Sadomasochism for Accountants The Old Clubhouse, Buxton Fringe Festival

This show, by Martin Coslett and Tim Leichfield, describes itself as an adult comedy musical, which is broadly a correct label but there is more depth ‘To Sadomasochism for Accountants’ than might be expected and anyone expecting a reworking of ‘The Rocky Horror Show’ will disappointed, with no nudity or kinky outfits to be seen. 

This is an intriguing show, where the story is largely told through songs, interspersed with snippets of dialogue and there is certainly a lot of comedy but also several sharp and highly relevant observations as well. Accountants have been a butt for comedy going right back to the Monty Python accountancy sketch but there is a bit more depth in this instance where the metaphor of an accountant can be applied to pretty much any white (or even blue!) collar working environment. 

The premise is that an accountant called Paula is madly in love with another accountant called Alan, who is now going out with the bitchy Belinda. Compounded to this unfortunate scenario, Paula has low self-esteem and self-image. A chance meeting with a man who has a fetish for noses leads Paula to the kinky Club Luscious where she meets the transvestite Luda (who is no Frank N Furter, with a powerful sense of self-awareness) and the dominatrix Gretchen, who shows Paula new perspectives. 

At the same time, the sad and lonely Fred is also finding a new direction in life as a gimp at the Club Luscious. However, it is not just Paula and Fred who go on journeys of self -discovery. Alan and Belinda find their own perceived world of self-sufficiency and superiority is not what they thought it was, having thought they had it all (as proclaimed in the opening song ‘Accountants Rule’). This is most marked by Belinda making Alan have plastic surgery as she tries to craft her own ideal man, in sharp contrast to Paula who much preferred Alan just as he was. This is the real central point of the story, where Paula and Fred find self-discovery and progress by daring to step outside of themselves whereas Alan and Belinda, in different ways, think they can achieve self-perfection unaided. 

 The music of this show is not particularly catchy, perhaps most comparable in style to ‘Little Shop of Horrors’ but it is powerful, requiring considerable singing ability. 

Certain songs such as Plan A, sung by Gretchen and Luda, have the flow of performance poetry delivered at speed, as does ‘The Fetish Song’ sung by the Noseman. There are some charming duets, such as Paula and Fred’s blending of ‘Paula’ and ‘Lonely life of Fred’ and a rousing ensemble number ‘Sadomasochism for Accountants’ as a finale. A nice touch is that all the cast have microphones for the singing so that (as can be the case in small venues) there is not a competition to heard over the sound of recorded music.  

Director Frazer Meakin made effective use of the space, with a central open area enabling the cast to act very much in the thrust with a small stage at the back allowing a separate area for certain scenes such as the wedding planning or the arrival at Club Luscious to be performed. 

The presentation is certainly minimalist but the props are used effectively. Each member of the cast plays both a main character and a secondary character. Alex Aram is superb as Luda, bringing over the complexities of the this curious character. Georgia Maria Rodger alternates well between the Germanic dominatrix (with a great accent!) and the aloof Belina. 

Drew Sinclair plays Alan but it is as the geeky Fred he is most memorable (what kind of a gimp wears thick black glasses over his mask!). Ella Maria Danson is wonderfully expressive as the repressed Paul.

All in all, four great performances of an unusual and surprisingly deep show. 

Sadomasochism for Accountants’ is on until 25.07.26 

Reviewer: John Waterhouse 

 On: 23.07.26

Concert Review - For You Blue: Celebrating The Beatles Greatest Hits 1967-1970’ featuring the Royal Liverpool Philharmonic Orchestra with The Bootleg Beatles

 

For music fans of a certain age, their introduction to the Beatles came through two iconic compilation albums, The Red Album (1962–1966) and The Blue Album (1967–1970). First released in 1973, they have since been reissued in several formats, each time introducing a new generation of listeners to the Beatles.

As the Beatles stopped touring in 1966 to concentrate on studio work, they never performed most of the songs featured on The Blue Album live, save for a brief rooftop appearance in 1969, but more of that later. Bringing this music to the concert hall therefore requires something rather special, and the Bootleg Beatles, joined by the Royal Liverpool Philharmonic Orchestra under the baton of Richard Balcombe, proved equal to the task.

Covering the period from 'Sgt. Pepper's Lonely Hearts Club Band' to 'Let It Be', the setlist offered two hours of music spanning twenty-six songs from five (abridged) albums. Between each section, video interludes explored the music that influenced the Beatles while capturing the spirit and tensions of the late 1960s, while also allowing time for the Bootlegs' inevitable costume changes.

The lights dimmed and a video opened the door to 1967 with Pink Floyd's 'See Emily Play' and Timothy Leary urging us to "turn on, tune in and drop out". The Bootlegs took to the stage in their psychedelic Sgt. Pepper uniforms and launched straight into 'Sgt. Pepper's Lonely Hearts Club Band', 'With a Little Help from My Friends' and 'Lucy in the Sky with Diamonds'. Next came the double A-side single 'Penny Lane/Strawberry Fields Forever' that, as Lennon famously bemoaned, was kept off the number one spot by Engelbert Humperdinck.

The first half closed with a magnificent performance of 'A Day in the Life'. As the monumental final E major chord reverberated around the Philharmonic Hall, the lights faded and the Bootlegs recreated the famous album cover while, behind them, members of the orchestra raised masks depicting its many iconic figures.

