Theatre Review Noel Coward’s Present Laughter The Playhouse Liverpool

Director Lindsay Posner’s production of Noël Coward’s classic comedy Present Laughter is a bold reimagining that swaps genders, changes eras and relocates the narrative across the Atlantic.

Transported from London in the late 1930s to Manhattan in the late 1970s, the production embraces the excess, celebrity obsession and hedonism of an era synonymous with Studio 54. It is a surprisingly natural fit for Coward’s exploration of fame, vanity and the fragile egos of the theatrical world.

The period is brilliantly recreated in Peter McKintosh’s stylish New York apartment set, complete with a spiral staircase, Andy Warhol-inspired artwork and wholly convincing views of the building opposite. The glamorous costumes are equally impressive. Whether wearing a wide-legged sequinned jumpsuit or something more understated, Tracy-Ann Oberman looks as though she has stepped straight off the set of Charlie’s Angels. With her flowing blonde hair and oversized sunglasses, she bears more than a passing resemblance to Farrah Fawcett-Majors.

Oberman stars as Geri Essendine, an actress and singer who replaces Coward’s traditionally male protagonist, the vain and self-absorbed actor Garry Essendine. She is a magnetic, commanding presence, bringing an intoxicating mixture of narcissism, vulnerability and razor-sharp comic timing to the role. Geri may be the centre of her own universe, but Oberman ensures that we can see the insecurities lurking beneath the glamorous exterior.

However, I particularly enjoyed the performances of James Dreyfus as Geri’s secretary, Monty, and Adrian Lukis as her estranged husband, Len. Their comic timing complements Oberman’s perfectly, while their wonderfully dry observations and witty asides deliver some of the evening’s best lines. Both are masters of the perfectly timed put-down, frequently stealing scenes without ever overshadowing the central performance.

Geri is surrounded by a close-knit circle of theatrical friends with whom she shares mutual relationships. They depend on her for their livelihoods and social standing, while she relies on them to manage her career and increasingly chaotic personal life. However, her latest affair with Johannes (Kit Young), the husband of her friend Henrietta (Charlotte Randle), threatens to bring their carefully constructed world crashing down.

Matters are further complicated by Rosina Maule (Eva Feiler), an aspiring young playwright from Yonkers, and David Stillington (Seb Carrington), who has inveigled his way into Geri’s apartment and seems equally determined to insert himself into her life. As the complications multiply, so too do the misunderstandings, jealousies and increasingly frantic attempts to maintain appearances. It is classic Coward, with the comedy arising as much from the characters’ extraordinary self-absorption as from the situations in which they find themselves.

In the end, Present Laughter is a brilliant evening of entertainment, with a superb cast bringing Coward’s sharply observed, if substantially reinvented, characters vividly to life. Posner’s production demonstrates that, although the fashions, attitudes and social conventions may change, the vanity, insecurity and absurdity of theatrical personalities remain reassuringly timeless. Bold, stylish and consistently funny, this is a Present Laughter that feels fresh and distinctive while retaining all the wit, glamour and delightfully theatrical spirit of Coward’s original.

Noel Coward’s Present Laughter is at the Playhouse until 24th October 2026, details in the link below.

https://everymanplayhouse.com/event/present-laughter/

Reviewer: Adrian Cork 

On: 20/10/2026

Theatre Review Close Enough to Touch Waterside Theatre, Sale

A whole play, by Henry Roberts, centred on a cheating unlikable boyfriend (Stefan Race) cruising for sex with strangers in dirty public toilets of London, delivered with such a powerful performance from Race that the show passed in a blur of beautiful physical movement and text delivered like spoken word.

Two companies Red Ladder and Silent Uproar have brought Henry Roberts play to life with a team of creative individuals who have made the mundane and ugly a work of art. Character M is struggling with life, not able to find a job, his girlfriend by contrast is being given another promotion, struggling with his sexuality and place in life he takes relief by sneaking out to cruise public toilets around the London underground for sexual favours with strangers.

Cheating and putting his girlfriends health at risk too this character should be completely unlikeable, but Race’s performance is captivating, his movement appears liquid as he rolls across the set, a metal bin and bus bench, weaves around the bars of the bus stop, stopping to deftly land seated atop of the bin or across the bench, cat like movements for a character that is often referred to as ‘pup’ by his girlfriend. Movement director Chris Brown must have had a dream working with an actor with such strong physical capabilities in movement.

The vulnerability of the character was not overplayed. Cheryl Martin’s direction delivers punch after punch; the swiftness of the action flows from beginning to end of the production. There is no lingering after the moment of violence that occurs in the toilets with the businessman, M escapes and deals with the consequences of having to go for a health check, then the tension of waiting for his results. I really enjoyed Martin’s powerful story telling.

As M waits for his results, he is in state of anxious panic, there is a thumping sound score denotes a racing heartbeat as the scene comes to a dramatic climax. Mark Melville’s sound design compliments the piece throughout, but the thumping heartbeat during the results waiting was a standout moment for its effectiveness, it had a palpable effect on its audience.

The set comprised of a bus stop shelter with two fluorescent lights, screens for the back walls of the bus stop projecting abstract grimy images relating to the scenes we were in, with a constant smattering of rain across. Combination of Adam Foley’s lighting and video design and Cory Shipp’s set and costume design made for a set worthy of being an art installation itself, compelling but not distracting from the actor’s performance. Momentary uses of colourful side lights and LEDs cast colourful shadows across Race’s face to give another dimension to feelings of elation and escapism from his mundane world.

