REVIEW CONCERT Music / Entertainment ROB BRYDON and His Fabulous Band The Bridgewater Hall, Manchester

This evening saw the first of my several Christmas concerts, and, having never seen Rob Brydon before - other than his famous television incarnations [Gavin And Stacey / Would I lie To You et al...], I was very interested and curious to see what he would be like as a live entertainer. The evening flowed amiably along with melody after melody of mostly Christmas tunes, and Brydon proved to have a pleasant baritone crooning voice which worked well for the material he chose. We we taken on a journey through (to name just a few) 'Winter Wonderland', 'Sleigh Ride', 'I'll Be Home For Christmas', 'Rudolph The Red-Nosed Reindeer', and 'O, Come All Ye Faithful'.

Backed by an 8-piece band, Brydon entertained for nearly two hours without support; save a brief appearance from Coronation Street's Antony Cotton, who helped him with their rendition of 'Silver Bells' and an unnamed youth choir who came on at the end to help with the denouement's harmonies. 

Brydon is obviously a very accomplished entertainer and very at home on stage and in front of an audience. He started with a few jokes at the audiences' expense, which had they been told by anyone else, could easily have been taken as offensive and downright rude, but somehow, the audience members with whom Brydon interacted seemed to take it all in good part; and he came back after the interval with a song which included their names, ages, etc - i.e. all the things he had talked about in the first half appeared in the lyrics of this song. Clever and received a deserved round of applause.

In between songs (and the occasional laugh), there were a few of his more famous impressions and impersonations, and his Elvis Presley was better than some pro Elvis impersonators I have seen! His final incarnation though threw me, since he played Bryn from Gavin And Stacey, and I have never seen this and so was at a little bit of a loss, but it was enjoyed by those in the audience who recognised it.

I enjoyed the running gag with the Maltesers, but perhaps a real Fortnum and Mason bottle of champagne could have been given to either the man whom you brought on stage to play the xylophone for 'Last Christmas' or lovely 94-year old Mavis up in the gallery. That would have been truly appreciated I feel.  

A couple of things which did not work quite as well as they could have however. First, the sound levels were all wrong, and the enunciation became muffles at times. basically everyone was over-mic'd and the sound too loud. You chose to perform in the Bridgewater Hall - possibly the most acoustically perfect venue in the whole of the UK, and yet you rigged a huge velvet curtain behind the stage, and put microphones on everyone, making the sound blurred and unclear; the volume was also an issue too sadly, and needed to be several decibels quieter for maximum aural pleasure. The second thing I would suggest is that the band wear a "uniform" of sorts. It would look smarter and certainly appear more professional.

Otherwise a most enjoyable evening in the company of a multi-talented entertainer.

Reviewer - Alastair Zyggu

On - 8.12.25

Theatre Review The Fit Prince At the King’s Head Theatre, Islington, London

Slay! The catchphrase of the evening, and one that perfectly encapsulates the energy, wit, and sheer joy of this production. From the moment the Fit Prince came alive on stage, it was clear that this was not going to be a conventional night of drama. Before the show even began, several members of the audience were invited to take on roles that would become integral to the performance.

Arriving a little before curtain up, I was a little puzzled and confused about what was unfolding before my eyes. Soon, however, it became apparent that this was part of the magic: the blurring of boundaries between performer and spectator, a hallmark of The Fit Prince. You can only imagine the different feel and outcomes that will happen each night depending on how the audience plays it. This was the first show in the run and despite the initial technical blips, took off at a fast pace.

At its core, the show is driven by two partners, actors and co-creators, Linus Karp and Joseph Martin, who have already taken this production to Edinburgh and beyond. For this particular run, the piece was cleverly adapted to suit the festive season, adding a layer of holiday sparkle without losing its sharp satirical edge. The audience participants embraced their roles, guided by an autocue that provided instructions and dialogue. Their enthusiasm was infectious, and the resulting performances—from BAAB (a hilariously camp ABBA tribute) to orphans, doppelgangers, and a priest who nearly stole the entire show—were met with rapturous applause. We must not forget the additional puppets that made several appearances throughout the show taking it to yet another level.

The production values were equally impressive. Original music by Leland added a vibrant soundtrack, while Stella Backman’s design created a playful yet immersive world. James Appleby’s lighting and Kate Marlais’s sound design ensured that every moment was heightened, whether through dramatic shifts in tone or cheeky comedic beats. Zack Pinset’s additional costumes brought flair and flamboyance, while Sam Carlyle’s choreography injected movement and rhythm that kept the energy high. The producers, Awkward Productions and King’s Head Theatre Productions, clearly assembled a team that understood the show’s unique blend of satire, camp, and audience participation.

The Fit Prince unfolds in the fictional country of Swedonia, a kingdom without a king. The central problem is that the prince must find a husband to preserve the monarchy—a premise that allows the show to explore themes of love, duty, and identity with both humour and heart. Alongside the live performers, cameo appearances via video link added another layer of comedy. These included Tove Lo as the Prime Minister of Swedonia, Sebastian Croft as Prince Balthazar of Bashington, Malte Gårdinger as Prince Carsten of Markden, and Joshua Whitehouse as Simon, Jacob’s fiancé. Misia Butler, Yshee Black, Kate Butch, Geri Allen, and Julia Bender also contributed memorable cameos, portraying figures ranging from Michelle Obama to Angela Merkel, each greeted with much hilarity.

What makes The Fit Prince so distinctive is its ability to balance satire with sincerity. While the show revels in camp excess and absurdity, it also carries a message about inclusivity, representation, and the joy of celebrating love in all its forms. The audience’s standing ovation at the end was not just a response to the humour and spectacle, but also to the warmth and generosity of spirit that the production radiated. 

