Concert Review Emmylou Harris European Farewell Tour, Philharmonic Hall, Liverpool

It’s been almost exactly twenty years since Emmylou Harris played Liverpool. She did so again tonight on her Farewell to Europe tour with her Red Dirt Band. Those intervening years have been good to her as she looked fit, healthy and her voice was as strong as ever.

Before the main act, we were treated to an entertaining performance by Jim Lauderdale. Wearing a trademark sparkly suit, he played a solo set including songs like ‘Hummingbird’ and a new one about AI. The audience got involved in singing the chorus to ‘Headed to the Hills’, which closed his set.

Emmylou came on after the interval and welcomed Jim back on stage to sing with her. Only it seems he didn’t get the memo as he failed to appear. She started playing ‘Love Hurts’ until he eventually materialised and duetted with her. 

The early set highlights included a solo version of ‘Here I Am’, ‘Orphan Girl’ and ‘Love and Happiness’, a song she co-wrote with Mark Knopfler. Emmylou recalled playing Liverpool in 1976 and singing George Jones’s ‘One of These Days’. She sang it tonight as it was one of her mother’s favourite songs. She told of touring with Townes Van Zandt before launching into ‘Pancho and Lefty’, a song she used to sing with him.

An early highlight was a surprising cover of The Beatles’ ‘For No One’ from Revolver, her favourite Beatles album. Her world-class band, the Red Dirt Boys, included Phil Madeira on keys, Bryan Owings on drums, Chris Donohue on bass and mandolin, Eamon McLoughlin on violin and Kevin McKendree on electric guitar.

Emmylou shared tales of her happy childhood as she introduced her classic ‘Red Dirt Girl’, a song she said was fictional, although the events within it could easily have happened. She described herself as a better singer of other people’s songs, particularly when she can find a real sadness in them. This allowed her to acknowledge great songwriters, those who touched her heart, as the evening progressed. Aside from those already mentioned, she spoke of Marty Stuart, Willie Nelson, Merle Haggard and Bill Monroe before singing a foot-stomping version of the latter’s ‘Get Up John’.

Perhaps the most emotional moment of the night came when the band put down their instruments to join her at the microphone and sing an a cappella version of ‘Calling My Children Home’. That they stumbled over the words a little only added to the intimacy. ‘The Road’, her tribute to Gram Parsons, kept emotions running high.

Emmylou powered through the final third of the set, delivering many of her best-known songs like ‘Wheels’, ‘Luxury Liner’ and ‘Boulder to Birmingham’. Chuck Berry’s ‘C’est La Vie’ brought the audience to their feet and the show to an end. After a rapturous standing ovation, everyone returned to the stage for a poignant version of ‘Together Again’, which felt like a timely reminder to appreciate each other as Emmylou said her farewell.

The tour continues throughout May and details can be found here, https://www.emmylouharris.com/tour

Reviewer – Adrian Cork 

On – 11.05.2026

Concert Review - Briana Corrigan, Music Room, Liverpool

If you were a music fan between the late 1980s and early 1990s and bought CDs, the chances are you will have bought one on which Briana Corrigan’s voice was front and centre, for she was the original female lead vocalist for The Beautiful South. She provided the lead vocals for the band’s most successful single, a chart-topping and Brit Award-winning one, but we’ll get to that later.

Tonight, Briana was to treat us to a mix of folk-inflected love songs, ballads and the stories behind her songwriting. Her band was unusual in that it consisted of a guitarist (Colm McClean), a cellist (Seamus McAuley*) and Briana herself, playing guitar and a shruti box that provided atmosphere and a rich harmonic base to her performance.

Her band took to the stage first and played a few chords, building up to Briana’s entrance. She opened with Beautiful South’s ‘Should’ve Kept My Eyes Shut’, a song she performed on their second album, Choke, and ‘We Are Each Other’ off the third album, 0898 Beautiful South.

Briana’s storytelling before her own compositions gave her songs added pathos. ‘For Home’, for example, was written about a mermaid who longed for a world beyond her own but knew she would have to return one day. ‘Rocking Chair’ followed, then the particularly emotional ‘Dancing with Ghosts’, written about wartime dances in Blackpool and how the laughter and music from them can still be heard if the atmospheric conditions are right.

