Review Speed Dating FASTLOVE Singles Hilton Hotel Liverpool

 

The late 90’s heralded the speed dating concept generating a new way to find ‘the one.’  For some time now, singles have seemed to favour on-line hookups with a preference for dating apps such as Tinder, but a lot of people like to meet a potential partner in person, aka the old-fashioned way, and events such as these are a perfect way of meeting more than 20 dates in one night, obviously if they fit the bill, looks and personality wise. The biggest asset for speed dating is that people are meeting other people face to face.  Unlike on-line dating  apps, people can’t edit themselves, they can’t put a five year younger version of themself out there. With speed dating, singles can get a taster of what potential dates are like and whether there’s that sparkle, that chemistry between each other,  face to face and if the right questions are asked, they’ll know if they are compatible.

Fastlove Speed Dating, established since 2003, is the biggest speed dating and singles event organiser in the North, with events in high quality venues such as The Hilton Hotel, Liverpool, events take place throughout the North West and Yorkshire.

They aim to attract people of all ages with events for specific age ranges; this event was primarily for singles aged between 50 and 65 years of age but had developed into a mixed age range from 35 upwards.

For the cost of a £25 event ticket, attendees have the opportunity to meet up to twenty five dates of similar age for approximately four-minutes during a night of fun and possible flirting which can become very noisy and busy.

Upon arrival, a registration process is completed, and an explanation is provided of how the event works; attendees are given a name badge, a pen and a 'scorecard' to record their thoughts about each date and tick either a 'Yes' to those people that they’re interested in meeting again, or a ‘No’ if they are not impressed. Ladies are seated on numbered tables whilst the men visit each table numerically to meet potential dates. Host, Ajaz is on hand with his whistle to let the men know when to move on to their next table and to help guide people through the process.

After the event, attendees receive a results email within 48 hours, informing them who they've matched with (i.e. mutual 'Yes' ticks). They are also informed of those who have given them a ‘Yes’ tick who they’ve declined.

There is a break halfway through, which is needed after non-stop talking. It also gives attendees a breather to catch up with friends and ask how their meet-ups are going, before heading back for the second round.

Was it nerve-wracking, was I nervous? Definitely not, the whole process was exactly as I imagined it would be and I felt at ease and comfortable meeting a room full of strangers at a venue I’d never visited before; any nerves I felt beforehand were quickly dispelled. Most people were on their own, some with a friend such as myself, and everyone chatted with each other comfortably. The hosts were friendly and helpful, and the process was outlined clearly with clarification as needed. The event lasted approximately three hours including the break, and the time flew by quickly.

This is a fun way of meeting potential dates, and the atmosphere is vibrant with people who have high expectations and are looking to be successful in their attempts to meet a new partner.

The events are perfect for a girls nights out with lots of conversation, laughter, the buzz of  meeting new people during one evening and a bar on hand for drinks.

Founder, Ajaz Iqbal is passionate about helping singles find genuine connections whether they are a professional looking for love or someone looking to get back out after a breakup. He commends speed dating as being ideal for all, whether shy and introverted or outgoing and confident, or simply a single person looking for a fun night out.

This event was exceptionally busy, there was lots of chatter and laughter, everyone looked to be enjoying themselves and many stayed on afterwards at the bar for further drinks and chat.

Fast Love host around 15-20 events each month as well as providing singles parties, gay and lesbian events, singles bootcamps and Elite events at upmarket venues in Liverpool, Manchester, Leeds, Chester and Wilmslow; more details about events can be found at https://www.fastlovespeeddating.co.uk/speed-dating-events.

Ajaz Iqbal contact details: - Tel 07931 300555, email info@fastlovespeeddating.co.uk.

Reviewer:  Anne Horne

On:  20^th February 2026

 

 

Theatre Review Single White Female Blackpool Grand Theatre

Last night at the beautiful Blackpool Grand Theatre, the world premiere production of Single White Female was brought to life on stage, delivering a stylish evening of psychological drama that gripped the audience from start to finish. Adapted from the 1992 cult thriller of the same name, the stage version feels strikingly current. Rebecca Reid’s script has been cleverly updated and modernised, sharpening the dialogue and reframing themes to resonate with a younger, contemporary audience.

Technology, social image, and the pressures of curated identity subtly weave into the narrative, giving the story a fresh feel while preserving the essence of the original. What begins as an innocent search for companionship soon spirals into a chilling exploration of obsession and emotional fragility. At the heart of the story is Allie (Lisa Faulkner) — outwardly composed, successful, and determined to maintain the comfortable lifestyle she and her daughter have grown accustomed to. Beneath this polished exterior lies a quiet vulnerability. Her decision to advertise for a flatmate, driven by practicality, sets in motion a nightmarish chain of events. Faulkner delivers Allie’s reserved and understated character with quiet competence. The role offers few dramatic outbursts, leaving little for embellishment. While Faulkner portrays the character convincingly, Allie’s inherently muted nature means there are few striking moments for the audience to witness, making her performance subtle but effective.

Into Allie’s carefully curated world steps Hedra, known as Hedy (Kym Marsh) who initially presents as socially awkward, often inserting herself into conversations uninvited before quickly retracting when she senses she has overstepped. From the outset, there is a calculated edge to her behaviour; she subtly begins to undermine Allie’s relationships — with her daughter, her business partner and closest friend Graham, and even her ex-husband Sam. It becomes increasingly apparent that her actions are driven by an ulterior motive, though the audience is left in suspense as to what that motive truly is. Hedy’s emotional volatility and longing for belonging are portrayed by Kym Marsh with conviction, delivering a performance that is both controlled and believable. While the first half of the production feels slow to fully ignite — limiting the early impact of her character’s demise — Marsh still captures the unsettling nuances of Hedy’s transformation. Though perhaps not as mesmerising as her performances in Fatal Attraction or Abigail's Party, this may owe more to the pacing and direction than to her portrayal itself. Overall, she brings depth and presence to the role throughout.

