Theatre Review Hamlet - Ambroise Thomas, Buxton Opera Festival, Buxton Opera House

Ambroise Thomas’ operatic version of Hamlet dates from 1868, the same year as Wagner’s Meistersingers: while Wagner was creating the music of the future, his French contemporary was resolutely stuck in the present and Hamlet is a grand opera of the kind that made Paris the operatic centre of the world. All the features of the winning formula are present and correct: showy arias, mad scenes and a ballet in the third act. Thomas, remembered today solely for his biggest hit, Mignon, wanted a hit and went all out to get one.

In Jack Furness’ revival for the Buxton Opera Festival, the score is tightened up considerably - out goes the ballet (no loss at all) and in comes a somewhat hackneyed concept depicting Elsinore as a police state: each entr'acte features a member of the court doing a walk of shame ahead of an armed guard who despatches them before they reach the other end of the proscenium. The fact that Claudius is an illegitimate monarch who has seized power via crime and force is already evident in the text/libretto and hardly needs underlining in this way.

With that caveat aside, this is a worthwhile revival, strong on musical values and featuring some exciting new and new-ish talents, alongside the veteran bass Alastair Miles (a resonant and formidable Claudius). Thomas’ librettists (Michel Carre and Jules Barbier) may offer a superficial take on Shakespeare’s searching tragedy, but it is splendid vehicle for singers, abounding in gratefully written arias and set pieces that show them off to best advantage. American Gregory Feldman in the title role displayed his flexible baritone and dramatic commitment to great effect, though his stage movement was occasionally ungainly; and soprano Yewon Han’s Ophelie, though beautifully sung and with some breathtaking coloratura, would benefit from less generalised acting.

No such complaints about Allison Cook’s Gertrude, a dubious but confident and alluring piece of work who commanded the stage whenever present, the mark of a real singing actor. 

The supporting roles, less numerous than in Shakespeare, were well taken with tenor Joshua Baxter standing out as Laerte and Per Bach Nissen as a sonorous Ghost of Hamlet’s Father. And orchestrally, the score - which has more than its fair share of striking moments including a long Mad Scene for Ophelie - was in the more than capable hands of the Orchestra of Opera North, conducted by Adrian Kelly. The necessarily simple but effective designs - a versatile set of steps that later transforms into a river bank - were by Sami Fendall and the atmospheric lighting design came courtesy of Jake Wiltshire.

Further performances on 16th, 20th (matinee) and 22nd July.

https://buxtonfestival.co.uk/whats-on/hamlet

Reviewer - Richard Ely

On - 12.07.2025

Theatre Review: Penguin Unity Theatre Liverpool

 

Penguin is a one-man show that chronicles the life story of Hamzeh Al Hussien, a disabled Syrian refugee, from his beginnings in Syria to a new existence in the United Kingdom and dancing to Nicki Minaj. It blends memoir, movement, and theatre to present a non-linear narrative, incorporating bilingual subtitles and audience participation.

When Hamzeh first enters the stage, he draws a circle on the floor, which soon becomes clear represents his world. He takes us through his simple yet idyllic childhood in the Syrian mountains, sharing anecdotes about picking figs with his father, stealing lemons with his friends, playing marbles, and attending weddings.

Then the bombings begin. He never thought he would leave his home, but he was forced to. So, he draws another circle over the existing one; this world becomes the Za’atari refugee camp in Jordan. Here, he is introduced to physical theatre by an aid worker, pretends he can speak seven languages (and is asked to interpret for NGOs working in the camp), and is overwhelmed by the sheer number of people displaced by the war. After six years, he and his brother are offered a flight to England which, with some reluctance, they accept.

He draws a third circle over the previous two: his world is now the United Kingdom, specifically, Gateshead. The audience sees him navigating this new life: learning to cook, going clubbing, dancing on tables, while also struggling with ableism and mobility challenges.

Directed by co-creator Amy Golding, Hamzeh’s performance is energetic and deeply immersive. He brings moments of genuine humour alongside more harrowing ones that highlight the refugee experience.

“Penguin” was originally a taunt referencing his gait, an ableist slur, yet Hamzeh refuses to let it weigh him down. Instead, he reclaims it, turning it into a symbol of liberation through dance and self-acceptance.

Penguin was staged as part of the Liverpool Arab Arts Festival, the UK’s longest-running annual celebration of Arab arts and culture. The 2025 edition runs until 20th July. More details can be found via the link below.

https://www.arabartsfestival.com/

Reviewer – Adrian Cork 

On – 11.07.2025

Theatre Review - Flora Macdonald and Zombies Written and performed by Debbie Cannon The Underground at Spring Gardens (Buxton Festival Fringe)

Buxton Festival Fringe has a strong tradition of wide-ranging of one- person shows with the bar now set very high for both originality and performance. ‘Flora Macdonald and Zombies’ certainly aimed to step up to this challenge, taking a famous eighteenth century piece of Scottish history and throwing zombies into the mix.

The blending of both Vampires and Zombies with real historical people has become something of a sub-genre (think ‘Abraham Lincoln Vampire Hunter’) with a movie blending ‘Pride and Prejudice’ with zombies. Painting Flora Macdonald as zombie killer was an interesting choice because her historical fame derives from just a few weeks of looking after a destitute Bonnie Prince Charlie on a barren Hebridean island. Here she was given the chance to live for 500 years in an ongoing battle against zombies, extending her story across both geography and time.

Debbie Cannon started the show as Flora Macdonald giving the audience the historical background through a warm and engaging characterisation but the ensuring story was largely told through extensive monologues of other characters, most notably Bonnie Prince Charlie, the King of the Zombies, a Vampire-killing Cat and a modern-day schoolgirl. There were only a few limited conversations between characters because Cannon clearly wanted to take the audience with her into the depth of each character, effectively delivering each portrayal as a real, distinctive person.

This was a very physical performance, at times breaking the fourth wall by sitting amongst the audience and frequently engaging individual audience members with direct eye contact, making the experience very personal. The swaggering persona of the Zombie king was brought over with a menacing twist as the audience was held spell-bound, in sharp contrast to the school girl, who recounted frequent extremely gory happenings of getting involved in a zombie battle with a very-funny, childlike innocence.

