Theatre Review The Magic of the Bee Gees Floral Pavilion New Brighton

The Magic of The Bee Gees tour was at The Floral Pavilion, New Brighton tonight, and it was an occasion for a generation who were on the dace floor under a mirror ball in the late 1970s, when the brothers Gibb were at the height of their fame.  A tribute show such as this must do two things to carry the audience: capture the essence of the music and put on a show. Tonight, the show did both. Martin Spooner as Robin, Rowan Lyle as Barry and Yvan Silva as Maurice bore a passing resemblance to the Gibbs if you squinted but, crucially, had the talent to sound close enough to them.

The trio took to the stage dressed as 1987-era Bee Gees and opened the show with ‘You Win Again’. Robin took most of the early lead vocals, ably supported by Maurice at the keyboard, wearing his trademark fedora and trench coat, and Barry, who looked more like Kris Kristofferson to this reviewer. Late-60s hits followed: ‘Massachusetts’, ‘To Love Somebody’, ‘Gotta Get a Message to You’ and ‘Words’.

Only occasionally, though, did we get to hear Robin’s quivering, vulnerable lead, but this disappeared as the show progressed. ‘Jive Talkin’’ and ‘Nights on Broadway’, from the Bee Gees’ 1975 album Main Course, featured falsetto for the first time. Both Barry and Maurice could hit the high notes between them. Robin’s 1983 single ‘Juliet’ was a surprise inclusion in the set.

The pace slowed a little as the singers took to their stools to perform ‘How Deep Is Your Love’, an obvious audience favourite. Barry took the lead vocal in ‘Spirits (Having Flown)’, giving it the full falsetto treatment. A hat-trick of songs from the iconic film Saturday Night Fever closed the first half: ‘Night Fever’, ‘More Than a Woman’, on which Maurice took centre stage, and ‘You Should Be Dancing’.

The band deserve full credit for providing an authentic backing for the singers. I’ve been unable to find their names, but the rhythm guitarist and bassist had the blend of funk, soul and disco the songs needed.

The trio returned for the second half resplendent in Saturday Night Fever white suits, black shirts and colossal platform shoes. It should be noted that this was John Travolta’s look in the film and not a Bee Gees costume. They took us back to New York City in 1976 with ‘Stayin’ Alive’ and ‘If I Can’t Have You’, on which Maurice’s vocals and showmanship really came to the fore.

The Bee Gees wrote many great songs for other artists, so the trio paid tribute to this by singing ‘Emotion’ (Samantha Sang), ‘Islands in the Stream’ (Dolly Parton & Kenny Rogers), ‘Grease’ (Frankie Valli) and ‘Chain Reaction’ (Diana Ross).

There was a fourth Gibb brother, Andy, who was a true teen idol but passed away in 1988. He had several smash hits, including ‘Shadow Dancing’, which the trio sang. It was his only mention throughout the evening. Maurice took the lead again on ‘Too Much Heaven’ and ‘How Can You Mend a Broken Heart?’. 

The audience had really taken to him. As mentioned previously, this was an audience of sexagenarians who remembered the music from the first time around. Replacement hips and dodgy knees had kept them firmly in their seats, even if they were bopping along. The trio got them to stand and do John Travolta’s iconic soaring finger-point move to ‘Night Fever’, ‘Stayin’ Alive’ and ‘Disco Inferno’ (the only non–Bee Gees song of the night). The evening’s closer was ‘Tragedy’, on which Barry demonstrated his full falsetto.

So, did we see and hear the magic of The Bee Gees that the show promised? To answer that, you need to understand what that ‘magic’ is: harmony, songwriting, longevity. Few groups blended voices the way Barry, Robin and Maurice did. Robin’s quivering, vulnerable lead, Barry’s incredible falsetto and Maurice’s light, melodic voice created a vocal identity that was instantly recognisable.

At their core, the Gibb brothers were extraordinary songwriters. They crafted baroque, melancholic songs that captured the late 1960s. Their melodic gift never left them as they wrote dancefloor classics that defined an era in the 1970s. They survived a backlash by writing songs for others, songs that crossed voices and genres because the craft underneath was so solid.

It’s stating the obvious to say our trio, individually and together, are not The Bee Gees. But it’s unfair to expect them to be. Tonight, this trio did their job: doing justice to the music of The Bee Gees whilst engaging with the audience and ensuring this was a great night out for everyone.

The Magic of the Bee Gees is on tour until July 2026 and tickets can be bought here, https://entertainers.co.uk/shows/the-magic-of-the-bee-gees

Reviewer – Adrian Cork 

On – 13.02.2026

Theatre Review I’m Sorry Prime Minister The Apollo Theatre, Shaftesbury Avenue

Hailed as the final chapter of Yes, Minister—that much loved political satire many of us remember so vividly from the seventies and eighties—I’m Sorry Prime Minister, arrives with a certain weight of expectation. Jonathan Lynn, who co-created and wrote the original TV series, returns to these characters decades later, and there’s something rather touching about seeing Jim Hacker and Sir Humphrey once more stepping into the light. It’s impossible not to give a nod to the original cast: Paul Eddington, Nigel Hawthorne and Derek Fowlds, who defined these roles with such precision and charm. Their legacy lingers over the production like a fond memory.

This time, though, we are far from Whitehall. The action unfolds at Oxford University, where the now elderly ex Prime Minister Jim Hacker—played by Griff Rhys Jones—has effectively set up shop as the ageing Master of the college named after him. Hacker invested heavily in the college to ensure his legacy would outlive him, and Sir Humphrey, ever the master of bureaucratic manoeuvring, helped craft the legal framework that allowed Hacker to remain in post until he chose to retire. Naturally, Hacker never imagined that anyone would dare to challenge his tenure. So, when he suddenly finds himself being pushed out, he reacts exactly as you’d expect from a thwarted politician: with indignation, denial, and a frantic scramble to cling to power.

