Concert Review Theatre Student production Songs For A New World The Longmore Theatre Arden Theatre School @ Manchester College

 

This contemporary "song cycle" style chamber musical from the pen of Jason Robert Brown, has been skilfully and cleverly slightly reworked by director Julia Maden to accommodate her group of 8 female songstresses who make up the 3rd year Vocal Studies class at Arden Theatre School in Manchester. Originally written for a multi-ethnic mixed gender cast of four who multi-role throughout, with the accents distinctly set the other side of the pond, this version of, 'Songs For A New World', brings us to the Manchester in the present day, amongst other places of course.

The premise of the musical is that the basic setting is a disused and abandoned maternity ward, but in reality, the set changes with every song which takes us from on board a Spanish galleon sailing to discover the New World in 1492, to a prison,  to goodness knows where else. Again there is some multi-rolling in evidence, but it helps to have doubled the cast in order to keep some semblance of through-line and character. It can be very abstract otherwise. The show is not a musical in the conventional sense, and these songs, highly contemporary in feel, are a springboard for the characters' individual emotions which converge and diverge throughout, but all come together in the end. 

The staging was interesting. We were presented with a large band at the rear of the stage with windows and wall behind, whilst the forestage was the acting area, bedecked for most of the show with three beds, which actually could have been used a little bit more imaginatively perhaps than they were, but overall the concept worked. The lighting was mostly good throughout, although I did notice a couple of times where the singer/s were in shadow and their faces unlit. Costuming was appropriate. Sound levels were rather poor unfortunately. Mostly the band was too loud, and needed to be turned down a few decibels for maximum aural enjoyment, and maximum understanding of the lyrics. Sadly it felt at times as if the cast were fighting to be heard above the music and that should never have (appeared to have) been the case. Especially in the first few songs there was a very heavy booming and resonant drum beat which permeated throughout the auditorium annoying taking us away from what we should have been concentrating. It must be written that the music, directed by Joe Tanner, was excellent throughout, it was just overpowering and pulling focus at unwanted times. 

And now to the fully ensemble cast of eight talented singer / actresses. It would be very difficult to single any of them out since they all tackled this tricky score with aplomb, managing to bring the plaintive ballad to life as well as the really raunchy up-tempo gospel-esque rock songs. The singers' diction was excellent throughout, and their singing secure and melodious. Clear, clean. and crisp lines and enunciation combined with mellifluous, engaging contemporary voices made for a superb 70 minutes in their company.

Congratulations to Elektra Chronaki, Leah Dandy, Ellie Entwistle, Ishika Kumar, Hollie McCarthy, Phoebe Nordone, Naomi Samuel, and Liv Saunt.

Reviewer - Alastair Zyggu

On - 29.1.26

Theatre Review This Is How I Got Arrested… ( after smuggling drugs across the border but never actually got caught with any drugs) Fairfield Social - Manchester

 

An unhinged, high-energy night at The Fairfield Social in Manchester, this audience-immersion show by Azaelia Slade (first seen at last year’s Edinburgh Free Fringe) runs on a one-hour timer, with each performance ending slightly differently. You feel the clock ticking — and the chaos building.

The evening opens with stand-up from Jess Pennell, who instantly wins the room. Her warm, confessional set ranges from “HRT hun” jokes about her mum’s candle evolution (from linen and soft cotton to witch’s brew) to tales of house fires, banana allergies, riding ambulances, and the realisation — mid-paramedic chat — that she probably should have reported a road traffic accident to the police. Add in accidentally running someone over, being stalked by them, then turning herself in out of guilt, and the audience was firmly on her side. Very funny. Very watchable.

Slade’s main piece begins with narrator - Sophie’s dysfunctional childhood and spirals rapidly from there. Narrated, written, and performed by Slade, the line between fantasy and reality is deliberately blurred — I was often unsure where one ended and the other began. 

The direction makes full use of Slane’s agile physicality: she doesn’t just tell the story, she completely occupies it, acting out every moment, including (as she describes it) inserting prohibited Class A’s into her own “hidden bag”. Her frenetic energy is central to the performance — the kind you associate with people who are off their heads, slightly unhinged, or very, very good at pretending. That is clearly the characterisation she’s aiming for, and it works, though there are moments where you’re unsure whether you’re meant to laugh — which only adds to the discomfort and tension. 

The show veers into theatre of the absurd with rapid costume changes and intense physicality, culminating in a cocaine-muling trip to Magaluf that feels like Trainspotting crashing into Jeremy Kyle. Audience participation is constant but gentle: cartoon character drawings assign roles ranging from parents and siblings to drug mules and deranged neighbours. The room was full of willing participants, with nothing too risqué beyond reading lines.

A standout running gag involved an Irish mule called Aine, (‘ it had a funny comma above the A and I called her Annie) complete with a visual guide to pronunciation. When the audience cast member failed repeatedly to get the accent right — despite Sophie admitting she’d been practising hers “because she bloody loved the Irish” — it was genuinely, uncontrollably funny.

It’s gripping, funny, chaotic, and exhausting in equal measure. By the end, I still wasn’t entirely sure what actually happened — and that, it seems, is exactly the point. 

The show is being performed at other venues across the UK. Check Instagram for details - @Azaeliaslade

Reviewer - Kathryn Gorton

On - 29th January 2026

Theatre Review Ballad Lines Southwark Playhouse London

 

Review 1

Ballad Lines opens with a stirring and stomping introduction that immediately sets the tone for the story. The entire cast launches into song with such passion and unity that the audience is drawn in from the very first moment. This powerful opening establishes not only the musicality of the production but also the emotional depth that will unfold as the story weaves its way through generations of one family’s history.