A stunning performance delivered by an amazing team of creative people. The level of detail in performance and production needs to be appreciated by as wide an audience as possible. Would highly recommend to theatre, physical theatre and poetry lovers, this will appeal to a wide theatre going audience.

Reviewer: Kerry Ely

On – 16/10/2026

Theatre Review The Void The Atkinson Southport

Set in the year 2160, The Void is a science-fiction horror thriller that transports its audience into a decaying future where governments have vanished and powerful corporations rule over humanity.

The premise, in simple terms, goes something like this. Earth has been destroyed and Flint (Alex Moran), a haunted, one-eyed space ranger with a partially erased memory, is on patrol near Saturn’s largest moon, Titan. Picking up a mysterious distress signal, he docks his ship with the Odyssey, an ageing research vessel drifting in deep space. Once aboard, Flint discovers a ship in failing condition and a crew that has apparently vanished. His only guide is NOVA, the ship’s omnipresent artificial intelligence (voiced by Olwen May).

Flint eventually encounters a mysterious doctor named Blair (Ryan Simons), seemingly the sole remaining human aboard the vessel. Before long, they discover that a deadly presence, one that feeds on fear, is loose on the ship, forcing Flint to confront dark memories from his own past. His growing sense of déjà vu proves crucial to the story’s eventual resolution. To say any more would risk spoiling the surprises.

The ambition behind The Void is to create a hybrid theatrical experience, allowing audiences to feel as though they are watching a live horror movie without ever leaving the theatre. The production draws heavily on some of science-fiction cinema’s most familiar themes and influences: the terrifying isolation of deep space in Alien, the omnipresent and independently minded artificial intelligence of 2001: A Space Odyssey, the corporate control explored in Other Life, and the ethical questions surrounding technology that run through Black Mirror.

Visually, the production attempts to push beyond traditional theatrical boundaries, blending live action with large-scale illusions, prosthetics and pre-recorded video sequences, featuring Riana Duce, to create something approaching the scale and spectacle of cinema.

The set is impressive. A large portal, framed by jagged beams, dominates the centre of the stage, while a doorway to the right, surrounded by assorted equipment and industrial fittings, gives the spaceship a suitably functional, lived-in appearance.

An ominous soundtrack, sudden bursts of sound, the effective use of darkness and dramatic lighting changes help establish the atmosphere. 

The combination of atmospheric lighting, drifting smoke and the claustrophobic surroundings creates a palpable sense of unease, ensuring that the audience is never quite sure what might be lurking around the next corner.

There are some effective jump scares along the way, together with a particularly clever disappearing trick and an illusion that genuinely makes it appear as though a man is floating weightlessly in space.

Ultimately, The Void is an ambitious and impressively realised piece of theatre that succeeds on two levels. Its inventive staging, clever illusions and imaginative use of technology are impressive enough, but what really matters is that it works as a genuinely frightening and suspenseful experience. The tension builds, the jump scares are effective and the sense of isolation and impending danger is maintained throughout. Science-fiction horror is a genre more readily associated with the cinema, but Ryan Simons and his team demonstrate that, with imagination and ingenuity, the theatre can be every bit as unsettling. Indeed, there’s something particularly unnerving about watching the horror unfold right in front of you, knowing that there’s no camera trickery or clever editing to hide behind.

The Void continues to tour across the UK and details may be found in the following link,

https://www.thunderroadtheatre.org/tickets

Reviewer: Adrian Cork 

On: 13/10/2026

Theatre Review Cadel: Lungs On Legs Riverside Studios: London

 

Some stories are about winning. Others are about what it takes to keep going when winning feels a very long way off.

CADEL: Lungs On Legs manages to be about both, delivering a powerful reminder that behind every extraordinary achievement lies a human being, a thousand sacrifices and a determination that refuses to give up.

Written by Connor Delves and Steven McMahon and performed by Connor Delves, this remarkable one-man show tells the story of Australian cyclist Cadel Evans and his historic 2011 Tour de France victory. But this is no ordinary sporting biography. Connor delivers the story while physically cycling throughout the performance, bringing a whole new meaning to the phrase ‘putting your heart and soul into your work’. 

And blimey, does he put the work in.

The physical demands alone are something to behold, but what makes this production so compelling is the emotional grit beneath the spectacle. Through storytelling, movement and the relentless rhythm of the pedals, we are drawn into a world of ambition, pressure, sacrifice and resilience.

There is sweat, certainly, but there is heart, too.

What could easily have become a celebration of sporting achievement instead offers something much more universal. This is a story about the cost of chasing a dream, the setbacks that threaten to derail us and the sheer determination required to get back up when life knocks us sideways.

You don’t need to know your Tour de France from your Sunday afternoon cycle to connect with that.

Delves brings tremendous energy and emotional commitment to the performance. There is something almost wonderfully stubborn about watching someone physically push themselves while telling the story of another man’s extraordinary endurance. The form and the subject become one; the effort isn’t simply described, it’s right there in front of us.

I had the pleasure of briefly meeting Connor after the show, and he was lovely. It’s always a joy to be able to offer a personal congratulations to the person behind a performance, particularly when you’ve witnessed such a remarkable commitment to their craft.

