Shopping Experience Review -The Night Market CONTENT Liverpool (Cains Brewery Village)

 

This was a special Spring event, the first of 2026 which opened at 5:30pm until 10:30pm at CONTENT, situated in Cains Brewery Village, Liverpool.

The large hall was filled with stalls from local artists and vintage traders selling jewellery, clothing, candles, crocheted plants and paintings to mention but a few, all handcrafted and original. The market hall featured over 60 independent local creators which even included items of witchcraft and the occult.

There were also a number of street food stalls, a bar and a local DJ playing live music whilst overhead videos depicted buyers wondering around the stalls and chatting to stallholders.

It was a chilly, wet night but there was a vibrant atmosphere inside the hall, which also welcomed shoppers with dogs in the warehouse-like surroundings. The organisers describe the event as "warehouse party meets market".

Tickets with hourly entry timeslots and further details from Ticketsource https://www.ticketsource.co.uk/whats-on/liverpool/content-liverpool/the-night-market-uk-liverpool-spring-2026/2026-03-05/d-ovarbphrzwarm.

Online prices: £4 for adults (plus a 2-ticket special for £7) and £3.50 for concessions, with higher prices on the door. The event was dog-friendly with free entry for dogs and children under 12. Shoppers had their hands stamped upon entry so they were able to wander in and out and visit the nearby Baltic Market for food and drinks if they preferred.

The event concentrated on showcasing local talent and provided a unique evening of shopping experience in the heart of the Baltic Triangle.

Reviewer:  Anne Horne

On: 5^th March 2026

Theatre Review The Ladies Football Club Crucible Theatre, Sheffield

The Crucible Theatre is no stranger to tales of sporting drama and its latest offering is no exception as the Ladies Football Club continues its month-long residency. Written by Stefani Massini and adapted by Tim Firth, it is a story of the women of Sheffield who, during World War One, take the place of the city's fighting men in the factories. When they start kicking a football about during a break from manufacturing munitions, they discover an unexpected sense of passion and teamwork. Directed by Elizabeth Newman, this new production promises to be a thrilling encounter and was chosen as one of the Times best shows to see in 2026.

The Crucible’s stage was sparsely decorated throughout the performance, with few props used. Workbenches were slid out to depict the factory setting and projections occasionally adorned the back screen to show different locations. I feel that more frequently used and clearer projections of the backdrop would have been beneficial when setting the different scenes along the way. Lighting Designer Ben Jacob’s use of floor and wall lighting was effective, particularly during the football scenes. 

The stage was occupied by all 11 cast members who formed a single ensemble. It would be unfair to commend individual acting performances as the roles were equally divided and executed with great enthusiasm and humour. This was important as the message of teamwork through circumstances, work and football was a key premise of the storyline. Each character was unique with a carefully crafted backstory, scripted to showcase each personality. Having so many different lives portrayed equally was an unusual and adventurous undertaking. The dialogue was sharp and quick-witted enough to accommodate this, although the multiple personalities were a lot to absorb in a play of around 2 hours. 

Movement Director Scott Graham used the large, sparsely decked-out stage, bursting with energetic performers, to full effect. The flight of the ball and the hustle of the football matches were captured well in the interpretive dancing scenes with goal celebrations and sliding tackles galore.

The backdrop of the First World War, working conditions for the ‘munitionettes’ and the attitude towards women playing football were discussed, often humorously. The combination of humour -whilst used smartly- and the multiple characters, gave the play an overly frivolous and frantic feel. Whilst this will appeal to many, I felt the production would have benefited from more abstract reflection on working and living through a tough period of British history. Although the body of the script and costumes made the First World War setting clear, the sparse setting and style of narrative didn’t give the impression of being transported back in time. 

The Ladies Football Club is a witty and fast-paced production that tells an important story of the evolution of women’s football, which will appeal to theatre goers of all ages.

Production run (The Lyceum Theatre, Sheffield): Saturday 28th February – Saturday 28th March 2026.

Running Time: around 2 hours, including an interval.

https://www.sheffieldtheatres.co.uk/events/the-ladies-football-club/dates

Reviewer: Matthew Burgin

On: March 2026

Theatre Review War of the Worlds Playhouse Theatre Liverpool

Universally hailed as one of the ‘fathers of science fiction’, H. G. Wells continues to inspire bold reinterpretations of War of the Worlds, his seminal alien invasion novel that has never been out of print since its publication in 1898. From Orson Welles’ 1938 radio broadcast to Jeff Wayne’s 1978 musical, to Steven Spielberg’s 2005 film and countless other adaptations, the story has been repeatedly retold, often to mirror the anxieties of its age.

Imitating the Dog’s latest stage version does exactly that. Known for pushing multimedia boundaries, the company delivers a theatrical experience that feels like watching a one-take film being constructed live before your eyes. It is dazzling and complex.

Situated in a reimagined Britain with echoes of 1960s London and present-day political rhetoric, the production follows Will (Gareth Cassidy), who awakens in an abandoned hospital amid apocalyptic chaos. Mechanical invaders roam red-lit streets, British landmarks burn, and rumours circulate of safe passage across the English Channel. As Will searches for his wife (Amy Dunn), the narrative unfolds as both a dystopian road trip and mental breakdown, though the emotional clarity of that journey is not always as sharply defined as its visual world.

The true triumph of this production lies in its technical boldness. Four performers, Bonnie Baddoo, Morgan Bailey, Cassidy and Dunn, simultaneously act, operate cameras, shift props and manipulate miniature model worlds with astonishing dexterity. Two intricate dioramas, environmental backdrops and a central projection screen combine to create the “final film” in real time. Forced perspective, clever zooms, distortion filters, double exposure and Pepper’s Ghost effects blend the live with the lifeless in a dazzling, ever-changing picture of ideas and images Steve Jackson’s video design deliberately exposes the mechanics without entirely demystifying them, while Abby Clarke’s set and Andrew Crofts’ stark, strobing lighting plunge the stage into a blazing apocalyptic palette of reds and whites. James Hamilton’s score, veering from celestial eeriness to string-driven dread, sustains an atmosphere of mounting unease.