She wrote ‘Young Dublin Rose’ about her daughter and, following it with ‘Simply Beautiful’, kept the emotions running high. ‘Stay’, off her 2012 album Redbird, was next before she closed the first half with a cover of The Undertones’ ‘Teenage Kicks’.

Briana, as she should be, was extremely comfortable leaning into her Beautiful South past, even singing ‘Everybody’s Talkin’’, a song she did not perform with them. But she did sing ‘You Keep It All In’, delivering a punchy version of it. The Northern Irish singer then performed a trio of her own songs: the 2023 single ‘Sweet Songbird’, ‘Fairy Tale’ and ‘Angel of Montgomery’. Now we get to ‘A Little Time’, her Number 1 single with the Beautiful South. As it’s an unconventional love song that needs two lead singers, Briana asked for someone from the audience to join her. After a few minutes’ hesitation, a young person strode hesitantly towards the stage. Briana asked if she knew the song; she did not. Briana coached her through a verse and, when she sang it, she shocked everyone with a powerful, Cher-like voice. Briana was blown away, proving this was no plant, and feigned leaving the stage. The duo performed a heartwarming version of the song. 

Two more personal songs followed: ‘12 English Bluebells’, inspired by her husband, and ‘Caledonia’, a favourite of her father’s but dedicated to her brother Mike, who had passed away suddenly three years ago.

Her encore was Beautiful South’s ‘Bell Bottomed Tear’ and she finished with ‘The Parting Glass’.

A standing ovation at the close felt richly deserved. Warm, witty and emotionally open throughout, Briana Corrigan proved that her voice, both literally and as a songwriter, remains every bit as distinctive and affecting as it was during her years with The Beautiful South.

This was the final date of her tour but my advice would be to catch her when she tours next.

*Apologies if I’ve got your name wrong

Reviewer – Adrian Cork

 On – 10.05.2026

Theatre Review The Railway Children, Little Theatre, Southport

Since I first read E.Nesbit’s book and watched Lionel Jeffries 1970 film, I don’t  remember which I did first, I’ve been captivated by the story of The Railway Children in all its adaptations, up to and including The Railway Children Return and Jacqueline Wilson’s modern retelling, The Primrose Railway Children.

Could this adaptation live up to my particular expectations? I needn’t have worried, as this enchanting version of the story, adapted for the stage by Dave Simpson, faithfully recounts the tale of a family forced to move from London to the northern countryside following the wrongful arrest of their daddy for spying. The narrative follows the adventures of and friendships formed by the children, with the railway station master, his family, and the Old Gentleman on the train, before finishing, like all good stories, with a happy ending when the children are reunited with their father. Such a story cannot be easy to stage, but Southport Dramatic Club made an excellent job of it. Perks, the grumpy but likeable station master, played by Rikki Spofforth, narrated the play, and Tash Proffitt gave a strong performance as the well-spoken, upper-class mother of the Railway Children. The busy doctor (Peter McNab) and the likeable Russian, Mr Szczepansky (Richard Michell), with his multilingual lines, together with the Old Gentleman on the train (Mike Yates), were all stalwart characters in the story and, alongside the Perks children (Nathaniel Grills, Leyland Musa, Bonnie Kilbride, Pearle Johnson, Niamh Tolson, and Yves Vertie), kept the audience captivated throughout.

Congratulations should go to the whole cast and crew for this production, but special mention must be made of the Railway Children themselves: the sensible, prim and proper Roberta (Anna Motyka), the scatty, stroppy and strong-headed Phyllis (Imogen Povey), and the slightly snobbish, upper-class Peter (James Nolan). Their dialogue was delivered effectively and clearly, and they stayed in character throughout the performance, even stifling laughter during a “buttie”-eating scene. It was easy to believe in their sibling relationships: caring, loving and funny, but not without their squabbles.

The simple set worked well, with an abundance of props all in keeping with the era, while the sound effects (Chiron Farrinond) and lighting (Neil Yates) added to the atmosphere and really made you think the train was in the tunnel or that you were standing on the platform at Oakworth station. Director Kate Miles-Roberts and assistant director Corinna Davies can be extremely proud of this production.

