Theatre Review Amateur The Complete Works of Jane Austen Abridged Thingwall Players Thingwall Community Centre Liverpool

Thingwall players present this fast-paced, comedic stage play written by Jessica Bedford, Kathryn MacMillan, Charlotte Northeast, and Meghan Winch which features three actors performing a quick dash through Austen’s novels and was brilliantly directed by Natasha Cragg.

The stage is set depicting Jane’s home as it would have been during the Regency period, with a hatstand adorned with bonnets, a chaise long, a screen, a large chest, a writing desk and chairs and a couple of top hats. Credit must be given to stage manager Catherine Flower and sound and lighting Meg Doherty and Tim Saint. 

The cast Bethany Cragg, Meredith Clayton and Kyle Jensen appear on stage dressed in full Regency regalia, (the fabulous costumes and props by Angela Clarke & Carol Golightly), who all gave a truly outstanding performance. They set the scene as a cast of two, as totally devoted Austen fanatics who’s third member has unexpectedly dropped out and as time is running out, they seek the help of the only actor available, who has no knowledge whatsoever of Jane Austen.

A chaotic quite hilarious dash through Austen’s complete work ensues. The characters directly address the audience throughout the play adding to the overall interactive comedic effect. Together, they enthusiastically discuss and celebrate the merits of Austen’s works and life, debate which of her novels is indeed the best, and act out fast-paced vignettes of each of the prized novels utilizing an impressive series of quick changes via hats and props. They portray her heroines, friends and love interests whilst adding a modern spin to it in parts.

The play conveys Jane’s perfect feminist witty observations of women and her ability to get inside the mindset of middle-class England during the early nineteenth century and highlights the financial dependence of women on marriage, focusing on the major novels Pride and Prejudice, Sense and Sensibility, Emma and including The Watsons and Sanditon.

The play jokily and teasingly focuses intermittently onto the two women who hilariously, keep referring to their empire line gowns which accentuate their bosoms and indicating how women had to attract a suitor to marry as a means of survival in those days. References to characters Mr Darcy, Mrs Bennet, Mr Bingley and Lady Catherine de Bourgh, Mr Knightley and the Dashwood sisters are humorously included of course.

During the evening the audience were entertained, humoured and enlightened to the wonderful works of Miss Austen and I was impressed by the attention to detail and loved learning more about her novels.

A fabulous collaboration by all involved, thank you ‘Thingwall Players’ for yet again delivering a beautiful production.

This production runs from 19th-21st March 2026.

Reviewer: Jill Ollerton 

On: 20.03.26

Theatre Review Living The Playhouse, Sheffield

Set in his hometown, award-winning Sheffield playwright Leo Butler’s Living is a state-of-the-nation drama about all the years of our lives. It is an exciting and challenging production for the cast and creative team with 8 actors performing the roles of over 30 characters, spread across a timespan of 55 years. 

The Tanya Moiseiwitsch Playhouse at the Crucible Theatre is an intimate setting for what the writer himself describes as ‘the most ambitious and personal play I’ve written.’ The stage was set up as a living room for the entirety of the play, with the layout and props changing to communicate the progression of time from 1969 through to 2024. The sparse room was updated periodically with the latest technological advances, such as a VHS video recorder and a CD tower unit. Being from Sheffield, the many references to the City, including the village where I grew up, colloquial terms and time-sensitive reference points added to the feeling of familiarity. 

Abigail Graham’s superb direction was key to the success of the multi-faceted storyline. Tasking eight actors to portray over 30 characters across a timeline of 55 years with only minor modifications to the set is no mean feat. The relevant date changes were projected across the plain OSB walls around the stage clearly and effectively. This was necessary as the timeline sometimes progressed a few days at a time, but then jumped by a few years. What was impressive was the smooth manner of switching conversations between characters and the enablement of costume changes. The use of lighting was an important component in this. The costumes and makeup were accurate and easy to associate with the relevant era. For the direction to work, the cast had to work together as a team, including updating the set. The 8-person cast was individually and collectively brilliant. 

Ambitious is the perfect word to describe the expansive narrative. Set over 5 decades, the subject matter touches upon family, community, politics, addiction and money amongst other themes. Covering a period of time that oversaw dramatic social change, there were many easy-win, lighthearted, nostalgic references. But broad scripts need depth and this was where the production excelled. Each character had compelling stories that intertwine and resonate with familiarity.

As the story and decades unfolded, I found myself thinking how old I was at that moment in history and where had the subsequent years gone? Having been expertly navigated through the circle of life, the touching and emotional finale was a fitting and bittersweet ending. One of the aspects that stood out was the rich characterisation and how they developed and changed over the substantial time period. This showcased how well the script, acting, make-up, costumes and direction harmonised. Everything worked. The style and location drew comparisons to Chris Bush’s excellent ‘Standing at the Skye’s Edge’ and will appeal to fans of that production.

Living is an excellent theatrical experience, which would work well on a larger stage, but, for now, the intimate Playroom setting adds to the delicacy of the narrative. The production and acting are accomplished and complement the wonderfully sentimental and clever script, which examines the highs and lows of ordinary life with poignancy. It is a highly ambitious and personal work by Leo butler which hits all the right notes and one which I suspect he will reflect upon in years to come with great pride.

Production run (The Playhouse, Sheffield): Saturday 14th March – Saturday 4th April 2026.

