REVIEW PLAY NEW WRITING Hair Of The Dog Seven Oaks pub theatre Manchester

In the upstairs room of Manchester's Seven Oaks pub, a talented cast of three performed the latest offering from Room 5064 productions - a local theatre company headed by local impresario Gareth Kavanagh. This one act play, lasting just shy of 50 minutes was titled, 'Hair Of the dog', and was ostensibly set in a seedy locale in 1970s Soho. 

Directed by Kerry Ely, this three-hander was part comedy and part social commentary on the ideas and mores of the time, as we see an actor (mainly voice-over artist) - performed with glee and flamboyance by Jonathon Carley, very fond of his drink and a little down on his uppers, converse with regular of the pub, and homosexual painter, (Richard Unwin), and his latest 'conquest', a Marxist styled intellectual played rather straight by Adam Gardiner. Unwin's gay overtones were nicely underplayed and were absolutely of the era.

The play is rather static, and indeed there is little or no movement at all for long sections of dialogue, and the play really does not have any real grit to it - it just bobs along quite nicely from start to finish with no surprises and no revelations. There are some very nice dialogue interchanges and the odd phrase such as, "excess is the only satisfactory amount of anything" standing out; but generally, the play does not say anything new, nor challenge us in any way. Even the news of Archie's murder meets them, and us, with little more than a cursory acknowledgement. 

The strangest part of this play however was in the fact that our protagonist, the Actor, was cognisant of the audience's existence, and referred to us and talked to us about what was happening on stage at certain points throughout, and the other two actors observed the fourth wall at all times, and so this juxtaposition was extremely strange. 

Well acted, and costumes, lighting and mood reflected the period and milieu nicely. It needs more to it though before it can move forward.

Reviewer - Alastair Zyggu

on - 24.3.26

Theatre Review Hamlet by William Shakespeare Grand Theatre, Blackpool

The Grand Theatre is a classically styled venue right in the heart of this famous seaside town. It is about a 10-minute walk from Blackpool North train station and there is plentiful parking nearby. Thank you to the staff for their help and assistance. My friend and I sat in the dress circle and had a bird’s eye view of the action as it unfolded before us.

Director Rupert Gould has worked with set designer Es Devlin to create what is a unique and strikingly engineered production of this classic play, presented by the Royal Shakespeare Company (RSC). When the action begins, there is just a coffin, draped with the Danish flag, on what appears to be a flat, raked stage, tilted upwards – the reason for this becomes apparent very quickly. The stage area went dark and when the lights went up again, most of the actors had appeared. We caught the end of the funeral of Old Hamlet (Ian Hughes), the former King of Denmark who has recently passed away. A priest (Mark Oosterveen) conducts the service. Old Hamlet’s brother Claudius (Raymond Coulthard) has succeeded him and has married his widow Gertrude (Poppy Miller). Her son, Hamlet (Ralph Davis), is distressed by his father’s death and the hasty remarriage. When he is visited by his father’s ghost, Hamlet learns the truth about how his father died and vows revenge, feigning madness to cover his true intentions.

I will not say too much more about the plot of this iconic drama from the Bard of Stratford-upon-Avon, but it has been revived by the RSC in a truly innovative way. It is the 15th of April 1912, giving a clear nod to another nautical disaster which occurred at that time in history, and everything happens over just a few short hours on that fateful night. The assembled throng of characters are on board an ocean liner which is being constantly buffeted by the stormy sea. The sloping stage is used as the deck of the ship at various points when it encounters heavy waves. We see the actors mimic being thrown around, struggling to contend with the treacherous conditions.

We are quickly introduced to the other key players. Firstly, there is loyal Polonius (Richard Cant), who is chief counsellor to the royal court. Then we meet his troubled daughter Ophelia (Georgia-Mae Mayers), who is all but betrothed to Hamlet, and his fiery son Laertes (Benjamin Westerby). Hamlet is accompanied by close friend Horatio (Colin Ryan), plus trusted allies Rosencrantz and Guildenstern (energetically portrayed by Jamie Sayers and Julia Kass). The crew consists of the captain (Rob Alexander-Adams), sailors Marcellus (Maximus Evans), Barnardo (Djibril Ramsey) and Francisco (Leo Shak), along with a quirky company of actors whom Hamlet has asked to perform a play to help him surreptitiously learn the truth about his father’s demise. The actors take on various roles, including the King and Queen (Ian Hughes and CJ Johnson) and ensemble members (Kat Collings and Jonathan Savage).

The whole production is played with tremendous energy and pace throughout. I loved the clever use of a video-based backdrop showing the moving and stormy ocean. Many really good sound, musical and lighting effects truly added to the atmosphere as the drama, which does have some comedic touches, continued and kept the audience enthralled and entertained. The scene transitions were slickly managed; stage props were brought on and off very quickly and smoothly. The portrayal of the title character is truly memorable, eliciting great sympathy from the audience. I personally found myself swept along with this production, which I can highly recommend. One last thing to note is just how many seminal phrases are contained in this extraordinary play, many of which we still use today.

The production runs until March 28th, including matinees on Thursday and Saturday. Tickets can be purchased in person at the box office, by phone on 01253 290 190 or via the theatre’s website: https://www.blackpoolgrand.co.uk/event/hamlet-by-the-rsc

Reviewer - David Swift

On - 24/03/2026

REVIEW CLASSICAL MUSIC Youth / children / Amateur STOCKPORT YOUTH ORCHESTRA - 70th Anniversary Concert The Cosmo Rodewald Concert Hall Martin Harris Centre Manchester

To celebrate 70 years of junior and youth music making, Stockport youth Orchestra had invited former members back for this special concert ameliorating the orchestra with adults playing alongside some very young children indeed. Some did not even look to have been any older than 10.