The narrative intertwines seamlessly between the present day and the ancestral past, cleverly mixing modern day with the echoes of long forgotten stories. At the heart of the tale is a family whose origins lie in the dark, cold landscapes of Scotland. Here we meet Jamie (Ally Kennard), a clergyman yearning for a child to complete his life, and his young wife Cait, who carries her own quiet fears. Although she is already pregnant, she hides this truth from Jamie, uncertain of the life growing inside her and the responsibilities it will bring. Their journey takes them from Scotland to Ireland, and as the years pass, the family line continues through many hardships, and the unspoken burdens carried by each generation. 

Four generations later, we encounter Jeanie (Yna Tresvalles), a fifteen year old girl who finds herself pregnant and alone. Aware that her family will reject her and desperate to avoid scandal, she makes the heartbreaking decision to leave everything she knows behind and travel to America in search of a new beginning with her sister Shona (Siân Louise Dowdalls). Her story, like those before it, is not written in books or preserved in letters but passed down through the haunting and beautiful ballads that form the backbone of the production. 

Running parallel to these tales of old is the modern day storyline of Sarah (Frances McNamee) and Alex (Sydney Sainté), a young queer couple who have just moved in together. Sarah has avoided opening a box left to her by Aunty Betty (Rebecca Trehearn) for over a year, unsure of the emotions it might stir. When she finally lifts the lid, it becomes a moment of revelation. Much like Pandora’s box, it releases a flood of memories, forgotten histories, and hidden truths. Inside are recordings of the traditional songs that shaped her family’s past—songs taught to her by Aunty Betty when she was a child. Hearing these voices again awakens something deep within her: a sense of belonging, a connection to her roots, and an unexpected longing to understand where she truly comes from and a sudden awakening. A hidden desire and yearning for her own child to preserve the songs and stories for the next generation.

The production excels in its musical storytelling. The voices are rich, textured, and evocative, capturing the essence of Scottish and Irish folk traditions with authenticity and warmth. Just behind the set, the three musicians provide a constant, steady heartbeat to the show. Their presence is understated yet essential, guiding the audience from ballad to ballad with barely a pause. Although the percussionist was just out of view from my seat, the rhythmic foundation they provided was unmistakable.

Ballad Lines is, at its core, a vibrant and heartfelt celebration of a family tree—its joys, its sorrows, and the stories that survive through song. The production embraces its Scottish and Irish roots while also acknowledging the Appalachian influences that emerged when the family eventually settled in Virginia. It is a loud, lively, and deeply moving tribute to the power of vocal tradition and the way music can carry history across oceans and generations.

This is storytelling at its most human: tender, resonant, and beautifully sung.

Ballad Lines is put together by co-creator and songwriter Finn Anderson and co-creator and director Tania Azevedo, Music Director Shonagh Murray.

Show runs from 23rd January – 21st March 2026

Reviewer - Penny Curran

On - 29th January 2026

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Review 2

Effervescent and alive, Ballad Lines blends an authentic folk musical performance alongside magnificent physical dance and movement, creating an immediate connection with its audience. The story of Ballad Lines grew from two parallel lines of exploration. The first traces the migration of traditional ballads from Scotland and Ulster to America, and how they survived and evolved in the Appalachian mountains. The second line asks questions about female agency and freedom, a woman’s ability to have a say over her own body, especially within motherhood.

We follow Sarah, American and queer who searches for links into her family and its roots. We look back through centuries and witness powerful songs that bond women. Finn Anderson and Tanoa Azevedo write an extremely powerful piece of work that has taken many years in its development. There is much female empowerment in Ballad Lines and it’s delivered completely authentically in its process. There is traditional folk music from Scotland, Ireland and the Appalachian mountains. Sarah, played with utter confidence by Frances McNamme, discovers there’s a cardboard box full of cassette tapes recorded by Sarah’s Aunt Betty, with whom she has had somewhat of a complicated relationship. We are taken on a journey of discovery of the past, and meet new characters along the way and all while Sarah looks on from her and her girlfriends living room. As stories begin to unfold, Sarah realises she has her own desire for motherhood, which then begins to create a fracture in the relationship she has with her girlfriend Alix, played by Sydney Sainté.

Ballad Lines is quite plot heavy with many characters introduced, but with the added  storytelling things become a little more transparent, and Anderson’s music is folk dynamite and above all authentic.

Ballad Lines definitely felt less like an event and more like being invited into a shared moment of connection. The kind where people arrive carrying their own quiet, sit down, and slowly begin to soften. There was no rush, no pressure to be impressed, just songs offered honestly, and a room willing to meet them. What stayed with me was the authenticity of the night. Each performance felt considered but not careful, emotionally open without being showy. The writers trusted their material enough to let it land in its own time. Some songs barely raised their voice, yet they carried real weight, about love, about endings, about the small, hard truths that sit underneath everyday life.

There was a warmth in the room that’s hard to manufacture. People listened properly. You could feel the attention shift when something vulnerable was shared, a collective leaning in, a shared holding of breath. It made the space feel safe, not just for the performers, but for everyone there. What worked especially well was the lack of excess. No one pushed for drama or resolution. The songs didn’t try to explain themselves or tidy things up. They allowed uncertainty, tenderness, and quiet resilience to coexist. That honesty made the emotional moments feel earned rather than engineered.

