Theatre Review Tomatoes Nearly Killed Me but Banjos Saved My Life

Tomatoes Nearly Killed Me but Banjos Saved My Life is one of those rare shows that manages to be both quietly profound and utterly disarming. It’s heartfelt without ever tipping into sentimentality. After touring the world, Keith Alessi has now performed his 450th show, marking this milestone at the King’s Head Theatre in London—a remarkable achievement for anyone, but especially for a man who, in 2017, was given just twelve months to live after being diagnosed with oesophageal cancer. That he is still here, still performing, and still donating every penny of his artist fees to charities and community groups—now totalling around $1.2 million Canadian dollars—is nothing short of extraordinary.

Keith is currently making his way around the UK, eventually returning to the Edinburgh Festival, where he has enjoyed sellout runs for the past three years. I was particularly excited to take my husband along this time, partly because he’s a reliable barometer; like Keith, he also picked up the banjo later in life. Keith, however, has taken things to a different level entirely: he owns fifty two banjos. Fifty two and somehow still has a wife.

The show itself is essentially a one man performance, save for a brief interlude when his promoter steps in to lend a hand. Over the course of eighty five minutes, Keith weaves together the story of his illness, his recovery, and his unexpected love affair with the banjo. He is the first to admit he’s no expert, but that’s part of the charm. His message is simple and authentic: it’s okay to play, to try, to do your best, even if perfection is never the goal. He treats us to a handful of familiar tunes—including a lovely rendition of Shady Grove—switching between clawhammer and fingerpicking styles, and even swapping instruments midstory, including a banjitar. His enthusiasm for the history of the banjo is infectious; he speaks with genuine affection about its origins, its many genres, and the sheer variety of materials and craftsmanship that make each instrument unique. No two banjos, he insists, will ever sound the same. And, he repeatedly adds with a joke, they are always out of tune.

What keeps the show buoyant is Keith’s humour. He cracks jokes throughout, often at his own expense, and the result is a tone that remains lighthearted rather than melancholic. The King’s Head Theatre, with its relaxed and intimate atmosphere, suits the piece perfectly. At times, you feel as though you’ve been transported to one of the music gatherings he describes in the Blue Ridge Mountains of Virginia, where he found a spiritual home among fellow musicians. His determination to keep going—to keep playing, keep learning, keep living—has kept him cancer free for years, defying the prognosis he was once handed.

By the end of the evening, it’s clear why this show works so well: it’s Keith’s real story, told with authenticity, warmth, and a gentle resilience that never asks for sympathy. Instead, it invites connection. We left the theatre with my husband quietly deciding he might just dust off his own banjo and start playing again. And really, what better testament to a performance than that?

Playing various dates in the UK: The Old Fire Station, Oxford on 1st March back at the King’s Head on the 6th March, Meadowfield, Durham on the 8th March and then back in the UK at the end of July and Edinburgh Fringe in August. Check the website for more details. 

https://www.tomatoestriedtokillme.com/the-show

Reviewer - Penny Curran

On - 27th February 2026

Theatre Review Sinematic Cabaret Emerald Theatre, London

From the moment you step into the venue, Sinematic Cabaret announces itself as a night that refuses to blend into the background. The crowd alone is a spectacle worth the ticket price: eclectic, vibrant, and buzzing with anticipation. Everyone seems to have dressed not just up but for the occasion, as though the audience itself is part of the performance. If you’re a people-watcher, this is your playground. Sequins, latex, feathers, velvet, and the occasional outrageous accessory all mingle together in a glorious swirl of theatrical self-expression. The old saying “all fur coat and no knickers” feels tailor-made for this evening —and in some cases, quite literally accurate.

That sense of expectation builds as you take in the space. The V shaped stage and illuminated archway immediately set the tone, evoking the glamour of a bygone cabaret era while keeping things deliciously modern. The layout feels like an informal lounge — intimate, low-lit, and inviting — with small tables reminiscent of Goodfellas, where you half expect someone to slide you a whiskey and a knowing wink. For the bold (or the unsuspecting), bar stools circle the stage itself, offering a front row view so close you can practically feel the performers’ breath. It’s immersive, daring, and just a little dangerous in the best possible way.

