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

Theatre Review Uncanny - Fear Of The Dark with Danny Robins The London Palladium

Are you team skeptic or team believer? Last night had that slightly dreamlike London quality where the evening felt like it was unfolding in strange little layers of the unexplained. 

It began at the London Palladium for Uncanny Fear Of The Dark with Danny Robins, a show that sits somewhere between storytelling, theatre, and a spooky edge of the unexplained. The audience last night, 11th March at The London Palladium were completely drawn in. There’s something very human about sitting in a grand theatre with a few thousand strangers and collectively leaning forward into stories that make you laugh one moment and send a quiet shiver down your spine the next. The Palladium itself always does half the work for you. With its beautiful rich, velveted sense of history, its balconies glowing softly, pretty chandeliers hovering above the room, and you can’t help but think about all the performances and audiences that have passed through the same space before you. It makes the whole experience feel a little timeless, like you’ve stepped briefly outside ordinary life.

Uncanny Fear Of The Dark with Danny Robins is a show that is clever, and oddly very intimate despite the scale of the theatre. Robins has that ability to make you feel like you’re sitting in someone’s living room hearing strange late-night stories, except the living room happens to seat a couple of thousand people. The balance of humour and eeriness is what makes it work, just enough laughter to keep things light, but enough ambiguity that you walk out afterwards still turning things over in your mind. One of the most enjoyable parts of the evening was the audience questions. They were genuinely fun, curious, deep, sometimes slightly mischievous, and occasionally the exact question everyone in the room had secretly been wondering, but was relieved someone else asked out loud. Those moments added a lovely spontaneity and made the whole experience feel more like a shared conversation than just a performance. And all the way through, that central question hovering in the air…

Team Sceptic… or Team Believer?

For anyone who doesn’t know, Uncanny began as a hugely popular podcast and radio series created by Danny Robins, where ordinary people share their genuinely puzzling supernatural experiences. What makes it so compelling is that it never quite settles on an answer. Instead, each story becomes a sort of intellectual tug-of-war between explanation and mystery and the fan base around the show is clearly devoted. That dynamic is brought brilliantly to life on stage. Alongside Danny are two familiar voices from the podcast, Evelyn Hollow, firmly representing Team Believer, and Dr Ciarán O’Keeffe, holding the line for Team Sceptic. As each strange case unfolds they each approach it from completely different angles. Hollow open to the possibility that something genuinely paranormal may be happening, while O’Keeffe carefully pulls apart the evidence through psychology, science and rational explanation.

It’s part theatre, part storytelling, and part live debate and the tension between those perspectives is what makes it so entertaining. The audience clearly knew and loved the show. There was that wonderful fan energy in the room, the kind where people laugh at familiar moments, lean forward when the story gets eerie, and feel very much part of a shared community of listeners who have been following these strange accounts for years. By the end of the night I suspect the audience was still wonderfully divided.

Then the evening slipped into its second act.

A small after-show gathering at Mr Fogg’s Pawnbrokers, which feels less like entering a bar and more like wandering into a Victorian collector’s cabinet that someone forgot to lock. Every corner is filled with curiosities, strange artefacts, dim lighting, objects that look as if they might each have their own story. It’s the sort of place where conversations naturally drift and expand because the setting itself invites a bit of imagination. There was that lovely after-theatre energy in the room, people still half inside the world of the show, sharing reactions, laughing about moments that caught them off guard, and speculating about the stories. Those kinds of gatherings always feel slightly conspiratorial, as if everyone present has been let in on the same curious secret. What I liked most was the contrast of the evening, the grandeur of the theatre followed by the intimacy of a hidden, eccentric bar. Big stage to small room. Collective experience to smaller conversations. The sort of London night where the city quietly shows off its layers.

By the time I stepped back out into the street it had that particular late-night London feeling a little quieter, a little reflective and I realised the show had done exactly what good storytelling should do.

It lingered.

I walked away still thinking about the stories, the strange possibilities, and the simple pleasure of being pulled into a shared experience for a few hours. One of those evenings where you go out expecting entertainment and come home with something slightly more atmospheric, a mix of theatre, curiosity, laughter, and just a touch of the uncanny.

The tour dates continue here https://lwtheatres.co.uk/whats-on/uncanny-fear-of-the-dark/

Reviewer: Mary Fogg

Date: 11th March 2026 

Theatre Review The Memory of Water Everyman Liverpool

This play by Shelagh Stephenson combines a balance of poignant sensitive humour with profound emotional mindfulness as three daughters Mary, Teresa and Catherine return to their Northern childhood home for the first time in years on the eve of their mum’s funeral.

