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

Concert Review The Galicia Symphony Orchestra Bridgewater Hall, Manchester

All orchestras display certain traits to the trained ear but there are some orchestras that somehow seem to express a very distinct personality. The Galicia Symphony Orchestra (or ‘Orquesta Sinfonica de Galicia’) is such an ensemble, bringing elements of Spanish passion and colour to a varied programme that was markedly longer than the majority of classical concerts.

The fact this was a cultural export rather than just recitals of great works was enforced with this performance having been a joint-production with the official Spanish language and cultural body, Instituto Cervantes.

The extensive programme comprised (almost) entirely of Spanish works from the twentieth century with the exception being the World Premier of ‘Ruada’ by Fernando Buide, an active young composer from Spain who was worked extensively in America. This rousing piece made full use of the fifty-strong orchestra pleasingly feeling modern without being unnecessarily experimental or avant-garde and got the evening off to a flying start. This was followed by three dances from Falla’s 1919 Ballet ‘Three Cornered hat’ and you knew this was Spanish if no for other reason than the extensive use of maracas, amongst the battery of percussion at the back (although it was hard to see why a triangle player was included, whose single note seemed inaudible). There was no ignoring the bass and kettle drums though and Spanish flair filled the auditorium, naturally with a heavy emphasis on the brass section.

Around a third of the orchestra left the stage prior to the entry of the star of the show, Spanish guitar virtuoso Thibaut Garica who performed Rodrigo’s ‘Concierto de Aranjuez’. This piece perfectly alternated between the pure, solo sound of gut guitar strings and a full orchestra, starting off with some relatively basic flamenco but building into sophisticated classical guitar, culminating with a strong bass melody underlaid with a constant Italian-sounding quiver that sounded quite remarkable. Some of the concierto sounded very familiar having been used (amongst other places) in the classic John Wayne western ‘Rio Bravo’ and the piece provided an excellent vehicle through which to display Garcia’s considerable talents. In true Spanish style, the lead musician and the conductor finished with ‘un abrazo’ rather than the customary hearty handshake.

The second half comprised works by Ravel interspersed with Turina’s ‘Seville Symphony’. The pieces from Ravell’s ‘Mother Goose’ ballet had absolutely no Spanish connection but conductor Roberto Gonzalez-Monjas certainly added an element of Hispanic colour, which continued into the offering from Turina. Ravel was of course French but it worth noting that his most famous work ‘Bolero’ (now ever linked now to Torvill and Dean’s Gold medal performance at the 1984 Winter Olympics) was actually a commission to orchestrate six pieces by Spanish piano composer Isaac Albeniz and the overall sound, right down to the name, is essentially Spanish in character.

‘Bolero’ is a remarkable piece of music, starting off quietly as a refrain, repeated in turn by a wide range of solo woodwind and brass instruments, underscored by massed strings. The ultimate climax is steadily built up to a huge crescendo and for this piece, the orchestra grew to at least sixty in number. The steady one-two beat of the kettle drum provided a constant beat that was reminiscent of the time-marker for the galley slaves in the movie ‘Ben Hur’, building up to full ramming speed for ‘Bolero’s climax.

The two-hour performance got a rousing response from the audience who had been given unquestionable value for money but conductor Gonzalez-Monjas then faced the auditorium to explain that there was still more with a bonus piece by another twentieth-century Spanish composer, ‘Negra Sombra’ by J. Montes; a fitting end to a most excellent evening of vibrant and expressive music.

The Galicia Symphony Orchestra is on tour around the UK -

https://imgartists.com/news/roberto-gonzalez-monjas-and-galicia-symphony-

orchestra-embark-on-uk-tour-10-17-april/

Reviewer - John Waterhouse

On -3.04.26

Music Concert Review - The Illegal Eagles Hotel California Tour Philharmonic Hall, Liverpool

It was in 1996, after seeing the Eagles on their Hell Freezes Over tour, that tonight’s musical director, Philip Aldridge, decided to form a tribute band celebrating the American country rockers’ music. Nearly 30 years on, that decision has clearly paid  off. The Illegal Eagles have toured relentlessly ever since, earning a reputation for their tight harmonies and impressive musicianship.