The concert started with the orchestra playing a fanfare written by its conductor, Tim Crooks, especially for this occasion. We then heard them play ravel's hauntingly beautiful 'Pavane Pour Une Enfante Defunte'. This was lyrical, tuneful and nicely marked. The first half ended with the more substantial 'Sea Pictures' by Elgar. We heard all five of his songs this evening sung by local mezzo-soprano Lorna Day. Her diction was superb as indeed was her control and emoting of the songs. sadly however, we perhaps needed her to be mic'd since much of what she was singing would have been lost further back than row 3!

After the interval, and we were in Latin American dance mode! The opening was a set of dances from 'Estancia' by Ginastera. Composed in the mid 1900s, American Ginastera took his influences from Argentina and these dances reflected his passion for his heimat. the concert finished with yet another Latin American, this time by Mexican composer, Marquez and his energetic and flamboyant Danzon 2.

Stockport Youth Orchestra gave an excellent concert, and considering the tender ages of these players, they did remarkably well. It was a passionate, controlled, tuneful, lyrical, and dramatic concert and was highly enjoyable.

Reviewer - Alastair Zyggu

on - 22.3.26

REVIEW CLASSICAL MUSIC CONCERT Students TOWARDS THE STARS MUMS Symphony Orchestra and UoM CHORUS RNCM Manchester

 

For their first major concert of the year, and a superb joining of forces, the MUMS Symphony Orchestra and the UoM Chorus held their concert, 'Towards The Stars' in the concert hall at next door's RNCM. It was the right move to make since even in this venue, space was incredibly tight, and would have been impossible to have had it staged at their home base at the Martin Harris Centre.

If anything the concert was a little on the long side, but we didn't mind that since the music was sublime and the performing of it, some of the best playing I have heard from students of Manchester University for a very long time.

The orchestra started the concert with the well-known and loved Fantasy Overture to Romeo And Juliet by Tchaikovsky. the conducting for this was split between two student conductors, and although the change-over was completely seamless, it was quite incredible to experience the change in the orchestra's attitude. Where they had been playing quite happily and harmoniously they suddenly became thrilling and attentive. The first conductor being a little tentative and her arm movements not exact enough so it was difficult to follow her, whereas, once the second conductor took the stand ,. his clear and strident and highly positive markings jolted the orchestra out of complacency and the his interactivity with the players made them respond much clearer. This is not a criticism of the first conductor however, since I would be totally lost with a baton in my hand, just a simple observation. 

The second piece in the evening repertoire was a choral piece with organ accompaniment. This was a slow, close harmony hymn called 'Seek Him That Maketh The Seven Stars' by Dove. A piece new to me, and I did find it rather repetitive but the choir sang with skill.

This was followed by the more well-known psalm, 'Du Fond De L'Abime' in this version by French composer Lili Boulanger. This was a piece for both orchestra and choir combined and was typical of both Boulanger's ouevre and the era in which she was composing. Sometimes there were clashing discords which resolved in an unexpected key, colliding sounds building in intensity and volume before fading to an almost funeral pitch and process.  The soloists would have benefitted rom mics since it was impossible to hear them from the other side of the hall, so i heard only one soprano and the young tenor but missed everything that was sung by the other two young ladies on the far side of the podium sadly. It is a dynamically interesting piece and was, along with all the works in this evening's concert, a hugely challenging one. It paid dividend though, as both choir and orchestra sounded wonderful and brought the first half to a lovely close.

The second half started in darkness, save for an annoying bar of lights on the conductor's stand! Accompanying music was heard way off in the balcony, and the choir sang what can be described as something quite contemporary and experimental; 'Stars' composed by Esenvalds. Composed in 2011 it was the most up-to-date piece in this evening's repertoire and served as a 'novelty' opening to the second half nicely. The main body of the second half was Sibelius's Symphony no 7. Perhaps, despite it being given the nomenclature of a symphony it would be better described as a tone poem - something for which Sibelius had a fondness and creative gift. It is played without a break and doesn't follow the usual symphonic rules, but instead gives you picture fragments of his homeland... a stream, a valley, a lake, the hills, nature in all its awesome majesty. 

The finale of the evening was again another old favourite: Borodin's Polovtsian dances from Prince Igor. However, there was a twist this evening... they were performed in a choral version. something completely new for me and had no idea that there was even a choral version ever written!

Both choir and orchestra outdid themselves this evening, perhaps because they were in the august surrounds of the RNCM, but whatever the reason, they have never sounded better, and it was exciting and interesting to watch so many student conductors take their turn on the stand; and watching their differing approaches to the music. 

Reviewer - Alastair Zyggu

on - 21.3.26

Concert Review Asa Murphy & Friends Tribute to Elvis The Prohibition Recording Studios Liverpool

 

This was a very enjoyable way to spend a Sunday afternoon with superb entertainment in a cosy, intimate setting, almost like being in someone’s front room.

The Prohibition Recording Studios is a comfortable, compact venue situated in the heart of Liverpool at the back of the Liverpool Everyman theatre, close to the Metropolitan Cathedral. It holds approximately 50 people and this event was sold out so there was standing room only.

The small stage was home for two hours to Asa Murphy, supported by Ritchie McGrath on drums and John Wheatcroft on guitar, with friends, Leslie Longley, Pauline Donovan and young 11 year old vocalist, Teddy Mitchell.

Asa introduced the show explaining that it was a tribute to Elvis but that there wouldn’t be any sort of imitations of the King. Having always been a fan of Elvis he went on to say he wanted to concentrate on Elvis’s earlier career and his time with Sun Records. Asa’s first number was ‘Mystery Train’, followed by ‘Harbour Lights’ which showcased Elvis’s skill in singing in a higher key.