Jonny McGarrity gives a solid performance as ex-husband Sam, particularly in the moments of Hedy’s seduction, which are handled with subtlety and credibility. However, the infamous stiletto scene leans more toward the comical than the terrifying. McGarrity’s Sam rises from the floor with a slightly exaggerated, zombie-like stumble and groan, which drew laughter from the audience rather than gasps of shock. Meanwhile, Andro brings a burst of energy and playful wit as Allie’s friend and neighbour Graham, delivering the play’s funniest lines and injecting modern relevance into Rebecca Reid’s cleverly adapted script. Amy Snudden as Bella brings warmth and innocence to the narrative, a reminder of what is truly at stake as tensions rise. Her presence heightens the emotional stakes, grounding the drama in maternal instinct and protection. For me, Snudden delivered the standout performance of the show. She was completely believable, navigating both innocence and trauma with remarkable subtlety. Snudden helped maintain the pacing, bringing moments of lightness to offset the tension while holding her own during the play’s harrowing final scenes, displaying both emotional depth and resilience.

The set remains static, yet its clever design creates a convincing sense of space. Carefully chosen modern appliances and furnishings subtly reflect the aspirational lifestyle Allie is portrayed to lead. Lighting by Jason Taylor and sound design by Max Pappenheim heighten the sense of unease, building toward moments that genuinely shock without ever feeling gratuitous.

Dark and intelligent, Single White Female at the Blackpool Grand Theatre is a theatrical experience that brings this classic psychological thriller to the stage. A must-see for fans of suspenseful drama.

Production Run - Thursday 19th to Saturday 21st February 2026 

Reviewed: Jen O’Beirne 

On:18th February 2026

REVIEW THEATRE PANTOMIME AMATEUR ALADDIN St, Gabriel's ADMS CASTLETON ROCHDALE

Pantomimes come in all shapes and sizes, and indeed, these days are available throughout the year not just as once they were, exclusively for Christmas. So during the school's February half-term, local amateur and community society, St. Gabriel's took to the stage as part of their 50th anniversary year to present Aladdin, the show that 50 years' ago, kick-started the society into being. 

Energy levels were high and the entire team's commitment and dedication to this endeavour were omnipresent and despite a rather slow and uninspiring start, the tempo soon picked up and the audience were laughing - even ad-libbing their own conversations - with the cast as we went along! The biggest problem this evening was sadly the running time of the show. Including a fifteen minute interval, the panto was over some 185 minutes after it started. Three hours was simply too long and many people around me (myself too) were feeling numb bums and fidgeting.

It was a large cast and the society utilised three separate choruses (young children / older children / adults) who all had to have their separate songs and dances. The set design was kept to a minimum - as were costumes and make-up), but what was used worked well, apart from two of the flats used for two of the sets. Here we were presented with a rural village in England to represent Peking, and a landscaped country estate garden for a forest. This was a shame, since both the laundry and the palace sets worked well

It is a very difficult task directing a show, especially one which has many scenes, many characters and a lot happening throughout, and so for Georgina Sutton to take this on as well as taking a leading role in the show too (she played one of the two comedy policemen), was perhaps a little too much for her. Many of the jokes in the show were not given their full weight, and although all the cast the knew their characters and how they fit into the whole and their development, they certainly needed an expert eye to point them and push them in the right directions. There were many pregnant pauses and hiatuses which should not have been there. Yes, this is panto, and ad-libbing is part of the fun of such a show, but that is itself an art which needed to be practised a little more during rehearsals.  That being said however, this was opening night, and so hopefully the cast will find their feet and pick up on their cues, reducing the running time a little for their next shows. Overall the show lacked pace, as each scene change or lengthy extemporised dialogue dragged on a little most unfortunately.  Some of the funniest moments of this evening's epic were those moments which happened unexpectedly, when things go wrong and the audience lap it up!

Unfortunately (once again) it was not a particularly inspiring script. (I note that Georgina Sutton is once again credited with writing this script). Perhaps the society should have opted for an already published one. There was a distinct lack of the traditional pantomime repartee and responses that one associates with this genre. We were longing for a "behind you" or a "yes it is / no it isn't" but they never came. Only one set routine was worked into the script - the ghost on the bench - and even Widow Twankey's audience response didn't work because it had to be initiated by the audience, not a call in reply to a line from her.

All the principals worked well and gave their alls during the show, providing the audience with a range of characters and caricatures, mostly familiar, and we did start in traditional panto territory having the baddie (Abanazar) enter from SL and The Slave of the Lamp - the goodie - enter SR. Aladdin was played with solid determination and earnestness by Olivia Taylor, whilst Amelia Hanif Ahmed provided the beauty and glamour for him to fall in love with with ease as Princess Jasmin. Mark Dorosz put much of himself and some more besides into creating an unfamiliar familiar interpretation of Widow Twankey, and Dannie Coates worked well as Wishee Washee. Playing a baddie can be fun, and Paul Murtough wrung his character for all it was worth, interacting nicely with the youngsters on the front row. The comedy policemen TuHi and TuLo were played respectively by Mike Newton and Georgina Sutton, The Emperor was Martyn Tierney, his Vizier, Nicola Sutton, and the princesses governess SoShi was played by Emma Moody. I enjoyed Harry Ingham and Jessica Taylor as they made up the magical twosome of Genie of the Lamp and Slave of the Ring, both working well as individuals and almost a as a double-act too. 

The act one finale, 'From Now On' was truly impressive, with full chorus fortissimo full-on. The energy, sound, and overall feel of this number was spot on. If that had been carried throughout the show it would have been a truly impressive spectacle. 