It is set in the winter of 1996 and tells the story of three very different sisters who are each grappling with personal challenges and the ghosts of their past. It is a scene familiar to many when family gather at a parents house for a funeral, and words are exchanged due to memories being unearthed leading to secrets and raw feelings bubbling to the surface. But the play isn’t maudlin, on the contrary it is very amusing and has a light-hearted mood due to the engaging comedic script.

The three sisters decide to sort out their mother’s clothes and possessions only to discover that their recollections from childhood days don’t exactly match which leads them to discover how varied memory can be transpiring to emotional personal exchanges and heartfelt interactions with each other.

The six members of the cast truly deserve high accolades. The main characters tackle a weighty script excellently and deal outstandingly with the challenges of differing emotions. Vicky Binns (ex TV Coronation Street) depicts Violet, the mother who has recently passed away. She portrays a very intricate, demanding figure in her youth, loving being dressed up to the nines and longs to be understood. Binns adds intensity and richness to the part which is very moving.

Helen Flanagan, (ex TV Coronation Street) genuinely excels as the youngest sister, Catherine. She captures her blend of neurotic energy perfectly, displaying insecurity and a humorous yearning for attention. Her part being given the bulk of the witty dialogue, she achieved most of the evening’s biggest laughs and her comic timing is spot-on. She captured Catherine’s personality and neurosis completely.

Victoria Brazier plays the eldest sister, Teresa, depicting her as rather bossy, straight-laced, over practical and rather resentful as to being the primary carer in their mother’s final days of dementia. She captured her personality perfectly bringing an air of authority and relatable acceptance to the character.  She is convinced she is second-best and overlooked.

Polly Lister as Mary, the middle sister, a doctor with a challenging personal life, portrays her skilfully contradicting the emotional turmoil she is experiencing. She blossoms as her story unfurls and the scenes with the ghost of her mother are exceptionally engaging.

The three grown-up daughters display childhood neediness in different ways in this finely acted production which deals with emotional confrontations as the ghost of their  mother comes back from the grave.

This 30th anniversary revival, directed by Lotte Wakeham, delivers an evening of hilarious and deeply moving entertainment which was greatly appreciated by the audience.

The set depicting the bedroom of mother, Vi was consistent throughout with 1960’s furniture and décor along with dresses fashionable of the era and the playing of hit song, ‘Dream a Little Dream of Me’, from the Mamas and Papas at the start of the play and playing of hits of Nat King Cole’s during the interval and the second half added to the atmosphere of the era.

Further members of the cast excel in their roles, Reginald Edwards as Frank and Charlie De Melo as Mike, both adding credible performances.

The production is directed by Lotte Wakeham, with Set & Costume Design by Katie Scott, Lighting by Laura Howard and Sound by Andy Graham

This Shelagh Stephenson production won the Olivier Award for Best Comedy and is an Octagon Theatre Bolton and Liverpool & Everyman Playhouse co-production.

This production is entertaining, thought-provoking with acerbic witty dialogue and should not be missed in its run at the Everyman Theatre until the 14th of March. Tickets are available via everymanplayhouse.com.

Reviewer – Anne Pritchard

On – 12th March 2026

 

 

 

 

 

REVIEW Stand-up Comedy DALISO CHAPONDA: Tropical storm The Waterside Arts Centre SALE Manchester

I remember seeing Malawian comedian Daliso Chaponda only once before this evening, and that was on TV's 'Mock The Week'. Other than that, I knew little to nothing about him, nor indeed his style of comedy. He is a very talkative and chatty individual who uses his set routines with improvised ad-libs depending on each audience, as he indeed would fare better with the houselights permanently on. He is forever referencing us and asking us questions. When we are in the dark, his idea is to have us clap instead of raise our hands which is somewhat less successful I felt. His comedy is not exactly x-rated, but it sits rather uncomfortably, teetering on the cliff edge. The many and vagarious references to penises, clitorises, vaginas, sex, pornography, and indeed his own sexual proclivities made this an 18+ show. He also talked much about race, racism and the EDL. Using the 'race card' himself a couple of times to either exemplify or justify his comments.

His touring show is titled, 'Tropical Storm', and yet there is nothing tropical (save for the auditorium music as we enter) about his routines, nor is there a real vocal storm. His comedy (if you take away all the offensive language) is actually quite tame, and the audience as a whole this evening was restrained and polite. We never had any proper belly laughs and there was not anything within his set which made you truly laugh out loud.