After contemplating Elvis’s love of country music, Asa went on to sing, ‘Are You Lonesome Tonight’ followed by ‘Don’t Say Don’t’ before introducing his first guest, young Teddy Mitchell . Teddy very much looked the part, dressed in a hot pink suit and white shoes; it was his first time performing with a live band and although he said he was nervous he did a grand job singing ‘Teddy Bear’ and ‘Jailhouse Rock’.  Teddy had all the Elvis moves and impressed the audience so much they didn’t want him to leave the stage, giving him rapturous applause and encouragement.

After Asa performed ‘It’s Now Or Never’ which showcased the marvellous vocal range of Elvis there was a short interval.

Asa started the second part of the show introducing the audience to Elvis’s love of gospel music informing them that the King had recorded five gospel albums with The Jordanaires and then singing ‘How Great Thou Art’ which brought a lump to the throat of many of those watching.

Pauline Donovan joined Asa on stage and they dueted with ‘Can’t Help Falling in Love’, after which Asa sang a shortened version of ‘Old Shep’ and commenting on how sad the song is. He really got into the groove when singing and gyrating to ‘One Night With You’ which was enjoyed immensely by the audience.

‘You Saw Me Crying in the Chapel’ came next followed by sad song, ‘Don’t Cry Daddy’ a favourite of Asa’s, probably in his top 3 of Elvis favourites.

Firm favourite, ‘In the Ghetto’, a song Colonel Parker told Elvis not to sing because of it’s social commentary, had the audience singing along and warmed up to receive next guest, Leslie Longley, a huge Elvis fan. He entertained with Elvis’s first number one hit, ‘That’s All Right Mama’ along with plenty of Elvis type gyrations, following on with ‘Always On My Mind’.

Next came audience favourite, Teddy again who wowed with ‘Hound Dog’ with plenty of Elvis movements which had the audience captivated, wondering how someone so young could entertain so well. He had all the moves and gained more confidence as his session went on, even conducting the band at one point. Teddy is featured on YouTube at the tender age of eight, singing Elvis, see https://www.youtube.com/watch?v=2N-7s-aJoJg.

Asa went on to enthral the audience with ‘His Latest Flame’ and sang a request from the audience of hit song, ‘Suspicious Minds’. The finale saw all guests on stage with Asa singing all time favourite, ‘The Wonder of You’.

The audience were putty in Asa’s hands throughout the show, as they enjoyed singing along to all the Elvis numbers performed skilfully and with ease from Asa, a true professional whose love of entertaining shone through.

This was a very entertaining way to spend a few hours on a Sunday afternoon and I can thoroughly recommend joining Asa for his next two shows at this venue.

The next show from Asa at the same venue, will be The Johnny Cash and Hank Williams show, followed by The Buddy Holly show; for further details and tickets see https://www.prohibitionrecordingstudios.co.uk/live-music-events.

This entertaining show was held in support of the Matthew Lock Foundation, with proceeds after expenses, going to them. For further details of the charity and support for ADHD, see https://www.bbc.co.uk/news/articles/cp3z974jg1lo.  In addition, future shows will be held for charities in Sefton.

Catch Asa and friends next time, you won’t be disappointed.

Reviewer – Anne Pritchard

On – 22^nd March 2026

Theatre Review Teechers Blackpool Grand Theatre Studio

John Godber’s Teechers proves once again why it remains a staple of British theatre, and this updated production at Blackpool Grand Theatre’s Studio space delivers a sharp, energetic revival that feels both timely and biting. Performed in the theatre’s more intimate Studio—an often-overlooked gem that perfectly suits the play’s stripped-back style—the production thrives on its closeness to the audience.

There’s nowhere to hide here, and the cast embraces that fully, driving the piece forward with relentless pace and precision. The audience response spoke volumes: laughter was frequent, well-earned, and ultimately gave way to a rousing standing ovation, testament to both the production’s sharp contemporary edge and the cast’s fast-paced performances that had the audience hooked from start to finish. 

What stands out most in this revival is how effectively the updates have been woven into the script. Without losing the spirit of Godber’s original, the production injects fresh references that land with a satisfying sting. Contemporary political missteps—most notably the now- infamous blunder from a British politician unable to recall the price of a pint of milk—are cleverly integrated, drawing knowing laughs while underlining a deeper disconnect between policymakers and everyday realities in education.

The play’s enduring themes feel sharper than ever. The contrast between underfunded comprehensive schools and affluent fee-paying institutions is drawn with clarity and humour, but also with an undercurrent of frustration. The competitive tension between these systems—students, teachers, and outcomes alike—is presented not just as satire, but as a reflection of widening divides that still resonate today.

Despite these weighty ideas, the production never loses its sense of fun. The fast-paced, multi-role performances are executed with impressive agility. This dynamism keeps the audience engaged throughout, ensuring that the message never feels heavy-handed. Jo Patmore is outstanding as ‘Gail’ (amongst a host of other roles), with a particularly memorable turn as ‘boy in mask’ during the scene in which drama teacher Miss Nixon clashes with the stalwart rule-enforcer Mr Bassford. Both Levi Payne and Sophie Suddaby work tirelessly, switching effortlessly between characters with impressive precision, maintaining the show’s relentless pace and leaving the audience in awe of their versatility.

All of this is brought together under the assured direction of Jane Thornton, whose extensive experience with the John Godber Company is evident throughout. Ultimately, this updated Teechers is a lively, intelligent revival that balances comedy with critique and pathos. In the intimate setting of the Studio, it becomes something even more powerful: a direct, unfiltered conversation with its audience about the state of education today—one that entertains as much as it provokes.

Production Run | Friday 20th March to Saturday 21st  March 2026 

Reviewed by Jen O’Beirne 

On Saturday 21st  March 2026

Concert Gorillaz - The Mountain Tour 2026 Co-op Live, Manchester

From desert beats to digital worlds, Gorillaz truly lit up the Co-op Live arena Manchester. Loud, loose and unstoppable, last night 21st March the Co-op Live felt less like a concert arena and more like stepping into an otherworldly realm.  

