Theatre Review The Spy Who Came in From the Cold Lyceum Theatre, Sheffield

David Elridge’s play is the first theatrical adaptation of the classic 1963 John le Carre novel of the same name, although it was made into a 1965 blockbuster movie starring Richard Burton. The story depicts a British spy, Alec Leamus, being sent to East Germany as a fake defector to deliver false information about a powerful East German Intelligence Officer. The book itself was an international best seller and received notable critical acclaim; it has since been selected by Time Magazine as one of the top 100 novels of all time.

The atmospheric stage set was minimal and mainly consisted of tables, chairs and other ancillary items which were moved swiftly between scenes. The exception was a large platform to the rear, used to visualise thought sequences and was an integral part of the final scene. The costumes were similarly understated and equally as effective in communicating the cold world of political espionage without taking centre stage. The use of lighting and music during scene changes was flawless and matched the rhythm of the play.

Ralf Little took the Lead Role of Alec Leamas, a hard-drinking, chain-smoking British spy who, after the murder of his colleague and only friend, Karl Riemek, decides to embark on one final assignment under the tutelage of puppet master in chief, George Smiley. 

Due to the complexity of the original story, David Eldridge’s adaptation was always going to be dialogue heavy and loaded with exposition. It was a wise choice to address the latter by placing many of the characters - Smiley in particular - as demons inside Leamas’s head to explain the backstory.

Ralf Little’s portrayal of Leamas began slowly but grew exponentially with the storyline, building into a display of emotional dysfunctionality, exhaustion and occasional hope. A lot was asked of him in this role and he delivered an assured performance. Grainne Dromgoole was effective as love interest Liz Gold, as was Tony Turner’s portrayal of George Smiley.

The plot remains true to the book and is not updated to suit the modern era. The story is a masterclass in espionage and twists and turns like a twisty turny thing, opening up the possibilities of double, triple, or quadruple agents amongst the protagonists. It exposes the murky world of spying and how the ends justify any means, provided you are deemed to be on the right side. Moral justification is sacrosanct if you are protecting the many. There were, however, moments that did not have the impact they could have, in particular during the final scenes. I also thought that, although Little and Dromgoole had chemistry, they landed short in expressing the seismic impact love would ultimately thrust upon them. 

The Spy Who Came in from the Cold is a theatrically slick, stylish and tense production. It is entertaining, thought-provoking and shines a light on the moral compass of government and society as a whole. 

Production run (The Lyceum Theatre, Sheffield): Tuesday 5th March –Saturday 9th May 2026.

Running Time: around 2 hours, including an interval.

See https://www.sheffieldtheatres.co.uk/events/spy-who-came-in-from-the-cold/dates

Reviewer: Matthew Burgin

On :  5th May 2026

Theatre Review CONTEMPORARY DANCE EMERGENCE: Triple Bill WATERSIDE THEATRE SALE Greater Manchester

Contemporary Dance has come a long way over the years, since the first ideas of this new art form came from the trailblazing works of the likes of of Pina Bausch, Isadora Duncan and of course Martha Graham; and indeed its popularity and format have allowed it to not just be a modern expression of ballet, but it now embraces almost all other dance forms too, as well as strong improvisational roots, mime, physical theatre and even gymnastics. 

In this evening's offering from local choreographer and company owner Joss Arnott, we were treated to three substantial and very differing pieces of contemporary dance, performed by recent graduates of Salford University, perhaps most of them taking their first professional dance steps this evening. 

The company comprised some twenty dancers, and between them they created three beautifully crafted dancescapes. I think the over-riding difference, for me at least, between contemporary dance and contemporary ballet is that in ballet, there is a definite narrative, they tell a story; whereas here, the dances perform ideas, images, reflections, no actual formed narrative, and so we, as audience, are able to seek out our own stories to the dances we see represented before us. 

In the first, 'Our Guests' (choreographed by Jason Mabana), we are (from my perspective at least) are taken into an almost  nightmarish world of insects - spiders, scorpions etc dressed ominously all in black, two equal sections of the company work in opposition to each other before coming together, their body shapes and jerkish movements make this a most interesting piece, and was simply excellently executed.

The second piece, 'Rapture', (choreography by Faye Stoeser), was again excellently realised, again utilising a lovely mix of full company, ensemble, duet and solo work, to show our modern club culture in all its grimy 'glory'! It was extremely repetitive, perhaps deliberately so, but I had difficulty personally in truly engaging with this work.

After the interval, and the longest of the three pieces was performed, this time choreographed by Joss Arnott and Lisa Marie Robinson. Titled, 'Euphoria', this was a reimagined version of a work that I had previously seen last year, and again, proved most interesting with what could almost be described as  a masterclass in Laban: showing us light / heavy, slow/fast, and pointed / smooth with the BESS principles of movement ever-present.

A superb evening of contemporary dance, deftly directed with aplomb from a company which deserves wider acclaim.

Reviewer - Alastair Zyggu

on - 1/5/26

Theatre Review Entertaining Angels- Guide Bridge Theatre Company

From an audience point of view, Entertaining Angels is a character study that depends heavily on the strength and subtlety of its performances. The central character of Grace was played with real quality and charisma by Michelle Lockwood, who bore a striking resemblance to Alison Steadman in both presence and manner. Her sister, Ruth, played by Joanna Bircher, was delivered as a delightfully ditzy, slightly neurotic missionary figure, with plenty of well-judged humour and puns woven through her dialogue. Beneath that comedy, however, sat a backstory that gradually bubbles to the surface following the death of Grace’s husband, Bardolph (Bardy), played by Martin Wadsworth.