The topics he put through the mangle and led into the slaughterhouse included identity, nationality, Donald Trump, Deep Fakes, his own sex tape, men and manliness, and The Great Replacement Theory. Bold topics indeed, which, for Chaponda included much swearing and remarks about genitalia.

The evening ending with a Q+A with the audience. certainly not everyone's idea of a comedian, and don't go if you are easily offended.

Reviewer - Alastair Zyggu

On - 11.3.26

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THEATRE REVIEW TWO by Jim Cartwright, Shakespeare North, Prescot

A masterclass in what it is to deliver a knockout performance, Michael Starke and Sarah White lure the audience in to the drama with great physical comedy, to then deliver breathtaking theatrical range, White’s visceral grief-stricken scream at the end of the play deeply resonates with its audience.

Michael Starke and Sarah White reunite near forty years after Two’s creation by Jim Cartwright, Manchester Evening News’ Best New Play of 1989, the play still packs punches and brings to light heart wrenching realities of the day to day lives of northern people. Starke and White had audiences laughing and crying start to finish, meticulous character renderings were magic to watch as they transformed through fourteen vividly different characters.

Starke’s physical comedy was outstanding; his portrayal of Moth the insistent bar flirt had the most enthusiastic reaction from the audience. The laughs continued with an epic comedic dance around the bar by Starke to Tom Jones’s ‘Kiss’, where a display of sheer sexual prowess was unleashed until a back spasm had Moth pinned to the bar. Where his long-suffering girlfriend (White) black mails him into marriage whilst dangling money in front of him. The warmth, comedy and connectivity of their performance in this scene was at its most enjoyable.

As for White her portrayal of Old Woman was particularly stand out, the physical details to the characters movement, including an arthritic limp and an aged voice gave well rounded impression of the character, as it was first serious monologue of the evening the audiences reaction was tentative caught between laughter and tears making it a really moving moment.

The two characters Fred and Alice might have been considered not politically correct in this time, but they were delivered not for laughs at their low social economic standing but a sweet couple happily in love, which was evident in their care and detail of their costume designed by Kay Buckley. The production took a green approach to costume resourcing and design.

Especially for Fred and Alice, the detail of patches and artwork in their lived clothing gave a heartfelt authenticity to these loved characters. Buckley’s set design added to the atmosphere of the piece, set in the round, the central hefty oak bar was structurally impressive, the bar flaps clacking shut acted like the heartbeat of the stage. Kieran Sing’s lighting also played a key role with a warm glow and subtle use of gobos in the shape of window frames gave impression of a classic pub interior. A medley of different lamps above the bar created a microcosm of pub life suggesting different people and places.

Finally, Lisa Allen’s direction brought it all together, the pacing, the characterisations and every scene was so different and yet cohesive making for an impressive production. Near forty years on this epic revival of Jim Cartwright’s beloved play proved bursting with timeless energy.

Reviewer: Kerry Ely

On – 10/03/2026

Theatre Review The Constant Wife Playhouse Theatre Liverpool

This touring production by Laura Wade, based on the comedy by W. Somerset Maugham, is presented by David Pugh and Cunard, in conjunction with the Royal Shakespeare Company, at the sister theatre to the iconic Everyman. It is a very stylish venue, just a few minutes’ walk from Liverpool Lime Street station. Thank you to the staff for their assistance. My friend and I were rather surprised that there was no programme for this show. Instead, I was just given a printed sheet of paper listing the cast and crew. Laura Wade, who is best known for her Olivier Award winning play “Home, I'm Darling, has carefully adapted a classic work from the prolific playwright W. Somerset Maugham.

Having sat down, we were greeted by a lavish and ornate art-deco style apartment, beautifully designed by Anna Fleischle and Cat Fuller. These two ladies also curated a stunning set of costumes, immediately taking the audience back to the 1920s. There is an on-stage piano, jokingly played at various times by butler Bentley (Philip Rham). He was one of our favourite characters, a servant who sees and knows everything but says nothing – definite echoes of Merriman from “The Importance of Being Earnest”. The quick and sometimes acerbic wit in the dialogue is clearly reminiscent of, Oscar Wilde and Noël Coward.

Bentley is a close confidante of Constance (Kara Tointon). The former Eastenders actress and previous winner of ‘Strictly Come Dancing’ puts in a tour-de-force performance. Constance is a frustrated and rather unhappy woman, despite her mother Mrs Culver (Sara Crowe) describing her in these words: “she eats well, sleeps well, dresses well and she’s losing weight. No woman can be unhappy in those circumstances.”