Now in his eighties, Hacker attempts to gather his old allies to help him resist this unceremonious ousting, only to discover that most of them are, inconveniently, dead. With no one else to turn to, he reluctantly summons Sir Humphrey, whom he now regards as possibly “deranged”—though, in truth, Humphrey seems no more deranged than he ever was. The other person drawn into this farcical rescue mission is Sophie, an Oxford graduate from Hacker College now working as a care worker on a trial placement. She arrives expecting to help with Hacker’s day-to-day needs and instead finds herself entangled in a political melodrama.

The play is not action heavy, but the rapid fire dialogue and sharp wit more than compensate. Clive Francis, as Sir Humphrey, repeatedly delivers long droning monotone monologues with Hacker standing in bemusement —and each one earns a round of applause. Francis has impeccable timing and a deliciously dry delivery; he captures Humphrey’s eccentricity and sly charm with real finesse through his speech and physical actions. 

Griff Rhys Jones plays Hacker as a cantankerous old codger, still clinging to his snobbery and his outdated vocabulary. In the modern, socially conscious environment of Oxford, his remarks land with a thud, and Sophie is quick to challenge him. Stephanie Levi John plays Sophie with strength, intelligence and a grounded presence that balances the chaos around her. As a Hacker College graduate, she is well read, articulate and utterly unimpressed by Hacker’s bluster. What begins as a clash of opposites gradually becomes something more interesting: a reluctant partnership in which Hacker realises he depends on her far more than he expected, while she keeps him in order.

William Chubb appears as Sir David, a figure who drifts in like a scholarly Grim Reaper in a dripping black coat, embodying the dreary British weather and the inevitability of institutional change. He plays the straight man with admirable restraint, anchoring the more absurd moments with a seriousness that only heightens the comedy. 

Rhys Jones, meanwhile, offers a surprisingly nuanced performance as an unpopular former Prime Minister who has outlived his influence and, in many ways, his relevance. There’s a sadness beneath the bluster—a sense of a man who once held power now reduced to rattling around his own legacy. I found myself imagining what Boris Johnson, David Cameron or Tony Blair might be like in their eighties, and it wasn’t a comforting thought. Rhys Jones seems to understand that discomfort and leans into it.

The audience loved it. Laughter rippled through the theatre throughout, and the ending—no spoilers—was unexpected and oddly poignant. The set design deserves special mention: framed photographs of former Prime Ministers, shelves lined with political biographies (I spotted Tony Blair and Stalin side by side, which felt like its own joke), and a bust of Churchill that becomes increasingly relevant as Hacker waxes lyrical about imperialism. The attention to detail is clever and quietly satirical.

A witty, affectionate and timely production, very much rooted in the 21st century yet still recognisably descended from the Whitehall days of Yes, Minister. A strong cast, a sharp script, and a thoughtful creative team make this a fitting final chapter for characters who have been part of British cultural life for nearly half a century. I won’t tell you the ending, but it is unexpected!

The show runs until 9th May 2026 - https://theapollotheatre.co.uk/tickets/im-sorry-prime-minister/

Reviewer - Penny Curran

On - 12th February 2026

Theatre Review The Man Who Was Magic Stockport Plaza Theatre

There’s something compelling about watching a performer at a turning point. Over two nights at Stockport Plaza Theatre — both close to selling out — James Phelan’s The Man Who Was Magic felt like exactly that: the sense of a career gathering real momentum.

Famously the nephew of the late, great Paul Daniels and his wife Debbie McGee, Phelan carries a notable legacy. But heritage alone does not sustain two hours of live theatre. What he demonstrates here is that he has stepped firmly beyond inheritance and into authorship of his own story.

In recent years he has made significant waves at the Edinburgh Festival Fringe, drawing near-capacity houses and building strong word-of-mouth buzz. I had hoped to catch him there last summer, but despite being on my wish list, I didn’t manage to find the time. In Stockport, that Fringe momentum translated into palpable anticipation.

The show unfolds in clear segments. The first half leans heavily into audience participation — and Phelan thrives on it. Volunteers are invited onstage with warmth rather than mockery, treated as collaborators rather than punchlines. Card work is handled with crisp precision. Randomly chosen words are revealed. Names are spoken aloud that he could not reasonably know. Throughout, he insists there are no stooges, no plants, no prior knowledge of anyone present.

Amid the playful mind reading comes a quieter, reflective interlude. Phelan invites a young child from the audience to represent his younger self and speaks of discovering magic as a boy — how it offered confidence, courage and empowerment. It is brief but heartfelt, grounding the spectacle in something personal and sincere.

On a stage the size of the Plaza’s, some of the intimate close-up magic inevitably risks losing immediacy for those seated further back. This was largely mitigated by a large projector relaying live video footage of the sleight of hand, ensuring visibility throughout the auditorium. Yet the question remains whether projected magic can ever fully replicate the electricity of witnessing it inches away — a delicate balance between theatrical scale and close-up wonder that Phelan navigates with assurance.

The second half builds towards larger-scale mentalism. Random words selected by audience members from a collection of books are impossibly mind-read, culminating in a striking finale that drew audible gasps. Phelan understands pacing: silence stretches, tension builds, and then comes the reveal. The rhythm is confident without tipping into self-satisfaction.