Grace’s daughter, Jo, played by Hannah Combs, brought a more severe and serious energy as a clinical psychologist, initially positioned as the pragmatic counterpoint to the rest of the family, before ultimately becoming the emotional mediator of the piece as it unfolds. The incoming clergyette, Sarah, played by Michelle Cook, was portrayed with a calm serenity and a quietly diplomatic presence, and also carries a carefully revealed backstory that is teased out slowly and brought into alignment by the end of the play.

It is a very cleverly constructed piece, and this was matched by thoughtful direction from Gerard Lennox. There is a particularly strong moment at the start of Act 2, set in the garden, where the ensemble is arranged in a way that feels almost painterly—each character positioned within their own emotional space, yet collectively forming a cohesive whole. It gives the impression of a carefully composed painting, with each figure contributing to a shared narrative journey.

Added to that is a strong sense of design throughout the production, particularly the striking radial patio outside the vicarage, set against a finely manicured lawn, which is introduced immediately by Ruth as she busily and rather neurotically mows it into precise diagonal stripes. The atmosphere is further supported by thoughtful lighting and some well-executed painted flats, all of which help establish a clear sense of place.

Sound was generally effective, although there were moments in Act Two where clarity became slightly inconsistent; we even moved seats at one point to get closer to the action, and there were comments from some audience members who struggled to hear, despite the actors being mic’d. That aside, it remained a very enjoyable afternoon.

Overall, it is certainly worth seeing again, and GBT do a very strong job with Entertaining Angels, supported by a clear directorial vision from Gerard Lennox. The production lands many genuine laughs, often drawn from theological humour and well-judged clerical quips and puns, while still allowing the deeper emotional undercurrents of the piece to emerge.

Reviewer - Kathryn Gorton

On - 2nd May 2026

Theatre Review Dame Ida’s Cabaret Show The Little Theatre Birkenhead

 

Dame Ida’s Cabaret Show is a non-stop feast of showbiz, music, comedy and playful sexual innuendo. Before the show started an announcement was made for all those in the audience who are easily offended to leave and for everyone else to get ready for a great night of entertainment with no holds barred.

This lively, flamboyant show has 25 costume and wig changes brought about in timely fashion with musical interludes, flashing lights, strobe lighting and dry ice. It is a laugh-out-loud spectacular night of sometimes naughty comedy which had everyone in stitches laughing.  It is a drag show with hysterical parodies, witty jokes and one-liners and tongue-in-cheek humour.

Audience participation is very much an important aspect of the show and it seemed there were a lot of audience members who had been to see Dame Ida before and were willing to participate often to their detriment but all was taken in good fun and the laughs came one after the other.

Dame Ida had the audience in the palm of her hand, they were delighted to partake in sketches and comedy routines with her.  She left the stage on a number of occasions to mix with the audience looking for suitable stooges.  My only one criticism is that when she was in the audience, there was no lighting on her and the audience members she chose, so other members of the audience who weren't nearby couldn’t see what was going on properly, which meant they couldn’t join in with the fun and it rather spoilt it for them.  It could be improved and be better enjoyed if a spotlight was on Dame Ida when she mixes with the audience.

There was a short interval for Dame Ida to catch her breath but even during that time she was out amongst the audience having a Meet and Greet, posing for photographs and catching up with members of the audience who had seen her shows before. She is a true superstar with a very warm personality who has a charming manner with her fans, she has time for everyone and everybody loves her.

Away from her cabaret act, Dame Ida is Thomas George Weetman who hails from Doncaster; he is a superb showman and his love of entertaining shines through during his act.  He is a fabulous entertainer with a very endearing, friendly personality and is much loved by his fans; one of the sweetest and kindest drag queens I have had the pleasure to review with an amazing voice and quick-witted humour.  His show regularly tours UK and Europe. He is aided by his dresser and wardrobe mistress, Paula who he gave full credit to at the end of his show; his costumes are fabulous and he carries off his dual persona with the use of elaborate make up and beautiful wigs.

For tickets and further show information see www.dameida.com and https://dameida.co.uk/upcoming-shows/ 

Contact details for private party information - info@dameida.co.uk

Reviewer – Anne Pritchard

On – 2^nd May 2026

Theatre Review Sunny Afternoon The Grand Theatre Blackpool

 

Sunny Afternoon features music and lyrics by Ray Davies, from a book by Joe Penhall with direction by Edward Hall; it commemorates the enduring sound of one of UK’s most well-loved bands. The Kinks were formed in 1963, they were originally called The Ravens.

This jukebox musical, produced by Sonia Friedman, first opened in the West End in 2014, featuring music entirely drawn from the works of The Kinks, with music and lyrics by Ray Davies.

This was a very pleasurable way to spent a Friday evening; the weather was wet and gloomy outside but inside the theatre the atmosphere was electric with anticipation as the audience waited for the show to start. The audience was mainly made up of the over sixties age group who had enjoyed their teenage years in the 1960’s; this was a walk down memory lane for them, reliving their time when the Kinks were at their height musically.

Danny Horn portrays Kinks lead singer, Ray Davies and mastered his mannerisms, facial expressions and vocal inflections expertly, delivering his role perfectly, he actually resembles the songwriter/singer.

Oliver Hoare takes on the role of his rebellious, often short-tempered, party-loving womaniser brother Dave Davies, who has a penchant for cross-dressing. He brings energy and passion  to the role whilst playing the guitar excellently.

Harry Curley plays bassist Peter Quaife and Zakarie Stokes plays drummer Mick Avory bringing the sounds and 1960’s Kinks engaging entertaining style to this enjoyable show.

Tam Williams plays the band’s first manager Grenville Collins, Victoria Anderson plays Gwen, Deryn Edwards plays Mrs. Davies, Joseph Richardson plays Robert Wace, Lisa Wright plays Rasa.

