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

Theatre Review FLIGHT: One Man’s Journey Greater Manchester Fringe The Squad House, Pear Mill, Stockport

Solo performance shows are virtually a staple part of Fringe Festivals, typically of comprised of a versatile performer, alone on a stage with perhaps a couple of props and not much else. ‘Flight’ by Martin Lytton, takes the genre a stage further, incorporating a huge number of props requiring the actor to make full use of a large performance area, effective (and at times, very sophisticated) sound effects, dramatic lighting (albeit used sparingly) and some off-stage voices.

Added to this is a very talented performer who with the aid of basic costume items such as a pair of glasses or a skull cap, presents a myriad of interesting characters surrounding the life of the central protagonist who, born with social disadvantages into a poor, rural community in Bangladesh, struggles to better his life, find love and fight his inner demons.

Naz Sheikh not only plays all the characters but is also the narrator, intermittently telling the story in a measured, calm voice and going into lively characters, from an oppressive passport official to excitable  markets traders, the protagonist’s mother, mad beggars and numerous other people who appear in one man’s journey from a life with few prospects in a rural backwater of Bangladesh to a new existence of hope in the city of London. 

Sheikh brings his characters to life through a quick-fire combination of vocal gymnastics, expressive facial contortions and the use of props, often depicting conversations whilst keeping the progress of the narrative grounded through the reassuring persona of the narrator. It is also a very physical performance, frequently involving climbing a step ladder, throwing cloths around the stage, dancing and sometimes even singing.

There is more to this production than just characters. A virtual world is created, from the sound of children laughing whilst playing in a river to the hustle and bustle of a village market, interspersed with the sound of aircraft flying overhead and ultimately the traffic and noise of London. Electronic sounds are occasionally used to denote the main character’s inner mental torrent but with the exceptional of a single joyous moment, to director Jacqui Crago’s credit, there is no reliance on any background music to create either effects or atmosphere.

This is an intensely human story and is ultimately about hope and perseverance in the face of adversity. No attempt is made to go into any background religious or political issues, even though it no secret that the central character is from an Islamic background, hoping to move to a largely secular western democracy. A nice touch is that a key element in his quest to get to England involves, on the advice of a mentor, embracing the works of his chosen county’s greatest playwright, referencing his own life with quotations from Twelfth Night, Henry the Fifth and Hamlet. Another refreshing element, particular in the light of recent, divisive protests from various political spectrums in this country, is that once arriving in England, he embraces the Union Jack to such a degree that he even breaks the fourth wall by engaging the front row with bunting.

This is a very personal story that manages to retain cultural authenticity without getting sidetracked into wider political and religious issues, fully utilising the varied skills of Naz Sheikh in combination with wide-ranging effects and props. A powerful and uplifting story told through a stella performance.

https://greatermanchesterfringe.co.uk/events/flight-one-mans-journey/

Reviewer: John Waterhouse

On: 03.07.26

Theatre Review Miss Saigon Winter Gardens Blackpool

 

Miss Saigon has everything one could wish for in a musical production – drama, emotion, tragedy, humour and a surprise shock finale.  It also has a brilliant story, based on Puccini’s opera, Madame Butterfly and a superb set design (Andrew D. Edwards) used to bring it to life.  Legendary, producer Cameron Mackintosh has managed to breathe new life into this production which is utterly spell-binding.

The plot is simple, a US soldier falls in love with a 17 year old Vietnamese girl whilst partying in a brothel; she is shy and new to working in the seedy dive with the other hard-nosed prostitutes, an orphaned country girl who has turned to prostitution to survive and he takes pity on her before pledging his love and promising to take her back to the US.

The musical was inspired by a photograph which book co-writer, Claude Michel Schönberg found in a magazine. It depicted a Vietnamese mother leaving her child at a departure gate at Tan Son Nhut Air Base to board an airplane headed for the United States where the child’s father, an ex-GI, would be in a position to provide a much better life for the child. Considering this mother’s actions for her child to be “The Ultimate Sacrifice,” Schönberg developed an idea central to the plot of Miss Saigon.

The story will tug at the heartstrings of many as the scenario of American GI’s leaving pregnant Vietnamese women behind during and after the Vietnamese War, must have been played out so many times in real life.  The show portrays how in the final days of the Vietnam war, the fated love between an American marine, Chris (Jack Kane), and an orphaned Saigon prostitute, Kim (Julianne Pundan) are pulled all ways by The Engineer (Seann Miley More), a pimp who longs for a visa to get him to the US.