The video screen then transported us to 1967 with BBC footage of that year's Wimbledon, the closure of the pirate radio stations, the launch of Radio 1 and the Small Faces performing  'Itchycoo Park. The Bootlegs returned to the stage dressed in colourful kaftans.

They launched into 'Magical Mystery Tour,' 'I Am the Walrus', 'Hello, Goodbye', 'The Fool on the Hill' and 'All You Need Is Love', during which the audience were enthusiastically encouraged to sing along.

The next interlude featured a montage of American politics, particularly protests against the Vietnam War, accompanied by music from the Rolling Stones and Julie Driscoll. The Bootlegs reappeared, this time dressed for The White Album, performing 'Revolution' (the B-side of 'Hey Jude') and 'While My Guitar Gently Weeps', before rounding off the first half with a rousing rendition of 'Ob-La-Di, Ob-La-Da'.

It would be remiss of me not to credit the men behind the costumes who so clearly relished becoming the Beatles. Stephen Hill's George Harrison appeared completely relaxed and at home in his role, delighting in songs from the Quiet Beatle's most creative period. His quips about Eric Clapton only added to the authenticity.

Miles Frizzell, the newest member of the band, was outstanding as Paul McCartney, capturing not only McCartney's distinctive vocal style but also his unmistakable mannerisms and stage movement.

The video opening the second half featured the Clangers, a Scaffold advertisement for Watney's Ale, The Liver Birds, On the Buses, Monty Python, Easy Rider and a clever insert showing the Bootlegs appearing to walk onto the roof of Apple Corps headquarters in Savile Row. This, of course, recreated the final time the Beatles ever performed together live.

'Get Back', 'Don't Let Me Down', 'The Long and Winding Road' and a solo performance of 'Across the Universe' by John offered a flavour of what witnessing that famous rooftop concert might have been like. Paul Canning, now sporting Lennon's famous white suit and flowing beard, had both his singing and speaking voice down to a tee.

The Royal Liverpool Philharmonic Orchestra then performed Richard Strauss's 'Also sprach Zarathustra', the instantly recognisable theme from 2001: A Space Odyssey.

The final interlude was perhaps the evening's cleverest. The white Volkswagen Beetle from the Abbey Road cover drove through London towards Abbey Road itself to the strains of Led Zeppelin's Whole Lotta Love, passing Carnaby Street, a Who concert, an anti-nuclear march and the Rolling Stones in Hyde Park. Concord flew overhead, man landed on the Moon and David Bowie sang Space Oddity.

The band, now dressed in their Abbey Road finery, played 'Come Together', 'Something' and 'Octopus's Garden', finally giving Gordon Elsmore's Ringo Starr the opportunity to take lead vocals once more.

'I Want You (She's So Heavy)', 'Here Comes the Sun' and 'Let It Be' brought the main set to a close.

The audience's standing ovation left little doubt that an encore was inevitable. Appropriately, the Bootlegs brought the story right up to date with the Beatles' final release, 2023's 'Now and Then'. The accompanying video formed a moving tribute to members of the extended Beatles family no longer with us, including Brian Epstein, George Martin, Mal Evans, Cynthia Lennon, John Lennon and George Harrison. It was an unexpectedly emotional moment before the evening concluded, as it surely had to, with 'Hey Jude' and an audience that enthusiastically took over the famous "na-na-na" refrain.

This was a triumph for which enormous credit belongs to Richard Balcombe, the Royal Liverpool Philharmonic Orchestra, the Bootleg Beatles and musical director Steve Earle. Rather than attempting a note-for-note recreation of performances that never existed, they created something far more imaginative: a convincing vision of how the Beatles' extraordinary studio masterpieces might have sounded had they ever taken them to the concert stage. It was a celebration not only of the music itself, but also of the creativity and ambition that made these recordings timeless.

For more dates and further information about the Bootlegs, visit their website HERE.

Reviewer: Adrian Cork 

Date: 21/07/2026

Theatre Review Matthew Bourne’s The Car Man Lyceum Theatre, Sheffield

Matthew Bourne is one of the UK’s most successful choreographers and directors with signature works including Spitfire, Nutcracker, Swan Lake and Cinderella. The Car Man was first shown in 2000 and has won many accolades, including an Olivier Award nomination for Outstanding Achievement in Dance. It is loosely based on both George Bizet's opera ‘Carmen’ and the film noir ‘The Postman Always Rings Twice.’

It is set in the fictional town of Harmony within an Italian American community in Midwestern America. The storyline has elements of lust, fate, revenge and murder and has been described as in the ‘dance noir’ genre.

Award-winning Lez Brotherston’s clever set and costume designs transport us back to 1960’s Harmony. The stage settings highlight that this is a high-quality production and depict a garage, prison and French nightclub amongst others. The dancers are at home in their surroundings and use the stage to full effect. 

The props are just as impressive, in particular when the cars are racing around the stage in scenes reminiscent of the James Dean classic ‘Rebel Without a Cause’. Chris Davey’s lighting helps the transitions between the dance scenes and completes the stage illusion. The music score by Terry Davies and Rodin Shchedrin’s Carmen Suite (after Bizet's Carmen) is suitably dramatic.

As a dance thriller, there is no direct dialogue, with movement and choreography responsible for delivering the narrative. It can be difficult to keep track of a dance-driven story as it develops, but not in the case of the Car Man. The story is simple, which enables the audience to relax and enjoy the show. The choreography is clever and succeeds in developing the story and characterisation in unison. The show

starts with a few steamy dance scenes in the men’s locker room, culminating with a‘Full Monty’ style flash of nakedness.

