Theatre Review: Beauty and the Beast, Lawrence Batley Theatre, Huddersfield

Huddersfield’s festive season officially burst into life with Lawrence Batley Theatre’s latest pantomime, Beauty and the Beast — a production that embraces silliness with such wholehearted enthusiasm that resisting its charm feels impossible.

From the opening moments, it’s clear that director Rachel Gee and her creative team has leaned joyfully into panto tradition. The set is a riot of colour (Aaron Ward & David Clarkson), the costumes are gloriously over-the-top, especially those belonging to dame Betty BonBon (Pete Toon). The jokes fly thick and fast, Some are clever, some are groan-worthy, and some are the sort that prompt a laugh you didn’t mean to let out — the true hallmark of a successful pantomime.

The cast delivers the goods with unwavering commitment. The leads, Sonia Wrightson (Belle) & Reece Carter (Beast) anchor the tale with warmth and sincerity, providing just enough emotional grounding to make the magical transformations matter. Around them swirls an ensemble intent on squeezing every drop of fun from Andrew Pollard's script. The comic turns are particularly memorable, thriving on audience participation and the kind of well-timed slapstick that has children howling and adults pretending they’re not laughing just as loudly.

Musical numbers sparkle with energy, helped along by Rachel Gee & Keisha Hamilton's clever choreography and a band that seems to be having just as much fun as the performers. Even when the pace becomes delightfully chaotic — as it inevitably does — it never feels out of control. Instead, the show rides a wave of joyful mayhem that keeps the auditorium buzzing.

What makes this pantomime stand out is its balance of heart and humour. Beneath the layers of silliness lies a well-crafted production with an eye for detail and a genuine affection for its audience. The result is a show that feels both lovingly handmade and impressively slick.

In the end, Beauty and the Beast at the Lawrence Batley Theatre is exactly what a festive panto should be: bright, boisterous and blissfully daft. A wonderfully silly celebration of live theatre that leaves you grinning long after the final bow.

Magnifique!

Reviewer - Simon Oliver

On - 3rd December 2025

Theatre Review: This Christmas Thing at Seven Dials Playhouse London

A fun-packed, highly charged, and vibrant night awaits anyone stepping into This Christmas Thing. Walking down St Martin’s Lane with the London Christmas lights twinkling above, I already felt a flicker of festive cheer. By the time I entered the Seven Dials Playhouse, that flicker had turned into a full blaze. This show jolts you straight into the Christmas spirit—there’s no room for “Bah Humbug” here.

From the very start, it’s clear that no one escapes involvement. If you have an unusual talent or quirky party trick, you may well find yourself summoned to the stage. Even the Deliveroo or Just Eat drivers who arrive mid-performance are swept into the chaos, becoming part of the spectacle. This unpredictability is part of the magic: the show thrives on spontaneity, and the result is raucous fun; a real hoot filled with laughter, surprises, and absolute mayhem from beginning to end.

The concept of This Christmas Thing is clever. It’s staged as if we, the audience, are attending a live television recording. We’re prompted to clap when the applause sign lights up, to join in canned laughter when directed, and to provide any other group sound effects required. One lucky audience member even becomes a cameraman. Although the show is anchored by the two-man duo of Tom Clarkson and Owen Visser, it feels much larger thanks to the involvement of the crowd, pre-recorded video clips, and a constant stream of unexpected events, some making it onto video during the show due to some very quick and immediate editing. Without a willing and participatory audience, the show simply wouldn’t work. That’s the beauty of it: the funniest moments often come from ordinary people being thrown into extraordinary situations, unprepared but game for anything.

The production deliberately evokes the old-fashioned Christmas specials of the sixties and seventies. Those shows were often slightly embarrassing, full of variety acts and awkward sketches, but they carried a certain charm. This Christmas Thing lovingly parodies that tradition, poking fun while celebrating the silliness. The sheer number of props used is astonishing, and the duo’s ability to keep track of the sequences, improvise when needed, and maintain energy for nearly two hours is impressive. Their quick-thinking ad-libbing ensures the performance never hesitates, even when the unexpected occurs.

