Theatre Review ‘Us, Pots, And A Welsh Chapel’ Storyhouse Chester

Tonight, courtesy of FANE  productions, appearing on the very impressive Storyhouse theatre’s largest auditorium stage, are Keith Brymer Jones of ‘The Great Pottery Throw Down’ fame and his partner Marj Hogarth, both of the popular ‘Our Welsh Chapel Dream’ TV series, (series 3 aired in April this year).

They have invited us to share with them their life, escapades and antics whilst restoring Capel Salem in Pwllheli Wales, which they purchased in September 2022, and relate what we didn’t see happening behind the scenes.

The stage is set as an informal living room with sofas and lamps and a pottery wheel for Keith to demonstrate his craft to the audience.

The couple tell stories of how they first met in Harrogate, their lives before they met and their challenges and struggles whilst being filmed during their restoration of the Grade 11, 163-year-old chapel, (definitely not for the faint hearted!!), plus how they coped bringing it back to life and making it into their forever home, incorporating a pottery studio and a community space plus explaining how they are providing opportunities there for the underprivileged.

We experienced a very warm, friendly and caring couple, their chemistry together is undeniable, and they are complementary and respectful of each other and the new friends and neighbours they have made during their time together in Wales, paying homage to them throughout their show.

Keith is both entertainingly funny, and very emotional, he is famously known for his crying on ‘The Great Pottery Throw Down’ TV series, and not averse to making fun of himself; he was demonstrative in his story telling, with a brilliant example of accents and language lessons thrown in for full realistic and hilarious effect. Interjected throughout the show were supporting video clips which are projected onto a large screen behind them on the stage to complement their real down-to-earth storytelling. They have  a large pigeon prop to relate to a particular part of the show for great comedic effect.

"This was our first show of our tour to sell out here in Chester" Marj explained appreciatively and the packed audience were emotionally moved to tears and crying with laughter and clapped loudly in appreciation throughout this very enjoyable show.

Marj, an actress, singer and textile designer and self-confessed seamstress from age 7, who has previously sang in a band, and had a working relationship with rubber as a dominatrix, had to hide her sorrow as did Keith during their renovation TV show as they both experienced a very sad time in their lives with their loss of parents.

Keith, a former dancer, potter and singer in a band, who as a youth attended the same Scottish drama school as David Tennant, got his break to host ‘The Great Pottery Throwdown’ in a very unusual and hilarious way, after making a video of a spoof of Adele’s ‘Rolling In The Deep’ and I strongly recommend you see it, if you haven’t already.

The couple surprise their architect, Rhodri by inviting him on stage for a pottery lesson by Keith, whilst Marj sings the theme tune from the film, Ghost, ‘Unchained Melody’ (by The Righteous Brothers) which is so entertainingly funny.

The show ended with Keith and Marj singing the song, ‘I Got You Babe’ (by Sonny & Cher) and I think this could be yet another partnership venture ready to be explored here guys……. just saying. 

Keith has written two books, ‘Boy in a China Shop: Life, Clay and Everything' published 2022 & 'Firing Earth: An Unexplained History of Pots & Potters' published 2026.

‘Us, Pots, And A Welsh Chapel’ by FANE productions UK tours until end of June 2026. 

Tickets: https://www.fane.co.uk/keith-marj

Further dates -

Mon 15 June - Theatre Severn, Shropshire

Thu 18 June - New Theatre Cardiff

Tue 23 June - Assembly Hall Theatre, Tunbridge Wells

Wed 24 June - The Marlowe, Canterbury

Thu 25 June - Charter Hall, Colchester

Reviewer: Jill Ollerton 

On: 15.06.26

Concert Review Shalamar: The Gold Tour A Fifty Year Celebration with Support From Gwen Dickey Philharmonic Hall Liverpool

Shalamar, having been formed in 1976 by the producers of the American musical television show Soul Train, are celebrating 50 years together with an extensive tour. Their current line-up features long-serving members Jeffrey Daniel and Howard Hewitt, with Carolyn Griffey replacing Jody Watley.

Before the main event, we were treated to a set from Gwen Dickey, the voice of Rose Royce, one of the great soul bands of the late 1970s, whose songwriter and producer was Motown’s legendary studio man, Norman Whitfield. 

Gwen opened with ‘Is It Love You’re After’ and immediately felt the affection of the audience, who sang along to every word. ‘Ooh Boy’ followed before she delivered a fabulous rendition of ‘Wishing on a Star’ that had the audience on their feet applauding at the end. The love and appreciation for her were palpable. There was a technical hitch that prevented her from performing her new single, ‘Water’, but that didn’t affect the show. She closed with two Rose Royce classics, ‘Love Don’t Live Here Anymore’ and, of course, ‘Car Wash’, and left the stage to a standing ovation.

I was in Row B, seated just a few feet from the stage. Around me were people determined to dance the night away, so when Shalamar took to the stage, almost the entire theatre was up and dancing. Their set was divided into a series of medleys, which meant the music and energy were absolutely non-stop. ‘The Second Time Around’, ‘Make That Move’, ‘Friends’, ‘Sweeter as the Days Go By’, ‘I Owe You One’ and ‘Dead Giveaway’ allowed Hewitt, Griffey and Daniel to really find their groove. And they never let it go.

The decision to structure the set around four extended medleys is a clever one. It gives the show the feel of what it might have been like on the dance floors of jazz-funk clubs and underground venues in the early 1980s.