Audience response proved an intriguing counterpoint. Astonishment was evident — sharp intakes of breath, laughter, murmured disbelief — yet applause occasionally felt hesitant, as though the room needed an extra beat to decide the trick had concluded. Perhaps modern audiences, conditioned by tightly edited television magic with musical cues and reaction shots, struggle to calibrate responses in real time. Or perhaps we have become more sceptical, instinctively scanning for hidden mechanisms even as we applaud.

More broadly, the evening prompted reflection on theatre etiquette. Live performance relies on a shared contract of attention — performer and audience meeting fully in the moment. In recent years that collective focus has felt more fragile, with distractions and uncertainty sometimes diluting the atmosphere. Magic, above all genres, depends upon concentration and mutual investment; when that wavers, so too does some of the immediacy.

None of this detracts from Phelan’s achievement. The show is tightly structured, emotionally considered and technically assured. He never tips into arrogance, instead balancing charm with control. His repartee with audience members is easy and generous, never at their expense. Even when handling moments of tension, he remains composed and affable.

What lingers most is not simply the mechanics of the tricks, but the performer himself. Affable, charismatic and hugely likable, Phelan comes across as genuinely sincere and polite, with an instinctive warmth that fills the room. There is an ease to him — an ability to connect without forcing it — that feels reminiscent of Paul Daniels at his most charming.

Two near sell-out nights in Stockport suggest audiences are paying attention. On this evidence, they should continue to do so. James Phelan is not trading on nostalgia; he is building something distinctly his own — personal, polished and increasingly confident.

The Man Who Was Magic succeeds not only because of the impossibility of its illusions but because it still left oppositional opinions of it’s all a fix and a set up to this reviewer’s gut opinion. He must be magic as what he did was impossible.

Reviewer - Kathryn Gorton

On -12th February  

Theatre Review The Peaceful Hour 2 The Royal Court, Liverpool

Liverpool has a distinct character and culture that can almost make it seem apart from the rest of England. Certainly, the city has had its share of economic and social problems but what has made Liverpool stand out as much as anything is the humour and wit of Liverpudlians in the face of any situation. ‘The Peaceful Hour 2’ by Gerry Linford was essentially a celebration of all these factors.

The setting in a high-up tower block flat provided a canvas from which to display ordinary life through the eyes a close-knit group of Scousers, following in the tradition of the likes of ‘The Royle Family’ and ‘Only Fools and Horses’. The difference was that this was a Liverpool family and friends with the characters almost being stereotypical Merseysiders. They say the best Jewish jokes are told by Jews and this was Liverpool laughing at itself. 

The character list included happy-go-lucky Carl played by Lenny Wood, the street-wise criminal Frankie played by Nathan McMullen and the matriarchal Edna played by Julie Glover. The bride-to-be Ange played by Angela Simms and her friend Julie played by Ellie Clayton had echoes of female singletons Sandra and Beryl in the 70’s sit-com ‘The Liverbirds’ and with the hapless Tommy played by Michael Hawkins, there were was a fair cross-section of Liverpool from a self-deprecating comic angle. Writer Gerry Linford certainly knows the underlying character of Liverpool, with this play, the sequel to ‘The Peaceful Hour’ being just one of numerous works set in and around the city.

Two interesting devices set the play apart from what might have otherwise been an introspective observation. Firstly, the introduction of the character Tim played by George Turner gave an insightful twist on the scenario. Tim spoke with a relaxed South of England voice and had refined tastes which, by his own admission made him feel like a fish out water in ‘scouse land’. The differences in Tim to the other characters were further heightened when he was confronted with the flashy and threatening Frankie, whose world was simply about looking after number one. What emerged was not just the fact that Tim was attracted to Julie but that he had developed an endearing affection for the Liverpool people and culture. The other device was the set, which used the closed setting of the lounge/kitchen areas of the flat for most of the story but extended it to show the graffiti-covered concrete balcony walls of the tower block, complete with a spectacular view, enhancing the feeling that was a high-rise flat. The outer walls were quite literally used for high drama, to great comic effect (to say any more would be to give spoilers!).

This was a very pacy production with plenty of fast-spoken interactions giving a very natural feel to the  dialogue. The Peaceful Hour referred to a radio show of smooth classics, turned on at various times throughout the play, contrasting sharply with the various dramas unfolding in the flat. Several classic songs were used to great effect, with the cast singing and dancing to numbers but whenever you felt the play might be turning into a musical, the song would suddenly stop in mid-flow with a sharp line of dialogue bringing everyone back to reality. A device used sparingly was the large video backscreen, for the most part simply the view from the flat but with good animations at the start putting the play in the context of a 70’s style ‘Jackie’ magazine photo story.

‘The Peaceful Hour 2’ was a very funny non-stop rollercoaster of a play which continued to provide new plot twist right until the very end.

‘The Peaceful Hour 2’ is on until the 7th March 2026.

https://liverpoolsroyalcourt.com/main_stage/the-peaceful-hour-2/

Reviewer - John Waterhouse

On - 13th February 2026

Theatre Review The Bodyguard Lyceum Theatre, Sheffield

The Bodyguard, the Musical, is a stage adaptation based on the 1992 blockbuster Warner Bros movie. It contains many of the musical numbers featured in the film, including the number one smash hit, ‘I Will Always Love You’, sung memorably by Whitney Houston, which is a cover of Dolly Parton's 1973 hit single.

If you are feeling relaxed or tired after a day's work, you won’t be when the production springs to life with a loud gunshot, accompanied by a cinematic projection of a murder. Throughout the evening, the projections complement the storyline.

There are minimal props and the set is often sparse but detailed when it needs to be, with the use of curtains and lighting enabling seamless changes. The log cabin stage setting was particularly impressive and worked well with the storyline.  The costumes, wigs and makeup also play their part in the theatrical experience. 