The evening concluded with gingerbread and Glühwein, a festive touch that perfectly complemented the seasonal adaptation. Though these treats may not be available every night, they symbolized the communal atmosphere that the show fosters—a sense of shared celebration between performers and audience.

In the end, The Fit Prince is more than just a play; it is an event, a party, and a statement rolled into one. With its clever writing, charismatic performances, and inventive staging, it leaves audiences not only entertained but uplifted. To borrow its own catchphrase: Slay! 

Running from 8th December 2025 until 3rd January 2026

Reviewer - Penny Curran

On - 8th December 2025

Theatre Review Beauty and the Beast, The Grand Theatre Blackpool

Pantomime season has arrived once again, and with it comes everything we secretly love about this very British tradition — the laughter, the chaos, the jokes that are somehow funnier each year and definitely older than most of the cast. There’s something wonderfully familiar about settling into a seat surrounded by excited children, amused grown-ups, and performers determined to give it their all. Panto is loud, silly, good-natured, and a little bit unhinged — and that’s exactly why Britain can’t get enough of it.

There’s a timelessness to panto that makes it hard to resist. The formula hasn’t changed much over the decades, yet it continues to feel fresh — mixing big characters, classic stories, topical humour, and plenty of self-mockery. For many, pantomime is the first introduction to live theatre, and those early memories draw us back every year, this time with kids of our own. It’s a shared experience across generations, and in a world that moves far too quickly, it’s nice to enjoy something that happily refuses to.

The Grand Theatre Blackpool’s production of Beauty and the Beast captures everything people love about panto and delivers it with confidence, style, and a huge amount of heart. From the opening number, the show is a full-throttle mix of music, comedy, and spectacle. The staging is genuinely impressive — Andy Batty’s set design makes the most of every inch of space, with a revolving centrepiece that transforms effortlessly from staircases to a balcony, making the final rooftop scenes particularly memorable. The bright and bold lighting by Neil Dolman gives the whole show an almost animated charm, while Elizabeth Dennis’s costumes are simply stunning, adding to the visual magic.

The cast brings tremendous energy. Steve Royle (Louis La Plonk) and Betty Legs Diamond (Polly La Plonk) are the beating heart of the comedy, both experienced crowd-pleasers who know exactly how to work an audience — and how to turn tiny mishaps into comedic gold. Marc Baylis (Coronation Street) shines as the villain Hugo Pompidou, relishing every boo and teasing the crowd with perfect poise and a spot-on (and very funny) French accent. Kitty Harris gives a lovely performance as Belle, both vocally and emotionally, while Ella Williams (Fairy Bon Bon) floats in and out like she owns the sparkle factory. Luke Harley dominates the stage as Beast and delivers a fantastic transformation scene, and David Alcock makes for a warm and likeable father figure as Clement.

The ensemble and performers from Barbara Jackson Theatre Arts Centre deserve plenty of praise too — their precision and enthusiasm elevate every number. Musical Director Sam Coates and his band support the action beautifully with smartly chosen underscoring that adds mood without ever distracting. 

All in all, this is a pantomime that delivers exactly what you want and more — laughs, spectacle, heart, and a whole lot of fun. Director Kyle Butler’s vision lands perfectly, and Katie Hill’s choreography keeps things lively from start to finish.

Whether you’re a die-hard panto fan or you usually avoid anything involving water guns and audience shouting, this production is absolutely worth your afternoon or evening.

Simply put — this is Beauty and the Best.

Tickets are selling fast, so grab them while you can!

The show runs at The Grand Theatre Blackpool until 4 January 2026.

Reviewer -  Connor O’Beirne

On - 7 December 2026

Concert Review The Bootleg Beatles in Concert Philharmonic Hall Liverpool

 

What a FAB way to spend an evening – being entertained by The Bootleg Beatles who are FAB-U-LOUS in every way, from their singing and musical talents to their resemblance to The Beatles themselves.

The Bootleg Beatles were formed after the show ‘Beatlemania’ closed in 1980. British musicians, Neil Harrison, Andre Barreau, David Catlin-Birch and Jack Lee Elgood became the UK cast and were signed up to the late Brian Epstein’s NEMS Agency. Geoff Britton (formerly of Wings) briefly joined the band before Rick Rock from punk band Sham 69 took over as Ringo. 

The band have toured extensively all over the world, and in1987 headlined The Liverpool Beatles Convention and Paul Cooper joined as the band’s new Paul McCartney. The same year Bjorn Again and The Australian Doors toured in Britain and so along with the Bootleg Beatles the term ‘Tribute Band’ was coined and in 1990 The Bootleg Beatles annual UK tour was established.

The band have played at the London Palladium and The Liverpool Empire in their own right and they played Glastonbury in 1994 for the first time, headlining on the Acoustic Stage.

In 1996, they  opened the two day event Knebworth concerts and earlier that year they played in front of, and then met, former Beatle George Harrison at Dave Gilmore’s (Pink Floyd) Birthday Bash.

In 1997, they kicked off the emotional Hillsborough Justice Concert at Anfield, Liverpool and 1998 saw them established as a regular festival band; the following year the Bootlegs were the last band to play at the old Wembley Stadium at a gig featuring Elton John and football legend, Pele in the audience.

Over the years band members have changed but the Bootleg Beatles have returned this year with their focus on a Famous Five, The Beatles top five selling albums - the Dylan influenced Rubber Soul, the experimental Revolver, Sgt Pepper heralding the Summer of Love and psychedelia, The ‘White Album’ with its glorious eclectic mish- mash of styles, and their grand finale, the musically sophisticated Abbey Road.