Harrison Dowzell plays the role of Luca, the enigmatic and mysterious drifter, who arrives in town and seduces Lana (Cordelia Braithwaite), the beautiful young wife of his employer and garage owner Dino (Danny Reubens). This dangerous liaison has deadly consequences that result in murder and the framing of an innocent man.

The choreography and movement are breathtaking and executed with precision and beauty by a cast full of exceptionally talented dancers. The storyline is fast-paced with much of the dance action in a similar vein. There are also scenes of poignancy, like when Luca dances with the spirit of the man he bludgeoned to death. On the face of it he has got away with murder, but internally he is racked with guilt carrying

demons. His internal struggle is brought to life with these scenes of dance and movement, with the clever use of light.

There is a dramatic ending to the story to bring the curtain down on a passionate, dramatic and exhilarating masterclass in dance theatre. This is a high-quality theatrical production rich in storytelling and visual drama, which I would highly recommend.

Production run (The Lyceum Theatre, Sheffield): 21st July – 25th July 2026.

Theatre Review Jane – England’s nine day Queen. Eyam Mechanics Institute Eyam

Buxton is a somewhat isolated town in the Peak district so it is perhaps not surprising then that the annual festival Fringe’s reach extends out into the countryside with the small village of Eyam being twelve miles from Buxton. The Mechanics Institute theatre, seating around 50 and having a proper curtained stage is an idea venue for fringe productions, located directly opposite the church in this historic village, making a perfect setting for a historic play.

‘Jane – England’s nine day Queen’ by Kim Louise-Sparks, tells the tragic story of Lady Jane Grey with remarkable historical accuracy and attention to detail through twenty-five songs and very limited dialogue. The cast of nine (and a little doubling-up) display all the key characters in the story, with a key emphasis on the fact that Jane herself has no real desire to become a queen, essentially manipulated by relatives and others through mixed desires of power and religious fervour.

With the emphasis on telling the history, this is a very stylised production with the costumes a mix of modern dress and symbolic garments and weapons such as cloaks, swords and ecclesiastic appendages. The bare stage is bereft of props save a chair and a chess set on the two boxes (one of which also serving as the execution block), with the obvious symbolism that all the characters are to some extent pieces in a game although some clearly have more power to influence events than others.

The music makes for a pacy show, for the most part piano-based but with some guitar and other instruments, in the style of later works by Andrew Lloyd Webber (where the rock operas are less centred on rock music). A good balance is achieved between solo performances, duets and full ensemble songs with the mood of the music suitable mirroring the emotions of the story, from the optimism of the taking of the crown to the separation of Jane and her husband Dudley, as they await execution. The cast have plenty of accomplished singers, although the volume of the recorded music makes it difficult at times to hear clearly the words of the un-amplified singers.

Writer Kim Louise-Sparks also directs the show and has made the most of the small stage area to allow movement of the cast, at times with some dance or swordplay, although the full complement of nine pretty much fills the performance area, with little room for much action. A duet between Jane and Mary works well with perfectly mirrored movements as each ruminates on the outcome of events. The split set of Jane and Dudley in separate cells awaiting execution is also simple but effective, as each receives last letters from the other.

Reviewer: John Waterhouse

On: 18th July 2026

Ballet Review - ‘Swan Lake’ State Ballet of Georgia London Coliseum

 

Some evenings begin long before the curtain rises, and Friday evening’s performance of Swan Lake at the London Coliseum was one of them.

Before the ballet, a small, invite-only gathering were treated to a fascinating pre-show talk with Nina Ananiashvili, Artistic Director of the State Ballet of Georgia and former Bolshoi prima ballerina. I always enjoy hearing the people behind a production speak because it reminds us that what we eventually witness on stage is just the final piece of an enormous creative journey. Listening to Nina talk so openly about the company, the dancers and her vision for Swan Lake brought an added depth to the evening. Her warmth, humility and obvious passion for the art form were evident throughout, and by the time the auditorium lights dimmed, I felt even more connected to what was about to unfold.

There are certain pieces of music that need no introduction, and as the Royal Ballet Sinfonia Orchestra with Conductor Levan Jagaev began Tchaikovsky’s iconic score, a hush seemed to fall across the entire theatre. Hearing such familiar music performed live is something recordings can never quite replicate. The orchestra played beautifully, bringing both power and tenderness to every scene. There were moments when I almost forgot to watch the stage because I was so captivated by the richness of the music rising from the pit.

The London Coliseum itself deserves a mention. There is something wonderfully reassuring about walking through its doors. Grand and elegant without ever feeling intimidating, it has that rare ability to make every visit feel like an occasion. Looking up at the ornate ceilings and beautiful architecture before the performance even begins reminds you that theatre is about the whole experience, not simply what happens on the stage. 

The warmth of the Coliseum staff also never goes unnoticed. From the moment we arrived, everyone we encountered was welcoming, friendly and genuinely helpful. It’s often the little things that stay with you, and their kindness added to what already felt like a very special evening. As for Swan Lake itself, it’s easy to understand why it has remained one of the world’s most loved ballets for generations. Unlike many productions today, there are no words to guide you. Everything is conveyed through movement, music and expression. A simple glance, the curve of an arm or the gentlest shift in posture somehow communicates joy, longing, fear and heartbreak. 