Reviewer - Alastair Zyggu

On - 18.2.26

Theatre Review Living The Life Of Riley Epstein Theatre Liverpool

 

This show aims to educate and raise awareness of autism using the much-loved medium of comedy  and well received narrative of true-lived experiences.

Writer Alison Stanley uses personal life events to demonstrate how autism is often misunderstood and often ridiculed by those who are ill-informed about the condition whilst illustrating how the dynamics of an ordinary family trying to cope with everyday life as well as an autism diagnosis, can be thrown into disarray.

The show is borne from Alison’s true experiences as a mother dealing with the emotional journey of her son’s autism diagnosis and the story is told through a collection of personal reflections which has blossomed into this moving theatrical production.

Alison plays Joanne, the mother of Jackson who has autism, whilst her own real-life son, Jay Stanley plays the part of Colin, Jackson’s friend; Cheryl Fergison plays Colin’s mum and Leah Bell plays Jackson’s Nan who has a slightly old-fashioned way about her and doesn’t hold  back on airing her views in a humorous way.

There is a video introduction from Katie Price who also appears via video later on in the production. The set is constant throughout depicting the Riley’s brightly coloured living room with sofas and potted plants.

The show skilfully illustrates how two people, who have been diagnosed with the medical term of autism can be different, in that one is non-verbal and often recoils into his own shell, whilst the other constantly chatters and likes to be the centre of attention. The joys of pregnancy and childbirth are related coupled with the sadness of finding out their child has autism, revealed by Jackson’s parents, whilst the reality of Jackson, in his own little world, is depicted as him being perfectly happy wrapped up in Star Wars books and games and wanting to be a Jedi.

The show would be an ideal learning/training tool to take into schools for pupils and teachers to help them understand the difficulties faced by people with autism and their families. A video version of the play would be an ideal resource for educators to use wherever the need may arise.

There were a few small issues which would be helpful if addressed, such as the ages of Jackson and Colin weren’t made clear and this would have helped; I assume they were young teenagers but the actors playing the parts appeared to be older.  Also, in the story, when dad, Kyle, went to Colin’s house to collect his present for Jackson, how could he have got into the house without a key? Maybe I missed something here, but I think this should have been made clearer to those watching.

Nevertheless, this remarkable concept is very competently performed, has a brilliant cast and is remarkably acted by all. Commendations to theatre tech as sound and lighting was spot on.

Cast/Performers:- Cheryl Fergison (BBC TV Eastenders), Leah Bell, Paul Dunn, Alison Stanley, Jay Stanley, Jonny Larman, Simon Stuart

This was a one night show at The Epstein Theatre. For more details about The Life of Riley see https://www.facebook.com/search/top/?q=Life%20of%20Riley

The show is on tour, next stop Chesterfield, see https://chesterfieldtheatres.co.uk/shows/living-the-life-of-riley/

Reviewer: Anne Pritchard

On: 18^th February 2026

Theatre Review MEET THE HATTER Z-Arts Theatre MANCHESTER

From the mind of Joss Arnott comes a one hour, one-man contemporary ballet with Alice In Wonderland's Mad Hatter as the starting point of this imaginative and creative journey for children and their families.

We start at the tea party, although there are no guests and the table, although set, looks dilapidated, unused, and uncared for. And so this is the catalyst for an exploration of the Mad Hatter's character. This is done in spectacular fashion. Using computerised graphics on a screen, dancer Dominic Coffey creates a sympathetic and interesting character as he dabbles in magic, and follows the March Hare in something like a 1960's pop psychedelic trip! If anything in the way of criticism, then the music is a little too loud for optimal aural enjoyment, but the creativity, the journey, the presentation, is imaginative, and performed to split-second timing. This is Arnott's first deviation from his usual modus operandus presenting contemporary ballet with young graduates, and it is a superb departure. Clever, funny and engaging, this is a stunning performance using today's technology with amazing results. 

We all wanted to meet the Hatter, and at the denouement, we did, again, this was done with panache and every single child in today's audience was enthralled... including this child, a middle-aged seasoned reviewer who thought he had seen everything until something like this comes along and surprises him... fresh, original, and utter magic!

Director / choreographer - Joss Arnott

I know Number 9 don't usually award stars, but for this, I simply have to give it a full five in any case!

Reviewer - Alastair Zyggu

On - 14.2.26

Theatre Review SHEILA'S ISLAND The King's Arms SALFORD

Tim Firth's reworking of Neville's Island as a female foursome on a work's outward bound team-building expedition in the Lake District is lacklustre writing at best sadly. What should have been highly comedic and suspenseful, was tepid at very best. Director Colin Connor gave his everything to this play to make it work as well as it did, including staging the play extremely intimately in a very small thrust-stage environment. The uneven floor cleverly representing the shoreline of a small island and the four cast covered in rain, mud, and goodness knows what else, brought the realism of their situation into vivid colour. It was a brave piece of directing and acting, with four extremely noteworthy performances from the four actresses involved. (sadly without a programme I am unable to credit them).The set design, as already intimated, was original, and innovative, a floor of hessian sacks, bumps, material, shells, and wood chippings, although the tree which is climbed several times looked just about as far removed from a tree as possible sadly, and that part of the set did not work at all sadly. Sound and lighting were both good and some well chosen scene-change music helped heighten any comedic situations or add to the dramatic tension. The four actresses all have their individual characters and play them to the hilt. They make a good ensemble cast too, supporting each other well. The tensions were built nicely, and the dynamics both within the group and their individual characters were well placed and nicely executed. It is the script itself which somehow lacks veritas and probability. 

An interesting piece of theatre which kept my interest and attention throughout, but I wouldn't want to see another production of this play!

Reviewer - Alastair Zyggu

On - 12.2.26

Theatre Review Under the Mersey Moon New Brighton Floral Pavilion Wirral

 

Under the Mersey Moon is the story of a young man’s determination to follow his heart and his dream of becoming a famous singer/songwriter inspired by his grandad who is ailing and needs constant care.