The Railway Children runs until Saturday 16th May and details can be found here, 

https://littletheatresouthport.co.uk/boxoffice/spsecure_sca/select.php

Reviewer – Adrian Cork 

On – 09.05.2026

Theatre Review Company Bridewell Theatre, London

What a show! Honestly, I had to pinch myself and doublecheck the programme: are these really amateur performers with regular day jobs? “Company,” based on the book by George Furth with music and lyrics by Stephen Sondheim, feels far closer to a polished Broadway production than something you’d expect to find in the unobtrusive, little known Bridewell Theatre tucked just off Fleet Street in London. 

The production comes courtesy of Sedos, a London amateur theatre company that stages between five and ten shows each year. Sedos has been resident at the Bridewell since 2012, where they’ve built a reputation for delivering ambitious, high quality musicals and plays. Even so, this staging of “Company” feels like a standout achievement. 

At first glance, squeezing fourteen cast members onto such a compact stage seems like a recipe for chaos. Instead, it’s a masterclass in precision. The choreography — courtesy of Lauren Williams — is tight, inventive, and executed with razor sharp timing. Not a single performer drifted out of sync or missed a cue. Director Emily Phillips clearly had a strong vision for the show, and together she and Williams have created something that feels both meticulously crafted and full of life. 

Vocally, the cast is just as impressive. Whether singing solo or in ensemble numbers, they deliver Sondheim’s notoriously intricate music with confidence and warmth. The harmonies are rich and beautifully balanced, and I found myself particularly drawn to the moments when the men’s voices blended — a sound that filled the theatre with emotion and individually each of the female voices had an air of outstanding power. 

The set design deserves its own round of applause. The stage has been transformed into Bobby’s apartment, complete with sofas arranged around the playing space where some audience members can sit and watch the action unfold from within the world of the show. Most of the audience remains in the traditional staged seating, but if you’re planning to book, it’s worth trying for one of those sofa seats for a more immersive experience. The set was funded by a grant from the Jeremy Lewis Fund, and it’s money very well spent — the space feels intimate, stylish, and cleverly used. 

The story centres on Bobby (played with charm and a hint of sadness by Will Garrood), who is celebrating a birthday with friends whose lives are far more complicated than they first appear. Although the show sparkles with wit and humour, it also dips into darker, more reflective territory. Beneath the veneer of a charmed New York existence lie the familiar strains of adult relationships: marriages under pressure, the monotony of family life, being with someone dull, the fear of settling, and the quiet ache of loneliness. Bobby, convinced that marriage might be the cure for his own sense of isolation, views his friends’ relationships through rose tinted glasses — but as the show unfolds, those glasses start to reveal more. 

All of this is delivered through Sondheim’s brilliant score, including standout numbers such as “Getting Married Today” and “Being Alive.” Under the musical direction of Thomas Marples, with Ellie Bell as Assistant Musical Director, the songs feel fresh, emotionally charged, and beautifully supported by the ensemble. 

And what an ensemble it is. This is a truly eclectic group of performers who have clearly bonded into a tightknit company. Their energy, commitment, and vocal strength elevate the entire production to something that wouldn’t feel out of place on a major West End stage. A huge shoutout to Natalie Emden, Keith Walters, Anna Toogood, Adam Hargreaves, Lauren Clarke, Ashton Charge, Amy Foden Lloyd, Jacob Foden Lloyd, Helen Parsons, Tom Harper, Charlotte Field, Adrianna Cordero Marino, and Yasmin Devlin Dean. I hope every one of you knows just how fantastic you were on opening night. 

Sedos has delivered something genuinely special with this production of “Company.” If you can get a ticket — and especially if you can snag a sofa seat — go. You’re in for a treat. 

Not suitable for under 16s: This show contains scenes of alcohol consumption and intoxication, smoking, drugs, sexual content and innuendo, adult language, themes of infidelity, and emotional conflict. 

Company runs from 7th- 16th May 2026 https://www.sedos.co.uk/shows/2026-company

Reviewer - Penny Curran 

On 7th  May 2026 

Concert Review Roland Gift Presents 40 Years of Songs by Fine Young Cannibals, Philharmonic Hall, Liverpool

Between 1985 and 1992, and across two hugely successful albums, Fine Young Cannibals (FYC) dominated charts worldwide, winning two Brit Awards, receiving three Grammy nominations, earning an Ivor Novello Award and achieving three number one singles in America. They split after seven years and, bar a greatest hits album, very little had been heard from them since.