This adaptation is updated from the movie script and varies in parts, but is largely the same. Adam Garcia fills Mr Costner's shoes as the stoic and methodical bodyguard, Frank Farmer. As a seasoned actor on stage and the big and little screens, it is no surprise that he plays his role convincingly. Sidonie Smith shines in Whitney’s role as Oscar-nominated superstar singer Rachel Marron. Whilst these characters echo the film, Rachel’s sister in the shadow, Nicki, has a more likable characterisation. Sasha Monique excels in this role and is a superb singer; I would say more than a match for her sibling. I really enjoyed her performance.

But the real star of the show is the timeless and brilliant musical score, done justice by orchestrator Chris Egan and his band. It is augmented by Karen Bruce’s slick choreography, performed by the excellent cast and ensemble.

Soon into the performance, we are treated to a run of beautiful and melancholy songs from Whitney Houston’s debut album, such as ‘Saving All My Love’ and ‘The Greatest Love of All’. The placement of the songs is perfect and follows the momentum of the story, with many of the up-tempo tunes landing after the interval.

The soundtrack spans the 80’s and 90’s and adds nostalgia to the production. The grand finale had to be - and was - a stirring rendition of ‘I Will Always Love You,’ which didn’t disappoint. As the bows and plaudits were taken, the entire cast and ensemble leaped into an energetic version of ‘I Wanna Dance With Somebody,’ to send the audience home with a spring in their steps.

This is a lively, fun, and nostalgic stage adaptation with a wonderful musical score. It will appeal to all musical fans, in particular, fans of Whitney Houston and those in search of a sprinkling of nostalgia.

Production run (The Lyceum Theatre, Sheffield): 10th February – 14th February 2026.

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

https://www.sheffieldtheatres.co.uk/events/the-bodyguard-2026/dates

Reviewer: Matthew Burgin

On:  Tuesday 10th February 2026

Theatre Review Once Upon a Time in Wigan Saddleworth Players Millgate Arts Centre

Saddleworth Players’ production of Once Upon a Time in Wigan at the Millgate Arts Centre is a lively, affectionate, and ultimately thoughtful look back at the Northern soul scene between 1973 and 1981, centred on the legendary Wigan Casino. For anyone with even a passing interest in the movement, this was a thoroughly enjoyable evening that balanced nostalgia with honesty.

The play follows four characters – Maxine (Niamh Connor), Suzanne (Eleanor Prestwich), Eugene (Cameron Kennedy), and Danny (Harry Garrity) – as they navigate their lives, loves, and friendships through their shared devotion to Northern soul. Music and dance are not just a backdrop here; they are the glue that binds these characters together and the force that shapes their identities as they grow and change.

All four performances were engaging and believable, with a real sense of ensemble. Connor’s Maxine brought warmth and determination, particularly in scenes showing her juggling work in a dress shop with her passion for the scene. Prestwich gave Suzanne an emotional honesty that grounded the story, while Kennedy and Garrity captured both the bravado and vulnerability of young men driven by music, competition, and belonging.

A real highlight of the production was the video montage showing Eugene taking Maxine for a ride on his moped through the countryside. This sequence was genuinely hilarious and hugely charming, presented as a collage of snapshot-style Polaroids that flicked past in quick succession. The journey took in recognisable Northwest landmarks, including Blackpool Tower, and created a strong sense of place and identity. Even never having been to Wigan myself, it felt instantly familiar – like every northern high street rolled into one. It also quietly reinforced the idea that the people who belonged to this scene had ordinary, everyday lives beyond the dance floor, stretching outside and beyond their all-night devotion to music.

Mark Rosenthal’s direction kept the storytelling flowing smoothly, while Helen Wilkinson’s choreography was a real triumph. It was obvious that she had drilled all four actors to a standard that was recognisable both of the period and the Northern soul style, and to a level of accomplishment that was genuinely impressive. The actors moved with confidence, precision, and joy, capturing the energy and dedication required to be “the best dancer on the floor.” The choreography brought the music to life and made the dance sequences a highlight of the production.

The set was particularly impressive: a series of multipurpose blocks on wheels that cleverly transformed to mark scene changes. These housed props and adaptable scenery, from café seating to the clothes associated with Maxine’s job, allowing the action to move seamlessly without disrupting the pace of the play.

What made the production stand out was its willingness to explore all sides of the Northern soul scene. Alongside the joy, music, and sense of community, the play did not shy away from the use of amphetamines, the physical toll of all-night dancing, and the impact this lifestyle had on relationships and responsibilities beyond the Casino doors. This gave the story depth and prevented it from becoming rose-tinted nostalgia.

Overall, Once Upon a Time in Wigan was lovely, fun, and very enjoyable, while also being thoughtful and honest. Saddleworth Players have created a production that celebrates a scene etched into the cultural memory of the Northwest, showing why it inspired a nation to dance – and what it cost the people who loved and lived it. 

Reviewer - Kathryn Gorton 

On - 10th February 2026 

Theatre Review MILES Southwark Playhouse (Borough) London

Electric, full of energy, and rich with history. Benjamin Akintuyosi was outstanding, intimate, alive and completely present. The storytelling hits hard, but tenderly and the space feels just right, small, close, intimate. MILES is a show that moves, breathes and that stays with you. Jay Phelps also brought warmth, depth and precision and together they filled the intimate space with energy that felt huge and unforgettable.  