For all its creativity, the storytelling occasionally feels secondary to the mechanics. Wells’ themes of colonial cruelty, imperial arrogance and technological warfare are reframed here through anti-immigration rhetoric and social fracture, with imagery of burning skylines, charred bodies and bobbing dinghies offering a pointed commentary on displacement and prejudice. The political parallels are clear.

The production’s final twist reframes earlier moments in a darker psychological light, transforming exaggerated survivor figures into something more troubling. It is a bold narrative choice, though one that relies on groundwork that is not always sufficiently laid. Will’s relationship with his wife, the emotional spine of the piece, lacks the depth required to fully anchor the spectacle. As a result, the human stakes can feel subdued, even as the world collapses spectacularly around them.

I found this to be truly compelling. Imitating the Dog have created something rare, a production that operates simultaneously as theatre and cinema. It is inventive, unsettling and frequently jaw-dropping. This production of War of the Worlds stands as a bold argument for experimentation in theatre.

War of the Worlds is on until 7th March and tickets can be purchased here,

https://everymanplayhouse.com/event/war-of-the-worlds/

Reviewer – Adrian Cork 

On – 04.03.2026

THEATRE REVIEW ROSS NOBLE: Cranium Of Curiosities The LOWRY THEATRE SALFORD

This was my fourth time of having the pleasure of seeing the master of 'stream of consciousness' tomfoolery on stage, and i have to admit, it was my most pleasurable to date. I had been in a bit of a slump for the last day or so and was in dire need of a good belly laugh or two, and so, knowing that laughter is indeed the best medicine, I was hugely receptive to Noble's tangential brain diversions. 

Unlike many other stand-ups who do the rounds, Noble takes great care with his stage set, and creates the mood, ambiance, etc for his show's title with skill. In this instance we were met with a large stage full of inflatable Ross Noble freaks and curiosities as if from a Victorian Circus or Barnum's Greatest Show On Earth. Not only that but appropriate auditorium music was selected to add to this, and his grand entrance to flashing lights and glaring eyes was nothing short of theatrical genius. My one disappointment in all of this was that Noble chose to wear modern day black sports shirt and trousers with black trainers with an annoyingly focus-pulling bright red sole. I admit that stand-up comedians do tend to 'dress down' in our modern times, but, considering the stage setting and the theatricality of everything else, this was not just underwhelming but disappointing.

Noble's humour however was on top form this evening. Interspersed with set routines, he allowed his mind to wander far from his planned gig, quite obviously amusing himself just as much as us along the way. Where he excels is his unabashed admittance that there is no hidden meaning, no message, no agenda to his routine or jokes, he just wants to make people laugh. As he said last night, "Be funny and f*** off!". This leads me swiftly on to another point. Noble's use of profanity was never excessive unlike many, and again I admire and congratulate him for this. However I did feel last night there were a couple of unwarranted uncalled for expletives.

Noble took us through items of current affairs with his his typical disdain; and we even had the 'ghosts' of Andrew Mountbatten-Windsor, Jeffrey Epstein, Greg Wallace and others on stage with us! - although I did have to Google the word 'nonce' before writing this review. It was term new to me. His funniest material though came from his chatting with members of the front row, and we had an advert for Tena Ladies, Duolingual sex robots, and a 'Hips Or Piles' Gameshow. 

A superb evening of non-stop laughter in the company of a master of cerebral mayhem and misdirection.

"Hip hip, Piles!"

Reviewer - Alastair Zyggu

On - 1.3.26

Film Club Event Borrowed Time: Lennon's Last Decade (2025) Liverpool Beatles Museum

 

This was the Beatles Museum’s first Film Club Event and featured an exclusive screening Borrowed Time: Lennon's Last Decade (2025), prior to which was a short Q & A session with Director, Alan G. Parker who delivered insights into the filming and production of the film. Lennon is lauded as one of music’s most influential legends and the film draws on archive footage, interviews and contemporary accounts to examine Lennon’s musical creative output, personal life and legacy after the disbandment of The Beatles.

Borrowed Time: Lennon's Last Decade (2025) was released in cinemas on 2nd May 2025. It takes its title from a song from Lennon and Yoko Ono's last album, ‘Milk and Honey’.  The single was released in March 1984 and failed to chart in the USA; it charted at number 32 in the UK Singles Chart, the B-side features Ono's song ‘Your Hands’ from the same album, which failed to chart.

The song was inspired during Lennon's 1980’s sailing holiday from Newport, Rhode Island to Bermuda when during a lengthy and severe storm most of the crew were taken ill with seasickness. Lennon was not affected and was forced to take over on the yacht's wheel, being alone for many hours. Although terrified by his ordeal, it brought home to him the fragility of life. Upon arrival in Bermuda, Lennon heard the line 'living on borrowed time' from Bunny Wailer's ‘Hallelujah Time’ and was stimulated by his sailing experience to write the lyrics around that theme. Wailer was also the inspiration for the reggae style of the music. Lennon commented that living on borrowed time was exactly what he was doing

‘Borrowed Time’ concentrates on Lennon’s post-Beatles career, his involvement in political activism and his lived life experiences in 1970’s post his Fab Four Beatles fame. It covers the whole period from Lennon’s arrival in New York right through the decade, the solo albums, quarrels with Paul, protests, interviews, joint ventures with Yoko, the struggle to get a green card, the ‘lost weekend’ with May Pang, and finally his murder at the time he was planning an ambitious new global tour.

 It includes rare archive footage with talking heads interviews, for example with guitarist Earl Slick, Beatles-expert veterans like Ray Connolly and Philip Norman who offer their reminiscences, along with broadcasters Andy Peebles, Bob Harris and Tony Palmer and covers his 1975-1980, ‘retirement’.  It investigates Lennon's life after The Beatles, covering his ‘househusband’ era (when everyone was led to believe he was at home alone caring for baby Sean, but in fact we were told in the film Yoko had a house full of staff who cooked and cleaned etc..), his involvement in US politics and his FBI difficulties. It is commended for being a deeply personal and genuine study of his final last ten years of his life rather than being a glossy tribute.