The corps de ballet were simply mesmerising. Watching so many dancers move together with such astonishing precision is almost hypnotic. Every line seemed perfectly placed, every movement perfectly timed. It looked effortless, yet you know it is the result of years upon years of relentless training, discipline and trust in one another. There is something incredibly moving about witnessing that level of dedication. Special mention should also go to the principal dancers. Nino Samadashvili who was captivating as Odette and Odile, bringing an elegance and emotional sensitivity to the role that made it impossible to look away. Her transformation from the fragile, ethereal White Swan to the confident, beguiling Black Swan was beautifully judged, demonstrating not only exceptional technique but wonderful storytelling. Alongside her, Oleg Ligai portrayed Prince Siegfried with warmth and sincerity, creating a believable partnership that allowed the love story at the heart of the ballet to shine. Together they balanced technical brilliance with genuine emotion, reminding us that ballet isn’t simply about perfect steps it’s about making us feel something, and they certainly did that.

The principal dancers brought both grace and emotional honesty to their performances. The story unfolded naturally, never feeling exaggerated or overplayed. Instead, it invited the audience to slow down, to notice the detail and to simply sit with the emotions that the music and choreography evoke.

I found myself thinking how refreshing that feels. In a world where we’re constantly encouraged to move faster, consume more and rarely sit still, Swan Lake gently asks us to do the opposite. To be present. To observe. To appreciate beauty for beauty’s sake.

As we made our way out into the warm London evening, I realised I felt calmer than when I’d arrived. Not because the story is particularly comforting, it isn’t, but because there is something deeply nourishing about watching exceptionally talented people dedicate themselves so completely to their craft.

The pre-show conversation with Nina Ananiashvili, the magnificent orchestra, the breathtaking dancers, the beauty of the London Coliseum and the warmth of its staff all combined to create far more than an evening at the ballet. It was one of those experiences that quietly reminds you why live performance continues to matter.

A truly beautiful evening, and one that will stay with me for a long time.

Swan Lake continues at London Coliseum until 26th July all information and tickets can be found here https://londoncoliseum.org/events/swan-lake/

Reviewer: Mary Fogg

On:17th July 

Theatre Review Outlaws A Robin Hood Story Grosvenor Park Open Air Theatre, Chester

The Open-Air Theatre in Grosvenor Park, located next to the River Dee in Chester, must be one of the most pleasantly-located venues in the country, alongside being the second home of the illustrious Storyhouse Theatre. After a pleasant stroll through the park grounds, there is something of a festival atmosphere as you walk through a compound with food, beer and wine tents with ample seating before entering the auditorium which is a true theatre-in-round, with around 500 fully-raked seats, four entrances and an ample performance area.

Writer Kieran Lynn takes the familiar Robin Hood story and alternates the tone continuously between pathos and comedy, incorporating a lot of action, from dance to fight scenes. The twist in this version is that Robin Hood and the villainous Sheriff of Nottingham are actually old school friends whose paths in life have taken different courses and find themselves as love-rivals for the hand of Maid Marion. We also learn that the Sheriff's actual name is Philip (truly a novel idea!) and Robin’s ‘Merry Men’ all  appen to be women, apart from Little John (whose his own expressed love for Robin is left ambiguous).

Director Hannan Noane was clearly oblivious to any fourth wall when blocking this show, with the cast sometimes sitting amongst the audience or requiring them to look after their musical instruments for a while, in one instance even dragging a couple up into the central performance area and there are a lot of other interactions such as when the Sherriff offers a rose on bended knee to various ladies on the front  ows. The stairways up the rows of seating also serve as performance areas. A lot of exchanges between cast and audience are virtual pantomime but the tight direction of some of the fight scenes together with a few notable dramatic exchanges amongst the cast take the show to a higher level and unlike anything in pure pantomime, we actually see some characters go an emotional journey.

This is also an actor/musician show and a number of popular songs from the 70s and 80s such as Dancing in the Dark’, ‘A town call Malice’ and ‘Holding out for a hero’, are weaved in, in much the same way as in the movie ‘A knight’s tale’ where what initially sounds like medieval music quickly morphs into a modern song. To this end, acoustic instruments are boldly used on stage (an acoustic guitar does after all vaguely resembles a lute!) whilst the electric base-guitar (variously played by King John and Little John), looking too obviously 20 th century, is almost hidden behind a banner on a musician’s platform on the top row. Other instruments range from an accordion to a violin giving the show a rich range of sounds. 

The costuming is suitably medieval, with banners on poles giving a nice period feel, together with the outfits looking generally quite authentic for the styles of the period. In the light of England’s recent defeat to Argentina in the world cup, the play also serves as a timely reminder that the ‘three lions’ device was used by the English monarchy centuries before our national football team adopted it! The cast of thirteen (with some doubling up in various minor roles) give the impression of a big show, with minimal props other than occasional table and chairs brought on and off stage.

This is a fun, entertaining show with a lot of action in which audience participation is regularly encouraged and ensures a very pleasant way to spend a summer evening. 

'Outlaws – A Robin Hood story’ is on until the 23rd August.

Storyhouse.com

Reviewer: John Waterhouse

On: 16.07.26

Theatre Review Darren Brown Only Human Lyceum Theatre, Sheffield

Derren Brown is a multi-award-winning master of illusion and mind control and widely regarded as a master of showmanship, timing and misdirection. His stage shows are hugely successful and secretive affairs, which involve both individual and group audience participation. He describes himself as a psychological illusionist and has achieved notoriety on TV, initially through his 2000 Channel 4 series ‘Mind Control.’ He is known to request that reviewers and the audience in general do not discuss the secrets of his show on social media in order for future audiences to enjoy the surprise.