Constance has a difficult relationship with her own mother. Nevertheless, she is the perfect wife and mother to daughter Helen, who is away at boarding school. Husband John (Tim Delap) is devoted to Constance but is also smitten with his mistress, Marie-Louise (Gloria Onittri)! Quite early on in the drama, Constance discovers John and Marie-Louise getting rather frisky on the chaise longue but keeps the secret to herself for a while, even from her sister Martha (Amy Vicary-Smith). Finding out that her spouse is unfaithful is bad enough for conflicted Constance, but the situation is exacerbated as Marie-Louise is her best friend!

Martha and Constance do not always see eye-to-eye, but they join forces as partners in an increasingly successful interior design business, thanks to Constance’s eye for style and detail. Later on, we are introduced to the final two cast members: Marie-Louise’s husband Mortimer (Jules Brown) and Bernard Kersal (Alex Mugnaioni) who has returned to London after many years working in Japan. He is still in love with Constance and harbours hopes that one day, they will be together. I will not say anything more about the plot so as not to spoil it for the reader.

Director Tamara Harvey has ensured that the action moves on apace throughout. There is a crucial flashback scene to a year earlier where key truths are revealed. This is never easy to achieve within a play, compared to a TV or film production, but it is sensitively managed. The lighting and sound effects, designed by Sally Ferguson and Claire Windsor respectively, are highly effective.

The show features original music composed by multi award-winning jazz artist Jamie Cullum and enhances the occasional ‘Strictly style’ dancing that has been incorporated into the evening’s entertainment. I would definitely recommend this comedy which has some farcical elements that work well, and the production runs until Saturday March 14th, including a matinee on that day. More information can be found at its official website: constantwife.com. 

Tickets can also be purchased in person at the box office, by phone on 0151 709 4776 or via the theatre’s website: https://everymanplayhouse.com/

Reviewer - David Swift

On - 11/03/2026

Theatre Review The Sound of Absence Omnibus Theatre Clapham

There’s something about walking into an intimate theatrical space that always feels quietly like you’re about to be let in on something fragile, raw and authentic. The Sound of Absence doesn’t waste that intimacy, in-fact it fully leans into it. 

The stage is sparse, a quick head count and I notice around 30 audience members seated in two rows opposite each other. A space inbetween, a piano. A chair. Light that feels almost tidal in its rhythm. No big distraction, just space, and into that space steps Lenore, played by Yanina Hope, with a kind of emotional steadiness that makes you realise you’re about to be trusted with something very real. Lenore has received a phone call that her father is very poorly in intensive care. She dashes to be by his side only for it to be too late. Her world falls apart, her emotions full of rage, desire, sadness, longing for the relationship they didn’t have and oft regret. Lenore then lets us, the audience, accompany her on a journey through time, beautifully and hauntingly alongside composer and pianist Vladyslav Kuznetsov who plays the piano so eloquently. Never in your face but still seamlessly and effortlessly part of the action. 

The Sound of Absence is inspired by writer and performer Hope’s relationship with her father and it explores the complexities of father-daughter connections and how one’s parental choices can affect the rest of the lives of our children. With live piano, spoken word, movement, this immersive production transforms the space into a bubble of emotions where the audience is actively invited to explore their own journey with grief and reconciliation. This isn’t a play that performs grief in capital letters. It traces it in pencil, carefully and patiently. There are pauses that stretch not awkwardly, but honestly, and you really start to notice your own rhythm, how you are being effected by what you are witnessing in front of you. The weight of a memory, the way absence can feel louder than any argument ever could.

The live piano (played with restraint and sensitivity) doesn’t underscore the story, it quietly breathes alongside it. Sometimes it feels like the instrument is speaking what the character in front of us can’t quite say. Sometimes it interrupts. Sometimes it comforts. The relationship between voice and music is one of the most affecting elements of the evening; it never tips into sentimentality, which feels like a gentle hand hold in a piece about loss. What lingers most is the refusal to tidy things up. There’s no grand catharsis. No neatly tied emotional bow. Instead, the piece allows discomfort to exist. It lets you sit in the in-between, where absence now echoes. Hope plays the character with full depth and realism, her own authentic inner feelings being laid out right in front of us. I believe her. Kuznetsov plays a very important part of this production and I was often flitting back and forth to watching him perform - a truly talented piano player - to Hopes emotion filled scenes. By the end, the audience feels softer. Quieter. Like we’ve all collectively agreed to lower our voices on the way out. The Sound of Absence doesn’t try to overwhelm you. It asks you to listen, not just to the stage, but to yourself. And that’s a braver theatrical choice than any big set or dramatic crescendo. 