Each album was brought to life on stage with the help of the Bootleg orchestra and their talented backing musician, Steve Allen.

The Bootleg boys firstly appeared  on stage in Beatle suits and mop top wigs; they sang 'Drive My Car', 'Nowhere Man' (Paul Canning, a new band member, who joined last year, emulated John Lennon’s vocal style perfectly) and 'You Won't See Me', (full of teenage angst). Miles Frizzell, the most recent addition to the lineup, was perfect as McCartney, absolutely nailing the vocal impression and capturing Macca’s movements perfectly.

'In My Life' received rapturous applause after a beautiful vocal performance complemented by black and white photos of Liverpool life in the post-war period; it was a predictable crowd-pleaser but nevertheless well-received by all, audience members were rapped up in their own memories and Canning’s vocals reached the plaintive heights of Lennon’s original transporting the audience back to when the original recording was first heard.

The boys had a costume change into red shirts and suits with green lapels, the audience enjoyed 'Taxman' from the Revolver album. Next came Eleanor Rigby which gave the string section of the Bootleg Orchestra to join in, and 'Yellow Submarine' had the everyone singing along  with Gordon Elsmore (Ringo) for his first of three numbers as lead singer.

The boys adopted Sgt. Pepper outfits for a rendition of the album title track. The, the evocative, 'She’s Leaving Home' was emotionally performed and beautifully delivered with backdrop comic book format visuals telling the story of the song.  The interval came at the end of the final crescendo of 'A Day in the Life', accompanied with a tableau of the iconic album cover.

Rounding off the set Canning was bedecked in Lennon's famous white suit with the iconic beard singing more melodies from the Abbey Road album and the boys gave in to the crowd’s demands for an encore; they eclipsed their performance with 'Hey Jude', much to the audience's delight. They rounded things off with the ever popular Isley Brother's, 'Twist and Shout', and everyone was up out of their seats dancing and singing.

This truly was an enjoyable walk down memory lane with so many favourite Beatles songs being performed.  It is difficult to choose which song was most enjoyable but stand-out performances for me were by Stephen Hill as George Harrison singing, ‘While My Guitar Gently Weeps’ and ‘Something’.  But each individual performer excelled in their own right; Paul Canning (John Lennon), Miles Frizzell (Paul McCartney)  and Gordon Elsmore (Ringo Starr) were outstanding and deserved the standing ovation and encore the audience gave them at the end of their performance.

The audience sang along from the very start, encouraged by the band members and their performance was enhanced by a large video screen projecting footage of former bands from the 1960’s and 70’s along with news footage from the same eras. Coloured spotlights further enhanced the show and the orchestra on stage throughout deserve due commendation as they sang and clapped, joining in when not playing their instruments consisting of a brass section and string quartet.

The band will be back to perform songs from The Beatles Blue Album at the Philharmonic Hall next year; for all future shows see https://bootlegbeatles.com/gigs/

This tribute is for Beatle fans of all ages; it has been hailed as “Less a tribute – more a reincarnation” by The Telegraph newspaper and Rolling Stone magazine said it has “The magic of perfect illusion” as the band members depict the Fab Four so well. 

Catch them if you can, it will not disappoint.

Check out The Bootleg Beatles at https://bootlegbeatles.com/news/

Reviewer – Anne Horne

On – 7th December 2025

Theatre Review Aladdin – The Plaza Stockport

Choosing Aladdin, drawn from the tales of the Arabian Nights, provides a strong and familiar foundation for a pantomime. Its warm, atmospheric setting and well-known characters offer plenty of space for humour, magic and gentle adventure. With markets, palaces and hidden caves shaping the backdrop, the story sits comfortably within the pantomime tradition and gives the production a clear, engaging world in which to play. Extravaganza productions are blessed with not only (arguably) the most beautiful theatre in the North West but a Wurlitzer rising out of the pit pre show and at the interval to really lure the audience into the panto spirit.

Creative Team and Production Quality

The production is strongly shaped by its creative team: Director Richard Chandler, Choreographer James Robinson, and Dance Captain Daisy Piotrowski, all supported by Stage Manager Mike Barnes.  Peter Scandrett’s lighting design is vibrant and responsive, enhancing both the magical moments (Aladdin’s cave was sumptuous as the Genie gestured to the different treasures) and the comic scenes. The overall plot structure is guided carefully by the director whose vision keeps the pacing clear and accessible to all ages. James Crickmere’s sound design is clean and balanced, ensuring vocals and orchestra blend well. The sets are visually striking, and the stunning costumes—a real highlight—are by David Vickers and the Extravaganza, with wardrobe supervision by Michaela Walsh, contributing significantly to the show’s visual appeal and a major strength of this production.

Performances

Brian Capron, best known for playing the infamous Richard Hillman in Coronation Street, brings a nasty and villainous Abanazer being bad and getting his comeuppance and is the celebrity sell, keeping the audience engaged throughout. CBBC’s Karim Zeroual gives a charming, boyish Aladdin but doesn’t have enough meat on the character to really work with but had good connection with his brother and the Dame.  Aladdin’s brother , Wishee Washee, performed with confidence, quick wit and great repartee, is Scott Gallagher, who commands the stage and delivers many of the show’s biggest laughs. His charisma and comic timing make him the beating heart of the production.  The Dame – in Aladdin it is Widow Twanky – was well performed by Barry Bentley but not naughty enough for me and needed more script to truly get some meat  to chew on.  I also felt she needed more eye make up. Her costumes were excellent and the magic scene was very entertaining and carefully done into the gown changing .  Other named parts all played their roles with confidence and were well drilled. 

