Theatre Review Panto Snow White and the Seven Dwarfs PADOS House, Prestwich

PADOS’ decision to stage Snow White and the Seven Dwarfs as a mid-year pantomime at their own PADOS House in Prestwich might, on paper, have seemed a departure from their tried-and-tested formula. After all, this is a company with a quarter-century reputation for sold-out festive productions, glittering in the traditional pre-Christmas slot and weighed down (quite happily) by an enviable collection of awards. Yet this production proved that stepping off the well-trodden path can yield something rather special.

What immediately set this show apart was its heart. At its core were seven delightful young performers from the junior group, here reimagined as diamond miners, whose energy and commitment brought a fresh and endearing twist to the familiar tale. Under the artistic direction of Lauren Livesey, these young actors were not simply included for charm; they were integral, disciplined, and consistently engaging, adding both humour and warmth to the production.

Livesey’s distinctive choreographic style was evident throughout, injecting pace and personality into every ensemble moment. The movement felt purposeful and polished, never overwhelming the performers but instead elevating them—particularly impressive given the mixed experience levels on stage.

Direction from seasoned pantomime hand Sara Brockway ensured the production never lost its footing. There was style and panache in abundance, but also clarity: the storytelling remained sharp, the comedy well-pitched, and the audience connection strong. Brockway clearly understands the delicate balance of pantomime—honouring tradition while allowing room for invention—and this show benefited enormously from that expertise.

Musically, the production was in safe hands with Neil Ravenscroft. The score was delivered with confidence and cohesion, supporting both the narrative and the performers without ever overshadowing them. There were some particularly interesting musical choices throughout, which added real variety and energy to the evening and helped give the production its distinctive character.

A real standout was 'Who Do You Think You Are?' by the Spice Girls, which landed brilliantly in the context of the show and brought a burst of recognisable, upbeat fun that clearly delighted the audience.

One of the dwarves’ numbers—an unfamiliar but charming alternative to 'Whistle While You Work'—was also absolutely delightful. It was performed with great confidence, and the children had clearly been extremely well drilled, delivering the piece with precision, clarity, and a real sense of enjoyment.

Vocal coaching from Junior and Youth Production Director Helen Wilkinson was clearly paying dividends, with excellent diction evident from both the children and the adult cast alike, ensuring that every lyric and line landed clearly throughout.

The production and technical elements of the show were also notably strong. The show was very well lit overall, and although it was opening night, there was one moment where the stage briefly fell into darkness. However, it scarcely mattered, as the Dame expertly milked the moment for all it was worth, keeping the comedy firmly alive in the blackout.

Lighting design at the theatre is clearly in very capable hands. Ben Fairhurst has produced some stunning lighting plots here over time, and he demonstrates a strong understanding of the pantomime genre, using light not just for visibility but for atmosphere, pace, and comic effect.

The production team as a whole left their unmistakable mark. There was that familiar PADOS hallmark throughout: stylish, ambitious, and cleverly designed to maximise their intimate yet highly effective theatre space. Rather than feeling limited by the venue, the show embraced it, creating a sense of closeness that larger stages often struggle to achieve.

Performances were in the safe hands of a raft of seasoned PADOS performers, all of whom brought polish and confidence to the stage. However, the standout performance of the night—and a genuine show-stealer—was Bertie, the palace servant, played with exceptional comedic instinct by Hannah Cohen. She absolutely milked the role for every ounce of humour it contained, with her funny bones shining through in every beat, timing every gag with precision and maintaining an infectious energy that kept the audience thoroughly engaged throughout.

Close behind in impact was the accomplished and award-winning PADOS alumnus Dave Livesey as Ma Bumble. His portrayal, delivered with a broad Scotch accent that at times felt like Taggart meets Mrs Doubtfire, was played firmly in the spirit of tongue-in-cheek pantomime comedy. Livesey’s considerable experience shone through, particularly in moments when things didn’t quite go to plan; rather than faltering, he leaned into the unpredictability with assured improvisational skill.

His ability to exploit every humorous opportunity—often with a knowing glance or nod to the audience that broke through the fourth wall with ease—ensured that even the smallest ad-libbed moment was turned into comedy gold. It was a performance that not only embraced the chaos of live theatre but elevated it, much to the delight of the audience.

And also, he had a raft of exuberant costumes to match his personality, each one pushing the comic exaggeration of Ma Bumble just that little bit further. In fact, the entire costume plot was excellent, adding real visual flair to the storytelling.

The comedy duo were a pair of incompetent cowboy builders called Bodget and Legit, played by Emily Bellis and PADOS stalwart Debbie Lewis. They had really good chemistry together, combining strong physical comedy with their portrayal as a pair of well-meaning village idiots.

The decorating scene, which went slightly awry with Legit ending up covered in wallpaper paste, was absolutely hysterical and left the audience chortling. They handled their scenes with real light and shade, maintaining distinct characters while also working seamlessly as a double act. There were some very funny lines throughout, delivered with renewed confidence and a clear sense of fun.

Sophia Taylor’s take on Snow White was just delightful. Typically associated with a classic blonde fairytale Disney princess aesthetic, she appeared in a strikingly different look with dark hair, yet her trademark dainty, elegant, and expertly crafted characterisation of Disney and fairytale princesses still simply shone through on stage. She has a genuinely ethereal quality as a performer—you really can’t take your eyes off her when she’s performing—and she was utterly mesmerising throughout.

She was completely in her element embodying the role, bringing warmth, grace, and charm to every moment. A particular highlight was a beautifully played, tongue-in-cheek scene with the Huntsman, where he tells her he must take her into the woods. It carried a knowingly cheeky edge, with a subtle suggestiveness that was handled lightly and in keeping with pantomime tradition.