This latest run of shows, The Hotel California Tour, marks the 50th anniversary of the Eagles’ iconic album Hotel California. Rather than performing the record in one continuous set, the band opted to weave its songs throughout the evening, an understandable choice given that both the album’s opener, ‘Hotel California’, and its closer, ‘The Last Resort’, are typically encore-worthy centrepieces.

Tonight’s line-up featured Garreth Hicklin (vocals, guitars, mandolin, piano, drums), Trevor Newnham (vocals, bass), Mike Baker (vocals, guitars, keyboards), Greg Webb (vocals, guitars), and Tony Kiley (drums). With multiple lead vocalists, the band shared duties throughout, each bringing their own strengths to the material.

Hicklin impressed on ‘New Kid in Town’, while Baker delivered a strong performance on ‘Try to Love Again’, the first Hotel California track of the night.

Proceedings opened with ‘Midnight Flyer’ from 1974’s On the Border, accompanied by atmospheric visuals of a train heading west, part of a series of projections that ran throughout the show. These cinematic backdrops, depicting scenes from across America, added a strong sense of place and narrative to the performance.

The set moved effortlessly through the Eagles’ catalogue. ‘Tequila Sunrise’, featuring Hicklin on mandolin, was followed by ‘Peaceful Easy Feeling’ and ‘Best of My Love’, the latter enhanced by Webb’s pedal steel guitar. Between songs, the band offered insights into the Eagles’ history, touching on the tensions that fuelled their creative output.

A run of hits, ‘Victim of Love’, ‘Witchy Woman’, and ‘One of These Nights’, was delivered with precision before the band were joined by a string section from the Royal Northern College of Music. Their contribution added depth and texture, particularly on Glenn Frey’s instrumental ‘I Dreamed There Was No War’, which helped bring the first half to a close alongside Don Henley’s ‘The Boys of Summer’. The second half opened energetically with Joe Walsh’s ‘Life’s Been Good’. From there, ‘I Can’t Tell You Why’, ‘Pretty Maids All in a Row’, and ‘Wasted Time’ maintained the momentum. Audience participation peaked during ‘Lying Eyes’, with lyrics projected onscreen to encourage a full singalong.

A moving ‘Desperado’, performed by Baker at the piano, preceded the high-energy pairing of ‘Heartache Tonight’ and ‘Life in the Fast Lane’. The string section then delivered ‘Wasted Time (Reprise)’ before BBC presenter Bob Harris’s voice introduced ‘The Last Resort’, often regarded as the Eagles’ magnum opus. Shared vocal duties gave the performance added weight, underscoring the song’s themes of environmental and cultural loss.

Following a standing ovation, the band returned for an inevitable and warmly received ‘Hotel California, the chorus of which sung as loudly by the audience as by the band.

Special mention should go to drummer Tony Kiley. Though largely out of the spotlight, his contribution was consistently excellent, providing a solid foundation throughout. Unsung heroes of the evening were the guitar technician who spent nearly as much time on stage as the band and the merchandise stall who had to sell Illegal Eagles tea towels.

The evening closed with ‘Take It to the Limit’, rounding off a memorable night. For  fans of the Eagles, The Illegal Eagles offer a faithful and thoroughly enjoyable live experience, one that audiences will no doubt return to again and again.

The Illegal Eagles tour continues and information for which can be found in the link here, https://www.illegaleagles.com/tour

Reviewer – Adrian Cork 

On – 12.04.2026

Theatre Review YONKS! Chris McCausland Philharmonic Hall Liverpool

 

On a cold, rainy Liverpool night, Chris McCausland was given a very warm welcome from fellow Liverpudlians who showed their appreciation from the start with loud cheers and applause.

Comedian McCausland sat centre stage on a high-backed stool with a glass of water on a small table beside him and entertained to a full house.

He started by giving a run down of his comedy background about how he started in the business 23 years ago in 2003  and stated that although he had two decades of delivering comedy behind him, he was best known for dancing – referring to his stint in BBC TV show, Strictly, which he won after practising for eight hours a day, six days a week for four months accumulating over 500 hours of dancing. He enthralled the audience by telling them how emotional the Strictly experience had been and how he had won a BAFTA award for his part in the show.  He hadn’t attended the BAFTA award ceremony as he was convinced that there was no chance him and his partner, Diane Boswell would win when they were up against TV comedy show Gavin and Stacey, but surprisingly for him they did win and whilst he was on tour in Warrington, his partner Diane picked up the award.