Clarkson and Visser have been creating mischief together since their youth, and their long-standing partnership shines through. Having taken their Mr Thing shows to the Edinburgh Fringe, they now return to Covent Garden with this festive comedy epic. The audience spans a wide age group, yet everyone seems equally appreciative of the slapstick humour and anarchic spirit. What makes the show work is that Tom and Owen are clearly enjoying themselves. They throw themselves into the absurdity without hesitation, embracing the ridiculousness with infectious glee. Watching them feels like watching two friends mess about for the sheer joy of it—except they’ve managed to turn that joy into a polished, professional performance. Who wouldn’t want to be able to do this every night with their mate. As this show incorporates audience twists and turns no two nights are going to be the same and its eccentricity keeps it flowing for almost two hours.

For all its hilarity, the show is far from thrown together. It’s a carefully planned production, and the duo deserve credit for balancing structure with spontaneity. Their sense of fun is contagious, and they succeed in delivering a festive extravaganza that leaves the audience lighter, happier, and thoroughly entertained. Clarkson and Visser not only perform but also write and direct the show, with Emma Chisholm producing.

By the end of the evening, I left feeling far more festive than when I arrived. Perhaps the mulled wine and mince pies at the bar helped, but the real warmth came from the performance itself. This Christmas Thing is a reminder that Christmas entertainment doesn’t need to be polished perfection—it can be chaotic, silly, and utterly joyous. For anyone seeking laughter, camaraderie, and a hearty dose of holiday spirit, this show is a must-see.

The show runs from 2nd December – 20th December 2025 at Seven Dials Playhouse, Covent Garden.

Click onto www.sevendialsplayhouse.co.uk/shows/the-christmas-thing for more information about the show and the team behind it.

Reviewer - Penny Curran

On - 3rd December 2025

Concert Review Astles & The Balloon Moon Orchestra Sixth Annual Christmas Show Philharmonic Hall Music Room Liverpool

Astles’ sixth annual Christmas show arrived as a welcome dose of warmth on a cold December night, transforming The Music Room into a cosy pocket of communal and familial celebration. Though billed as a festive event, the performance quickly proved to be far more than a yuletide novelty: it was a thoughtful, ambitious evening of orchestral indie-pop guided by Astles’ disarmingly intimate presence. 

Frank Sinatra’s ‘That’s Life’ boomed out of the PA as the band took to the stage, before Astles emerged with unmistakable confidence. And why not? 2025 has been a great year for him, a breakthrough year, even, seeing him named one of Liverpool Music City’s “25 for 2025.” The show opened with ‘Cleaning Up the Mess’, ‘Pyramids’ and ‘This One’s for You’, with Astles at the keyboard. His voice, tender and unmistakably sincere, cut through the room with ease, making the material immediately accessible. Backed by the Balloon Moon Orchestra, an ensemble of strings, brass, keyboards and the usual guitars and percussion, the arrangements lifted his songs into widescreen territory without losing their originality.

For ‘When Life Catches You By Surprise’, the second song of the night from his critically acclaimed album Soundtrack for the Twenty One Bus Home, Astles vacated his keyboard and picked up a guitar, further proving what a talented multi-instrumentalist he is. He was confident enough to try out some new material, with ‘Dad Has Got a Brand New Car’ a particular standout. The song was so new that he asked his dad, watching from the audience, what he thought of it.

The evening had promised guest vocalists, and one duly arrived in the form of Beja Flo, who joined Astles for ‘We Could’ve Been Anything’. Arguably the night’s most emotional moment came when Astles called his grandad up on stage to sing ‘Gerry’s Ferry’, a poignant song about a person recognising they have more years behind than in front of them asking to have their ashes scattered on the River Mersey. It was a truly touching gesture.

The Balloon Moon Orchestra then left the stage, leaving Astles to be joined by Ellis Murphy and Callum Thompson for a three-song acoustic set, much to the audience’s delight. ‘Remember Us?’, another song from his album, opened the second set. The orchestra had been augmented by the addition of a trumpet player. ‘Strangers’, another new song, followed, before ‘Flying Machines’, which Astles said his mum should have had a writing credit on. Astles was reminded that it was his friend and piano player Louis Miles’ birthday, so he led the audience in a chorus of Happy Birthday.