The company is completed by Alicia Ally, Morgan Burgess, James Chisholm, Phil Corbitt, Alasdair Craig, Dominic Gee-Burch, Kristian Jacobs, Robin Johnson, Sorrel Jordan, Jada Langley, Timothy Roberts, Georgiana Wainwright-Jones and Emily Whitby-Samways.

The show relates their story through a back catalogue of hit songs, including ‘You Really Got Me’, ‘Waterloo Sunset’, 'Dedicated Follower Of Fashion', and ‘All Day and All of the Night’ plus an unusual acapella version of  ‘Days’ sung by departing managers along with Ray and Dave, showcasing beautiful harmonies and exemplary talent of the cast.  

Personal disclosures about the brothers’ lives such as they came from a working class background, living in Muswell Hill, London, having six elder sisters, one of whom passed away when Ray was just 13 years old and Ray’s depression after the birth of his baby daughter were revealed but I was disappointed that the show didn’t touch on  his long-term relationship with The Pretenders lead singer, Chrissie Hynde.

The stage set has an array of speakers of various sizes on three walls with a single studio window left exposed. In front of the window is a drum kit at centre stage flanked by rows of guitars, basses, and several standing microphones. The space transforms throughout the production, sometimes resembling a recording studio and at others suggesting the environment of a live broadcast set. When the cast launched into ‘Sunny Afternoon’  confetti filled the air, floating down over the audience.

Set design is by Miriam Buether, with choreography by Adam Cooper, lighting by Rick Fisher, sound by Matt McKenzie, and musical supervision by Elliott Ware. Musical and vocal adaptations are by Ray Davies and Elliott Ware. Casting is by Natalie Gallacher CDG for Pippa Ailion & Natalie Gallacher Casting.

The whole cast bring vitality and energy to this production and their enjoyment and camaraderie shines throughout.  There is a strong 1960’s atmosphere to the production which is aided by the wardrobe choices, Mary Quant style black and white geometrical design dresses, white knee high boots and feather boas, whilst The Kinks band members stay true to the original Kinks stage outfits.

Ray Davies’s songs exhibit a strong sense of storytelling, blended with his exceptional intensity, humour, and a sometimes a tinge of melancholy and nostalgia. The songs blended in well with the storytelling, they didn’t feel disconnected from the plot as can often happen with Jukebox musicals.

The show ended with the audience on their feet, dancing and singing to a full on rock version of ‘You Really Got Me’ and firm favourite, ‘Lola’ which has been the subject of some controversy currently.

I can highly recommend this show to all music fans whether Kinks devotees or not, it includes stunning vocals, exceptional guitar playing and drumming and highlights the multi-talents of all actor-musicians involved. It’s no surprise that Sunny Afternoon won a number of Olivier awards for its West End run in the Best Jukebox musicals category.

The show runs from Tuesday 28 April - Sat 2nd May 2026.

For show details and tickets see https://www.blackpoolgrand.co.uk/event/sunny-afternoon

Reviewer – Anne Pritchard

On – 1^st May 2026

Theatre Review Panto Snow White and the Seven Dwarfs PADOS House, Prestwich

PADOS’ decision to stage Snow White and the Seven Dwarfs as a mid-year pantomime at their own PADOS House in Prestwich might, on paper, have seemed a departure from their tried-and-tested formula. After all, this is a company with a quarter-century reputation for sold-out festive productions, glittering in the traditional pre-Christmas slot and weighed down (quite happily) by an enviable collection of awards. Yet this production proved that stepping off the well-trodden path can yield something rather special.

What immediately set this show apart was its heart. At its core were seven delightful young performers from the junior group, here reimagined as diamond miners, whose energy and commitment brought a fresh and endearing twist to the familiar tale. Under the artistic direction of Lauren Livesey, these young actors were not simply included for charm; they were integral, disciplined, and consistently engaging, adding both humour and warmth to the production.

Livesey’s distinctive choreographic style was evident throughout, injecting pace and personality into every ensemble moment. The movement felt purposeful and polished, never overwhelming the performers but instead elevating them—particularly impressive given the mixed experience levels on stage.

Direction from seasoned pantomime hand Sara Brockway ensured the production never lost its footing. There was style and panache in abundance, but also clarity: the storytelling remained sharp, the comedy well-pitched, and the audience connection strong. Brockway clearly understands the delicate balance of pantomime—honouring tradition while allowing room for invention—and this show benefited enormously from that expertise.

Musically, the production was in safe hands with Neil Ravenscroft. The score was delivered with confidence and cohesion, supporting both the narrative and the performers without ever overshadowing them. There were some particularly interesting musical choices throughout, which added real variety and energy to the evening and helped give the production its distinctive character.

A real standout was 'Who Do You Think You Are?' by the Spice Girls, which landed brilliantly in the context of the show and brought a burst of recognisable, upbeat fun that clearly delighted the audience.

One of the dwarves’ numbers—an unfamiliar but charming alternative to 'Whistle While You Work'—was also absolutely delightful. It was performed with great confidence, and the children had clearly been extremely well drilled, delivering the piece with precision, clarity, and a real sense of enjoyment.

Vocal coaching from Junior and Youth Production Director Helen Wilkinson was clearly paying dividends, with excellent diction evident from both the children and the adult cast alike, ensuring that every lyric and line landed clearly throughout.

The production and technical elements of the show were also notably strong. The show was very well lit overall, and although it was opening night, there was one moment where the stage briefly fell into darkness. However, it scarcely mattered, as the Dame expertly milked the moment for all it was worth, keeping the comedy firmly alive in the blackout.

Lighting design at the theatre is clearly in very capable hands. Ben Fairhurst has produced some stunning lighting plots here over time, and he demonstrates a strong understanding of the pantomime genre, using light not just for visibility but for atmosphere, pace, and comic effect.