I was delighted to stay behind for the Q&A where I leant so much more about the production. Kuznetsov initially wrote in response to the script. It didn’t land. It felt like background. The shift came when the team stopped following the words and began mapping the emotional stages of grief instead. The piano became a parallel voice, not accompaniment. The body tells a different truth to the text. The movement director, Anna Korzik also trained as an architect, and approached movement as structure. Denial in language might not appear as denial in the body. Rage might live in stillness. At times Hope follows the music rather than the words. That layering gives the production its emotional depth; nothing is illustrative, everything is in dialogue. Personal grief requires craft, not exposure. When asked how the team protected themselves while working so closely with autobiographical material, the conversation deepened. Director Ivanka Polchenko really highlighting that yes old wounds were tapped into, but their self-care was good. Everyone looked after each other working with such an emotive theme. Hope described the need to “step out” of her own story before stepping back in as a character. Craft became containment. What we see onstage isn’t raw re-enactment, it’s shaped experience.

Rage has rhythm. The inclusion of Dylan Thomas’s ‘Do Not Go Gentle Into That Good Night’ gave permission for emotional extremity. Grief isn’t only quiet or internal; it can be forceful, almost percussive. Structuring the music around emotional stages rather than dialogue allowed those surges to exist without apology. Finally, the Q&A highlighted absence is bigger than one relationship. When the discussion opened to whether the story extended beyond the father-daughter dynamic, the answer was clear. Absence could be a lover, a sibling, a friend. The universality lies there. The ending remains open, not unresolved, but deliberately so. The aim is not neat closure, but release.

The Sound of Absence is playing at The Omnibus Theatre, Clapham until 28th February. https://www.omnibus-clapham.org/sound-of-absence/

Reviewer - Mary Fogg 

On - 25th February 2026 

Theatre Review Zog Victoria Theatre, Halifax

Families filled the stalls at the beautifully historic Victoria Theatre in Halifax for a lively stage adaptation of Zog, based on the much-loved story by Julia Donaldson and illustrated by Axel Scheffler. The production captures the warmth and humour of the original book while adding its own playful theatrical flair.

This touring production features a talented five-strong cast led by Samuel John Taylor as the determined young dragon Zog and Jess Lobo as the kind and capable (Doctor) Princess Pearl. They are joined by Lotti Brogan as Madam Dragon, Hugh Cotton as Gadabout/Cedric and Lee Beka Harper as Nell and Swing, with Daniel Noah serving as swing.

One of the most striking elements of the show is its whimsical set design. Rather than a traditional set, the stage resembles a large children’s playframe, perfectly matching the story’s sense of fun and adventure. The actors constantly made use of it throughout the performance—climbing across the structure, sliding down a pole and even jumping off it during energetic moments. It created a sense of fun and excitement that kept younger audience members completely engaged. Bravo to the set and costume designer Katie Sykes!

The music is another highlight, music and lyrics created by Joe Stilgoe. The songs are playful and upbeat, packed with catchy melodies that had plenty of the audience tapping their feet and clapping along. The lively score helps maintain the show’s playful energy throughout the performance. Each song was accompanied by fun, energetic dance routines created by Katie Beard, that added to the excitement and kept the stage full of movement.

The show also uses some simple but clever theatrical devices to move the story along. One particularly charming moment was the way the changing seasons were represented through the use of different umbrellas, a creative and effective way to mark the passage of time throughout the story.

Comedy plays a big part in keeping the audience entertained. A slapstick fight scene drew big laughs from both children and adults, showing the production’s ability to appeal across generations.

Visually, the show is bright and inviting. The costumes are colourful and playful, fitting perfectly with the imaginative world of the story and helping each character stand out clearly for younger viewers.

The use of puppetry was also a lovely touch. The dragon puppets, when they appeared, were beautifully crafted and full of character, bringing the fantastical elements of the story to life in a charming way. However, they were only used in certain sections of the show. While those moments were delightful, it did leave a feeling that the production could have leaned into the puppetry even more.

Overall, Zog at the Victoria Theatre is a colourful and energetic family production. With its imaginative set, playful music, lively choreography and engaging performances, it captures the spirit of the beloved book and offers a joyful theatre experience for younger audiences—though a little more dragon puppetry might have made it even more magical in my opinion!

The show is running March 6–8, 2026 at the Victoria Theatre, Halifax - for details and tickets see https://www.victoriatheatre.co.uk/whats-on/zog

The director for the 2026 stage production of Zog at the Victoria Theatre, Halifax is Ryan McBryde. 

• Creative Team: Puppetry direction by Edie Edmundson and associate choreography by Heather Scott-Martin.
• The show is a musical adaptation designed for children, featuring live music and puppetry. 