McCausland had the audience in the palm of his hand from the start, as he talked about growing up in the 1980’s, meeting Prince William at The Royal Variety Show, Ed Sheeran, his mate Brian Connolley, the late Queens’ Jubilee Celebrations and a few personal disclosures about his health.

He said he has called the show YONKS! as the show is about nothing, there is no theme, it’s just him talking about nothing really, just random thoughts in his head and it is frank, clever and absolutely hilarious.

McCausland has a very endearing way about him and his entertaining show demonstrates  why he’s one of Britain’s most loved stand-up comedians. He touches on subjects such as disability and gender identification which many comedians would steer clear of and he presents his comedy in a very down-to-earth manner which many will identify with.  Although now living in Kingston-Upon-Thames he has retained much of his scouse accent and a lot of his Liverpudlian wit. He admits that some of his anecdotes occasionally are a little on the long side, but the audience didn’t seem to mind and the punchlines were well worth the wait.

From the first joke to the final palate cleanser (his description), the show kept the audience laughing non- stop throughout. His relatable stories touch on family, modern life, turnips, and surprisingly Arnold Shwarzenegger. Being blind, his disability is a large part of the show, his classic humour about being a blind man in everyday life instantly had the audience in stitches.  His timing is flawless and he endears people by laughing at his own jokes before delivering the punchlines, he got a laugh from every line he delivered. The show is a masterclass in live comedy and a perfect night out for a good laugh.

Tour details here - 

https://www.uktw.co.uk/Tour/Comedy/Chris-McCausland-Yonks/T0291233696/#google_vignette

Reviewer – Anne Pritchard

On – 11^th April 2026

 

 

THEATRE REVIEW Jack and the Beanstalk The Gladstone Theatre, Port Sunlight

Pantomimes seem to be almost as much a part of the Easter season now as does Christmas and with a lot of productions on offer, the bar has been raised accordingly. This production of old favourite ‘Jack and the Beanstalk’ by Fortina Stone was at first glance very traditional in both story, staging and characters but it had some interesting elements that made it quite a bit different. 

An enthusiastic cast of seven were supported by a four-strong dance troupe, all of whom kept up a sprightly pace through tight direction by Laura Newnes. The flows between music and speech were flawless and no blackouts for scene changes, with a colourful front screen whisked across stage as required. The staging (as for most pantos) comprised of rows of gayly painted side flats and back screens but with some interesting additions; a case in point being the light-encrusted sky in the giant’s kingdom which was very effective.

The presentation of the giant was also very good (without giving any spoilers). Darren John Langford as the villain Fleshcreep demonstrated an almost Freddy Mercury-like power over the audience, singing prolonged, increasingly difficult notes which the audience then had to copy. Lewis Pryor and Ellie Clayton made a charming Jack & Jill, regularly sparring off each other and Justine Langford was amusing as Fairy Fertile. Michael Baily as Silly Scott essentially provided a vehicle through which the kids could identify and Neil Macdonald provided balance as the older Squire Pegg. So, with sprightly performances and Fortina Scone’s script ticking all the usual boxes (including some very adult jokes), what made this production seem a bit different? 

Firstly, unlike the vast majority of pantos (save a few minor exceptions), the show had a completely original score, written by E & F Music, Samuel Ferry & Daniel Ellenbery. More than that, a lot of the songs, drawing on various rock and pop influences, were very catchy. A rock duet between Fleshcreep and Fairy Fertile had echoes of the kind of two-handers Meatloaf was famous for in the 70’s and 80’s and another two-handed song between Fleshcreep and Jack actually progressed the plot; something very rare in any panto! Various other songs were ensemble pieces and ample use was made of the dance troupe with virtually every number. When so many pantos rely on snippets or pale imitations of popular songs from past decades, usually with little or no relevance to the story, it was genuinely refreshing to hear a quality, fresh set of songs sung with gusto and performed as a spectacle with dancers.