His latest show, Only Human, has a core premise that explores the nature of human choices, the illusion of free will, and our attempts to predict or control the future. Having never seen Derren on TV or experienced one of his shows, I entered the Lyceum unaware of what awaited me. As I took my seat, it was obvious from a prop that lay next to all the seats that some level of audience participation was expected.

The first thing that struck me about Darren was his ease on stage and with the audience, and also how funny and quick-witted he is. The show was split into two different acts, either side of the interval, with the first half being light-hearted and funny in parts and the second half much deeper and involved. At around 2 hours and 20 minutes, with an interval, it isn’t a short show, but Derren’s showmanship and the immersive nature of the overall experience ensured the time passed quickly. But through both parts of the show, the general theme of how free are your choices was integral to the entertainment.

There are many instances during the evening where audience participation occurs and this varies in its format. Sometimes it is in the form of the entire audience and sometimes individuals. It is worth confirming that this is entirely voluntary and no pressure is applied. What I found fascinating, during the group participation, is how readily some people are more susceptible to his suggestions than others. A sceptic may suggest that there are plants in the audience to help the show along, but the level, number, and varying format of this involvement make this seem unlikely. He may use group participation to identify individuals who are the most susceptible to his powers of persuasion.

In truth, I have no idea how he manages to do what he does, but I do know it is both entertaining and fascinating. I don’t believe in magic or mind-reading or much of what Darren was showcasing. What I do believe in, however, is someone who is a master of their craft and can produce a performance full of a sense of wonder. I also enjoyed that not all of the show is smoke and mirrors; there are moments of philosophy and positive messages of seizing your own destiny. It is an entertaining and fascinating experience.

Production run (The Lyceum Theatre, Sheffield): Tuesday 14th June –Saturday 18th July 2026.

Running Time: around 2 hours and 20 minutes, including an interval.

https://www.sheffieldtheatres.co.uk/events/derren-brown-only-human-2026/dates

Reviewer: Matthew Burgin

On: 14th July 2026

Theatre Review The Curious Incident of the Dog in the Night-Time The Bridewell Theatre London

I’ve become something of a devoted fan of the productions staged at The Bridewell Theatre in London, and Sedos’ latest offering, The Curious Incident of the Dog in the Night-Time, only deepens that affection. It’s another example of how this remarkable company of semi amateur performers consistently delivers work that feels anything but amateur. Their shows always spark conversation, always reach for something bold, and always demonstrate a willingness to explore diverse, challenging, and eclectic themes. This production was no exception — in fact, it felt like one of their most ambitious undertakings yet.

At the centre of the performance was an extraordinary lead turn from Elspeth Reid as Christopher, the autistic boy whose perspective shapes the entire story. Reid’s performance was nothing short of astonishing. She carried the weight of the narrative almost continuously, delivering Christopher’s thoughts, anxieties, and observations with a clarity and emotional truth that held the audience completely captive. It’s rare to see a portrayal of neurodivergence that feels both deeply respectful and dramatically compelling, but Reid achieved exactly that. She didn’t imitate Christopher; she inhabited him, bringing her own personal experience of AuDHD to the performance.

The production was directed by Alice Bennett, herself neurodivergent, and her vision for the show was clearly rooted in authenticity. Bennett made it a priority to cast a performer who could represent the community with honesty and lived experience, and that choice shaped the entire tone of the piece. For those of us who read Mark Haddon’s novel years ago, this staging jolts you straight back into the world of Christopher Boone with a vividness that almost feels like rediscovery. Simon Stephens’ adaptation — which famously won both Olivier and Tony Awards in 2012 — is fast paced, sharply structured. The question, of course, was whether Sedos could do justice to such a celebrated script. The answer is a resounding Yes. 

One of the most striking elements of the production was the choreographed movement woven throughout. The supporting cast, acting almost as a living chorus, punctuated key moments with coordinated sequences, illuminated bomber jackets, and inventive physical storytelling. Movement Director/Director Emma Bowker deserves immense credit for creating a seamless flow that never distracted from Christopher’s journey but instead enriched it. The ensemble’s work was crisp, imaginative, and beautifully synchronised, offering visual rhythm to Christopher’s internal world. The staging and visuals were really true to the brain structure of neurodivergence and as the graph lines moved and curved behind the set you could relate to how it might feel in Christopher’s mind.

The supporting cast were uniformly excellent, each performer contributing to the story without ever overshadowing the central performance. Many of them have day jobs, yet their professionalism and commitment were evident in every scene. It’s genuinely impressive how a group of people balancing fulltime work can produce a show of such polish and emotional depth. The production ran for two hours and twenty minutes, including a short interval, and much of that time was filled with Christopher’s near continuous monologue. Reid’s stamina, focus, and emotional precision were breathtaking. She captured not only Christopher’s logic and literalism but also the vulnerability and resilience that make him such a compelling character.

As the story unfolds, we witness Christopher’s black and white understanding of the world collide with the complicated realities of the adults around him. His father, played with nuance by Matt Tylianakis, is revealed to be far less truthful than Christopher believes, while his mother — portrayed with warmth and sensitivity by Sarah Berryman — is not dead at all, despite what Christopher has been told. The neighbours, of course, know far more than they initially let on, and the gradual unravelling of these secrets is handled with care and emotional weight.