By the end of the night, there was a sense of calm rather than closure. Not the buzz of having been entertained, but the steadier feeling of having been present for something real. Conversations stayed hushed. People lingered. Tears fell. It felt like everyone wanted to protect what had just happened for a little longer. Some stand out performances for me were delivered from Siân Louise Dowdalls who played Shona/Ancestor - although ensemble in part Dowdalls truly caught my eye. Her grit, her feisty performance all made for a thoroughly believable character. Dowdalls for me had bucketfuls of stage presence and there were moments where I couldn’t take my eye off her and I yearned for more from her. One to watch! Also utterly believable in her performance was Yna Tresvalles, who played care-free Jean. What a performance, layered, raw and authentic. Tresvalles truly shine on that stage and her energy was electric.

Ballad Lines isn’t about spectacle or perfection. It’s about connection, between song and listener, between strangers sharing a room, between whatever you arrive with and whatever you leave carrying a little more lightly. Thoughtful, intimate, and quietly generous, it was the kind of evening that doesn’t demand attention but gently earns it.

Ballad Lines runs until 21 March 2026 at Southwark Playhouse, London

Reviewer - Mary Fogg

On - 29th January 2026

Theatre Review Murder at Midnight Blackpool Grand Theatre

 

Murder at Midnight opens with police officers investigating a blood-soaked crime scene before rewinding to reveal the events that led there. Gangster Jonny “The Cyclops” (Jason Durr) returns unexpectedly early to his Kent mansion to celebrate New Year’s Eve, accompanied by his loyal sidekick Trainwreck (Peter Moreton). 

Already in the house are his elderly mother Shirley (Susie Blake), and Cristina (Iryna Poplavska), a Romanian carer whose role is complicated by Shirley’s possible dementia—or perhaps psychic abilities.

Jonny plans to propose to his long-term girlfriend Lisa (Katie McGlynn), but his surprise return derails those intentions. Unaware he is home, Lisa arrives from a costume party dressed as a nun, accompanied by Paul (Max Bowden), who is dressed as a priest. Paul, however, is an undercover police officer investigating the mysterious disappearance of Jonny’s wife twelve months earlier. The evening descends further into chaos when Russell (Callum Balmforth) crashes the party dressed as a clown, intent on robbing Jonny to clear his debts.

Visually, the production is impressive. Designer Colin Falconer’s split-level set convincingly suggests a vast modern mansion and allows director Philip Franks to stage multiple conversations in different rooms simultaneously, maintaining a brisk pace. However, this structural device also exposes the script’s weaknesses. At times, the play feels less like a cohesive stage mystery and more like a television sitcom transplanted onto the stage, constantly switching between scenes without allowing the narrative to settle or deepen. Story developments often arrive in brief sound bites, creating gaps in continuity and emotional investment.

This approach may be intended to generate momentum, but it ultimately undermines the storytelling. For example, Cristina spends much of Act One anxiously anticipating the arrival of “Mr Fish” (who later turns out to be Russell), yet the nature of her relationship to him is never clearly established. This lack of clarity weakens both her character and the audience’s understanding of the stakes involved.

The cast’s commitment to the production is undeniable. Performances are energetic and enthusiastic, with each actor delivering a clearly defined character. However, strong performances can only do so much when the script itself lacks precision. 

While the set allows for classic farcical elements—characters entering and exiting unseen by one another—the characters themselves are not exaggerated enough to fully support farce. As a result, the play sits awkwardly between comedy and thriller without fully committing to either.

There are effective comic moments, particularly when Shirley is first confronted by Russell, but this success owes more to Susie Blake’s impeccable comic timing than to the writing. Elsewhere, humour and tension feel inconsistently balanced, and opportunities for sharper satire or suspense are missed.

Ultimately, Murder at Midnight is buoyed by strong technical elements and a hardworking celebrity cast who strive to elevate material that too often settles for adequacy. The play is entertaining, but it gestures toward a sharper and more sophisticated mystery than the script ultimately delivers. With tighter dialogue, clearer structural choices, and more fully realised characterisation, Murder at Midnight could move beyond a pleasant diversion and become a genuinely gripping theatrical experience.

Production Run - Wed 28 Jan 2026 - Sat 31 Jan 2026

Reviewer - Jen O’Beirne 

On - 28th January 2026

Theatre Review The Highgate Vampire The Cockpit London

The Highgate Vampire is a high-energy, knowingly silly take on a peculiar slice of London folklore, delivered with confidence and a clear sense of its own comic identity. From fairly early on, it becomes obvious this is a dark comedy first and foremost and any expectations of gothic jump scare horror moments, or creeping menace are quickly replaced by something much more playful and riotous. 

Presented by Bag of Beard Theatre, the show carries all the hallmarks of their stripped-back, mischievous style. With minimal staging and just two performers on stage, the focus is firmly on storytelling, physical comedy, sound, and the dynamic between the actors. Framed as a lecture that gradually unravels, the structure allows the piece to toy with authority, misinformation, and ego, while having fun with the strange mythology surrounding the so-called Highgate vampire. The performers James Demaine as Daniel Farringdon, a tobacconist by day and vanquisher of the undead by night and Alexander Knott who plays Patrick Sheffield a demon-hunting priest and sworn enemy of Farringdon, are very much the engine of the show. They have excellent chemistry and an easy confidence with each other, and much of the humour comes from their interaction rather than the material alone, the interruptions, the mild competitiveness, the moments where one seems to slightly derail the other for comic effect. 