There were slower moments too, made more intimate by the band’s interaction with their audience, or “Friends” as they like to call them. Hewitt sang ‘For the Lover in You’ directly to a couple celebrating their 43rd wedding anniversary. A rousing ‘Take That to the Bank’ ended with the band showering the audience with Shalamar banknotes. More hits followed, as did more jazz-funk: ‘Dancing in the Sheets’ and ‘Full of Fire’. During these extended medleys, clever little riffs from Prince, Chic, Isaac Hayes and A Tribe Called Quest were woven into the arrangements.

Shalamar are as famous for Jeffrey Daniel’s groundbreaking dancing as they are for their music. His signature style is a dynamic fusion of popping, locking, waacking and jazz-funk, characterised by fluid body glides and moonwalking. He saved the best for the final three songs: ‘There It Is’, ‘I Can Make You Feel Good’ and the encore, ‘A Night to Remember’.

Shalamar’s greatest strength remains their ability to make every audience member feel part of the show. The interaction between the band and their “Friends” created an atmosphere that was both celebratory and intimate, while the relentless energy of the performance ensured the theatre felt more like a packed dancefloor than a seated venue. Half a century after the group’s formation, Shalamar remain a formidable live proposition.

Shalamar continue touring this year and tickets can be found at,

https://www.ticketmaster.co.uk/shalamar-tickets/artist/2178206

Reviewer: Adrian Cork 

On: 29/05/2026

Theatre Review Allegra Richmond Theatre London

There are some theatres that feel welcoming from the moment you walk through the doors, and Richmond Theatre is undoubtedly one of them. Nestled in the heart of Richmond, it manages to combine elegance with warmth in a way that many larger venues struggle to achieve. The beautiful Victorian auditorium, with its ornate detailing and intimate atmosphere, creates the sense that you are somewhere special before the curtain has even risen. It is one of those theatres that still feels like a destination in itself, and on this occasion it provided the perfect setting for Allegra, a new comedy by Peter Quilter starring Dame Maureen Lipman, and directed and choreographed by Stephen Mear.

The play arrives with a considerable amount of goodwill attached to it, not least because of Lipman’s superb comedic timing. Lipman manages to give off an energy and youthfulness far younger than her 80 years old, and she is one of those performers whose presence alone can generate affection from an audience, and there was certainly a feeling of anticipation as the lights dimmed. The audience at Richmond seemed eager to embrace the evening, and by the end there was no doubt that many had done exactly that.

At its heart, Allegra is a character-driven piece that explores family, memory, ageing and the often complicated relationships that shape our lives. These are themes that resonate universally and offer fertile ground for both humour and poignancy. The script balances light and shade reasonably well, allowing moments of comedy to sit alongside more reflective passages without becoming overly sentimental. Lipman is, unsurprisingly, the production’s greatest asset. She brings warmth, intelligence and a lifetime of experience to the role, creating a character who feels lived-in rather than performed. Her timing as mentioned remains impeccable, and she has that enviable ability to draw laughter from the smallest gesture or inflection. Yet beyond the humour, there is also vulnerability in her performance, a sense of someone navigating the complexities of later life while trying to make sense of the past.

Allegra is full of life, joy, and age has an irresistible urge to sing. She bursts into song at home, in the street, and even in local shops and cafes. The supporting cast including Emmerdale’s John Middleton playing Allegra’s much straighter-laced and concerned brother, Ronen, and Elizabeth Bower who plays Czech carer Anna, and who both do their best to keep life steady and calm. The real challenge however is in supporting Allegra’s many creative nuances, whilst not dimming her bright, and bold light. Bailey Patrick also supports the cast and plays a rather stressed and indeed likeable policeman, Officer Rogers. All actors contribute strongly, ensuring that the production never becomes a one-woman showcase. Relationships do feel believable, dialogue flows naturally and there is an ease to the performances that allows the audience to settle comfortably into the story. The production values are solid throughout, with thoughtful staging and design that serve the narrative without distracting from it.

What struck me most was how warmly the audience responded. There were plenty of laughs, frequent moments of recognition and that collective murmur of appreciation that emerges when people see aspects of their own lives reflected on stage. Theatre can often be measured by the atmosphere it creates in the room, and Allegra succeeded in generating a sense of connection among those watching.

For me, however, while the play was undoubtedly enjoyable, it stopped just short of becoming something truly memorable. It ticked all the boxes one might expect from a well-crafted evening at the theatre: strong performances, relatable themes, humour, professionalism and an engaging central figure. Yet, I found myself waiting for that moment of emotional lift-off, that unexpected surge of feeling that catches you by surprise and stays with you long after the final bow. The ingredients were certainly there. The themes invited deeper reflection, and there were moments when the play seemed poised to deliver a particularly powerful emotional punch. Yet somehow it remained just on the surface for me. I admired it more than I loved it. I enjoyed the journey while I was on it, but I didn’t leave the theatre carrying the characters or their stories home with me in quite the way that the very best productions can inspire.

That is not to say the play lacks heart. On the contrary, there is plenty of warmth running through it, and much of its appeal lies in its gentle humanity. Perhaps its strength is also its limitation: it aims to entertain, engage and comfort rather than challenge or unsettle. There is absolutely a place for that, and judging by the enthusiastic response around me, many audience members found exactly what they were looking for. In an era when theatre can sometimes feel determined either to provoke or overwhelm, there was something refreshing about a production content to tell its story clearly and allow audiences to enjoy the company of its characters. Not every play needs to reinvent the wheel. Sometimes a well-told story, performed by talented actors in a beautiful theatre, is enough.

And perhaps that brings me back to Richmond Theatre itself. There is a charm to watching a production like Allegra in such surroundings. The theatre’s warmth, character and intimacy complemented the play beautifully, enhancing the sense of spending an evening in good company. As audiences spilled out into the Richmond night, there was a noticeable buzz of satisfaction and conversation, a sure sign that the production had connected with many people. For me, Allegra was an enjoyable and accomplished evening rather than a revelatory one. It offered laughter, warmth and some thoughtful reflections on family and ageing, all anchored by the considerable talents of Lipman. While it didn’t quite deliver the special emotional spark that transforms appreciation into affection, it remained a thoroughly pleasant and worthwhile night. 