Other notable performances came from Jeryl Burgess, Scarlett Pannell, John Sandy, Livvy Perrett, Amy Hehir Curley, and Richard Evans. The movement chorus — Giulio Beltramo, Taylor Davidson, Amber Frizzell, Grace Harrison, Isabel Kirschbaum, and Estella Shi — added texture and dynamism to the production, elevating the storytelling with their physicality.

And then there’s the matter of ticket price: £22.50 for a London theatre experience of this calibre feels almost unbelievable. It’s accessible, it’s ambitious, and it’s delivered with heart. 

The final delight, of course, was the appearance of Sandy the dog at the end — a charming touch that left the audience smiling as the lights came up. This was an exceptional production, full of intelligence, compassion, and creative energy. sedos have once again proven that they are one of London’s most exciting nonprofessional theatre companies, and The Curious Incident of the Dog in the Night-Time is a triumph well worth seeing.

Running until Saturday 18th July 2026

Reviewer: Penny Curran

On: 14th July 2026.

Opera Review Le Dernier Sorcier, Buxton Opera Festival Buxton Opera House Pavilion Centre

Pauline Viardot’s salon opera - actually, it’s more of a singspiel - was little known and barely performed in her lifetime, her talents as a composer being eclipsed, then as now, by her reputation as one of the greatest divas of her own or any other age. A slight, mildly diverting piece, it’s a good choice for Buxton’s ‘chamber’ venue, the Pavilion, where the stage can easily accommodate the small orchestral forces as well as the singing cast and chorus.

The plot in brief: an ageing sorcerer, Kakamiche, has decamped in a wood, along with his daughter Stella and his incompetent and lazy servant Perlinpinpin. His presence is an affront to the Elf Queen, whose domain this is. The appearance of Prince Lelio, a stray knight, who catches the eye of Stella, helps to resolve the problem once Kakamiche has passed through a spell of rather performative outrage, and father, servant and lovers leave the wood to its proper denizens.

Presumably for reasons of accessibility, director Lysanne van Overbeek and pianist/conductor Erika Gundesen have decided to feature an English version of Ivan Turgenev’s (yes, that Ivan Turgenev’s) libretto while leaving the numbers in the original French. Although this worked well in terms of making the action comprehensible, there was peculiar disconnect between the colloquial spoken language and the ‘floral’ French of the sung texts which didn’t obscure the music’s very mild charm.

Inevitably, the action is dominated by the role of Kakamiche, here given a bravura ‘pantomime’ performance by baritone Phil Wilcox. He is more than ably supported by Welsh soprano Eleri Gwilym as Stella, mezzo Rebecca Anderson in the breeches role of Prince Lelio, David Karapetian as Perlinpinpin and Sophie Clarke as the Elf Queen.

The production makes excellent use of the limited available space and at just over an hour’s length this is pleasant light entertainment for a summer evening.

Reviewer: Paul Ashcroft

On 13.07.26

Opera Review La Traviata Buxton Opera Festival, Buxton Opera House

Director James Hurley’s production of Verdi’s La Traviata for Buxton Opera Festival takes as its central visual conceit the jewel box of the title character, the successful courtesan Violetta Valéry: hers is the first face we see when the lights go up, engraved in gargantuan form on the outsize jewel-box which contains most of the action.

It’s the only original touch in an otherwise admirably straightforward and clear reading of this familiar opera, in which the emphasis is placed on storytelling and performance rather than any directorial concept. Set in period (1840s), this adaption of Alexandre Dumas’ La Dame Aux Cammelias, depicts the travails of Violetta and her insistent suitor Alfredo Germont during their early courtship, their (very) brief period of non-connubial bliss, the rupture when Alfredo’s father insists on Violetta ending the relationship to save the Germont family’s good name and their final reconciliation before Violetta dies of that other classic Victorian disease, consumption.

Polish-American soprano Alexandra Nowakowski, after a less than ideally steady start, grows into the role of Violetta, finding more sympathy with the ‘fallen woman’ of the final two acts than the party of the girl of the first one. It’s an affecting portrayal which should find great focus as the run develops. As her lover Alfredo, Armenian tenor Tigran Melkonyan has the right clarion notes for this ardent but immature man and his acting is convincing but perhaps there is a slight lack of chemistry in the relationship with Violetta. In the always grateful baritone role of Alfredo’s father, Giorgio, André Heyboer finds the pathos in the nearest thing the plot comes to a real antagonist (the comprimario character of Violetta’s ‘other lover’ the Baron Douphol doesn’t properly count). Elliot Squire provides the simple but elegant set and Zahra Mansouri the period-appropriate costumes. In a generally Stygian stage picture, Ben Pickersgill’s lighting focuses the action very effectively and conductor Adrian Clarke and Chorus Master Fergus McAlpine handle both the big moments (the Act 1 ‘brindisi’ and Violetta’s arias) with aplomb.

Reviewer: Paul Ashcroft

On 11.07.2026

THEATRE REVIEW FRINGE Part of Greater Manchester Fringe Festival EAST The King's Arms Theatre SALFORD

Steven Birkoff's 'East' was written and first performed in 1975 and tells (mostly in verse) about the trials and tribulations of life and growing up in the tough environs of London's East End. Times have changed, and it is now more than 50 years since the play's premiere, and London's gangster-ridden and seedy run-down tenement areas are not what they were; however, the play still seemed to resonate and stay relevant to today's fractured and edgy society - a society that still divides itself over politics (although Mosely and the Blackshirts are thankfully no more...!), and a society that still has a huge population of poorly educated working class who are still just as misogynistic, horny, and lazy. Times might well have changed, but somehow, people haven't - at least not fundamentally, despite all efforts and appearances to the contrary. 