From the moment the lights hit, MILES draws you in with an atmosphere that is immediate, energetic and alive. The intimacy of Southwark Playhouse (Borough) is used to full effect, you can feel the actors’ presence in the space, every gesture and glance carrying weight, making the audience part of the story in a way that feels rare and precious. I was seated right at the front face on towards all the action and felt completely immersed in this courageous two-hander. 

Akintuyosi is simply outstanding. From the first scene, he inhabits his character fully, feeling intimate, vulnerable, and alive. There is a quiet bravery to his performance, he is raw and messy without ever losing control, revealing a character who is trying, failing, and trying again. Every pause, every shift in expression, every breath feels deliberate, lived-in, and painfully truthful. You don’t just watch him, you feel him, as though the story is breathing through him directly into the audience. MILES, written and directed by Oliver Kaderbhai and with the concept by Jay Phelps who also forms part of the two-hander alongside Akintuyosi, is the story of Miles Davis and how his life impacted the world of jazz, music, and touches on his struggles along the way. It is a journey of relationships and how much music influences the world around us. That journey is relived through the medium of live music, visual video, and art. However it is pure acting talent that emotions are truly felt and what stole the show.

Phelps is a perfect counterbalance to Akintuyosi, bringing warmth, precision, and depth to his role. Their chemistry is tangible, and it carries the show. Scenes between them are full of life and all its intricacies; tension, humour, tenderness, and unspoken connection all coexisting in the same moment. The way they play off each other makes the narrative richer, more immediate, more human. In a space this intimate, that energy isn’t just seen, it is felt, lingering long after the lights dim. The storytelling is pacy, yet layered. The script is full of history, both in the characters’ pasts and in the way the scenes echo with emotional truth. Moments of humour are perfectly balanced with moments of vulnerability and reflection, making the narrative both entertaining and emotionally resonant. The show doesn’t tell you what to feel it simply trusts you to inhabit the characters’ worlds, to notice the small details, and to hold the silences alongside the dialogue.

Scene by scene, the production grips. Early moments set the rhythm: quick, precise, full of energy, establishing a tone that feels alive and unpredictable. Midway, the quieter moments land harder, pauses, glances, subtle shifts in movement carry more weight. I could feel Akintuyosi’s and Phelp’s sweat on my own skin - such was their great efforts in working the physicalities of the role and boy was it a physical show at times! Towards the climax, the tension and tenderness build together, weaving a narrative that is both full of history and striking. By the end, the pacing, the performances, and the energy converge in a way that is emotionally powerful, leaving you both wrung out and uplifted.

The set, by Ellie Wintour was minimal yet effective, allowing the actors to inhabit the space fully, making every movement meaningful. Lighting (Alex Lewer) and sound (Will Tonna) are used subtly but impactfully, heightening the intimacy and energy without ever drawing attention away from the performances. Everything works together to create a world that feels lived-in, rich, and emotionally compelling. By the end, you leave feeling you have witnessed something special. The show sits on your shoulder a little, like a friend who understands the messy, tender, human parts of life. You are softened, moved, and strangely lifted, the mark of theatre at its best. There is something for me very special about seeing performances in intimate spaces - and the Southwark Playhouse Borough and its adaptable three-wing seating was at capacity at 180. With seating very squished together, it did feel a little cramped at times personal space wise but a small price to pay within the context of the intimate show. 

Definitely one to watch! 

MILES is playing at Southwark Playhouse Borough until 7th March. 

Full details at  https://southwarkplayhouse.co.uk/productions/miles/

Review - 9th February 2026

Reviewer - Mary Fogg 

THEATRE REVIEW AMATEUR CHILDREN YOUTH THEATRE BUGSY MALONE NWTAC THEATRE MOSTON

Written in the 1970s as a film-for-television musical for a cast made up entirely of juveniles (including a young Jodie Foster as Tallulah!) this spoof lampooning of the !920s Chicago gangster era has become a firm favourite for youth theatres ever since. 

I have seen various incarnations of this musical over the years, and some have most definitely worked better than others. I have seen it performed with an all adult cast (that was a mistake!), a mixed age cast (that was interesting!) and of course with an all juvenile cast. However, this afternoon's performance was given by overall the youngest cast I have thus far seen! I have ben reliably informed that this cast were aged from 7 - 13 years, and they al coped adroitly with such a difficult piece. Not only were they tasked with their own roles (many of them playing multiple roles throughout!), but they were also in charge of managing backstage too - bringing on the small set items when required, doing their own costume changes, and learning about the running of a backstage management team as they went along. In fact, for these youngsters, it was a huge learning curve for them, and a platform from which to grow and learn - learn by doing - the right way!

The musical whizzes along at quite a pace and covers many different locations in sometimes extremely short scenes, and so a very sensible composite set was utilised for this. Totally in period, it looked very good and worked superbly. Costuming was also on the same high standard, creating the correct milieu with ease. Sound levels were optimal, and lighting worked well throughout.

The young cast also understood very clearly that in order to maximise the comedy from this show, they had to play their characters 'straight'. The more they believed in their own caricatures, the more the audience lapped it up! They even managed credible American gangster accents too! This was a true ensemble production, each with a solid understanding of their individual characters and how they fit into the whole, whilst telling the story simply and eloquently. 

My one nit-pick! (sorry, but it was quite a biggie) - and that is that the splurge guns were not as effective as they could have been. We wanted mess, we wanted creamy froth al over the stage and the cast, and we were given a dribble of toothpaste most of the time. Even in the finale sequence, the foam could have been more 'foamy!'. 