By the midpoint, it feels less like watching a narrative unfold and more like being carried along by the rhythm of their relationship, which is where the show is at its strongest. A special shout-out has to go to Knott, who for me really shone. His energy is infectious, his presence commanding. The sheer physicality of his performance, the sweat, the way he navigates the meaty script without missing a beat, gives the show an edge and grounding amidst the chaos. He’s a force on stage, and it’s impossible not to be drawn into every moment he’s performing. Being in the round at The Cockpit makes this all feel immediate and intimate. You’re almost part of the action, watching the performers from every angle, catching tiny gestures and shared glances that might be lost in a larger space. The energy of the room the proximity, the slight chaos makes the actors’ presence feel even more compelling.

Bag of Beard Theatre’s collaborative spirit is evident throughout. The use of sound and music is inventive and often does more work than the set, and there’s a sense of theatrical playfulness that keeps the audience engaged. It feels handcrafted, with an enjoyment of live performance that occasionally tips into deliberate messiness. That said, the emphasis on banter and comic escalation sometimes comes at the expense of the story itself. Moments that might otherwise build atmosphere or tension are quickly undercut by another joke, and any sense of darkness is fleeting. For some audience members this will be part of the appeal, for others, it may leave the piece feeling a bit more sketch-like than satisfying as a whole.

Ultimately, The Highgate Vampire doesn’t want to frighten you. It wants to entertain you, make you laugh, which it did me, many times, and invite you into its peculiar world with a wink. If you enjoy off-beat theatre, odd corners of London history, and comedy that embraces chaos The Highgate Vampire is for you. An energetic and unapologetically fun evening and one that fans of Bag of Beard Theatre’s distinctive style will likely feel right at home.

The Highgate Vampire runs until 1 February, 2026 at The Cockpit Theatre, London 

Reviewer: Mary Fogg 

On : 28th January 2026

Theatre Review THE GHOST OF GRAVES END Unity Theatre Liverpool

 

As I left the Unity Theatre my mind was alight thinking of words to describe the play I’d just enjoyed – words such as Marvellous! Fantastic! Incredible!  I really can’t praise the play and the cast highly enough; it was truly faultless and thoroughly enjoyable.

The six cast members delivered their roles excellently, some taking on duel and triple roles, each performing amazingly and adding to the plays' overall success.

The script is wordy, very wordy and the two main cast members are to be commended for memorising such a large amount of dialogue and delivering it seamlessly. The script, inspired by classic ghost stories of the genre is clever, very witty and immensely entertaining whilst at the same time, genuinely scary.

Greg Jones as Mr Charles Ellison, has the weightiest script to deliver; he is on stage throughout and he portrays the penniless, Victorian poet/tutor with aplomb and suitable composure although I did see him corpsing at one very funny moment in the play.  Nevertheless he hid it remarkably well considering the play is full of banter and silliness and the audience were in stitches laughing uproariously. He excels with facial expressions and is remarkable in the role, his characterisation is impeccable.  His banter with Mrs Doubry combines comedic mimicry and on-point timing; they are a great double act.

Sian Weedon (Mrs Doubry) is a gem as the Victorian housekeeper of the foreboding decaying, spooky mansion and she combines facial expressions with excellent characterisation along with excellent intonation and diction.

Georgina Chadwick (young child, William) sometimes portraying child-like innocence in the role and at others, macabre brilliance, is excellent and fully believable as an eight year old boy.

The play is narrated by various cast members throughout;  the main narrator, Tim Lynskey relies heavily on facial expressions which are portrayed excellently and his stage presence is to be admired.  There are a large amount of surprise elements in the play which will not be described here so as not to spoil the enjoyment for those going to see it.

Sophie Jones (Miss Widget) and Alex McGonagle (Waiter/Doctor) are also to be lauded for the portrayal of their roles as is Tim Lynskey in his extra roles as Author/Master/Mr Doubry and Taxi Driver.

The set is dark throughout with heavy use of dry ice and clever use of lighting (Laurence Noble) setting the mood and creating a spooky, mystical, atmospheric environment with scant use of props - only wooden chairs, tables and benches which were moved in and off the set by cast members. Although the stage is quite bare throughout, it is not difficult to imagine the large, dark crumbling mansion as portrayed in horror films in which the play is set.

The theatre was full and the audience consisted of mainly student-aged theatregoers, and I suspect friends and family of the cast. Everyone thoroughly enjoyed the play, and the cast received two standing ovations at the close.

The play is fast-paced, with clever use of language and humour with an animated cast, eerie music and atmospheric scary scenes. It contains lots of laugh out-loud belly laughs throughout, spooky horror and superb silliness.  It is a delight from start to finish.  Prepare to be scared! 

The play was written by Robert Farquhar (Peccadillo Theatre Co) and directed by Lucy Thatcher.  The play benefits from tight direction and perfect production. The wardrobe department is to be commended on authentic costumes relating to the Victorian era which add to the realism of the piece.

Catch it if you can, you will not be disappointed and will come away aching due to the laughter it produces.

The play runs from Wednesday 28th January to Saturday 31st January at 7:30pm & 2:30pm. 

See https://www.unitytheatreliverpool.co.uk/whats-on/the-ghost-of-graves-end/ for more details and ticket information.

Reviewer – Anne Pritchard

On – 28^th January 2026

Theatre Review Stepping Out Guide Bridge Theatre Company

 

Stepping Out is a warm, lively comedy set in a  modest North London church hall, where a mismatched weekly tap-dance class discovers that friendship and persistence matter more than perfect footwork. The ensemble — from the frazzled, overloaded but caring teacher to the hesitant dancers and the lone male student — gradually transforms from a group of reluctant participants into a supportive yet unlikely team preparing for a charity performance. The humour comes naturally from their clashes, missteps, and eclectic personalities, while quieter moments reveal personal growth, resilience, and the joy of belonging.