And what a night to be there: the production was celebrating its 100th performance. That’s a milestone worth raising a glass to. One hundred performances take dedication, discipline and a whole lot of passion. They also mean that this story has found its way into the lives of audiences time and time again.

As someone who is endlessly interested in people and the stories that shape us, I found myself thinking about the resilience at the heart of it all. We may not be cycling up the Alps in pursuit of a yellow jersey, but we all have our own mountains to climb. Sometimes the greatest achievement is not reaching the top first, but finding the courage to keep moving when the road gets tough.

That is the beauty of theatre. It takes us into someone else’s world and, somewhere along the way, brings us back to our own.

Congratulations to Connor Delves and the creative team on reaching this wonderful milestone.

CADEL: Lungs On Legs is an inventive, physically demanding and heartfelt piece of theatre that proves a compelling story doesn’t need bells and whistles. Sometimes, all you need is a bicycle, a remarkable performer and a story worth telling. A reminder that, whatever life throws at us, there’s always another pedal to turn.

A hundred performances in, and still plenty of miles left in the tank.

For more details and tickets: https://riversidestudios.co.uk/whats-on/ld-cadel-lungs-on-legs/

Reviewer: Mary Fogg 

On: 15th October 

Theatre Review Romeo & Juliet Ballet Empire Theatre Liverpool

Tonight this wide-ranging packed audience at the Empire theatre in Liverpool experienced a most incredible outstanding performance by the English National Ballet, of which many of its performers here tonight are from all around the world.

Originally this gorgeous production of Romeo &Juliet was created and choreographed by the acclaimed ballet master Rudolf Nureyev for Queen Elizabeth II’s Silver Jubilee in 1977, and possibly one of the greatest love stories ever told was brought alive once again here tonight.

It was a real spectacle of exhilarating dance accompanied by a soaring musical composition which captivated our senses, a feast for the eyes and ears with a magnificent and emotionally charged wide  reaching musical composition, written by Russian composer Sergei Prokofiev, so beautifully performed by the English National Ballet Philharmonic Orchestra.

How magically this ballet and music cleverly portrayed this poignant love story from a young couples first glance, irresistible attraction, wooing, rejection, masked disguises, all-consuming passion, simmering family hatred and duels, blossoming romance and love, to their heart-wrenching final embrace. Credit must be given to all involved from artistic director Aaron S. Watkin, music director and conductor Maria Seletskaja, the performing cast, set designer Ezio Frigerio, and costume designers Ezio Frigerio & Franca Squarciapino, and lighting design Tharon Musser for all their effort in creating this wonderful performance. I must also give credit to the many other supporting artists actors and dancers and stagers who took part in creating tonight’s performance.

The curtain arose to reveal a wonderful backdrop set in the renaissance era and city of Verona Italy, with pretty little market stalls displaying their wares of fruit, flowers, vegetables and breads where the two families the Montagues and Capulets reside.

Romeo Montague and his family wore beautiful pastel and striking Verdigris hues of green and blue costumes whilst Juliet Capulet and her family wore pastel pinks and vibrant rich, crimson-coloured costumes to distinguish between the two bitter feuding families on stage.

There were many beautiful set changes throughout to help portray the story as it unfolds and the music alters ranging from just delicate violins to a full-on orchestra whilst performing the unforgettable ‘Dance of the Knights.’

My favourite part of the whole production was scene 5, The Capulets Garden, where Juliet comes out into the garden and Romeo emerges and they pledge their love for each other. The dancing and music during this scene I thought was exquisite.

What a superbly electrifying performance we were lucky to witness, a wonderful evening was certainly had by everyone, and I recommend you see it for yourself. The ballet changes its cast members at each performance, and tonight the main cast members were:

Aitor Arrieta Romeo

Emma Hawes Juliet

James Streeter Tybalt

Gustavo Carvalho Mercutio

Lorenzo Trossello Benvolio

Eireen Evrard Lady Capulet

Fabian Reimair Lord Capulet

Skyler Martin Paris

Anna Nevzorova Rosaline

The English National Ballet are on tour until 24 th January 2027, for further information check out their website. www.ballet.org.uk/production/romeo-juliet/

Reviewer: Jill Ollerton 

On: 16/10/26

Concert Review Jake Vaadeland and the Sturgeon River Boys Music Room Philharmonic Hall Liverpool

At an age when most musicians are looking towards the next big thing, Canadian singer-songwriter Jake Vaadeland seems perfectly content to look backwards. With his slicked-back hair, sharp suits and a musical vocabulary drawn from bluegrass, traditional country and 1950s rockabilly, the Saskatchewan-born performer could have stepped straight out of a black-and-white television variety show. Yet, accompanied by his Sturgeon River Boys, Vaadeland is doing something rather more interesting than simply recreating the past. He’s introducing a new generation to music that was old-fashioned long before he was born.

The Sturgeon River Boys took to the Music Room stage first, launching into some fast and furious bluegrass that immediately gave the audience a taste of what was to come. Vaadeland joined them and tore into the opening numbers, ‘Father’s Son’, ‘Bachelor’s Life’ and ‘Farewell Blues’. His voice matched his appearance perfectly, with its old-fashioned delivery, pronounced phrasing and slightly theatrical quality.