The show set intermingles hi-tech effects and drama seamlessly and is one of the show's most impressive features with clever use of turntables, rotating rooms, staircases which glide across the stage, backdrop projections, and a levitating giant US dollar sign, all co-ordinated with the amazing songs, the stark scenes of poverty, the neon-lit landscape of Thailand, the faultless talented cast, the dancing and sublime singing. The show is enhanced with a live orchestra.

Although none of the songs have become popular as hits, they are executed superbly and all of the cast and ensemble are to be commended. Brilliant musical theatre, not to be missed.

Dealing with adult themes, including prostitution, sex and violence the show is not suitable for younger audiences.

This production runs from 30^th June – 4^th July 2026

See https://www.wintergardensblackpool.co.uk/events/miss-saigon/

 Reviewer:  Anne Pritchard

On: 1^st July 2026

Theatre Review The Rocky Horror Show Storyhouse, Chester

In a world of constant change and in especially in recent years, where virtually nothing seems reliable or stable, it is comforting to find some things that still provide a feeling of constancy and well-being. One such item is surely ‘The Rocky Horror Show’ which always seems to be on tour somewhere in the country and remains largely unchanged 50 years on from when Richard O’Brien decided to fill sometime between jobs writing a musical.

‘The Rocky Horror Show’ is the cheeky, punk alternative to big West-End/Broadway musicals from the likes of Lloyd-Webber and Rodgers & Hammerstein but it is now a big show in its own right, usually  selling out large venues and gathering new fans year on year, now well into its second half-century. Audiences seem ever more familiar with the script and rehearsing presumably includes having to deal with constant well-placed heckling.

This particular touring production has been doing the rounds for several years, with a number of actors having been in place for a long time. The cast are clearly still having a good time performing but what set this latest tour apart is the music. Without changing the essence of any of the numbers, it sounds like many songs have been given a makeover with a slightly heavier guitar sound and more emphasis on piano. Certain songs have been given a fresh feel through the use of various guitar effects and acoustic guitar is even used on some songs, without losing any of the bounce of the music.

The sets remain a feast for the eyes, with an array of curious items (as you expect to find a Frankenstein house!) thoughtfully included to enhance the right backdrop, from a mounted Dodo’s head in the hall to a huge brain in the lab. A nice touch was a huge translucent roll of film across the top of the set, providing an extra singing-stage for some cast members as well as a constant reminder that is was old sci-fi B-movies that provided much of the inspiration for the Rocky Horror Show. This current tour, directed by Cristopher Luscombe, features more impressive lighting, particular in denoting the death ray and during the climatic last scene, coupled with copious amounts of dry ice.

The show’s cast is like a fully matured fine wine but with some interesting new additions. Jackie Clune, giving an unusual female take on the role of the narrator, shows remarkable ad-lib versatility in exchanges with the audience, whilst presenting a more familiar and relaxed feel to the character than typical male interpretation. The aside jokes have been updated (most notably at the expense of Prince Andrew) whilst giving much more acknowledgement to the LGBT-friendly world we know live in (in sharp contrast to when the show first appeared!). Ryan Carter-Wilson is a very memorable (and quirky) Riff Raff, with excellent facial mannerisms. Stephen Webb has well-honed in his role as Frank N Furter over an infinite number of performances as has Hayley Flaherty as Janet. Relative new comers to Morgan Jackson as Rocky and James Bisp as Brad each bring a freshness to the production, with Flaherty and Bisp gelling was as the central couple in the story.

This is a truly refreshing and enjoyable presentation of a very well-known show, certainly giving new things for fans who know ‘Rocky Horror’ inside out as well as presenting a more or less perfect rendition for anyone who had never seen the show before; very highly recommended as an exciting, sexy and hilarious night out.

‘The Rocky Horror Show’ is on at Storyhouse, Chester until 4th July.

https://www.storyhouse.com/

Reviewer: John Waterhouse

On: 30th June 2026

Theatre Review Summer Holiday The Musical Crucible Theatre Sheffield

Summer Holiday, the Musical, is a stage adaptation of the Classic 1963 British movie starring Cliff Richard. The original movie soundtrack spawned numerous hits, including 4 number one singles for Cliff Richard and the Shadows. This production has been specially adapted for Sheffield by Michael Gyngell and Mark Haddigan.