The other standout element of this show was the dancing. Again, whereas so many pantos rely on fairly predictable dance routines, often with two sets of girls of different ages, this production had a small ensemble of two men and two women, captained by accomplished prodigy Eleiyah Navis. The dancing was tightly choregraphed using a variety of movements from both rock and ballet and genuinely complimented the songs, often sexy but never erotic. The dancers wore the best part of ten completely different outfits, ranging (on the female side) from the long dresses of the villages to captivating leotards with flowing appendages, with each costume change clearly designed to fit the mood of the respective song. Again, this was something quite rare in a pantomime, where stock dance routines are usually deemed sufficient.

This was a very lively show performed with enthusiasm, which was rewarded by a very engaged and appreciative audience. It was also an object lesson in how quality dancing and good, new music can really raise a show.

https://gladstonetheatre.org.uk/#whatson

‘Jack and the Beanstalk’ is on until the 12th April.

Reviewer - John Waterhouse

On - 10.04.26

Music Concert Review CLASSICAL MUSIC CONCERT National Youth Orchestra: Collide Bridgewater Hall, Manchester

This will be the fourth time I have had both the privilege and the pleasure of witnessing the National Youth Orchestra in action. A very large group - this time 160 musicians - come together to form one of the largest orchestras I have ever seen on the stage of the Bridgewater Hall in Manchester. Aged between 14 and 18, these talented individuals make a combined sound that is both sonorous and melodic. Their talents are evident even before they take the stage however, as three groups were tasked into giving short pre-concert foyer recitals. This was a superb idea, but sadly did not work as well as it really ought to have done. The three different groups were positioned in different locations on the three levels of the foyer, and sadly, all played at the same time and so one tune mixed with the others and we heard nothing ut a discordant mess when not actually stood close to one of the groups. 

However, that must not put you off, since once they started to play as a full orchestra on stage the sound was incredible, and, given their number, they were able to play quietly with finesse, in fact, the dynamic control of the orchestra throughout was superb.

The programme was called, Collide, and this is because the three works chosen for the concert all featured as their protagonists a young couple, who are thrown together through extraordinary circumstances and their adventures and relationships develop because of this, and their destinies collide! Sophie and Howl in the first piece, Tristan and Isolde in the second, and of course Romeo and Juliet in the final piece.

The opening was unexpected and brilliant! The seven members of the percussion section started the concert with the cinematic fanfare and as they seemingly improvised and extemporised with marches and jazz, the full orchestra paraded on and the final fanfare was given by the whole orchestra. Clever and visually stunning too.

We then welcomed the conductor Alpesh Chauhan to the podium, and his obvious dedication and love of the music inspired the youths and his conducting was clear, and helpful at all times. 

The first piece was new to me, and was film music taken from an animated feature film called, 'Howl's Moving Castle' by Joe Hisaishi. Considering that he is a Japanese composer, then the music was extremely western in both feel and influence, a melange of several European styles combined to create a programmatic piece of cinema music. Feel-good and uplifting.

This was followed by Wagner, and his Prelude and Liebestod from Tristan And Isolde. Wagener's music is very repetitive and dare I say boring at the best of times (subjective i know, sorry!) and so it needs infusing with something to keep it flowing and alive. Here Chauhan made full use of the music's dynamics and swells, making it a much more personal and passionate piece.

After the interval and it was the turn of Russian composer Tchaikovsky, whose compositions like Wagner's, are very much wearing their respective hearts on their sleeves,; but unlike Wagner, whose music is introvert and dense, Tchaikovsky is light and open. His ballet for Romeo and Juliet also contains some of his more easily recognisable pieces, as well as some of his more heart-felt declarations of emotion. It is a roller-coaster ride of emotion in fact, and once again, Chauhan kept the orchestra in check and they played with both passion and skill.

Having only just this morning watched West Side Story, and listened to Bernstein's evocative score, I can hear distinct parallels between both Bernstein's and Tchaikovsky's scoring of the same story. Perhaps Bernstein took inspiration from Tchaikovsky? Who can say...!

The orchestra was superb, and sounded as good as any professional orchestra, and yet these are only students at the very first stages of their professional journey. I was in awe and the concert was an absolute first class hit! Such a shame that it wasn't sold out, it should have been!

Reviewer - Alastair Zyggu

on - 9.4.26

Music Review Joni Mitchell’s Blue: An Evening in Laurel Canyon Cavern Club, Liverpool

 

It was nearly a year to the day since I first saw the Lewes Music Group perform here. They were fabulous, so I’ve followed them ever since. Talking to people in the queue before the doors opened, it was clear others felt the same and had come back to see them again. Tonight, they had an opening act: Tangled Up in Dylan.