Ensemble and Musical Numbers

The ensemble singing is excellent, and the Extravaganza Dancers are superb. Their energy shines through in every appearance, with all eight members—four male and four female—taking on a variety of smaller roles with skill and versatility. The Fairy of the Ring, performed in a gorgeous costume by Morgan Hughes, delivers a particularly impressive musical moment.

The Act II opener, “Steam Heat” from The Pyjama Game, performed by the Extravaganzas in Widow Twanky’s Laundry, is high-energy, polished and hugely entertaining—a real highlight of the show. While a few soloists occasionally struggled with the vocal demands of their numbers, the enthusiasm and skill of the ensemble easily carried the production

The Extravaganza Dancers are used cleverly and consistently, not only as dancers but as featured performers and character actors. Their strong technique and theatrical flair shine throughout. Two male dancers, in particular, appear as Police Officer 6 and Police Officer 7, receiving spontaneous ripples of approval from the children and groans from the adults—child-friendly additions that delighted younger audience members. The production also includes a sing-along element, where the audience is divided for a playful sing-off between both halves, creating a lively, interactive moment that engages everyone in the theatre singing the KPOP Demon Hunters tune ‘ Golden’. The current youth anthem.

Visual Effects and Finale

Dynamic lighting effects enhance the show, particularly during the magic sequences , where flashing colours and carefully timed cues add energy and excitement. Later, the traditional sing-along song brings the audience together, ending the evening with warmth, humour and the classic communal spirit of pantomime.

Production Summary

This year’s Aladdin is a lavish spectacle. The stunning costumes—a real highlight—by David Vickers and the Extravaganza, with wardrobe supervision by Michaela Walsh— shimmer under the lights and create a festive atmosphere. The music is big and bold, supported by an excellent live orchestra. The sets are visually striking, with Aladdin’s cave a particular highlight. The Fairy of the Ring’s  and the Genie’s entrance is handled brilliantly, and the flying carpet sequence is magical, giving even Wicked’s famous gravity-defying moments a run for their money.

In summary, the Stockport Plaza’s Aladdin is a lively, family-friendly production that balances humour, spectacle, music and magic. It captures the sparkle of pantomime tradition . I watched on night two and I am sure that the repartee and opportunities for more audience involvement will grow and grow as the cast learn the Stockport audience. A good night out for young and old.

 Aladdin is being performed at Stockport Plaza until 4^th January 2026

Reviewer - Kathryn Gorton

On - 6^th December 2025

Immersive Theatre Review Murder Mystery Afternoon Tea Everyman Theatre Liverpool

This sold-out amazing murder mystery was created, written and directed by the very talented actress Becky Brooks of DBY Interactive, who transports those attending to a past era seamlessly. 

There are six characters in this intriguing murder mystery, set in 1939, which takes place at Hope Manor where a carefully selected few have been invited by the infamous self-exiled millionaire Lieutenant Earnest Wilson, for an afternoon of intrigue, revelations and mystery.

The audience have to solve the mystery which unfolds and at the beginning of the performance are cleverly introduced to the characters one by one; this helps to build up a picture of this intriguing and enthralling sinister story as they tell a little about their background and their reasons for being at The Manor. These incredibly believable characters are Joan Wilson mistress of The Manor who is married to the mysterious Lieutenant Earnest Wilson, played by Samantha Alton. Samantha has also appeared recently in Irish Annie's Christmas Show at the Royal Court Theatre, and will be appearing in Under The Mersey Moon and Desperate Scouse Wives.

Edna, the underestimated housemaid is played by creator, Becky Brooks, the flirtatious family doctor is played by Neal Gavyn, and the slightly seductive American character Rose Justice is played by Katie McKenna; all of the actors are extremely talented in their portrayals. Credit must also be given to technician, Ben for all the sound effects which helped create the illusion of this wonderful masterpiece.

Amongst the handpicked guests and their notorious reputations is the mystery writer and amateur detective, commanding character, Christopher Carter, played by James Dorman, who was invited by his long-lost cousin who suspects that not everything is as it seems at The Manor, and is commissioned to help in casting some light on the undetected covert goings on.

When a body is found dead, and not by natural causes, the detective is thrust into a sinister world of betrayal and family secrets. As the story unfolds, members of the audience are exposed to clues about this mystery, which involves love, jealously, betrayal and unearthed family history. 

The audience is asked to split into teams and to jot down notes about clues, motives and decide on the killer/s.  There is a pause in the story when the characters circulate around the room allowing each team to put questions to them to help with their detection skills; also to help them decide who the murderer or murderers are, before the final part of the mystery is revealed and there is a prize for the team who guessed correctly before the performance is brought to an end.

The audience were enthralled, excited and showed team-spirited competition by the shed-load as they were given time to disseminate, ruminate and conclude their ideas. 

This was an exceptional afternoon of intrigue, revelations, mystery, and afternoon tea, it most certainly delivered on all counts, and I cannot recommend it enough. 

DBY Interactive are appearing again at the Everyman Theatre in Murder Mystery,: The Talent Show Afternoon Tea on 19th and 20th December 2025.

Check out dbyinteractive.com for further productions, you will not be disappointed.

Reviewer - Jill Mather

On - 07.12.25

Theatre Review The Snow Queen the Albany Deptford, London

The Snow Queen, from artistic director Nancy Hirst and staged by Icon Theatre company, is a truly delightful family show that the audience embraced wholeheartedly from beginning to end. The performance I attended was filled with families, many with preschool and early years children, and it was clear from the start that the production had been carefully designed with them in mind. What makes this show particularly special is that it comprises only three actors, yet they manage to create an atmosphere of joy, wonder, and connection that feels much larger than the cast itself.