The cast was headed by the cheeky chappie Klay Turner as Bugsy. A very personable presence on stage and I feel sure he will go far if he continues his training. Working with him and around h8im were the good, the bad, and the very bad of Chicago's seedy side. Emily Painter as a plaintive and sincere Blousey Brown, Amelia Zatorska as a harassed Fat Sam, Imogen Holt as Fat Sam's nemesis, Dandy Dan, Hattie Healey as the gold-digging tenacious Tallulah etc etc. However, my two favourite moments of this afternoon's show came from perhaps more surprising quarters.  Miley Kennedy's rendition of 'Tomorrow' was plaintive and mellow, whilst Lexie Mullen's characterisation of Cagey Joe was just hilarious! The cast completed with Sophie Allan, Hania Szaszkiewicz, Thomas Hayes-Hulme, Kasey Shawcross, Weronika Szaszkiewicz, Melody Taylor, Anabella Hoxhaj, and Arabella Dasilva.

Directed by Prab Singh, with Musical Direction by Beth Singh, this was a very sensibly treated and professionally produced piece of children's theatre.

Reviewer - Alastair Zyggu

on - 7.2.26

Music Review Liverpool Acoustic Songwriting Challenge 2025 Showcase Final British Music Experience Liverpool

For the first time in its fifteen-year history, the Liverpool Acoustic Songwriting Challenge found a new home at the British Music Experience, a fitting setting for an event that sits so confidently at the intersection of music, place, and visual art. More than a competition, the Challenge remains a rare and thoughtful exercise in creative interpretation, asking songwriters to respond not just to sound, but to the physical fabric of the Liverpool City Region itself.

The brief to write an original song inspired by a piece of public art produced a strikingly diverse final ten, showcased with the artwork itself projected on multiple screens around the venue. The result was an evening where context mattered as much as craft, and where the strongest songs transcended their prompts to stand on their own.

The night opened with a short but engaging set from Operation Lightfoot, introduced by compère Graham Holland, with guests Kaya Herstad-Carney, Felicity and bassist Mike Newman. Their three original songs set an assured, professional tone, warming the room without overstaying their welcome.

North Wales songwriter Chloe Ferguson was the first finalist to step into the spotlight, and immediately raised the bar. ‘Queen of the Hive’, inspired by a mural from her  daily walks, unfolded with quiet confidence. Performed at the keyboard and enhanced by two subtle backing vocalists, the song’s ethereal atmosphere felt carefully constructed rather than accidental, a recurring theme among the night’s strongest performances.

Chris Whitfield followed with ‘Charabanc to Blackpool’, a piece of unabashed, nostalgic folk-pop. Its cheerful melody and instantly memorable chorus captured a postcard-perfect British day trip, complete with funfairs, donkeys and sticks of rock. While lighter in emotional weight than some later entries, its craft and accessibility marked it out as a genuine crowd-pleaser.

Derek King’s performance of ‘Face Off’ came with a minor piece drama, his guitar having broken during soundcheck, but any disruption was quickly forgotten. Borrowing Whitfield’s guitar and joined by his wife Jenny on second guitar, King delivered one of the evening’s more musically distinctive arrangements. Jenny’s Spanish guitar style added texture and tension to a song inspired by a mural depicting a man seemingly caught in an existential moment.

Former winner Ed Jones brought both experience and gravitas with ‘Nursery Rhyme for Our Time’, inspired by a print of a solitary figure gazing at a dramatic, Turner-esque sunset. Jones framed the image as a metaphor for contemporary uncertainty, and the song’s emotional weight landed heavily in the room. One audience member later remarked that both song and artwork reminded her of her recently deceased brother, a moment that quietly underlined the evening’s emotional stakes.

Helen Maw closed the first half with ‘A Million Dreams’, inspired by a statue at the Albert Dock depicting a family leaving Liverpool in search of a better future. Joined by Christy Bellis on vocals and Jenny Holding on violin, Maw’s performance was poised and affecting, balancing narrative clarity with melodic warmth. It felt, even at this stage, like a contender.

The second half began on a different note. James Chetter, unwell and unable to perform in person, was represented by a recording of ‘Fires at Night’. Inspired by William Frederick Yeames painting’ And When Did You Last See Your Father?, the song sat firmly within the folk-blues storytelling tradition. While its absence from the live stage inevitably reduced its impact, the songwriting itself showed depth and restraint.

Tyneside songwriter Jim Pearson took a more conceptual route with ‘Flightless Birds’, a thoughtful meditation on extinction, inspired taxidermy. Its environmental message was delivered without heavy-handedness, allowing the theme to emerge organically through imagery rather than instruction.

Mal Price’s ‘Embrace’, inspired by Jim Moir’s (aka Vic Reeves) painting ‘Two Colossi’, leaned fully into poetic abstraction. Rich in metaphor, the song’s atmosphere recalled the brooding mysticism of The Doors, particularly ‘Wondrous Place’.

The most emotionally charged moment of the evening came courtesy of Wirral-based songwriter Mike Ryan. His song ‘Forever 20’, inspired by a mural commemorating Liverpool FC footballer Diogo Jota, addressed tragedy head-on. Stripped back and sincere, it was a performance that hushed the room, reminding everyone that public art, and the songs it inspires, can be sites of collective grief as well as celebration.

Nathan Stephens, performing as Vou Vou Wyld, brought the Showcase Final to a close with ‘The Wrestler and the Wren’, also inspired by ‘Two Colossi’. While sharing the same visual source as Price’s entry, Stephens’ interpretation took a markedly different musical path, offering an interesting study in how a single artwork can yield wildly divergent creative responses.

With the performances complete, attention turned to the awards. The Audience Favourite Award, renamed the Chris Callander Audience Favourite Award in memory of the much-loved local musician who passed away last month, was preceded by a moving tribute performance from Thom Morecroft of Callander’s song ‘Back in the Old World’.