An amazing opening from Omar Souleyman provided a hypnotic, high energy electronic dabke music set. Souleyman who sings with absolute solidity and mostly in Arabic and Kurdish, brought his energetic and impressive stage presence to Manchester. Soon, everyone was fully in the mood for the evening ahead. What a true support does, Souleyman warmed and hyped up the crowd - and before you knew it, there were arms in the air - people on their feet! What a perfect opener. 

Gorillaz then went on to deliver a visually striking genre-smashing performance at full throttle. 

Gorillaz took that energy that Souleyman had helped create and expanded it into something far more expansive. Created by Damon Albarn and Jamie Hewlett, Gorillaz have always existed in that space between the real and the imagined, a virtual band with a very tangible cultural footprint. But live, that concept becomes something else entirely.

From the opening moments, the scale was undeniable. Towering visuals, shifting animations, and a full live band created a rich, textured soundscape that felt as physical as it did visual. The interplay between the animated world and the musicians on stage blurred constantly, one moment you’re inside the screen, the next you’re pulled back by the weight of the bass vibrating through you. Albarn held it all together with a kind of quiet authority, never overstated, never forced. There’s a looseness to his presence that allows the show to breathe, to evolve in real time, rather than feel tightly controlled. It’s a rare thing at this scale. I have to admit I’m much more at home in smaller, more intimate venues, and I wasn’t sure how this would all land in a large-scale arena. But somehow it really worked. The space never swallowed the performance, instead it amplified it. 

The arena felt alive without ever feeling impersonal. Every visual, every beat, every moment still felt immediate, almost intimate, even amongst thousands of fans. Gorillaz main set features the album opener and title track The Mountain. With a backdrop of stunning illustrated sketch style visuals from Hewlett we soon hear the wondrous The Happy Dictator. Then we are treated to Tranz, from their Humanz era, with Tomorrow Comes Today, and 19-2000 from their self-titled debut. With the tour supporting its new record The Mountain does take up quite a bit of headspace and there were guest appearance’s from IDLES’ Joe Talbot, Yasiin Bey, Kara Jackson, Bootie Brown and Posdnuos. The crowd were also delighted with a posthumous feature from the man that is Mark E. Smith. The new material was presented with enthusiasm and gusto and I didn’t sense any frustration in this from an audience who might crave the classics. Tracks like Feel Good Inc. and Clint Eastwood  were embraced with a kind of collective recognition that went beyond nostalgia. They felt current, alive, songs that haven’t aged so much as adapted, continuing to resonate across generations.

What stood out most, though, was the feeling in the room. There was no distance. No sense of performance versus audience. Just thousands of people moving within the same atmosphere, connected, present, and for a while, free from whatever they’d walked in carrying. And somewhere in that, I noticed a shift in myself. I stopped thinking. No analysing (something I happily let go of as can be my day-to-day work) no over-processing, just being there. Present. Singing, moving, smiling, even hugging strangers. That balance, between escape and presence, is where Gorillaz are at their most powerful. They don’t just take you out of your world, they alter how you return to it.

Walking out into the night, there was a different energy. Not dramatic, not loud, just a quiet buzz.

Today, it’s still with me. That’s the power of Gorillaz. 

Gorillaz - The Mountain Tour 2026 continues here https://gorillaz.com/tour/

Reviewer - Mary Fogg 

On - 21st March 2026

Heritage Tour of George Harrison’s Childhood Home /My Sweet George Performance 25 Upton Green, Liverpool

 

What an absolutely delightful way to spend a glorious sunny afternoon, the best day of the year weatherwise so far this year, listening to tribute band My Sweet George play a selection of George Harrison’s songs in the very house where George lived from the age of 6 at 25 Upton Green, Speke, Liverpool.  And one of the first songs to be sung, ‘Here Comes The Sun’, couldn’t have been more fitting.

25 Upton Green was built around the late 1940s, a small, brick-built council house designed to meet the urgent housing needs of a city recovering from the Blitz.

The Harrison family moved into the house after re-locating from their home at 12 Arnold Grove, Wavertree where George was born in January 1950. The modest house built on two stories with a small back garden offered the family more space and comfort than their previous home.

It was a pleasure to be shown around the house by Ken Lambert who is part owner of the house along with Dale Roberts. Dale launched "The Liverpool Stories Podcast" with the aim to document stories from the city of Liverpool; he conducts interviews with guests inside George Harrison's childhood home and around the city.

In 2026 Dale started to deliver monthly tours of the house, meaning that Liverpool finally had childhood home tours for Beatles, John, Paul and George.

For further information see Dale Liverpool tours ltd at https://www.daleliverpool.com/

We were fortunate to meet a former owner of the house who was also at the event and provided us with the history of the house from when she was living there.

The house has been lovingly restored and reflects the furnishings of the 1950’s with vintage-style furniture and décor which have been carefully selected by Ken’s wife to evoke the era. Additionally, some of the original fixtures and fittings are intact such as the small bath and wash basin in the very small bathroom upstairs and a wooden cupboard in the kitchen. There are many photographs of George from his youth on display plus some beautiful sketches of George and The Beatles.  Importantly, the living room houses a piano – George was taught piano in that very same room by Paul McCartney and visitors can play Beatles LP’s on the record player whilst staying there. Outside, in the back garden a mural has been painted on the outhouse wall by Sandra, a Ukrainian artist, which depicts George sitting in the garden of his Friar Park home from the cover of All Things Must Pass and there is a plaque outside the front of the house denoting that the house was a regular meeting place for The Beatles and The Quarrymen to practice in.

This event included a performance from tribute band, My Sweet George in the back garden.

The house is a gem worth visiting for any Beatles fans and the icing on the cake for my visit was the performance of George’s hit songs from tribute band, My Sweet George, more information can be found about them at https://www.mysweetgeorge.co.uk

The five piece band performed many of George’s hit songs from his Beatles days, Travelling Wilburys time and his solo career. The band were given a warm reception and treated the audience to a variety of hits plus an encore of the early Beatles song, ‘In Spite Of All The Danger’ with Ken on vocals before finishing off with Chuck Berry’s ‘Roll Over Beethoven. 