But in July 2025, their charismatic lead singer, Roland Gift, announced a return to touring under the guise of ‘Roland Gift Presents 40 Years of Songs by Fine Young Cannibals’. Tonight was the third show of the tour.

Gift’s band took to the stage before the lights came up, as “Also Sprach Zarathustra”, the instrumental theme from the film 2001: A Space Odyssey, played, heralding Gift’s entrance. Looking dapper in a white kurta, he acknowledged the crowd’s applause before launching into Suspicious Minds, a nod to the entrance music famously associated with Elvis Presley.

From the outset, it was clear that Gift’s unmistakeable voice had lost none of its power as he sang ‘Alone’, ‘Blue’ and ‘She’s Not Your Girlfriend’ before addressing the audience. Asking whether they wanted to dance, to which the answer was obviously yes, he launched into one of FYC’s signature songs, ‘Johnny Come Home’. As Gift danced along to the intro, the audience rose to their feet, bopping and singing along. ‘Top of the World’ followed before Gift asked whether the audience liked punk rock, leading into a brilliant reggae arrangement of the Buzzcocks classic ‘Ever Fallen in Love’, which kept the crowd dancing.

The band consisted of two keyboard players, a drummer, guitarist Dave Randall, and backing singers Debbie and Julie, who performed a song together while Gift briefly left the stage. Apologies to those whose names I didn’t catch. 

Upon his return, he dialled things back with acoustic versions of ‘She Drives Me Crazy’ and ‘I’m Not the Man I’m Used to Be’. Raising the tempo once more for ‘Rudy’ and three further songs, Gift then entertained the crowd by describing the contents of two shopping bags being raffled as prizes. Congratulations to those in seats C3 and L37 who won them!

Two of FYC’s most popular songs, ‘Good Thing’ and ‘Don’t Look Back’, closed the set. After a well-deserved standing ovation, the band returned for an encore of ‘Free Man’ and a more familiar version of ‘She Drives Me Crazy’.

Tonight’s show was both nostalgic and uplifting, bridging the gap between the band’s late-80s success and Gift’s current mature, soulful delivery.

The tour continues and details can be found here, Roland Gift Presents 40 Years of Songs by Fine Young Cannibals Tour 2026, Official,Concert Tickets from MyTicket.co.uk

Reviewer – Adrian Cork 

On – 08.05.2026

Theatre Review Nine Sixteenths at the Aldridge Studio, The Lowry

Nine Sixteenths, a devised work by Paula Varjack, is currently touring the UK and was  performed at the Aldridge Studio at The Lowry. With further dates planned in Leeds and London, and an evident trajectory towards festival development, the piece already feels like work in motion—gathering ideas, audiences, and urgency as it travels.

Performed by Varjack alongside four other performers, the show is a five-strong ensemble of Black women, with a British Sign Language interpretive artist fully integrated into the action rather than positioned at its edge. That integration matters: it aligns with the production’s wider concern with who gets seen, who gets heard, and how meaning is carried across different bodies and modes of communication.

The piece opens on a note of personal memory. Varjack recalls growing up with Top of the Pops (Top of the Pops), watching it every Thursday at 7pm and copying the dance routines she saw on screen. These were not just casual impressions of pop culture, but structured rituals—learned with a best friend, practised, corrected, and sometimes fought over when the steps didn’t land quite right. It is a simple but effective starting point: performance as something absorbed long before it is consciously understood as performance.

From there, the show widens its lens. Varjack moves into American high school culture, especially football games, but not for the sport itself. Instead, attention is fixed on the cheerleaders—their precision, repetition, and tightly controlled group movement. These sequences become formative, shaping an early understanding of choreography as discipline, spectacle, and belonging all at once.

But Nine Sixteenths is not simply autobiographical. It steadily builds into a broader cultural investigation: how Black women are represented, circulated, and judged across popular media, and whether anything meaningful has shifted in the last 25 years. The show moves between pop music, television history, and digital culture, asking difficult questions about visibility—what it means to be seen more often, but not necessarily seen differently.

A central reference point throughout is Janet Jackson. Her story repeatedly resurfaces, becoming the structural spine of the piece. The 2004 Super Bowl XXXVIII halftime incident involving Jackson and Justin Timberlake is not treated as a standalone moment, but as a cultural hinge—one that exposes how blame, attention, and narrative are unevenly distributed. The question the show keeps returning to is blunt and persistent: why her, and not him?