Before the show even began, the performers joined the audience to interact with the children. This simple gesture set the tone for the entire experience. The children were visibly thrilled, their faces lighting up with excitement, while the actors themselves radiated genuine pleasure in talking to and asking the children questions. It felt like a heartfelt exchange, as if the performers were inviting the children into their world of imagination and play. That authenticity carried through the entire performance. 

I attended the 11:00a.m. show, the first of three scheduled for the day. This timing proved ideal for young children, who were bright, alert, and ready to engage. At just 55 minutes long, the performance struck the perfect balance: long enough to immerse the audience in its story and magic, but short enough to leave families with plenty of time to enjoy the rest of their day.

The set design, created by Laura McEwen, was enchanting in its simplicity. It evoked the feel of a fairytale, with effective backdrops and silhouette trees that glowed softly when lit. Snowflakes and stars hung above, adding a Christmassy sparkle that immediately transported the audience into a winter wonderland. The costumes of the mice were fairly simple but as the show progressed the costumes became more elaborate, reflecting the depth of the narrative and adding visual richness without overwhelming the young viewers.

The show itself blended storytelling, singing, movement, puppets and creative lighting. At every opportunity, the children were encouraged to participate—singing along, dancing, and mimicking the actors’ movements. This interactive requirement was not limited to the younger audience members; adults were also drawn into the fun, asked to join in and help “make the magic happen.” It was a clever way of ensuring that the entire audience, regardless of age, felt part of the journey.

The story begins with three mice—Gerda, Kai, and Gerda’s mother—whose tale becomes entwined with that of the Snow Queen. What follows is a quest to reunite friends and rediscover happiness in a cold, lonely world. This modern fairytale is both heartwarming and instructive. It teaches children that love is the key to overcoming sadness, and that friendship and kindness can melt even the iciest of hearts. The moral is clear yet beautifully delivered: it is okay to feel sad, but our friends are always there for us, and joy can be found in life’s simplest pleasures.

The original music by Eamon O’Dwyer added another layer of magic with fun themes and lyrics that children can follow. It underscored the storytelling with melodies that were both gentle and uplifting, perfectly suited to the atmosphere of the show. The music helped guide the emotional journey, enhancing moments of joy, tension, and resolution without ever overpowering the performers.

Although I attended without children, I could easily imagine how much my own daughter would have loved this production when she was younger. In fact, I was so impressed that as soon as I returned home, I recommended it to my neighbours, encouraging them to take their children. I am certain they will enjoy it just as much as I did.

Running until Christmas, the show offers plenty of opportunities for families and schools to attend. Ticket prices are reasonable, and transport links to Deptford are easy, leaving parents with no excuses. 

This is, without doubt, one of the best family shows of Christmas 2025—a production that combines artistry, warmth, and moral depth in a way that will leave audiences smiling long after they leave the theatre.

The show runs from 6th to the 24th December 2025 Tickets from £10

www.thealbanytheatre.org.uk ticketing@thealbany.org.uk

Reviewer - Penny Curran

On - 6th December 2025

Theatre Review A Christmas Carol Thingwall Players Amateur Theatre Group Thingwall Community Centre Liverpool

This family friendly stage adaptation by James Hutchison of a famous classic by Charles Dickens, was directed and produced by Charlotte Holguin and beautifully performed by the Thingwall Players to a packed audience. Charlotte’s version of the story ensures you meet Mr Bentley, hear about letters that Scrooge writes to his sister Fran, we find out about Belle who was the love of his life and we are introduction to Mr Newbury.

The production began with violinists and a recorderist gently playing a Christmas tune (musicians Emma Laurie, Sally Laurie, Aslan Herzen, Natalie Pearce, Chrys Fergani and Meredith Clayton) accompanied by a vocal ensemble, and some of the cast appeared from behind the audience and joined the singing.

The stage was set to portray Scrooges' abode, a scantily clad, cold sombre room and credit must be given to Robert Bowes for set design/maker and costumes Carol Golightly for doing an excellent job throughout the performance in achieving a perfect depiction of the era adding to the atmospheric feeling. The stage was cleverly and impressively changed into many different settings which added to the story as it unfolded.

The main character Scrooge, played by Zoran Blackie, was the standout performer of the night, who embodies the miserable, miserly, unfeeling character perfectly, but all the cast deserve credit for creating a believable story unfolding before our eyes. Scrooge is visited during the night by his dead working business partner Jacob Marley played by Paul Arends who warns him of what will become of him, in death like him, and warns him to change his ways and it’s a terrifying thought for Scrooge.

Next the Ghost of Christmas Past dressed all in white played by Holly Blue takes him back in time to his childhood and through his youth to happier times and a happier self, where he is a caring compassionate man, has friends, a fiancé and was well liked and respected by those around him, and before his collaboration with Jacob Marley and his greed for money and influence had set in.

The Ghost of Christmas Present dressed all in red played by Lorna Pout takes Scrooge on a journey of the present day which gives him an honest look at how he is perceived by those around him now, a lonely, miserable, bitter, mean and frugal unsympathetic man, whom he himself doesn’t care for either, he’s angry with himself for becoming this unlikable character. She also gives him a glimpse of how he can have a second chance at being the man he once was, and the realisation of where he is now.

The Ghost of Christmas Future all dressed in black and played by Chrys Fergani takes Scrooge to his death, funeral and graveyard where nobody attends or pays their respects, and he is mortified deeply upset at the thought of this happening. His chance to put things right is amplified, and he makes haste to make this happen. The moral of this tale is that by giving your time and care and money if you have it, by showing empathy and affection to our fellow man, brings about a wonderful feeling of happiness and connection and enrichment to our lives.

The only criticism I have is that a few of the cast members did not project their voices loud enough for the audience to hear what they were saying which was a shame.