At Guide Bridge Theatre, known for its strong community theatre and ambitious production standards, the cast delivered warmth, energy, and timing that brought each character to life. The choreography by Jenny Saville— whether hilariously tentative or impressively precise — and the theatre’s intimate, welcoming atmosphere made the audience feel part of the class, amplifying the play’s charm. 

Audience decorum was slightly off to begin with phones, late arrivals, chatting and even phone checking but this settled quickly. 

Mavis the dance teacher (Jenny Saville) anchors the group with authority and a subtle vulnerability, later revealing an unwanted pregnancy/husband. While Sylvia’s (Anna Evans) hilarious, streetwise , bolshi and brash working class character drove the liveliness and a most of the comedy. Together, they set the tone of the class, balancing leadership and personality well.

Andy’s (Kari Rittoo) awkward charm and understated humour complement Rose’s (Mari Sevo) warmth and encouragement. I didn’t really understand the wig in act 1. Both characters provide emotional depth and illustrate the growth of the tap class as a group. Maxine’s (Rosarie Walsh) had a sharp wit played as a vibrant Irish woman with feist and a back story that came across as well as her vivid eye makeup. She had a fabulous wardrobe. This contrasts with Lynne’s (Susie Haddaway’s) nervous energy. Nurse by day but unconfident in her own ability and shining through in the finale. Their journeys — one bold, one quietly endearing — add variety and heartfelt moments to the story. Dorothy’s (Michelle Lockwood) quirky characterisation showed a DWP worker who was clearly a little OCD and needed to get it right and just wanted to do and be good on and off stage. while Vera’s (Shelley Ridler) grounded, practical, snotty and taking presence stabilises the group. She shared a lot of the comedy in this piece. This altogether enriched the ensemble and balanced the classroom chaos. 

The lone man in the group Geoffrey (Damien Cullen) played with a slight campness but sincerity and nervous disposition was a lovely turn. The tap class’ pianist Mrs Fraser (Linda McAllinden) contributed well to the proceedings and showed that she too could tap in the finale.

Special credit must go to the director, Quina Chapman, production coordinator Vicky Jeffers and choreographer whose vision clearly shaped an entertaining production, and to the stage crew, lighting, and sound teams, whose attention to detail enhanced the moments on stage. Their combined efforts ensured that this was a polished, lively, and thoroughly enjoyable production of this play. I personally find it a little dated now and things don’t land as well as they did when it was first written.

Overall, Stepping Out proved to be highly enjoyable and engaging production, with detailed and thoughtful direction that explored the nuances of the characters’ lives and personalities. Although there were moments where clarity and projection from some performers could have been stronger, resulting in occasional lines being lost, this only mildly disrupted the audience’s enjoyment.. The choreography was delivered with evident care and discipline, and the commitment of the tappers paid off to strong effect, as the final number landed confidently and with real impact, bringing the evening to a highly satisfying close. 

Reviewers - Kathryn Gorton and Beryl Reece Brennan 

On - 27th January 2026 

Theatre Review To Kill a Mockingbird. Lyceum Theatre, Sheffield

All rise for Oscar-winning writer Aaron Sorkin’s award-winning stage adaptation of To Kill a Mockingbird, directed by Bartlett Sher. The Harper Lee novel has sold more than 45 million copies since its release in 1960. Despite the difficult topics of racial inequality and rape, the book was an instant success with a Pulitzer Prize arriving the following year and, a year after that,  a multi-Oscar-winning film starring Gregory Peck. It is set in the fictional town of Maycomb, Alabama, in 1935 and is loosely based on Lee’s own observations growing up and an event that occurred during her childhood. 

The task of capturing the backdrop of a depression hit Alabama fell on the teams of Set Designer Miriam Buether and Costume Designer Anna Roth. The main set was made up of two large sections manoeuvred by the actors and the ensemble cast. It was fascinating to see the stage transition performed by the main cast alongside the ensemble, giving a feeling of teamwork. The stage was set up to replicate a courtroom, Atticus Finch’s porch and the prison house, amongst other places. The costume design augmented the mood of the times and the scene was set for the courtroom drama in a balmy Alabama summer.

The story focuses on the trial of Tom Robinson (Aaron Shosanya), a black man falsely accused of raping a white girl, Mayella Ewell (Evie Hargreaves). He is defended by Atticus Finch (Richard Coyle), a white Attorney, much to the chagrin of the local white community. It has been a long time since I read the book, so I cannot comment on how true the direction is to the original text. 

The majority of the play takes place on the porch and in the courtroom and is nonlinear as the storyline recalls events leading up to the trial. It is narrated by Jem Finch (Gabriel Scott), Scout Finch (Anna Munden) and  Dill Harris (Dylan Malyn). The narration is a key component of this production, adding insight, reflection time and humour to an otherwise fast-paced and sometimes unpleasant dialogue. The language and attitude of the characters are often jarring to hear, but the more lighthearted narration dilutes the intensity.

The narrators do so in the style of their characters with Jem, a well-to-do, intelligent young man, Scout, a spirited tomboy and Dill, a curiously lovable oddball with an unerring respect for others. All 3 actors are to be commended for their characterisation and integration of the narration. Interestingly, the quirky Dill is reportedly based on Lee’s childhood friend, Truman Capote.