The production team as a whole left their unmistakable mark. There was that familiar PADOS hallmark throughout: stylish, ambitious, and cleverly designed to maximise their intimate yet highly effective theatre space. Rather than feeling limited by the venue, the show embraced it, creating a sense of closeness that larger stages often struggle to achieve.

Performances were in the safe hands of a raft of seasoned PADOS performers, all of whom brought polish and confidence to the stage. However, the standout performance of the night—and a genuine show-stealer—was Bertie, the palace servant, played with exceptional comedic instinct by Hannah Cohen. She absolutely milked the role for every ounce of humour it contained, with her funny bones shining through in every beat, timing every gag with precision and maintaining an infectious energy that kept the audience thoroughly engaged throughout.

Close behind in impact was the accomplished and award-winning PADOS alumnus Dave Livesey as Ma Bumble. His portrayal, delivered with a broad Scotch accent that at times felt like Taggart meets Mrs Doubtfire, was played firmly in the spirit of tongue-in-cheek pantomime comedy. Livesey’s considerable experience shone through, particularly in moments when things didn’t quite go to plan; rather than faltering, he leaned into the unpredictability with assured improvisational skill.

His ability to exploit every humorous opportunity—often with a knowing glance or nod to the audience that broke through the fourth wall with ease—ensured that even the smallest ad-libbed moment was turned into comedy gold. It was a performance that not only embraced the chaos of live theatre but elevated it, much to the delight of the audience.

And also, he had a raft of exuberant costumes to match his personality, each one pushing the comic exaggeration of Ma Bumble just that little bit further. In fact, the entire costume plot was excellent, adding real visual flair to the storytelling.

The comedy duo were a pair of incompetent cowboy builders called Bodget and Legit, played by Emily Bellis and PADOS stalwart Debbie Lewis. They had really good chemistry together, combining strong physical comedy with their portrayal as a pair of well-meaning village idiots.

The decorating scene, which went slightly awry with Legit ending up covered in wallpaper paste, was absolutely hysterical and left the audience chortling. They handled their scenes with real light and shade, maintaining distinct characters while also working seamlessly as a double act. There were some very funny lines throughout, delivered with renewed confidence and a clear sense of fun.

Sophia Taylor’s take on Snow White was just delightful. Typically associated with a classic blonde fairytale Disney princess aesthetic, she appeared in a strikingly different look with dark hair, yet her trademark dainty, elegant, and expertly crafted characterisation of Disney and fairytale princesses still simply shone through on stage. She has a genuinely ethereal quality as a performer—you really can’t take your eyes off her when she’s performing—and she was utterly mesmerising throughout.

She was completely in her element embodying the role, bringing warmth, grace, and charm to every moment. A particular highlight was a beautifully played, tongue-in-cheek scene with the Huntsman, where he tells her he must take her into the woods. It carried a knowingly cheeky edge, with a subtle suggestiveness that was handled lightly and in keeping with pantomime tradition.

The Wicked Queen was in the very safe hands of Freya Fox, who brought a deliciously poised sense of menace to the role. She was snotty, aloof, narcissistic, sneering, and all the other malevolent traits we expect from this character, yet she never tipped into caricature. Instead, there was a controlled elegance to her performance—beautifully judged, with just the right amount of bite to keep her firmly watchable without becoming high panto. She had a lovely timbre to her voice, which gave her an edge to her characterisation, and she milked every last drop of villainy from the role with real relish.

The reimagined diamond miners included Dippy, Zippy, Sarcy, and Fred (the Chief Dwarf), alongside the junior performers Arlo, Lyra, Deia, George, Grace, Amber, Eden, and Annie, all contributing confident ensemble playing, along with the King—complete with his fluffy moustache in the final scene, played by Jordan Lawler—bringing the whole company together in a moment of great fun in this delightful studio space.

Notably, sound quality was excellent throughout the evening, and even though it was opening night, the performance felt very polished. The pace will no doubt quicken as the week progresses and only minor technical hitches are ironed out.

A really great and unexpected pantomime theatre trip at the end of April. Highly recommended. Tickets are still available, but as it’s such a small venue, it is worth moving quickly while you can.

For dates and tickets see https://www.pados.co.uk/

Reviewer - Kathryn Gorton 

On - Tuesday 28th April 2026

Theatre Review Blood Brothers Alhambra Theatre Bradford

At the Alhambra Theatre, Willy Russell’s Blood Brothers unfolds with a quiet assurance that allows its emotional power to emerge without force. Presented by Bill Kenwright Ltd, this touring production reflects a clear commitment to preserving the integrity of Russell’s original vision, while still feeling immediate and alive.

From the outset, there’s a warmth and humour that draws the audience in, capturing childhood innocence with an easy charm. Yet beneath it all, a sense of inevitability lingers. The transition from light-hearted beginnings to something far more tragic is handled with subtle precision, never jarring, but gradually tightening its grip until the full emotional weight lands with devastating clarity.

That balance is carefully shaped through the direction of Bob Tomson and Bill Kenwright, whose long-standing association with the show is evident in the production’s confidence. Their approach avoids unnecessary embellishment, instead allowing the narrative to unfold with clarity and emotional honesty. The artistic direction follows the same philosophy—stripped back, focused, and entirely in service of the storytelling—ensuring that nothing distracts from the human core of the piece.

At the heart of the production is Vivienne Carlyle as Mrs Johnstone, whose performance provides the show’s emotional backbone. She brings a grounded sincerity to the role, balancing resilience and vulnerability in a way that makes every choice feel believable. Her portrayal ensures that the story’s central themes—class, fate, and motherhood—resonate long after the final moments.