The scene was set as we approached the Crucible, with a beach and deck chairs set up outside the entrance doors, complementing the current heatwave and it was the perfect setting to begin a summer holiday extravaganza. Despite the local adaptations and the journey embarking from the Steel City, this production is true to its swinging sixties rock and roll origins and doesn’t deviate from the feel of the movie. It is the tale of a group of friends going on a summer adventure through Europe in an adapted double-decker bus. It is a feel-good story of friendship, love and the carefree nature of youth.

Amanda Stoodley demonstrates her skills as a ward-winning set and costume designer. The visual stage adaptation works well with props, including a Union Jack-topped Mini Cooper, which appears from beneath the stage. But most of the props are simple whilst effective, wheeled on when necessary, often as visual indications of location, i.e., the Eiffel Tower. A small remote control bus whizzing around the stage adds whimsy as it meanders along on its European tour. The Stage transitions are smooth and integrated into the show, often disguised by musical interludes with a nod to Cliff Richard's friends, the Shadows.

Richard Reday and Lesley Hutchinson produce the musical and movement direction, respectively, with over a dozen musical scores on each side of the interval. The duo responsible for directing the music was on display on the top of the largest part of the stage set. The cast and ensemble are also involved in playing instruments. The musical, dance and vocal performances are superb, with the tempo remaining throughout. There’s plenty of foot tapping, hand clapping and dancing to be had during the course of the 2-hour-plus performance (including interval).

Songbirds George Jones (Don) and Fanta Barrie (Barbara) are excellent in the lead roles. Damien Humbley (Jerry) and Jane McCarry (Stella) are equally good in their roles, adding comic relief to the proceedings. They are backed up by the rest of the cast and ensemble, creating the summertime carefree vibe essential to recreating the movie. It is unfair to pick out any of the wider cast and ensemble, as they are all equally effective in bringing their characters to life.

The Crucible theatre’s wrap-around seating is ideal for crowd participation and this was exploited by the cast during the performance as they danced in the aisles and took selfies with members of the audience in front of the landscape props. 

Summer Holiday, the musical, is an immersive homage to the original movie, full of catchy 1960’s rock and roll songs and well-choreographed dancing. It is an exceptionally enjoyable piece of musical theatre, full of nostalgia and a must-see slice of summer theatrics. I loved it.

Production run (The Lyceum Theatre, Sheffield): Saturday 20th June –Saturday 18th July 2026.

Running Time: around 2 hours 15 minutes, including an interval.

https://www.sheffieldtheatres.co.uk/events/summer-holiday-2026/dates

Reviewer: Matthew Burgin

On:  25th June 2026

Concert Review 60 Years of Blonde on Blonde, Philharmonic Hall Music Room, Liverpool

Sixty years after its release in 1966, Bob Dylan’s Blonde on Blonde remains one of the defining achievements of popular music. It was not simply a great album; it expanded ideas about what an album could be artistically and lyrically. To mark this milestone, Liverpool Acoustic gave local musicians Thom Morecroft, Mike Blue and Dylan Cassin (a fine example of nominative determinism) the opportunity to bring the album to life. Supported by a cast of fellow singer-songwriters and a house band, there were two performances, a 3pm matinee and an 8pm evening show. This review is of the former.

The show opened with Graham Holland, the man behind Liverpool Acoustic, telling the story of how the idea for the show developed before welcoming the musicians to the stage. They went straight into the album’s opening track, ‘Rainy Day Women #12 & 35’, and it was immediately obvious the band had captured what Dylan described as “that thin, that wild mercury sound”. Blue, Morecroft and Cassin (last seen Down Laurel Canyon Way) all took a lead vocal, backed exuberantly by a horn section and keyboards.

They immediately deviated from the album’s running order as Blue sang a delightful version of the surreal ballad ‘Visions of Johanna’. They were joined on stage by Grace Elizabeth Harvey, who sang ‘One of Us Must Know (Sooner or Later)’, a song she joked could have been about every man she had ever dated.

The band then played ‘I Want You’, in which Joseph Griffin’s keyboards were brilliantly prominent. Indeed, I felt he captured the distinctive blend of organ and piano that stands out so beautifully on the album.

The drumming of Will Brown and the bass playing of Sam Rabbette were integral to the band’s sound throughout. The band then cleared the stage for Danny Bradley to sing ‘Pledging My Time’. His powerful, belting delivery was ideal for a pared-back version of the song.

Act One closed with rollicking versions of ‘Stuck Inside of Mobile with the Memphis Blues Again’, ‘Just Like a Woman’, on which Morecroft sang while Blue played guitar, and the ever-entertaining ‘Leopard-Skin Pill-Box Ha’t, with Cassin taking the lead vocal.