This production, directed by Brian McCann, has been created by Liverpool songwriters Jimmy Rae and Pete Davies; it features thirteen original songs which are performed by a cast of twelve talented actors accompanied by a live, on-stage band.  

Danny Rogers (Sam Heller) is a struggling Liverpudlian musician who embarks on a make-or-break journey to Nashville, USA encouraged by his country music loving grandad, Harry (Billy Butler) hoping to be discovered in the challenging world of music.

Samantha Alton plays Louise, Danny’s long-standing girlfriend who doesn’t share his enthusiasm for his dreams with Christopher Lee Power as Danny’s dad, (Kenny),  Lesley Butler as Carol his mum, and Sarah-Lou Fletcher as Ellie, with her other half, Mike played by Leslie Longley. Danny’s would-be love interest in USA is played by Amy White (aka SheBeat), an established singer-songwriter from Liverpool.

The first half of the show is rather laboured whilst setting the scene and providing the groundwork for the background of the story, but the pace quickens as the story gains momentum after the interval and garners more interest.  The show is interspersed with songs sung mainly by Sam Heller, Samantha Alton, Sarah-Lou Fletcher, Jodie White, and Adam Johnson. Young Harry is played by Adam Johnson who appears as a Hank Walters look-alike dressed in a white suit and white Stetson cowboy hat and is also the lead guitarist in the Mersey Moon house band.

Catherine Howard appears as Jackie, grandads Carer and Airport Traveller, Leslie Longley plays Fries Man (as well as Mike), and Jimmy Rae and Al Peters play drunks; Del Wilden is the Airport Traveller and the Nashville Bartender.

Whilst the sentiments of the piece are somewhat endearing, the production’s ethos can come across as rather cloying, whilst the script is in need of a little attention/tweaking as the comedy, which is rather hackneyed and uninspired, relies very much on the humour of well-known recognisable Liverpool axioms which reflect the old-fashioned type of Liverpudlian humour, much of which has been heard before. The piece will appeal to mainstream Merseysiders, during the final scenes the video projection on the backdrop, depicts scenes of yesteryear which many of the audience would relate to.

It was a full house at the matinee show with the audience being mostly  of the more mature aged theatre-goers. House band members are Tom Hutchinson (keyboards), Adam Johnson (guitars), Nick Silver (fiddle), Jimmy Rae (bass guitar) and Howard Northover (drums)

The set was interchangeable as crew (Ian White and Graham Morphy Morris) moved furniture for each scene, either portraying Grandad Harry’s living room, Kenny and Carol’s lounge, Louise’s house, The Mason’s Arms pub, O’Hare Airport, Chicago, a bar on Broadway, Nashville, Ellie and Mike’s kitchen, Danny’s hotel room and at the close, the Liverpool waterfront.  Coloured spotlights were used throughout and the Mersey Moon video projected on the backdrop near the close, was produced by Paul Andrew featuring street photography by Gerard Fleming.

The song, Under the Mersey Moon, from which the show gets its name, penned by Jimmy Rae, is a love song to Liverpool which many will take to their heart, and the show has elements of the hit production “Twopence to Cross the Mersey” a firm favourite with Merseysiders.

Producers are Jimmy Rae and Sarah Lou-Fletcher with Stage Manager, Abigail Ramsden.

The show opened on Valentine’s Day, 14^th February and runs until 15^th February, tickets available at https://www.ents24.com/new-brighton-events/floral-pavilion-theatre-and-blue-lounge/under-the-mersey-moon/7297008.

Reviewer – Anne Horne

On – 15^th February 2026

Interactive Theatre Murder Mystery Afternoon Tea DBY Interactive Everyman Theatre Liverpool

This fabulous murder mystery was created, written and directed by the very talented actress Becky Brooks and creator of sell out shows ‘Til Death Do Us Part’ and ‘The City of Curses’.

There are 6 characters in this intriguing murder mystery, which takes place at Theodore the magical illusionist’s grand finale masquerade ball, where everything is not all that it seems….

Where you, and a carefully selected few have been invited by the famous Theodore for a fun-filled afternoon tea, and to dress accordingly if you wish including a mask for full impact. The afternoon was literally full to the brim of intrigue and murder mystery solving opportunities.

We are cleverly introduced to the characters one by one which helps you to build up a picture of this intriguing and enthralling story, we are enlightened as to who they are and their backgrounds and their reasons for being there. All the actors must be commended for their excellent performances and their extremely talented believable portrayals of their characters.

These incredibly believable characters are Deveraux the butler, Theodore the magical illusionist who has invented a magical elixir, his inebriated wife Patricia, Princess Allora, Nikolai the Russian, and Veronica the magician’s assistant. 

Credit must also be given to the technician Emi for all the sound effects which helped create the illusion of this wonderful masterpiece.

As the story unfolds, we are made aware of the frailty and ill health of Theodore and we are exposed to clues about this mystery, unpaid investments due, revenge, and a money-making opportunity. Theodore invites everyone to his ball offering them a once in a lifetime opportunity as he grants them their heart’s desire at a cost….created by his vile of elixir, but things take a nasty turn when a character at the ball winds up murdered!!

There is a interlude which allows the characters to circulate around the room and sit with each table to enable the audience to scrutinise and ask questions to help with their detection skills, on how to solve the murder and identify the motives behind the murder, before the final part of the mystery is revealed, with a prize for the table who guesses correctly.

The audience were gloriously entertained and allowed to interact throughout the performance and were also encouraged to write down what their hearts desire would be…. if they could get their hands on that amazing elixir at the right price. Your desires are then read out with an air of frivolity during the interlude.