Sean Jones delivers a standout performance as Mickey, capturing the character’s full journey with striking authenticity. His early scenes are filled with energy and humour, but what makes the performance so compelling is the gradual shift as Mickey’s world begins to close in. The change is never overstated; instead, it unfolds naturally, making his eventual unravelling all the more affecting.

Equally impressive is Gemma Brodrick as Linda, who brings a quiet strength to the role. Rather than fading into the background, her performance anchors much of the emotional core of the story. The chemistry between Linda and Mickey feels entirely genuine, and their relationship is portrayed with a sensitivity that makes their shared moments some of the most powerful in the production.

What makes this staging particularly effective is its trust in the material. There’s no sense of overproduction or unnecessary embellishment—just strong performances and a clear commitment to the story being told. By the time it reaches its conclusion, the emotional impact feels wholly earned rather than imposed.

This Blood Brothers doesn’t attempt to reinvent a classic. Instead, it delivers it with clarity, sincerity, and emotional truth—and that is precisely what makes it so powerful.

Production runs from 28th April - 2nd May 

See https://www.bradford-theatres.co.uk/whats-on/blood-brothers

Reviewer - Simon Oliver 

On - April 28^th 2026

Concert Review Alfie Boe Face Myself Tour Philharmonic Hall Liverpool

 

I don’t think I can find enough adjectives to describe Alfie Boe after watching his  fantastic show - talented, versatile, energetic, gregarious, engaging and more. He has an endearing personality, a terrific stage presence and is an absolutely superb showman.

He arrived on stage wearing a casual outfit - black denim jeans, black ankle boots and a blue denim jacket.  From the very start he interacted with his fans in the audience with sincerity at one moment and humour the next, he is a very charming character with a down-to-earth personality which warms the heart.

Boe is promoting his new album, Face Myself on this tour and during the show he shares personal disclosures on his working-class upbringing in Fleetwood, family life (he’s one of 9 children), his career breakthrough and friendship with Michael Ball plus how he plucked up the courage to make this new album which contains original music of his own plus some favourite covers.

He shared his love of Liverpool with the audience, especially his love of Liverpool Football Club and moved those listening with tales of his father’s love of music and his influence on him and how he got involved and grew to love musical theatre from the age of 14.

The show opened with his performance of one of his new songs, ‘Ten Thousand Miles’ which memorialises the distance between him and his children who live in the US, after which he dedicated his next two songs to his dad, sung in Italian and with tongue in cheek asked the audience to sing along. His father’s love of skiffle and Lonnie Donegan featured next with ‘The Rock Island Line’, ‘Cumberland Gap’ and ‘Don’t You Rock Me Daddio’.

Boe makes full use of the stage and dances around energetically throughout the show.  He wowed fans with his renditions of some of his father’s country music favourites, ‘You’re My Best Friend’, ‘King Of The Road’ and ‘From A Jack to a King’ which he said his father played when he was feeling amorous towards his mother, hence the 9 children!

He commented on his friendship with Michael Ball and performed a tribute to him along with a reggae version of a song from the musical, Hamilton, ‘You’ll Be Back’. This led up to the song which he said changed his life after performing it at the age of 14, ‘Bring Him Home’.  This produced a standing ovation from the audience and a Noel Gallagher song followed, ‘Trying to Find a World That’s Been and Gone’.

Tina Turner’s hit, ‘Rollin On The River’  was next with a surprise guest, ex Liverpool football player, John Barnes who performed a rap in the middle of the number and then joined Boe for the remainder of the song.

Boe then sang the title track from his album, Face Myself and then rocked it with the band and followed on with Snow Patrol’s ‘Light Up’ featuring a guitar solo from band member Murray. Boe is supported by a six piece band who are all gifted musicians and singers and he plays guitar on most of his songs.

His encore was a medley of country music songs and his finale encore was a rendition of ‘You’ll Never Walk Alone’ sang without musical accompaniment which had many of his fans wiping away a tear from their eyes.

Boe is a multi-talented singer who can sing every and any musical genre superbly, his vocal range is amazing, he is so versatile and entertaining. He also made the effort to deliver a Meet and Greet with the audience at the end of a nearly two hour show in which he was a non-stop ball of energy singing and bouncing about on the stage to the delight of the audience.  His rapport with them is remarkable and he had them in the palm of his hand. 

I can wholeheartedly recommend this show to any music lovers, Boe isn’t  just the tenor who performs hit songs from Les Mis, he is an all round entertainer with a show which caters with something for everyone and you’ll go home loving all the songs he sings - he can sing everything from classical to rock with a star-rated performance.

Boe was supported by special guest, singer/songwriter, Jessica Sweetman, who sang  a number of her own original songs plus a Talking Heads cover, accompanied by guitarist Andy Pike, see https://www.jessicasweetman.com/tour

For details of further tour dates see https://alfie-boe.com/2026-tour-dates/

Reviewer – Anne Pritchard

On – 27^th April 2026

Theatre Review 1984 The Edge Theatre, Chorlton

Adapted by Peter Kerry from George Orwell’s novel, George Orwell’s dystopian vision of the future (from a 1948 perspective) has in many ways proven to be one of the most prophetic books ever written, disturbingly becoming ever more relevant with cameras watching our every move and new laws effectively creating thought crimes. The novel is quite short with a fairly simple plot and relatively few main characters, at first glance suggesting it would be ideal for stage adaptation. However, Orwell scarcely wasted a line describing everything about life in his dark new world, from the massive faceless institutions to the repressed, insular lives of individuals so creating a dramatic challenge in compressing all this for the stage.