From there, the work expands into audience behaviour itself. It examines how quickly judgement forms, how images are replayed, and how repetition shapes public memory. Earlier moments use humour to offset the density of this analysis, especially through references to early internet culture and the mechanics of viral media.

One key reference is the interview between David Letterman and Janet Jackson, used to explore what the show frames as audience “demand”—the constant need to know, replay, and rewatch. Varjack suggests that without platforms like YouTube, many of these moments would not have achieved the same cultural afterlife. The implication is simple but unsettling: digital repetition does not just preserve history, it intensifies it, looping certain figures and narratives far beyond their original context.

The ensemble structure is one of the production’s strengths. Varjack and the four other performers share narration, movement, and perspective, avoiding a single authoritative voice. Meaning emerges collectively, through repetition, overlap, and interruption. The British Sign Language interpreter is fully embedded within this rhythm, contributing to the flow of meaning rather than translating from its margins.

In its final section, the tone shifts noticeably. The performers move into something closer to interior voice—less performed, more exposed. There is a sense of frustration beneath the structure, even exhaustion, as they reflect on being seen but not fully recognised, and on whether there is still meaningful space for them as Black women and artists within contemporary culture. That question lands without resolution, but with weight.

Despite the show’s political edge and intellectual density, it closes on a strikingly direct and communal moment: a performance of Janet Jackson’s Rhythm Nation. It reframes her not only as a reference point but as a symbolic centre of the work itself—discipline, control, resistance, and pop spectacle all held together in one cultural figure. The audience response is warm and immediate, suggesting recognition as much as appreciation.

What lingers after leaving is not clarity, but friction. The piece deliberately resists neat conclusions, instead leaving viewers with questions that continue to echo outside the theatre. In this case, that echo extended beyond the auditorium: there is a lingering urge to check, to verify, to rewatch. For a Gen Z audience member, that impulse quickly turns into something familiar—opening YouTube, searching for the original moment, trying to reconcile memory with mediated history.

That reaction feels entirely in keeping with what Nine Sixteenths is doing. It is a show about repetition—of images, narratives, blame, and attention—and about how understanding is often constructed after the fact, through replay rather than presence. It asks what it means to inherit cultural moments you didn’t fully live through, but are still shaped by.

Ultimately, Nine Sixteenths is less about offering answers than exposing patterns: of representation, of consumption, and of how quickly stories harden when they are replayed enough times. It is challenging, thought-provoking, and emotionally charged, but also clear in its central concern—how Black women are seen, and how often that seeing still comes with distortion.

Reviewer - Kathryn Gorton 

On - 8th  May 2026

Theatre Review The Anti Yogi Soho Theatre, London

Writer and performer Mayuri Bhandari delivers The Anti Yogi with a commanding physical intelligence that makes the stage feel unusually alive. This is not a polite deconstruction of wellness culture, it’s embodied, sharp-edged, and at its best, electric.

From the opening moments, Bhandari’s dance is exquisite. Precise, fluid, and charged with meaning rather than ornament. She doesn’t “perform movement” so much as inhabit it. There’s a control to her physicality that makes even her stillness feel intentional. And then there are her eyes, intense, powerful, and unflinching which anchor the entire piece. They do a huge amount of storytelling on their own, as does her wild and wilful tongue, often saying so much more than any words could. 

The live accompaniment from composer and percussionist, Neel Agrawal was a real strength in the show and certainly not background texture, but full of it’s own presence in the room. The musical rhythms push, interrupt, and occasionally uplift the action, giving the piece a pulse that feels almost ritualistic. At times, performer and musician lock into something that feels genuinely communal rather than staged.

What stands out most, though, is the audience connection. There are moments where the room shifts, laughter breaking into recognition, then into something quieter and more reflective. Bhandari has a strong sense of when to hold silence, when to lean in, and when to pull back. Those choices land. Hard.

Structurally, the piece moves in waves rather than clean arcs, which suits its themes of cultural fragmentation and reinterpretation. It doesn’t always prioritise a neat narrative flow, but it rarely feels lost. Instead, it feels intentionally unruly, like it’s resisting the very wellness it questions. If there’s a critique to be made, it’s that the ideas sometimes compete for space with the performance energy, and a few transitions could be tighter. But this is a minor imbalance in a show that thrives on presence rather than polish.