Act Two opened with a run of guest appearances. John Witherspoon joined the band for ‘Most Likely You Go Your Way and I’ll Go Mine’. His classic folk sound, blended with modern indie elements, made him an ideal choice for this project. “Sausage King” Barry Jones delivered a faithful rendition of ‘Absolutely Sweet Marie’. Kaya followed with ‘Temporary Like Achilles’, before Jessica Dives sang ‘Fourth Time Around’, which she described as bearing similarities to Lennon’s Norwegian Wood.

Cassin sang ‘Obviously Five Believers’ before Morecroft gave an impeccable performance of the album’s closing epic, ‘Sad-Eyed Lady of the Lowlands’. The audience was on its feet calling for more, so the band returned to the stage, along with their special guests, for a rousing rendition of ‘Like a Rolling Stone’. 

It had been a fabulous afternoon’s entertainment and a fitting celebration of one of popular music’s greatest albums. Sixty years on, Blonde on Blonde continues to inspire musicians and audiences alike, and if, as Morecroft suggested, this celebration is repeated, it will undoubtedly deserve another full house.

Reviewer: Adrian Cork 

On: 27/06/2026

Theatre Review Nana Funk's Glastonburyoke Everyman Theatre Liverpool

 

Glastonburyoke is a combination of Glastonbury nostalgia and audience participation karaoke. Whether you’ve attended Glastonbury or not this is a night to remember with die-hard Nana Funk fans singing their hearts out on stage and off.

Nana Funk arrived on stage dressed in a full length sequinned evening dress with her usual grey up-do sporting glam wellies aka Shirley Bassey on the Glastonbury stage circa 2007 but Nana said her wellies were bought from Home & Bargain, unlike Shirleys £3,000 custom-made boots which were embellished with the initials of her title (Dame) and name in sparkly letters.  Nevertheless Nana Funk was in full diva mode and belted out ‘I’m Coming Up’ much to the pleasure of her audience.

Her two side-kicks, Caz and Britney,  actresses, singers and comediennes Gillian Hardie and Keddy Sutton, then accompanied her on stage relating how Nana had paid for them to be released from prison, how they had been tagged and how Caz’s had fallen off. There is lots of audience interaction and laugh-a-minute jokes which the audience lapped up.

After a short interval which was needed for those attending to leave the theatre to take in some fresh air as it was an extremely hot night, Nana returned as Nana Gaga singing Nana Funk version of ‘Pokerface’ complete with Gaga jacket. During the comedic song she stripped down to her bralet and Spanx underwear, interacting with the audience and handing out Pepperoni snacks.

A promised Q&A section followed where members of the audience had provided questions written out prior to the show starting and Nana delivered her answers accompanied with her ukelele, in song format.  Caz and Britney also joined her with some very clever ad-libs songs.

Next came the karaoke part of the show where some very talented members of the audience got up on stage and sang a song of their choice. Everyone was up singing and dancing by this time and a very good time was had by all. The show finished with a rendition by all of ‘The Lion Sleeps Tonight’ chosen by a vote from the audience out of four songs for the finale.

Nana Funk’s Glastonbury Karaoke Night, is a very enjoyable treat for anyone wanting a good night out with sing-a-longs thrown in.  All her shows are a laugh-a-minute and worth a visit.

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

This show sold out quickly, Nana’s next outing at the Everyman is Nana Funk’s Bearcat Gumbo Special on 26^th September, Downstairs at the Bistro, a take on the Wogan TV chat show, featuring Bearcat Gumbo, an all-female jazz band celebrating the golden era of jazz. For ticket updates see Instagram at https://www.instagram.com/nanafunkrocks or Facebook at https://www.facebook.com/nanafunk01.

More details about Nana Funk and her events may be found at https://www.nanafunkrocks.com/about-1

 Reviewer: Anne Pritchard

On: 27^th June 2026

Speed Dating Review Matchlove Old Hall Farm Ellesmere Port

 

Matchlove Speed Dating was established approximately 18 months ago by Gifty Boadu who also hosts the events. Her aim is for singles to have fun whilst searching for Mr or Miss Right. Her business is based in Ellesmere Port, and she prides herself on personal attention to detail and commitment with enthusiasm at each event. Her approach is rooted in delivering memorable encounters, guaranteeing that everything she does displays her dedication in assisting singles find their perfect match.

It was a very hot summers’ evening and host, Gifty made the wise decision to hold the event outdoors in the very pleasant seating/garden area outside the pub. It was one of their smaller sized events with 8 ladies and 8 gents meeting in the hope of finding a match, all in the 50-65 age group.