The set finished with a blistering, almost glam-rock-frenzied ‘Life Is Not a Race’. The audience roared for more, so Astles returned with the quieter ‘Not Cruel’. By the end of the evening, it was clear why this Christmas show has become an annual tradition. Astles offers something rare: music that feels handcrafted yet unpretentious, delivered with humility and supported by collaborators who enhance rather than overshadow, a seasonal ritual rooted in sincerity rather than spectacle.

Already a storied musician, Astles’ 2026 promises to be even bigger than his 2025. 

Reviewer – Adrian Cork 

On – 03.12.2025

REVIEW THEATRE MUSICAL: Youth / Young People Sale And Altrincham Musical Youth Theatre (SAMT) @ Altrincham Little Theatre

 

Kander and Ebb's 'Chicago' is a musical theatre staple and has become one of the most popular and most performed shows for both professionals and amateurs worldwide. It's "Teen Edition" (which this was due to the cast being teenagers) is however very tame and does not have the same punch as the standard show does. That's a real shame, since the whole essence of this musical is the gutsy sexual pleasure derived from being bad; whether that be killing someone or conning people out of money. Strip away that sexual element and you are left with a cast dressed in sexy black lingerie but not knowing or understanding why (so it looks and feels a little awkward at times from some); a butch lesbian being turned into an astute businesswoman, and characters that don't really have any direction to them anymore, and a lawyer who needs nothing more than his extortionate fee, making a mockery of his song, ''All I Need Is Love'. Needless to say, I have never seen the 'teen edition' of this show before, but do not wish to ever again. 

Director Kathleen Valentine (along with choreographers Lauren Cowle, Kay Valentine, and James Goodwin), certainly put the cast through their paces, borrowing most of the show's ideas and dance moves from many of the professional productions, with particular reference to the original choreographer, Bob Fosse. I have often wondered if a production of 'Chicago' could ever be staged without his influence, but I have yet to see one. The set was mostly a bare stage with the lighting design doing a lot of the heavy lifting. In addition there were 6 sets of moveable prison bars, and several chairs. Mostly this worked well, but seeing the stage management team moving them at times was off putting, when the cast did most of the moving, why could they not do all of it? The LX design (Chris Osborne and Kay Valentine) was interesting but not optimal. using bright lights to shine directly into the audience is an effect that should be used sparingly. However here using it for the gun shots at the beginning simply did not work, and the extended hanging of Hunyak sequence was far too long to have those lights in our faces. There were times when we really needed to see the cast members' faces, and they were in shadow, and the idea of moving the spots for Amos's solo (Mr Cellophane) rather diminished  the final effect and had the audience laughing - wrong emotion sadly. It was therefore rather a mixed bag creatively, with some truly great ideas which worked well - I loved the puppetry for 'We Both Reached For The Gun' for example, but the whole show this evening felt a little like a very proficient dress rehearsal. The cast were still a little unsure of the space and size of the stage, and some of the entrances / exits were a little awkward (as well as noisy chair moving). They coped adroitly however with both the microphone glitches in act one, and the couple of unfortunate costume malfunctions. 

Freya Gow and Tabitha Valentine (Velma Kelly and Roxie hart respectively) worked well together and I enjoyed their interpretations of these roles. Their "Keeping It Hot" number was for me one of the show's highlights. Marcus Florin as Billy Flynn, played the greasy lawyer for all its worth, and created a hard-nosed money-grabbing character which worked well for him. Elise Brown-Kufur was a glamorous businesswoman who, despite being in charge of the county jail, had a good side hustle in fleecing the inmates out of their money for so-called favours, and again, this interpretation worked for her, and I enjoyed her mellifluous singing voice. Thomas Birch played Amos Hart, and for me at least, he was too noticeable! Starting too strong with his opening dialogue, it was much more difficult for him to tell us all that he was always overlooked. A talented individual nonetheless. 