Directed by Alan Pattison, this production was 90 minutes through without interval, which, especially in an auditorium without air-conditioning on one of the hottest days of the year, felt long. The play had a rather slow start, but thankfully the pace and the mood soon picked up and the cast were engaging, sensitive, and able to hold our attention for the full 90 minutes. It was a very Brechtian production. 5 plastic chairs were set in a long line to the rear o0f the stage facing the audience, and the five cast members stayed there when not actually in a particular scene, and became background for the action up front. It worked nicely and added much needed variety to an otherwise very bare stage. 

The play takes the form of a series of vignettes (interconnected) but the two protagonists Mike (Alex Lafferty) and Les (David Degiorgio) have their work cut out right from the start. Both were excellent, with Degiorgio just taking the edge for me. Their characterisations and interpretations were measured to a tee and I actually do remember seeing characters (albeit in their northern skins) like this myself! Aiding and abetting them was Lisa Brandreth as Sylv, making her mark as the strong independent slut of the 1970s with seeming ease. Steve Connolly worked well playing against type as Dad, and, in the tradition of this play, Andrew Marsden put on a dress and headscarf to play Mum with some well-timed facial expressions. The Nora Batty tights were inspired.  All, five made a superb ensemble cast and it was an absolute pleasure for me to revisit this play - one I had not seen on stage for about 40 years!

Pattison managed to elicit the best from his cast and the interpolation between serious and comedic was superbly placed. (as indeed were the period periodicals!) 

Reviewer - Alastair Zyggu

On - 9.7.26

Theatre Review The Karate Kid The Musical Lyceum Theatre, Sheffield

Wax on, phones off for a musical stage adaptation of the 1984 stone cold classic movie, The Karate Kid. It is an instantly recognisable franchise which has, so far, spawned  5 sequels spread over 4 decades. Although initially unsuccessful at the box office, it became one of the highest-grossing movies of the year. It also earned Pat Moriata an Academy Award nomination as best supporting actor for his role of Karate’s answer to Yoda,  Mr Miyagi. More recently, the show has won recruits with the popular Netflix spinoff series Cobra Kai, which revisits the contrasting fortunes of the show's main characters in the modern day. 

As the lights dimmed, the silhouette of  Karate’s most famous mentor appeared, trimming a bonsai tree. The stage setting of paper walls set the scene of Mr Miyagi’s California-based slice of Okinawa. The staging and props were familiar and an indication that the original film would be closely adhered to. The scenic design (Ben Davis) and costumes(Izzy Ribbeck) transport the audience back to 1980’s Los Angeles.

The stage is set for the tale of Daniel LaRusso’s struggle to adapt to his new life in LA with his widowed mother. For this performance, Isaac J Lewis, a bona fide black belt in Karate, steps into the Dojo to play the role of the love-struck, but affable Daniel. The excellent Sharon Saxton plays his mother, Lucille, who has orchestrated the move to start a new life for the  LaRusso family. Both actors excel in their roles and have great chemistry in the mother-son dynamic.

Adrian Pang is outstanding as the legendary Mr Miyagi and is responsible for many of the lighthearted moments of the show. Abigail Amin (Ali Mills), Matt Mills (John Kreese) and Joe Simmons (Jonny Lawrence) are backed up by a great ensemble to provide a strong cast performance.

The musical score is excellent and Act One closes with a spectacular performance of 'The Whole World Is Waiting' by the infamous Cobra Kai. But the star of the show is the choreography and fight scenes, which are visually stunning and exhilarating to watch. The fight scenes were loudly cheered on by the audience, in particular by a large contingent of school children in attendance, which added to the atmosphere. The number of young people in the theatre would suggest that the franchise is still packing a punch.

Karate Kid the Musical is a visually spectacular stage production that follows the plot of the original movie closely. Although the storyline is in some places a touch laboured, the show is held together by the musical score and exceptionally well-choreographed dance and fighting scenes.

Production run (The Lyceum Theatre, Sheffield): Tuesday 7th June – Saturday 11th July 2026.

Running Time: around 2 hours and 30 minutes, including an interval.

https://www.sheffieldtheatres.co.uk/events/the-karate-kid-the-musical/dates

Reviewer: Matthew Burgin

On: 7th July 2026

Concert Review Gary Murphy Presents The Ultimate Tribute to Dire Straits and The Police The Cavern Club Liverpool

 

Dire Straits and Police fans were entertained by Gary Murphy and Rob Shirley for approximately two hours in the Cavern Clubs’ Live Lounge.  Rob performed as Sting during the first half singing all Police and Sting favourites plus a few lesser well-known songs accompanied by Gary on guitar.

After a short interval, Gary performed all the popular Mark Knopfler hits.  Both Gary and Rob were accompanied by Adam on drums and Adam on keyboards, clarinet and saxophone. Gary was keen to point out that the performances in the show were 'live' and that no backing tracks are used throughout.