The Wicked Queen was in the very safe hands of Freya Fox, who brought a deliciously poised sense of menace to the role. She was snotty, aloof, narcissistic, sneering, and all the other malevolent traits we expect from this character, yet she never tipped into caricature. Instead, there was a controlled elegance to her performance—beautifully judged, with just the right amount of bite to keep her firmly watchable without becoming high panto. She had a lovely timbre to her voice, which gave her an edge to her characterisation, and she milked every last drop of villainy from the role with real relish.

The reimagined diamond miners included Dippy, Zippy, Sarcy, and Fred (the Chief Dwarf), alongside the junior performers Arlo, Lyra, Deia, George, Grace, Amber, Eden, and Annie, all contributing confident ensemble playing, along with the King—complete with his fluffy moustache in the final scene, played by Jordan Lawler—bringing the whole company together in a moment of great fun in this delightful studio space.

Notably, sound quality was excellent throughout the evening, and even though it was opening night, the performance felt very polished. The pace will no doubt quicken as the week progresses and only minor technical hitches are ironed out.

A really great and unexpected pantomime theatre trip at the end of April. Highly recommended. Tickets are still available, but as it’s such a small venue, it is worth moving quickly while you can.

For dates and tickets see https://www.pados.co.uk/

Reviewer - Kathryn Gorton 

On - Tuesday 28th April 2026

Theatre Review Blood Brothers Alhambra Theatre Bradford

At the Alhambra Theatre, Willy Russell’s Blood Brothers unfolds with a quiet assurance that allows its emotional power to emerge without force. Presented by Bill Kenwright Ltd, this touring production reflects a clear commitment to preserving the integrity of Russell’s original vision, while still feeling immediate and alive.

From the outset, there’s a warmth and humour that draws the audience in, capturing childhood innocence with an easy charm. Yet beneath it all, a sense of inevitability lingers. The transition from light-hearted beginnings to something far more tragic is handled with subtle precision, never jarring, but gradually tightening its grip until the full emotional weight lands with devastating clarity.

That balance is carefully shaped through the direction of Bob Tomson and Bill Kenwright, whose long-standing association with the show is evident in the production’s confidence. Their approach avoids unnecessary embellishment, instead allowing the narrative to unfold with clarity and emotional honesty. The artistic direction follows the same philosophy—stripped back, focused, and entirely in service of the storytelling—ensuring that nothing distracts from the human core of the piece.

At the heart of the production is Vivienne Carlyle as Mrs Johnstone, whose performance provides the show’s emotional backbone. She brings a grounded sincerity to the role, balancing resilience and vulnerability in a way that makes every choice feel believable. Her portrayal ensures that the story’s central themes—class, fate, and motherhood—resonate long after the final moments.

Sean Jones delivers a standout performance as Mickey, capturing the character’s full journey with striking authenticity. His early scenes are filled with energy and humour, but what makes the performance so compelling is the gradual shift as Mickey’s world begins to close in. The change is never overstated; instead, it unfolds naturally, making his eventual unravelling all the more affecting.

Equally impressive is Gemma Brodrick as Linda, who brings a quiet strength to the role. Rather than fading into the background, her performance anchors much of the emotional core of the story. The chemistry between Linda and Mickey feels entirely genuine, and their relationship is portrayed with a sensitivity that makes their shared moments some of the most powerful in the production.

What makes this staging particularly effective is its trust in the material. There’s no sense of overproduction or unnecessary embellishment—just strong performances and a clear commitment to the story being told. By the time it reaches its conclusion, the emotional impact feels wholly earned rather than imposed.

This Blood Brothers doesn’t attempt to reinvent a classic. Instead, it delivers it with clarity, sincerity, and emotional truth—and that is precisely what makes it so powerful.

Production runs from 28th April - 2nd May 

See https://www.bradford-theatres.co.uk/whats-on/blood-brothers

Reviewer - Simon Oliver 

On - April 28^th 2026

Concert Review Alfie Boe Face Myself Tour Philharmonic Hall Liverpool

 

I don’t think I can find enough adjectives to describe Alfie Boe after watching his  fantastic show - talented, versatile, energetic, gregarious, engaging and more. He has an endearing personality, a terrific stage presence and is an absolutely superb showman.

He arrived on stage wearing a casual outfit - black denim jeans, black ankle boots and a blue denim jacket.  From the very start he interacted with his fans in the audience with sincerity at one moment and humour the next, he is a very charming character with a down-to-earth personality which warms the heart.

Boe is promoting his new album, Face Myself on this tour and during the show he shares personal disclosures on his working-class upbringing in Fleetwood, family life (he’s one of 9 children), his career breakthrough and friendship with Michael Ball plus how he plucked up the courage to make this new album which contains original music of his own plus some favourite covers.

He shared his love of Liverpool with the audience, especially his love of Liverpool Football Club and moved those listening with tales of his father’s love of music and his influence on him and how he got involved and grew to love musical theatre from the age of 14.

The show opened with his performance of one of his new songs, ‘Ten Thousand Miles’ which memorialises the distance between him and his children who live in the US, after which he dedicated his next two songs to his dad, sung in Italian and with tongue in cheek asked the audience to sing along. His father’s love of skiffle and Lonnie Donegan featured next with ‘The Rock Island Line’, ‘Cumberland Gap’ and ‘Don’t You Rock Me Daddio’.

Boe makes full use of the stage and dances around energetically throughout the show.  He wowed fans with his renditions of some of his father’s country music favourites, ‘You’re My Best Friend’, ‘King Of The Road’ and ‘From A Jack to a King’ which he said his father played when he was feeling amorous towards his mother, hence the 9 children!