Writer Peter Kerry remained faithful to the novel in telling the story with all key drama points and all main characters. The opening of the play during Hate Week took the bold step of audience participation in singing the Airstrip One national anthem (to ‘Jerusalem’) during a simulated television show in which the audience became ‘the audience’. The scene was quickly established that this was a brain-washed society, fed a sugar-coated false image of reality, providing an effective contrast to the next scene where Winston Smith boldly confided to his diary his inner-most thoughts about the government and Big Brother. The only fault was that the game show host was just a bit too jovial for 1984’s world and Big Brother himself would probably have disapproved. 

Lost in Transit’s production used a range of disturbing and eerie sound devices with minimalist lighting to create the aura Orwell’s vision. Translucent screens were multi-purposed, effectively showing projections of the mind-numbing work of operatives in Big Brother’s world as data was constantly processed and history re-written whilst serving as walls and barriers, both physical and symbolic, which really brought home the claustrophobic, narrow world of life on Airstrip One.

Director Jonny Cordingley avoided the use of both music and video, relying on stark and powerful imagery to bring over the cold, austere world of ‘1984’; a recurring image of rotating, concentric hexagons being particularly effective as Big Brother’s all-seeing eye. The generally darkened stage typically lit by just two or three lights created a prison-like atmosphere and the clearing of all the screens for Winston and Julia’s times of respite away from the city brought over the sense of freedom they were experiencing. A novel feature was the frequent use of metal folding chairs, serving as manacles when Winston was interrogated and frequently thrown around as a metaphor for how that state treated its citizens (also snapped shut to suggest locks being turned!).

The five strong cast each played a main character plus minor roles, with the translucent scenes used imaginatively to suggest distant action or speakers before a crowd. Rupert Hill gave a strong performance as Winston Smith (through curiously was fully bearded considering his repeated request for razorblades). Katie Marie Carter made a superb transition from the Anti-Sex League zealot to the liberated girl in whom Winston found solace and hope.

Christine Mackie remained remarkably composed and pleasant during Winston’s torture scene , bringing over the state’s indifference to suffering, detached in in its own dogma. Jordan Reece as Winston’s friend Parsons provided the only real bits of comic relief, bizarrely proud of his own children for denouncing him and somehow seeing the best in the worst of situations.

Danny Child as the benign shop owner Charrington was the only character allowed to wear anything colourful (excepting the Anti-Sex league sash) and provided a nicely detached countenance in contrast to the stern countenance of the numerous authority figures (also playing the submissive Syme). This was a creative and powerful production which will not disappoint any purists of Orwell’ classic work whilst being sufficiently modern in feel to suggest the very real relevance of ‘1984’ in today’s world.

Various performances around the North West - https://lostintransittheatre.com

Reviewer - John Waterhouse

On - 23.10.26

Theatre Review The Fit Prince (who gets switched on the square in the frosty castle the night before (insert public holiday here) Hope Mill Theatre Manchester

 

               

There’s no point pretending this was going to be a quiet evening at the theatre—it never is with Awkward Productions. Their opening night performance of The Fit Prince (who gets switched on the square in the frosty castle the night before (insert public holiday here) at Hope Mill Theatre delivered exactly what audiences have come to expect: chaos, camp, and comedy at breakneck speed.

This touring production—previously seen at the Edinburgh Festival Fringe—is only in residence for one week, finishing on Sunday, and it already feels like a fleeting theatrical event you’ll regret missing. Expectations were high, not least because of last year’s wildly entertaining Gwyneth Goes Skiing (yes, that one—loosely inspired by Gwyneth Paltrow and a certain infamous moment on the slopes). Thankfully, this show more than lives up to the hype.

Written by and starring Linus Karp and Joseph Martin, with original music by Leland, the story loosely follows an uncrowned heir to the throne of Swedonia (not Sweden—don’t get confused), who must find himself a groom before the looming May bank holiday coronation deadline.

It’s part fairy tale, part horror, a full-throttle romp—utterly ridiculous in the best possible way, like some kind of bizarre queer fairy tale.

Awkward Productions have carved out a niche for fast-paced, irreverent physical theatre, gleefully skewering pop culture under a thin veil of camp absurdity—and this show is no exception. Video interludes introduce a host of recognisable figures, including a standout cameo parody of Michelle Obama (“you’ve got to go down and get low” quickly became an audience favourite).

The orphanage owner was a wonderfully odd creation—somewhere between Nanny McPhee and the Wicked Witch from Snow White and the Seven Dwarfs—though with a surprisingly warm heart beneath the chaos.

Audience participation, a hallmark of Awkward Productions, was in full swing. From pre-show assignments of roles and costumes to spontaneous stage involvement, the crowd threw themselves into the madness. Special mention must go to the “doppelganger,” whose performance was nothing short of hilarious.

Musical highlights included Swedonia’s finest export, BAAB (you can probably rearrange that…), delivering the unforgettable number 'Dunkirk!'—a moment of pure parody brilliance.

But it was the “Movement King”  that  truly stole the show, with razor-sharp physical comedy and a stream of dry, acidic one-liners shared between the two leads. The movement king number, complete with parody choreography and knowingly exaggerated mime, was pure pastiche—blatantly a send-up, but also an affectionate homage to something so beloved it clearly lives in everyone’s collective memory. Iconic, in every sense of the word.

An unexpected hiccup on opening night saw the assistant stage manager—who plays multiple roles, including a fleetingly chaotic Vanessa Hudgens—dramatically destroy her mic pack mid-scene while wielding a prop gun. Impressively, the performers didn’t miss a beat, folding the mishap seamlessly into the performance.

The Prince himself—blonde, charming, and clad in a gloriously fairytale-esque tunic—delivered some of the evening’s best moments (“Are you the Prince?” “Yes—look at what I’m wearing”). The sauna scene, in particular, was a standout poking fun at 1970's erotica.