Gifty’s events are perfect for singles who like to meet potential partners in person, almost viewed as the old-fashioned way in today’s internet/online chat climate, but events such as these are an ideal way of meeting a selection of dates in one night, obviously if they fit the bill, looks and personality wise.

The major advantage for speed dating is that singles are meeting other singles in person, contrasting on-line dating apps, meaning singles can’t edit themselves and they can’t display a much younger photo of themselves as they can do online. With speed dating, singles are able to experience a sample of potential dates and decide if there is that sparkle they are hoping for and pick up if their is chemistry between each other in person and if the correct questions are asked, they’ll know if they are well-matched.

Friendly host Gifty made everyone comfortable with a drink upon arrival and informed them of the schedule and what was expected of them. After the registration process was completed, she explained how the event works; attendees are given a name badge, a pen and a 'scorecard' to note their opinions about each date and tick either a 'Yes' to those they are interested in meeting again, or a ‘No’ to any they think are not a match. Ladies are seated on tables whilst the men visit each table to chat to potential dates. Host, Gifty is on hand with a bell to let the men know when to move on as there is a time limit of 15 minutes per date. Within 24 hours after the event, attendees receive a results email informing them who they've matched with (i.e. mutual 'Yes' ticks). They are also informed of those dates who have given them a ‘Yes’ tick who they’ve declined.

Most people arrived alone at the event and the atmosphere was very relaxed with everyone chatting to each other amicably. The event was scheduled to last for two hours but everyone stayed longer, chatting and drinking and the time flew by very quickly. This is a very enjoyable way of meeting possible matches for those looking for a partner or even those looking to form new friends.

Similar events are scheduled for other age groups and are perfect for a girls nights out as they entail lots of conversation, laughter, the buzz of  meeting new people during one evening and a bar on hand for drinks.

See more details at https://www.matchlove-speed-dating.com/

For tickets see 

https://tablesdatingevents.co.uk/speed-dating-events 

Reviewer:  Anne Pritchard

On: 24^th June2026

Theatre Review Taking The Piste Royal Court Liverpool

Taking the Piste is a hilarious and captivating comedy-drama based on the true story of the 1970s Kirkby Ski Slope fiasco. The production dramatizes the chaotic construction of an ill-fated ski slope and a journalist's efforts to expose the project. 

The narrative centres around Donald Storm (Paul Duckworth), head of Kirkby Council, who schemes to build a monumental ski slope near the M57 motorway to put the town on the map. Assisted by a builder, Geoff Ditchwater (Michael Starke), they manage to spend vast amounts of taxpayer money building a ski slope from people’s rubbish, which proves to be exactly the wrong way round.

Standing in their way are two young journalists from the Liverpool Echo, Derek Whitaker (Elliott Kingsley) and Kelly White (Hayley Sheen), who break ranks, Woodward and Bernstein style, to investigate Storm’s shady dealings and expose the grand scheme for what it is, aided and abetted by Councillor Storm’s assistant, Sandra (Holly Mimi Bernice).

The production used three sets in telling the story: the pubs The Grapes and The Railway, a cramped Liverpool Echo office and the dry ski slope itself. The latter was particularly good as it changed each time it was seen. The use of BBC2’s Ski Sunday theme just before the completed slope was revealed was genius. 

Period detail is nicely observed in the costuming and the choice of music from the era adds to the contemporaneous feel. 

Writer Kieran Lynn has balanced a dark, crazy narrative with fantastic comedic moments, seamlessly blending local knowledge with political satire of civic ambition, political vanity and the power of investigative journalism. The genius of his script is that he never has to exaggerate the absurdity as the facts themselves provide many of the laughs.

The actors were all at the top of their game, particularly Paul Duckworth who was superb as Donald Storm, the larger-than-life council leader determined to put Kirkby on the map whilst also making sure he lined his own pockets. He played his role with the relish of someone drunk on pints and drunk on power.

The counterpoint comes through the journalists investigating the growing scandal. What could have been a simple good-versus-bad narrative instead becomes a celebration of determined local reporting, reminding us that some of the most important stories are uncovered not by national media but by people who know their communities best.

Director John Young keeps the pace brisk throughout. The production rarely pauses for breath, moving effortlessly between broad comedy, political farce and moments of genuine human warmth. The humour is unmistakably Scouse, packed with references that drew knowing laughter from the audience, yet the themes have a wider resonance. Ambitious projects, inflated promises and taxpayers left wondering where the money went are hardly unique to Kirkby.