Reviewer - Bethany Vakulich 

On - 7th March 2026

Shopping Experience Review -The Night Market CONTENT Liverpool (Cains Brewery Village)

 

This was a special Spring event, the first of 2026 which opened at 5:30pm until 10:30pm at CONTENT, situated in Cains Brewery Village, Liverpool.

The large hall was filled with stalls from local artists and vintage traders selling jewellery, clothing, candles, crocheted plants and paintings to mention but a few, all handcrafted and original. The market hall featured over 60 independent local creators which even included items of witchcraft and the occult.

There were also a number of street food stalls, a bar and a local DJ playing live music whilst overhead videos depicted buyers wondering around the stalls and chatting to stallholders.

It was a chilly, wet night but there was a vibrant atmosphere inside the hall, which also welcomed shoppers with dogs in the warehouse-like surroundings. The organisers describe the event as "warehouse party meets market".

Tickets with hourly entry timeslots and further details from Ticketsource https://www.ticketsource.co.uk/whats-on/liverpool/content-liverpool/the-night-market-uk-liverpool-spring-2026/2026-03-05/d-ovarbphrzwarm.

Online prices: £4 for adults (plus a 2-ticket special for £7) and £3.50 for concessions, with higher prices on the door. The event was dog-friendly with free entry for dogs and children under 12. Shoppers had their hands stamped upon entry so they were able to wander in and out and visit the nearby Baltic Market for food and drinks if they preferred.

The event concentrated on showcasing local talent and provided a unique evening of shopping experience in the heart of the Baltic Triangle.

Reviewer:  Anne Horne

On: 5^th March 2026

Theatre Review The Ladies Football Club Crucible Theatre, Sheffield

The Crucible Theatre is no stranger to tales of sporting drama and its latest offering is no exception as the Ladies Football Club continues its month-long residency. Written by Stefani Massini and adapted by Tim Firth, it is a story of the women of Sheffield who, during World War One, take the place of the city's fighting men in the factories. When they start kicking a football about during a break from manufacturing munitions, they discover an unexpected sense of passion and teamwork. Directed by Elizabeth Newman, this new production promises to be a thrilling encounter and was chosen as one of the Times best shows to see in 2026.

The Crucible’s stage was sparsely decorated throughout the performance, with few props used. Workbenches were slid out to depict the factory setting and projections occasionally adorned the back screen to show different locations. I feel that more frequently used and clearer projections of the backdrop would have been beneficial when setting the different scenes along the way. Lighting Designer Ben Jacob’s use of floor and wall lighting was effective, particularly during the football scenes. 

The stage was occupied by all 11 cast members who formed a single ensemble. It would be unfair to commend individual acting performances as the roles were equally divided and executed with great enthusiasm and humour. This was important as the message of teamwork through circumstances, work and football was a key premise of the storyline. Each character was unique with a carefully crafted backstory, scripted to showcase each personality. Having so many different lives portrayed equally was an unusual and adventurous undertaking. The dialogue was sharp and quick-witted enough to accommodate this, although the multiple personalities were a lot to absorb in a play of around 2 hours. 

Movement Director Scott Graham used the large, sparsely decked-out stage, bursting with energetic performers, to full effect. The flight of the ball and the hustle of the football matches were captured well in the interpretive dancing scenes with goal celebrations and sliding tackles galore.

The backdrop of the First World War, working conditions for the ‘munitionettes’ and the attitude towards women playing football were discussed, often humorously. The combination of humour -whilst used smartly- and the multiple characters, gave the play an overly frivolous and frantic feel. Whilst this will appeal to many, I felt the production would have benefited from more abstract reflection on working and living through a tough period of British history. Although the body of the script and costumes made the First World War setting clear, the sparse setting and style of narrative didn’t give the impression of being transported back in time. 

The Ladies Football Club is a witty and fast-paced production that tells an important story of the evolution of women’s football, which will appeal to theatre goers of all ages.

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

Running Time: around 2 hours, including an interval.

https://www.sheffieldtheatres.co.uk/events/the-ladies-football-club/dates

Reviewer: Matthew Burgin

On: March 2026

Theatre Review War of the Worlds Playhouse Theatre Liverpool

Universally hailed as one of the ‘fathers of science fiction’, H. G. Wells continues to inspire bold reinterpretations of War of the Worlds, his seminal alien invasion novel that has never been out of print since its publication in 1898. From Orson Welles’ 1938 radio broadcast to Jeff Wayne’s 1978 musical, to Steven Spielberg’s 2005 film and countless other adaptations, the story has been repeatedly retold, often to mirror the anxieties of its age.

