Harrison is also an all-round entertainer and played his part in a bright musical start to the show, which continued throughout. It was fitting that all the musicians got their moment on the stage during the evening.

With former Strictly Come Dancing’s Kevin Clifton in the role of pantomime villain, Ivan, there was a large element of dancing on display. Clifton’s dancing, choreographed by Sarah Langley, was superb, as was the rest of the cast. It was exhausting just watching. His acting was equally on point, landing his jokes as expertly as his jumps.

CBeebies Evie Pickerill’s role of Spirit of the Ring summed up the spirit of the pantomime. Her performance was bubbly, funny and full of joy. Sario Solomon took the role of the eponymous hero with similar energy and verve.

Morgan Brinds set and costume design were colourful and stylish, with a multitude of props playing their part in the storyline. The culminating scene was Aladdin’s magical mid-air carpet flight around the Lyceum. The set changes were smooth and quick, with the lighting sequences playing a clever game of hide and reveal. 

This year’s festive offering from Sheffield Theatres is a slick affair full of dancing, laughter and audience participation. 

Aladdin is standard pantomime fayre which presses all the right buttons and will appeal to novices and seasoned pantomime aficionados alike. A great night out for all the family.

Production run (The Lyceum Theatre, Sheffield): 5th December– 4th January 2026

https://www.sheffieldtheatres.co.uk/events/aladdin-panto-2025/dates

Reviewer: Matthew Burgin

On:  9th December 2025

Theatre Review A Christmas Carol The Kings Arms, Salford

‘A Christmas Carol’ has become almost as much a part of the Christmas Season as pantomimes, with numerous TV, film and stage versions coming round each year, each almost invariably set in Charles Dickens’ Victorian London (not even the Muppet showed dared to change that!). A rare exception was a BBC contemporary version based around ‘Eastenders’. David Thakers’ adaptation took a bold a change in emphasis, with the story remaining true to Dicken’s tale but told from the perspective of a homeless person, and with a Northern Irish accent!

One of the pleasures of seeing productions at The Kings Arms is that both the performance area and seating layout changes with virtually every production and here again, the staging for ‘A Christmas Carol’ took a fresh direction with the seating set out in a café format, complete with all the tables having tablecloths and a small table light. The look of a café was completed with sophisticated dim lighting which was subject to only subtle changes throughout the performance. In contrast to this gentile environment was a central block on which the narrator lay asleep under a sleeping bag. The symbolism was stark between those who had, as the audience watched on, and he who had not, asleep in front of them. 

The Proud Chorus choir were loudly singing carols as the audience congregated, continuing with a couple more songs once everyone was assembled. How the central figure continued to sleep with the volume they produced was a mystery and once they departed, the homeless sleeper, played by Colin Connor woke up and after staring around the room in a somewhat bewildered state, started his narrative.

The one-man show typically involves the actor moving around the stage to some degree, sometimes using props but David Thacker’s direction took this a stage further with Colin Connor making full use of the entire auditorium. 

Much of the narrative was performed on and around the central block but Connor would frequently move amongst the audience, on occasion engaging directly with individuals (but never in any obtrusive manner). What really stood out was the extent to which this device was used to help the audience engage with their imagination. For example, in an early scene, Scrooge was looking out of a window, when in fact Connor was actually looking at a mirror but it worked and other instances like this helped the audience feel they were being carried along as the three spirits took Scrooge on a journey to visit his past, present and future.

This was very much a one-man play as opposed to just narrative story telling. Connor presented himself in the character of the narrating homeless man but through the course of the story played 33 other characters. The range of voices, from high-pitched Tiny Tim to the abrasive Jacob Marley to the ebullient Ghost of Christmas Present was impressive but what really made everything come alive was the level of performance. Scrooge was shown to display real terror, with no small amount of physicality so that Colin Connor needed not just to keep changing voices in quick succession but come in and out of physical performance.

This was in essence a faithful adaptation of the famous Dickens story but given a fresh, modern perspective as a reminder that the poor and needy are still with us. This point was given added emphasis with the production supporting the Mustard Tree homeless charity and the George Trust HIV charity.

A vibrant and interesting take of a popular story, powerfully performed with creative use of the venue.

Reviewer - John Waterhouse

On - 9.12.2025