Once the show begins, any lingering sense of restraint evaporates. What unfolds is raucous, unapologetic fun: erotic burlesque cabaret at its most confident and chaotic. The performers dive headfirst into a celebration of cult cinema, weaving together iconic films with a risqué, tongue-in-cheek flair. Costumes range from lavish to barely-there, each one meticulously crafted even when it consists of little more than glitter and attitude. There’s decadence everywhere — in the choreography, in the humour, in the sheer audacity of the staging — and the crowd laps it up.

Audience participation is not just encouraged but practically inevitable. Lolo Brown, the MC for the evening, commands the room with a mix of brash humour, razor-sharp wit, and a gleefully confrontational presence. She is rude, bold, and utterly magnetic, often leaning into the audience — sometimes literally — to deliver her punchlines. Few escape her attention, and even fewer want to. Her energy stitches the evening together, giving the show a chaoticcohesion that feels both spontaneous and expertly controlled.

The acts themselves are a kaleidoscope of pop culture references. One moment you’re plunged into the sultry world of Moulin Rouge, the next you’re watching a gleefully over-the-top homage to Pulp Fiction or From Dusk Till Dawn. A Magic Mike style breakdancing interlude brings the house down, as expected, and the drag performance in the Rocky Horror opening is a highlight — sharp, glamorous, and dripping with charisma.

There’s semi nudity, comedy, camp, pyrotechnics and aerial acrobatics, but it’s all delivered with such joy and theatricality that it never feels gratuitous. Instead, it feels like a celebration of bodies, performance, and the art of not taking oneself too seriously. What else could you wish for on a Thursday Evening but real old fashioned entertainment with a 21st century eclectic twist?

The crowd’s reaction is electric. Cheers, whoops, gasps, and laughter ripple throughout the show, creating a communal atmosphere that sets the expectation for the next set. It’s easy to imagine Sinematic Cabaret becoming a cult favourite, much like The Rocky Horror Picture Show, which fittingly appears in the lineup. There’s a sense that word of mouth will be this show’s greatest ally — the kind of underground gem that London’s open minded audiences discover, adore, and return to with friends in tow.

What makes the evening so compelling is its blend of nostalgia and novelty. By drawing on beloved film classics — Chicago, Dreamgirls, Jackie Brown, Gentlemen Prefer Blondes, Austin Powers, Dirty Dancing, Catwoman, and more — the show taps into shared cultural memories while twisting them into something fresh, provocative, and wickedly funny. It’s a pop culture feast served with a wink, a shimmy, and the occasional flash of bare skin.

Ultimately, Sinematic Cabaret is exactly what London needs: something slightly under the radar, gloriously unfiltered, and bursting with personality. It’s not for the fainthearted or the easily scandalised, and it’s certainly not suitable for under18s, but for those craving a night of bold, bawdy entertainment, it’s a triumph. A provocative, high octane celebration of cinema, cabaret, and the joy of letting go.

Next performances 5th March, 12th March and 19th March

Over 18s only and use of strobe lighting.

Reviewer: Penny Curran

On: 26th February 2026

Theatre Review Blithe Spirit Hope Street Theatre Liverpool

 

Blithe Spirit was written by Noel Coward in 1941 as an antidote to World War 2 and presented on the West End stage. Coward writes very much in the style of Oscar Wilde with light, whimsical repartee between the characters and his work is really a celebration of language.

This production stars Steven Arnold (best known as Ashley Peacock from TV’s Coronation Street)as Dr Bradman, for their annual classic comedy slot. Other cast members are Charlie Dearden (Ruth Condomine), Franklyn Jacks (Charles Condomine ), Kathryn Chambers (Madame Arcati), Mikyla Jane Durkan (Violet Bradman), Pearl Schomberg (Elvira) and Ellaina Halstead (Edith).