Richard Coyle plays Atticus with a steady hand, but I feel his character is too reserved from a scripting point of view. His best interactions are with the excellent Calpurnia (Andrea Davy), who holds Atticus to task with her own brand of passive aggressiveness. But even when the script delves into the source of her problem with Atticus, it moves on too quickly. The production would have benefitted from more of this dynamic. Aaron Shosanya is a suitably enigmatic Tom Robinson, a character who has a small dialogue for such a key character. 

Aron Sorkin’s adaptation of To Kill a Mockingbird succeeds in balancing the courtroom drama with social reflections, whilst using the narration to enable a few light moments. It is a poignant modern-day retelling of one of the most famous and important books in American literature. It transports us back to the Deep South in the mid 1930’s and it is not always a comfortable ride. It is a powerful piece of Theatre.

Production run (The Lyceum Theatre, Sheffield):  27th January – 7th February 2026.

Running Time: around 2 hours and 50 mins, including an interval.

https://www.sheffieldtheatres.co.uk/events/to-kill-a-mockingbird-2026/dates

Reviewer: Matthew Burgin

On:  27th January 2026

THEATRE REVIEW The Execution Of Private Slovik 53two Manchester

 

Written and directed by Alex King for Old Fruit Jar productions, this is the hard-hitting, powerful, and sympathetically told true story of the only military execution of a US military citizen by the US military since the civil war. Perhaps it is a story which should be more widely told and acknowledged, but it is also a story that the US are obviously not proud of and so it passes us by forgotten and consigned to history. Here the play shows up the rulings and feelings of the US military, warts an' all. It makes us take sides, - sometimes changing our affiliations as the play progresses - but it also makes us realise the power of the human spirit and, as the digital programme so eloquently puts it, the human cost of obedience.

It is the last years of the second world war, in France, and Private Slovik and another private in his company lose their regiment after a bomb blast and walk to try to find them, albeit in the wrong direction. After an unfortunate turn of events, and conversations with Eisenhower himself, the order is given that Private Slovik be executed for desertion. 

The play itself is very wordy, and also quite static, but knowing the material intimately worked in King's favour as both writer and director as he was able to inject this courtroom-style drama with enough dynamism to sustain our interest for the full 90 minute running time (without interval). Realistic costuming, some nicely placed sound effects and a cast of sterling actors made this a very watchable and compelling drama.

A truly ensemble company of seven actors navigated this claustrophobic and tense playground, several playing roles far in advance of their true years, and assumedly all portraying real-life personages too. The atmosphere was created right from the start with the cast on stage as we entered the auditorium, and there was no let-up throughout, as we learnt more about both the US army in France during the Normandy landings and the machinations of their hierarchy and regulations, with a little bit of racism thrown in for good measure!

JOSH ENNIS Captain Woods

LEW FREEBURN Captain Green

DANIEL HIRD Lt. Colonel Sommer

LUKE SEDDON Maj. General Cota

JORDAN BARKLEY Private Williams

JAMES DORMAN Cpt. Father Cummings

JAMIE PEACOCK Private Slovik

Congratulations to all. It took me a very long time to bring myself back to the now afterwards. Effective imagery, writing and sensitive directing. 

Reviewer - Alastair Zyggu

On - 24.1.26

Theatre Review Jo – The Little Women Musical Theatre Royal, Drury Lane, London

Arriving at the Theatre Royal Drury Lane for the world premiere of Jo – The Little Women Musical, I felt a genuine thrill. There is something profoundly moving about seeing a story as beloved as Little Women brought to life in one of the most iconic theatres in the world. The excitement was palpable even before the curtain rose, and the fact that this premiere was completely sold out spoke volumes about how deeply this story resonates with audiences across generations.

The production made a striking first impression by placing the full orchestra on stage. It was  a bold and beautiful choice, transforming the musicians into a central visual element rather than hiding them away. I found myself utterly captivated by conductor Dan Redfeld, who seemed to live every note with infectious energy. His whole body moved with the music, at times leaping - urging the orchestra through a score that felt lush, cinematic, and emotionally charged. Redfeld, who also serves as music director, orchestrator, and producer, has created a musical landscape worthy of a major film.

The show itself is the creation of Christina Harding and John Gabriel Koladziej, who wrote the story and lyrics and also putting together the production. Their respect for Louisa May Alcott’s original novel is clear; the musical stays surprisingly faithful to the book. The set is intentionally sparse, allowing the orchestra to remain the visual anchor and ensuring the story flows without interruption. This simplicity works beautifully, keeping the focus on the characters and the music.

As this was a world premiere, there was a special electricity on stage. The performers radiated joy and pride, exchanging small, almost imperceptible glances to one another as if aware they were part of something significant. Despite the nearly three hour running time, the show never dragged. The pacing was confident, the storytelling seamless, and the music carried the narrative with grace. The many American audience members responded with enthusiastic whoops and laughter, especially during references to the Revolution, giving the evening an added layer of warmth and camaraderie.

The casting of the March sisters was inspired. Their voices blended together that felt both intimate and powerful. The March family were assembled not just for their outstanding vocal range but for creating something magical before our eyes. This cast has an impressive back catalogue of work and definitely worth googling each and everyone. 

Christine Allado’s Jo is everything one hopes for—fiery, ambitious, and emotionally complex. Her voice is stunning, but she never overshadows the ensemble. Kelly Mathieson brings a gentle radiance to Meg, her West End experience evident in every note. Eleanor Grant’s Beth is tender, joyful, and heartbreakingly innocent; knowing her fate did nothing to lessen the emotional impact, and many of us found ourselves wiping away tears. Sophie Pollono captures Amy’s evolution beautifully, shifting from sensitive child to poised young woman with ease. Her future in theatre looks incredibly bright.