He commented on his friendship with Michael Ball and performed a tribute to him along with a reggae version of a song from the musical, Hamilton, ‘You’ll Be Back’. This led up to the song which he said changed his life after performing it at the age of 14, ‘Bring Him Home’.  This produced a standing ovation from the audience and a Noel Gallagher song followed, ‘Trying to Find a World That’s Been and Gone’.

Tina Turner’s hit, ‘Rollin On The River’  was next with a surprise guest, ex Liverpool football player, John Barnes who performed a rap in the middle of the number and then joined Boe for the remainder of the song.

Boe then sang the title track from his album, Face Myself and then rocked it with the band and followed on with Snow Patrol’s ‘Light Up’ featuring a guitar solo from band member Murray. Boe is supported by a six piece band who are all gifted musicians and singers and he plays guitar on most of his songs.

His encore was a medley of country music songs and his finale encore was a rendition of ‘You’ll Never Walk Alone’ sang without musical accompaniment which had many of his fans wiping away a tear from their eyes.

Boe is a multi-talented singer who can sing every and any musical genre superbly, his vocal range is amazing, he is so versatile and entertaining. He also made the effort to deliver a Meet and Greet with the audience at the end of a nearly two hour show in which he was a non-stop ball of energy singing and bouncing about on the stage to the delight of the audience.  His rapport with them is remarkable and he had them in the palm of his hand. 

I can wholeheartedly recommend this show to any music lovers, Boe isn’t  just the tenor who performs hit songs from Les Mis, he is an all round entertainer with a show which caters with something for everyone and you’ll go home loving all the songs he sings - he can sing everything from classical to rock with a star-rated performance.

Boe was supported by special guest, singer/songwriter, Jessica Sweetman, who sang  a number of her own original songs plus a Talking Heads cover, accompanied by guitarist Andy Pike, see https://www.jessicasweetman.com/tour

For details of further tour dates see https://alfie-boe.com/2026-tour-dates/

Reviewer – Anne Pritchard

On – 27^th April 2026

Theatre Review 1984 The Edge Theatre, Chorlton

Adapted by Peter Kerry from George Orwell’s novel, George Orwell’s dystopian vision of the future (from a 1948 perspective) has in many ways proven to be one of the most prophetic books ever written, disturbingly becoming ever more relevant with cameras watching our every move and new laws effectively creating thought crimes. The novel is quite short with a fairly simple plot and relatively few main characters, at first glance suggesting it would be ideal for stage adaptation. However, Orwell scarcely wasted a line describing everything about life in his dark new world, from the massive faceless institutions to the repressed, insular lives of individuals so creating a dramatic challenge in compressing all this for the stage.

Writer Peter Kerry remained faithful to the novel in telling the story with all key drama points and all main characters. The opening of the play during Hate Week took the bold step of audience participation in singing the Airstrip One national anthem (to ‘Jerusalem’) during a simulated television show in which the audience became ‘the audience’. The scene was quickly established that this was a brain-washed society, fed a sugar-coated false image of reality, providing an effective contrast to the next scene where Winston Smith boldly confided to his diary his inner-most thoughts about the government and Big Brother. The only fault was that the game show host was just a bit too jovial for 1984’s world and Big Brother himself would probably have disapproved. 

Lost in Transit’s production used a range of disturbing and eerie sound devices with minimalist lighting to create the aura Orwell’s vision. Translucent screens were multi-purposed, effectively showing projections of the mind-numbing work of operatives in Big Brother’s world as data was constantly processed and history re-written whilst serving as walls and barriers, both physical and symbolic, which really brought home the claustrophobic, narrow world of life on Airstrip One.

Director Jonny Cordingley avoided the use of both music and video, relying on stark and powerful imagery to bring over the cold, austere world of ‘1984’; a recurring image of rotating, concentric hexagons being particularly effective as Big Brother’s all-seeing eye. The generally darkened stage typically lit by just two or three lights created a prison-like atmosphere and the clearing of all the screens for Winston and Julia’s times of respite away from the city brought over the sense of freedom they were experiencing. A novel feature was the frequent use of metal folding chairs, serving as manacles when Winston was interrogated and frequently thrown around as a metaphor for how that state treated its citizens (also snapped shut to suggest locks being turned!).

The five strong cast each played a main character plus minor roles, with the translucent scenes used imaginatively to suggest distant action or speakers before a crowd. Rupert Hill gave a strong performance as Winston Smith (through curiously was fully bearded considering his repeated request for razorblades). Katie Marie Carter made a superb transition from the Anti-Sex League zealot to the liberated girl in whom Winston found solace and hope.

Christine Mackie remained remarkably composed and pleasant during Winston’s torture scene , bringing over the state’s indifference to suffering, detached in in its own dogma. Jordan Reece as Winston’s friend Parsons provided the only real bits of comic relief, bizarrely proud of his own children for denouncing him and somehow seeing the best in the worst of situations.

Danny Child as the benign shop owner Charrington was the only character allowed to wear anything colourful (excepting the Anti-Sex league sash) and provided a nicely detached countenance in contrast to the stern countenance of the numerous authority figures (also playing the submissive Syme). This was a creative and powerful production which will not disappoint any purists of Orwell’ classic work whilst being sufficiently modern in feel to suggest the very real relevance of ‘1984’ in today’s world.

Various performances around the North West - https://lostintransittheatre.com

Reviewer - John Waterhouse

On - 23.10.26

Theatre Review The Fit Prince (who gets switched on the square in the frosty castle the night before (insert public holiday here) Hope Mill Theatre Manchester

 

               

There’s no point pretending this was going to be a quiet evening at the theatre—it never is with Awkward Productions. Their opening night performance of The Fit Prince (who gets switched on the square in the frosty castle the night before (insert public holiday here) at Hope Mill Theatre delivered exactly what audiences have come to expect: chaos, camp, and comedy at breakneck speed.