The story shows how Charles Condomine, an author seeking inspiration for his next novel reckons a séance would be the perfect creative experiment and inspiration for his novel. He invites Dr. and Mrs. Bradman to his house for the séance with Madame Arcati, but things don’t go to plan, and he gets far more than he bargains for.

The stage set is constant throughout portraying the drawing room of an upper class household complete with maid, Edith, who is very nervous and rather clumsy and who frequently gets a tongue lashing from her mistress, Ruth Condomine. The drawing room is typical of the era with a chaise lounge, a gramophone with large brass trumpet, a drinks trolley which gets plenty of use throughout the play with copious alcohol consumption and lace tablecloths and potted plants.

There were a few sound issues at the start as although seated in the fourth row I had difficulty hearing a lot of the dialogue, especially when the actors backs were turned away from the audience and additionally because the actors needed to speak in ‘posh’ accents (except Madame Arcati who had a more northerly accent). Neck microphones would have been beneficial, something I’ve mentioned in previous reviews of productions at this theatre.

The first half set the scene but was rather slow and laboured, consequently there were quite a few vacant seats after the interval where audience members had decided to leave early which was a shame as the production picked up pace in the second half.

The actors playing the two main characters, Charlie Dearden (Ruth) and Franklyn Jacks (Charles Condomine) are to be commended on the large amount of dialogue they managed, necessary for their parts and Charlie Dearden was exceptional with her marvellous facial expressions depicting the stiff upper lip of the upper classes in the day.

Pearl Schomberg, shines as the flighty spirit of Elvira capturing the role excellently and Kathryn Chambers  as Madame Arcati portrays the mystic charlatan well.

This production brings Blithe Spirit to life with sharp wit, supernatural surprises, and Coward’s trademark charm.
​


The run finishes on 28^th February, see https://hopestreettheatre.com/event/blithe-spirit-6/   for tickets and more details.

Reviewer: Anne Pritchard

On: 25^th February 2026

Theatre Review Derren Brown Blackpool Grand Theatre Blackpool

Derren Brown describes himself as a psychological illusionist and mentalist (essentially another type of illusionist). It is important to remember that he does not claim to have any psychic or magical powers. However, his show ONLY HUMAN was of such complexity and intrigue that you were left wondering if this was some kind of double-bluff, because if it wasn’t not magic, it sure as hell at times looked and felt like it!

Brown’s own website and show publicity stated ‘The content of ONLY HUMAN remains tightly under wraps, but we can guarantee you a mind-blowing experience that’ll take your breath away…’ Derren Brown himself actually asked any reviewers in the audience not to reveal anything about the show (which was a first for this reviewer at least!). It said something about the confidence of Derren Brown in his ability to astonish and amaze that he could invite reviews whilst asking for nothing to be written about the show!

No spoilers will be given as to show content but even if they were, it would be impossible to suggest how the various feats were accomplished. The illusions were indeed remarkable but there were some key additional aspects of the show worth noting.

Firstly, aside from all the mental somersaults and illusions, this was a remarkably theatrical show, with several floor to wall video screens and a giant back screen which served both to create scenery and atmospheric backdrops as well as, through on-stage cameramen, allowing the audience to see intimate tricks and illusions performed stage in remarkable close-up details. Lighting, sound and music were all used to great theatrical (and at time, comedic) effect throughout the show.

Secondly, it was a very funny show. Brown had a very easy-going manner, dressed a casual cotton suit and collarless shirt, addressing the audience not as some elevated dynamic star but more like an old friend who has just called round to show you something. There was frequent audience interaction, both with people brought up and on stage and with the audience as a whole. The various video cameras used throughout the show could turn to show the whole audience projected onto the large back screen and home in on specific individuals. There was never any picking on anyone as a victim and it was all done in a very good-humoured way with the audience loving every minute of it.