Aaron Butcher's character of the lovelorn baker brought strong Bridesmaids-style energy, ably supported by his persistent puppet patisserie companion. Sharp-eyed fans may even spot a returning reindeer from Gwyneth Goes Skiing—a delightful Easter egg.

If there’s a minor critique, the pace dipped slightly during the wedding scene—but it’s a small quibble on opening night and easily forgiven.

Ultimately, this is exactly what you want from Awkward Productions: rowdy, raucous, unapologetically camp, and packed with absurd humour. It’s not for everyone—but for those willing to embrace the madness, it’s an eclectic and thoroughly entertaining night at the theatre.

Get a ticket if you can - https://hopemilltheatre.co.uk/event/the-fit-prince/

Reviewer - Kathryn Gorton

On - 21st April 2026

Concert Review Cassidy Janson Sings Carole King, Epstein Theatre, Liverpool

There are tribute shows, and then there are performances that feel like a rightful continuation of a legacy. Cassidy Janson’s celebration of Carole King sits firmly in the latter category, part homage, part personal journey, and wholly captivating. Janson returned to her portrayal of King in Beautiful: The Carole King Musical, not in character, but in spirit, revisiting the songs and stories that have shaped her career. What emerged was not just a retrospective, but a warm, often intimate evening that balanced reverence with personality.

From the moment she bounced onto the stage in a vibrant evening dress and launched into ‘I Feel the Earth Move’, Janson had the audience in the palm of her hand. Her anecdote about performing the song with King herself in Hyde Park in 2016 set the tone: this was a performer with both credibility and charm, able to wear her achievements lightly.

The set list moved fluidly between King’s catalogue and Janson’s own experiences. ‘Where You Lead’ gave way to a cleverly chosen Beatles pairing, ‘Chains’, one of King’s early compositions, and ‘Here, There and Everywhere’, delivered in the style of Celine Dion’s arrangement. It was a reminder not only of King’s far-reaching influence, but of Janson’s versatility as an interpreter.

Stories threaded naturally through the music. Her account of recording with Beverley Knight during her West End run, and of being asked by Amy Winehouse’s mother to perform ‘So Far Away’ for her daughter’s charity, added emotional texture without ever tipping into self-indulgence. Janson’s gift lies in her ability to make such moments feel shared rather than showcased.

Her own material sat comfortably alongside the classics. ‘Fairytale’ and ‘You Beat Me to Goodbye’, the latter a song gifted to her by King, were performed with sincerity and conviction, reinforcing her credentials as more than a custodian of another artist’s work.

A spirited ‘Pleasant Valley Sunday’ brought the first half to a close, before Janson returned, now in a striking orange dress, for a second act that leaned further into vocal power. ‘Up on the Roof’ proved a standout, its emotional clarity and control marking it as one of the evening’s finest moments.

Backed by a tight, sympathetic band, Adam Dennis on keyboards, Chris Dodd on upright bass, and Al Cherry on guitar, Janson was given space to explore both the nuance and scale of these songs. Whether on the upbeat ‘On My Way’ or ‘Widow Woman’ from Fisherman’s Friends, the arrangements never overshadowed the performance.

The closing sequence captured the essence of the show. Pairing ‘Fire and Rain’ with ‘You’ve Got a Friend’, Janson traced the emotional and musical dialogue between James Taylor and Carole King. It was a fitting reminder of the interconnectedness at the heart of this music.

A well-deserved standing ovation followed, and the encore, (You Make Me Feel Like) A Natural Woman’, felt less like a finale and more like a statement of intent. That King herself was moved to tears by Janson’s rendition in Beautiful speaks volumes. This was more than a tribute. It was an artist honouring her influences while quietly asserting her own place among them.

Cassidy Janson’s tour continues across the UK and details can be found here, ‘Cassidy Janson sings Carole King’ Tour 2026 — Cassidy Janson

Reviewer – Adrian Cork 

On – 20.04.2026

THEATRE REVIEW Mythos, Ragnarök by Ed Gamester. City Stage, Preston

Ed Gamester as Loki took full command of the stage, charismatic and unpredictable, he embodied the trickster god with a dynamic blend of charisma, surprise and powerful wrestling moves.

Mythos Ragnarok is a brilliant fusion of wrestling and theatre, capturing the best qualities of both worlds. It felt like an indie wrestling show, with how it connected with its fans, but with a trust in the performer’s safety, and a rich unfurling story that kept us on the edge of our seats. The death of one character had the audience too stunned to boo, but the tension was palpable, leading to a later payoff that almost brought the house down.

Miles Ley’s Thor stood out with his impeccable comedic timing, the perfect embodiment of brawn over brains, balancing humour and raw power. The other eight performers also embodied distinct and compelling characters, forming a rich ensemble that vividly brought the Nordic gods to life.

The climatic moment of the show was the epic rumble toward the end. The choreography was stunning, each of the eight wrestlers used the stage with precision, flying in and out, every move perfectly timed. It was a breath-taking spectacle, like a blockbuster superhero moment unfolding live. The audience gasped with every bump and throw, fully immersed in each high-stake move, especially as the female performers delivered awe-inspiring feats of strength.

Melanie Watson’s as designer and performer, brought a mythic edge to the characters costumes, making each wrestler feel larger than life. This show is a powerful hybrid of ensemble theatre and indie wrestling, brining raw, collaborative energy and spirit to the stage. They also produced the entire show themselves, this band of punk wrestler theatre-makers. I’m wishing them every success with this amazing show!

Stage City events can be found here - https://stagecity.co.uk/events/mythos-ragnarok/

Reviewer: Kerry Ely

On – 17/04/2026

Concert Review - Down In Laurel Canyon, Shakespeare North Playhouse, Prescot

 

Down In Laurel Canyon is an ensemble of Liverpool based musicians who lovingly reimagine the timeless catalogue of songs that emerged from Laurel Canyon between the mid-1960s and early 1970s.