Allegra continues at The Richmond Theatre until June 13, Windsor Theatre Royal, June 15-20, Glasgow Theatre Royal, June 22-27, Bath Theatre Royal, June 29-July 4, and Harold Pinter Theatre London, July 8-August 8. For more details see https://www.allegraplay.com/

Reviewer - Mary Fogg 

On - June 8

Album Review Tony Jupiter Clown Syndrome

On Clown Syndrome, Texas surf-goth outfit Tony Jupiter trades irony for vulnerability, delivering a collection of songs that feel simultaneously sun-bleached and emotionally bruised. The album’s title suggests humour: a jovial façade masking deep underlying depression. Beneath the makeup, however, lies a record preoccupied with heartbreak and longing.

Spanning songs written between 2018 and 2026, the record blends dark, nostalgic post-punk with infectious Latino rhythms and surf-rock guitars. Inspired by 1980s and 1990s influences, the songs touch on relatable themes of late-night rebellion, heartbreak and community, all while maintaining a theatrical edge. 

Opening track ‘Sexual Guidance’ sets the tone immediately. Driven by jangling guitars and a restless energy, it captures the confusion of emotional dependency with a hook that lodges itself in your head long after the song ends. The band’s surf-rock instincts remain intact, but the darker lyrical themes give the track a sense of urgency that elevates it beyond simple indie-rock nostalgia. ‘Baby I Move’ has a breezy energy and a more upbeat feel. 

Elsewhere, ‘Forget Me’ is one of the album’s strongest moments. Its plea for remembrance is delivered with an appealing mix of vulnerability and restraint, avoiding melodrama while still cutting deep. The song showcases Jupiter’s knack for writing direct, emotionally resonant lyrics without sacrificing melody, very much in the vein of early Robert Smith and The Cure.

‘It’s Over’ strips things back further, condensing the pain of a collapsing relationship into just over two minutes. The track’s brevity works in its favour, arriving, devastating and disappearing before it has the chance to overstay its welcome.

What makes Clown Syndrome compelling is its consistency of mood. Across ten tracks, Tony Jupiter creates a hazy world where surf-pop melodies collide with goth melancholy and indie-rock confessionals. The band’s melodic instincts are strong enough to carry the listener through even the darkest passages. 

If there is a criticism, it is that the album rarely breaks from its emotional comfort zone. Listeners hoping for dramatic stylistic shifts may find its focus limiting. Yet that same commitment to atmosphere is also its greatest strength. Clown Syndrome feels less like a collection of songs and more like a late-night conversation with someone still trying to make sense of a broken heart.

Fans of dream-pop, surf-goth and indie rock will find much to like in Clown Syndrome. Tony Jupiter occupies a similar space to Martha and the Muffins: intelligent, quirky pop music that balances emotional sincerity with a slightly surreal, art-school sensibility. 

Clown Syndrome was released on 5 th June 2026 and is available on major streaming services and on Bandcamp, link below. 

https://tonyjupiter.bandcamp.com/album/clown-syndrome

Reviewer: Adrian Cork 

On: 29/05/2026

Festival Review The Party in the Park Poynton Pool Park, Poynton

The Party in the Park celebrated its 21st Anniversary with this year’s event, having become something of an institution in Poynton but attracting people from well outside the town’s boundaries. You could in essence describe this annual gathering as a collection of artists of varying quality all doing covers but that would not just undersell the Party in the Park but completely miss the essence of what this day is all about. The Party in the Park is a celebration of community, music and basically having a good time, with many people dressed for a party, determined to enjoy themselves come rain or shine.

Poynton is a village that became a town in 2010, situated right on the Cheshire border with South Manchester, so that there is the feel of the Peak district combined with excellent transports links, the park being some 10-15 minutes-walk from the train station, with very generous parking available right next to the party compound so the Party event is very accessible. It is also beautifully situated, with an array of high trees around surrounding half the area and views Derbyshire hills from the other side. Added to this, the party takes place right next to the 21-hectare Poynton Pool (sometimes incorrectly called Poynton Lake) so festival goers have scenic, pleasant walks available right by the compound, with Party wristbands letting everyone come in and out as they please.

Once inside, the Party is focused around a single main-stage with an arc  of open-ended tents on the perimeter available to hire for an extra charge (easily big enough for a family) and another ticket upgrade option giving access to a marquee containing seats and tables, equipped with its own bar. For general party-goers, there is no protection from the elements so umbrellas are advised!

A small funfair ensures there is something to entertain small children with attractions including dodge ‘em cars (in a huge tent), a bouncy castle and rides such as revolving saucers and seat on rising metal arms. Candi-floss and confectionary stalls are close at hand. 

There is a plentiful supply of fast-food and drinks vendors but it has to said that all goods on offer are at ‘festival prices’ so be warned. There are no restrictions on taking in your own food and many of party-goers bring in extensive picnic hampers rather than just to enough to sustain themselves during the wait for the performances. Doors open at 2.00pm and the closing act does not leave the stage until 10.00pm so there is plenty of time to picnic and party!