This touring production—previously seen at the Edinburgh Festival Fringe—is only in residence for one week, finishing on Sunday, and it already feels like a fleeting theatrical event you’ll regret missing. Expectations were high, not least because of last year’s wildly entertaining Gwyneth Goes Skiing (yes, that one—loosely inspired by Gwyneth Paltrow and a certain infamous moment on the slopes). Thankfully, this show more than lives up to the hype.

Written by and starring Linus Karp and Joseph Martin, with original music by Leland, the story loosely follows an uncrowned heir to the throne of Swedonia (not Sweden—don’t get confused), who must find himself a groom before the looming May bank holiday coronation deadline.

It’s part fairy tale, part horror, a full-throttle romp—utterly ridiculous in the best possible way, like some kind of bizarre queer fairy tale.

Awkward Productions have carved out a niche for fast-paced, irreverent physical theatre, gleefully skewering pop culture under a thin veil of camp absurdity—and this show is no exception. Video interludes introduce a host of recognisable figures, including a standout cameo parody of Michelle Obama (“you’ve got to go down and get low” quickly became an audience favourite).

The orphanage owner was a wonderfully odd creation—somewhere between Nanny McPhee and the Wicked Witch from Snow White and the Seven Dwarfs—though with a surprisingly warm heart beneath the chaos.

Audience participation, a hallmark of Awkward Productions, was in full swing. From pre-show assignments of roles and costumes to spontaneous stage involvement, the crowd threw themselves into the madness. Special mention must go to the “doppelganger,” whose performance was nothing short of hilarious.

Musical highlights included Swedonia’s finest export, BAAB (you can probably rearrange that…), delivering the unforgettable number 'Dunkirk!'—a moment of pure parody brilliance.

But it was the “Movement King”  that  truly stole the show, with razor-sharp physical comedy and a stream of dry, acidic one-liners shared between the two leads. The movement king number, complete with parody choreography and knowingly exaggerated mime, was pure pastiche—blatantly a send-up, but also an affectionate homage to something so beloved it clearly lives in everyone’s collective memory. Iconic, in every sense of the word.

An unexpected hiccup on opening night saw the assistant stage manager—who plays multiple roles, including a fleetingly chaotic Vanessa Hudgens—dramatically destroy her mic pack mid-scene while wielding a prop gun. Impressively, the performers didn’t miss a beat, folding the mishap seamlessly into the performance.

The Prince himself—blonde, charming, and clad in a gloriously fairytale-esque tunic—delivered some of the evening’s best moments (“Are you the Prince?” “Yes—look at what I’m wearing”). The sauna scene, in particular, was a standout poking fun at 1970's erotica.

Aaron Butcher's character of the lovelorn baker brought strong Bridesmaids-style energy, ably supported by his persistent puppet patisserie companion. Sharp-eyed fans may even spot a returning reindeer from Gwyneth Goes Skiing—a delightful Easter egg.

If there’s a minor critique, the pace dipped slightly during the wedding scene—but it’s a small quibble on opening night and easily forgiven.

Ultimately, this is exactly what you want from Awkward Productions: rowdy, raucous, unapologetically camp, and packed with absurd humour. It’s not for everyone—but for those willing to embrace the madness, it’s an eclectic and thoroughly entertaining night at the theatre.

Get a ticket if you can - https://hopemilltheatre.co.uk/event/the-fit-prince/

Reviewer - Kathryn Gorton

On - 21st April 2026

Concert Review Cassidy Janson Sings Carole King, Epstein Theatre, Liverpool

There are tribute shows, and then there are performances that feel like a rightful continuation of a legacy. Cassidy Janson’s celebration of Carole King sits firmly in the latter category, part homage, part personal journey, and wholly captivating. Janson returned to her portrayal of King in Beautiful: The Carole King Musical, not in character, but in spirit, revisiting the songs and stories that have shaped her career. What emerged was not just a retrospective, but a warm, often intimate evening that balanced reverence with personality.

From the moment she bounced onto the stage in a vibrant evening dress and launched into ‘I Feel the Earth Move’, Janson had the audience in the palm of her hand. Her anecdote about performing the song with King herself in Hyde Park in 2016 set the tone: this was a performer with both credibility and charm, able to wear her achievements lightly.

The set list moved fluidly between King’s catalogue and Janson’s own experiences. ‘Where You Lead’ gave way to a cleverly chosen Beatles pairing, ‘Chains’, one of King’s early compositions, and ‘Here, There and Everywhere’, delivered in the style of Celine Dion’s arrangement. It was a reminder not only of King’s far-reaching influence, but of Janson’s versatility as an interpreter.

Stories threaded naturally through the music. Her account of recording with Beverley Knight during her West End run, and of being asked by Amy Winehouse’s mother to perform ‘So Far Away’ for her daughter’s charity, added emotional texture without ever tipping into self-indulgence. Janson’s gift lies in her ability to make such moments feel shared rather than showcased.

Her own material sat comfortably alongside the classics. ‘Fairytale’ and ‘You Beat Me to Goodbye’, the latter a song gifted to her by King, were performed with sincerity and conviction, reinforcing her credentials as more than a custodian of another artist’s work.

A spirited ‘Pleasant Valley Sunday’ brought the first half to a close, before Janson returned, now in a striking orange dress, for a second act that leaned further into vocal power. ‘Up on the Roof’ proved a standout, its emotional clarity and control marking it as one of the evening’s finest moments.

Backed by a tight, sympathetic band, Adam Dennis on keyboards, Chris Dodd on upright bass, and Al Cherry on guitar, Janson was given space to explore both the nuance and scale of these songs. Whether on the upbeat ‘On My Way’ or ‘Widow Woman’ from Fisherman’s Friends, the arrangements never overshadowed the performance.