Perhaps most importantly, the show was thought provoking. First and foremost, Brown is an entertainer and the show was certainly entertainment but it also raised questions you were left pondering long after the final curtain. This was more than simply wondering how did he do this or that because whilst references were made to various occult arts such as dowsing, fortune telling and hypnosis, you were ultimately left with the feeling of having witnessed astonishingly clever illusions that put into question everyone who has claimed to have special powers, from fairground fortune tellers to stage psychics.

Derren Brown’s show was funny, a superb visual spectacle and a feast of mental astonishment and it was not hard to see why after all the years he has been in the business Brown continues to pack large theatres with enthusiastic fans. The show also served to remind us that manipulations can be extremely clever and very powerful and that whilst Derren Brown was giving simply providing enjoyable entertainment, there are others, such as many psychics who were use these skills for personal gain whilst giving false hope. This was a show like no other, which is a shame because the world could do with more people like Derren Brown.

ONLY HUMAN is touring nationally until the 1st August 2026 - https://derrenbrown.co.uk

Reviewer: John Waterhouse

On: 24th February 2026

Theatre Review Single White Female. Lyceum Theatre, Sheffield

Single white female is a stage production of the 1992 psychological erotic thriller of the same name. Although the film did not receive critical acclaim, it was a smash hit in the cinema and home rental market and became a cult classic. This production has been adapted for the stage by Rebecca Reid and directed by Gordon Greenberg. It stars Kym Marsh as Hedy and Lisa Faulkner as Allie. The cast also features Andro as Graham, Jonny McGarrity as Sam, and Amy Snudden as Bella.

The original Hollywood script is updated from its 90s backdrop to the present day, focusing on themes of bullying, trauma,  obsession and toxic friendship. Significant attention is paid to the importance and often detrimental role of social media in today’s society, particularly for young adults.

Allie is a divorced mother with a teenage daughter, Bella, who decides to rent out her spare room to make ends meet. Although at first her new lodger, Hedy, seems perfect, it isn’t long before her mask of sanity begins to slip. 

The stage is a static set modelled as a modern-day apartment. The minimalist set changes were made with the dipping of stage lights, flashing of surrounding lights and loud music. It was a touch over dramatic and often jarring, with the music having no relevance to the proceedings.

The storyline varies significantly from the film, in part because of the updated timeline but also due to a tilt in direction.   This fresh path is necessary to avoid falling into the ‘new shoddy’ genre and, in general, works.  The main protagonist (Allie) and antagonist (Hedy) remain constant but are older, to accommodate the introduction of 15-year-old Bella, who is integral to the modernised flow of direction.

It highlights how social media can be used as a tool for bullying, whilst demonstrating how readily people offer their personal details into the public domain and how this information can be used against them. Social media could be perceived as a bigger villain than Hedy and her infamous stiletto heels. 

With a small cast, much was asked of the actors, in particular the leads Kym Marsh and Lisa Faulkner. Kym Marsh played a good but patchy version of the seductive Hedi. Lisa Faulkner’s characterisation of Allie was passive, which belied the likely characteristics of a dynamic IT startup CEO. Collectively, I didn’t feel the chemistry was strong enough between the two main characters to pull off the narrative. Andro played the role of Graham well and was funny and aggressive when required. Jonny McGarrity was accomplished as Sam, as was Amy Snudden as Bella. 

Although I enjoyed the twist at the end and the new direction, with the dangers of social media communicated very well, it managed to fall flat. It wasn’t always apparent whether moments in the play that induced laughter from the audience were meant to be funny. 

Gordon Greenberg's production of Single White Female represents a unique reimagination of an iconic 90s movie, which works well in parts but somehow fails to land with the precision of a well-aimed stiletto heel. 

Production run (The Lyceum Theatre, Sheffield): Tuesday 24th February –Saturday 28th February 2026.

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

https://www.sheffieldtheatres.co.uk/events/single-white-female/dates

Reviewer: Matthew Burgin

On: 24th February 2026

Theatre Dance Showcase Review TEN Dance Spectacle The Danceworks, Eccles New Adelphi Theatre SALFORD

 

I have mislaid my programme sadly and have just looked online to see if I can find an online version but cannot so sadly this review will not be as full as I would have liked, but please bear with me.