Running Time: around 3 hours, including an interval.

https://www.sheffieldtheatres.co.uk/events/living/dates

Reviewer: Matthew Burgin

On:  Thursday 19th March 2026

Theatre Review Under Milkwood by Dylan Thomas Theatre Clwyd

If ‘Under Milkwood’ is not absolutely unique, it is hard to think of anything else quite like it. ‘Oh, what a lovely war’ for example does have a cast where everyone plays multiple parts with neither a central story nor any main characters but with that work, the central aim was a satirical look at a particular historical event. In ‘Under Milkwood’, this is no overriding event and the action never moves outside of a tight-knit Welsh seaside community. The central character is the town of Llareggub, the timespan covered is a just single day and rather than satire, the main focus is a sophisticated blend of cynicism and affection with the audience introduced to some fifty characters through a weaving of picturesque poetry and sharp interactions of dialogue. The play is in essence of a continuous poem acted out, giving a portrait of a certain Welsh community in the 1950’s.

The quick-fire pace of ‘Under Milkwood’ is based around short lines delivered in rapid succession, typically only five to seven words in length and frequently less. Dylan clearly took great care to make the images succinct, often with humorous effect. For example, the description of a drunken lover ‘snoring like a brewery’ says an awful lot in remarkably few words. Many of the poetic images create funny and ribald images. A sailor reminiscing about the ‘jolly rogered sea’ again blends a pirating term with a sexual connotation, again with great brevity. Many images are simply poetic evoking sensual engagement with visual mental pictures. Numerous lines rely wordplay, with cynical connotations such as the wedding where the groom is asked if he will take a woman to be his ‘awful wedded wife’. 

The Theatre Clwyd production had the added impetus of being actually performed in Wales with quite a Welsh cast and this close association to the play came over strongly in the sincerity and vibrancy of the performances. The eleven-strong cast enabled frequent crowd or ensemble scenes to be performed, as the script required, in addition to a host of individual character portraits. For the most part, everyone wore white costumes although there were occasional colourful dresses or black cassocks. Hats were essentially used to denote specific job functions such as the postman or a policeman, at times with a little more such as the butcher having an apron, but a key element of the play was that once a character’s job function had been given, virtually all the other information provided related to their personal passions, quirks and idiosyncrasies.

This was a play about individual people rather than their roles in society. There were numerous memorable and amusing cameo portraits such as the eccentric Organ Morgan played by Jacob Coleman and Evans the Death played by Macsen McKay. Douglas Walker’s blind Captain Cat recurred a few times, as a prominent member of the community with Georgia Griffith’s romantic Polly Garter singing a soulful lament, one three actors who had songs in the folk tradition. Kate Wasserbeg’s smooth direction ensured that lighting changes in the background were scarcely noticed as the emphasis kept moving  rom one character to another, frequently giving to a lifelike realisation to the time of day having changed. 

The set was, for the most part, a jumble of some hundred or so model houses each of which had lights on inside. This was powerfully symbolic denoting the nature of a seaside town built on slopes going down to the sea; a place which had not been in planned in neat rows like a council estate but evolved over time, with the houses effectively all ending up forming a kind of collective jumble. The lighting on the houses changed throughout the performance together the stage lighting and a subtly-used video back-screen to denote the passage of time, from carousing in the small hours to tradesmen starting work at dawn. Sound effects such as animal noises and atmospheric music enhanced the moods so that you really felt you were seeing a whole day in the life of a town, condensed into a just couple of hours, with all the shenanigans and intrigues going on beneath the surface as everyone went about their daily lives.

This was an excellent presentation of an unusual work that essentially  aimed to simply create a picture of a town through a host a quicky characters.

There was an honesty to the writing, underpinned by a deeply cynical humour. This was best exemplified with the Welsh-sounding town name of Llareggub; try saying it backwards!

‘Under Milkwood’ is on until 4th April, see https://theatrclwyd.com

Reviewer: John Waterhouse

On: 19.03.26

Concert Review Come Together Royal Court Liverpool

 

Come Together, written by and starring Tom Connor and Mark Newnham, is a celebration of the music and talents of John Lennon and Paul McCartney of The Beatles fame.

The Lennon and McCartney songbook is commemorated with hits mainly from the 1960’s in the first half with the rest of The Beatles repertoire, 1970’s onwards, in the second half

Tom Connor (Paul McCartney) and Mark Newnham (John Lennon) provide a walk down memory lane for fans of The Beatles celebrating the writing talents of McCartney and Lennon with four talented backing musicians under the guidance of Musical Director Howard Gray. The band members deserve a special round of applause as they are the cherry on top of the cake; Mike Woodvine (guitar), Greg Joy (drums), Adam Keast (bass) and Ben Gladwin (keys) all deserve a special mention for their faultless musical capability and assured stage presence; they make for an impressively tight combo.

The music is interspersed with chat from the two vocalists telling the story of the rise to fame of the Fab Four, highlighting the chemistry between the two performers. The background stories behind each of the songs is uncovered before renditions of the songs, with a few laughs and comedic banter in-between.

The set is constant throughout with all of the instruments on stage portraying a combination of the film studios where the Get Back sessions were filmed to the final iconic Apple rooftop concert performance, with girlfriends coats et al. The duo are dressed casually in T shirts and waistcoats with no costume changes or special effects, the music being the star of the show.

Backdrop video projections help to set the scene and announce different chapters in the lives of the famous duo quoting revered lyrics from some of their songs and showing Liverpool landmarks. The videos help to skilfully submerge the audience into each moment in time, with the sounds of screams in a stadium growing louder to emphasise the height of Beatlemania that Lennon and McCartney, alongside George Harrison and Ringo Starr experienced and led to them publicly state that they couldn’t hear what they were playing and could have been playing anything and nobody would have known, thus leading to their decision to stop touring.

Connor’s portrayal of McCartney hits the mark superbly whilst Newnham’s depiction of Lennon took a little more convincing, that said, both performers’ musical competence and range is flawless. The musical arrangements are tight and the chemistry between the leading duo and the other four musicians is perfect, the audience were captivated from start to finish. Connor and Newnham have created a sardonic script, interspersed with wit and banter and to which Connor brings McCartney’s cheery optimism while Newnham clearly relishes giving voice to Lennon’s dry wit and cynical persona.