There was little plot to this tale but the emphasis was on character and both the historical backdrop and the violent world of fighting zombies were blended with great comic effect. A remarkable feature of the performance was the fast, consistent pace, with no time wasted for costume changes as Cannon barely stopped to take a breath, moving easily between characters.

This a very funny and captivating show with an off-beat premise, principally held together by a carefully chosen mix of sharply contrasting characters, for the most part telling their own version of events in a matter-of-fact Scottish manner, which presented great comedy potential for the both frequently absurd and gory subject matter. Debbie Cannon displayed great comic timing, blending history and fantasy in a funny and engaging piece of theatre.

Reviewer - John Waterhouse

On - 9th July 2025

THEATRE YOUTH THEATRE Amateur New Writing part of Greater Manchester Fringe Festival I DON'T WANT TO PLAY ANYMORE Salford Arts Theatre, SALFORD

I have seen many plays written by the young Associate Artist of Salford Arts Theatre, the talented Libby Hall; however, this piece of new writing marks a departure in her writing style, not necessarily more mature, but certainly an experimenting with her own creativity. It was also written to be performed by a youth theatre too, since all the characters are mid-teenagers. It therefore fell upon the Salford Arts Theatre's own Youth Company to perform this for Greater Manchester Fringe Festival this year, under the tuition and direction of Roni Ellis. 

'I Don't Want To Play Anymore' is about the roll of the dice in the Game Of Life. What is chance and what is preordained? What should we be doing and can we do anything to change it or make it better? Does what we do in our lives effect how we live our future lives, and how much of this has an impact on those around us? And could we alter these situations if we knew? - Wow... heavy stuff! However, Hall's script is cleverly, if not ideally. constructed by starting at the end and taking us on several possible flashbacks to arrive at the ultimate conclusion. It doesn't make much sense to begin with, but it does piece itself nicely altogether by the end and you leave with a complete understanding of the whole.  

Performed in a thrust format, with two rows of seats on three sides, Ellis also introduced the youths to one of the fundamental practices of Brechtian Theatre; that of having the unused cast seated and in the shadows as silent witnesses to the unfolding action on stage. One might also go as far as to consider the costuming somewhat Brechtian too, since they were all dressed in jeans (or tracksuit bottoms) and plain single-coloured T-shirts, thus making them work all the harder to bring their characterisations forth from their acting ability alone. No set, save a few rehearsal blocks at the rear of the stage, and only a myriad lighting and sound cues to progress the narrative outside of the acting.

Ellis's direction was solid and secure, and the cast knew where and what they were tasked in doing, although it was really quite samey and repetitive (perhaps a slight 'fault' in the writing there too), and much of the performance was geared almost exclusively to the central rows of seats, with scant consideration to those seated on the two sides. 

12 youngsters (I would imagine between 12 and 15 years at a guess) performed their roles with understanding and they all undoubtedly gained invaluable experience from this production, learning about ensemble theatre, which this piece clearly was. My one hope is that for future performances the cast cumulatively raise their voices somewhat; even given the proximity of cast / audience, I was struggling to hear much of the dialogue. Well done to all nevertheless.

Reviewer - Alastair Zyggu

On - 7.7.25 

REVIEW CLASSICAL MUSIC Manchester International Festival EAST MEETS WEST The Halle Orchestra The Bridgewater Hall, Manchester

As part of Manchester's International Festival, The Halle Orchestra performed three works this evening in a concert titled, 'Sounds Of The East'. The idea being that although the music performed were Western pieces using majority western instruments, these pieces had been influenced by the music and sounds of the East. 

The first of these pieces was 'Grand Spiral (Desert Flowers Bloom)' by Singapore-born composer Chinary Ung. Composed in 1991 and with the composer in attendance this evening, this was the most contemporary of the three pieces. We were told by Ung in a short pre-concert talk, that we should not look for a resolution in this piece, rather see it as a series of continuing but unconnected spirals, each one unique, just as every wave to break on the shore is never the same twice. It is a very busy and percussion-heavy piece which is without any discernible melody throughout, instead it offers a soundscape for the imagination to play upon. The piece was receiving its European Premier this evening.

Following this was Debussy's 'La Mer'. And our talk of unique waves breaking on the shore is brought into full focus here. Putting this piece in with a concert dedicated to 'East Meets West' seems a little strange at first perhaps, until we understand Debussy's fascination with Japan and that actually upon listening closely to this music, one can clearly hear oriental sounds and melodic fragments - something which I have not picked out before from my untutored listenings. Melodic fragments appear and disappear like waves and this is true musical impressionism. 

After the interval and we returned to hear Kahchun Wong's arranging and orchestrating of Mussorgsky's 'Pictures At An Exhibition'. Here, we were told, that Wong was stuck in lockdown in Singapore during the Covid pandemic, and so more to relieve boredom than anything else, he engrossed himself in the instruments of southern Asia, especially those from China, and decided to rescore Mussorgsky's well known work to incorporate some of these instruments. This evening, five members of the Singapore Chinese Orchestra joined the Halle to perform this absolutely unique score. Conducted by Wong - as indeed was the whole evening - this piece was a revelation. The score had been deconstructed and then reconstructed again with surprising effect when the first melody (the famous introductory theme) was performed by the Chinese percussion. Further surprises were in store, as the Chinese flutes were given an ad lib bird calling session, sheets of tuned metal were banged liked gongs and resonated throughout the auditorium, and a taiko drum was used for the finale, whilst the orchestra members were tasked in humming. The bamboo flute, Chinese dulcimer, erfu, and Chinese lutes were given pride of place around the conductor and played most of the melodies between them. The resulting sound was extremely strange, interesting, and the whole became a most engrossing experiment in East / West fusion. However, there were times throughout the piece that I simply did not recognise the source material at all, so changed was the directing and interpretation. 

The whole evening was of course, excellently performed with passion and skill. 