It is the atmosphere that makes the Party in the Park what it is and, in many ways, there is something refreshing about not having any ‘real’ famous names on the stage because it makes the event more about the people than some rock demigod whom everyone had come to pay homage to. That said, the Party does have a varied collection of genuine talent. Solo singer-guitarist Twixt kicked off the Party this year, with songs from the 80’s & 90’s followed by rock three-piece ‘Parlaiz’ who gave a foot-stomping, electric-guitar based twist on well-known songs from the 70’s through to the 2000’s, with numbers like ‘Mrs Robinson’ and ‘Don’t you forget about me’ (Simple Minds) given a different feel. ‘Monkey Harris’ gave more authentic renditions, particularly of Oasis songs, with the benefit of five musicians. Then followed the three tribute acts detailed in all promotional materials, starting with a Robin Williams tribute artist who got the audience going. The final two acts of the evening, The Killers UK and The Coldplay Tribute, each featured full bands of skilled musicians, giving detailed and authentic renditions from the back catalogues of the well-known groups that respectively inspired them.

The Party in the Park is a joyous fun occasion, that starts off quietly and builds up a community celebration where both young and old can be seen dancing and enjoying themselves well into the evening. Well worth going to. 

Reviewer: John Waterhouse

On: 06.06.26

The Lantern Writers, formed in 2011, are one of Liverpool’s foremost creative playwriting groups. They were established to showcase the writing talents of local creatives and to give them an important opportunity to put their plays on the stage. 

Boss New Plays is the annual showcase of their work, split over two nights. Tonight’s performance featured four plays that had emotional depth, pathos and, above all, Scouse humour.

All Good Things 

Written and directed by Brian John Mutton We meet newly retired Ted (Derek Cross) and Jessy (Linzy Boden), his wife of 45 years, in the comfortable front room of their bungalow. Jessy, already retired, had an established routine that Ted was about to disrupt. We follow Ted’s first two months grappling with retirement through some witty and typically Scouse repartee between the pair. From the Kama Sutra to vampire slaying to an amorous neighbour (Sheila Samuels), Brian John Mutton’s script delivers surprises.

All Good Things is full of heart and pathos and will leave you emotionally satisfied by the end.

Harry’s World

Written by Joe Lewis. Directed by Kevin Foott. Dementia is no laughing matter, of course, but sometimes humour is the best way to highlight an issue that is impacting more and more families every day. We meet a smartly dressed Harry (Iain Barrie), who has just alighted from a train at Bootle Oriel Road. Appearing lost, an empathetic police officer (Shaun O’Connor) asks Harry if he is OK. Immediately suspicious that he is being questioned about stealing apples, Harry offers a curt “no comment” in response. The pair engage in conversation, during which we find out why Harry is in Bootle, but not where he should be.

His daughter (Lisa McMahon) appears, much to Harry’s surprise, and confides in the police officer that she has a tracker on Harry’s phone. It is works like this that can raise awareness of dementia and even help families spot the signs early in their loved ones.

Sunflowers

Written by Paula Frew. Directed by John Mac. Lenny (Tommy Tyler Morgan) is sitting at the breakfast table doing a crossword when Margo, a nurse and his partner of two years, joins him, seemingly still drunk from the night before. Lenny ignores her for as long as he can before making a sarcastic comment. As their dialogue unfolds, it becomes obvious that there is tension between them. Margo goes to wake Jasmine, her 14-year-old daughter, only to discover she is not in her room and that her bed has not been slept in. After a while, she is reported missing.

Detective Glass arrives and begins questioning the couple, and little by little the truth emerges. A fleeting moment between Lenny and Jasmine had triggered some long-repressed memories in Margo.  The audience were held rapt in silence during the intentionally unsettling denouement. Without doubt, Sunflowers was the most hard-hitting and emotional play of the evening, and Karen Sharples, as Margo, gave the performance of the night.

When in Rome

Written by Joe Lewis. Directed by Andy Kerr. Two Scouse painter and decorators take their tools and skills to Rome after being blacklisted from every job in Liverpool for being terrible at their profession. Without giving too much away, they work on the Spanish Steps, the Sistine Chapel and the Colosseum, incurring the wrath of a papal official (PJ Murray). Mike Sanders and John Purcell gave pitch-perfect performances as the decorators, very much in the style of Laurel and Hardy. Indeed, it was very easy to imagine this as one of the iconic duo’s short films. I can pay the writer, director and performers no higher compliment than that.

The Lantern Writers presented a hugely entertaining evening, and I am already looking forward to next year’s Boss New Plays. 

Reviewer – Adrian Cork 

On – 06.06.2026

Theatre Review Follies Playhouse Theatre Liverpool

 

Well known for its first performance on Broadway in 1971 and for winning the Tony Award for Best Score, this legendary musical has been performed across the world with many well-known stars such as Imelda Staunton, Diana Rigg and Elaine Paige.

The show portrays the last reunion of Weismann’s Follies in the theatre where the performers once were dressed up to the nines and sang their hearts out between the wars, before the demolition of the theatre.  Dmitri Weismann (Frank Nance) is presiding over the party as they reminisce, singing songs by Sondheim, about their past lives and how life has treated them over the years. The four main characters, Sally (Linzi Stefanov) and Phyllis (Gina Phillips) and the stage-door johnnies, Buddy (Chris Simmons) and Benjamin (Jonty Barnes), whom they married, take centre stage with their lives unfolding listing regrets and trying hard to deal with the nostalgia.  The ladies are haunted by their pasts and  their younger selves are portrayed by girls in stunning costumes, acting out their past and observing their future in this complex show.

This production, from the book by writer, James Goldman, is a must for Sondheim fans and the audience was abundant with them at this performance; they enjoyed every song and every moment giving rousing applause and appreciation.

Directed and choreographed by James Lacey with musical direction from Trish Gaskill the show is awash with songs, dancing and tap dancing. The opening set is dark, depicting the inside of the theatre with the large cast suitably attired for the party during the 1971 era  with wardrobe by Lesleyann Walsh. Spotlights are put to use as each of the party members sing.