The award itself went to Helen Maw for ‘A Million Dreams’, a decision echoed by the judges’ overall verdict. It was a deserved double: Maw’s song combined emotional resonance, strong composition, and a clear relationship to its source material without being constrained by it.

As winner, Maw receives a professional recording, coaching, and a cello arrangement or lesson. fitting prizes for a songwriter whose work already feels finely honed.

The evening closed, appropriately, with Maw performing her winning song once more.

Proceeds from the night were shared between Marie Curie Cancer Care and Garston Animal Rescue in memory of Sharon Jones, a former member of Liverpool Acoustic; a reminder that this event, for all its competitive elements, remains rooted in community.

In its new home, the Liverpool Acoustic Songwriting Challenge felt not just comfortable, but confident. After fifteen years, it continues to evolve while staying true to its core purpose: celebrating songwriting as a living, responsive art form. This was an annual event but more information about Liverpool Acoustic can be found here, https://liverpoolacoustic.co.uk/

Reviewer – Adrian Cork 

On – 07.02.2026

Theatre Review Nana Funk's Lonely Hearts Bingo Downstairs at The Everyman Theatre Liverpool

 

Nana Funk's Lonely Hearts Bingo is a brilliant concept and a thoroughly enjoyable evening’s entertainment. Nana Funk is a cabaret/burlesque/songstress on a mission to fight ageism and promote body positivity. As such she hosts the show in a grey wig and gold and silver sequinned dresses which don’t always stay on during her performance.  She’s not shy at revealing her Spanx underwear and bralette emblazoned with Na on one cup and Na on the other. She combines original songs and parodies, storytelling and improvised songs generated from audience discussion

The show is based around two Bingo games, one using numbers aka the usual Bingo format and the other incorporating song titles from musical shows.

The show incorporates visual and vocal comedy and brilliant clever improvisation from Nana Funk and her two accomplices, Caz and Britney, actresses, singers and comediennes Gillian Hardie and Keddy Sutton. It is laugh-out-loud comedy with lots of audience participation from the minute it starts and it had everyone in stitches laughing throughout.

With a large video projection on the small stage’s backdrop, Nana Funk invited the audience to provide questions for her to answer – she skilfully did this in song whilst playing the ukulele, completely ad-libbed.  Caz and Britney joined in and are expert at improvisation delighting the audience with their talent and impromptu performances with amazing singing voices as a bonus.

Show creator Angie Waller has been entertaining audiences as Nana Funk since 2013 and brings together song, script, improvisation and clowning to create her own adaptable and exceptional style, she is a delight. If you are new to Nana Funk and would like to read up on her back story, see https://www.nanafunkrocks.com/about-1.

This show sold out quickly, tickets for her next show, Nana Funk's Glastonbury Karaoke Night! On 27^th June, Downstairs at The Everyman Theatre, are available at   https://everymanplayhouse.com/event/nana-funks-glastonburyoke/  but be quick so that you do not miss out.  I can thoroughly recommend the show for a brilliant night out.

Reviewer – Anne Pritchard

On – 7^th February 2026

Music Club Review Wirral Blues Club Mark Flanagan Thornton Hough Village Club

 

The Village Club in Thornton Hough is a little gem where blues music lovers can meet once a month to help support live music and enjoy an authentic experience with live performances from like-minded blues enthusiasts. The Club hosts performances for blues artists from the local and wider area, usually on the first Friday of each month.

It was a cold, rainy, wintery, night and the small room had a cosy intimate atmosphere, rather like being in someone’s front sitting room The room was full without one empty seat.

Our host for the evening was Ian Boyle who introduced support act, AEthelreds Bluesmen, the house band for the Wirral Blues Club. The AEthelreds Bluesmen play a mix of original music and blues covers, and they opened with ‘Hard Headed Woman of Mine’ followed with Sonny Terry’s, ‘White Boy Lost in the Blues’ and the country blues song written by Walter Vinson and Lonnie Chatmon, ‘Sitting On Top of the World.’ The distinctive opening chords of Spencer Davies’s ‘Gimme Some Lovin’ followed and the band was in full swing entertainment mode following up with a selection including songs such as ‘Help Me’ by Sonny Boy Williamson, ‘Black Magic Woman’ and The Who’s ‘Won’t Get Fooled Again’.

The band consists of  Ian Boyle (Vocal, Harmonica),  Bill Hodgeson (Guitar),  Robbie Cross (Keyboards),  Alan Lawrence (Bass), and  Terry Stirling (Drums). To see clips of their performance at the Club, see https://youtu.be/vlGm12jQucA?si=LeogJxyiv7g0MYSz.

After a short interval Ian introduced star guest, guitarist Mark Flanagan, who plays with the Jools Holland’s Band, The Rhythm and Blues Orchestra.  Mark was accompanied by Kevin Willoughby on bass guitar, and George Double on drums.

Mark interspersed his performance with stories and personal disclosures about his family and other musicians he’s worked with.  He played some songs from his EP,  Back to the Stars, co-written with Eddie Bergin, including, ‘Hold On’, and some new songs which will feature on his new album, ‘To Love a Child’, ‘Fishing Town’, and ‘Eddie’s Song’, a beautiful memoir in song dedicated to his dad, merchant seaman, Edward.

Mark has played with so many musicians, too many to mention but one musician/friend he shared a memory about is Beatle, George Harrison who told Mark how much he liked his rendition of the Memphis Slim song, ‘Mother Earth’ which featured on his EP Back to the Stars, which George had among his possessions before his passing.