The audience were able to lose themselves in personal memories whilst appreciating the music and goosebumps must have been experienced by many as powerful classics such as 'A Day In The Life' and 'Hey Jude' were performed.

The atmosphere is very intimate, and the show is a tribute to two exceptional songwriters; fans from the older generation will enjoy being taken back in time by Beatles music prompting particular memories; for the younger generation the music will register appreciation of the songwriting duos talents whilst jealously wishing they had been around in those ground-breaking times.

The show is a must for Beatles fans; there were many American and European fans in the audience appreciating the talents of Connor and Newnham which are to be applauded.

The show runs until 28^th  March  2026 – more info and tickets available from https://liverpoolsroyalcourt.com/main_stage/come-together

Catch it if you can, you won’t be disappointed.

Reviewer: Anne Horne

On:  19^th March 2026

THEATRE REVIEW AMATEUR YOUTH THEATRE Chicago (teen edition) PADOS Youth The Met Theatre, BURY

This is a hugely popular show, a real 'evergreen' one might say; and strangely enough, it is the Teen edition ( a cut down and 'tamed' version for teenagers ) that is the version i now more often get to see. It is a highly sexy, sassy, and no-holes barred show in its 'adult version', but here most of the swearing, many of the sexual references, and the a couple of the characterisations have been tempered down, It does lose something certainly by doing this, but the essence of the show is still there. And indeed, the essence was there this evening in large amounts. Director Helen Wilkinson and choreographer Suzi Cleary worked excellently together to create this spectacle. they both obviously understood the milieu, style, and genre of this show and did their best to instill this insight into their young cast, most of whom "got it" completely, and had no trouble with the physicality and sass necessary to bring this show off. Bravo!! 

For those of you who don't know, then the musical, Chicago, is based on real events that happened in Chicago in the 1920s and tells the story of two murderesses who, thanks to the 'brilliance' of an expert lawyer, are acquitted of their crimes and go on a Vaudeville tour together! It's highly theatrical, bold, brash, and the writers Kander and Ebb infuse their score with jazz and razzle-dazzle throughout, making it a true vaudeville entertainment in itself. 

Of course opening night saw several hiccups and hiatuses, which will undoubtedly be ironed out as the run progresses, and the cast need to relax more into their roles and allow the show to bed-in and be comfortable. All this of course though is totally understandable and forgivable. And an extra pat on the back to Ben Bardsley, who continued with his 'Mr. Cellophane' song this evening as though that was exactly how it was meant to have been presented! Well done young man!

Right from the very start of this show - the overture, the lights [LX design by MSL was truly stunning throughout!] and the raising of the 'Chicago' sign - we knew we were in for a treat. The feel of the show captured perfectly in this simple but effective bare stage. 

The entire cast must be heartily congratulated, and their dedication, enthusiasm, and indeed ability are all highly commendable; and to learn that their ages ranged from 13-only 18 was inspiring too. Velma Kelly was played by Ashleigh Smith with an energy and verve rarely seen on stage by any performer (professional or amateur regardless of age!) and her understanding of the role and her obvious total enjoyment and commitment to it was a sheer joy. Matching her pace for pace was her co-star Roxie Hart, played by a young Sylvie Knightley, again revelling in her role. We cheered her on, we felt sorry for her, we hated her, we wanted her to hang, then we loved her again.....! superb! Cavan Jefferson gave us an intelligent and clear portrayal of the materialistic and narcissistic lawyer, Billy Flynn, whilst Amos Hart (Ben Bardsley) did his best to be noticed whilst everyone else overlooked him. A nicely pitched performance. Rebecca Lyons played Matron Mama Morton - and it is here that one of the biggest change of the teen edition's show occurs, and for me, turns her character into a side-note rather than  main lead which is a real shame. Morton is not a butch lesbian anymore and she no longer feels up all the girls, and the best song in the whole show 'Class', is cut. So instead, whoever plays this part is left with only an outline of what was intended for her character, and Lyons played that outline to the hilt, milking it for all it was worth. Good on ya gal! Another big change in the show comes in the form of Mary Sunshine. However, many adult shows use a female to play this part too, so it is not as significant. Here a very young looking Emily Sapseid made Sunshine shine!

The 'Merry Murderesses' were Maizie Stanbank, Isabella Shafai, Cleo Avanessian Lucy Jones, and Victoria Phelan. Sadly the programme doesn't tell me which of these was Hunyak - but whichever you were then to my untrained ear at least, your Hungarian sounded native. These principals were backed by an ensemble of 16 more all making their mark this evening. A highly intelligently realised and professionally directed and produced production of one of Musical theatre's 'staples', and a very enjoyable evening out in the company of so many talented youths.

Reviewer - Alastair Zyggu

On - 18.3.27

THEATRE REVIEW The Fire Raisers We Merry Dancers Hope Mill Theatre Manchester

For We Merry Dancers, a new company founded by Oldhamer Amy Gavin, their debut production at Manchester's Hope Mill theatre was the challenging and hard choice of Swiss dramatist Max Frisch's surreal and abstract dark and cautionary comedy, 'The Fire Raisers'.

Gavin also directed this debut production herself, and one might almost say that her direction of the play was excellent. Just a couple of minor instances within the direction stopped it from becoming masterful. The play is very difficult to realise and is intended to be played at quite a pace, never letting the momentum drop; and sadly Gavin chose to ask her cast to put too much weight on certain phrases or situations which almost brought the action to a stand-still. If the pace had not dipped at all throughout, then this would have been a masterclass in theatricality.