The cell block five this evening were the cell block ten, since each of these roles was doubled up. I am not entirely sure who and who did what, it was impossible to tell their onstage appearance from their programme photos, however, it seemed to work quite well and not detract too much from their characterisations. And whichever of the two girls played the speaking Hunyak this evening, the Hungarian sounded like a native. What might have worked a little better in the Cell Block Tango number was for the second cast to sing the counterpoint? - Just a thought.

Overall a very proficient and enjoyable show performed by a company of 22 energetic, dedicated and talented young people.

Reviewer - Alastair Zyggu

on - 2.12.25 

Concert Review 60 Years of Help! And Rubber Soul Philharmonic Hall Music Room Liverpool

Last night at The Music Room, Liverpool, a revolving cast of musicians took on an ambitious challenge: performing Help! and Rubber Soul in their entirety. The concept turned the evening into both a time capsule and a celebration of reinvention, as artists from across the city brought their own sensibilities to two of the Beatles’ most pivotal albums.

This wasn’t the first show of its kind. The tradition began in 2016, when a collective of local and national, musicians, led by Roxanne de Bastion and Thom Morecroft, gathered at LEAF on Bold Street to mark 50 years of Revolver. The following year, Sgt. Pepper’s Lonely Hearts Club Band received the same loving treatment. In 2018, they tackled the entire White Album, and in 2019 celebrated 50 years of Abbey Road. Plans for Let It Be in 2020 were sadly shelved due to the pandemic.

Having reached the end of the Beatles’ studio catalogue, the collective rewound the tape in March 2023 to honour 60 years of Please Please Me and With The Beatles, followed by A Hard Day’s Night and Beatles for Sale in December 2024. And now, the journey continues.

The first half centred on Help!, delivered with a buoyant energy that leaned into the album’s pop immediacy. Novelty Island’s faithful rendition of ‘Help!’ set the tone, while their other contributions, ‘You’re Going to Lose That Girl’ and ‘Ticket to Ride’, were pure, authentic mid-’60s pop.

Many artists took the opportunity to reimagine the songs with inventive arrangements. No one missed their mark, but standout moments included Nicola Hardman’s emotional piano-led ‘It’s Only Love’ and Danny Bradley’s stripped-back ‘Yesterday,’ which held the audience rapt. Even with performers switching nearly every song, the sequencing remained coherent, echoing the album’s blend of bright melodies and underlying tension.

After a brief reset, the ensemble shifted into Rubber Soul. The mood in the room settled, the audience now accustomed to the technical choreography required by the rotating lineup. Despite the constant changes, transitions stayed crisp, thanks to compères Morecroft and de Bastion, whose steady presence anchored the shifting cast.

Where Help! felt like a celebration, Rubber Soul unfolded more like a conversation. De Bastion delivered a hushed, tender ‘In My Life,’ dedicated to those lost since the project began a decade ago. Novelty Island turned ‘Drive My Car’ into a full-room singalong. Musicians seemed to find extra space in these songs, stretching tempos and emphasising harmonies that the crowd greeted with warm recognition. Jessica Davies and Grace Elizabeth Harvey’s highly original takes on ‘Girl’ and ‘I’m Looking Through You’ were particularly well received.

The audience responded with clear affection, especially during staples like ‘Michelle’ and ‘Norwegian Wood (This Bird Has Flown),’ though the quieter moments drew the most focus. Between songs, the room buzzed with the sense of witnessing something at once familiar and freshly imagined.

By the end of Rubber Soul, the evening felt less like a nostalgia trip and more like a living conversation with the Beatles’ music. Hearing the albums back-to-back, interpreted by so many voices, underlined the durability and adaptability of these songs. It was a reminder that even the most iconic music can sound newly minted in the right hands.

But the night didn’t end there. Four non-album tracks from the era followed, culminating in a joyful, all-hands-on-deck finale of ‘Day Tripper.’ 

It’s worth saying plainly: this was a difficult review to write, because every artist gave their all. Different reviewers would pick out different highlights, so it feels right to credit those not yet mentioned; Liz Owen, Mike Ryan, Barry Jones (the ensemble’s Ringo), and David Jaggs you were all brilliant.