The finale was a rip roaring sing-a-long with a very large cast which the audience applauded to most enthusiastically.

The ensemble and other cast members, along with the crew, deserve a hearty round of applause for a very enjoyable production -  all listed below:-

Young Scrooge – Conor Burns

Bob Cratchit – Kevin Thomas

Mrs. Cratchit – Natalie Pearce

Belle, Martha Cratchit – Meredith Clayton

Scrooge as a boy, Peter Cratchit, boy in street – Will Holguin

Carol singer, Abigail Cratchit, Georgina, girl – Hattie Holguin

Tiny Tim Cratchit – Emma Laurie

Mrs. Dilber (Scrooge’s housemaid) – Laura Powell

Fred – Connor Jones

Fan, Emma – Zoe Marras

Dick Wilkens, Topper – Shaun Greatbanks

Mrs Harrington, Rose – Angela McComb

Cook, Mrs Fezziwig – Kate Mulvihill

Mr. Fezziwig – Stephen Walsh

Grace, girl in Street – Serenity Arends

Mr. Bentley, Caroline – Samra Uddin

Thomas – Ray Ormsby

Mrs. Granger, Mr Newbury – Vicki Griffiths

Old Joe, homeless person – Tom Large

First Businessman – Dave Owens

Second Businessman – Dan Pout

Musicians – Emma Laurie, Sally Laurie, Aslan Herzen, Natalie

Pearce, Chrys Fergani, Meredith Clayton

Light and Sound lead technician – Meg Doherty

Light and Sound assistants – Bethany and Natasha Cragg

Backstage/ Props – Caroline Doyle, Hayley Jeffrey and Laura Powell

Musician lead – Sally Laurie

Set making – Robert Bowes

Social Media/ Publicity – Mish Forder

This was a very enjoyable adaptation of the well-known Dicken's Christmas tale which Thingwall Players gave four performances, running from 4th-6th December.

For further productions please see their website……………

Reviewer: Jill Ollerton

On: 06.12.2025

Theatre Review Freaky Friday HOME Manchester

On a miserable, wet and windy Friday in Manchester, this reviewer battled traffic to visit the stunning arts, cinema and theatre space which is HOME.  If you haven’t been - you should.  

Disney movies have always featured in my repertoire and I was curious as to what a reimagined musical version of the Lindsay Lohan and Jamie Lee Curtis and movie of the same name might look like considering the movie was circa 2003.  

 

If you don’t know the plot (remember it is a Disney story) a teenage girl and her mum argue and smash a mysterious sand timer lamp unravelling its magic which switches them into the others body for  day.    This production is blessed with the highest calibre of a production team: book by Bridget Carpenter, which skilfully balances the humour and the plot to maintain interest and moves along at quite a pace.  Disney alumni Tom Kitt’s music and clever plot driving lyrics by Brian Yorkey, whose award-winning partnership infuses the score with both contemporary flair and some  excellent heartfelt character moments.  I particularly enjoyed the ‘Busted’ number and ‘Parents Lie’ which really added to the plot with humour and pathos in contrast.

The music does what it says on the tin and serves its purpose—energising the story, sharpening emotional beats, and giving the production a glossy, modern update with street jargon and tips of the hat to popular culture – were the songs memorable? Probably not but did they work for a Disney musical? Absolutely!

 

Director Andy Fickman has shaped the material with a clear sense of direction and comic timing, ensuring that the show’s body-swap chaos is clear and never too silly.  There are moments of panic when  Katherine and Ellie connect and disconnect with the challenges they find in their body switches.  Choreographer Alekzandra Sarmiento who created last year’s stunning and vibrant 42 Balloons brings a lively and recognisable  physical vocabulary to the production. Her choreography  not only enhances the musical numbers with some lovely group numbers – the gym scene was knockout but also supports character development. Opening of Act 2 was wonderful with the rock gospel number ‘Bring my Baby (Brother) Home’ which for me was the stand out number of the evening.

 

This new production’s musical integrity is firmly anchored by Music Supervisor and Conductor Will Parker, whose leadership ensures cohesion between the orchestra and performers. Alongside him, Musical Director George Strickland refines vocal performances and ensemble precision, resulting in a polished and expressive musical landscape beautifully executed by an enthusiastic and talented cast and ever lyric and beat landed perfectly.

  

Set and Costume Designer David Shields creates a flexible environment and landscape that shifts fluidly between domestic spaces: the set looked like the inside of the glass sand timer and the clever high school lockers and Katherine’s home were reminiscent of a Dr Seuss picture book and captured the colours  and echoes of high-school chaos, and fantastical elements, while carefully chosen costumes helped define characters before—and after—their unexpected transformation. Lots of actors played a variety of characters and this was fun and well executed and very well costumed too. The actors in the scene where Ellie is at risk of failing high school and in front of the school board was very entertaining with the grumpy and boring Spanish teacher and highly entertaining and visually effective.

 

Supporting this vision, Lighting Designer Nick Richings uses colour, texture, and rhythmic cues to emphasise emotional beats and musical transitions. The transition scene with its reds and magic was mesmerising. Meanwhile, Sound Designer Alastair Penman ensures clarity and balance across dialogue, vocals, and instrumentation, contributing significantly to the show’s high production value. The sound was excellent better than I have heard at the Palace and Opera house – a real standout. Every word, syllable and balanced so I could even hear the diction in the loud and busy finale songs .