Musically, the band were pretty much flawless. Joel Rohs, on both acoustic and electric guitars, provided a steady backbone, while Jake Smithies’ virtuosity on upright bass really anchored the performance. Jaxon LaLonde’s banjo picking and backing vocals were outstanding. Together, these musicians formed a tight-knit unit, clearly enjoying their time on stage and feeding off each other’s energy.

Three more songs followed in quick succession before we were treated to what can only be described as banjo versus bass, as Vaadeland and Smithies went head-to-head in a thrilling musical duel. ‘One More Dollar to Go’, the title track of their latest album, followed before a couple of covers, including ‘Will the Circle Be Unbroken’, paid tribute to the musical traditions that have shaped their sound.

The band then stopped playing to allow Vaadeland to deliver a mock commercial for Diet Pepsi in a perfect 1950s radio announcer’s voice, complete with a sung advertising jingle. It was a wonderfully absurd comic interlude that the audience clearly loved. Three more songs followed before another instrumental battle, this time featuring the duelling banjos of Vaadeland and LaLonde. 

The comic exchanges between songs must have been meticulously rehearsed, yet they came across as wonderfully spontaneous. That ability to make carefully choreographed routines appear effortless is a considerable talent in itself.

The set continued with original compositions that sounded as though they belonged to an earlier era without ever becoming mere pastiches. One in particular, ‘I Ain’t Going Back to Nashville’, brought a contemporary edge to proceedings with its as Vaadeland introduced it with reference to the incumbent President of the United States of America.

Another advertisement followed, this time for 19Fifties Union Pomade, further reinforcing the impression that we had somehow stumbled into a country music radio broadcast from seventy years ago.

What made the evening so enjoyable was the balance between outstanding musicianship and genuine entertainment. Vaadeland is an engaging frontman, blessed with a distinctive voice, considerable instrumental ability and an instinctive understanding of how to hold an audience. Just as importantly, the Sturgeon River Boys are superb musicians in their own right, bringing energy, precision and personality to every number.

The audience responded with a richly deserved standing ovation, bringing the band back for a two-song encore that included a spirited rendition of Carl Perkins’ rock’n’roll classic ‘Blue Suede Shoes’. It was a fitting conclusion to an evening that had celebrated the musical traditions of a bygone era without ever feeling dated.

In an age when so much live music relies on elaborate production and technology, Jake Vaadeland and the Sturgeon River Boys demonstrated that four talented musicians, a collection of beautifully crafted songs and a generous helping of humour are more than enough to deliver an unforgettable evening.

Jake Vaadeland and the Sturgeon River Boys tour continues and details can be found in the following link,

https://www.jakevaadeland.com/#tour

Reviewer: Adrian Cork 

On: 13/10/2026

Concert Review The Hu: Warrior Chant Tour O2 Apollo, Manchester

The Hu performed magnificently to a packed theatre, delivering a powerful and unforgettable evening of music. Although the language may have been a barrier for much of the audience, the thumping rhythms, powerful vocals, and messages of peace and unity resonated deeply with the crowd. 

Throughout the show, fans enthusiastically chanted the band’s name, demonstrating just how effectively music can transcend language and cultural boundaries. Supporting The Hu were Skáld, a French Nordic folk group whose music draws heavily on Scandinavian culture and Norse mythology. Many of their songs are performed in Old Norse, creating an atmospheric and immersive experience. Their use of traditional instruments, including shamanic drums, lyre, talharpa, citole, jouhikko, and nyckelharpa, complemented their distinctive sound. They were an excellent choice of support act, sharing some musical similarities with The Hu while bringing a very different energy to the stage. 

Their lead singer swayed and danced in an almost trance-like manner, contrasting with The Hu’s headbanging, fist-pumping intensity. Nevertheless, the audience responded enthusiastically to every song, captivated by music that seemed to tell culturally significant stories through its haunting melodies and rhythms.

The Hu are a Mongolian band who combine traditional instruments and throat singing with folk and heavy metal, a genre they describe as Hunnu Rock. For fans of powerful vocals, such as Rammstein, the sheer force of Dashka痴 throat singing will blow you away. Primal, deep, and resonant, it produces a sound that is difficult to appreciate fully unless experienced live. 

The name Hu means 塗uman being? in Mongolian. Although their lyrics are sung in Mongolian, the driving anthems and themes of warriors, courage, and overcoming fear communicate a universal message. Their music encourages younger generations to reconnect with their ancestral values, respect the natural world, and not be motivated by greed. For me, the standout songs were 糎arrior Chant? and 腺lack Thunder?. During these performances, the crowd joined in with the choruses, stamping their feet and throwing their hands into the air, creating an electrifying atmosphere.

In recognition of their cultural contribution, The Hu received Mongolia’s highest state award, the Order of Genghis Khan, on 27 November 2019. Although they were not the first Mongolian rock band, they are the fist to have achieved international recognition by bringing traditional Mongolian instruments and throat singing to a worldwide audience. 

In a world dominated by modern Western music, The Hu offer something refreshingly different. Their performance in Manchester was truly impressive, combining thunderous rhythms, soulful string melodies, and powerful, resonant vocals. Language became irrelevant as the music transcended cultural boundaries, uniting the crowd in a shared experience that was both electrifying and deeply moving.