The closing sequence captured the essence of the show. Pairing ‘Fire and Rain’ with ‘You’ve Got a Friend’, Janson traced the emotional and musical dialogue between James Taylor and Carole King. It was a fitting reminder of the interconnectedness at the heart of this music.

A well-deserved standing ovation followed, and the encore, (You Make Me Feel Like) A Natural Woman’, felt less like a finale and more like a statement of intent. That King herself was moved to tears by Janson’s rendition in Beautiful speaks volumes. This was more than a tribute. It was an artist honouring her influences while quietly asserting her own place among them.

Cassidy Janson’s tour continues across the UK and details can be found here, ‘Cassidy Janson sings Carole King’ Tour 2026 — Cassidy Janson

Reviewer – Adrian Cork 

On – 20.04.2026

THEATRE REVIEW Mythos, Ragnarök by Ed Gamester. City Stage, Preston

Ed Gamester as Loki took full command of the stage, charismatic and unpredictable, he embodied the trickster god with a dynamic blend of charisma, surprise and powerful wrestling moves.

Mythos Ragnarok is a brilliant fusion of wrestling and theatre, capturing the best qualities of both worlds. It felt like an indie wrestling show, with how it connected with its fans, but with a trust in the performer’s safety, and a rich unfurling story that kept us on the edge of our seats. The death of one character had the audience too stunned to boo, but the tension was palpable, leading to a later payoff that almost brought the house down.

Miles Ley’s Thor stood out with his impeccable comedic timing, the perfect embodiment of brawn over brains, balancing humour and raw power. The other eight performers also embodied distinct and compelling characters, forming a rich ensemble that vividly brought the Nordic gods to life.

The climatic moment of the show was the epic rumble toward the end. The choreography was stunning, each of the eight wrestlers used the stage with precision, flying in and out, every move perfectly timed. It was a breath-taking spectacle, like a blockbuster superhero moment unfolding live. The audience gasped with every bump and throw, fully immersed in each high-stake move, especially as the female performers delivered awe-inspiring feats of strength.

Melanie Watson’s as designer and performer, brought a mythic edge to the characters costumes, making each wrestler feel larger than life. This show is a powerful hybrid of ensemble theatre and indie wrestling, brining raw, collaborative energy and spirit to the stage. They also produced the entire show themselves, this band of punk wrestler theatre-makers. I’m wishing them every success with this amazing show!

Stage City events can be found here - https://stagecity.co.uk/events/mythos-ragnarok/

Reviewer: Kerry Ely

On – 17/04/2026

Concert Review - Down In Laurel Canyon, Shakespeare North Playhouse, Prescot

 

Down In Laurel Canyon is an ensemble of Liverpool based musicians who lovingly reimagine the timeless catalogue of songs that emerged from Laurel Canyon between the mid-1960s and early 1970s.

They are Naomi Campbell (guitar, vocals), Karen Turley (guitar, vocals, tambourine), Robert Johnson (guitar, vocals), Dylan Cassin (guitar, vocals), Tom Wilson (percussion, vocals), Sam Rabbette (bass), Rich Smith (drums) and Sarah Sands (keyboards, vocals).

If you’re a fan of the likes of The Mamas & The Papas, Crosby, Stills & Nash, Joni Mitchell, Neil Young, The Doors, Carole King and James Taylor, you will love this show. These supremely talented performers take you on a journey back to a time and place where it felt as though the sunny days might never end.

The show comprised two 45-minute sets, separated by a 20-minute interval. The opening number was The Mamas & The Papas’ era-defining ‘California Dreamin’’, the perfect start to our trip through the Canyon. Bobby then introduced a song by a band from Hull, America’s ‘A Horse With No Name’, with Sam nailing the song’s driving bass line. Sarah delivered a beautiful rendition of Carole King’s ‘It’s Too Late’, before Naomi took on The Turtles’ ‘Elenore’, showcasing the poppier side of the Canyon. Sarah returned to lead on Joni Mitchell’s ‘Big Yellow Taxi’, deftly handling her unique vocal phrasing.

All bar Karen, Naomi and Bobby then left the stage, allowing the trio, otherwise known as Motel Sundown, to perform a lovely version of James Taylor’s ‘Carolina on My Mind’. ‘Helplessly Hoping’, Little Feat’s ‘Willin’’, ‘Doctor My Eyes’ and John Mayall’s ‘All Your Love’ had the audience singing along, before Linda Ronstadt’s ‘You’re No Good’ brought the first half to a close.

From the ovation they received, it was clear the audience at Shakespeare North Playhouse had thoroughly enjoyed themselves. The second half began with Crosby, Stills & Nash’s ‘Carry On’, a cornerstone of the Laurel Canyon sound. Dylan then took ownership of the night with raucous versions of The Doors’ ‘Roadhouse Blues’ and Neil Young’s ‘Down by the River’. Karen delivered a confident take on Carly Simon’s ‘You’re So Vain’, followed by a full-band performance of Eagles’ ‘One of These Nights’.

Dylan then introduced James Taylor’s ‘Fire and Rain’, explaining how it was written in response to the death of his friend Suzanne Schnerr, before delivering a moving solo performance. The mood softened further as Karen, Naomi and Sarah performed Joni Mitchell’s ‘Ladies of the Canyon’, the standout moment of the evening.

Bobby strapped on a Rickenbacker as the volume lifted again for The Byrds’ ‘Turn! Turn! Turn!’. Little Feat’s ‘Spanish Moon’, Crosby, Stills, Nash & Young’s ‘Ohio’ and  Buffalo Springfield’s ‘For What It’s Worth’ brought proceedings to a close. The audience, keen for more, were rewarded with an encore of ‘Love the One You’re With’.

Whilst it might be the ladies of the Canyon and Dylan and Bobby’s guitars that are front and centre, they could not do what they do without the superb percussion section of Tom, Sam and Rich. Take a bow gents.