Every member of the ensemble contributes to the production’s success. Vicky Binns, as hard-nosed newspaper editor Patricia Grimes, particularly epitomises the balance between caricature and credibility that runs throughout the cast. What elevates Taking the Piste above a straightforward comedy is its affection for the community at its heart. While politicians, officials and opportunists all come in for their share of ridicule, the play never mocks the people of Kirkby themselves. Instead, it celebrates the resilience and humour that allowed locals to laugh at a fiasco that might otherwise have been forgotten. 

By the final curtain, Taking the Piste has achieved something special. It is hysterically funny, deeply rooted in local history and surprisingly relevant. Like the ski slope itself, the story should never really have existed. Unlike the ski slope, however, this is a venture that succeeds spectacularly.

The Royal Court has long excelled at turning Merseyside’s unique history into compelling theatre, and Taking the Piste may be one of its most inspired excavations yet.

Taking the Piste runs until 18th July 2026 and tickets can be booked here,

https://liverpoolsroyalcourt.com/main_stage/taking-the-piste/

Reviewer: Adrian Cork 

On: 24/06/2026

Cabaret Show Review Linda Gold’s Funnyboyz Saturday Night Cabaret Club Liverpool

Funnyboyz cabaret club in Liverpool, founded by drag artist and entrepreneur Linda Gold alongside Dys Alexia, is a completely unique and interactive concept in Drag Queen experience. You are invited to mingle with their drag queens and have the time of your life, and they certainly delivered on that this evening.

They offer a rotating line up of resident drag queens and tribute acts bringing the most hilarious drag shows, ‘RuPaul’s Drag Race Queen’ appearances by “Sumtingwong and Justmay,” also various tribute acts ranging from Abba, Adele, Lady Gaga to Becky Hill. They have cocktail masterclasses, bottomless brunches, bar crawls, Benidorm bingo, there’s something for everyone for a fabulous night out as the list is endless. 

The show is full of humorous banter and quite blue, and with the aid of a phallus it added to the overall effect which the three hen parties there certainly enjoyed. You can also dine from the choice of a set menu of one, two or three courses, a snack menu is also available, and you can help yourself to free popcorn throughout the whole show, and on arrival you receive a complementary drink.

Tonight we were greeted by the delightful drag queen Angelina Holey, who explained the evenings proceedings and later mingled with the audience selling raffle tickets for the Spin The Wheel section of the show, where the audience can win prizes, and the profits raised are used to support their charities including Pride Events and “Cancer is A Drag.”

All the staff were lovely, very friendly and extremely helpful and courteous throughout the evening and made the whole experience a real pleasure. Izzy Fierce, a delectable vision in vibrant blue with feathers was our compere for the evening and proceeded to go around the room introducing everyone from each table so that we were familiar with each other and asked where everyone came from, if they were here celebrating something and some, their occupation, which was later cunningly used humorously within the show.

The main live singing cabaret act who entertained us in a slinky silver sequinned number, was dazzling drag queen, ‘Baby Darling’ known as ‘Baby D’ who sang a compilation of songs ranging from Tina Turner, Erasure, Cindi Lauper, Bucks Fizz and Abba to name but a few. The audience thoroughly enjoyed themselves and sang and danced along on the dance floor all evening.

Angelina Holey and Izzy Fierce gave us an array of their talents and agility by performing amidst many costume changes and alternating between the two stages. They gave a Saturday Night Cabaret Show, Linda Gold’s Funnyboyz Cabaret Club, Liverpool, enthralling full-on display that included lip syncing, singing and dance routines, with the can-can and the splits thrown in for good measure. They got people from the audience up on stage to twerk and lip sync and provided everyone with a fun and hilarious evening.

To find out more about Linda Gold’s Funnyboyz Manchester & Liverpool events, visit their website. Funnyboyz.co.uk

Reviewer: Jill Ollerton 

On: 20.06.26

Concert Review Pet Sounds A Tribute to the Beach Boys Tung Auditorium, Liverpool

What better way to celebrate Brian Wilson's eighty-fourth birthday than by playing his masterpiece, Pet Sounds, in its entirety? So kudos to Novelty Island and Credits for not only taking on the challenge but knocking it out of the park. 

The first set opened with 'Our Prayer', Brian Wilson's wordless a cappella hymn. The seamless blending of multiple voices set the tone for the night. The musicians went straight into 'California Girls' and 'I Get Around';, two of the Beach Boys pre-Pet Sounds hits. They slowed things down for 'Surfer Girl' and 'Don't Worry Baby', so we were now ready for the centrepiece of the night: 'Pet Sounds'.