Reviewer: Kerry Ely

On: 10/10/2026

Comedy Review Lenny Henry Still At Large Tour Playhouse Liverpool

 

Lenny Henry has spent more than half a century making Britain laugh. Along the way, he has become an acclaimed dramatic actor, a tireless charity campaigner and one of the most recognisable figures in British entertainment. With Still at Large, he returns to stand-up, looking back on an extraordinary career while demonstrating that he still has plenty to say about the country that helped make him famous.

Combining stand-up, personal storytelling and candid reflections on his life and career, the show has a surprisingly emotional weight beneath the laughter. Now 67, Henry begins by bringing the audience up to date with what has happened since he last toured, including winning a BAFTA and being knighted by the late Queen, or the ‘Queen of England’, as he proudly describes her.

He looks back on a remarkable career that began as a teenager on the television talent show New Faces. From there came The Lenny Henry Show, his celebrated move into serious theatre with productions such as Othello, and more recently his appearance in the big-budget television series The Lord of the Rings: The Rings of Power. Few British entertainers have enjoyed such a varied and enduring career. Yet Still at Large is much more than a nostalgic trip through his most popular work. Henry seems increasingly comfortable tackling subjects that might once have sat uneasily alongside his comedy, particularly the resurgence of racism in Britain. A joke about slavery gives way to a more unsettling account of discovering three golliwog figures on display in an antique shop in the village where he lives. He said he was resigned to it but so proud of his partner for writing a strong letter of complaint to the shop owner. In fact, he read the letter out and the audience applauded loudly at its conclusion. It’s a reminder that, for all the progress made during his lifetime, some attitudes remain stubbornly entrenched. 

Henry manages to make his point without losing the warmth or humour that characterises the evening. His ability to hold the room before delivering the punch line has been honed over time and ensures that the laughs came thick and fast. The second half takes a more informal turn, with Henry answering questions from the audience in an open Q& session. The atmosphere is relaxed and conversational, helped along by a selection of video clips from his extensive television and film career.

He reveals that the programme he is still asked about most frequently is Tiswas, the anarchic Saturday morning children’s television show that helped establish him as a household name. A clip of his gloriously irreverent impersonation of newsreader Trevor McDonald as Trevor McDoughnut provides a reminder of the exuberant, anything-goes comedy that made the programme such a phenomenon.

A question about Comic Relief gives Henry the opportunity to recall its beginnings and reflect on what the charity has achieved over the subsequent four decades. It’s another reminder that his contribution to British public life extends well beyond entertainment.

Ultimately, Still at Large is as much an opportunity for an audience that has grown up with Lenny Henry to demonstrate its affection for him as it is for the man himself to look back on a stellar, groundbreaking career. There is nostalgia here certainly, but Henry was very funny throughout, despite struggling with his voice at times, and gave off a sense that he still has plenty to say.

Lenny Henry’s tour continues and information can be found by following the link, https://www.fane.co.uk/lenny-henry

Reviewer: Adrian Cork

On: 10/10/2026

In Store Tour Review: The Howlers: Heavy, Wax and Beans, Bury

Released on 9 October via FLG Records, Heavy is the latest album from the band The Howlers, the release kicks off with a record store tour taking in 19 cities in just 12 days. As part of this tour, we had the privilege of experiencing a stripped-back acoustic performance at Wax and Beans, a cosy vinyl shop in Bury. The intimate setting provided the perfect backdrop for an opportunity to hear the songs in a different light, allowing Young’s songwriting, distinctive vocals and impressive guitar work to really blow us away.

The sound system worked beautifully in the venue, delivering a clear and balanced sound that complemented Young’s performance. With just an acoustic guitar, he demonstrated what a powerful voice and musical ability he has. Instead, the intimacy of the setting drew attention to the subtleties of his playing and the emotional weight of his lyrics.

Following his debut album, What You’ve Got to Lose to Win It All, which explores themes of grief and loss, Heavy takes listeners on a different journey. The album examines temptation, impulsiveness and the process of finding oneself after moments of recklessness. Yet, as the closing track, ‘Goodbye’, suggests, grief remains an important thread running through Young’s songwriting. There is a bittersweet quality to this conclusion, with the suggestion that, after living our own lives, we may one day be reunited with the loved ones we have lost. It is an emotionally resonant way to bring the record full circle, balancing the pain of absence with a sense of hope and acceptance.

Performing solo, Young proved himself a compelling frontman. His guitar playing was particularly impressive, producing a surprising range of sounds and textures from a single acoustic instrument. Power chords, top-string bends and carefully varied strumming patterns gave the songs plenty of character. The performance never felt limited by its stripped-back format; instead, it highlighted just how much could be achieved with a guitar and a talented musician.

Young’s vocals were another standout feature. His voice has a soulful, powerful quality, but he uses that power selectively, building intensity when the songs demand it rather than relying on volume throughout. This gave the more emotional moments real impact, allowing the lyrics to resonate with the audience. Subtle vocal inflections and vibrato added further depth, particularly during the most poignant passages. There was a genuine sense of feeling behind the delivery, making the songs engaging both musically and emotionally.

Beyond the music, Young’s personality added to the appeal of the performance. Direct, good-humoured and unmistakably likeable, he came across as a down-to-earth East End Londoner who was comfortable engaging with the crowd. He has the natural charisma of a frontman, holding the audience’s attention. His easy rapport with the room helped create a relaxed atmosphere, making the experience feel personal rather than simply another stop on a busy tour schedule.