Down In Laurel Canyon delivered yet another authentic and vibrant celebration of Laurel Canyon’s rich musical legacy. It’s a lovely thought that they all live close together in Aigburth, an area that might become a hub of musicianship and a modern echo of the countercultural spirit they celebrate.

Down in Laurel Canyon are playing Liverpool’s Philharmonic Hall on 22nd January 2026 and tickets may be purchased here, https://www.liverpoolphil.com/whats-on/contemporary-music/down-in-laurel-canyon/9825

Reviewer – Adrian Cork 

On – 18.04.2026

THEATRE REVIEW THEATRE FRINGE BALLAI (WALLS) 53Two Manchester

Set against the ever-present threat and reality of what, somewhat euphemistically or perhaps optimistically have been coined, The Troubles, this one-woman play (about 50 minutes through, no interval) tackles a very personal relationship with the sectarian violence of 1969 Belfast. 

The young actress playing Eve (adult actress obviously playing a juvenile) was engaging and easy to watch, and we were transported to this world with ease. We understood her situation and we were able to sympathise with her. In a series of flashbacks, she takes us through 'her' Belfast and the family and people of her world, creating the characters from the detritus of a slum and bombed-out city, and creating the voices for them herself. The only voice she doesn't attempt is that of an acquaintance she meets in the local pub and immediately falls in love with him. The love, we find out, is somewhat misguided, and the play does continue on a downward trajectory throughout. Despite the many pseudo-comedic moments to lighten the tension (these either coming from the writing or the direction) the play doesn't pull any of the major punches and we see, first hand so to speak, the destruction of lives and communities that this 'war' caused. In fact, the play starts fairly conventionally and in 'happy mode' as Eve describes her Belfast with affection. The tall, dark, handsome stranger in the pub however is when things take a turn for the worse. Although, Eve has known and seen heartbreak and death before, even within her own family, it is this 'chance' meeting that is the catalyst for the play's downward spiral.

The set made full use of the small space and created height by use of scaffolding, whilst lighting and sound were both good throughout, and the costuming was apt. 

The play was written by Kelsea Knox and directed by Frankie Lipman. The one slightly odd part of this play for me was that Eve referred to and acknowledged us, the audience, knowing she was playing a role and was telling her story to us. I think, in all subjectivity, the play would have worked better with a larger cast (it seemed to be crying out for this!) and to bring the fourth wall firmly down. However, the play was still interesting and worthwhile.

53two, Manchester 15–17 April 2026

Reviewer - Alastair Zyggu

On - 16.4.26

Concert Review Jive Talkin’, The Atkinson, Southport

Jive Talkin’ are billed as the original and best Bee Gees tribute band and, like the originals, comprise family members. Gary Simmons as Barry and Darren Simmons as Maurice are brothers, whilst Jack Simmons, as Robin, is the former’s son. 

Supported by a talented group of musicians, Leigh Fuge (guitar), Oscar Stone (drums), Chris Howell (cello) and Ruth Howell (violin), they are able to perform the Bee Gees’ incomparable songbook with remarkable authenticity, sincerity and no little humour.

After a short audio montage of Bee Gees news clips describing the band’s history, the lights went up and Jive Talkin’ launched into ‘You Should Be Dancin’’ and the late-1990s hit ‘Alone’. Gary, looking like Barry Gibb but not in a comedic way, introduced the show and explained that the first half would consist mainly of the Bee Gees’ 1960s hits, with the second half focusing on the 1970s and beyond.

Jack, dressed as the later-era Robin Gibb, sang ‘Massachusetts’, during which he encouraged a very willing audience to join in the chorus. Now, Robin Gibb had a distinctive voice and performing style that is difficult to replicate. His operatic vibrato gave him a vulnerable yet powerful sound, and his signature gesture, cupping his right hand over his ear, particularly during emotive ballads, added another layer of expression. It’s fair to say Jack did more than simply impersonate Robin. His powerful voice retained that vibrato throughout the night, and his movements were unmistakably Robin’s. Like his uncle’s Barry, Jack’s Robin was sincere and respectful.

They ran through a litany of hits: ‘First of May’, Robin’s ‘I Started a Joke’, ‘To Love Somebody’ (a song they had performed with Barry Gibb), ‘Gotta Get a Message to You’ and ‘Come On Over’. Gary then spoke briefly about Andy Gibb, who passed away at the age of 30, before singing his ‘Don’t Throw It All Away’.

The deepest cut performed was ‘Ellan Vannin’, the traditional song of the Isle of Man where the Bee Gees were born. Another string of hits, including ‘How Can You Mend a Broken Heart’, ‘Run to Me’, ‘Words’ and ‘Lonely Days’, brought a hugely entertaining first set to a close.

Jive Talkin’ returned to the stage, now dressed in silver satin jackets and white trousers to represent the 1970s Gibb brothers. ‘Nights on Broadway’ was followed by two of the standout performances of the night: ‘Spirits Having Flown’, on which Gary absolutely nailed Barry Gibb’s high-pitched, breathy falsetto, and ‘Too Much Heaven’, during which Jack and Darren delivered precise harmonies.

The Saturday Night Fever songs ‘Stayin’ Alive’, ‘More Than a Woman’ and ‘How Deep Is Your Love’ were greeted rapturously by the audience, as was ‘Islands in the Stream’.

Jack sang Robin’s solo hit ‘Juliet’ before the trio performed a medley of songs acoustically, standing around a single microphone. Whether or not it was spontaneous or rehearsed I’m not sure, but they made each other laugh and had to restart a couple of times. This fitted perfectly with the humour of their on-stage repartee.