The premise of the piece is that the town is being systematically arsoned by individual or individuals unknown and the fire department is on high alert. The preferred method of arson is for the perpetrator to gain access to the property through fraud and deception and then after staying in the house for a day or so, burn it to the ground. Despite this knowledge, our anti-hero Gottlieb Biedermann (played with obvious skill and delight by Rupert Hill), accepts first a 'homeless; man into his house, and later his friend, an ex-convict, and despite their obvious intentions, Gottlieb is blinded by self-righteousness and disbelief, becoming an unwitting accomplice in his own destruction. The two cons, Schmidt and Eisenring are played here with verve and aplomb by Kyle O'Neill and Michael Clay. 

Absurdist humour is possibly the most difficult kind to stage, especially when it carries a relevant and overriding caution or message (as it does here), and this ensemble cast, which includes a Greek-style chorus of fire-fighters do everything they can to keep the suspense burning, even though we seem to know how it will all end. And after 80 minutes of act one of this play, we find we were right. We think the play ends there, and in effect it actually does. However, Gavin had chosen to place a short interval here and then perform the 'epilogue' of this play as a second act of around 25 minutes' duration. the epilogue is set in Hell, and although it does give the cast a chance to show a different side to their consummate abilities, it does feel a little like an afterthought and is not as funny as the main body of the play.

Sound and lighting added greatly to the overall feel of this play this afternoon, but I did feel a little 'let down' by the underwhelming nature of the act one denouement. We could smell and see smoke, but considering everything else was so wonderful, it just was a little disappointing.

However, for a debut production and a directorial debut, this is impressive stuff indeed, and I look forward to seeing what We Merry Dancers next project will be! 

Reviewer - Alastair Zyggu

On - 14.3.26

THEATRE REVIEW AMATEUR MUSICAL THEATRE 9 To 5 Heywood Amateur Operatic And Dramatic Society The Arena, Middleton Manchester

Dolly Parton's most famous song - and film - has been a stage musical for a long time now, and is always a popular choice. I do wonder how it will fare once the younger generation start to take over (those who have never heard of her) - but for the time being, we are blessed with this comedic but cautionary tale about male chauvinism and an all hail to 'Girl Power!'. I have to admit to having seen this show several times over the years, both amateurly and professionally, but to my knowledge and remembrance never seen it with the introduction and ending performed by a pre-recorded Dolly Parton herself introducing and closing the show. This was a new innovation for me and I enjoyed it.

This was a high octane production which was faithful to both the milieu and the writers, with a solid through-line, signposting the narrative clearly, with some excellent characterisations which were rounded and hilarious, taking inspiration from the more famous performances of these people, but not producing copies, making them their own, which was both refreshing and excellently placed. 

We are in the 1970s in the USA, and a large and successful firm takes on a new employee. the boss is the archetypal misogynist whilst his pool of typists have to behave in 'the company way'. However, three of these ladies have had enough, and between them (and the smoking of some pot!), come up with a plan to get their own back and take the company from strength to strength with kindness, humanity and genuine understanding of the needs of the employees. 'A woman's touch' (oops, that's the second wrong musical quote so far!)

The three 'stars' of the show, each with their own differing characters and reasons for rebellion, were truly outstanding, and they worked superbly together. Sophie Lord played Doralee (the role taken by DP herself!). Lord managed to inject a degree of humanity into this role that is often missing in others' interpretations, and she was a sympathetic and 'real' character rather than a dumb blonde caricature that it could so easily have been. Violet Newstead, the office overseer (for the want of the correct phrase!) was played with a huge burst of creative energy and indeed talent by Kathryn Gorton. Her infrequent but more intense and softer moments on stage showed real insight. The trio was completed with Sarah Thewlis as the willing newbie without a clue, Judy. Again another noteworthy performance. 

Jon Crebbin relished his role as the company boss, pitching his character just right as Franklin Hart. Who was, in his own words, a sexist, lying, egotistical, hypocritical, bigot. Another highly noteworthy and lovely performance (with a stunning transformation!) came from Scarlet Dickinson as Ros Keith. We all truly enjoyed her duality. The cast completed with other solid performances from Sam Reid as Joe, Jack Martin as Dick, Gareth Roberts as Dwayne, and an enthusiastic and nicely sounding chorus and ensemble. Accents were generally very good and consistent throughout.

Directed with gusto (Nick Angus) and choreographed with verve (Jennie Miller and Hannah Gent), this was a great and highly creditable addition to the society's accolades. The musical direction was deftly done by David Abendstern, my only criticism would be that sometimes the music overpowered the onstage choral effects, but that has more to do with the sound department than the music I feel. Both director and choreographers had taken into account both the size and shape of the set utilising space well, as well as making sure no-one felt left out and was not tasked into doing something that was beyond their capabilities..

This was opening night and so there were a few obvious hiatuses, but these are completely understandable and forgivable. Overall a feel-good positive and rousing show of which the company should be rightly very proud.

Reviewer - Alastair Zyggu

on - 17.3.26

Theatre Review Glorious Theatre Royal, Windsor

A gloriously delightful and funny celebration of being unapologetically yourself. Theatre Royal, Windsor was filled was laughter, warmth, and charm that lingered long after the curtain fell on Glorious! 

Glorious! beautifully written by Peter Quilter (End of the Rainbow and the Oscar-winning film, Judy) and directed by Kirk Jameson (Song From Far Away, Madagascar: The Musical) wowed audiences in its original Olivier-nominated West End long-running production starring Maureen Lipman in 2005, before heading to the silver screen, starring Meryl Streep and Hugh Grant in the film version of the play that critics simply called “GLORIOUS!” The show has since been seen by millions of people around the world, translated into 25 languages, and performed in 36 countries. 