This production is known for it’s complex score as the music is notoriously intricate with vocalists requiring a high level of classical technique, stamina and the ability to handle dissonant melodies plus requiring the performers to be able to act, sing and dance. The plot deals with immense emotional depth with the leads portraying their bitter middle-aged selves and the ghosts of their youth plus the show incorporates a very large ensemble cast.

Follies is a nostalgic love letter to the theatre and the performers and musicals of yesteryear and this production was greatly appreciated by the full house audience.

BOST Musicals is one of the city region’s most respected amateur companies, this production is their first in a new 5-year residency hosted at the Playhouse.

This production runs from  5th – 6th June 2026. For more details see https://everymanplayhouse.com/event/bost-musicals-presents-follies

Reviewer: Anne Pritchard

On: 6^th June 2026

Theatre Review Amateur Come From Away Make North Docks Liverpool

 

Come From Away, presented by What We Did Next, tells the extraordinary true story of approximately 7,000 air-stranded aeroplane passengers and the small town of Gander, Newfoundland, Canada that took them in.

During the world-shattering episode of 9/11 on 11^th September 2001, 38 planes unexpectedly landed in Gander and the close-knit community of the small town opened their doors and their hearts to strangers from across the world who were confused and tired but also very angry and dispirited; they were the passengers from over thirty different aeroplanes, having been diverted and ordered to land in rural, Gander after the immediate closing of US air space.

This is the genuine story of extraordinary kindness, bonding, and human spirited compassion. It incorporates heart-warming music and humour whilst celebrating the importance of kindness in the community when needed the most.

The production took place in a warehouse unit without a stage with the audience at close quarters to the performing actors. The set was almost bare except for two tables/desks and twelve chairs which were used as props to portray various settings such as inside the airplane, a bus and a church and the offices of various organisations in Gander.

This exhilarating musical performance is an amateur performance worth its weight in gold, directed by Alice McCormack with Stage Manager, Charlie Humphries. The cast are energetic, committed and extremely talented; this is positively one of the best professionally produced amateur shows I have had the pleasure to review.  It is awash with devoted performers who are all visibly compassionate about the story they are presenting and have empathy for the characters they portray.

I am reluctant to single anyone out for their performance as every one of the cast are to be commended on an extraordinary team effort which included lots of humour in-between the heart-wrenching storytelling and emotional, poignant scenes which at times came as somewhat of a relief as emotions were running high throughout.

The cast tackled an abundance of dancing very ably, choreographed by Rebekah Riley  with a plethora of musical numbers whilst costumes were reminiscent of the era and well thought through.

Excellent singing from all cast members throughout with musical direction from Kira Hodson and the seven piece band at the back of the stage throughout was a bonus.

Lighting was ‘spot on’ as were the casts many accents. There were a few sound blips with some of the narrative not being heard as sharply as it could have been sometimes due to the band being overly loud at times and sometimes due to the many accents being tackled and the abundance of movement during the piece but these can be forgiven as I’m sure they will be rectified for future performances.

The show plays for approximately 100 minutes without an interval.

CAST:

Claude - Alex Firth-Clark

Kevin J - Omar Hussein

Kevin T - Ben Wallace

Nick - James Freedman

Oz - Jack Gloyens

Bob - Daniel Rodgers

Diane - Sarah-Jane Aston

Beulah - Emma Ray

Janice - Roz Gibson

Bonnie - Holly Lawless

Beverley - Sarah Mullis

Hannah - Pamela Devereux

PRODUCTION TEAM:

Director - Alice McCormack

Producer - Catherine Bacon

Musical Director - Kira Hodson

Movement Director - Rebekah Riley

This production from What We Did Next runs at Make North Docks from 4^th - 6^th June 2026. 

For more details and tickets see https://www.wwdn.co.uk

CONTENT WARNING: Mild references to alcohol, sex and violence and some strong language. MTI rating: PG

This amateur production is presented by arrangement with Music Theatre International. All authorised performance materials are also supplied by MTI www.mtishows.co.uk

What We Did Next is a CIC based in Liverpool. Their goal is to provide access to theatre and the arts across Liverpool City Centre. Learn more at https://www.wwdn.co.uk

Reviewer – Anne Pritchard

On – 4^th June 2026

Theatre Review Malory Towers HOME Manchester – A Nostalgic Joy Reawakened

As a devoted Enid Blyton reader throughout my childhood, Malory Towers was always my absolute favourite. I read those books over and over again, and even now, more than fifty years later, I still have my well-thumbed copy on the shelf. They were never just stories to me; they were an entire world I could step into at will.

Like so many readers of my generation, I fantasised about life in a boarding school: the camaraderie, the jolly hockey sticks spirit, the midnight feasts with lashings of ginger beer, and the sense of adventure that came with being away from home. Set against the imagined backdrop of the Devonshire coast or rolling English countryside, it was pure escapism long before the internet ever existed.

So I arrived at HOME Manchester with exceptionally high expectations. What I found was a production that didn’t just revisit that world, but gently opened it up again with warmth, intelligence and theatrical joy. 

Emma Rice’s adaptation and direction understands the heart of Malory Towers instinctively. Some of the characterisation is knowingly tongue-in-cheek, but what comes through most strongly is how clearly these girls are drawn as individuals. Even in Blyton’s original writing, they possess recognisable and enduring traits: resilience, grit, determination, courage, kindness and a strong moral compass. The stage version honours that, showing them not as idealised figures, but as young people learning, failing and growing together, often while still only eleven or twelve years old.