 

Much of the score, however, proves surprisingly unmemorable once you leave the theatre, largely because its strongest qualities stem from how firmly it is anchored exclusively to the onstage context. The songs function beautifully in the moment but rarely linger afterwards—with two notable exceptions. One of the most spectacular and truly memorable moments comes in Act 2, with a rock-gospel number during the search for the missing younger brother. This number bursts with energy, vocal power, and theatrical flair, instantly grabbing attention and leaving a lasting impression, a perfect example of the score at its most thrilling and unforgettable.  The other was the ‘Parents Lie’ which is a quiet and connective song between Ellie and her younger brother Fletcher and was calm and melancholic and added terrific contrast to a quite loud soundtrack.  

 

Onto the lead characters; firstly, the  controlling, soon to be married, uptight, overly stretched and demanding mother, Katherine Blake who was beautifully portrayed by the stellar Rebecca Lock who I’ve seen many times and relied on her uber talents to energise Katherine’s vocals and powerhouse numbers. She really got the different character of the petulant teenage daughter’s feist and stroppy body language and quick, sharp, snarky dialogue and effortless musical comedy acting.  Her foil was the upcoming musical star  Jena Pandya who sparkled and shined in this year’s Bollywood musical ‘Come Fall in Love’  and who absolutely shone from her first scene as firstly the stroppy teen Ellie but then morphed into her mother. She is so enigmatic you cannot take your eyes off her.  Their connection and relationship and stratospheric vocals are what I will remember mostly in this product.  There was tangible energy and their acting energies definitely aligned with neither competing. Through this, the stage becomes a place where the roles can slip and swap—mother becoming child, child becoming mother—and I was drawn into the drama wanting them to resolve their predicament.

 

Freaky Friday is a charming, whimsical story rather than a deep or intricate narrative. Its quirky narrowness allows it to function as a vehicle to explore teenage and adult relationships—particularly the moments we fail to truly see or hear each other until something goes wrong. For that purpose, it absolutely works. It is not Shakespeare, but it doesn’t need to be. It works because it is Disney: about characters, joy, and the triumph of good, with everything neatly resolved in the end. Thanks to a fantastic ensemble cast and Lock’s and Pandya’s performances this deserves to be a successful musical.   

Unfortunately, on the evening I attended the audience was not big enough and although I laughed and smiled heartily and clapped and cheered at the end  the audience wasn’t big enough for the performers to see and feel this.  I do think it is seasonal timing and hopefully once word and reviews spread that it will have many more bums on seats and give it the plaudits it deserves. 

 

Freaky Friday is being performed at Home MCR until January 10^th 2026. Go and escape  for a couple of hours.

 

 Reviewer - Kathryn  Gorton

On - 5^th December 2025

 

THEATRE REVIEW MUSICAL: Hope Mill Theatre’s Production of MEL BROOK’S YOUNG FRANKENSTEIN Liverpool Playhouse Theatre

Broadway comes to Liverpool via Transylvania and no doubt on its way to London’s West End. This all singing, all dancing multi-talented cast lead by Coronation Street’s Daniel Brocklebank starring as Dr Frankenstein is a joy to watch. It is playful and follows the story in the same theme as the movie. Those familiar with the 1974 film version will not be disappointed and this show is ready to also welcome a new audience. 

The gothic set design, by Sophia Pardon, works seamlessly throughout using modern technology and light-filled screen projections to bring the classic tale to life as we journey from New York city to young Dr Frankenstein’s deceased grandfather’s Transylvanian village, with his, many roomed, creepy house on a quest to complete his lifelong work of bringing a dead body back to life. It is here that we first encounter the outrageously hilarious Igor, complete with a travelling hump on his back, played skilfully by Curtis Patrick in a scene stealing performance that will delight all ages. He is nothing short of delicious in performance throughout, bringing everything from a Shakespearian gravedigger vibe to a playful childlike quality to the role. He brings high energy and fun, as do the entire cast, to this dark but much-loved tale.

The opening high energy number The Brain both surprises and delights, setting the tone for the show and as the wonderful ensemble energetically showcase their talents you could be forgiven for thinking there were twice the number of performers on stage. Music and often hilarious lyrics by Mel Brooks bring fun and laughter to this production with music performed live throughout under the expert musical direction of Francesca Warren with orchestra supervision by Charlie Ingles. Live music is obviously integral to the show, it is a musical after all, and it moves this show along at a pace. It is a pleasure to share this opportunity brought to life at Liverpool’s Playhouse by such talented musicians. 

Cast members surprise at every turn with stunning solos but watch out for Elizabeth Benning played by Amelia Adams perform a show stopping Deep Love in Act 2 that has the audience both laughing and clapping. A full-on Hollywood version of Puttin’ On The Ritz, performed by the whole cast is mesmerising, with fantastic costumes, tap dancing and high kicks galore. 

Saving the best to the last, Pete Gallaher gives a fabulous performance as The Monster as he goes through all emotions to try to become a good human. His sheer physicality is awesome and enhanced by stunning makeup and enormous shoes that take on a character of their own. It is however his voice and surprisingly light-footed dancing that brig yet another surprise performance.

The Liverpool audience much appreciated a local reference in the show and the performance ended with a well-deserved standing ovation. My personal memory will forever be the sight of a group of women high kicking their way out of the theatre singing Puttin' On The Ritz. Pure joy.

Reviewer: Barbara Sherlock

On - 4 December 2025

Theatre Review – A CHRISTMAS CAROL Crucible Theatre, Sheffield

What better way to start Christmas than a visit to the theatre to watch the Victorian festive treat, a Christmas Carol? Written by Charles Dickens, adapted by Aisha Khanhis, Charles Dickens classic is the tale of Ebenezer Scrooge’s journey of redemption from unpopular penny-pinching miser to celebrated local philanthropist. It was first published in 1843 and is credited with popularising the terms ‘Merry Christmas’ and ‘Bag humbug’ among the Victorian public and is a behemoth of Christmas literature and British culture. Over the years there have been many productions and adaptations, both from a contemporary and traditional angle.  