Now it stars Wendi Peters (Coronation Street) as Florence Foster Jenkins and Matthew James Morrison (EastEnders), as Cosme McMoon, in this 20th anniversary production. It originally played to rave reviews at Manchester’s Hope Mill Theatre and is the feel-good comedy we’ve been all been waiting for. Glorious! follows Florence’s journey as she prepares for her concerts, builds an unlikely friendship with her accompanist, Cosme, and defies her critics to follow her dreams. Dubbed ‘the worst singer in the world’, Glorious! is the true story of American socialite Florence Foster Jenkins, who was known for her flamboyant costumes, enigmatic performances and decidedly off-key voice. Presented by Thomas Hopkins Productions, Haffner Wright Theatricals and SAMS Entertainment, I travelled over to Windsor to witness Glorious! at the very traditional and quaint Theatre Royal, Windsor, and is on there until 21st March. The walk to the theatre took me past Windsor Castle, sitting quietly luminous and steeped in its own long history, and certainly setting a tone for the evening. And then into the theatre itself, intimate, warmly lit, full of that old-fashioned charm that doesn’t try too hard because it doesn’t need to. Red velvet, closeness, a sense of being held in a shared space where many stories have been told. You can feel yourself arriving, properly.

We’re met with the title of the show Glorious! dramatically lit across the theatre curtains. Lighting Designer, Mike Robertson getting us in the mood for what lay ahead. What lay ahead was lots, and lots of laughter. Not just polite laughter, but real, sustained, rolling laughter. The kind that builds across the room, gathers momentum, and becomes something collective. The audience last night were absolutely with it, you could feel how much they were enjoying themselves, how willing they were to go along for the ride. There were moments where the laughter tipped into that slightly uncontrollable place, where people are looking at each other as if to say, “is this really happening?” and that just made it land even more.

At the heart of it, of course, is Florence Foster Jenkins, played by Peters, and she absolutely aces it! Peters leans fully into the glorious absurdity of Florence Foster Jenkins, while still allowing space for something softer, more vulnerable to quietly breathe underneath. It would be easy to play it purely for ridicule, but that’s not what happens here. Instead, there’s a kind of affectionate framing from Peters, a sense that we’re not laughing at her so much as being invited into the sheer strangeness and sincerity of her world.

What really elevated it for me, though, was the rapport between the two leads. There’s a rhythm between them that feels completely natural, responsive, playful, and at times almost conspiratorial. Cosmé McMoon, played by Matthew James Morrison truly shone working alongside Peters who allowed him opportunity to really sit comfortably in his own space on the stage. Generosity is such a big part of acting and I felt Peters gave generously with her creativity towards Morrison. You can sense the trust there, and it gives the whole piece a kind of ease. Their timing is sharp, but never mechanical, it breathes. Little glances, pauses, reactions, all those small, human details that make the humour land so well, but also make the relationship feel believable.

And that relationship is important, because it’s where a lot of the emotional weight sits. Beneath the laughter, there’s loyalty, protection, perhaps even a kind of love that isn’t straightforward but feels real nonetheless. It adds depth without ever pulling focus from the comedy  just enough to catch you slightly off guard. I found myself repeatedly surprised by how much warmth there was. Yes, it’s very funny, consistently funny but it’s also unexpectedly gentle. There’s something quite moving in watching someone live so fully in their own truth, however unconventional that might be. To create without self-doubt, to express without apology it’s absurd, yes, but also oddly brave. Peters plays it all with authentic prowess. Shout out to Margaret Lock, Costume Designer, for some amazing and stand out costumes! 

By the end, the audience felt completely won over. There’s that particular atmosphere when a room has shared something joyful together a kind of lightness, a hum of connection and it lingered even as people slowly filtered out. Praise for all the wonderful staff at Theatre Royal Windsor who couldn’t do enough to make sure the audience and its theatres guests had the best evening. And then one of those slightly glittery, lovely Windsor moments heading over to The Ivy, Windsor and realising the evening wasn’t quite over after all. The after-show energy carried on there, with a glimpse of the cast unwinding, still holding that post-performance buzz. It added an extra layer somehow that sense of stepping just a little behind the curtain, seeing the people behind the performance. 

And then finally back out into the night. The air cool and still, Windsor Castle glowing quietly in the background, as if nothing much had happened while you’re carrying this soft brightness from the evening. Very funny. Deeply enjoyable. Full of warmth. And in that setting with the charm of the theatre, the shared laughter, and those small unexpected moments afterwards it felt like something just a little bit special. 

For Glorious! Tour dates see https://gloriousplay.com/ 

Reviewer - Mary Fogg 

On - 17th March 2026 

DANCE REVIEW Amateur U DANCE North West The Lowry Theatre Salford

It's that time of year again, and my annual visit to Salford's Lowry theatre to watch the regional finals of the U Dance Youth festival. It is always a highlight of my calendar and this year was no exception, despite being available to cover the first night only; so my apologies go to those performing on the Sunday, I was not able to watch your dances, so sorry.

U Dance North West's Saturday fayre however was a good mix of ages and abilities, but once again the vast majority of these entries were in the genre of contemporary dance / ballet. It seems to be somewhat de rigeur now for this festival somehow. 

I am not a professional dancer myself - although I have danced in Musicals in years' gone by! - but instead am a trained Musical theatre actor and stage director, and so perhaps I look for different things in a dance than those who are looking for technically perfect steps. For me, I want to see the dancers enjoying and living the dance, if the dance is telling a story then they should be telling it with their eyes as well as their bodies. Is the choreography exciting, does it use the stage well, is there a mix of group, ensemble and solo work, do the costumes reflect the piece they are dancing, is the dance within their capabilities, etc etc etc - the list goes on!

There were 11 set pieces on this evening's programme, as as usual I was impressed with the overall commitment and dedication of all groups and their cheering on and supporting of each other. 