For Beatles and Lennon devotees, this film provides reverential reminiscences of a musical genius and the challenges he faced post Beatles fame. Tragically, the film depicts how Lennon was coming to terms with his life and was in his prime artistically, writing new music which was acclaimed by his fans and contemporaries.

It was a full house but disappointedly the event started nearly one hour later than the advertised time with no explanation as to the reason why.  Consequently, the Q & A with Director, Alan G. Parker conducted by Roag Best was rather short. There is a bar available for drinks and snacks, and the room holds approximately 100 people although the seating is basic and tightly packed.

For visitors to Liverpool, the Liverpool Beatles Museum on Mathew Street is a gem and is highly recommended; it is a warren of artifacts, souvenirs and Beatles nostalgia and often features ‘exclusive’ screenings such as this. The Film Club is a new enterprise. The museum also houses the Liverpool Legends Hall of Fame which is well worth a visit to admire the many well-known celebrities and musicians who have hailed from Liverpool, some of which may come as a surprise.

For tickets for the Beatles Museum (Admission currently £20 pp) see https://liverpoolbeatlesmuseum.com

Borrowed Time: Lennon’s Last Decade was released in cinemas on 2nd May 202, Cert. 12A running time134 mins.

Borrowed Time: Lennon’s Last Decade may be accessed via YouTube see link - https://www.youtube.com/watch?v=YxHcpxbYrfE&t=4s

Reviewer: Anne Pritchard

On: 28^th February 2026

Theatre Review Tomatoes Nearly Killed Me but Banjos Saved My Life

Tomatoes Nearly Killed Me but Banjos Saved My Life is one of those rare shows that manages to be both quietly profound and utterly disarming. It’s heartfelt without ever tipping into sentimentality. After touring the world, Keith Alessi has now performed his 450th show, marking this milestone at the King’s Head Theatre in London—a remarkable achievement for anyone, but especially for a man who, in 2017, was given just twelve months to live after being diagnosed with oesophageal cancer. That he is still here, still performing, and still donating every penny of his artist fees to charities and community groups—now totalling around $1.2 million Canadian dollars—is nothing short of extraordinary.

Keith is currently making his way around the UK, eventually returning to the Edinburgh Festival, where he has enjoyed sellout runs for the past three years. I was particularly excited to take my husband along this time, partly because he’s a reliable barometer; like Keith, he also picked up the banjo later in life. Keith, however, has taken things to a different level entirely: he owns fifty two banjos. Fifty two and somehow still has a wife.

The show itself is essentially a one man performance, save for a brief interlude when his promoter steps in to lend a hand. Over the course of eighty five minutes, Keith weaves together the story of his illness, his recovery, and his unexpected love affair with the banjo. He is the first to admit he’s no expert, but that’s part of the charm. His message is simple and authentic: it’s okay to play, to try, to do your best, even if perfection is never the goal. He treats us to a handful of familiar tunes—including a lovely rendition of Shady Grove—switching between clawhammer and fingerpicking styles, and even swapping instruments midstory, including a banjitar. His enthusiasm for the history of the banjo is infectious; he speaks with genuine affection about its origins, its many genres, and the sheer variety of materials and craftsmanship that make each instrument unique. No two banjos, he insists, will ever sound the same. And, he repeatedly adds with a joke, they are always out of tune.

What keeps the show buoyant is Keith’s humour. He cracks jokes throughout, often at his own expense, and the result is a tone that remains lighthearted rather than melancholic. The King’s Head Theatre, with its relaxed and intimate atmosphere, suits the piece perfectly. At times, you feel as though you’ve been transported to one of the music gatherings he describes in the Blue Ridge Mountains of Virginia, where he found a spiritual home among fellow musicians. His determination to keep going—to keep playing, keep learning, keep living—has kept him cancer free for years, defying the prognosis he was once handed.

By the end of the evening, it’s clear why this show works so well: it’s Keith’s real story, told with authenticity, warmth, and a gentle resilience that never asks for sympathy. Instead, it invites connection. We left the theatre with my husband quietly deciding he might just dust off his own banjo and start playing again. And really, what better testament to a performance than that?

Playing various dates in the UK: The Old Fire Station, Oxford on 1st March back at the King’s Head on the 6th March, Meadowfield, Durham on the 8th March and then back in the UK at the end of July and Edinburgh Fringe in August. Check the website for more details. 

https://www.tomatoestriedtokillme.com/the-show

Reviewer - Penny Curran

On - 27th February 2026

Theatre Review Sinematic Cabaret Emerald Theatre, London

From the moment you step into the venue, Sinematic Cabaret announces itself as a night that refuses to blend into the background. The crowd alone is a spectacle worth the ticket price: eclectic, vibrant, and buzzing with anticipation. Everyone seems to have dressed not just up but for the occasion, as though the audience itself is part of the performance. If you’re a people-watcher, this is your playground. Sequins, latex, feathers, velvet, and the occasional outrageous accessory all mingle together in a glorious swirl of theatrical self-expression. The old saying “all fur coat and no knickers” feels tailor-made for this evening —and in some cases, quite literally accurate.

That sense of expectation builds as you take in the space. The V shaped stage and illuminated archway immediately set the tone, evoking the glamour of a bygone cabaret era while keeping things deliciously modern. The layout feels like an informal lounge — intimate, low-lit, and inviting — with small tables reminiscent of Goodfellas, where you half expect someone to slide you a whiskey and a knowing wink. For the bold (or the unsuspecting), bar stools circle the stage itself, offering a front row view so close you can practically feel the performers’ breath. It’s immersive, daring, and just a little dangerous in the best possible way.