Tangled Up in Dylan, as the name suggests, is a tribute to the music of Bob Dylan, performed by Clark Gilmour. Armed with guitar and harmonica, he took us through a short but hugely enjoyable set. Opening with ‘I’ll Be Your Baby Tonight’ signalled that he would stick to the poppier side of Dylan’s songbook. ‘To Ramona’, ‘All Along the Watchtower’, ‘I Want You’ and ‘Knockin’ on Heaven’s Door’ confirmed this. ‘A Simple Twist of Fate’, from Blood on the Tracks, was a deeper cut, but the closer was probably Dylan’s most famous song, ‘The Times They Are A-Changin’’. Tangled Up in Dylan was the perfect precursor to the main act. 

So who are the Lewes Music Group? Founded in August 2019 by Artistic Director Daniel Lauro and friends from the East Sussex Academy of Music, their aim is to provide affordable, high-quality, and accessible concerts to local communities. 

The Group’s players tonight were the aforementioned Dan Lauro on percussion; Alice Grace on keyboards and vocals; Ethan Holliman on keyboards; Aaron Carpenter on drums (the only one from Lewes); Liam Badgery on guitar and vocals; and the star of the show, Han Nelson, on vocals, guitar(s), bass, dulcimer and kitchen sink.

So that’s the band, but what is Laurel Canyon and why is it worthy of a dedicated concert? Laurel Canyon sits high in the Hollywood Hills and became a secluded haven for musicians looking to escape the hustle and bustle of Los Angeles. They lived in wood-framed cottages, doors always open, and made intimate, acoustic music during long, productive nights, largely free from structure or commercial pressure. It was a creative hub where the likes of Joni Mitchell, Neil Young, David Crosby, Stephen Stills, Graham Nash, Cass Elliot, Jim Morrison, Carole King, Jackson Browne, and Linda Ronstadt flourished. In short, it was a brief but highly influential moment in music history that created a soundtrack for an era. The band opened their set with America’s ‘A Horse with No Name’, then went straight into one of the era’s most influential songs, The Byrds’ ‘Mr. Tambourine Man’. Much to this reviewer’s delight, their next song was a Monkees number, ‘She’. The first Joni Mitchell song of the night followed, but not her arrangement. The band performed the Crosby, Stills, Nash & Young version of ‘Woodstock’. Up to this point, Liam had handled lead vocals, but for the next song he handed the microphone to Han Nelson for Neil Young’s ‘Revolution Blues’. Han stayed on lead vocals for Crosby, Stills and Nash’s ‘Helplessly Hoping’, on which the band’s harmonies were beautiful.

Liam returned to centre stage for two classic singer-songwriter compositions: Cat Stevens’ ‘Moonshadow’ and James Taylor’s ‘Fire and Rain’. Every drummer likes the opportunity to sing, and Aaron Carpenter was no exception. He had a ball with Frank Zappa’s ‘Willie the Pimp’, a true piece of psychedelia. Alice had been providing keyboards and gorgeous backing vocals but stepped forward for two Carole King songs: ‘I Feel the Earth Move’ and ‘It’s Too Late’. Many in the audience had seen her perform Tapestry in its entirety last year. The Eagles’ ‘Life in the Fast Lane’ and a rousing version of The Doors’ ‘L.A. Woman’ closed the first set. 

Thousands of words have been written about Joni Mitchell’s album Blue since its release in 1971. It remains revered because it pairs emotional truth with artistic precision. It doesn’t just sound beautiful; it feels real in a way few albums ever have. It’s a challenge to reproduce live, but with Han Nelson, Mitchell’s songs were in safe hands. She didn’t try to reinvent them, so the deliberately sparse arrangements, mostly piano, dulcimer, and acoustic guitar, allowed her voice, high, pure, and almost crystalline, to sit front and centre. There’s very little vibrato, which gives it a direct, unadorned quality, creating the sense that she’s singing straight to you.

From the opening chords of ‘All I Want’, Nelson held the audience rapt. Those who grew up with the album were transported back to their salad days; younger listeners mouthed along to every word. Supported by Liam on guitar and Alice on keyboards, the unflinching emotional honesty of Mitchell’s songs remained direct and exposed.