Dancing the opening number, 'Dreams', was Infinity Dance And Theatre School, which interestingly did not have any unison work in the whole piece, but it was proficiently and nicely achieved. The came a Spanish-inspired work based around the life and work of Frida Kahlo performed by Altrincham Grammar School For Girls.  We also saw Bury Youth dance perform 'Power Over Me', The Lowry Youth Dance Project's 'Here Dancing, It's Amazing'., Stockport grammar School's 'Oculus', and 'Ignition Is A Conversation' which combined both normal children with those with learning difficulties from Burnley College. We also were treated to another set of traditional Indian dances from the dancers of Swati Youth dance, this year showing us the different aspects of the God Shiva.

For me however, the most exciting and watchable performances came from E11evati0ns REWIND's 'Hills to Mills', Preston College's 'Cry Me A River', Eden Youth dance's retrospective of 1930's contemporary ballet in 'nature's breath', but for the sheer spectacle of lifts , balances, and gymnastics, the girls of 'MELODY' and their routine titled' Where do We Go?' has to top the bill for me!

However, my opinions are very subjective, and I truly commend all who took part and it was a fantastic evening of youth dance. I am already looking forward to U Dance 2027!

Cheers,

Reviewer - Alastair Zyggu

on - 14.3.26 

Launch Concert ‘Rochdale Music Stories’ - Special Album Heywood Civic Heywood

This was an evening that worked on various levels, all which were closely intertwined. First and foremost, this was a celebration of an important part of Rochdale history; Cargo Studios where many bands from the late seventies onwards got an initial chance to record their music, prior to going on to achieve international success. Secondly, it was a celebration of the music created primarily by bands from Manchester and Liverpool in the post-punk era when several new styles of music were emerging. By no means least, there was also a platform given to several emerging artists from the Rochdale area who continue to record in the same rooms on Rochdale’s Kenion Street, now re-branded as Voltalab Studios. 

The evening had been a long time in the planning, serving as a launch event for a limited-edition LP featuring each of the bands; artists who appeared on stage but what made this rather special was that each track featured on the album was actually a cover of a song from the back catalogue of one of the original bands who recorded at Cargo Studios (or its later incarnation as Suited Sixteen). The repertoire included such now famous names as Joy Division, Orchestral Manoeuvres in the Dark and the Chameleons. Each artist did a cover of a famous song by a group or singer from the Cargo/Suite Sixteen Studios era and an original track of their own, giving an excellent blend of past and present.

There was a lot more to the evening that just a selection of performances by current artists. Clint Boon of The Inspiral Carpets (who also started out at Cargo Studios) hosted the event, interspersing introductions with recollections of working at Cargo Studios in the 80’s. Special guests Peter Hook of New Order, Vox of the Chameleons and Martin Moscrop of A Certain Ratio each provided numerous other anecdotes of Cargo Studios, often with fond memories of the recording staff and most notably legendary Manchester record producer Tony Wilson. There was a strong sense of comradery amongst these artists who had all emerged in the later 70’s and 80’s (Peter Hook even being a godfather to Clint Boon’s son). They all continue to perform their own work but it was evident that they each had a desire to encourage new talent as well, which was the real purpose of the event.

Aside from the hits that were covered, there was considerable depth and variety in the work of the ten artists who performed. There were some four-piece bands with elements of early 80’s new wave, funk and rock. There were solo performers, a singing duo who brought a full backing choir on stage and a foursome with a brash band in support. It should also be noted that there was a reasonable balance of mellow acoustic and hard electric sounds on the programme.

In the early 70’s, at a time when there were a limited number of fully-equipped studies in England, Manchester rock band 10CC created their own Strawberry studios in Stockport, which famously attracted established artists from Neil Sedaka to Paul McCartney. Cargo Studios came about a few years

later, on a more limited budget, essentially offering more cost-effective prices to up-and-coming musicians. The two studios complimented each other, located at opposite ends of Greater Manchester, offering alternatives to expensive London costs. It was fitting that representatives of Stockport were given stage time last night, outlining the North Western unity of both studios and emphasising how today, in sharp contrast to the 70’s and 80’s, both Stockport and Rochdale Councils are supporting the arts, helping new creatives launch their careers.

This was more than just a very enjoyable evening. It was a perfect blend of celebrating the past and promoting the future. Host Clint Boon spoke for the all the established artists when he said that Rochdale has a remarkable amount of talent there needed nurturing, which is makes event like last night so important.

https://www.rochdalecreates.co.uk/news/rochdale-music-stories-a-celebration-of-rochdales-rich-musical-history

Reviewer - John Waterhouse

On - 14th March 2026

Theatre Review Children of the Night Southwark Playhouse, Borough

Like so many major towns across the UK in the 1990s, Doncaster was awash with pubs, clubs and young people determined to have a good time. The music scene was vibrant, pulsing with the aftershocks of rave culture, dominated by the drum and bass beat that shaped not only the decade and dancefloors but the drinking, drugtaking and general hedonism that went with it. It was a time when sex was casual, often anonymous, and woven into the fabric of nights that blurred into mornings. Doncaster, for better or worse, was very much part of that world.

It was also the decade when Doncaster gained the grim moniker of the “HIV Capital of the North”, after a significant heterosexual HIV/AIDS cluster sent shockwaves through the town. The media descended, sensationalising the outbreak and painting Donny as a place where danger lurked behind every nightclub door. For those who lived there, it was a frightening, confusing time—one that forms the backdrop to Children of the Night. 

The play opens with Lin (Lindsey) and Jen celebrating their GCSE results in 1997—a year that feels like yesterday to many of us yet is somehow creeping towards thirty years ago. Doncaster, like so many northern towns, was still reeling from the collapse of coal mining and the closure of major industries. Jobs were scarce, communities were struggling, and morale was low. Educational ambition was limited for many young people, and racism was depressingly commonplace. Against this backdrop, any small success felt worth celebrating. Lindsey and Jen, like countless teenagers of the era, headed straight for the familiar party streets of Silver Street and Duke Street armed with fake IDs, cheap fluorescent alcopops and the kind of reckless confidence only sixteen year olds possess. A snog and a fumble were fair exchange for anyone willing to buy them a drink. For Lindsey, this particular night becomes significant for reasons I won’t spoil here—you’ll have to see the show to discover why—but it marks the beginning of a two year spiral into the nightlife that becomes her entire world.