They are Naomi Campbell (guitar, vocals), Karen Turley (guitar, vocals, tambourine), Robert Johnson (guitar, vocals), Dylan Cassin (guitar, vocals), Tom Wilson (percussion, vocals), Sam Rabbette (bass), Rich Smith (drums) and Sarah Sands (keyboards, vocals).

If you’re a fan of the likes of The Mamas & The Papas, Crosby, Stills & Nash, Joni Mitchell, Neil Young, The Doors, Carole King and James Taylor, you will love this show. These supremely talented performers take you on a journey back to a time and place where it felt as though the sunny days might never end.

The show comprised two 45-minute sets, separated by a 20-minute interval. The opening number was The Mamas & The Papas’ era-defining ‘California Dreamin’’, the perfect start to our trip through the Canyon. Bobby then introduced a song by a band from Hull, America’s ‘A Horse With No Name’, with Sam nailing the song’s driving bass line. Sarah delivered a beautiful rendition of Carole King’s ‘It’s Too Late’, before Naomi took on The Turtles’ ‘Elenore’, showcasing the poppier side of the Canyon. Sarah returned to lead on Joni Mitchell’s ‘Big Yellow Taxi’, deftly handling her unique vocal phrasing.

All bar Karen, Naomi and Bobby then left the stage, allowing the trio, otherwise known as Motel Sundown, to perform a lovely version of James Taylor’s ‘Carolina on My Mind’. ‘Helplessly Hoping’, Little Feat’s ‘Willin’’, ‘Doctor My Eyes’ and John Mayall’s ‘All Your Love’ had the audience singing along, before Linda Ronstadt’s ‘You’re No Good’ brought the first half to a close.

From the ovation they received, it was clear the audience at Shakespeare North Playhouse had thoroughly enjoyed themselves. The second half began with Crosby, Stills & Nash’s ‘Carry On’, a cornerstone of the Laurel Canyon sound. Dylan then took ownership of the night with raucous versions of The Doors’ ‘Roadhouse Blues’ and Neil Young’s ‘Down by the River’. Karen delivered a confident take on Carly Simon’s ‘You’re So Vain’, followed by a full-band performance of Eagles’ ‘One of These Nights’.

Dylan then introduced James Taylor’s ‘Fire and Rain’, explaining how it was written in response to the death of his friend Suzanne Schnerr, before delivering a moving solo performance. The mood softened further as Karen, Naomi and Sarah performed Joni Mitchell’s ‘Ladies of the Canyon’, the standout moment of the evening.

Bobby strapped on a Rickenbacker as the volume lifted again for The Byrds’ ‘Turn! Turn! Turn!’. Little Feat’s ‘Spanish Moon’, Crosby, Stills, Nash & Young’s ‘Ohio’ and  Buffalo Springfield’s ‘For What It’s Worth’ brought proceedings to a close. The audience, keen for more, were rewarded with an encore of ‘Love the One You’re With’.

Whilst it might be the ladies of the Canyon and Dylan and Bobby’s guitars that are front and centre, they could not do what they do without the superb percussion section of Tom, Sam and Rich. Take a bow gents.

Down In Laurel Canyon delivered yet another authentic and vibrant celebration of Laurel Canyon’s rich musical legacy. It’s a lovely thought that they all live close together in Aigburth, an area that might become a hub of musicianship and a modern echo of the countercultural spirit they celebrate.

Down in Laurel Canyon are playing Liverpool’s Philharmonic Hall on 22nd January 2026 and tickets may be purchased here, https://www.liverpoolphil.com/whats-on/contemporary-music/down-in-laurel-canyon/9825

Reviewer – Adrian Cork 

On – 18.04.2026

THEATRE REVIEW THEATRE FRINGE BALLAI (WALLS) 53Two Manchester

Set against the ever-present threat and reality of what, somewhat euphemistically or perhaps optimistically have been coined, The Troubles, this one-woman play (about 50 minutes through, no interval) tackles a very personal relationship with the sectarian violence of 1969 Belfast. 

The young actress playing Eve (adult actress obviously playing a juvenile) was engaging and easy to watch, and we were transported to this world with ease. We understood her situation and we were able to sympathise with her. In a series of flashbacks, she takes us through 'her' Belfast and the family and people of her world, creating the characters from the detritus of a slum and bombed-out city, and creating the voices for them herself. The only voice she doesn't attempt is that of an acquaintance she meets in the local pub and immediately falls in love with him. The love, we find out, is somewhat misguided, and the play does continue on a downward trajectory throughout. Despite the many pseudo-comedic moments to lighten the tension (these either coming from the writing or the direction) the play doesn't pull any of the major punches and we see, first hand so to speak, the destruction of lives and communities that this 'war' caused. In fact, the play starts fairly conventionally and in 'happy mode' as Eve describes her Belfast with affection. The tall, dark, handsome stranger in the pub however is when things take a turn for the worse. Although, Eve has known and seen heartbreak and death before, even within her own family, it is this 'chance' meeting that is the catalyst for the play's downward spiral.

The set made full use of the small space and created height by use of scaffolding, whilst lighting and sound were both good throughout, and the costuming was apt. 

The play was written by Kelsea Knox and directed by Frankie Lipman. The one slightly odd part of this play for me was that Eve referred to and acknowledged us, the audience, knowing she was playing a role and was telling her story to us. I think, in all subjectivity, the play would have worked better with a larger cast (it seemed to be crying out for this!) and to bring the fourth wall firmly down. However, the play was still interesting and worthwhile.

53two, Manchester 15–17 April 2026

Reviewer - Alastair Zyggu

On - 16.4.26