Imitating the Dog’s latest stage version does exactly that. Known for pushing multimedia boundaries, the company delivers a theatrical experience that feels like watching a one-take film being constructed live before your eyes. It is dazzling and complex.

Situated in a reimagined Britain with echoes of 1960s London and present-day political rhetoric, the production follows Will (Gareth Cassidy), who awakens in an abandoned hospital amid apocalyptic chaos. Mechanical invaders roam red-lit streets, British landmarks burn, and rumours circulate of safe passage across the English Channel. As Will searches for his wife (Amy Dunn), the narrative unfolds as both a dystopian road trip and mental breakdown, though the emotional clarity of that journey is not always as sharply defined as its visual world.

The true triumph of this production lies in its technical boldness. Four performers, Bonnie Baddoo, Morgan Bailey, Cassidy and Dunn, simultaneously act, operate cameras, shift props and manipulate miniature model worlds with astonishing dexterity. Two intricate dioramas, environmental backdrops and a central projection screen combine to create the “final film” in real time. Forced perspective, clever zooms, distortion filters, double exposure and Pepper’s Ghost effects blend the live with the lifeless in a dazzling, ever-changing picture of ideas and images Steve Jackson’s video design deliberately exposes the mechanics without entirely demystifying them, while Abby Clarke’s set and Andrew Crofts’ stark, strobing lighting plunge the stage into a blazing apocalyptic palette of reds and whites. James Hamilton’s score, veering from celestial eeriness to string-driven dread, sustains an atmosphere of mounting unease.

For all its creativity, the storytelling occasionally feels secondary to the mechanics. Wells’ themes of colonial cruelty, imperial arrogance and technological warfare are reframed here through anti-immigration rhetoric and social fracture, with imagery of burning skylines, charred bodies and bobbing dinghies offering a pointed commentary on displacement and prejudice. The political parallels are clear.

The production’s final twist reframes earlier moments in a darker psychological light, transforming exaggerated survivor figures into something more troubling. It is a bold narrative choice, though one that relies on groundwork that is not always sufficiently laid. Will’s relationship with his wife, the emotional spine of the piece, lacks the depth required to fully anchor the spectacle. As a result, the human stakes can feel subdued, even as the world collapses spectacularly around them.

I found this to be truly compelling. Imitating the Dog have created something rare, a production that operates simultaneously as theatre and cinema. It is inventive, unsettling and frequently jaw-dropping. This production of War of the Worlds stands as a bold argument for experimentation in theatre.

War of the Worlds is on until 7th March and tickets can be purchased here,

https://everymanplayhouse.com/event/war-of-the-worlds/

Reviewer – Adrian Cork 

On – 04.03.2026

THEATRE REVIEW ROSS NOBLE: Cranium Of Curiosities The LOWRY THEATRE SALFORD

This was my fourth time of having the pleasure of seeing the master of 'stream of consciousness' tomfoolery on stage, and i have to admit, it was my most pleasurable to date. I had been in a bit of a slump for the last day or so and was in dire need of a good belly laugh or two, and so, knowing that laughter is indeed the best medicine, I was hugely receptive to Noble's tangential brain diversions. 

Unlike many other stand-ups who do the rounds, Noble takes great care with his stage set, and creates the mood, ambiance, etc for his show's title with skill. In this instance we were met with a large stage full of inflatable Ross Noble freaks and curiosities as if from a Victorian Circus or Barnum's Greatest Show On Earth. Not only that but appropriate auditorium music was selected to add to this, and his grand entrance to flashing lights and glaring eyes was nothing short of theatrical genius. My one disappointment in all of this was that Noble chose to wear modern day black sports shirt and trousers with black trainers with an annoyingly focus-pulling bright red sole. I admit that stand-up comedians do tend to 'dress down' in our modern times, but, considering the stage setting and the theatricality of everything else, this was not just underwhelming but disappointing.

Noble's humour however was on top form this evening. Interspersed with set routines, he allowed his mind to wander far from his planned gig, quite obviously amusing himself just as much as us along the way. Where he excels is his unabashed admittance that there is no hidden meaning, no message, no agenda to his routine or jokes, he just wants to make people laugh. As he said last night, "Be funny and f*** off!". This leads me swiftly on to another point. Noble's use of profanity was never excessive unlike many, and again I admire and congratulate him for this. However I did feel last night there were a couple of unwarranted uncalled for expletives.