Reviewer - Alastair Zyggu

On - 6.7.25

REVIEW THEATRE FRINGE ONE MAN POE The King's Arms, SALFORD

Stephen Smith - actor, producer and director of this production, is obviously extremely talented and his love and understanding of the works of Edgar Allen Poe is unequivocal. In a studio theatre presentation which lasted just over an hour, he presented two of Poe's more well-known stories. First, 'The Tell-Tale Heart', which was followed by 'The Pit And The Pendulum'. With good costuming, make-up, and effective lighting (although at times it was too dim - especially when acting purely by "candlelight"), Smith skilfully takes us on Poe's horrendous and depraved journeys into his world of what has become known as Gothic Horror. His command of the stage and his vocalisations are quasi-Shakespearean and the sound effects etc which he employs to create the necessary effects make our skin creep. 

Cleverly thought through, suspenseful and creepy, and excellently acted.

For Edinburgh Fringe Smith will also add two more Poe stories to his repertoire as he will alternate these with 'The Black Cat' and 'The Raven'. 

Reviewer - Alastair Zyggu

On - 5.7.25

REVIEW THEATRE FRINGE ONE HUNDRED PERCENT The King's Arms, Salford

In this two-hander from the combined pens of Benjamin Sumrie, Marco Biasioli, and Liam Grogan we are asked to believe that on a single chance encounter ten years' after they first met, acting pupil invites his examiner back for a cuppa and she accepts. It is a tenuous premise at best, but perhaps we buy into it, if indeed we are further led to believe that the chance bumping in, might have been engineered by the actor in the first place. What follows is that the actor thanks the examiner for awarding him 100% in his exam, and that it truly set him up for the last ten years of his acting career, believing that hardly anyone is given the full 100% and that therefore he is a brilliant actor and deserving of constant employment. However, said actor is somewhat unbalanced and psychotic. And so what follows becomes a psychological battle of wits between them, as he seeks justification and validation, whilst she simply tries to extricate herself from this unnerving and indeed dangerous scenario. There is a deal of humour in the script which is nicely placed, but sadly the story is extremely predictable and is completely without the "shock" element which this genre of theatre relies upon. The reality of the out-of-work actor and the situations and jobs he finds to sustain him do resonate though.

Acted with both skill and realism, the cast were Benjamin Sumrie (the actor), and Francesca Maria Izzo (the examiner). They worked well together and the suspenseful build-up especially from Sumrie, was nicely placed. 

Directed by Liam Groggan, assisted by David Allen and Francesca Maria Izzo, this was a tight and thoughtful production which both actors responded excellently to; sadly, I had already second-guessed everything that happened and so felt a little cheated.

Reviewer - Alastair Zyggu

On - 5.7.25

Theatre Review Wilko: Love and Death and Rock ‘n’ Roll By Jonathan Maitland Leicester Square Theatre

Arriving for a 3pm Saturday afternoon performance of ‘Wilko: Love and Death and Rock ‘n’ Roll’ I eagerly took my seat at the charming Leicester Square Theatre in London. A heady buzz lingered as excited audience members were led into the auditorium. Straight away the impressive set, designed by Nicolai Hart-Hansen, with its aged but charming patterned rugs, bright lights, drums, band posters and guitars in place got everyone talking about what might lay ahead and it certainly looked like it would involve live music. Many audience members may have already known much about its leading man’s life, and were there to learn even more about the story of the renowned English guitarist, singer, songwriter and occasional actor Wilko Johnson. Johnson was a member of the pub rock band ‘Dr. Feelgood’ in the 1970’s, hailing from Canvey Island in Essex. Johnson was known for his distinctive guitar playing style, which was created not by using a plectrum but playing finger-style. This play with music tells the story of Johnson’s humble beginnings on Canvey Island to finding fame, his tragic cancer diagnoses, and a miracle journey leading ultimately to his final ending. 

One thing I noticed is the sharing of names involved in this production and its history. I listened to the telling of the story of all the John’s in the initial ‘Dr. Feelgood’ band line up, John Wilkinson (“Wilko”), John B. Sparks (“Sparko”) and John Martin (“The Big Figure”). We have the two main actresses in this cast of five named Georgina and the character Wilko Johnson is played by leading actor Johnson Willis! I found a little serendipity in appreciating all the links with names. Back to Willis, the actor I must add, who played Wilko, his performance was full of the nuances that only those who have really studied Wilko would know. I sensed his eagerness to get it right and give an authentic performance. So I did a little Wilko research and he was pretty bang on! Willis’s guitar skills were on point too, with an energy that was enthusiastic and energetic. He also added just the right amount of zaniness. I appreciated some of the more self-centred aspects to Wilko’s personality, his sense of me, me, me and oft need for control. I also saw how he re-evaluated himself and shone a light more on his perceived flaws after he was given a new lease of life. Would I have liked even a little more vulnerability, some deeper, softer moments of what was really going on for Wilko during the nuclear episodes in his life? Perhaps. I did find myself feeling emotional when his character was given his diagnoses of pancreatic cancer, maybe it’s my own experience of having had a loved one with pancreatic cancer, a cruel disease, and who like Wilko endured a long operation. Into the double figures long. It was those moments I felt for Wilko and what he thought his life might be like when he knew it was limited and where he also opted for no chemo. However, unlike my loved one, Wilko got his miracle, more time on this earth due to a revelation that his cancer was not as aggressive as first thought and treatable. I found this aspect of the story inspirational, hopeful and heartwarming. I saw Wilko’s determination to really live his life through actor Willis. It’s not lost on me the energy he needs to keep up this level of performance, night after night, well done! 

The cast of five including Willis, is also Jon House, Georgina Fairbanks, David John and Georgina Field and they all deserve their own praise. A slick company who apart from Willis all play other roles. They gel and work together really well. Particular mention to Jon House who plays the character Lee Brilleaux (and other roles) and whose live singing was just amazing! I can fully understand why House also has 2 solo albums released. At times he gave off the actor Robert Lindsay vibes to me, (perhaps a similar look) and was charismatic in his role, he really has a great stage presence. Quite nimble too! Georgina Fairbanks gave a very layered and natural performance as wife of Wilko, Irene Knight and delivered a faultless performance. The quick dress change impressive too! The live music aspect proved all the cast have musical talent and prowess and was brilliant to witness. The audience lapping up songs such as “She Does It Right” and “All Through The City” with Act 2 bringing us “Jonny B. Goode” and “Roxette”.