As a final note, each artist donated their time for free, with proceeds from ticket sales going to Choose Love, a humanitarian charity supporting refugees and displaced people.

Reviewer – Adrian Cork 

On – 02.12.2025

Concert Review – Down in Laurel Canyon with Motel Sundown and Friends Philharmonic Hall Music Room Liverpool

Motel Sundown’s Down in Laurel Canyon is a warm, finely honed love letter to the golden age of West Coast songwriting. In the intimate Music Room, the band opened with ‘Carry On’, the first track on Crosby, Stills & Nash’s Déjà Vu. America’s ‘Horse With No Name’ followed swiftly, setting the tone for an afternoon of chiming acoustics, tight three-part harmonies and a deep respect for the material that never slips into imitation. This ensemble plays the music from the inside out.

The Mamas and Papa of the collective are Motel Sundown, comprising Liverpool-based songwriters Naomi Campbell, Karen Turley and Robert Johnson. They were joined by Dylan Cassin (guitar and vocals), Tom Wilson (percussion), Sam Rabbette (bass guitar), Rich Smith (drums), Joe Griffin (keyboards) and MT Jones, Thom Moorcroft and Beth Volpicelli, expanding the trio into a full Canyon-era collective. 

What followed was an affectionate tour through the classic songbook: Joni Mitchell, Crosby, Stills & Nash, The Mamas & The Papas, James Taylor and even The Turtles, with Naomi leading a buoyant ‘Eleanore’. Karen offered a brief introduction about Jackson Browne before easing into ‘Doctor My Eyes’, while Rob stepped forward on lap steel for Gram Parsons’ ‘Return of the Grievous Angel’ and Little Feat’s ‘Willin’, the latter beautifully paired with Tom Wilson’s vocal.

Thom Moorcroft delivered a tender, unadorned ‘A Case of You’, and Naomi rose impressively to the challenge of Linda Ronstadt’s ‘When Will I Be Loved’. Meanwhile, Dylan Cassin anchored the show from the first chord, his folk-rock sensibilities fitting naturally into the Americana palette. His turns on Neil Young’s ‘Down by the River’, The Doors’ ‘Roadhouse Blues’ and Buffalo Springfield’s ‘For What It’s Worth’ were gritty, lived-in highlights.

The first set closed with arrangements that stayed faithful without feeling fixed, shaped gently by brushed snare and flashes of lap steel. Dylan opened the second set with a fierce version of Neil Young’s ‘Ohio’. Naomi then shifted into singer-songwriter territory for Carly Simon’s ‘You’re So Vain’, before introducing Beth Volpicelli, who offered a glowing, tremolo-washed performance of Joni Mitchell’s ‘Woodstock’. A special word must go to drummer Rich Smith and bass player Sam Rabbette, for they are the show’s beating heart. Rich had the timing, groove and technique to support his fellow musicians, while Sam was the foundational rhythmic and harmonic anchor who locked in with Rich in supporting the band. From there, Canyon standards arrived in quick succession: ‘Mr Tambourine Man’, ‘You’ve Got a Friend’, ‘It’s Too Late’ (with guest singer MT Jones), ‘You’re No Good’ and ‘Take It Easy’. Tom Wilson returned for Little Feat’s ‘Spanish Moon’, and the ensemble closed with ‘California Dreamin’’ and ‘Wouldn’t It Be Nice’, before reassembling for a jubilant encore of ‘Love the One You’re With’. In the end, the audience response said what reviews often can’t. Down in Laurel Canyon isn’t a tribute show; it’s a shared act of remembrance, a celebration of craftsmanship, harmony and songs that still feel like home. Motel Sundown and friends make it seem effortless, and for a couple of hours, entirely timeless. 

Naomi had informed the audience that the ensemble would be playing Liverpool Philharmonic’s main hall in January 2027, but before that they will be taking the show around the UK and Ireland. 

Their next confirmed show is on Saturday 18th April at the Shakespeare North in Prescot, Merseyside. 

Tickets are available here, https://shakespearenorthplayhouse.co.uk/event/down-in-lauren-canyon/

Reviewer – Adrian Cork 

On – 30.11.2025