It’s difficult to pick out a highlight, but the closing three tracks were probably it: ‘River’, ‘A Case of You’, and ‘The Last Time I Saw Richard’. For the latter, the band used a 1974 live arrangement that worked beautifully.

After a well-deserved ovation, Nelson closed the evening with ‘Both Sides Now’ and a playful version of ‘Big Yellow Taxi’. The Lewes Music Group had certainly delivered on their aim to provide an affordable, high-quality, and accessible concert.

Tangled Up in Dylan return to The Cavern next month,  details here 

https://www.cavernclub.com/events/event/tangledupindylan/?srsltid=AfmBOoq1FoI-Qrw6qLDbReJ3-HwlSxD3bfer13hlHvYEJw7UQVJKEhs

Information about the Lewes Music Group can be found here, https://www.lewesmusicgroup.com/

Reviewer – Adrian Cork 

On – 09.04.2026

Theatre Review Here & Now Winter Gardens Opera House Blackpool

Last night’s performance of Here & Now, the brand-new jukebox musical built around the iconic songs of Steps, at the Winter Gardens Opera House Blackpool, was an evening filled with nostalgia, energy, and undeniable crowd-pleasing moments. As someone who grew up during the height of Steps mania, I arrived with high expectations—and I was certainly not alone. The theatre was packed with fans of a similar generation, many of whom clearly shared the same excitement, however it was also refreshing to see younger audience members discovering this style of musical for the first time.

Set in a seaside superstore ‘Better Best Bargains’, the story centres on Caz (Lara Denning), looking forward to adopting a child with her husband, Gareth (Chris Grahamson). When Gareth suddenly ends their marriage, her hopes for a perfect future are turned upside down. The musical then follows Caz and her friends Vel (Jaqui Dubois), Neeta (Rosie Singha), and Robbie (Blake Patrick Anderson) as they face love, heartbreak, and the search for happiness during what was meant to be their “Summer of Love.”

From the opening number, the production establishes its intent: to celebrate the music that defined a generation. The songs remain as infectious as ever—toe- tapping, foot-stomping, and hand clappingly fun. Each number is met with visible enthusiasm from the audience, often accompanied by knowing smiles and, at times, restrained singalongs. The musical arrangements stay true to the original tracks while being adapted effectively for the stage, ensuring they feel both familiar and theatrically engaging.

The cast delivers a series of strong performances across the board. Lara Denning, taking centre stage as Caz, is outstanding. She delivers a phenomenal performance, anchoring the show with both emotional depth and vocal strength. Her charisma and commitment elevate the material, even when the script itself lacks substance, making her portrayal a clear standout of the evening. She is supported exceptionally well by Neeta (Rosie Singha) and Robbie (Blake Patrick Anderson), who each brought their own charm and energy to the stage, creating a strong and engaging dynamic between the trio. The male cast also contribute some of the night’s most memorable moments, with bursts of comedy—particularly a hilarious appearance in yellow Lycra during the electricians’ number—and the high-energy “Half Price Hoedown” proving to be real highlights. Equally memorable is a brilliantly executed rendition of “Chain Reaction,” sung to perfection by Jem (River Medway), complete with the inspired and playful addition of light-up washing machines. There is a genuine sense of enjoyment from the entire company, which translates effortlessly to the audience and helps sustain the show’s momentum throughout. Vocally, the principals are consistently impressive, delivering the well-loved songs with confidence, clarity, while also managing to inject their own personality into them.

Supporting these performances is an exceptionally tight and well-rehearsed ensemble. Their energy is consistent throughout, and their precision in both choreography and vocals adds a polished sheen to the production. The choreography by Matt Cole deserves praise for capturing the spirit of Steps’ original routines (especially during the finale) while updating them for a contemporary stage audience. The ensemble plays a crucial role in maintaining the show’s high energy levels, particularly during the larger musical numbers where the stage feels alive with movement.

Visually, the production is a standout. The lighting design (Howard Hudson) is striking—dynamic, colourful, and perfectly in tune with the tone of each number. It enhances the atmosphere without overwhelming the performers, and at times creates genuinely memorable stage pictures. The staging created by Tom Rogers is equally impressive: creative, fluid, and clearly well thought out. Scene transitions are smooth, and the use of space ensures that the production never feels static. Together, the lighting and staging contribute significantly to the overall impact of the show, elevating it beyond what might otherwise be a straightforward jukebox musical.