A wonderful addition to this show is the bringing on of guest performers and in my case watching this show, it was at the end of the curtain call when the guest performer came on. There is a line-up of which guest (more to be announced soon) performers will be appearing at each show and for this afternoons performance, the audience were delighted to be introduced to actor and comedian Kevin Eldon who treated us to a brilliant singing performance of “Going Back Home” - it was thrilling to watch this final song in action! A highlight of the performance was briefly meeting the writer Jonathan Maitland afterwards and whose writing felt gritty, witty, raw and with an edge of vulnerability - he has to be commended for bringing the story of Wilko to life. A performance to me is only as good as its writing, its foundation and I believe Maitland hit the mark just right. 

Wilko: Love and Death and Rock ‘n’ Roll really drew me in, a high energy, music filled, gritty and interesting story that touches on life, love, relationships, and I took away with it that it’s not how long we have left on this Earth but what we do with that time that truly counts.  

Wilko: Love and Death and Rock ‘n’ Roll can be seen at the Leicester Square Theatre London until July 27th

Wilko: Love and Death and Rock ‘n’ Roll leicestersquaretheatre.com

Reviewer: Mary Fogg 

On : July 5th 2025

Music Review: Jeff Lynne’s ELO Over and Out Tour Utilita Arena Birmingham

At the completion of his American tour, Jeff Lynne OBE announced that his band’s final ever gig would be at London’s Hyde Park in July 2025, with no other UK shows planned. However, such was the demand for tickets that additional shows in Birmingham and Manchester were added for the week leading up to Hyde Park.

Demand remained so high that a further date was added at each venue. Tonight was the first of these shows, held at Birmingham’s Utilita Arena. 

The evening opened with ‘One More Time’ from ELO’s 2019 album From Out of Nowhere, a fitting mantra for what is a farewell tour. Then the hits began: ‘Evil Woman’, ‘Do Ya’, ‘Showdown’, and fan favourite ‘Last Train to London’.

The production elements were every bit as impressive as the music. The band performed in front of an oval video screen, mimicking the shape of the iconic ELO spaceship, which displayed an array of graphics tailored to each song. These ranged from Tolkien-esque landscapes to ELO’s signature visuals of spaceships, planets, and other cosmic ephemera. The lasers and lights were sophisticated and spectacular, creating an ideal atmosphere in the arena.

Jeff looked slightly awkward while singing and later explained why: he had broken his hand the previous week and was unable to play his guitar.

‘Steppin’ Out’, ‘Rockaria!’, ‘10538 Overture’, ‘Strange Magic’, and ‘Sweet Talkin’ Woman’ followed. Jeff’s backing band, guitarist and musical director Mike Stevens, bassist Lee Pomeroy, drummer Donavan Hepburn, pianist Marcus Byrne, lead guitarist Milton McDonald, keyboardists Jo Webb and Shannon Harris, backing vocalists Melanie Lewis-McDonald and Iain Hornal, and a string section consisting of Amy Langley, Jess Murphy, and Jess Cox, was outstanding in ensuring the sound remained authentically ELO.

The support act was a fairly turgid set from the Dhani Harrison Band. Yes, George’s lad. But the real reason he was on the tour became clear when he joined Jeff for two Traveling Wilburys numbers: ‘Handle With Care’ and ‘End of the Line’. The audience loved these songs and the accompanying Wilburys visuals, singing along with gusto.

Without his guitar, Jeff simply stood in front of the microphone. Any time he needed to move away from it, a crew member guided him, no doubt a safety precaution due to trip hazards and the fact that he’s now 74.

‘Can’t Get It Out of My Head’ is a slower number, and the audience spontaneously waved their phone torches in time with the melody. Hard to believe that used to be done with lighters.

In one of those things bands do when trying to disguise a song, Jeff’s ELO played the unfamiliar instrumental from their back catalogue ‘Fire On High’ before launching into a euphoric version of ‘Livin’ Thing’. Things then slowed down with the beautiful ‘Telephone Line’. Jeff clearly wanted to close the night with the orchestra playing everyone’s favourite tunes, as ‘All Over the World’, ‘Turn to Stone’, ‘Shine a Little Love’, and ‘Don’t Bring Me Down’ brought the main set to a glorious conclusion. The audience were on their feet, applauding and shouting for more.

Eventually, the band returned, and Jeff shuffled back on stage for the final song of the night; ‘Mr. Blue Sky’, of course. This show, and the remaining four concerts on Jeff Lynne’s ELO farewell tour, are nothing less than a celebration of his legacy. His endearing modesty, occasional vocal fumble, and missed cue only add authenticity and charm to the performance.

The Over and Out tour is a respectful and stirring goodbye to a true orchestral rock pioneer. Hyde Park in a week’s time will be something special indeed and this reviewer will be there.

Reviewer – Adrian Cork 

On – 05.07.2025

Theatre Review Thingwall Players – A Fantasy Farce – ‘A Play About A Dragon’

This brilliant play directed by Paul Arends and stage managed by Catherine Flower, is an adaptation of Steph deFerie’s extremely witty play, a fantasy farce, called ‘A Play About A Dragon.’

Comedic plays were initially invented by the Greeks and Romans which Thingwall Players have certainly done justice to. It was beautifully performed from beginning to end. It truly was an absolute joy. 

Credit must be given, from the set designer Hayley Jeffers, costume creator Carol Golightly, to dragon designer Gemma Hurst and all the actors, in fact everyone at Thingwall Players who came together and did a sterling job to create this masterful creation. Their comedic timing together with great sound effects and stage presence was sublime.