The Danceworks in Eccles have been producing biannual showcases of their students work for 20 years, hence the title, TEN - they are celebrating their tenth show! I have always greatly enjoyed the school's output. They engender talent and always manage to bring out the best in even the tiniest and youngest of their number. This afternoon's show had children ranging from perhaps only four years old taking their first tentative steps onto a stage in front of the public, to the older, and more proficient dancers who are at the end of their teenage years and ready to move on to place sand opportunities new. There were dances from contemporary ballet, classical ballet, hip-hop, street, commercial, tap, as well as acting / musical theatre and singing. In other words a complete potpourri of all their classes and students' cumulative abilities, and with 19 items before the interval, and 21 in the second half, one was definitely getting one's money worth!

As always the standard from this company was excellent and professional. Even the tiny-tots sections were well produced and fully inclusive, making it a wonderful experience and learning curve for all involved. I am musical theatre trained and so my preferences will always be with the routines which show an element of theatricality rather than just "dance for dance's sake". It would now be at this point that i would write about a few of my favourite routines (obviously with my slight subjectivity - but that's unavoidable); however, I am struggling to remember titles / music used, and to simply describe the dance or their costumes would not be enough I feel. If a programme comes to light in the near future I promise I shall alter this review to reflect my thoughts here.

The routines were all nicely choreographed (although again I have to admit to liking some more than others), but none asked anything from the dancers that they were ultimately not capable of, although they still pushed them into striving for better and better. Most started with a strong picture and finished with an equally strong picture too, and the use of space and spatial awareness was from the intermediate levels upwards nicely done. This is something that the very young still have to master obviously. 

As always, an extremely interesting and entertaining event showcasing tomorrow's talented stars. Congratulations once again to everyone, and I look forward to seeing you all again in two years' time!

Reviewer - Alastair Zyggu

On - 21.2.26

THEATRE REVIEW The Lightning Thief HOME Manchester

I am at a slight disadvantage since I was certainly not the target audience for this show. I am a single middle-aged male with no children. I do however love a good musical, which was the reason for my wanting to see this.

The storyline, as far as I could see, revolves around an American teenager called Percy Jackson who lives with his mother and step father, but is always finding himself in trouble or strange and bad things keep happening to him which he cannot explain, other than that they must have been dreams. He has however, been expelled from more schools than you can shake a stick at, and his mother is beginning to despair. She is also though holding a secret about his parentage, which comes to light eventually. He is a half-blood. This means that he has one human parent, but his other parent (in this case his father) is a Greek God. (Poseidon). The book, and therefore the musical make for an excellent way to introduce youngsters to Greek classical mythology. 

The entire cast - including a small number of chorus performers - were all excellent and certainly gave much to this show. Afficionados of the book would obviously have connected to the caricatures better than I did, but it was clear that they were trying to be as true to the book as possible in their characterisations. The show was youthful and full of energy, and certainly created the wow factor for their tweenie followers.

The set was confusing though. Consisting of a very metallic and industrial U-shaped space with a large 'window' to the rear, didn't to my mind at least, fit into any of the locations used in this musical. It might have been a recognised location from the book, I don't know, but it didn't work in this context and that, together with the very dour and monochrome costumes, made for a rather uninteresting 'look'.

The music was rock and folk based and was lyrical and upbeat, progressing the storyline nicely. My only real objection was that the volume was set far too high. Optimal aural enjoyment was had for me with the wearing of earplugs. The LX design was also a little distracting. Too many times did lights blind our vision and shine out into the audience. Once or twice at the most would have been effective, but this was overkill. 

A very upbeat and family-friendly musical which will undoubtedly appeal to its target audience. Overall an enjoyable experience, with some sympathetic, talented, and watchable actors/ actresses.

Show dates at HOME from Wed 11 - Sat 21 February 2026

For cast details see https://homemcr.org/whats-on/the-lightning-thief-the-percy-jackson-musical-b59t

Reviewer - Alastair Zyggu

On - 21.2.26

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