Noble took us through items of current affairs with his his typical disdain; and we even had the 'ghosts' of Andrew Mountbatten-Windsor, Jeffrey Epstein, Greg Wallace and others on stage with us! - although I did have to Google the word 'nonce' before writing this review. It was term new to me. His funniest material though came from his chatting with members of the front row, and we had an advert for Tena Ladies, Duolingual sex robots, and a 'Hips Or Piles' Gameshow. 

A superb evening of non-stop laughter in the company of a master of cerebral mayhem and misdirection.

"Hip hip, Piles!"

Reviewer - Alastair Zyggu

On - 1.3.26

Film Club Event Borrowed Time: Lennon's Last Decade (2025) Liverpool Beatles Museum

 

This was the Beatles Museum’s first Film Club Event and featured an exclusive screening Borrowed Time: Lennon's Last Decade (2025), prior to which was a short Q & A session with Director, Alan G. Parker who delivered insights into the filming and production of the film. Lennon is lauded as one of music’s most influential legends and the film draws on archive footage, interviews and contemporary accounts to examine Lennon’s musical creative output, personal life and legacy after the disbandment of The Beatles.

Borrowed Time: Lennon's Last Decade (2025) was released in cinemas on 2nd May 2025. It takes its title from a song from Lennon and Yoko Ono's last album, ‘Milk and Honey’.  The single was released in March 1984 and failed to chart in the USA; it charted at number 32 in the UK Singles Chart, the B-side features Ono's song ‘Your Hands’ from the same album, which failed to chart.

The song was inspired during Lennon's 1980’s sailing holiday from Newport, Rhode Island to Bermuda when during a lengthy and severe storm most of the crew were taken ill with seasickness. Lennon was not affected and was forced to take over on the yacht's wheel, being alone for many hours. Although terrified by his ordeal, it brought home to him the fragility of life. Upon arrival in Bermuda, Lennon heard the line 'living on borrowed time' from Bunny Wailer's ‘Hallelujah Time’ and was stimulated by his sailing experience to write the lyrics around that theme. Wailer was also the inspiration for the reggae style of the music. Lennon commented that living on borrowed time was exactly what he was doing

‘Borrowed Time’ concentrates on Lennon’s post-Beatles career, his involvement in political activism and his lived life experiences in 1970’s post his Fab Four Beatles fame. It covers the whole period from Lennon’s arrival in New York right through the decade, the solo albums, quarrels with Paul, protests, interviews, joint ventures with Yoko, the struggle to get a green card, the ‘lost weekend’ with May Pang, and finally his murder at the time he was planning an ambitious new global tour.

 It includes rare archive footage with talking heads interviews, for example with guitarist Earl Slick, Beatles-expert veterans like Ray Connolly and Philip Norman who offer their reminiscences, along with broadcasters Andy Peebles, Bob Harris and Tony Palmer and covers his 1975-1980, ‘retirement’.  It investigates Lennon's life after The Beatles, covering his ‘househusband’ era (when everyone was led to believe he was at home alone caring for baby Sean, but in fact we were told in the film Yoko had a house full of staff who cooked and cleaned etc..), his involvement in US politics and his FBI difficulties. It is commended for being a deeply personal and genuine study of his final last ten years of his life rather than being a glossy tribute.

For Beatles and Lennon devotees, this film provides reverential reminiscences of a musical genius and the challenges he faced post Beatles fame. Tragically, the film depicts how Lennon was coming to terms with his life and was in his prime artistically, writing new music which was acclaimed by his fans and contemporaries.

It was a full house but disappointedly the event started nearly one hour later than the advertised time with no explanation as to the reason why.  Consequently, the Q & A with Director, Alan G. Parker conducted by Roag Best was rather short. There is a bar available for drinks and snacks, and the room holds approximately 100 people although the seating is basic and tightly packed.

For visitors to Liverpool, the Liverpool Beatles Museum on Mathew Street is a gem and is highly recommended; it is a warren of artifacts, souvenirs and Beatles nostalgia and often features ‘exclusive’ screenings such as this. The Film Club is a new enterprise. The museum also houses the Liverpool Legends Hall of Fame which is well worth a visit to admire the many well-known celebrities and musicians who have hailed from Liverpool, some of which may come as a surprise.

For tickets for the Beatles Museum (Admission currently £20 pp) see https://liverpoolbeatlesmuseum.com

Borrowed Time: Lennon’s Last Decade was released in cinemas on 2nd May 202, Cert. 12A running time134 mins.

Borrowed Time: Lennon’s Last Decade may be accessed via YouTube see link - https://www.youtube.com/watch?v=YxHcpxbYrfE&t=4s

Reviewer: Anne Pritchard

On: 28^th February 2026