The heart of the show lies in the camaraderie between the girls. We watch them live away from home, bond, clash, reconcile and evolve, all while taking immense pride in being Malory Towers girls. That sense of identity, of belonging to something bigger than themselves, shines through like a beacon. Their pride in their school, their friendships and even their uniforms becomes a shared emotional anchor for the entire production. 

Musically, the show leans into a jukebox style, weaving familiar songs into the fabric of the story. Some numbers, such as Mr Sandman, are cleverly reworked, while original compositions add emotional depth and narrative texture. The standout moment for me was Hush, Sally, written by Emma Rice and Ian Ross. It is a beautifully tender piece, full of stillness and sincerity, and sung with real emotional clarity. Moments like this give the production its unexpected poignancy.

As with many contemporary touring productions, the company is small—just eight performers—but remarkably versatile. Many of the cast are multi-instrumentalists, moving seamlessly between acting, singing and playing instruments. There is something especially evocative about the use of an upright piano, played on stage by Stephanie Hockley in her role as the wonderfully Parisian Irene Dupont. The sight and sound of that old-fashioned school-hall piano instantly conjured memories of assemblies and music lessons, adding yet another layer of nostalgia to a production already rich with it.

Although very much an ensemble piece, several performances stood out. Eden Barry was wonderfully affecting as the timid and self-doubting Mary-Lou Atkinson, charting her journey from nervous outsider to the radiant Titania, Queen of the Fairies, with real warmth and conviction. Molly Cheesley brought terrific comic timing to Alicia Johns, the mischievous underachiever whose discovery that intelligence comes in many forms becomes one of the show’s most endearing lessons.

Robyn Sinclair led the company with gusto as Darrell Rivers, capturing both the character’s fiery temper and the strength of character that ultimately transforms her stubbornness into determination and leadership. Darrell’s journey from impulsive newcomer to respected friend and role model forms the backbone of the story, and Sinclair carried it with energy and heart.

Zoe West was a particular favourite of mine as horse-mad, tomboy Bill Robinson. Bringing warmth, humour and a wonderfully mischievous twinkle to the role, she peppered her performance with knowing glances and subtle fourth-wall-breaking moments that invited the audience directly into her confidence.

Every appearance felt completely natural and utterly charming. Bethany Wooding’s Sally Hope was played with admirable restraint and stoicism. Coming from a theatrical family yet wanting none of the spotlight herself, Sally begins as a practical, highly organised and occasionally bossy presence within the dormitory. Wooding gradually reveals the warmth and vulnerability beneath Sally’s rigid exterior, showing that her sense of duty and order is actually one of the things holding the group together. By the end, she emerges as someone the other girls can rely upon completely, and the performance quietly becomes one of the show’s emotional foundations.

Stephanie Hockley charmed throughout as the French music teacher Irene Dupont, bringing Parisian flair, humour, language and an obvious love of music to every appearance. Her singing voice was gorgeous, and she became a delightful bridge between the audience and the world of the school. Musician understudy Emily Payne was also visible on stage throughout much of the performance, her violin adding texture, atmosphere and richness to the musical arrangements.

Particular praise must also go to Anna Soden as Gwendoline Lacey. Outwardly vain, spiteful, manipulative and often downright dreadful, Gwendoline is one of Blyton’s most memorable creations. Yet beneath the bullying and theatrics lies a deeply unhappy child masking a traumatic and troubled home life. The performance avoided caricature and instead found genuine humanity within the character, making her eventual vulnerability all the more affecting.

A lovely touch was the inclusion of Dame Sheila Hancock as the voice of Miss Grayling, the wise and compassionate headmistress. Appearing via a shadowy projected silhouette, she brought warmth, authority and gravitas to a role that generations of readers have cherished.

The set design is deceptively simple but extremely effective. A clever construction presents the interior façade of a vast school wall, punctuated by elegant windows that become a canvas for projections. Such technology has become commonplace in contemporary theatre, but here it was used thoughtfully and sparingly. The projections enhanced the storytelling rather than dominating it, creating atmosphere, suggesting locations and supporting the action while keeping the performers firmly at the centre of attention. 

There are moments of delightful theatrical invention throughout. A brief sequence of organised stage chaos perfectly captures the bustle and energy of school life. The swimming scenes are particularly memorable, with physical theatre, movement and puppetry combining to create the illusion of diving, splashing and floating through water. It is imaginative, playful and beautifully executed.

The cliff-top rescue scene proved equally inventive. As Darrell attempts to save a fellow pupil dangling precariously from the rocks, the production uses puppet limbs and exaggerated theatrical devices to suggest the action. It is difficult to describe but utterly hilarious to watch, embracing the joy of theatre while gently poking fun at its own mechanics. The audience responded with delighted laughter.

Throughout the evening there were countless moments of joy. The audience may not have gone wild, but their appreciation was unmistakable. Warm applause greeted individual performances and there was a genuine sense that everyone present understood the care and hard work that had gone into creating such a cohesive ensemble piece. We were even treated to an impromptu performance during the interval before Act Two resumed, a charming touch that reinforced the connection between company and audience.

What surprised me most was how deeply the production connected me to a part of myself I hadn’t visited for years. Watching these stories unfold, it felt as though a tiny corner of my heart, long forgotten, had quietly opened and released a flood of childhood joy. Suddenly I was that young reader again, completely immersed in a world of friendship, adventure and endless possibility.

Looking around the audience, I suspect there were many fellow Enid Blyton devotees experiencing something similar. There were parents and grandparents introducing younger generations to the stories that had shaped their own childhoods, hoping to pass on a sense of that same magic. Whether Malory Towers lands with the same force for today’s children is perhaps uncertain, but what this production achieves is something equally valuable: it demonstrates why these stories have endured for so long. 