Excitement and laughter filled the room throughout this performance, and great team spirit whilst competing to win. The audience were given time to disseminate, ruminate and conclude their ideas before the finale.

What an exceptional afternoon of fabulous entertainment we experienced, with intrigue, revelations, mystery, and a delightful afternoon tea. It most certainly delivered on all counts, and I cannot recommend it enough.

Murder Mystery Afternoon Tea – DBY Interactive - Everyman Theatre Liverpool Cast:-

Adam Gannon - Nikolai the Russian Businessman

Paula McCabe – Veronica the Magicians Assistant

Charlie Griffiths – Princess Allora

Neal Gavin – Theodore the Magician

Dominic Quinn – Devereux the Butler

Becky Brooks – Patricia the Magicians Wife

DBY Interactive are appearing again at the Everyman Theatre in a series of Agatha Christie style 1920’s to 1960’s Murder Mystery Afternoon Teas throughout 2026. 

Rest in Pieces – Thurs 16th – Sat 18th April

Last One Standing Thurs 16th – Sat 18 h July

Reunion of Revenge - Thurs 17th - Sat 19th Sept

Check out dbyinteractive.com for all further productions which may also take place in these other venues, Storyhouse - Chester, The Atkinson - Southport and Floral Hall - New Brighton, you will not be disappointed.

Reviewer: Jill Mather

On - 13.02.26

Theatre Review The Magic of the Bee Gees Floral Pavilion New Brighton

The Magic of The Bee Gees tour was at The Floral Pavilion, New Brighton tonight, and it was an occasion for a generation who were on the dace floor under a mirror ball in the late 1970s, when the brothers Gibb were at the height of their fame.  A tribute show such as this must do two things to carry the audience: capture the essence of the music and put on a show. Tonight, the show did both. Martin Spooner as Robin, Rowan Lyle as Barry and Yvan Silva as Maurice bore a passing resemblance to the Gibbs if you squinted but, crucially, had the talent to sound close enough to them.

The trio took to the stage dressed as 1987-era Bee Gees and opened the show with ‘You Win Again’. Robin took most of the early lead vocals, ably supported by Maurice at the keyboard, wearing his trademark fedora and trench coat, and Barry, who looked more like Kris Kristofferson to this reviewer. Late-60s hits followed: ‘Massachusetts’, ‘To Love Somebody’, ‘Gotta Get a Message to You’ and ‘Words’.

Only occasionally, though, did we get to hear Robin’s quivering, vulnerable lead, but this disappeared as the show progressed. ‘Jive Talkin’’ and ‘Nights on Broadway’, from the Bee Gees’ 1975 album Main Course, featured falsetto for the first time. Both Barry and Maurice could hit the high notes between them. Robin’s 1983 single ‘Juliet’ was a surprise inclusion in the set.

The pace slowed a little as the singers took to their stools to perform ‘How Deep Is Your Love’, an obvious audience favourite. Barry took the lead vocal in ‘Spirits (Having Flown)’, giving it the full falsetto treatment. A hat-trick of songs from the iconic film Saturday Night Fever closed the first half: ‘Night Fever’, ‘More Than a Woman’, on which Maurice took centre stage, and ‘You Should Be Dancing’.

The band deserve full credit for providing an authentic backing for the singers. I’ve been unable to find their names, but the rhythm guitarist and bassist had the blend of funk, soul and disco the songs needed.

The trio returned for the second half resplendent in Saturday Night Fever white suits, black shirts and colossal platform shoes. It should be noted that this was John Travolta’s look in the film and not a Bee Gees costume. They took us back to New York City in 1976 with ‘Stayin’ Alive’ and ‘If I Can’t Have You’, on which Maurice’s vocals and showmanship really came to the fore.

The Bee Gees wrote many great songs for other artists, so the trio paid tribute to this by singing ‘Emotion’ (Samantha Sang), ‘Islands in the Stream’ (Dolly Parton & Kenny Rogers), ‘Grease’ (Frankie Valli) and ‘Chain Reaction’ (Diana Ross).

There was a fourth Gibb brother, Andy, who was a true teen idol but passed away in 1988. He had several smash hits, including ‘Shadow Dancing’, which the trio sang. It was his only mention throughout the evening. Maurice took the lead again on ‘Too Much Heaven’ and ‘How Can You Mend a Broken Heart?’. 

The audience had really taken to him. As mentioned previously, this was an audience of sexagenarians who remembered the music from the first time around. Replacement hips and dodgy knees had kept them firmly in their seats, even if they were bopping along. The trio got them to stand and do John Travolta’s iconic soaring finger-point move to ‘Night Fever’, ‘Stayin’ Alive’ and ‘Disco Inferno’ (the only non–Bee Gees song of the night). The evening’s closer was ‘Tragedy’, on which Barry demonstrated his full falsetto.

So, did we see and hear the magic of The Bee Gees that the show promised? To answer that, you need to understand what that ‘magic’ is: harmony, songwriting, longevity. Few groups blended voices the way Barry, Robin and Maurice did. Robin’s quivering, vulnerable lead, Barry’s incredible falsetto and Maurice’s light, melodic voice created a vocal identity that was instantly recognisable.

At their core, the Gibb brothers were extraordinary songwriters. They crafted baroque, melancholic songs that captured the late 1960s. Their melodic gift never left them as they wrote dancefloor classics that defined an era in the 1970s. They survived a backlash by writing songs for others, songs that crossed voices and genres because the craft underneath was so solid.

It’s stating the obvious to say our trio, individually and together, are not The Bee Gees. But it’s unfair to expect them to be. Tonight, this trio did their job: doing justice to the music of The Bee Gees whilst engaging with the audience and ensuring this was a great night out for everyone.