I was pleased to hear that Alisha Khan’s stage adaptation is traditional yet rooted in Sheffield’s proud local carol singing traditions. I was also excited that it was set in the Crucible Theatre, whose layout naturally integrates the audience and actors. 

The stage was decked out in suitably drab and sparse Victorian style, setting the scene for a bleak Christmas. The staging and props are well used throughout the 2-hour 15-minute production (including interval). Marley’s ghost first appearance through Scrooge’s front door was great use of an excellent, if large and difficult to manoeuvre, prop. 

The non-linear story line suits the rolling narrative which is laid before us with the tale of Scrooge’s insular life told by Jack, an artful dodger style character, played impressively by Mel Lowe. Lowe’s energy and playfulness suited the style of the story as Jack chronicled Scrooge’s life affirming visitations to his friends; at one point becoming part of the tale himself.

Scrooge was portrayed by Ian Midlane, cutting a larger-than-life Ebenezer. Midlane’s performance throughout was excellent, as were the entire cast. Adam price’s performance as the Ghost of Christmas present was particularly eye catching and bombastic. His energetic performance showcased not just his acting but the quality of the costume design as it flowed through the air with each melodramatic move. 

The costumes are to be highly commended with Head of Wardrobe, Sally Wilson and Costume Supervisor Abi Nettleship pulling out all the stops with over 100 highly detailed costumes characterising the Victorian zeitgeist. It is a familiar story to many and the stage play remains true to the well-trodden path of similar productions on the stage and TV. 

The accents and Sheffield carols gave the feeling of a local setting, rather than London. There were many references to Sheffield suburbs during the carols which were well received by the audience. The carols were beautiful; at one point the singers were stood in the aisles creating an immersive experience the Crucible is so good at.

This stage production is a traditional adaptation with a local slant and the perfect theatrical partner to the festive season. 

Production run (The Crucible Theatre, Sheffield): Saturday 29 November 2025 
– Saturday 10th January 2026

https://www.sheffieldtheatres.co.uk/events/a-christmas-carol-2025/dates

Reviewer: Matthew Burgin

On:  4th December

Theatre Review Stocking Fillers: A Collection of Short Plays The Royal Court Theatre, Liverpool

 

This production by the Royal Court Theatre brought together seven very varied pieces, each by a different writer, linked by the common theme of Christmas. Each piece looked to varying degrees outside the box and the result was a relaxed combination of comedy and edginess, with no play taking itself too seriously whilst some a number of real issues were explored. The quickfire format of no piece lasting longer 12-15 minutes ensured a good pace with the audience never being allowed to get too comfortable with a single scenario whilst the set of a brick wall with a door and a window remained constant.    

​‘The Badly Battered, Bright Blue Bike’ by Ed Barrett kicked off the evening with the touching setting of an unemployed engineer doing what he could to provide for his family at Christmas. What looked at first like a standard kitchen sink drama took on a couple of unexpecting twists leading to a satisfying conclusion. The next offering ‘Tom and Jerry’ by Ed Connole harked back to the first World War, homing in on two soldiers from opposite sides of the trenches who meet at Christmas. The theme was naturally about shared humanity as the two soldiers swopped aspects of their respective cultures but was spoilt by the German stating very strongly that he liked Liverpool but definitely did not like Manchester. There seemed no reason to insert any traditional Liverpudlian prejudice into the mouth of the German, jarring with the otherwise pleasant flow of the dialogue.

​‘The Old Fairy’ by Liz Redwood gave the two female cast members centre stage as a time-served fairy who had for many years topped the Christmas tree contemplated being replaced by a new high-technology fairy, combining youth with a combination of impressive new features including singing songs and Christmas greetings. This was in fact an imaginative analogy of wider generational gaps as old people find it hard to adjust to the never-ending pace of change as technology affects so many aspects of our lives. The older fairy had some wise observations, putting everything in a wider perspective that the young fairy could not ignore. 

The first half closed with ‘Coffin Around The Christmas Tree’ by Sarah O’Hara; the most difficult to grasp offering of the evening, having a Pinteresque feel that made it something of a marmite piece whist certainly having plenty of energy and drama.

​ 

‘Santa's in the Wings’ by Sinead Taylor had the most curious setting of the evening, in theatre stalls just before a ballet performance was due to start and followed an observational conversation between two friends.

‘Santa’s Little Helpers’ by Nadine Jump was, like ‘The Old Fairy’, an analogy of wider aspects of life as one of Santa’s Little Helpers expressed disgruntlement at being constantly overshadowed by the ‘main act’, in contrast to her fellow elf who saw everyone as a team member, set backstage at a Santa Clause grotto. An interesting piece with a couple of unexpected twists.  

The evening closed with ‘A Nice, Old Fashioned, Family Crandlemas’ by David Elliott, an amusing, thinly-disguised satire on The Church of Scientology and a flipping of the traditional image of Christmas in which the daughter of a couple heavily involved with worshipping ‘Jensen’ who rules from a mother ship in the skies, is regarding as being in a strange cult, having become a Christian.

All roles across the seven plays were performed by Carl Cockram, Joe Cowin, Julie Glover and Princess, working as an efficient team displaying wide ranging acting skills as the moods and emotions kept changing throughout the evening. Princess Khumalo brought a lot of physicality to her roles with both Carl Cockram and Julie Glover displaying scouse wit and charm throughout. Joe Cowin provided an effective balance to regional placement as a youthful ‘everyman’. The tight direction by Jessica Meade ensured that all seven plays neatly flowing into each other. 

An entertaining and very varied evening.

Reviewer - John Waterhouse

On - 4th December 2025