The girls make it home, but the party scene quickly becomes a way of life. Jen soon finds herself a boyfriend and a chance to study A levels at a good local college. Lindsey, meanwhile, goes straight into work, earning money that she promptly spends on club nights, and the outfits required to look the part. The contrast between their paths is subtle at first, then increasingly stark, until eventually there is a shift and Lindsey sees the value in education and a more sober lifestyle.

At home, Lindsey is being raised by her dad, who is struggling with his own health issues and the pressures of single parenthood. His frustration with Lindsey’s lifestyle grows, especially as the HIV outbreak looms over Doncaster like a warning siren. Their relationship becomes strained, tender, and at times painfully raw. Something, inevitably, has to give. This is, at its heart, a tale of woe—but also a love letter to a town that writer Danielle Phillips clearly holds close. She captures Doncaster with honesty, affection and a refusal to shy away from its rough edges. Her writing is full of lived experience, and it shows. 

Phillips herself, plays Lindsey with a loud, brash exterior that masks a deeply wounded core. She allows us glimpses of the girl beneath the bravado, and those moments land with real emotional weight. Charlotte Brown’s Jen matches her energy beat for beat; the two of them clamber up and down the set, leap from platforms and tear around the stage with the chaotic abandon of alcohol fuelled teenagers. It’s remarkably easy to believe they are sixteen. 

Gareth Radcliffe, as Lindsey’s dad, brings a weary, fragile presence—a man barely holding himself together, fond of a drink, a gamble and a fag, yet still trying to do right by his daughter.

A special mention must go to lighting designer Jessie Addinall, who transforms a simple stage into a convincing nightclub using little more than LED rope lights and clever colour work. It’s inventive, effective and adds a huge amount to the atmosphere.

My only real gripe was the sound quality during the DJ microphone moments, which came across muffled and unclear. Hopefully this can be adjusted for future performances, though it may simply have been my position in the auditorium.

Children of the Night speaks directly to anyone who partied through the 90s, but also to those who grew up in overlooked towns where life is tough and opportunities feel limited. It’s a story about youth, risk, survival and the places that shape us—for better and worse. 

Running time: 95 minutes. Not suitable for under 16s.

Reviewer: Penny Curran

On: 13th March 2026

Theatre Review The Dodge Brothers Music Room Liverpool

The Dodge Brothers are a British band who play a lively mix of skiffle, rockabilly, blues, country and early rock ’n’ roll, heavily inspired by American roots music of the 1920s–1950s. They aren’t actually brothers, though there is a father and son in the line-up. Mike Hammond is on lead vocal and Gretsch guitar, Mark Kermode (yes, that one!) on double bass, harmonica and vocals, Aly Hirji on acoustic guitar and vocals, and Alex Hammond, Mike’s son, on drums, washboard and wine bottle. Their set consists of a mix of originals and covers from the era their music belongs to. 

Alex Hammond tapped his drumsticks three times as the signal for the band to roar into their opening numbers, ‘Oh California’ and ‘Singled Out’. It was a powerhouse start that set the tone for the rest of the show. With songs about railways, drinking, religion and homicide, the Dodge Brothers really do tap into the American folk-ballad tradition. Indeed, Mike Hammond hails from Alabama, a state with a rich history in country, bluegrass and old-time music. ‘Church House Blues’ and ‘Middle of Nowhere’ followed before Mark Kermode took over lead vocals for ‘Saving the World’, a song, he said, about unsung heroes who prop up a bar in the wee small hours.

There followed two songs about death: a cover of Lloyd Chandler’s Appalachian folk song ‘O Death’ and ‘Died and Gone to Hell’, the performance of which was the highlight of the evening. Kermode offered a potted history of skiffle, referencing The Quarrymen, of course, then invited Alex out from behind his drum kit and explained he would play the washboard and wine bottle on the song. He did so brilliantly, really offering an authentic skiffle sound. The first half of the show ended with ‘The Ballad of Frank Miller’, completing a trio of songs from their 2009 album Louisa and the Devil.

It had been an exhilarating show so far, much of the enjoyment coming from the obvious pleasure the band take in playing this music and sharing their passion for it with an appreciative audience, as well as the good-natured banter between songs. You could almost believe you were in a 1950s skiffle club like the Casbah or the Cavern. Indeed, the band were last seen in Liverpool playing at the Cavern in Midas Man, a 2024 British biographical film about the life of music entrepreneur Brian Epstein.

I particularly enjoyed Kermode’s double bass playing. He has famously described his ability as ‘adequate’, but it’s obvious he’s much more than that. He embraced the performance side, spinning his bass around or lifting it above his head. Indeed, Kermode was first to return to the stage for the second set, playing a groove while, one by one, the other band members joined him for a new song, ‘A Night Like This’. ‘Gone’ was next before Mike introduced the song ‘Short Order’, the lyrics of which were based on his time working in a restaurant.

Other moments included some backing vocals from the audience on ‘ATF Blues’, about Schlitz Malt Liquor and Colt 45 (the classic American malt liquor known for its high alcohol content, not the gun).

Aly Hirji’s guitar playing should not go unheralded. The quiet Dodge Brother, at least tonight, is a driving force that provides the rhythmic backbone of the band They played a three-song encore, ending with a cover of Arthur ‘Big Boy’ Crudup’s ‘That’s All Right’, before heading over to the merchandise table to mix with the audience.