The audience was graced with Colin Hanton of Quarrymen fame who regularly practiced at the house during his youth. The house became a regular rehearsal spot for The Quarrymen and The Beatles, with stories of John, Paul and George rehearsing and playing in the living room, bedroom and the outhouse which still has a working toilet which we were told has been often visited by George John and Paul.

The house is available to rent from Airbnb, for details, see  https://www.airbnb.co.uk/rooms/578931326117943145  

For Beatles fans wishing to stay at the house it is a magical step back in time to 1950's Liverpool; visitors will be able to see family photos of a young George Harrison in the living room where he learnt to play guitar, they can sleep in the bedroom where George rehearsed with John and Paul and bathe in the original bath tub George used after performing at dozens of Liverpool gigs. Guests staying at the house will find that it is more than just a place to stay, they will experience a living piece of Liverpool’s musical heritage brought to life by the ambiance of Beatles culture and famous history.

For details of My Sweet George future events see https://www.mysweetgeorge.co.uk/bookings/

Reviewer: Anne Pritchard

On: 21^st March 2026

Theatre Review Amateur The Complete Works of Jane Austen Abridged Thingwall Players Thingwall Community Centre Liverpool

Thingwall players present this fast-paced, comedic stage play written by Jessica Bedford, Kathryn MacMillan, Charlotte Northeast, and Meghan Winch which features three actors performing a quick dash through Austen’s novels and was brilliantly directed by Natasha Cragg.

The stage is set depicting Jane’s home as it would have been during the Regency period, with a hatstand adorned with bonnets, a chaise long, a screen, a large chest, a writing desk and chairs and a couple of top hats. Credit must be given to stage manager Catherine Flower and sound and lighting Meg Doherty and Tim Saint. 

The cast Bethany Cragg, Meredith Clayton and Kyle Jensen appear on stage dressed in full Regency regalia, (the fabulous costumes and props by Angela Clarke & Carol Golightly), who all gave a truly outstanding performance. They set the scene as a cast of two, as totally devoted Austen fanatics who’s third member has unexpectedly dropped out and as time is running out, they seek the help of the only actor available, who has no knowledge whatsoever of Jane Austen.

A chaotic quite hilarious dash through Austen’s complete work ensues. The characters directly address the audience throughout the play adding to the overall interactive comedic effect. Together, they enthusiastically discuss and celebrate the merits of Austen’s works and life, debate which of her novels is indeed the best, and act out fast-paced vignettes of each of the prized novels utilizing an impressive series of quick changes via hats and props. They portray her heroines, friends and love interests whilst adding a modern spin to it in parts.

The play conveys Jane’s perfect feminist witty observations of women and her ability to get inside the mindset of middle-class England during the early nineteenth century and highlights the financial dependence of women on marriage, focusing on the major novels Pride and Prejudice, Sense and Sensibility, Emma and including The Watsons and Sanditon.

The play jokily and teasingly focuses intermittently onto the two women who hilariously, keep referring to their empire line gowns which accentuate their bosoms and indicating how women had to attract a suitor to marry as a means of survival in those days. References to characters Mr Darcy, Mrs Bennet, Mr Bingley and Lady Catherine de Bourgh, Mr Knightley and the Dashwood sisters are humorously included of course.

During the evening the audience were entertained, humoured and enlightened to the wonderful works of Miss Austen and I was impressed by the attention to detail and loved learning more about her novels.

A fabulous collaboration by all involved, thank you ‘Thingwall Players’ for yet again delivering a beautiful production.

This production runs from 19th-21st March 2026.

Reviewer: Jill Ollerton 

On: 20.03.26

Theatre Review Living The Playhouse, Sheffield

Set in his hometown, award-winning Sheffield playwright Leo Butler’s Living is a state-of-the-nation drama about all the years of our lives. It is an exciting and challenging production for the cast and creative team with 8 actors performing the roles of over 30 characters, spread across a timespan of 55 years. 

The Tanya Moiseiwitsch Playhouse at the Crucible Theatre is an intimate setting for what the writer himself describes as ‘the most ambitious and personal play I’ve written.’ The stage was set up as a living room for the entirety of the play, with the layout and props changing to communicate the progression of time from 1969 through to 2024. The sparse room was updated periodically with the latest technological advances, such as a VHS video recorder and a CD tower unit. Being from Sheffield, the many references to the City, including the village where I grew up, colloquial terms and time-sensitive reference points added to the feeling of familiarity. 

Abigail Graham’s superb direction was key to the success of the multi-faceted storyline. Tasking eight actors to portray over 30 characters across a timeline of 55 years with only minor modifications to the set is no mean feat. The relevant date changes were projected across the plain OSB walls around the stage clearly and effectively. This was necessary as the timeline sometimes progressed a few days at a time, but then jumped by a few years. What was impressive was the smooth manner of switching conversations between characters and the enablement of costume changes. The use of lighting was an important component in this. The costumes and makeup were accurate and easy to associate with the relevant era. For the direction to work, the cast had to work together as a team, including updating the set. The 8-person cast was individually and collectively brilliant. 

Ambitious is the perfect word to describe the expansive narrative. Set over 5 decades, the subject matter touches upon family, community, politics, addiction and money amongst other themes. Covering a period of time that oversaw dramatic social change, there were many easy-win, lighthearted, nostalgic references. But broad scripts need depth and this was where the production excelled. Each character had compelling stories that intertwine and resonate with familiarity.