Full of joy, warmth, laughter, excitement and expectation, the show celebrates the timeless values at the heart of Blyton’s writing—friendship, loyalty, courage, resilience and kindness. I left HOME Manchester not only entertained, but gently reminded of something I had almost forgotten: the simple, enduring happiness of believing in stories like these. And I left with that happiness quietly restored.

Malory Towers is touring the UK until 2nd August and is at HOME until Saturday 13th June.

Reviewers: Kathryn Gorton and Debbie Lewis

On: 4th June 2026

Theatre Review The Skriker Preston College

Josie is a young, beautiful girl who has become a psychiatric patient following the sudden death of her ten-day old baby. She is visited by her pregnant friend Lily draws and the two women become drawn into a dark underworld of spiritual torment, presided over by the titular Skriker, a shapeshifting demonic entity that is able to present itself as different personalities, sometimes seeming like a benign friend but seeking to harm them, with Lily’s baby the main target.

This is a multi-dimensional play, alternating between a dark demonic realm of demons and the world of two young women, each to varying degrees afflicted by demonic oppression. The demonic world is powerfully set up, with a large cast all wearing either horrific or fanciful facemasks and exotic costumes, communally or individually chanting blood-curdling oaths or curses, interspersed with occasional bestial sounds or chilling music. This devilish community is frequently juxtaposed to the isolation of Josie and Lily as the Skriker keeps appearing in various forms, communing with each of them. The play could be viewed as an exploration of inner mental torment but the demonic side is presented as something very real and writer Caryl Churchill has certainly done her homework in giving an authentic aspect to the occult.

The play is effectively presented in the thrust with the audience seated either side of a central performance area and entrances from the middle of each seating block as well as each end of the stage, all used to great effect. 

Whilst the action takes place on the central stage area, demons are frequently seen loitering at various points around the room, often taking great delight in watching the mental torment of the two central characters. It is interesting to see that each demon appears to have a specific curse, be it a jolting neck or permanently crouching stance (one even having to carry a stand with a medical drip), giving a powerful impression that demons intent on causing suffering are themselves all trapped in different forms of suffering themselves; hell indeed! 

A notable aspect of this production is the selective use of music, typically frenetic string sounds emphasising the disintegration of Josie’s mind. The play, as you might expect is essentially dark with yellow and green lighting used only occasionally at key dramatic moments. The set for the most part is a few stage blocks but the cast of around thirty performers is imaginatively used, creating a sense of frequent movement, with something different often going all around the auditorium as well as on the central stage. Physical theatre is also employed, with various demons becoming items of furniture, ranging from a standard lamp to a swing-lid bin! Could this be the ultimate example of demonic infestation?

Tia Percy-Hamilton as Lily and Josie Emily Murtagh as Josie give convincing performances as the tormented central characters and there are many periods of real pathos as the tension builds, with the demons sinking their claws ever deeper into Lily and Josie’s lives. The various incarnations of the Skriker are well brought over by other members of the cast, giving a composite picture of a clever, devious entity that can appear vulnerable and even sympathetic whilst inwardly aggressive and manipulative. Co-directors Sara Hartigan & John-Mark Reid have demons conversing with each other, sometimes caressing, demonstrating that the evil spirits have distinct personalities, enhanced by their costumes and masks, which vary from the beautiful and intriguing to the ugly and repulsive.

This is not an easy play to watch but it’s not meant to be. The mental anguish that people can experience is presented with a powerful spiritual backdrop that is all too much ignored by the world in general. For that reason alone, this is a play that deserves to be seen, given a dynamic presentation by Preston College that will stick in the memory.

See www.preston.ac.uk/tickets

Reviewer - John Waterhouse

On - 03.06.26

‘The Skriker’ is on until the 5th June 2026.

Theatre Review The Wizard of Oz East Cheshire Musical Theatre Company at Romiley Forum

For most audiences, Oz is inseparable from the 1939 film starring Judy Garland alongside Ray Bolger, Jack Haley, Bert Lahr and Margaret Hamilton. It remains one of the most influential fantasy films ever made and sets a benchmark against which every stage production is inevitably measured.

Under the direction of Heidi Fletcher and choreography by Sally Hilliard, East Cheshire Musical Theatre Company’s production at Romiley Forum embraced that legacy with warmth and enthusiasm, delivering a musically strong and visually thoughtful evening of theatre.

Musically, the production was on very solid ground. Under the musical direction of Ed Nurse, the band was tightly conducted throughout, supporting the singers with clarity and precision, while the chorus delivered confident and well-rehearsed ensemble work. Nurse deserves considerable credit for achieving an effective balance between orchestra and stage, allowing the score to remain consistently engaging and ensuring that the musical elements of the production remained one of its strongest assets.

Contemporary projection technology was used effectively to establish locations and facilitate scene changes, helping maintain the flow of the performance. There were occasions, however, when the technology could perhaps have been employed more boldly. The tornado sequence, accompanied by narration from Miss Gulch and Dorothy, might have benefited from a more immersive visual approach to heighten the sense of chaos and transition.

The arrival in Oz itself did not quite achieve the theatrical impact the moment demands. Although the painted scenery was attractive, the reveal lacked the full sense of wonder expected at such a pivotal point in the story. The visibility of the Munchkins behind an unpainted flat slightly weakened the surprise, and a stronger lighting or visual effect would have helped create a more magical transformation.

An unusual addition to the production was Toto, played by dog actor Luna, who behaved impeccably throughout. There were a few moments when cast members appeared to be adjusting to sharing the stage with her, resulting in the occasional tiny yelp being heard, but these were minor distractions and quickly forgotten.

Dorothy, played by Isabella Fallon, proved to be one of the highlights of the evening. Her performance was natural, sincere and beautifully measured, with a clear, childlike purity to her voice that was a delight to hear. She brought warmth and authenticity to the role and carried the emotional heart of the production with confidence and charm.