‘Secret Love’, ‘You Win Again’, ‘Night Fever’ and, of course, ‘Jive Talkin’’ brought the show to a close. The audience wanted more, so they returned to perform ‘Tragedy’.

At the end, the singers and musicians took their bows to Brotherhood of Man’s ‘Save Your Kisses for Me’, something that neatly typified the humour of the night. For Bee Gees fans looking for a live experience, Jive Talkin’ is a must-see, offering a truly unforgettable evening of note-perfect nostalgia.

Jive Talkin’s tour continues and details can be found here, https://www.ents24.com/uk/tour-dates/jive-talkin

Reviewer – Adrian Cork 

On – 16.04.2026

Theatre Review Double Indemnity Playhouse Theatre Liverpool

This touring production based on the novel by James M. Cain, is directed by Oscar Toeman by special arrangement of ILP Theatrical, adapted for the stage by Tom Holloway and is presented at the Playhouse, the sister theatre to the Everyman. It is a stylish venue, just a few minutes’ walk from Liverpool Lime Street station and very close to Queen Square bus station. Thank you to the staff for their welcome and assistance. Unfortunately, there was no programme for this show, but I was given a printed sheet of paper listing the cast. The drama is set in 1930s Los Angeles against the backdrop of the Great Depression. 

When my friend and I sat down, we were greeted by an empty stage, intriguingly designed by Ti Green, which had industrial style panelling on either side. We found out later that there were doors built into the panels that allowed entry and exit from the performance space. The action started when insurance salesman Walter Huff (Ciarán Owens), dressed in a cream suit, confidently strode onto stage and immediately broke the ‘fourth wall’ by directly addressing the audience. This wasn’t narration; instead, he was inviting us into this Hollywood noir, posing the question: “If no one was watching, how far would you go to get what you want?” Huff set the scene, outlining his plans for, and his role in, the ‘perfect murder’. We were quickly introduced to the intended victim Mr Nirdlinger (Oliver Ryan) and his glamorous second wife Phyllis (Mischa Barton). Nirdlinger’s first wife, whom Phyllis had been nurse to, had died in tragic circumstances, and Phyllis is now stepmother to teenager Lola (Sophia Roberts). Although Lola is undoubtedly spoilt by her rich parents, she yearns for a life of her own. She gets involved with moody Nino Zachetti (Joseph Langdon), who is very much the strong and silent type!

Huff is a chancer, always on the lookout for a deal to keep his bosses happy and earn him good commission. When he visits the Nirdlingers to discuss the renewal of their car insurance policy, he overcomes the reticence shown by the husband towards any salesmen. Huff is unsurprisingly instantly attracted to Phyllis, whom he senses is extremely unhappy. Armed with the knowledge of Phyllis’s situation, he uses all of his nous and experience to sell a new policy with a ‘double indemnity’ accident clause which Phyllis’s husband is blissfully unaware of. In other words, the policy will actually pay out twice as much should the husband die in specific circumstances. Huff and femme fatale Phyllis are attracted to one another, hatch the deadly plot and begin an affair, but you are left with the impression that both participants are playing each other in a dangerous game.

Once the new policies have been signed, the action switches to the insurance company’s office where we meet Huff’s wily, gruff and world-weary boss Barton Keyes (Martin Marquez). Keyes makes no attempt to hide his disdain and contempt towards young whippersnapper Norton (also played by Joseph Langdon) who has now taken over the company. Huff has a methodical and hard-working secretary Nettie (enthusiastically portrayed by Gillian Saker).

I will not say anything more about the plot itself so as not to spoil it for the reader, but I can highly recommend this production. As the fast-paced episodic action continued, the reason the stage was empty at the beginning became clear, with rapid changes of scene being required, switching between the Nurdlinger’s house and car, the insurance company’s office and downtown LA. The ensemble of Ms Saker, Simon Victor, Estelle Cousins and Patrick Fleming gave character and context to the outdoor scenes and acted as stage hands to facilitate the smooth transitions. Sound cues designed and composed by Dan Balfour and Zac Gvi, along with lighting delivered by Josh Gadsby, effectively added to the moodiness and tension throughout.

The production runs until Saturday 18th, including matinees on Thursday and Saturday. More information on the play, cast and crew can be found at its official website: https://www.doubleindemnityplay.co.uk/

Tickets can 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 -15/04/2026

Theatre Review Sherlock Holmes: The Hunt for Moriarty, The Atkinson, Southport

Set in 1900, Sherlock Holmes: The Hunt for Moriarty is an original tale constructed around four of Sir Arthur Conan Doyle’s short stories: The Adventure of the Bruce-Partington Plans, A Scandal in Bohemia, The Adventure of the Second Stain, and The Final Problem. As a result, writer Nick Lane is able to include characters such as Irene Adler and Lady Hilda Trelawney Hope alongside Dr Watson, Inspector Lestrade, Mrs Hudson, and Mycroft Holmes. The result is an expansive, politically charged thriller in which stolen documents, espionage, and threats to the British establishment all point towards the shadowy figure of Professor James Moriarty.

With an almost three-hour running time, Blackeyed Theatre, one of the UK’s leading touring companies, ensures there is enough theatrical flair to keep the audience engaged.

Set designer Victoria Spearing’s vision enables the audience to move seamlessly between locations, from a fire-damaged 221B Baker Street to the Diogenes Club, a seedy theatre with secret doors, and the Reichenbach Falls. Sound and lighting add further atmosphere, while projections on the back wall provide a visual accompaniment to the onstage action.