Once the show begins, any lingering sense of restraint evaporates. What unfolds is raucous, unapologetic fun: erotic burlesque cabaret at its most confident and chaotic. The performers dive headfirst into a celebration of cult cinema, weaving together iconic films with a risqué, tongue-in-cheek flair. Costumes range from lavish to barely-there, each one meticulously crafted even when it consists of little more than glitter and attitude. There’s decadence everywhere — in the choreography, in the humour, in the sheer audacity of the staging — and the crowd laps it up.

Audience participation is not just encouraged but practically inevitable. Lolo Brown, the MC for the evening, commands the room with a mix of brash humour, razor-sharp wit, and a gleefully confrontational presence. She is rude, bold, and utterly magnetic, often leaning into the audience — sometimes literally — to deliver her punchlines. Few escape her attention, and even fewer want to. Her energy stitches the evening together, giving the show a chaoticcohesion that feels both spontaneous and expertly controlled.

The acts themselves are a kaleidoscope of pop culture references. One moment you’re plunged into the sultry world of Moulin Rouge, the next you’re watching a gleefully over-the-top homage to Pulp Fiction or From Dusk Till Dawn. A Magic Mike style breakdancing interlude brings the house down, as expected, and the drag performance in the Rocky Horror opening is a highlight — sharp, glamorous, and dripping with charisma.

There’s semi nudity, comedy, camp, pyrotechnics and aerial acrobatics, but it’s all delivered with such joy and theatricality that it never feels gratuitous. Instead, it feels like a celebration of bodies, performance, and the art of not taking oneself too seriously. What else could you wish for on a Thursday Evening but real old fashioned entertainment with a 21st century eclectic twist?

The crowd’s reaction is electric. Cheers, whoops, gasps, and laughter ripple throughout the show, creating a communal atmosphere that sets the expectation for the next set. It’s easy to imagine Sinematic Cabaret becoming a cult favourite, much like The Rocky Horror Picture Show, which fittingly appears in the lineup. There’s a sense that word of mouth will be this show’s greatest ally — the kind of underground gem that London’s open minded audiences discover, adore, and return to with friends in tow.

What makes the evening so compelling is its blend of nostalgia and novelty. By drawing on beloved film classics — Chicago, Dreamgirls, Jackie Brown, Gentlemen Prefer Blondes, Austin Powers, Dirty Dancing, Catwoman, and more — the show taps into shared cultural memories while twisting them into something fresh, provocative, and wickedly funny. It’s a pop culture feast served with a wink, a shimmy, and the occasional flash of bare skin.

Ultimately, Sinematic Cabaret is exactly what London needs: something slightly under the radar, gloriously unfiltered, and bursting with personality. It’s not for the fainthearted or the easily scandalised, and it’s certainly not suitable for under18s, but for those craving a night of bold, bawdy entertainment, it’s a triumph. A provocative, high octane celebration of cinema, cabaret, and the joy of letting go.

Next performances 5th March, 12th March and 19th March

Over 18s only and use of strobe lighting.

Reviewer: Penny Curran

On: 26th February 2026

Theatre Review Blithe Spirit Hope Street Theatre Liverpool

 

Blithe Spirit was written by Noel Coward in 1941 as an antidote to World War 2 and presented on the West End stage. Coward writes very much in the style of Oscar Wilde with light, whimsical repartee between the characters and his work is really a celebration of language.

This production stars Steven Arnold (best known as Ashley Peacock from TV’s Coronation Street)as Dr Bradman, for their annual classic comedy slot. Other cast members are Charlie Dearden (Ruth Condomine), Franklyn Jacks (Charles Condomine ), Kathryn Chambers (Madame Arcati), Mikyla Jane Durkan (Violet Bradman), Pearl Schomberg (Elvira) and Ellaina Halstead (Edith).

The story shows how Charles Condomine, an author seeking inspiration for his next novel reckons a séance would be the perfect creative experiment and inspiration for his novel. He invites Dr. and Mrs. Bradman to his house for the séance with Madame Arcati, but things don’t go to plan, and he gets far more than he bargains for.

The stage set is constant throughout portraying the drawing room of an upper class household complete with maid, Edith, who is very nervous and rather clumsy and who frequently gets a tongue lashing from her mistress, Ruth Condomine. The drawing room is typical of the era with a chaise lounge, a gramophone with large brass trumpet, a drinks trolley which gets plenty of use throughout the play with copious alcohol consumption and lace tablecloths and potted plants.

There were a few sound issues at the start as although seated in the fourth row I had difficulty hearing a lot of the dialogue, especially when the actors backs were turned away from the audience and additionally because the actors needed to speak in ‘posh’ accents (except Madame Arcati who had a more northerly accent). Neck microphones would have been beneficial, something I’ve mentioned in previous reviews of productions at this theatre.

The first half set the scene but was rather slow and laboured, consequently there were quite a few vacant seats after the interval where audience members had decided to leave early which was a shame as the production picked up pace in the second half.

The actors playing the two main characters, Charlie Dearden (Ruth) and Franklyn Jacks (Charles Condomine) are to be commended on the large amount of dialogue they managed, necessary for their parts and Charlie Dearden was exceptional with her marvellous facial expressions depicting the stiff upper lip of the upper classes in the day.

Pearl Schomberg, shines as the flighty spirit of Elvira capturing the role excellently and Kathryn Chambers  as Madame Arcati portrays the mystic charlatan well.

This production brings Blithe Spirit to life with sharp wit, supernatural surprises, and Coward’s trademark charm.
​


The run finishes on 28^th February, see https://hopestreettheatre.com/event/blithe-spirit-6/   for tickets and more details.

Reviewer: Anne Pritchard

On: 25^th February 2026

Theatre Review Derren Brown Blackpool Grand Theatre Blackpool

Derren Brown describes himself as a psychological illusionist and mentalist (essentially another type of illusionist). It is important to remember that he does not claim to have any psychic or magical powers. However, his show ONLY HUMAN was of such complexity and intrigue that you were left wondering if this was some kind of double-bluff, because if it wasn’t not magic, it sure as hell at times looked and felt like it!