This witty play carries you off into another time and era, set in the middle-ages, where we meet Morton Montesque's troupe of travelling actors, who happily believe they have volunteered to perform their play about a dragon for King Stanley the Stern, when in fact they have actually volunteered to slay a real dragon!! Oh No, but Oh Yes!!

When they discover their mistake it’s too late to back out, but how can they succeed where so many brave heroes before them have failed… ? so, they hatch a cunning plan, but will it be enough to prevent them becoming dragon food?

They set off on their travels and encounter a nasty scary red dragon, but just as luck would have it, they are fortunate enough to encounter a bookish Prince Pinky who knows all about dragons and the ‘secret of dragon snot,’ a highborn lady disguised as a peasant called Bud, a con woman whose skills come in handy and Lady Gwen with extremely stinky feet, who all unbelievably, sometimes unintentionally and hilariously help them out.

They manage to slay the dragon and save a fair maiden in the process, with plenty of buffoonery and horseplay mixed with excitement, thrills, danger, laughter and true love for three couples along the way, all thrown in for good measure. The audience were emotionally engaged from start to finish with screams of delight, danger or laughing loudly the whole way through.

The props were very effective, especially the red dragon which was very impressively manoeuvred on stage by two stage hands inside it, and it did look imposing and magnificent at the same time. Some of the props were really funny just in themselves, like the two knights who came riding onto the stage astride hobby horses. 

This show had everything you need for a family fun-filled evening, I had the most enjoyable night.

The venue, Thingwall Community Centre, is an ideal setting for shows and plays such as this one and it is also well used by the local community for other events. 

This show ran from 3rd-5th July and included a matinee on the 5th July.

I would highly recommend you watch this or any other future productions by such dedicated talented performers. Their next production is, A Christmas Carol which is running from 4th-6th December 2025.

Reviewer: Jill Ollerton

On: 5th July 2025

Music Review The Brit Fest - Ashley Hall Showground Great British Festivals presents The Brit Fest Cheshire, powered by ABC+ Warranty

With somewhat of a brighter and sunnier Friday afternoon putting a spring in everyone’s step, the early evening did eventually bring rain to the skies above Ashley Hall Showground in Cheshire. However it certainly did not put a dampener on the spirit of 1000’s of festival goers heading to The Brit Fest for a fun packed festival full of musical legends, activities, delicious food and innovative hospitality. Although there was an optional add on date the night before with Badly Drawn Boy and Squeeze as its highlights, Friday July 4th was its first main/official day of a three day weekend festival. After all the recent sunshine and hot weather, one couldn’t help feel a little disappointed the evenings sun’s rays weren’t shining down on the festival goers. This could be felt even more after The Brit Fest’s wonderful build up and all the efforts put into making it a fantastic event. However, all I saw were smiles and laughter and people doing what they do best when faced with rain, and that is making the best of it! The great British weather can be a fickle thing and it was heartwarming to see people continuing to enjoy themselves and having fun.  

The Brit Fest, powered by ABC+ Warranty is now in its second year and I was delighted to be invited back in 2025. The Brit Fest is a festival where much is linked to nostalgia, to community spirit, friends coming together, new connections made and of course listening to great live music. After its world premier festival last year, July 4th, 5th and 6th 2025 would be the new dates to get in the diary this time around and staged at Ashley Hall Showground in Cheshire and only a mile away from the picturesque village of Hale. The event brings back to the stage the effervescent Jenny Powell and Mike Toolan to present and introduce an array of top-class acts that over the three days include artists such as, Razorlight, UB40, 10cc, Midge Ure, Chesney Hawkes, Cutting Crew, Go West, Thompson Twins’ Tom Bailey, Hue and Cry, Johnny Hates Jazz, Republica, Toploader, The Boo Radleys, Roachford and many more! Although I really sense this festival celebrates all things Cheshire and the North West I spoke to many people who had travelled from all corners of the country to be here. A big shout out to the team behind The Brit Fest, and to the volunteers who help everything run smoothly. Communication is their usp and I could witness many times volunteers helping festival goers out with any questions they had. The community spirit is what truly drew me in. Olivier-nominated brothers Anthony and Edward Prophet the team behind The Brit Fest have recently been awarded a prestigious Special Judges Award at The North West Business Awards. The family-run organisation has been the key to unlocking one of Cheshire’s most anticipated and fastest-growing festivals. The awards celebrates outstanding business across the region and the Special Judges Award highlights businesses demonstrating generational transition, outstanding leadership, strong family values and a heartfelt business journey that resonates with the judging panel. Speaking about the award Edward Prophet said:

“This award means so much to all of us. It’s for all the family - past, present and future. The Brit Fest was built on a dream of bringing people together through music, celebration and community. 

Equally, brother and Commercial Director of Great British Festivals, Anthony Prophet shared his thoughts about their achievement:

“ Winning a Special Judges Award among so many incredible businesses is truly humbling. We’re incredibly grateful for the support we’ve received from the community, our partners and everyone who has backed The Brit Fest vision. We’re more inspired than ever to keep growing and delivering outstanding experiences for everyone who joins us”

My own communications with Anthony Prophet regarding the festival highlights my own sense of his passion in this vision - it is inspiring and uplifting to hear all about what the future may hold for The Brit Fest. As for Fridays line up - we were entertained by The Boo Radleys, Roachford, Republica, Chesney Hawkes, Toploader, and Razorlight. All impressive and held the crowds in the palm of their hands! Stand outs for me were Roachford with that amazing stage presence and powerful voice. Chesney Hawkes was on top form and wowed the crowed with his impressive act and singing prowess. There were a few swooning females in that audience too! I feel Hawkes still has the charm. Razorlight closed the first days line-up and were brilliant! What is especially appealing at The Brit Fest is its support of emerging musical talent, and provides a platform for up and coming artists to showcase their star in the making quality. The Brit Fest also believe in promoting diversity and creativity, creating a space where people can come together to celebrate music and culture. 