The men who orbit the March family are equally strong. Tobias Turley’s Laurie is instantly lovable—buoyant, charming, and vulnerable. His journey from carefree boy to heartbroken young man is portrayed with sincerity. Turley, already known from his success in ITV’s Mamma Mia! I Have a Dream, proves he is a talent to watch. Liam Tamne brings steadiness and warmth to John Brooke, while Chris Mann’s Professor Bhaer offers a grounded, thoughtful counterpoint to Jo’s fiery spirit. Each actor brings depth to roles that could easily become overlooked.

The older generation of the March family adds richness and humour. Kerry Ellis receives rapturous applause the moment she steps on stage, and rightly so. Her portrayal of Marmie is full of compassion, strength, and vocal brilliance. Tracie Bennett’s Aunt March is deliciously cantankerous, delivering sharp humour while ultimately shaping the girls’ futures in profound ways. Julian Ovenden, though in a smaller role as Father March, provides the emotional anchor the family needs, and his presence is felt throughout even in his absence. 

The cast, ensemble and musicians deserve immense credit. Their work is essential to the show’s success, weaving together the world of the March family with precision and heart. Jo – The Little Women Musical is destined for a long life. Once it finds a permanent home, I have no doubt it will continue to sell out and gather awards. It is a heartfelt, beautifully crafted production that honours a classic while offering something new. I loved every moment.

One night only.

Insatgram - jothemusical

Reviewed by Penny Curran

Sunday 25th January

Concert Review Asa Murphy and Friends Liverpool Irish Centre

 

Asa Murphy and Friends - Little Ken and Leslie Longley - entertained for three hours to help raise funds to support The Irish Centre’s decorating and improvement budget; the money raised is being used to pay for the plastering of the side stage in order to improve the space where artistes performing get changed.  Their goal is to raise £10,000 in total with £4,000 having already been raised due to the last fundraiser show which enabled the centre’s Heritage Room to be refurbished.

Host Asa Murphy introduced the show and promised an afternoon of song, poetry and laughter.  He opened the show by singing, ‘The Leaving of Liverpool’ followed by ‘Dirty Old Town’.

Asa shared some personal disclosures about his Irish heritage and his family, particularly about his father who had passed away recently; his father had enjoyed visiting the centre and he recounted how he had been in Dublin after his father had passed and had come across a pub, called Peter’s Pub, (Peter having been his father’s name), and after spending some time drinking to his father’s memory in there, he had written a song which he performed and dedicated it to him.

He followed it with another song, a ballad penned by himself, inspired by a visit to Portmarnock Beach, Dublin. Asa’s love of Ireland shines through his songwriting and vocal delivery which is heartfelt and endearing.

Little Ken followed with some of his quirky self-penned poetry, mainly humorous verse written with Scouse charm and idiosyncrasies which were well received and raised a smile.  Little Ken has had three books of poems published. He is also the sound man for Asa’s shows; the two friends met when Asa was 16 and joined Little Ken’s band.

After a short interval, Leslie Longley who played Porky the Postman in Asa’s Irish Annie's show, was centre stage next performing a tribute to his hero, Elvis.  Vegas really came to The Irish Centre as Leslie had everyone singing and dancing along to him singing a number of Elvis’s greatest hits.

Asa returned to the stage singing songs from the 1960’s which had nearly everyone up from their seats dancing and singing along. Asa is a polished entertainer and confidently engaged with the audience; he came down from the stage to sing personally to many attending, encouraging everyone to join in. He has a sincere personality and engages genuinely with everyone, his love of singing and entertaining is evident throughout his performance.  A great time was had by all and Asa announced that they had raised £750 from ticket and raffle sales plus there was an unexpected bonus of a very generous person making a large donation making up the money raised to £1,000 which received a warm round of applause.

Asa shared the news that he is currently working on a new album with local well-loved Merseyside artist, Charlie Landsborough; Charlie, having provided the lyrics and Asa will be providing the music to go with them.  He also shared news about his new show, Country Dreaming, which will be performed at The Epstein Theatre on 5^th July, and he performed one of the songs he has written for it.

The show had a very warm intimate atmosphere as most of the audience were regular members of the Centre and they gave Asa, Little Ken and Leslie a very warm welcome and standing ovation at the close of the show as they have performed there previously, being well-known at the Centre.  

The afternoon show was immensely enjoyed by all who sang along and danced throughout, it was a very  pleasant and enjoyable afternoon of music, fun and laughter.

There will be a further fundraising show later this year.  Further information may be found at https://www.skiddle.com/whats-on/Liverpool/Liverpool-Irish-Centre/Fundraising, https://www.liverpoolirishcentre.org/ and https://www.facebook.com/LiverpoolIrishCentre.

Reviewer – Anne Pritchard

On  – 25^th January 2026

Theatre Review - KITTEL: Doktor Faustus of the Third Reich Unity Theatre Liverpool

KITTEL: Doktor Faustus of the Third Reich is a two-act historical drama that interrogates the life of Gerhard Kittel, a renowned German Lutheran theologian and expert on Jewish studies who became a committed supporter of Nazism. Written by Charlotte Pickering, directed by Jed Birch and produced by Heirs of Banquo Productions, the play premiered tonight at Liverpool’s Unity Theatre. Guests of honour included the Lord Mayor of Liverpool, Barbara Murray, and Ian Byrne MP. 