As the story and decades unfolded, I found myself thinking how old I was at that moment in history and where had the subsequent years gone? Having been expertly navigated through the circle of life, the touching and emotional finale was a fitting and bittersweet ending. One of the aspects that stood out was the rich characterisation and how they developed and changed over the substantial time period. This showcased how well the script, acting, make-up, costumes and direction harmonised. Everything worked. The style and location drew comparisons to Chris Bush’s excellent ‘Standing at the Skye’s Edge’ and will appeal to fans of that production.

Living is an excellent theatrical experience, which would work well on a larger stage, but, for now, the intimate Playroom setting adds to the delicacy of the narrative. The production and acting are accomplished and complement the wonderfully sentimental and clever script, which examines the highs and lows of ordinary life with poignancy. It is a highly ambitious and personal work by Leo butler which hits all the right notes and one which I suspect he will reflect upon in years to come with great pride.

Production run (The Playhouse, Sheffield): Saturday 14th March – Saturday 4th April 2026.

Running Time: around 3 hours, including an interval.

https://www.sheffieldtheatres.co.uk/events/living/dates

Reviewer: Matthew Burgin

On:  Thursday 19th March 2026

Theatre Review Under Milkwood by Dylan Thomas Theatre Clwyd

If ‘Under Milkwood’ is not absolutely unique, it is hard to think of anything else quite like it. ‘Oh, what a lovely war’ for example does have a cast where everyone plays multiple parts with neither a central story nor any main characters but with that work, the central aim was a satirical look at a particular historical event. In ‘Under Milkwood’, this is no overriding event and the action never moves outside of a tight-knit Welsh seaside community. The central character is the town of Llareggub, the timespan covered is a just single day and rather than satire, the main focus is a sophisticated blend of cynicism and affection with the audience introduced to some fifty characters through a weaving of picturesque poetry and sharp interactions of dialogue. The play is in essence of a continuous poem acted out, giving a portrait of a certain Welsh community in the 1950’s.

The quick-fire pace of ‘Under Milkwood’ is based around short lines delivered in rapid succession, typically only five to seven words in length and frequently less. Dylan clearly took great care to make the images succinct, often with humorous effect. For example, the description of a drunken lover ‘snoring like a brewery’ says an awful lot in remarkably few words. Many of the poetic images create funny and ribald images. A sailor reminiscing about the ‘jolly rogered sea’ again blends a pirating term with a sexual connotation, again with great brevity. Many images are simply poetic evoking sensual engagement with visual mental pictures. Numerous lines rely wordplay, with cynical connotations such as the wedding where the groom is asked if he will take a woman to be his ‘awful wedded wife’. 

The Theatre Clwyd production had the added impetus of being actually performed in Wales with quite a Welsh cast and this close association to the play came over strongly in the sincerity and vibrancy of the performances. The eleven-strong cast enabled frequent crowd or ensemble scenes to be performed, as the script required, in addition to a host of individual character portraits. For the most part, everyone wore white costumes although there were occasional colourful dresses or black cassocks. Hats were essentially used to denote specific job functions such as the postman or a policeman, at times with a little more such as the butcher having an apron, but a key element of the play was that once a character’s job function had been given, virtually all the other information provided related to their personal passions, quirks and idiosyncrasies.

This was a play about individual people rather than their roles in society. There were numerous memorable and amusing cameo portraits such as the eccentric Organ Morgan played by Jacob Coleman and Evans the Death played by Macsen McKay. Douglas Walker’s blind Captain Cat recurred a few times, as a prominent member of the community with Georgia Griffith’s romantic Polly Garter singing a soulful lament, one three actors who had songs in the folk tradition. Kate Wasserbeg’s smooth direction ensured that lighting changes in the background were scarcely noticed as the emphasis kept moving  rom one character to another, frequently giving to a lifelike realisation to the time of day having changed. 

The set was, for the most part, a jumble of some hundred or so model houses each of which had lights on inside. This was powerfully symbolic denoting the nature of a seaside town built on slopes going down to the sea; a place which had not been in planned in neat rows like a council estate but evolved over time, with the houses effectively all ending up forming a kind of collective jumble. The lighting on the houses changed throughout the performance together the stage lighting and a subtly-used video back-screen to denote the passage of time, from carousing in the small hours to tradesmen starting work at dawn. Sound effects such as animal noises and atmospheric music enhanced the moods so that you really felt you were seeing a whole day in the life of a town, condensed into a just couple of hours, with all the shenanigans and intrigues going on beneath the surface as everyone went about their daily lives.

This was an excellent presentation of an unusual work that essentially  aimed to simply create a picture of a town through a host a quicky characters.

There was an honesty to the writing, underpinned by a deeply cynical humour. This was best exemplified with the Welsh-sounding town name of Llareggub; try saying it backwards!

‘Under Milkwood’ is on until 4th April, see https://theatrclwyd.com

Reviewer: John Waterhouse

On: 19.03.26

Concert Review Come Together Royal Court Liverpool

 

Come Together, written by and starring Tom Connor and Mark Newnham, is a celebration of the music and talents of John Lennon and Paul McCartney of The Beatles fame.

The Lennon and McCartney songbook is commemorated with hits mainly from the 1960’s in the first half with the rest of The Beatles repertoire, 1970’s onwards, in the second half

Tom Connor (Paul McCartney) and Mark Newnham (John Lennon) provide a walk down memory lane for fans of The Beatles celebrating the writing talents of McCartney and Lennon with four talented backing musicians under the guidance of Musical Director Howard Gray. The band members deserve a special round of applause as they are the cherry on top of the cake; Mike Woodvine (guitar), Greg Joy (drums), Adam Keast (bass) and Ben Gladwin (keys) all deserve a special mention for their faultless musical capability and assured stage presence; they make for an impressively tight combo.

The music is interspersed with chat from the two vocalists telling the story of the rise to fame of the Fab Four, highlighting the chemistry between the two performers. The background stories behind each of the songs is uncovered before renditions of the songs, with a few laughs and comedic banter in-between.