With such an exciting script to work with, this is very much an actor’s piece. Dr Watson’s role in recounting events after the fact gives the production its narrative backbone. Performances across the ensemble are consistently strong, with actors multi-roling while maintaining clarity despite the plot’s complexity. Mark Knightley plays Holmes, with Ben Owora as Dr Watson. They are ably supported by Pippa Caddick (Mrs Hudson, Irene Adler, Violet Westbury, and Hilda Trelawney-Hope), Gavin Molloy (Inspector Lestrade, Louis LaRotière, Professor Moriarty, Alex Trelawney-Hope, and Herbert Fennell), Robbie Capaldi (Sir James de Wilde, Hugo Oberstein, Ronald Smith, and Don Chappell), and Elliot Giuralarocca (Mycroft Holmes, Colonel Valentine Walter, Wilhelm von Ornstein, Henry Petty Fitzmaurice, and Will Parfitt).

Knightley’s Holmes is portrayed with a cooler, more measured intelligence than the slightly eccentric interpretations some may expect, giving the character a distinct gravitas.

Moriarty, as in Conan Doyle’s stories, remains largely in the shadows until the final confrontation.

The character transformations are extremely well handled, with subtle costume changes and distinct accents making it easy to follow who’s who. When it hits its stride, the play moves from intriguing to gripping. The sword fight between Irene Adler and de Wilde is visceral, while the climactic confrontation between Holmes and Moriarty at the Reichenbach Falls is impressively staged, combining physical theatre, music, and projection to great effect.

As a committed Holmes fan, there is something undeniably satisfying in seeing familiar stories reframed as a single grand conspiracy, with Moriarty elevated from an occasional adversary to the hidden hand behind the goings-on.

This is an engaging, intelligent piece of theatre that respects its source material, with much to enjoy in spotting the threads of familiar stories woven into a new tapestry. Even with its long running time, the show impresses with originality, cleverness, and humour. Fans of the great detective will not want to miss it.

Sherlock Holmes and the Hunt For Moriarty is on tour and details can be found here, Sherlock Holmes and the Hunt for Moriarty – Blackeyed Theatre https://blackeyedtheatre.co.uk/shows-2/shows/sherlock-holmes-and-the-hunt-for-moriarty/

Reviewer – Adrian Cork 

On – 14.04.2026

Theatre Review Heart Wall by Kit Worthington Bush Theatre, London

Heart Wall unfolds primarily within the familiar, slightly frayed comfort of The Sun Inn, a local pub that hosts a regular karaoke night — the kind of place where the carpet has seen better days, the roof leaks, the regulars know each other’s business, and the microphone is always just a little too loud. If you arrive early to the performance, the audience is invited to take part in the pre-show karaoke which was great fun and encouraged a fun and happy pub like vibe to set the scene and eased into the unmistakable pub night warmth. By the time the actors begin to slip into character, the room already feels like a community.

What’s striking is how subtly the performers emerge. There’s no grand entrance, no theatrical flourish — instead, the actors gradually find their places, letting their characters settle in as naturally as locals drifting back to their usual stools. With only five actors carrying a one hour forty minute production, the task is considerable, yet they manage it with impressive cohesion and emotional stamina.

The story centres on Franky, played with fierce vulnerability by Rowan Robinson, a RADA graduate and Alec Guinness Award winner whose growing list of credits is clearly well earned. Franky has returned to her hometown in the North of England after a year in London, for an unannounced weekend visit. That weekend stretches into a few months, her excuse is looking for her missing pet rabbit — a small, almost comic detail that masks the deeper fractures within her family. A story of family dynamics shaken to its core by the death of a child, but yet hanging on by a thread and becoming part of local life centred around The Sun Inn. Franky’s return disrupts the broken lives of her parents, and somehow the pub becomes both a refuge for the emotions they’ve long avoided.

Rowan Robinson’s Franky is sharp, restless, and often defensive, yet the performance never loses sight of the lack of understanding beneath the bravado. Aaron Anthony is Valentine, the barman who has already been interacting with the audience during the preshow karaoke.

His easy rapport carries seamlessly into the play, and he becomes the grounded steady pulse of the pub scenes and the voice of reason. Olivia Forrest brings a brilliant, grounded energy to Charlene, the friend who stayed behind. She’s the kind of small town character who doesn’t dream of escape because she doesn’t feel she needs to; she knows everyone, keeps tabs on everything, and has carved out a life she’s content with. Forrest plays her with humour and bite, she’s brash but also has a depth not at first visible from her outward projection.

The emotional weight of the piece rests heavily on Sophie Stanton as Linda, Franky’s mother, and Deka Walmsley as Dez, her father. Both are seasoned performers with long, impressive careers, and here they deliver raw, unvarnished portrayals of two people hollowed out by loss. Their scenes are some of the most affecting in the play — tense and painfully believable. They embody the exhaustion of parents who have run out of ways to cope, yet still hold onto the last remnants of family life. These two performances in Heart Wall give them even more credit as actors who can take on demanding and difficult roles, allowing them to perform as broken people.

The audience were upbeat throughout the subtle nuances of humour and the karaoke that flows through the drama and respectful in the more dramatic scenes. Kit Worthington’s writing is clever in its restraint; the play doesn’t reveal its full hand until the final scenes, allowing the emotional truth to land with greater impact. Katie Greenall’s direction keeps the pace fluid, letting the karaoke thread run through the drama without ever undermining it.

The design team deserves special mention. Hazel Low’s set transforms subtly but strikingly from pub to reservoir — an unexpected shift that somehow works — while Simisola Majekodunmi’s lighting guides us through changes of location and mood with quiet precision.

Mwen’s sound design balances dialogue and karaoke seamlessly, no small feat in a space buzzing with live audience energy. It was a full house at the Bush Theatre, and it’s easy to see why. Heart Wall is a thoughtful, surprising piece of theatre that blends humour, grief, and community into a story that lingers long after the final song fades.

The Bush Theatre’s main performance space: The Holloway Theatre, West London

The show runs until 16th May 2026

Reviewer - Penny Curran

On -14th April 2026