Equally impressive was the genuine warmth between Dorothy and her travelling companions: the Scarecrow, Adrian Godding;  the Tin Man, Chris O’Neill; and the Cowardly Lion, Adam Garnett. Their shared journey was marked by warmth, camaraderie and strong use of physical theatre, which gave their relationships a tangible sense of energy and playfulness. These elements combined to create an emotional core that carried the audience through the story, with the chemistry between the central characters evident throughout.

A particular highlight was If I Were King of the Forest, delivered with confidence and a fabulous vocal quality by the Cowardly Lion, played by Adam Garnett. The performer extracted every possible ounce of comedy from the number, producing one of the evening’s most entertaining sequences and drawing some of its biggest laughs.

Professor Marvel, who later reappears as the Wizard of Oz, played by Jon G, provided another standout performance. The actor brought a highly individual interpretation to both roles, full of camp knowingness and theatrical flair. There were echoes of numerous famous characterisations and, at times, shades of the self-aware charm associated with Jeff Goldblum’s interpretation in Wicked. Yet the performance never felt derivative, remaining entirely its own creation while displaying excellent comic timing and personality.

The Good Witch and the Bad Witch were also in safe hands, with Francesca Bowman as Glinda delivering a poised and assured performance, while Kate Longdon’s Wicked Witch of the West combined a seriously menacing presence with a contemporary nod towards interpretations of Elphaba through her costuming and approach to the role.

Less successful was the iconic moment in which Dorothy throws water over the Wicked Witch. From the audience’s perspective, the transition felt somewhat unclear: one moment the Witch was present and the next she appeared to have vanished, with only the broom returning to the stage. Whether intentional or the result of a staging issue, the effect lacked the dramatic clarity that such a famous scene normally carries.

There were also a few minor technical hitches and some scene changes that could be smoothed further. Such issues are hardly uncommon in live theatre and are likely to settle quickly as the run progresses.

The Wizard of Oz is being performed at Romiley Forum until Saturday 6th June.

Reviewers: Kathryn Gorton and Beryl Brennan

On: 2nd June 2026

Theatre Review The Good Life Altrincham Garrick Theatre Company

The Good Life directed by Daniel Ellis and Helen Horridge is a stage adaptation of the classic BBC sitcom that follows Tom and Barbara Good as they abandon conventional suburban life in Surbiton to pursue self-sufficiency in their garden, much to the bafflement and irritation of their socially aspirational neighbours, Margo and Jerry Leadbetter. A staple of British sitcom history, the original series is remembered for its sharply drawn and hugely memorable characterisations by Felicity Kendal, Richard Briers, Penelope Keith, and Paul Eddington.

Robert Crumpton took the lead as Tom Good and demonstrated a clear and assured understanding of the character. He and Helen Swain (Barbara Good) worked well together as a believable couple with natural on-stage chemistry. However, the Barbara characterisations occasionally felt a little on the harsh side and might have benefited from a touch more warmth in order to fully balance the character’s more tender and humorous moments.

Laura Aremia as Margo Leadbetter fully embraced the character’s famously snooty persona and clearly delighted in it. She delivered several standout comedic moments, including one of the funniest lines of the evening during the piglet storyline, when asked to fetch brandy from next door and, with perfect comic timing, checked whether Tom meant Rémy Martin or Cognac. This landed brilliantly with the audience and generated one of the strongest laughs of the night.

Adam Green, as Jerry Leadbetter, provided an effective foil to Margo, portraying the character’s familiar “soppy” and downtrodden nature early on, before showing a pleasing arc in Act 2 as Jerry begins to find his own confidence after being made “boss.”

Graham Simmonds was particularly strong in his multiple roles, demonstrating excellent versatility and comedic timing. His portrayal of Harry the Pigman was especially memorable, consistently drawing attention whenever he appeared and offering a showcase of sharply differentiated characterisations. His experience as a comic performer was evident throughout.

Beverley Stuart-Cole also impressed in a range of supporting roles, particularly Felicity; showing a versatile and adaptable repertoire. Her quick shifts between characters added energy and variety to the production.

One of the highlights of the evening was the final kitchen scene involving the rescued piglet, where the ensemble work came together particularly effectively. The interplay between characters captured much  of what makes the original sitcom so enduringly popular. It evoked the familiar rhythm of classic 1970s television comedy, where the audience can sense the set-up of the jokes in advance yet still find themselves laughing when the punchlines arrive. That sense of affectionate predictability, combined with strong ensemble timing, gave the production some of its most enjoyable moments.

There were also strong technical and design elements that significantly enhanced the production. The director, who was also credited with the sound design, ensured a clear and well-balanced audio presentation throughout, supporting the action without ever overwhelming it. The lighting was warm and effective, helping to showcase a delightful and well-realised set. Costumes by Mike Shaw and team at the Garrick were splendid throughout, particularly Margo’s kaftan wardrobe, which was spectacular in its flair and period character.

The stage design was impressive, cleverly split to represent the adjoining homes of the Goods and the Leadbetters, while also incorporating a flexible cross-set area at the front for the various locations within the play. This design proved highly effective in maintaining pace and clarity of scene transitions while keeping the audience visually oriented throughout. 

Finally, a special mention should go to Geraldine the goat, created and I think ‘handled’ by set designer Charlotte Leigh who very nearly stole the show every time she appeared. Her presence added an unexpected but highly amusing layer to the production and consistently drew audience attention. 

The Good Life is being performed at Altrincham Garrick Playhouse until Saturday 6th June. 

Reviewer: Kathryn Gorton

On: 1st June 2026