However, while the musical excels in its presentation and musicality, it does falter in one key area: the story. The narrative feels somewhat underdeveloped, lacking the emotional depth needed to fully engage the audience on a dramatic level. While the plot provides a functional framework to link the songs together, it rarely moves beyond surface-level storytelling. As a result, some moments that aim for emotional resonance fall slightly flat, simply because the audience hasn’t been given enough substance to fully invest in the characters’ journeys. That said, for many in the audience, the strength of the music and the overall experience more than compensates for these shortcomings. Here & Now knows its audience and leans confidently into what makes it appealing: nostalgia, fun, and high-energy entertainment. It doesn’t attempt to reinvent the genre but instead delivers exactly what fans of Steps—and jukebox musicals more broadly—are hoping for.

In the end, Here & Now is a vibrant, feel-good production that celebrates the enduring appeal of Steps’ music. While it may not offer the most compelling narrative, its strong performances, slick ensemble work, and stunning visual design make it an enjoyable and memorable night at the theatre. For those who grew up with these songs, it’s a joyful trip down memory lane; for newer audiences, it’s an introduction to a catalogue of music that still knows how to get a crowd on its feet.

https://www.wintergardensblackpool.co.uk/events/here-now-the-steps-musical/

Video of show finale here - https://mail-attachment.googleusercontent.com/attachment/u/0/?ui=2&ik=e93f36cbaa&attid=0.1&permmsgid=msg-f:1861977735647292114&th=19d712e2a8f16ad2&view=att&zw&disp=safe&saddbat=ANGjdJ8hC5UrRdTRlx94fEkKsPAMI-aJVm84bt7lyNTtX8xy1SXDEI3Aa6KKxfqMToyG1GDN37ErY2P0dhXtGfFgZqNrl91e3_cZpDanVJ4-DGr5lPDZ7FQYwjDGQdK8mSVInU41LZ00Qb9OltvOEVKAqxBxsmPIg1cpY5ieUKDombdjCQ6QyySfo_kbyINNPM_FMMuiBtEBodfSbankVKzNpSofEo7X_8mfFPB9WsXLw7IqRoUW8ZolcdIqllaBy4BzRlDP_xcxrUDiHED8nHCyn0mxwpGfNl4uZECFKETtqUmfJ_kQ0mOk-_ZzJcKaod-HvPkuh0mVqxiwAgXpuk0Bi3Bf8NuYMO0bo0k2Ylyth5DZ1Rj7oTGoDcpitU_fpLZEu_lAghUWPOczK-uf_7-Ww4T5ls3ok7SJ6EVeHjjFlqv4bmyDtHepkGPNxrmyLhLrHgsGVVsy65IJzizciiwy3dV68j9fz6OknW791fx7WVtCNtHD25LOl9Z82uWeXos2nhjEI3VIPvv8Dc3kAm5_rJXE2d6Draw-X2XVF1xqSuQSLhWGCJ13rr2KVPpdisgZqbPyfsUkTgN5aV5KClOLVJydQuJf4df9vYrRC5Zzifuj9v63c30bUSJL1L-qXids_YPa_h9i9RClAjuQNcfHFyGRWjM2mhPFPvhP9U47hUapcf6eV5SgtDQWGIK-SzykKutgMtiVWaPrqIhxRyrDJ3ABrjCFXGQiCZSjVjCBXxihkHjIkYDaPfIWo0qDzgafjW8YNDWhPNGo5TUylIhiTfTpnRXYeJKnec31rcHS_YY0RTBRyQADsEQh8YG92QKZHjJZCfBRKcQA9AiLPLz_QsHFku60OArzM2ZamFx9rTtl0iSNQuWpcc8u4zGsy1HTwHe1g_MvVWQlL5a5dtKlR1KQMUM8YOz5vK4Sp_gToJGGSnD58BcQhilIuadQu9h50Pju4ZFJyVgyEvNqCiuqTWUc2pl0bn9o9L5_NjLlJtcSEVCwIpNiQNZeBct0O_ENL2AtGtF5tQQtybLzL8aKSEeHvaeRH6iw1qD9ng

Reviewer – Jen O’Beirne

On - 9.4.26