Brown’s own website and show publicity stated ‘The content of ONLY HUMAN remains tightly under wraps, but we can guarantee you a mind-blowing experience that’ll take your breath away…’ Derren Brown himself actually asked any reviewers in the audience not to reveal anything about the show (which was a first for this reviewer at least!). It said something about the confidence of Derren Brown in his ability to astonish and amaze that he could invite reviews whilst asking for nothing to be written about the show!

No spoilers will be given as to show content but even if they were, it would be impossible to suggest how the various feats were accomplished. The illusions were indeed remarkable but there were some key additional aspects of the show worth noting.

Firstly, aside from all the mental somersaults and illusions, this was a remarkably theatrical show, with several floor to wall video screens and a giant back screen which served both to create scenery and atmospheric backdrops as well as, through on-stage cameramen, allowing the audience to see intimate tricks and illusions performed stage in remarkable close-up details. Lighting, sound and music were all used to great theatrical (and at time, comedic) effect throughout the show.

Secondly, it was a very funny show. Brown had a very easy-going manner, dressed a casual cotton suit and collarless shirt, addressing the audience not as some elevated dynamic star but more like an old friend who has just called round to show you something. There was frequent audience interaction, both with people brought up and on stage and with the audience as a whole. The various video cameras used throughout the show could turn to show the whole audience projected onto the large back screen and home in on specific individuals. There was never any picking on anyone as a victim and it was all done in a very good-humoured way with the audience loving every minute of it.

Perhaps most importantly, the show was thought provoking. First and foremost, Brown is an entertainer and the show was certainly entertainment but it also raised questions you were left pondering long after the final curtain. This was more than simply wondering how did he do this or that because whilst references were made to various occult arts such as dowsing, fortune telling and hypnosis, you were ultimately left with the feeling of having witnessed astonishingly clever illusions that put into question everyone who has claimed to have special powers, from fairground fortune tellers to stage psychics.

Derren Brown’s show was funny, a superb visual spectacle and a feast of mental astonishment and it was not hard to see why after all the years he has been in the business Brown continues to pack large theatres with enthusiastic fans. The show also served to remind us that manipulations can be extremely clever and very powerful and that whilst Derren Brown was giving simply providing enjoyable entertainment, there are others, such as many psychics who were use these skills for personal gain whilst giving false hope. This was a show like no other, which is a shame because the world could do with more people like Derren Brown.

ONLY HUMAN is touring nationally until the 1st August 2026 - https://derrenbrown.co.uk

Reviewer: John Waterhouse

On: 24th February 2026

Theatre Review Single White Female. Lyceum Theatre, Sheffield

Single white female is a stage production of the 1992 psychological erotic thriller of the same name. Although the film did not receive critical acclaim, it was a smash hit in the cinema and home rental market and became a cult classic. This production has been adapted for the stage by Rebecca Reid and directed by Gordon Greenberg. It stars Kym Marsh as Hedy and Lisa Faulkner as Allie. The cast also features Andro as Graham, Jonny McGarrity as Sam, and Amy Snudden as Bella.

The original Hollywood script is updated from its 90s backdrop to the present day, focusing on themes of bullying, trauma,  obsession and toxic friendship. Significant attention is paid to the importance and often detrimental role of social media in today’s society, particularly for young adults.

Allie is a divorced mother with a teenage daughter, Bella, who decides to rent out her spare room to make ends meet. Although at first her new lodger, Hedy, seems perfect, it isn’t long before her mask of sanity begins to slip. 

The stage is a static set modelled as a modern-day apartment. The minimalist set changes were made with the dipping of stage lights, flashing of surrounding lights and loud music. It was a touch over dramatic and often jarring, with the music having no relevance to the proceedings.

The storyline varies significantly from the film, in part because of the updated timeline but also due to a tilt in direction.   This fresh path is necessary to avoid falling into the ‘new shoddy’ genre and, in general, works.  The main protagonist (Allie) and antagonist (Hedy) remain constant but are older, to accommodate the introduction of 15-year-old Bella, who is integral to the modernised flow of direction.

It highlights how social media can be used as a tool for bullying, whilst demonstrating how readily people offer their personal details into the public domain and how this information can be used against them. Social media could be perceived as a bigger villain than Hedy and her infamous stiletto heels. 

With a small cast, much was asked of the actors, in particular the leads Kym Marsh and Lisa Faulkner. Kym Marsh played a good but patchy version of the seductive Hedi. Lisa Faulkner’s characterisation of Allie was passive, which belied the likely characteristics of a dynamic IT startup CEO. Collectively, I didn’t feel the chemistry was strong enough between the two main characters to pull off the narrative. Andro played the role of Graham well and was funny and aggressive when required. Jonny McGarrity was accomplished as Sam, as was Amy Snudden as Bella. 

Although I enjoyed the twist at the end and the new direction, with the dangers of social media communicated very well, it managed to fall flat. It wasn’t always apparent whether moments in the play that induced laughter from the audience were meant to be funny. 

Gordon Greenberg's production of Single White Female represents a unique reimagination of an iconic 90s movie, which works well in parts but somehow fails to land with the precision of a well-aimed stiletto heel. 

Production run (The Lyceum Theatre, Sheffield): Tuesday 24th February –Saturday 28th February 2026.

Running Time: around 2 hours and 10 mins, including an interval.

https://www.sheffieldtheatres.co.uk/events/single-white-female/dates

Reviewer: Matthew Burgin

On: 24th February 2026

Theatre Dance Showcase Review TEN Dance Spectacle The Danceworks, Eccles New Adelphi Theatre SALFORD

 

I have mislaid my programme sadly and have just looked online to see if I can find an online version but cannot so sadly this review will not be as full as I would have liked, but please bear with me.

The Danceworks in Eccles have been producing biannual showcases of their students work for 20 years, hence the title, TEN - they are celebrating their tenth show! I have always greatly enjoyed the school's output. They engender talent and always manage to bring out the best in even the tiniest and youngest of their number. This afternoon's show had children ranging from perhaps only four years old taking their first tentative steps onto a stage in front of the public, to the older, and more proficient dancers who are at the end of their teenage years and ready to move on to place sand opportunities new. There were dances from contemporary ballet, classical ballet, hip-hop, street, commercial, tap, as well as acting / musical theatre and singing. In other words a complete potpourri of all their classes and students' cumulative abilities, and with 19 items before the interval, and 21 in the second half, one was definitely getting one's money worth!