Several tracks stayed with me long after the performance ended. The title track, ‘Heavy’, was particularly memorable for the impressive range of heavy guitar sounds Young managed from an acoustic guitar. ‘You Can Be So Cruel’ also made a lasting impression, particularly for its lyrics and gritty portrayal of the complications and emotional messiness of relationships. Young’s direct approach to songwriting gives the track an honesty and rawness that is completely relatable with.

However, it was ‘Goodbye’ that for me was the most moving. Inspired by the last words Young’s grandmother said to him, the song carries a deeply personal significance. Its bittersweet sentiment was especially powerful in the intimate surroundings of Wax and Beans, where the stripped-back arrangement allowed the emotion behind the lyrics to shine through. It was a poignant reminder of music’s ability to express emotion and become a shared communal experience.

With a European tour due to begin at the end of October and further UK dates anticipated for March 2027, there should be more opportunities to experience Young’s music live. Heavy is a record that rewards being heard from beginning to end, allowing its themes and emotional journey to unfold fully rather than simply dipping into individual tracks. 

Adam Young is a talented songwriter and performer whose lyrics pack a punch, complemented by impressive guitar skills and a voice capable of delivering both grit and tenderness. The Wax and Beans performance offered a memorable introduction to the album’s songs in their most intimate form. I would recommend giving Heavy a full listen and, if you have the opportunity, seeing Young perform live. For those who appreciate music that combines honest storytelling, accomplished musicianship and genuine emotional depth, his records deserve a place in your vinyl collection.

Reviewer: Kerry Ely

On: 09/10/2026

Concert Review Crash Test Dummies The Tung Auditorium, Yoko Ono Lennon Centre University of Liverpool

Tonight the Canadian folk-rock band Crash Test Dummies from Winnipeg, were performing at the Tung Auditorium at the Yoko Ono Lennon Centre, from their ‘Celebrating 35 Years’ current tour. This dynamic high energy stage show did not disappoint its fans and featured their most iconic songs, and the acoustics of this fabulous auditorium lent itself perfectly to their distinct stand out sound.

Having one of the most recognisable voices in history, alternative rock band Crash Test Dummies are a three-time Grammy-nominated and JUNO award-winning group who soared to the top of the worldwide charts in the early 1990’s. Their cover of ‘The Ballad of Peter Pumpkinhead’ was a highlight of the soundtrack to the blockbuster film Dumb and Dumber and reached number 4 in the album charts.

Brad Roberts original band member, lead singer, guitarist and songwriter was influenced by British bands the Rolling Stones, The Beatles, XTC and David Bowie growing up. He was quoted saying that the reason we are on tour again is that ‘Surprisingly – at least to me - there are lots of people who many years later still want to come and hear us. Its humbling being in the confidence of so many people.’

Brad was joined onstage with other original band members singer and musician Ellen Reid, Dan Roberts - Brad’s brother on bass guitar, and drummer Mitch Dorge. Joining alongside them were guitarist Stuart Cameron and late newcomer Leith Flemming Smith on keyboard to form a six-piece band. Sadly, their special guest Gareth Dunlop was unable to join them as their supporting act tonight, but Scottish folk singer and songwriter Abigail Pryde joined them instead and gave us a beautiful emotive performance. With Brad Roberts unique deep bass-baritone vocal range and fusion with Ellen’s folk- rock vibe, brings about a clever mix of sounds and a compilation of music ranging from folk, rhythm and blues, jazz, 60’s, country and rock and roll, it had it all. 

The band kicked off with ‘Ghosts’, Brad and Ellen harmonising whilst Ellen played the tambourine and Brad played acoustic guitar. Most of the songs they sang together but ‘A Little Something’ and ‘If I Had My Way’ were sung mainly solo by Ellen’s gorgeous dulcet tones, apart from their infamous rousing hit ‘Peter Pumpkinhead’.

Ellen also played the accordion during ‘Bereft Man’s Song’ and Brad played electric guitar on some of their songs, of which they performed 17 of them tonight. 

During the performance the band gave a shout out to Stephanie in the audience, and they sang ‘Happy Birthday’ to her, inviting the audience to join in with them, which was a lovely touch. The auditorium atmosphere changed and went up a gear when the audience got very excited with their performance of ‘God’ and really got a full-on involvement from them, with some audience members being told kindly to calm down!

Other hits they performed were ‘Superman’ and ‘Coffeespoons’ and they came back onstage for an encore to sing ‘Feel It’ and the very melancholic ‘Heart of Stone’ a beautiful ballad, and their grand finale their biggest and most famous hit of all which peaked at number 2 in the UK charts, 'Mmm Mmm Mmm Mmm' which had everyone up on their feet singing clapping and foot tapping along.

My personal favourite was a fairly new addition a song called ‘Sacred Alphabet’ sung by Brad and it had a very spellbinding almost ethereal feel to it and it had me mesmerised; it totally captivated me. The band sounded just as they had done in their heyday and the audience absolutely loved it; it was like being transported back in time. A fabulous evening. 