As Mark finished his set it was evident no-one wanted him to finish and he performed ‘The Chosen Few’ from his album of the same name and a beautiful rendition of ‘When Did You Leave Heaven’ from his EP, Back To The Stars.

Credit must be given to sound technician, Neil for providing excellent sound vibes.

This was a very enjoyable evening, and I would recommend Wirral Blues Club to anyone who enjoys the genre; host Ian described the Club, with tongue in cheek, as “The Entertainment Centre of the Wirral” and after enjoying such a very entertaining evening, I wouldn’t disagree with him.

The next blues night will be on Friday 6^th March featuring The Hexmen, tickets available here https://wirralblues.club/

Reviewer – Anne Pritchard

On – 7^th February 2026

Theatre Review Quiz performed by Garrick Ensemble at the Altrincham Garrick Playhouse

The Garrick Ensemble was under the very precise direction of Artistic Director Joseph Meighan. The show’s original compositions and sound design, crafted by Mark Goggins, added an atmospheric and dynamic layer to the performance, complementing the immersive staging and courtroom tension. Based on the book; Bad Show: The Quiz, the Cough, the Millionaire Major revisits the infamous Who Wants to Be a Millionaire? scandal involving Major General Charles Ingram, the notorious coughing controversy, and the subsequent trial. Rather than simply recounting events, the production interrogates ethics, probability, and perception, cleverly inviting the audience to question not only guilt and innocence, but the very logic by which truth is constructed in the British justice system and making us all navel gaze about our assumptive opinions.

Meighan’s direction of a very competent cast is stylish and assured, balancing clarity with complexity whilst allowing the story to breathe. The staging is visually striking, with a courtroom framework that sits above the narrative with the game show’s iconic black leather chairs and consoles below with justice observing from above creating some immersive and magical moments.

Pacing is deliberate yet purposeful, sustaining engagement through a long running time that stretches past 10.15pm which kept the audience’s focus. The brain breaks came via pub quiz and voting for the audience using WiFi hand held controllers (just like the real game show). Audience members are invited onto the stage as observers Roman and Greek amphitheatre style. Picasso’s notion that “Art is a lie that makes us realise truth.” is explored during the play of lies and what exactly they are or aren’t. In this visceral theatre—the staged coughs, comedic exaggerations—reveals deeper truths about human fallibility, ethical judgement, and the construction of narrative. The play itself is very clever. I have seen the TV series and the film and fell straight into the trap of believe what you are told. Hands up. Guilty.

Quiz explores the Ingram story through a layered structure, including a prologue, an epilogue, and scenes revisiting key events from multiple perspectives. Familiar facts—the suspended sentence, lingering doubt, and media framing—are reframed through playful theatrical licence, highlighting the difference between perception and truth.

The ensemble cast delivers confident and consistently engaging performances, balancing humour and characterisation. Tom Broughton’s portrayal of Major General Charles Ingram is particularly compelling: he comes across as honest, straightforward, and even sweet, adding layers of ambiguity to the trial. The performance makes the audience question whether the scandal was truly malicious or simply a huge misunderstanding. Interestingly, if the production hints at a “villain,” it is subtly suggested in Diana Ingram, portrayed by Melanie Beswick, whose poise, intelligence, and determination give her character an assertive presence. Being allowed to be privy to the prologue and epilogue of the fiasco we were being challenged to reconsider assumptions about guilt, intent, and narrative bias. 

Ben Walsh captures Chris Tarrant’s voice, mannerisms, and timing, energising the quiz-show sequences. Callum Johnson’s geeky and OCD portrayal of Tecwen Whitock, flustered and distressed performance adds humour and empathy, making him relatable. Dan Ellis, the warm-up host, shines in directly engaging the audience, preparing them to participate fully in the immersive courtroom experience.

I loved the segue into game show history and the on stage competitions taking us on a journey through the 70’s,80’s and 90’s including Bulls Eye and the Price is Right . Sadly, no speed boats were one for sailing on the River Mersey but the lucky winners got an ice cream voucher for the interval.

A particularly delightful highlight is a brief vignette of the Ingrams studying general knowledge of soap operas giving the audience a charming glimpse into their preparation. This segues into a hilarious mini-sketch featuring Elsie Tanner, played by Charles McDowell, and Hilda Ogden, performed with charm, wit, and style by Charlie Gallagher, complete with Hilda’s signature screech. That segment drew loud laughter and applause, proving that the production’s humour was landing firmly for this audience. The legal teams, including the slightly stuffy QCs Ella Muscroft and Jay Wise-Martin deliver dynamic, complementary performances as defence and prosecution. Their back-and-forth dialogue maintains tension while subtly planting doubt, leaving the audience almost evenly divided in their judgement—a clever reflection of the play’s central idea.

A particular highlight is Megan Priest, who plays the Who Wants to Be a Millionaire production manager as well as several smaller roles. Her comic timing, energy, and versatility was super making lots of funny moments without undercutting the trial’s seriousness.

Priest’s performance, alongside the wider ensemble, kept the audience engaged and the mood lively. Community support is clearly central to the production’s success. Both onstage and off, local engagement gives the show warmth and immediacy, reinforcing theatre as a shared, collective experience.

This connection strengthens the immersive elements and sustains audience attention throughout the evening, creating a sense of shared investment in the story’s ethical and emotional stakes.

At the end of this frenetic show, there is one final moment where the audience revotes on their verdicts.  The vote was almost evenly split—50-50— a fitting conclusion of making biased decisions based upon narrative we are presented with.

This was a highly entertaining spectacle and quite unique. The audience definitely left the theatre talking about and thinking about the Ingrams.

Reviewer - Kathryn Gorton

On - 5th February, 2026.