As always the standard from this company was excellent and professional. Even the tiny-tots sections were well produced and fully inclusive, making it a wonderful experience and learning curve for all involved. I am musical theatre trained and so my preferences will always be with the routines which show an element of theatricality rather than just "dance for dance's sake". It would now be at this point that i would write about a few of my favourite routines (obviously with my slight subjectivity - but that's unavoidable); however, I am struggling to remember titles / music used, and to simply describe the dance or their costumes would not be enough I feel. If a programme comes to light in the near future I promise I shall alter this review to reflect my thoughts here.

The routines were all nicely choreographed (although again I have to admit to liking some more than others), but none asked anything from the dancers that they were ultimately not capable of, although they still pushed them into striving for better and better. Most started with a strong picture and finished with an equally strong picture too, and the use of space and spatial awareness was from the intermediate levels upwards nicely done. This is something that the very young still have to master obviously. 

As always, an extremely interesting and entertaining event showcasing tomorrow's talented stars. Congratulations once again to everyone, and I look forward to seeing you all again in two years' time!

Reviewer - Alastair Zyggu

On - 21.2.26

THEATRE REVIEW The Lightning Thief HOME Manchester

I am at a slight disadvantage since I was certainly not the target audience for this show. I am a single middle-aged male with no children. I do however love a good musical, which was the reason for my wanting to see this.

The storyline, as far as I could see, revolves around an American teenager called Percy Jackson who lives with his mother and step father, but is always finding himself in trouble or strange and bad things keep happening to him which he cannot explain, other than that they must have been dreams. He has however, been expelled from more schools than you can shake a stick at, and his mother is beginning to despair. She is also though holding a secret about his parentage, which comes to light eventually. He is a half-blood. This means that he has one human parent, but his other parent (in this case his father) is a Greek God. (Poseidon). The book, and therefore the musical make for an excellent way to introduce youngsters to Greek classical mythology. 

The entire cast - including a small number of chorus performers - were all excellent and certainly gave much to this show. Afficionados of the book would obviously have connected to the caricatures better than I did, but it was clear that they were trying to be as true to the book as possible in their characterisations. The show was youthful and full of energy, and certainly created the wow factor for their tweenie followers.

The set was confusing though. Consisting of a very metallic and industrial U-shaped space with a large 'window' to the rear, didn't to my mind at least, fit into any of the locations used in this musical. It might have been a recognised location from the book, I don't know, but it didn't work in this context and that, together with the very dour and monochrome costumes, made for a rather uninteresting 'look'.

The music was rock and folk based and was lyrical and upbeat, progressing the storyline nicely. My only real objection was that the volume was set far too high. Optimal aural enjoyment was had for me with the wearing of earplugs. The LX design was also a little distracting. Too many times did lights blind our vision and shine out into the audience. Once or twice at the most would have been effective, but this was overkill. 

A very upbeat and family-friendly musical which will undoubtedly appeal to its target audience. Overall an enjoyable experience, with some sympathetic, talented, and watchable actors/ actresses.

Show dates at HOME from Wed 11 - Sat 21 February 2026

For cast details see https://homemcr.org/whats-on/the-lightning-thief-the-percy-jackson-musical-b59t

Reviewer - Alastair Zyggu

On - 21.2.26

Review Speed Dating FASTLOVE Singles Hilton Hotel Liverpool

 

The late 90’s heralded the speed dating concept generating a new way to find ‘the one.’  For some time now, singles have seemed to favour on-line hookups with a preference for dating apps such as Tinder, but a lot of people like to meet a potential partner in person, aka the old-fashioned way, and events such as these are a perfect way of meeting more than 20 dates in one night, obviously if they fit the bill, looks and personality wise. The biggest asset for speed dating is that people are meeting other people face to face.  Unlike on-line dating  apps, people can’t edit themselves, they can’t put a five year younger version of themself out there. With speed dating, singles can get a taster of what potential dates are like and whether there’s that sparkle, that chemistry between each other,  face to face and if the right questions are asked, they’ll know if they are compatible.

Fastlove Speed Dating, established since 2003, is the biggest speed dating and singles event organiser in the North, with events in high quality venues such as The Hilton Hotel, Liverpool, events take place throughout the North West and Yorkshire.

They aim to attract people of all ages with events for specific age ranges; this event was primarily for singles aged between 50 and 65 years of age but had developed into a mixed age range from 35 upwards.

For the cost of a £25 event ticket, attendees have the opportunity to meet up to twenty five dates of similar age for approximately four-minutes during a night of fun and possible flirting which can become very noisy and busy.

Upon arrival, a registration process is completed, and an explanation is provided of how the event works; attendees are given a name badge, a pen and a 'scorecard' to record their thoughts about each date and tick either a 'Yes' to those people that they’re interested in meeting again, or a ‘No’ if they are not impressed. Ladies are seated on numbered tables whilst the men visit each table numerically to meet potential dates. Host, Ajaz is on hand with his whistle to let the men know when to move on to their next table and to help guide people through the process.

After the event, attendees receive a results email within 48 hours, informing them who they've matched with (i.e. mutual 'Yes' ticks). They are also informed of those who have given them a ‘Yes’ tick who they’ve declined.

There is a break halfway through, which is needed after non-stop talking. It also gives attendees a breather to catch up with friends and ask how their meet-ups are going, before heading back for the second round.

Was it nerve-wracking, was I nervous? Definitely not, the whole process was exactly as I imagined it would be and I felt at ease and comfortable meeting a room full of strangers at a venue I’d never visited before; any nerves I felt beforehand were quickly dispelled. Most people were on their own, some with a friend such as myself, and everyone chatted with each other comfortably. The hosts were friendly and helpful, and the process was outlined clearly with clarification as needed. The event lasted approximately three hours including the break, and the time flew by quickly.