The Magic of the Bee Gees is on tour until July 2026 and tickets can be bought here, https://entertainers.co.uk/shows/the-magic-of-the-bee-gees

Reviewer – Adrian Cork 

On – 13.02.2026

Theatre Review I’m Sorry Prime Minister The Apollo Theatre, Shaftesbury Avenue

Hailed as the final chapter of Yes, Minister—that much loved political satire many of us remember so vividly from the seventies and eighties—I’m Sorry Prime Minister, arrives with a certain weight of expectation. Jonathan Lynn, who co-created and wrote the original TV series, returns to these characters decades later, and there’s something rather touching about seeing Jim Hacker and Sir Humphrey once more stepping into the light. It’s impossible not to give a nod to the original cast: Paul Eddington, Nigel Hawthorne and Derek Fowlds, who defined these roles with such precision and charm. Their legacy lingers over the production like a fond memory.

This time, though, we are far from Whitehall. The action unfolds at Oxford University, where the now elderly ex Prime Minister Jim Hacker—played by Griff Rhys Jones—has effectively set up shop as the ageing Master of the college named after him. Hacker invested heavily in the college to ensure his legacy would outlive him, and Sir Humphrey, ever the master of bureaucratic manoeuvring, helped craft the legal framework that allowed Hacker to remain in post until he chose to retire. Naturally, Hacker never imagined that anyone would dare to challenge his tenure. So, when he suddenly finds himself being pushed out, he reacts exactly as you’d expect from a thwarted politician: with indignation, denial, and a frantic scramble to cling to power.

Now in his eighties, Hacker attempts to gather his old allies to help him resist this unceremonious ousting, only to discover that most of them are, inconveniently, dead. With no one else to turn to, he reluctantly summons Sir Humphrey, whom he now regards as possibly “deranged”—though, in truth, Humphrey seems no more deranged than he ever was. The other person drawn into this farcical rescue mission is Sophie, an Oxford graduate from Hacker College now working as a care worker on a trial placement. She arrives expecting to help with Hacker’s day-to-day needs and instead finds herself entangled in a political melodrama.

The play is not action heavy, but the rapid fire dialogue and sharp wit more than compensate. Clive Francis, as Sir Humphrey, repeatedly delivers long droning monotone monologues with Hacker standing in bemusement —and each one earns a round of applause. Francis has impeccable timing and a deliciously dry delivery; he captures Humphrey’s eccentricity and sly charm with real finesse through his speech and physical actions. 

Griff Rhys Jones plays Hacker as a cantankerous old codger, still clinging to his snobbery and his outdated vocabulary. In the modern, socially conscious environment of Oxford, his remarks land with a thud, and Sophie is quick to challenge him. Stephanie Levi John plays Sophie with strength, intelligence and a grounded presence that balances the chaos around her. As a Hacker College graduate, she is well read, articulate and utterly unimpressed by Hacker’s bluster. What begins as a clash of opposites gradually becomes something more interesting: a reluctant partnership in which Hacker realises he depends on her far more than he expected, while she keeps him in order.

William Chubb appears as Sir David, a figure who drifts in like a scholarly Grim Reaper in a dripping black coat, embodying the dreary British weather and the inevitability of institutional change. He plays the straight man with admirable restraint, anchoring the more absurd moments with a seriousness that only heightens the comedy. 

Rhys Jones, meanwhile, offers a surprisingly nuanced performance as an unpopular former Prime Minister who has outlived his influence and, in many ways, his relevance. There’s a sadness beneath the bluster—a sense of a man who once held power now reduced to rattling around his own legacy. I found myself imagining what Boris Johnson, David Cameron or Tony Blair might be like in their eighties, and it wasn’t a comforting thought. Rhys Jones seems to understand that discomfort and leans into it.

The audience loved it. Laughter rippled through the theatre throughout, and the ending—no spoilers—was unexpected and oddly poignant. The set design deserves special mention: framed photographs of former Prime Ministers, shelves lined with political biographies (I spotted Tony Blair and Stalin side by side, which felt like its own joke), and a bust of Churchill that becomes increasingly relevant as Hacker waxes lyrical about imperialism. The attention to detail is clever and quietly satirical.

A witty, affectionate and timely production, very much rooted in the 21st century yet still recognisably descended from the Whitehall days of Yes, Minister. A strong cast, a sharp script, and a thoughtful creative team make this a fitting final chapter for characters who have been part of British cultural life for nearly half a century. I won’t tell you the ending, but it is unexpected!

The show runs until 9th May 2026 - https://theapollotheatre.co.uk/tickets/im-sorry-prime-minister/

Reviewer - Penny Curran

On - 12th February 2026

Theatre Review The Man Who Was Magic Stockport Plaza Theatre

There’s something compelling about watching a performer at a turning point. Over two nights at Stockport Plaza Theatre — both close to selling out — James Phelan’s The Man Who Was Magic felt like exactly that: the sense of a career gathering real momentum.

Famously the nephew of the late, great Paul Daniels and his wife Debbie McGee, Phelan carries a notable legacy. But heritage alone does not sustain two hours of live theatre. What he demonstrates here is that he has stepped firmly beyond inheritance and into authorship of his own story.

In recent years he has made significant waves at the Edinburgh Festival Fringe, drawing near-capacity houses and building strong word-of-mouth buzz. I had hoped to catch him there last summer, but despite being on my wish list, I didn’t manage to find the time. In Stockport, that Fringe momentum translated into palpable anticipation.

The show unfolds in clear segments. The first half leans heavily into audience participation — and Phelan thrives on it. Volunteers are invited onstage with warmth rather than mockery, treated as collaborators rather than punchlines. Card work is handled with crisp precision. Randomly chosen words are revealed. Names are spoken aloud that he could not reasonably know. Throughout, he insists there are no stooges, no plants, no prior knowledge of anyone present.

Amid the playful mind reading comes a quieter, reflective interlude. Phelan invites a young child from the audience to represent his younger self and speaks of discovering magic as a boy — how it offered confidence, courage and empowerment. It is brief but heartfelt, grounding the spectacle in something personal and sincere.