Special mentions for The Samaritans stand from Mid-Cheshire particularly Annie and Jan who were happy to give their names and gave their time to be there for anyone who might have wanted a chat or even to know more about The Samaritans and what they do. As a fellow volunteer Samaritan I know how vital being a listening ear is and it was great to see them there. Also I want to thank Title Partner for The Brit Fest, ABC + Warranty and Managing Director Adele Reid who provided me with some warmth and shelter in their fabulous company marquee. ABC + Warranty provides outstanding services in construction and insurance sectors and their dedication to excellence aligns perfectly with the spirit of The Brit Fest. When it came to a nature call I experienced what can only be described as a five star service with a VIP toilet visit. With the actual brand name When-Nature-Calls a “cleaned after every use” feature with fresh water flushing toilets, luxurious make- up and hair styling stations which feature Dyson, GHD and Molton Brown, what’s not to love! I have never spent so long in a toilet area before and even had an impromptu hair makeover! The team behind When-Nature-Calls were super hospitable and told me all about how things work. The toilets really are cleaned after every use! 

A final shout out to Rod from Radio Alty who I met and shared a little about his emotional journey whilst radio presenting that led him to take more of a gentle pace. Such a heartfelt story and I look forward to re-connecting with him to talk all things careers, creativity and music. 

The Brit Fest is a place where not only is there fun, laughter and music galore but also where connections are indeed made, like minded people sharing ideas and where community spirit is truly felt. The Festival offers something for everyone and you can camp it or glamp it whilst there and makes for a great break away. The Brit Fest is coming back for another summer festival next year July 2-5th 2026 and I definitely recommend The Brit Fest as a fun day out or even weekend away. The passionate energy of the organisers spilling over onto everyone who has helped put this festival together shines through to make this a must go to event! 

Review Event: The Brit Fest July 4th, 5th and 6th 2025 

For information and to sign up: https://thebritfest.co.uk/

Reviewer: Mary Fogg 

On: 4th July 2025

Music Review TK Maxx presents Lytham Festival – Stevie Wonder

Lytham Festival takes place on the banks of Lancashire's Ribble Estuary; it has grown from a one-night-only community Proms-style concert to an amazing five-day live music event which now draws music-loving crowds in excess of 120,000 each summer. Lytham Green is expansive and a beautiful part of Lytham village providing an ideal setting for shows and festivals.

Wide-ranging headliners have performed at the festival through the years ranging from big name music stars such as Shania Twain, Lionel Richie, Billy Ocean, Diana Ross, Duran Duran, Kylie, Lewis Capaldi, Noel Gallagher's High Flying Birds, Nile Rodgers & CHIC, Madness, Rod Stewart, Stereophonics and Tom Jones.

This year will see live music light up Lytham Green once again with headliners Stevie Wonder on 3rd July, Alanis Morissette on 4th July, Justin Timberlake on 5th July and Simple Minds and Texas on 6th July.

Lytham Green is a peaceful beauty spot near the seafront in Lytham which is usually home to people jogging, walking their dogs and enjoying the pleasant surroundings close to the iconic lighthouse but for one week each summer it is converted into a lively music arena as music performers from across the globe present their talents to crowds of up to 20,000 people a night.

I was privileged to see Stevie Wonder, the Michigan-born superstar  perform as part of his ‘Love, Light and Song’ UK tour on the first night.  Support act, Corinne Bailey Rae, the talented 46-year-old singer/songwriter opened the festival with a beautiful performance. Dressed in a purple sleeveless jumpsuit, playing her guitar and tambourine, with one female backing singer she delighted the audience for an hour ending with her hit song, ‘Put Your Record On.’

75 year old Stevie Wonder, the fabulously talented and 25-time Grammy Award winner known as Little Stevie Wonder when he first emerged onto the music scene, took to the stage to rapturous applause and kicked off as festival headliner and wowed the excited music-loving crowd dressed in a fabulous red sequinned jacket, dark glittery black shades with his trademark braided hair beneath a cool black beret.

He has a powerful professional stage presence and the crowds cheered as he took his place at the piano with the opening number, ‘Love's in Need of Love Today’ and voicing a somewhat political comment about his disappointment with the leaders of certain world countries today.

His voice, musical prowess and stage presence was just as magical as it was in his early days, only his movements onto the stage gave away this performer as the older, more mature gentleman he is now. Stevie was assisted onto the stage and addressed his audience saying, “Hello. I am so happy to have with me some of my family”, to my right is my daughter Ayesha, to my left is my son Kyleigh. To all of my family, I love you”.

He kicked off his amazing set with a song reflecting his apologetically philosophical view and thoughts about the state the world currently finds itself in. Before performing ‘Love’s in Need of Love Today’ he explained it is a fitting song because it is all about love and compassion and that our world is currently filled with conflict amongst leaders, impacting its fallout. Saying “You were given a purpose to make the world better and too many times, you have not”, he went on to ramp up the beat and mood by delivering ‘Master Blaster (Jammin)’ and ‘Higher Ground’ to an elated audience. He went on to include a moving tribute to Sly Stone with the song ‘Everybody Is a Star’, performed with Corinne Bailey Rae.

Corinne Bailey Rae accompanied him on stage throughout the show; he however lightened the mood and made many funny quips in between songs, allowing the audience to see his boyish charm and charisma, and openly laughed at himself. The audience were captivated and loved it reciprocating in roars of laughter, whistling and clapping joyfully.

He delivered many of his hit songs from, ‘You Are the Sunshine of My Life’, ‘Signed, Sealed, Delivered, (I’m Yours)’, ‘Don’t You Worry About a Thing’, ‘My Cherie Amour’ to ‘Overjoyed’ plus many more with charm and personality. The two and a half hour set didn’t disappoint, cheers swirled across the usually sedate seafront, it was star quality for all to enjoy and embrace. Stevie’s outstanding singing talent and versatility  on piano and harmonica have not diminished and were delivered with aplomb.

The Lytham Festival site was split into two sections with a Standard Area and VIP Area and entry was extremely slow in both due to extensive security searches. Both areas provided a great selection of refreshment tents, with the VIP area being sectioned off and named ‘The Garden’ which provided better views of the stage and was nearer to amenities including flushing toilets.  There were also vendors providing organic steaks and posh nosh snacks and a champagne bar with some tables and seating areas plus lots of deck chairs.