The set is constant throughout with all of the instruments on stage portraying a combination of the film studios where the Get Back sessions were filmed to the final iconic Apple rooftop concert performance, with girlfriends coats et al. The duo are dressed casually in T shirts and waistcoats with no costume changes or special effects, the music being the star of the show.

Backdrop video projections help to set the scene and announce different chapters in the lives of the famous duo quoting revered lyrics from some of their songs and showing Liverpool landmarks. The videos help to skilfully submerge the audience into each moment in time, with the sounds of screams in a stadium growing louder to emphasise the height of Beatlemania that Lennon and McCartney, alongside George Harrison and Ringo Starr experienced and led to them publicly state that they couldn’t hear what they were playing and could have been playing anything and nobody would have known, thus leading to their decision to stop touring.

Connor’s portrayal of McCartney hits the mark superbly whilst Newnham’s depiction of Lennon took a little more convincing, that said, both performers’ musical competence and range is flawless. The musical arrangements are tight and the chemistry between the leading duo and the other four musicians is perfect, the audience were captivated from start to finish. Connor and Newnham have created a sardonic script, interspersed with wit and banter and to which Connor brings McCartney’s cheery optimism while Newnham clearly relishes giving voice to Lennon’s dry wit and cynical persona.

The audience were able to lose themselves in personal memories whilst appreciating the music and goosebumps must have been experienced by many as powerful classics such as 'A Day In The Life' and 'Hey Jude' were performed.

The atmosphere is very intimate, and the show is a tribute to two exceptional songwriters; fans from the older generation will enjoy being taken back in time by Beatles music prompting particular memories; for the younger generation the music will register appreciation of the songwriting duos talents whilst jealously wishing they had been around in those ground-breaking times.

The show is a must for Beatles fans; there were many American and European fans in the audience appreciating the talents of Connor and Newnham which are to be applauded.

The show runs until 28^th  March  2026 – more info and tickets available from https://liverpoolsroyalcourt.com/main_stage/come-together

Catch it if you can, you won’t be disappointed.

Reviewer: Anne Horne

On:  19^th March 2026

THEATRE REVIEW AMATEUR YOUTH THEATRE Chicago (teen edition) PADOS Youth The Met Theatre, BURY

This is a hugely popular show, a real 'evergreen' one might say; and strangely enough, it is the Teen edition ( a cut down and 'tamed' version for teenagers ) that is the version i now more often get to see. It is a highly sexy, sassy, and no-holes barred show in its 'adult version', but here most of the swearing, many of the sexual references, and the a couple of the characterisations have been tempered down, It does lose something certainly by doing this, but the essence of the show is still there. And indeed, the essence was there this evening in large amounts. Director Helen Wilkinson and choreographer Suzi Cleary worked excellently together to create this spectacle. they both obviously understood the milieu, style, and genre of this show and did their best to instill this insight into their young cast, most of whom "got it" completely, and had no trouble with the physicality and sass necessary to bring this show off. Bravo!! 

For those of you who don't know, then the musical, Chicago, is based on real events that happened in Chicago in the 1920s and tells the story of two murderesses who, thanks to the 'brilliance' of an expert lawyer, are acquitted of their crimes and go on a Vaudeville tour together! It's highly theatrical, bold, brash, and the writers Kander and Ebb infuse their score with jazz and razzle-dazzle throughout, making it a true vaudeville entertainment in itself. 

Of course opening night saw several hiccups and hiatuses, which will undoubtedly be ironed out as the run progresses, and the cast need to relax more into their roles and allow the show to bed-in and be comfortable. All this of course though is totally understandable and forgivable. And an extra pat on the back to Ben Bardsley, who continued with his 'Mr. Cellophane' song this evening as though that was exactly how it was meant to have been presented! Well done young man!

Right from the very start of this show - the overture, the lights [LX design by MSL was truly stunning throughout!] and the raising of the 'Chicago' sign - we knew we were in for a treat. The feel of the show captured perfectly in this simple but effective bare stage. 

The entire cast must be heartily congratulated, and their dedication, enthusiasm, and indeed ability are all highly commendable; and to learn that their ages ranged from 13-only 18 was inspiring too. Velma Kelly was played by Ashleigh Smith with an energy and verve rarely seen on stage by any performer (professional or amateur regardless of age!) and her understanding of the role and her obvious total enjoyment and commitment to it was a sheer joy. Matching her pace for pace was her co-star Roxie Hart, played by a young Sylvie Knightley, again revelling in her role. We cheered her on, we felt sorry for her, we hated her, we wanted her to hang, then we loved her again.....! superb! Cavan Jefferson gave us an intelligent and clear portrayal of the materialistic and narcissistic lawyer, Billy Flynn, whilst Amos Hart (Ben Bardsley) did his best to be noticed whilst everyone else overlooked him. A nicely pitched performance. Rebecca Lyons played Matron Mama Morton - and it is here that one of the biggest change of the teen edition's show occurs, and for me, turns her character into a side-note rather than  main lead which is a real shame. Morton is not a butch lesbian anymore and she no longer feels up all the girls, and the best song in the whole show 'Class', is cut. So instead, whoever plays this part is left with only an outline of what was intended for her character, and Lyons played that outline to the hilt, milking it for all it was worth. Good on ya gal! Another big change in the show comes in the form of Mary Sunshine. However, many adult shows use a female to play this part too, so it is not as significant. Here a very young looking Emily Sapseid made Sunshine shine!

The 'Merry Murderesses' were Maizie Stanbank, Isabella Shafai, Cleo Avanessian Lucy Jones, and Victoria Phelan. Sadly the programme doesn't tell me which of these was Hunyak - but whichever you were then to my untrained ear at least, your Hungarian sounded native. These principals were backed by an ensemble of 16 more all making their mark this evening. A highly intelligently realised and professionally directed and produced production of one of Musical theatre's 'staples', and a very enjoyable evening out in the company of so many talented youths.