A video of Brian Wilson talking about the album sometime in the late 1970s was the precursor to the opening track, 'Wouldn't It Be Nice'. The musicians played through the rest of side one, with different people taking lead vocals on different songs. 'Sloop John B' took us to the interval.

Side two opened with, arguably, the album's most famous song, 'God Only Knows', for which Tom McConnell played piano and sang. It's fair to say that the songs on this side are more emotionally mature and highly orchestrated than those on the album's lighter first half. The musicians captured both the lush romantic devotion and  he melancholy realisation of lost youth perfectly, ending with the rumble of a passing train and the sound of two dogs barking.

To play an album of this sophistication required ten exceptional musicians and probably 30 musical instruments, including a bicycle bell and horn, woodblock, sleigh bells, tambourine, baritone saxophone, clarinet, flute, bass saxophone, bass clarinet, tenor saxophone, theremin and alto flute. More impressive still was how effortlessly they made it sound. Wilson's famously intricate arrangements were reproduced with remarkable precision yet never felt academic or over-rehearsed. The warmth, invention and sheer joy of the original recordings remained intact. The upbeat 'Darlin'; and 'Feel Flows', a deeper cut, brought the second set to a close.

Obviously, there was an encore, starting with 'All I Wanna Do' and 'In My Room'. Dan Astles joined the musicians for an exuberant version of 'Help Me, Rhonda', and Frankie Tibbles came on to sing the final song of the night, 'Good Vibrations'.

McConnell played a mean theremin as the musicians clearly enjoyed the psychedelic wig-out that brought the night to an end. This review cannot do justice to the hours of preparation and rehearsal that went into the show, nor to the skill required to bring such a complex and ambitious work to life.

Pet Sounds remains one of the most intricate albums in popular music; to perform it live so convincingly was an extraordinary achievement. This cannot be a one-off show, so I would implore the bands to get back together and do it again.

Reviewer: Adrian Cork 

Date: 20/06/2026

Theatre Review Malory Towers Playhouse Theatre Liverpool

 

Emma Rice’s stage adaptation of Malory Towers from infamous story teller, Enid Blyton envelops everything about boarding schools which young readers who were not privileged to be a part of, were in awe of.

The six original Blyton novels depicted twelve-year-old Darrell Rivers during her school years, relating friendships, rivalries and the difficult business of growing up and this production showcases life in a boarding school, from loneliness and friendships to bullying and passionate loyalties.

This production, adapted and directed by Emma Rice, is a co-production between the Emma Rice Company, Alexandra Palace Theatre, Belgrade Theatre, HOME Manchester, and the Liverpool Everyman & Playhouse.

Fundamentally, it presents the story of new girl, Darrell Rivers (Robyn Sinclair), her friendship with Sally Hope (Bethany Wooding), her encounters with timid Mary-Lou (Eden Barrie) and conflicts with the dreadful Gwendoline Lacey (Anna Soden).

The eight member cast are all to be commended; their vocal range and singing were superb and acting characterisation was totally accomplished and believable. Plus, many of the cast are multi-talented instrumentalists, moving effortlessly between acting, singing and playing instruments. The upright piano, played on stage by Stephanie Hockley as Parisian Irene Dupont, is a touch of genius as it immediately evoked memories of the school assemblies and music lessons from yesteryear which added another touch of nostalgia to the production.

Another surprise bonus is the introduction of the puppetry which is novel and entertaining and which helped support the transition of the story to excellent effect.

The plot,  generally, is set at a pace that keeps younger audience members absorbed as there were many in the audience thoroughly enjoying the piece.

The production fulfils on every level, it lovingly embraces the spirit of the original whilst is subtly refreshing for modern audiences; for those seeking nostalgia it delivers it in abundance, the jokes and humour landed brilliantly with all generations attending, the introduction of the puppetry was novel and entertaining  and the songs are interwoven naturally throughout the show, this was helped enormously by having the musicians on stage as part of the narrative. Ian Ross’s musical arrangements shine particularly during the a cappella singing which is beautifully atmospheric. Musically, the show weaves familiar songs into the framework of the story. Some 1950’s songs, such as ‘Mr Sandman’, have been smartly updated, while original compositions added to the emotion and narrative quality of the piece.

Set design (Lez Brotherston) is a simple backdrop with screens opening up for some of the more imaginary scenes with Simon Baker's video designs transforming into different locations with superb animations. The video provided insertion of the only adult in the cast in the form of a silhouette of the head teacher, voiced by Dame Sheila Hancock.