The festival is on all weekend with many other artists gracing the stage, such as Train, Jess Glynn, Dagny and Liz Phair.

I recommend you check out their website www.lythamfestival.com

Reviewer: Jill Mathers

On: 03.07.25.

 

 

 

REVIEW THEATRE COUGAR 53Two, Manchester

Sadly once again I am faced with no programme and only a QR code, which I am unable to use, so sadly unable to credit anyone by name.

'Cougar' tells the story of two adults (Robbie and Rebecca), both of whom have known tragedy in their lives as their respective partners both dies in tragic circumstances, leaving them with a huge whole in their lives and an uncertainty as to how to cope. Both however have now decided to try dating again, and we start out tale with their very first date together. The play follows their lives and their deepening feelings / love for each other, and shows - with a deal of humour - how their past experiences impact and inform their current decisions. Robbie is only 30, but his wife died just shortly after childbirth (his daughter is only 5 years' old) whilst Rebecca is some 12 years' older with two grown up children. The sensitive issues are handled with aplomb, and the two sparked off each other nicely. There was a real chemistry between them as their relationship developed and deepened. 

The set was minimalist, and sufficed; however I doubt very much that a 30 year old man would have white furniture in his house. This did not seem right at all.

The twice they spoke directly to the audience was a little contrived and unnecessary, and the backlit sections were a nice idea but did not truly work as well as perhaps they ought to have done. The film projection on the white cloth to the rear again did not work too well sadly. Most of the images were a little blurred and I was uncertain as to what some were meant to represent.   

Starting as a romantic comedy, the play soon worked its way into much deeper territory, (raising awareness for the problems facing older women during pregnancy / childbirth) and yet, the two still managed to keep things light and their cumulative energy and the balance in their differences made for interesting viewing. The dialogue was kept flowing nicely and was naturalistic in nature. However, there were a few times when their voices dipped just a little too much and became inaudible on the back row. This was particularly true for Rebecca. sadly. 

A rather predictable, but sensibly and sensitively performed piece of theatre.

Reviewer - Alastair Zyggu

On - 2.7.25

REVIEW OPERA STUDENTS L'Enfant Et Les Sortileges The Stoller Hall, Manchester

Presented by pupils between the ages of 14 - 18, this was a presentation of Ravel's one act opera, 'L'Enfant Et Les Sortileges'. I have never seen Chetham's School perform anything like this before, as they normally confine themselves to simply playing instruments in concerts or singing in choirs; this was a whole performance... not just the music - which was superbly supplied by once again Chetham's school students - but there were costumes, lighting, haze, choreography and some very fine acting too! 

Performed on the stage of the Stoller Hall in the bowels of their renowned music school, the first few rows of seats had been taken out to accommodate the orchestra which would normally have performed on the stage. This was cleverly set and as we walked into the auditorium a mimed scene was taking place. We were immediately transported into the a field hospital during the first world war, whilst the sound of shells and artillery fire resounded all around us, the nurses rushed from patient to patient trying their best to bandage up the many wounded. This was not how Ravel started his opera, but this was actually a very clever and intelligent reimagining of his work, and made the storyline all the more poignant because of it. Gone was the petulant and truly annoying brat of a child protagonist, and in his place we were presented with a delirious and hallucinating bed-ridden soldier thus intensifying the drama, and setting a more definitive time and place and indeed meaning to this perhaps flippant libretto. 

The costuming throughout looked authentic and worked superbly, whilst the set changed cleverly, using minimal changes only, since this venue is not a working theatre but a music performance hall. Again the lighting was very creative and used well, and with the use of haze and different hues, the settings were created admirably. (Lara Booth and Ben Ormerod).Whilst the direction (Genevieve Raghu) was both imaginative and sincere; strong and purposeful movement both in the direction and choreographed sections, whilst the narrative signposting of the piece and the emotional drive were equally handled with ease and aplomb. I enjoyed the use of the balcony, and the sides of the sides of the auditorium, this worked nicely. My one (rather large) gripe was that although this was authentically and superbly sung in its original French, we truly needed either sub- or surtitles in English to accompany this!

It was a large ensemble cast, but even those who were little more than spear-carriers added immeasurably to the overall look and feel of this production, and the cast was a true ensemble working superbly with each other. This was a very ambitious production, but certainly the most mature and intelligently presented and compelling piece of theatre I have ever seen form Chetham's School. All the principals were excellently chosen and their voices mature and rounded. Hearty congratulations to them all! Their understanding of their roles and characters and their ability at working together to create such a 'masterpiece' was truly inspiring and impressive. It is abundantly clear that much time, energy, thought, expense and dedication has gone into the creation of the spectacle, but none of it gone unnoticed or appreciated. We need more, much more of this kind of thing PLEEEEASE!

Reviewer - Alastair Zyggu

on - 2.7.25

Music Review: Diana Ross Decades of Hits Tour M&S Bank Arena Liverpool

 

Diana Ross’s pre-show publicity promised an extraordinary evening of glamour, dazzling visuals, and spectacular fashion, with two sets of career-spanning hits. At 81 years old, and as the last active and iconic female singer from the 1960s, it’s hard to believe she could live up to the hype.

Tonight’s show opened with a video featuring footage from her decades-spanning career — from Motown to the present day. At its conclusion, the house lights dimmed, and the 65-piece Hallé Orchestra, conducted by Sean O'Loughlin, launched into an instrumental medley of her biggest hits. This built-up anticipation until Ross  herself entered from stage left, singing ‘I’m Coming Out’. She immediately followed with ‘More Today Than Yesterday’ from her 2006 album I Love You. She asked the audience if they would like to go back in time with her, and as the opening strains of ‘Baby Love’ were met with a roar, you knew they did. The Supremes medley included ‘You Can’t Hurry Love’, ‘Come See About Me’, and ‘Stop! In the Name of Love’.