This is a fun way of meeting potential dates, and the atmosphere is vibrant with people who have high expectations and are looking to be successful in their attempts to meet a new partner.

The events are perfect for a girls nights out with lots of conversation, laughter, the buzz of  meeting new people during one evening and a bar on hand for drinks.

Founder, Ajaz Iqbal is passionate about helping singles find genuine connections whether they are a professional looking for love or someone looking to get back out after a breakup. He commends speed dating as being ideal for all, whether shy and introverted or outgoing and confident, or simply a single person looking for a fun night out.

This event was exceptionally busy, there was lots of chatter and laughter, everyone looked to be enjoying themselves and many stayed on afterwards at the bar for further drinks and chat.

Fast Love host around 15-20 events each month as well as providing singles parties, gay and lesbian events, singles bootcamps and Elite events at upmarket venues in Liverpool, Manchester, Leeds, Chester and Wilmslow; more details about events can be found at https://www.fastlovespeeddating.co.uk/speed-dating-events.

Ajaz Iqbal contact details: - Tel 07931 300555, email info@fastlovespeeddating.co.uk.

Reviewer:  Anne Horne

On:  20^th February 2026

 

 

Theatre Review Single White Female Blackpool Grand Theatre

Last night at the beautiful Blackpool Grand Theatre, the world premiere production of Single White Female was brought to life on stage, delivering a stylish evening of psychological drama that gripped the audience from start to finish. Adapted from the 1992 cult thriller of the same name, the stage version feels strikingly current. Rebecca Reid’s script has been cleverly updated and modernised, sharpening the dialogue and reframing themes to resonate with a younger, contemporary audience.

Technology, social image, and the pressures of curated identity subtly weave into the narrative, giving the story a fresh feel while preserving the essence of the original. What begins as an innocent search for companionship soon spirals into a chilling exploration of obsession and emotional fragility. At the heart of the story is Allie (Lisa Faulkner) — outwardly composed, successful, and determined to maintain the comfortable lifestyle she and her daughter have grown accustomed to. Beneath this polished exterior lies a quiet vulnerability. Her decision to advertise for a flatmate, driven by practicality, sets in motion a nightmarish chain of events. Faulkner delivers Allie’s reserved and understated character with quiet competence. The role offers few dramatic outbursts, leaving little for embellishment. While Faulkner portrays the character convincingly, Allie’s inherently muted nature means there are few striking moments for the audience to witness, making her performance subtle but effective.

Into Allie’s carefully curated world steps Hedra, known as Hedy (Kym Marsh) who initially presents as socially awkward, often inserting herself into conversations uninvited before quickly retracting when she senses she has overstepped. From the outset, there is a calculated edge to her behaviour; she subtly begins to undermine Allie’s relationships — with her daughter, her business partner and closest friend Graham, and even her ex-husband Sam. It becomes increasingly apparent that her actions are driven by an ulterior motive, though the audience is left in suspense as to what that motive truly is. Hedy’s emotional volatility and longing for belonging are portrayed by Kym Marsh with conviction, delivering a performance that is both controlled and believable. While the first half of the production feels slow to fully ignite — limiting the early impact of her character’s demise — Marsh still captures the unsettling nuances of Hedy’s transformation. Though perhaps not as mesmerising as her performances in Fatal Attraction or Abigail's Party, this may owe more to the pacing and direction than to her portrayal itself. Overall, she brings depth and presence to the role throughout.

Jonny McGarrity gives a solid performance as ex-husband Sam, particularly in the moments of Hedy’s seduction, which are handled with subtlety and credibility. However, the infamous stiletto scene leans more toward the comical than the terrifying. McGarrity’s Sam rises from the floor with a slightly exaggerated, zombie-like stumble and groan, which drew laughter from the audience rather than gasps of shock. Meanwhile, Andro brings a burst of energy and playful wit as Allie’s friend and neighbour Graham, delivering the play’s funniest lines and injecting modern relevance into Rebecca Reid’s cleverly adapted script. Amy Snudden as Bella brings warmth and innocence to the narrative, a reminder of what is truly at stake as tensions rise. Her presence heightens the emotional stakes, grounding the drama in maternal instinct and protection. For me, Snudden delivered the standout performance of the show. She was completely believable, navigating both innocence and trauma with remarkable subtlety. Snudden helped maintain the pacing, bringing moments of lightness to offset the tension while holding her own during the play’s harrowing final scenes, displaying both emotional depth and resilience.

The set remains static, yet its clever design creates a convincing sense of space. Carefully chosen modern appliances and furnishings subtly reflect the aspirational lifestyle Allie is portrayed to lead. Lighting by Jason Taylor and sound design by Max Pappenheim heighten the sense of unease, building toward moments that genuinely shock without ever feeling gratuitous.

Dark and intelligent, Single White Female at the Blackpool Grand Theatre is a theatrical experience that brings this classic psychological thriller to the stage. A must-see for fans of suspenseful drama.

Production Run - Thursday 19th to Saturday 21st February 2026 

Reviewed: Jen O’Beirne 

On:18th February 2026

REVIEW THEATRE PANTOMIME AMATEUR ALADDIN St, Gabriel's ADMS CASTLETON ROCHDALE

Pantomimes come in all shapes and sizes, and indeed, these days are available throughout the year not just as once they were, exclusively for Christmas. So during the school's February half-term, local amateur and community society, St. Gabriel's took to the stage as part of their 50th anniversary year to present Aladdin, the show that 50 years' ago, kick-started the society into being. 

Energy levels were high and the entire team's commitment and dedication to this endeavour were omnipresent and despite a rather slow and uninspiring start, the tempo soon picked up and the audience were laughing - even ad-libbing their own conversations - with the cast as we went along! The biggest problem this evening was sadly the running time of the show. Including a fifteen minute interval, the panto was over some 185 minutes after it started. Three hours was simply too long and many people around me (myself too) were feeling numb bums and fidgeting.