On a stage the size of the Plaza’s, some of the intimate close-up magic inevitably risks losing immediacy for those seated further back. This was largely mitigated by a large projector relaying live video footage of the sleight of hand, ensuring visibility throughout the auditorium. Yet the question remains whether projected magic can ever fully replicate the electricity of witnessing it inches away — a delicate balance between theatrical scale and close-up wonder that Phelan navigates with assurance.

The second half builds towards larger-scale mentalism. Random words selected by audience members from a collection of books are impossibly mind-read, culminating in a striking finale that drew audible gasps. Phelan understands pacing: silence stretches, tension builds, and then comes the reveal. The rhythm is confident without tipping into self-satisfaction.

Audience response proved an intriguing counterpoint. Astonishment was evident — sharp intakes of breath, laughter, murmured disbelief — yet applause occasionally felt hesitant, as though the room needed an extra beat to decide the trick had concluded. Perhaps modern audiences, conditioned by tightly edited television magic with musical cues and reaction shots, struggle to calibrate responses in real time. Or perhaps we have become more sceptical, instinctively scanning for hidden mechanisms even as we applaud.

More broadly, the evening prompted reflection on theatre etiquette. Live performance relies on a shared contract of attention — performer and audience meeting fully in the moment. In recent years that collective focus has felt more fragile, with distractions and uncertainty sometimes diluting the atmosphere. Magic, above all genres, depends upon concentration and mutual investment; when that wavers, so too does some of the immediacy.

None of this detracts from Phelan’s achievement. The show is tightly structured, emotionally considered and technically assured. He never tips into arrogance, instead balancing charm with control. His repartee with audience members is easy and generous, never at their expense. Even when handling moments of tension, he remains composed and affable.

What lingers most is not simply the mechanics of the tricks, but the performer himself. Affable, charismatic and hugely likable, Phelan comes across as genuinely sincere and polite, with an instinctive warmth that fills the room. There is an ease to him — an ability to connect without forcing it — that feels reminiscent of Paul Daniels at his most charming.

Two near sell-out nights in Stockport suggest audiences are paying attention. On this evidence, they should continue to do so. James Phelan is not trading on nostalgia; he is building something distinctly his own — personal, polished and increasingly confident.

The Man Who Was Magic succeeds not only because of the impossibility of its illusions but because it still left oppositional opinions of it’s all a fix and a set up to this reviewer’s gut opinion. He must be magic as what he did was impossible.

Reviewer - Kathryn Gorton

On -12th February  

Theatre Review The Peaceful Hour 2 The Royal Court, Liverpool

Liverpool has a distinct character and culture that can almost make it seem apart from the rest of England. Certainly, the city has had its share of economic and social problems but what has made Liverpool stand out as much as anything is the humour and wit of Liverpudlians in the face of any situation. ‘The Peaceful Hour 2’ by Gerry Linford was essentially a celebration of all these factors.

The setting in a high-up tower block flat provided a canvas from which to display ordinary life through the eyes a close-knit group of Scousers, following in the tradition of the likes of ‘The Royle Family’ and ‘Only Fools and Horses’. The difference was that this was a Liverpool family and friends with the characters almost being stereotypical Merseysiders. They say the best Jewish jokes are told by Jews and this was Liverpool laughing at itself. 

The character list included happy-go-lucky Carl played by Lenny Wood, the street-wise criminal Frankie played by Nathan McMullen and the matriarchal Edna played by Julie Glover. The bride-to-be Ange played by Angela Simms and her friend Julie played by Ellie Clayton had echoes of female singletons Sandra and Beryl in the 70’s sit-com ‘The Liverbirds’ and with the hapless Tommy played by Michael Hawkins, there were was a fair cross-section of Liverpool from a self-deprecating comic angle. Writer Gerry Linford certainly knows the underlying character of Liverpool, with this play, the sequel to ‘The Peaceful Hour’ being just one of numerous works set in and around the city.

Two interesting devices set the play apart from what might have otherwise been an introspective observation. Firstly, the introduction of the character Tim played by George Turner gave an insightful twist on the scenario. Tim spoke with a relaxed South of England voice and had refined tastes which, by his own admission made him feel like a fish out water in ‘scouse land’. The differences in Tim to the other characters were further heightened when he was confronted with the flashy and threatening Frankie, whose world was simply about looking after number one. What emerged was not just the fact that Tim was attracted to Julie but that he had developed an endearing affection for the Liverpool people and culture. The other device was the set, which used the closed setting of the lounge/kitchen areas of the flat for most of the story but extended it to show the graffiti-covered concrete balcony walls of the tower block, complete with a spectacular view, enhancing the feeling that was a high-rise flat. The outer walls were quite literally used for high drama, to great comic effect (to say any more would be to give spoilers!).

This was a very pacy production with plenty of fast-spoken interactions giving a very natural feel to the  dialogue. The Peaceful Hour referred to a radio show of smooth classics, turned on at various times throughout the play, contrasting sharply with the various dramas unfolding in the flat. Several classic songs were used to great effect, with the cast singing and dancing to numbers but whenever you felt the play might be turning into a musical, the song would suddenly stop in mid-flow with a sharp line of dialogue bringing everyone back to reality. A device used sparingly was the large video backscreen, for the most part simply the view from the flat but with good animations at the start putting the play in the context of a 70’s style ‘Jackie’ magazine photo story.

‘The Peaceful Hour 2’ was a very funny non-stop rollercoaster of a play which continued to provide new plot twist right until the very end.