Gary Murphy is an award-winning guitarist and an ambassador of the ‘International Guitar Festival’.  He delivers various shows covering a wide range of music from Rock ‘n’ Roll and Pop, to Jazz, Blues and Country with influences ranging from Bill Haley, Buddy Holly, Chuck Berry, Duane Eddy, The Shadows, The Beatles, Jimi Hendrix, Dave Gilmour, Albert Lee, Angus Young plus many more. His guitar playing has a very unique and diverse style both on electric and acoustic guitars.

Gary has written several albums of original material including the award winning ‘Here Comes the Rain’, and ‘Dangerous’. Gary’s performances offer renditions of guitar classics and his own material.

He is currently a resident artist at the Cavern Club and performs regularly in venues as a solo artist with a live band, and in large scale productions including his Guitar Legends shows throughout the UK.  He is widely regarded as one of the finest guitarists in the UK and has received many local and nationwide awards.

The Cavern Live Lounge is an intimate setting with seating and a small bar at the back stage area of The Cavern Club, dedicated to special live events and performances such as this one.

For more about Gary Murphy see https://garymurphy.rocks/

For Cavern Club info see https://www.cavernclub.com/events/event/direstates/

Reviewer: Anne Pritchard

On: 5^th July 2026

Music Festival Review The Brit Fest 2026 Ashley Hall Showground Cheshire

The Brit Fest 2026, (2-5 July 2026) Powered by ABC+ Warranty, Friday 3rd July was outstanding! Madchester magic as Happy Mondays prove they’ve still got it as The Brit Fest hits all the right notes. 

There are festivals that entertain and there are festivals that remind you why live music matters. Friday at The Brit Fest in Ashley was firmly in the second category. From the moment the gates opened, the atmosphere felt uniquely different. Families spread out picnic blankets, friends reunited over cold drinks, and the Cheshire sunshine seemed determined to make an appearance just in time for a soundtrack that celebrated some of Britain’s most iconic bands. Friday’s line-up featured a glorious blend of indie, Britpop and Madchester royalty, culminating in the unmistakable swagger of the Happy Mondays. 

The line up also included James Walsh, The Farm, Sleeper, Stero MC’s, Peter Hook & The Light, and Cast amongst other acts in various arenas around the festival who warmed up the crowd beautifully. Cast delivered singalong favourites with effortless confidence, Peter Hook & The Light reminded everyone why those Joy Division and New Order bass-lines are woven into British music history, while Stereo MCs had everyone grooving along to “Ground Level”. Sleeper and The Farm added to a day that simply didn’t let up. But when Happy Mondays finally walked on stage, everything shifted up another gear.

This wasn’t just another headline set. It was a celebration of Manchester attitude, working-class swagger and dancefloor rebellion. The crowd instantly became one giant party.

As soon as the opening bars rang out, strangers became friends. Arms were around shoulders. Drinks were raised. Everyone, from those who’d followed the band since the Hacienda days to younger festival-goers discovering them live for the first time, was united by the infectious groove that only Happy Mondays seem able to create. There is something timeless about their music, still sounding as joyful, mischievous and gloriously unconventional today as they did decades ago.

The beauty of The Brit Fest is that it doesn’t try to be Britain’s biggest festival. Instead, it feels personal. The layout is easy to navigate, the atmosphere relaxed, and there’s room to actually enjoy yourself without spending half the day in queues. It’s a festival where great music comes first and community follows naturally. You could see generations sharing the experience, parents introducing children to the bands they grew up with, lifelong mates reliving youth, and newcomers discovering why these artists still command such affection.

As darkness settled over Ashley Hall Showground, Happy Mondays delivered exactly what everyone had hoped for, a set full of rhythm, nostalgia and unapologetic fun. No gimmicks. No over-production. Just a band with decades of experience reminding everyone that great songs never go out of fashion. One of the most heartwarming aspects of the festival was the presence of the Seashell a national charity whose dedicated team were on hand throughout the day. Their involvement was a wonderful reminder that The Brit Fest is about more than great music, it’s about community, inclusion and creating opportunities to support an organisation that makes a life-changing difference to children and young adults with complex disabilities. It added an extra layer of meaning to an already memorable day.

Special guest mention to Chris Helme, whose warm, unmistakable voice brought a wonderfully serene yet uplifted energy with his performance in the VIP Tent. Best known as the former frontman of The Seahorses, Helme delivered an honest, soulful set that showcased the strength of his songwriting and reminded the audience why his music has stood the test of time. The Brit Fest 2026 runs from 2nd to 5th of July, and if Fridays ambience and line up was anything to go by, it has firmly established itself as one of Cheshire’s standout summer events. The Brit Fest doesn’t try to compete with the sprawling giants of the festival circuit and is tucked away in the beautiful Cheshire countryside. It feels welcoming rather than overwhelming, stylish without pretension, and refreshingly easy to enjoy. By Friday evening, it was clear that the organisers had once again struck the perfect balance between great music, good food, happy families and an audience simply delighted to be there. In fact, The Brit Fest was the winner for Leading Event of the Year award 2025 and finalist at the Visit Cheshire Tourism Awards 2026, this is following previous recognition at the UK Festival Awards and a High Sheriff’s Award for Community Contribution. It’s relaxed without feeling sleepy, nostalgic without feeling dated, and packed with enough quality music to satisfy lifelong fans while creating new ones.

Happy Review - Happy Mondays didn’t just headline Friday.  They owned it.

For more info and tickets https://thebritfest.co.uk

Reviewer: Mary Fogg

On: 3rd July 2026