It was a large cast and the society utilised three separate choruses (young children / older children / adults) who all had to have their separate songs and dances. The set design was kept to a minimum - as were costumes and make-up), but what was used worked well, apart from two of the flats used for two of the sets. Here we were presented with a rural village in England to represent Peking, and a landscaped country estate garden for a forest. This was a shame, since both the laundry and the palace sets worked well

It is a very difficult task directing a show, especially one which has many scenes, many characters and a lot happening throughout, and so for Georgina Sutton to take this on as well as taking a leading role in the show too (she played one of the two comedy policemen), was perhaps a little too much for her. Many of the jokes in the show were not given their full weight, and although all the cast the knew their characters and how they fit into the whole and their development, they certainly needed an expert eye to point them and push them in the right directions. There were many pregnant pauses and hiatuses which should not have been there. Yes, this is panto, and ad-libbing is part of the fun of such a show, but that is itself an art which needed to be practised a little more during rehearsals.  That being said however, this was opening night, and so hopefully the cast will find their feet and pick up on their cues, reducing the running time a little for their next shows. Overall the show lacked pace, as each scene change or lengthy extemporised dialogue dragged on a little most unfortunately.  Some of the funniest moments of this evening's epic were those moments which happened unexpectedly, when things go wrong and the audience lap it up!

Unfortunately (once again) it was not a particularly inspiring script. (I note that Georgina Sutton is once again credited with writing this script). Perhaps the society should have opted for an already published one. There was a distinct lack of the traditional pantomime repartee and responses that one associates with this genre. We were longing for a "behind you" or a "yes it is / no it isn't" but they never came. Only one set routine was worked into the script - the ghost on the bench - and even Widow Twankey's audience response didn't work because it had to be initiated by the audience, not a call in reply to a line from her.

All the principals worked well and gave their alls during the show, providing the audience with a range of characters and caricatures, mostly familiar, and we did start in traditional panto territory having the baddie (Abanazar) enter from SL and The Slave of the Lamp - the goodie - enter SR. Aladdin was played with solid determination and earnestness by Olivia Taylor, whilst Amelia Hanif Ahmed provided the beauty and glamour for him to fall in love with with ease as Princess Jasmin. Mark Dorosz put much of himself and some more besides into creating an unfamiliar familiar interpretation of Widow Twankey, and Dannie Coates worked well as Wishee Washee. Playing a baddie can be fun, and Paul Murtough wrung his character for all it was worth, interacting nicely with the youngsters on the front row. The comedy policemen TuHi and TuLo were played respectively by Mike Newton and Georgina Sutton, The Emperor was Martyn Tierney, his Vizier, Nicola Sutton, and the princesses governess SoShi was played by Emma Moody. I enjoyed Harry Ingham and Jessica Taylor as they made up the magical twosome of Genie of the Lamp and Slave of the Ring, both working well as individuals and almost a as a double-act too. 

The act one finale, 'From Now On' was truly impressive, with full chorus fortissimo full-on. The energy, sound, and overall feel of this number was spot on. If that had been carried throughout the show it would have been a truly impressive spectacle. 

Reviewer - Alastair Zyggu

On - 18.2.26

Theatre Review Living The Life Of Riley Epstein Theatre Liverpool

 

This show aims to educate and raise awareness of autism using the much-loved medium of comedy  and well received narrative of true-lived experiences.

Writer Alison Stanley uses personal life events to demonstrate how autism is often misunderstood and often ridiculed by those who are ill-informed about the condition whilst illustrating how the dynamics of an ordinary family trying to cope with everyday life as well as an autism diagnosis, can be thrown into disarray.

The show is borne from Alison’s true experiences as a mother dealing with the emotional journey of her son’s autism diagnosis and the story is told through a collection of personal reflections which has blossomed into this moving theatrical production.

Alison plays Joanne, the mother of Jackson who has autism, whilst her own real-life son, Jay Stanley plays the part of Colin, Jackson’s friend; Cheryl Fergison plays Colin’s mum and Leah Bell plays Jackson’s Nan who has a slightly old-fashioned way about her and doesn’t hold  back on airing her views in a humorous way.

There is a video introduction from Katie Price who also appears via video later on in the production. The set is constant throughout depicting the Riley’s brightly coloured living room with sofas and potted plants.

The show skilfully illustrates how two people, who have been diagnosed with the medical term of autism can be different, in that one is non-verbal and often recoils into his own shell, whilst the other constantly chatters and likes to be the centre of attention. The joys of pregnancy and childbirth are related coupled with the sadness of finding out their child has autism, revealed by Jackson’s parents, whilst the reality of Jackson, in his own little world, is depicted as him being perfectly happy wrapped up in Star Wars books and games and wanting to be a Jedi.

The show would be an ideal learning/training tool to take into schools for pupils and teachers to help them understand the difficulties faced by people with autism and their families. A video version of the play would be an ideal resource for educators to use wherever the need may arise.

There were a few small issues which would be helpful if addressed, such as the ages of Jackson and Colin weren’t made clear and this would have helped; I assume they were young teenagers but the actors playing the parts appeared to be older.  Also, in the story, when dad, Kyle, went to Colin’s house to collect his present for Jackson, how could he have got into the house without a key? Maybe I missed something here, but I think this should have been made clearer to those watching.

Nevertheless, this remarkable concept is very competently performed, has a brilliant cast and is remarkably acted by all. Commendations to theatre tech as sound and lighting was spot on.

Cast/Performers:- Cheryl Fergison (BBC TV Eastenders), Leah Bell, Paul Dunn, Alison Stanley, Jay Stanley, Jonny Larman, Simon Stuart

This was a one night show at The Epstein Theatre. For more details about The Life of Riley see https://www.facebook.com/search/top/?q=Life%20of%20Riley

The show is on tour, next stop Chesterfield, see https://chesterfieldtheatres.co.uk/shows/living-the-life-of-riley/

Reviewer: Anne Pritchard

On: 18^th February 2026