‘The Peaceful Hour 2’ is on until the 7th March 2026.

https://liverpoolsroyalcourt.com/main_stage/the-peaceful-hour-2/

Reviewer - John Waterhouse

On - 13th February 2026

Theatre Review The Bodyguard Lyceum Theatre, Sheffield

The Bodyguard, the Musical, is a stage adaptation based on the 1992 blockbuster Warner Bros movie. It contains many of the musical numbers featured in the film, including the number one smash hit, ‘I Will Always Love You’, sung memorably by Whitney Houston, which is a cover of Dolly Parton's 1973 hit single.

If you are feeling relaxed or tired after a day's work, you won’t be when the production springs to life with a loud gunshot, accompanied by a cinematic projection of a murder. Throughout the evening, the projections complement the storyline.

There are minimal props and the set is often sparse but detailed when it needs to be, with the use of curtains and lighting enabling seamless changes. The log cabin stage setting was particularly impressive and worked well with the storyline.  The costumes, wigs and makeup also play their part in the theatrical experience. 

This adaptation is updated from the movie script and varies in parts, but is largely the same. Adam Garcia fills Mr Costner's shoes as the stoic and methodical bodyguard, Frank Farmer. As a seasoned actor on stage and the big and little screens, it is no surprise that he plays his role convincingly. Sidonie Smith shines in Whitney’s role as Oscar-nominated superstar singer Rachel Marron. Whilst these characters echo the film, Rachel’s sister in the shadow, Nicki, has a more likable characterisation. Sasha Monique excels in this role and is a superb singer; I would say more than a match for her sibling. I really enjoyed her performance.

But the real star of the show is the timeless and brilliant musical score, done justice by orchestrator Chris Egan and his band. It is augmented by Karen Bruce’s slick choreography, performed by the excellent cast and ensemble.

Soon into the performance, we are treated to a run of beautiful and melancholy songs from Whitney Houston’s debut album, such as ‘Saving All My Love’ and ‘The Greatest Love of All’. The placement of the songs is perfect and follows the momentum of the story, with many of the up-tempo tunes landing after the interval.

The soundtrack spans the 80’s and 90’s and adds nostalgia to the production. The grand finale had to be - and was - a stirring rendition of ‘I Will Always Love You,’ which didn’t disappoint. As the bows and plaudits were taken, the entire cast and ensemble leaped into an energetic version of ‘I Wanna Dance With Somebody,’ to send the audience home with a spring in their steps.

This is a lively, fun, and nostalgic stage adaptation with a wonderful musical score. It will appeal to all musical fans, in particular, fans of Whitney Houston and those in search of a sprinkling of nostalgia.

Production run (The Lyceum Theatre, Sheffield): 10th February – 14th February 2026.

Running Time: around 2 hours and 10 mins, including an interval.

https://www.sheffieldtheatres.co.uk/events/the-bodyguard-2026/dates

Reviewer: Matthew Burgin

On:  Tuesday 10th February 2026

Theatre Review Once Upon a Time in Wigan Saddleworth Players Millgate Arts Centre

Saddleworth Players’ production of Once Upon a Time in Wigan at the Millgate Arts Centre is a lively, affectionate, and ultimately thoughtful look back at the Northern soul scene between 1973 and 1981, centred on the legendary Wigan Casino. For anyone with even a passing interest in the movement, this was a thoroughly enjoyable evening that balanced nostalgia with honesty.

The play follows four characters – Maxine (Niamh Connor), Suzanne (Eleanor Prestwich), Eugene (Cameron Kennedy), and Danny (Harry Garrity) – as they navigate their lives, loves, and friendships through their shared devotion to Northern soul. Music and dance are not just a backdrop here; they are the glue that binds these characters together and the force that shapes their identities as they grow and change.

All four performances were engaging and believable, with a real sense of ensemble. Connor’s Maxine brought warmth and determination, particularly in scenes showing her juggling work in a dress shop with her passion for the scene. Prestwich gave Suzanne an emotional honesty that grounded the story, while Kennedy and Garrity captured both the bravado and vulnerability of young men driven by music, competition, and belonging.

A real highlight of the production was the video montage showing Eugene taking Maxine for a ride on his moped through the countryside. This sequence was genuinely hilarious and hugely charming, presented as a collage of snapshot-style Polaroids that flicked past in quick succession. The journey took in recognisable Northwest landmarks, including Blackpool Tower, and created a strong sense of place and identity. Even never having been to Wigan myself, it felt instantly familiar – like every northern high street rolled into one. It also quietly reinforced the idea that the people who belonged to this scene had ordinary, everyday lives beyond the dance floor, stretching outside and beyond their all-night devotion to music.

Mark Rosenthal’s direction kept the storytelling flowing smoothly, while Helen Wilkinson’s choreography was a real triumph. It was obvious that she had drilled all four actors to a standard that was recognisable both of the period and the Northern soul style, and to a level of accomplishment that was genuinely impressive. The actors moved with confidence, precision, and joy, capturing the energy and dedication required to be “the best dancer on the floor.” The choreography brought the music to life and made the dance sequences a highlight of the production.

The set was particularly impressive: a series of multipurpose blocks on wheels that cleverly transformed to mark scene changes. These housed props and adaptable scenery, from café seating to the clothes associated with Maxine’s job, allowing the action to move seamlessly without disrupting the pace of the play.

What made the production stand out was its willingness to explore all sides of the Northern soul scene. Alongside the joy, music, and sense of community, the play did not shy away from the use of amphetamines, the physical toll of all-night dancing, and the impact this lifestyle had on relationships and responsibilities beyond the Casino doors. This gave the story depth and prevented it from becoming rose-tinted nostalgia.

Overall, Once Upon a Time in Wigan was lovely, fun, and very enjoyable, while also being thoughtful and honest. Saddleworth Players have created a production that celebrates a scene etched into the cultural memory of the Northwest, showing why it inspired a nation to dance – and what it cost the people who loved and lived it. 

Reviewer - Kathryn Gorton 

On - 10th February 2026