The band are on tour in UK until 17th October 2026, and on tour in Australia next year, for further tour information check out their website, https://www.crashtestdummies.com/

Reviewer: Jill Ollerton 

On: 10/10/2026

Theatre Review How Could I Forget? The Playhouse, Sheffield

Hot on the tail of Chris Bush’s acclaimed ‘Standing at the Skye’s Edge’ and the excellent ‘Living’ by Leo Butler comes Joe Carnall’s ‘How Could I forget?,’ to complete a golden hat trick of family led stories from the Steel City. Sheffield musician Joe is a familiar sight on a different kind of stage as a member of local bands Millburn and Reverend and the Makers. His first venture into playwriting is based on his own experiences of seeing his Glaswegian grandfather battle with Alzheimer’s disease over a decade ago.

Whereas ‘Skye’s Edge’ and ‘Living’ paint a broader landscape with a state of the nation narrative, ‘How Could I Forget’ shines a spotlight on a heartfelt and compelling tale of the relationship between a Grandson and his Grandparents. Set in Sheffield, the story centres around Billy, a young man trying to find his path through life at the same time his grandad, his dominant role model and larger than life character descends into dementia. The production has a distinctly northern feel and captures the dry self-deprecating humour associated with the region, but the subject matter is universal and will resonate anywhere.

It is clear from the intimate script that the story is based on lived experience and highlights the impact the disease has on the family members. But it is a play with lighter moments as the nonlinear story time jumps into various stages of their lives. The story meanders in a delicately heartfelt, entertaining, and often hilarious fashion. Much of the connection between the Grandad and Grandson centres around a piano and their shared love of music. 

The cast consists of five actors, two of which form an ensemble cast, although as the play progresses the ensemble characters grow in stature. The acting, singing and choreography of all the cast was faultless, a superb all-round performance. It was excellent casting with the on-stage relationships working as the audience grew emotionally involved with the likeable and relatable characters.

The Playhouse has a cosy layout, with the basic and seamlessly re-arranged stage setting and costumes immersing the audience into the procedures. The musical arrangements and choreography were excellent in content and execution. 

The pacing of the play worked well. The emotional and humorous scenes were perfectly balanced with the musical scores. By the time the play headed towards its natural conclusion, I was enveloped in the characters’ lives and relationships. I was expecting an emotional ending and I was not disappointed. In fact, I cannot recall a more emotional audience reaction to the ending of a play I have attended.

Joe Carnall Jnr was in attendance and gave a humorous and emotion speech to a stirring round of applause. Although personal to him it is a subject relevant to us all and was tackled in such a way as to give hope and acceptance whilst reflecting upon the good times and the legacies built upon such foundations. I would highly recommend this production.

Production run (The Playhouse, Sheffield): Friday 9th October – Saturday 10th October 2026.

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

www.sheffieldtheatres.co.uk/events/how-could-i-forget/dates

Reviewer: Matthew Burgin

On:  9th October 2026

Concert Review The Hoosiers O2 Ritz, Manchester

I knew The Hoosiers biggest hits, but arrived at Manchester’s O2 Ritz with little idea of just how extensive their catalogue was or quite how accomplished they would be live. What followed was an evening of wonderful surprises.

The Hoosiers brought an infectious mixture of musical brilliance, theatrical flair and good humour to a wonderfully lively Thursday night in Manchester. Even before they appeared, the friendly crowd was chanting Hoo! Hoo! Hoo!, creating a terrific atmosphere of anticipation.

Opening with ‘Sleeping With the Light On’ and ‘Lonely Together', the band immediately demonstrated that there was far more to them than the handful of hits I knew. Frontman Irwin Sparkes was a revelation, his powerful voice soaring into an extraordinary falsetto that occasionally brought Kate Bush to mind. His charismatic stage presence was matched by an easy connection with the audience, even venturing down onto the Ritz’s famous sprung dance floor to join them.

The quirky 'Making a Monster' and ‘Choices’ maintained the momentum before ‘Worried About Ray’ produced one of the night’s first enormous reactions. Sparkes barely needed to sing at times, happily allowing the audience to take over while the sprung floor bounced beneath hundreds of dancing feet. The crowd was clearly having the time of its life.

What really surprised me, however, was the sheer standard of musicianship. The band’s hugely talented multi-instrumentalist moved effortlessly between keyboards, keytar and cornet, the latter becoming an additional voice we didn’t know we needed. Its distinctive sound brought warmth, colour and unexpected flourishes to the arrangements, culminating in a sensational brass solo during 'Jigsaw Heart.' It was one of several moments that made me appreciate just how musically versatile this band is.

‘Run Rabbit Run' continued the playful energy, while a wonderfully reimagined cover of Chappell Roan’s 'Pink Pony Club' proved another huge crowd-pleaser. Bathed in glorious pink lighting, it featured an unexpected vocal contribution from the keyboardist and was delivered with the band’s characteristic sense of fun.

The lighting throughout was excellent, with dramatic red strobes, criss-crossing spotlights and vibrant colours enhancing the atmosphere without overwhelming the performances. Together with the band’s inventive arrangements, it made the evening feel like a proper show rather than simply a succession of songs.

The newer material was equally impressive. 'Automatic Glow' demonstrated their contemporary sound, while 'A Sadness Runs Through Him’ provided a striking contrast, beginning with a stark, stripped-back acoustic arrangement that allowed the song’s emotion to shine through. Then came ‘Multiply,’ bursting into life with a gloriously funky instrumental jam driven by punchy slap bass. The changes of pace were handled effortlessly.