The relentless pace continued as Ross sang ‘Touch Me in the Morning’ and ‘I’m Still Waiting’, which the audience sang most of, as she held out her microphone, and ‘Chain Reaction’, which had the crowd in a frenzy.

Ross was keen to engage with the audience on a personal level and introduced two songs from her film Lady Sings the Blues, ‘Don’t Explain’ and ‘Good Morning Heartache’, on which the intimacy of her voice truly gripped the arena.

‘Love Hangover’ was greeted by a collective sigh around the venue. However, her voice did waver slightly on ‘Ease on Down the Road’, which concluded the first set.

She returned to the stage, having changed out of a lavish red ballgown into a glittering gold one. ‘The Boss’ opened the second set, before she continued with ‘Endless Love’, ‘Reach Out and Touch (Somebody’s Hand)’, and a gospel-tinged version of ‘Amazing Grace’. ‘Upside Down’ had the audience up and dancing again. She wanted to play tracks from her most recent album, Thank You, and performed ‘Count on Me’ as a duet with her daughter, Rhonda Ross Kendrick. ‘Why Do Fools Fall in Love’ followed, and as the orchestra extended the outro, she left the stage again, this time returning in a sparkly silver outfit. The set concluded with ‘Theme from Mahogany’, ‘Ain’t No Mountain High Enough’, and a high-energy version of ‘I Will Survive’. Of course, the audience wanted more, so she encored with ‘Thank You’.

This was more of a show than a concert, but as a heartfelt tribute to her legacy, blending grandeur and intimacy, it worked beautifully as a celebration, despite the minor flaws.

Reviewer – Adrian Cork 

On – 30.06.2025

Music Review: The Liverpool Songbook with the Royal Liverpool Philharmonic Orchestra Liverpool Philharmonic Hall

There was a time when the classical music world’s attitude to pop music was one of condescension, considering it simple, commercial, or disposable. Likewise, the pop music world viewed classical music as elitist, inaccessible, or out of touch with current culture. Thankfully for music lovers, these attitudes have been eroded by more open, genre-fluid thinking, as many musicians and listeners have rejected that binary altogether, resulting in an increasingly hybrid and inclusive musical world.

So, we come to tonight’s show: The Liverpool Songbook - star singers from the West End, the Royal Liverpool Philharmonic Orchestra, and a set of tunes written by pop musicians for a truly hybrid and inclusive evening of song, celebrating Liverpool’s rich musical history.

Conducted by Richard Balcombe, the Royal Liverpool Philharmonic Orchestra opened with a Liverpool medley comprising ‘In My Liverpool Home’, ‘Liverpool Lou’, ‘Penny Lane’ and ‘Magical Mystery Tour’. At the end of this, the evening’s host, radio presenter, music journalist, and author Spencer Leigh, came on stage to set the scene, provide a little context for each of the tunes we had just heard, and introduce the singers: Graham Bickley, Patrick Smyth, and Laura Tebbutt.

The songbook proper got underway with Smyth taking lead vocals on Billy Fury’s ‘Wondrous Place’, Bickley singing the Lightning Seeds’ ‘Life of Riley’, and Smyth again on The Coral’s ‘Dreaming of You’. Host Spencer Leigh returned to the stage to introduce the next sequence of songs: Elvis Costello’s ‘Veronica’ (co-written with Paul McCartney), The Real Thing’s ‘You to Me Are Everything’, and ‘Tell Me It’s Not True’ from Willy Russell’s musical Blood Brothers, on which Laura Tebbutt took the lead. Her powerful and thoroughly captivating performance brought the audience to its feet.

Leigh entered the stage again to introduce the songs that would take us to the interval: The Beatles’ ‘Here Comes the Sun’, an instrumental version of Gerry and the Pacemakers’ ‘Ferry ‘Cross the Mersey’, highlighting its melodic beauty and conveying the nostalgia of a distant time and place, Pete Wylie’s ‘Heart As Big As Liverpool’, and Paul McCartney’s Live and Let Die.

The second half began with a medley of Liverpool-related television themes: Z Cars (greeted with a mixed chorus of cheers and boos due to its association with Everton FC), Brookside, Bread, and The Liver Birds. Leigh introduced the next group of songs, all relating to the punk era and Eric’s Club: OMD’s ‘Enola Gay’, Frankie Goes to Hollywood’s ‘The Power of Love’, and Echo and the Bunnymen’s ‘The Killing Moon’. Smyth and Bickley had their best moments with the latter two songs.

Patrick Smyth sang The Farm’s ‘All Together Now’, encouraging the audience to sing and sway along. The night’s standout moment came with Laura Tebbutt’s incredibly powerful rendition of Cilla Black’s ‘You’re My World’, for which she received a standing ovation. The La’s ‘There She Goes’ and The Zutons’ ‘Valerie’ followed.

Much to the audience’s delight, Leigh introduced the former frontman of Pele and Amsterdam, the “Scouse Springsteen” himself, Ian Prowse, who performed his classic ode to Liverpool, ‘Does This Train Stop’ on Merseyside. The songbook concluded with an instrumental version of John Lennon’s ‘Imagine’ and ;Now and Then’.

After a thoroughly deserved standing ovation, conductor Balcombe and the singers returned to the stage for an encore featuring ‘In My Liverpool Home’, ‘The Leaving of Liverpool’, and The Beatles’ ‘Hey Jude’, for which Ian Prowse rejoined them. 

This show proved once and for all that pop and classical music can come together to allow the listener to hear familiar songs in a new and enhanced way. I’m sure those behind this performance are already working on The Liverpool Songbook 2. After all  they have a musical A to Z to chose from; A Flock of Seagulls to The Zutons.

A nice postscript to the evening was a Q&A with Richard Balcombe and Spencer Leigh, chaired by Richard Haswell, Head of Programme (Hall and Events) at the venue. Balcombe said that, working in the classical field, pop music had largely passed him by, so this experience had been a revelation. He hoped his arrangements had highlighted the original songs rather than obscuring them. There is no doubt he had certainly achieved that.

Reviewer – Adrian Cork 

On – 28.06.2025