A re-imagining of the Faust legend, the play casts Kittel as a man who willingly “sells his soul” for power and influence within the Nazi regime, transforming from respected academic into a supplier of antisemitic pseudo-science. 

The narrative tracks Kittel (John Henry) from his World War I experiences, where he first encounters the demonic Herr Herold (Kyle Brooks), to his fateful decision in 1933 to join the Nazi Party and publish the notorious pamphlet Die Judenfrage (The Jewish Question). In it, he floated extermination as a solution to Germany’s so-called Jewish problem. This was not scholarship reflecting the Third Reich; it was scholarship underwriting it, lending murderous ideology the authority of academia.

Kittel’s post-1945 imprisonment forms another strand of the drama, forcing him to confront both the consequences of his actions and the reality of the Holocaust. Herr Herold reappears here as an embodiment of guilt that cannot be dismissed or denied.

The play opens in 1977 with Leonore Siegele-Wenschkewitz (Georgia Laity) pleading with her professor for permission to write her thesis on Kittel. She is met with patronising resistance, but her proposal is ultimately approved. As the story unfolds, the parallels between her ambition and Kittel’s earlier career become clear. 

One sought legitimacy within a male-dominated academic world whilst the other craved power and influence in the Nazi regeme. But where Kittel’s name collapsed into infamy, Wenschkewitz’s work has since been rightly venerated. This is not grand, decorative theatre. Instead, it is a stark black-box production that embraces minimalism, relying on performance, lighting and meticulously detailed costumes to establish period and mood. The focus is squarely on the actors, and the effect is intensified by the chilling presence of Nazi paraphernalia.

The story unfolds through a sequence of sharp, episodic scenes that move fluidly across time and place, from Kittel’s childhood home to the University of Tübingen, his family life and, ultimately, the spectacle of the Nuremberg Rally. Occasional projections against the black backdrop provide context without distraction.

John X Henry’s score underpins the action with a relentless sense of unease, maintaining tension throughout and rarely allowing the audience to relax. 

In the end, KITTEL: Doktor Faustus of the Third Reich is a clear and unsettling warning. It shows how extremism and antisemitism can be nurtured, legitimised and normalised when left unchallenged, and reminds us that such ideas do not die; they lie dormant, waiting for the conditions to return.

The play is on a two night run that has sold out. Details of the Unity Theatre can be found here, https://www.unitytheatreliverpool.co.uk/

Reviewer – Adrian Cork

 On – 23.01.2026

Theatre Review Top Hat The Musical Lyceum Theatre, Sheffield

 

Top Hat - The Musical is a theatre production of Irving Berlin's 1935 film, which includes glitzy classics ‘Putting on the Ritz’, ‘Cheek to Cheek’ and ‘Let’s Face the Music and Dance’, starring the silver screen dance legends Ginger Rogers and Fred Astaire. This Chichester Festival Theatre production has been adapted for the stage by Matthew White and Howard Jacques. 

The set is designed by Peter McKintosh and focuses on a revolving semi-circular Art Deco pediment. The multifunctional centrepiece communicates the decadence of the era whilst enabling a change of scenery with a smooth 180 ° rotation. At no point during the performance do you feel you are anywhere other than the 1930’s. It was the perfect stage for the production. Furthermore, the same can be said for the costumes, again designed by McKintosh alongside Yvonne Milner, which double down on the style of that decade. The band, conducted by Luke Holman provide a spectacular musical accompaniment to complement the feel of this production.

Phillip Attmore and Lyndsey Atherton wore the aspirational, if daunting, dance shoes of Fred and Ginger in the roles of Jerry Travers and Dale Tremont. James Hume and Kirsty Sparks struck up the perfect chemistry as the love/hate married couple, Horace and Madge. Hume’s comedy delivery was particularly good as he landed many timeless lines about life and, in particular, marriage. Equally as funny was his right-hand man, Bates, played by James Clyde, with the two forming a solid punchline partnership. Alex Gibson-Giorgio completed the main acting as the hapless Italian dress designer Alberto Beddini and his malapropisms. The main actors hit all the right notes and were backed up faultlessly by the ensemble cast.

The story stays true to the film and is a farcical story of mistaken identity, misunderstandings, love, romance and marriage. It has all the typical characteristics of 1930s comedies. The dialogue and jokes in particular reflect that age and are delivered in a witty and quick-fire manner. Many of the one-liners are still fresh, clever and appropriate. Although often considered a series of whimsical links to the song and dance routines, I enjoyed the storyline and laughed at most of the well-delivered quips. I particularly enjoyed the performance of ‘Outside of That, I Hate You,’ which made sense of Horace and Madge’s unlikely relationship.

This production is a splendid theatrical production of a spectacular, well-known musical. The costumes, stage setting, musical accompaniment and choreography highlight the glamour and sophistication of the 1930’s. The cast was excellent in all aspects of their performances, whether it be the dance, singing, or dialogue and had a great onstage connection with each other.

Top Hat – The Musical will appeal to new audiences as well as those nostalgic for the old school screwball comedies of yesteryear. With the incredible musical score, slick choreography, quick-fire gags and romantic storyline, there is something for everyone.

Top Hat – Top night.

Production run (The Lyceum Theatre, Sheffield): Tuesday 20th January – Saturday 24th January 2026.

Running Time: around 2 ½ Hours, including an interval.

https://www.sheffieldtheatres.co.uk/events/top-hat-musical/dates

Reviewer: Matthew Burgin

On:  21st January 2026