The Dodge Brothers put on a lively, rootsy and thoroughly entertaining show of maximum skiffle and blues. The Dodge Brothers aren’t currently on tour but information about upcoming shows can be found here,

https://dodgebrothers.co.uk/gigs/

Reviewer – Adrian Cork 

On – 13.03.2026

Theatre Review Death on the Nile Lyceum Theatre, Sheffield

Agatha Christie's Death on the Nile has been adapted for the stage by Ken Ludwig and directed by Lucy Bailey. It is one of the most famous novels written by one of the world's most famous mystery writers and features one of the world's most famous fiction sleuths, Hercule Poirot. It is set in Egypt, with most of the action taking place on the River Nile. There have been many film adaptations of this book, with the most recent, Kenneth Branagh's 2022 offering, receiving mixed reviews.

From the opening scene with two lovers meeting on the misty Lyceum stage and ‘third wheel’ Hercule Poirot skulking in the background, it was clear this was going to be a well-scripted and well-acted production. With the creative team of Sarah Holland and Elizabeth Marino, in charge of the costumes and hair, respectively, we were transported into the company of an eclectic and affluent cross-section of 1930’s society for a leisurely jaunt on the mighty river Nile. 

The decadent environment was reinforced with excellent use of staging and props, which was for the most part, set on a luxury cruise ship. The high Lyceum stage accommodated two levels on the ship, which worked extremely well for switches between conversations, as a tool for eavesdropping, or for using silhouettes behind louvred screens to visualise the live dialogue. The coordinated manner in which the ship’s railings and other parts of the set vanished and reappeared when needed was the height of slickness.

It was an impressive cast headed by experienced stage and screen actor Mark Hadfield as the handlebar moustachioed Belgian sleuth. It was a role he clearly enjoyed playing and this showed with a portrayal of style and humour. Linnet Ridgeway (Libby Alexandra Cooper) and Jasmine de Bellefont (Esme Hough) had the right chemistry to form the key ménage à trois alongside Simon Doyle (Nye Occomore). Another successful relationship was the quirky love interest between Rosalie Otterbourne (Camilla Anvar) and Ramses Praed (Nicholas Prasad). Glynis Barber often dipped in and stole the limelight as the exuberant Salome Otterbourne. 

The characters and relationships are established in the first half, but with Hercule on board, it was obvious someone had to die before the interval. The gunshot that rang around the theatre as the lights dipped signalled that Poirot was back on duty.

Death on the Nile is classy and beautifully produced, with the stage setting and costumes operating in perfect harmony. It is well cast, with Mark Hadfield having fun with his playful portrayal of Poirot. The experienced actors contribute to the on-stage chemistry, bringing to life the characters and their relationships. Stylish Productions like these are what nights at the theatre are all about.

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

Running Time: around 2 hours 20 minutes, including an interval.

https://www.sheffieldtheatres.co.uk/events/agatha-christie-death-on-the-nile/dates

Reviewer: Matthew Burgin

On:  10th March 2026

Theatre Review Macbeth by William Shakespeare Storyhouse, Chester

It can sometimes seem as if professional theatre companies are in a kind of constant competition to see who can do the most outlandish adaptation yet of the bard’s best- known works, often throwing so many varied ideas into the mix that there is no overarching consistency in the end product. This in-house production of ‘Macbeth’ certainly had its fair share of new takes on the Scottish Play yet still managed to remain recognisably faithful to Shakespeare’s famous work.

The production certainly utilised technology to the upmost with a variety of video screens and projections onto walls creatively used with liberal helping of suitably atmospheric music and powerful sound effects. The Storyhouse was changed from its usual proscenium-arch format with a generous performance area jutting out into the audience giving a feel of theatre in the thrust whilst the back of the stage housed some remarkably varied sets, including a fully-equipped en-suite bathroom. This enabled multi-level scenes to interspersed with action on the main stage, giving a very dynamic feel to the overall production. The combined use of lights, sounds and music together with other effects was something to behold and with a total cast of eighteen, this was a big show.

The costuming was very consistently very modern although interestingly, the weaponry was all faithful to the original setting, comprising of medieval-style swords, daggers and even a battle axe. This combination worked but what was curious was that the costuming, the sets and even multiple overhead strip lights were all linked by an overriding colour scheme based around lime green & turquoise and violets and pinks. This extended to fluorescent lighting surrounding the back stage sets and even the bathroom was all finished in a pleasant shade of lime green, with other rooms painted in violet. There was however a nod to the Scottish setting, with some of the men dressed in kilts (with authentic tartans that were neither violet nor lime green) and several other costumes having Scottish-style chequered patterns.

The cast was nicely balanced between experienced professionals and young trainees, displaying part of the ambit of the Storyhouse which is to develop new talent. Unlike certain other professional companies, it was pleasing to hear all the cast deliver most lines in a clear measured manner as opposed to demonstrating how fast they could reel off Shakespearian dialogue (which is becoming all too common). Coupled with two rolling dialogue screens, this really helped make the play accessible to those who had not studied Shakespeare. Credit to Robin Morrisey for his powerful portrayal of Macbeth and Yolanda Ovide’s for her dominating Lady Macbeth; both actors convincingly brought over the emotional journeys their respective characters each travelled.

There were several creative elements in the sets, although at times the play became almost surreal with the witches’ steaming cauldron being a flip-lip, municipal waste receptacle (in lime green, naturally) and you actually saw a man brutally murdered by a teddy bear, savagely aided and abetted by two horses! An additional touch, which was quite dramatic, was that at various key drama points throughout the show, important lines (or sometime just single words) were projected in huge letters across the back screen, giving a tabloid headline effect.

This was a very satisfying production of Macbeth in the which artistic vision was consistent, giving a very modern feel to the setting which remaining grounded in the original Shakespearian text.

‘Macbeth’ runs at Storyhouse until the 21st March. See https://storyhouse.com

Reviewer - John Waterhouse

On - 12th March 2026