Reviewer - Alastair Zyggu

On - 18.3.27

THEATRE REVIEW The Fire Raisers We Merry Dancers Hope Mill Theatre Manchester

For We Merry Dancers, a new company founded by Oldhamer Amy Gavin, their debut production at Manchester's Hope Mill theatre was the challenging and hard choice of Swiss dramatist Max Frisch's surreal and abstract dark and cautionary comedy, 'The Fire Raisers'.

Gavin also directed this debut production herself, and one might almost say that her direction of the play was excellent. Just a couple of minor instances within the direction stopped it from becoming masterful. The play is very difficult to realise and is intended to be played at quite a pace, never letting the momentum drop; and sadly Gavin chose to ask her cast to put too much weight on certain phrases or situations which almost brought the action to a stand-still. If the pace had not dipped at all throughout, then this would have been a masterclass in theatricality.

The premise of the piece is that the town is being systematically arsoned by individual or individuals unknown and the fire department is on high alert. The preferred method of arson is for the perpetrator to gain access to the property through fraud and deception and then after staying in the house for a day or so, burn it to the ground. Despite this knowledge, our anti-hero Gottlieb Biedermann (played with obvious skill and delight by Rupert Hill), accepts first a 'homeless; man into his house, and later his friend, an ex-convict, and despite their obvious intentions, Gottlieb is blinded by self-righteousness and disbelief, becoming an unwitting accomplice in his own destruction. The two cons, Schmidt and Eisenring are played here with verve and aplomb by Kyle O'Neill and Michael Clay. 

Absurdist humour is possibly the most difficult kind to stage, especially when it carries a relevant and overriding caution or message (as it does here), and this ensemble cast, which includes a Greek-style chorus of fire-fighters do everything they can to keep the suspense burning, even though we seem to know how it will all end. And after 80 minutes of act one of this play, we find we were right. We think the play ends there, and in effect it actually does. However, Gavin had chosen to place a short interval here and then perform the 'epilogue' of this play as a second act of around 25 minutes' duration. the epilogue is set in Hell, and although it does give the cast a chance to show a different side to their consummate abilities, it does feel a little like an afterthought and is not as funny as the main body of the play.

Sound and lighting added greatly to the overall feel of this play this afternoon, but I did feel a little 'let down' by the underwhelming nature of the act one denouement. We could smell and see smoke, but considering everything else was so wonderful, it just was a little disappointing.

However, for a debut production and a directorial debut, this is impressive stuff indeed, and I look forward to seeing what We Merry Dancers next project will be! 

Reviewer - Alastair Zyggu

On - 14.3.26

THEATRE REVIEW AMATEUR MUSICAL THEATRE 9 To 5 Heywood Amateur Operatic And Dramatic Society The Arena, Middleton Manchester

Dolly Parton's most famous song - and film - has been a stage musical for a long time now, and is always a popular choice. I do wonder how it will fare once the younger generation start to take over (those who have never heard of her) - but for the time being, we are blessed with this comedic but cautionary tale about male chauvinism and an all hail to 'Girl Power!'. I have to admit to having seen this show several times over the years, both amateurly and professionally, but to my knowledge and remembrance never seen it with the introduction and ending performed by a pre-recorded Dolly Parton herself introducing and closing the show. This was a new innovation for me and I enjoyed it.

This was a high octane production which was faithful to both the milieu and the writers, with a solid through-line, signposting the narrative clearly, with some excellent characterisations which were rounded and hilarious, taking inspiration from the more famous performances of these people, but not producing copies, making them their own, which was both refreshing and excellently placed. 

We are in the 1970s in the USA, and a large and successful firm takes on a new employee. the boss is the archetypal misogynist whilst his pool of typists have to behave in 'the company way'. However, three of these ladies have had enough, and between them (and the smoking of some pot!), come up with a plan to get their own back and take the company from strength to strength with kindness, humanity and genuine understanding of the needs of the employees. 'A woman's touch' (oops, that's the second wrong musical quote so far!)

The three 'stars' of the show, each with their own differing characters and reasons for rebellion, were truly outstanding, and they worked superbly together. Sophie Lord played Doralee (the role taken by DP herself!). Lord managed to inject a degree of humanity into this role that is often missing in others' interpretations, and she was a sympathetic and 'real' character rather than a dumb blonde caricature that it could so easily have been. Violet Newstead, the office overseer (for the want of the correct phrase!) was played with a huge burst of creative energy and indeed talent by Kathryn Gorton. Her infrequent but more intense and softer moments on stage showed real insight. The trio was completed with Sarah Thewlis as the willing newbie without a clue, Judy. Again another noteworthy performance. 

Jon Crebbin relished his role as the company boss, pitching his character just right as Franklin Hart. Who was, in his own words, a sexist, lying, egotistical, hypocritical, bigot. Another highly noteworthy and lovely performance (with a stunning transformation!) came from Scarlet Dickinson as Ros Keith. We all truly enjoyed her duality. The cast completed with other solid performances from Sam Reid as Joe, Jack Martin as Dick, Gareth Roberts as Dwayne, and an enthusiastic and nicely sounding chorus and ensemble. Accents were generally very good and consistent throughout.

Directed with gusto (Nick Angus) and choreographed with verve (Jennie Miller and Hannah Gent), this was a great and highly creditable addition to the society's accolades. The musical direction was deftly done by David Abendstern, my only criticism would be that sometimes the music overpowered the onstage choral effects, but that has more to do with the sound department than the music I feel. Both director and choreographers had taken into account both the size and shape of the set utilising space well, as well as making sure no-one felt left out and was not tasked into doing something that was beyond their capabilities..

This was opening night and so there were a few obvious hiatuses, but these are completely understandable and forgivable. Overall a feel-good positive and rousing show of which the company should be rightly very proud.

Reviewer - Alastair Zyggu

on - 17.3.26