A thrilling rendition of Gnarls Barkley’s ‘Crazy’ gave Sparkes another opportunity to showcase those remarkable soaring vocals before ‘Cops and Robbers’ sent the Ritz absolutely wild. With its punchy brass interlude and seemingly everyone dancing, it was a joyous explosion of energy. There was something wonderfully infectious about the sight of a packed Thursday-night crowd abandoning themselves so completely to the music. ‘Altitude’ continued the fun, while ‘Permission to Rest', from ‘Compassion', brought a more thoughtful moment. Dedicated to the audience with a heartfelt message about self-love and being kinder to ourselves, it offered a touching reminder that The Hoosiers can balance exuberant entertainment with genuine warmth and sincerity. Jigsaw Heart then provided another showcase for the band’s exceptional instrumental talents.

The main set concluded with a spectacular rearrangement of Billy Joel’s ‘We Didn’t Start the Fire’. Its beautifully layered vocal harmonies owed more to Queen’s theatrical grandeur than Billy Joel’s original recording, transforming a familiar song into something wonderfully distinctive. It was bold, ambitious and brilliantly executed.

Unsurprisingly, the audience weren’t ready to let them go. Their demands for an encore were rewarded with a theatrical medley that began in beautifully stripped-back fashion, moved into ‘Worst Case Scenario’ and finally exploded into the glorious 'Goodbye Mr A'. It was a thrilling, uplifting finale, and the perfect reward for a crowd that had given the band so much energy throughout the evening.

What struck me most was that this was no nostalgic run through a few familiar hits. The sheer breadth of the catalogue, extraordinary musicianship, beautiful harmonies and consistently imaginative arrangements were a genuine revelation.

I arrived as a Hoosiers virgin and left a fully-fledged fan. What a fantastic Thursday night in Manchester!

The Hoosiers are currently touring the UK promoting their new album, ‘Compassion.’

Reviewer:  Kathryn Gorton

On: 8th October 2026

Theatre Review Pride & Prejudice (sort of) Buxton Opera House

Jane Austen’s popularity shows no sign of diminishing over two hundred years after her death and new adaptations of her best-known works keep appearing, with a new film version of ‘Sense & Sensibility’ currently doing the rounds. Fans of the novelist typically point the  subtlety of her humour and sharp observations of the foibles and rigidities of upper-class society during her time. It is perhaps ironic that her best known work has now been turned into an in-yer-face farce that is anything but subtle and yet somehow remains true to both the story and spirit of the novel.        

The grandiose set immediately hits you, with a huge sweeping staircase and floor-to- ceiling bookshelves bringing over the opulence and splendour of Austen’s world. However, this is a treatment so all the colours are varying shades of DayGlo pinks and lilacs, perhaps echoing the fact that this is an all-female production, although certainly not feminist! Various props are brought on to indicate key elements in the story with a modern twist (there is no record in Austen’s novels of chocolate Wagon Wheels being served to guests on silver platters nor servants standing by copious amounts of Iron Bru at high society balls). Everything essentially needed to faithfully tell the story is faithfully represented, albeit in one form of another with certain liberties taken.

            

This is a quick-fire production by Isobel McArthur, after Jane Austen, with the each of the five-strong cast playing multi-roles and the pace rarely slacks with scenes quickly morphing from one to the next through clever lighting changes and some very slick movement of props. The backdrop of light blue skies frequently changes to a starry night or twilight, indicating both scene changes and passages of time whilst spot-lighting is also used to great effect. In fact, the whole show is a class act in the creative use of stage lights.

            

Naturally, the key element is the characters and white underdresses form the default costume of all the cast, often for narrations, with men’s coats used to represent male characters and full colourful dresses for the female characters. This works largely through powerful, over-the-top characterisations and the audience is never in doubt as to which characters are on stage. Frequent fast-flowing exchanges are juxtaposed to the sedate pace of life and conversation in Austen’s society, with the stairs and balcony used to excellent effect together a number of hidden doors allowing for more or less constant exits and entrances; one of the hallmarks of a good farce.

            

Another medium is used to tell the story that is certainly not in keeping with the period; songs from the 60’s, 70’s and 80’s, each carefully chosen to fit the narrative. What better song to sing to the proud Mr Darcy than Carly Simon’s ‘You’re so vain’ and with all the effeminate fops and polite gentlemen to whom the Bennet sisters are subjected, is it any wonder they should want to sing Bonnie Tyler’s ‘I’m looking for a hero’? The songs might a slight effect of panto but they work, aided by some fine musicianship from the cast themselves, carrying the show along in a raucous rollercoaster of laughs, intrigue and frolics.

            

The  cast of five is supplemented by three swings so you don’t know exactly who will be stage for each performance, which is remarkable considering the sophistication of this production. A personal favourite is Julia Murray if only for the fact she manages to keep a straight face for (almost) the entire production), even singing The Partridge family’s ‘I think I love you’ with the solemn, deadpan humour we might expect from Mr Darcy.

            

The show is pure fun with the weaved-in songs giving a feelgood atmosphere and the over-the-top acting almost Pythonesque yet somehow remaining pure Jane Austen.

Pride & Prejudice (sort of) is on at Buxton Opera House until 10^th October and touring nationally.

 

https://buxtonoperahouse.org.uk/

       

Reviewer: John Waterhouse

 

On: 05.10.26