Rice has created a true family show that will charm adults and children alike.

Cast Members & Roles

• Darrell Rivers: Robyn Sinclair
• Sally Hope: Bethany Wooding
• Alicia Johns: Molly Cheesley
• Gwendolyn Lacey: Anna Soden
• Bill Robinson: Zoe West
• Irene & Musician: Stephanie Hockley
• Mary Lou Atkinson: Eden Barrie
• Musician / Understudy: Emily Panes 

Creative Team

• Adaptation and Direction: Emma Rice
• Producer: Sian Weeding
• Set and Costume Design: Lez Brotherston
• Composer: Ian Ross
• Sound and Video Design: Simon Baker
• Choreographer: Alistair David

 Malory Towers is at the Liverpool Playhouse from 16th to 20th June.

Tickets available from www.everymanplayhouse.com/event/malory-towers/

Reviewer: Anne Horne

On: 19^th June 2026

Theatre Review Nell Gwynn Shakespeare North Playhouse Prescot

Performed at the Cockpit Theatre at Shakespeare North Playhouse to an audience literally packed to the rafters, a most entertainingly humorous play, written by Jessica Swale and directed by Bryony Shanahan. A co-production with Theatre by the Lake and Storyhouse, this is a perfect setting for a very apt play. A fabulous performance by all involved, Rose Shalloo who played Nell was outstanding, but all the cast were truly amazing to watch.

Credit must be given for the fabulous costumes, of which there were many changes, the set design and music which invitingly whisks you away to the era seamlessly. This fast-paced play enchantingly explores how the artifice of males acting female roles changes from the imaginary world created by playwriters for an all-male cast, to a more realistic world with women playing women and how audiences loved and craved it and why Nell Gwynn became so well known.

The stage is set in 1660 during the reign of King Charles II, and a group of thespians enter the stage singing dancing and playing their musical instruments. They depart and Nell enters the stage, a bold brassy young woman with flaming red hair, selling oranges with her sister. She is heckled by one of the cast members hiding in the shadows of the audience, by referring to her strumpet ways and she confidently deals with him in her witty outright manner.

The story follows Nell being noticed by Mr Hart one of the thespians who thinks she has the makings of an actress and she agrees to be taught under his supervision and takes to it like a duck to water. She is a spirited and independent woman, very different to other women of the time who were thought to be meek and mild, afraid to stand up for themselves and speak their mind. It follows her progress and antics and weaves its way through the journey of her life of joy and sorrow.

The rest of the thespian group are not so happy, feel threatened and their resistance to change is displayed in the most humorously condescending way referring to women’s breasts on many occasions as being a distraction and getting in the way and a preposterous notion. King Charles II was a proactive supporter of the theatre and announced that women should also become actors, it was a pivotal point in the making for this thespian group. Until then women were very much in the background and shadows of men, but Nell was given lead roles and flourished. She became very popular with King Charles II as he certainly took a fancy to her and invited her to his court.

The most memorable prop must be the most ginormous turquoise ‘biggest hat you’ve ever seen’ moment, where Nell enters the stage and proceeds to make fun of her newest French female rival, in front of the King. This titillatingly tongue in cheek play, with bawdy references and smattered with double entendres had the audience howling with laughter and heartily appealed to the wide audience age range. I thought it had a touch of ‘Blackadder’ meets ‘Carry On’ vibe, pure magic.

A thoroughly enjoyable evening of entertainment, full of fun and mischief, singing, dancing and music, what more could you ask for. I fully recommend that you go and see for yourself.

Cast:

Rose Shalloo – Nell Gwynn

Adam Clifford – Lord Arlington & Thomas Killigrew

Celia-Cruwys-Finnigan – Rose Gwynn, Lady Castlemaine & Louise de Keroulle

Elliot Harper - Charles Hart

Burhan Kathawala - Ned Spigget

Jamie Ross – John Dryden & Music Captain

Guy Woolf – King Charles II

Sufia Manya – Nancy, Queen Catherine & Old Ma Gwynn

Stanton Wright – Edward Kynaston

Creative Team:

Tamsin Dowsett – Offstage cover & Assistant Director

Jessica Curtis – Set & Costume Design

Candida Caldicott -Composer & Musical Director

Nell Gwynn will be running at Shakespeare North Playhouse until Sat 4th July.

https://shakespearenorthplayhouse.co.uk/

Reviewer: Jill Mather 

On: 17.06.2026