The Anti Yogi, directed by Shyamala Moorty & D’Lo is visceral, intelligent, and physically stunning. Bhandari performs with real command, supported by Agrawal who elevates the atmosphere. When it connects, it really connects. Emotionally direct, sometimes unexpectedly moving, a stage that was impossible to ignore. At its core, the piece examines the dissonance between yoga’s spiritual origins and its contemporary commodification. Bhandari shifts fluidly between personas, from wellness influencer archetypes to mythic embodiment and highlights how cultural practices are reframed, repackaged, and often stripped of context in the Western wellness culture. 

It is a performance that lingers, not because it offers answers, but because it disrupts assumptions. Intelligent, embodied, and quietly unsettling, it is an assured contemporary solo work alongside live percussion that blends satire with sincere inquiry. 

Review - 7th May 2026 

Reviewer - Mary Fogg

Theatre Review Drink & Scran & Playdio Ham Downstairs at the Everyman Theatre, Liverpool

 

This immersive live performance, presented by Crowdbreath, featured five actors plus a sound technician; taking the leading roles were well-known Liverpudlian favourite, Andrew Schofield (Sherlock Holmes), Liverpool-based actress/comedienne, Catherine Rice (Mrs Hudson/various other roles) and narrator, Rob Jarvis (star of TV shows Luther, Hustle, This City is Ours and River City).

For anyone expecting a typical stage play, the performance would have come as a surprise as it played out with the actors reading from hand-held scripts aka a radio broadcast with sound effects. The narrative was humorous with reference to many Liverpool landmarks, such as The Adelphi Hotel and local well-acquainted store, Home Bargains, with various scouse colloquialisms and innuendo. Various parts of the script encompassed the use of strong Liverpudlian dialect and terms well-known to scousers. Sir Arthur Conan Doyle’s fictional detective, Sherlock Holmes was in Liverpool in this comedic performance which was an unusual scenario, with lots of play on words and double entendres which proved to be a hit with those attending.

It was a full house and the audience showed their appreciation at various times with loud cheering and clapping.

This was a two night show on 7^th and 8th May 2026, lasting 1hr 20mins (including an interval) and tickets included a pint and a tasty pie.

Reviewer – Anne Pritchard

On – 8^th May 2026

Concert Review - Paul Simon A Quiet Celebration, M&S Bank Arena, Liverpool

To be attending a Paul Simon concert in 2026 is something I never thought would happen after the diminutive singer announced his retirement from touring in 2018 because of a near-complete loss of hearing in his left ear. That we are here tonight is thanks to researchers at Stanford University’s Initiative to Cure Hearing Loss programme, who worked with Simon to facilitate his return to the stage. What we have as a result is a carefully selected set list played through strategically positioned monitors that account for his deafness.

Dressed in all black, Simon walked onstage to a standing ovation, such is the affection his audience has for him. The first half of the show focused on Simon’s latest album, Seven Psalms, a 33-minute song cycle in seven movements that is meant to be performed and heard as one piece of music. He has said that the album is a discussion he has had with himself about his faith, or the absence of it, given that he has more years behind him than he has in front of him: an old man confronting his mortality and wondering what comes next.

From the opening bells of ‘The Lord’ to the bluesy and witty ‘My Professional Opinion’, the live versions of the songs surpassed the recorded versions. The band and Simon gently lift the different parts of the work by varying the intensity and offering subtle nuances so that no individual musician stands out. Between each part, the audience hesitates to applaud. Some clap lightly; others refrain so as not to disturb the mood. A highlight of the evening came when singer-songwriter Edie Brickell, Simon’s wife, elevated the songs ‘The Sacred Harp’ and ‘Wait’ with her beautifully clear and whispery alto to end the first half.

After a brief intermission, Simon and his band returned to play a second set of hits and deep cuts, including his meditation on gun violence, ‘The Late Great Johnny Ace’ (from 1983’s Hearts and Bones), ‘Mother and Child Reunion’ (from 1972’s self-titled Paul Simon), and ‘Rewrite’ (from 2011’s So Beautiful or So What). Brickell returned for Graceland’s ‘Under African Skies’, beautifully interpreting the vocal originally performed on the record by Linda Ronstadt. Simon stated that his current and longtime bassist, Bakithi Kumalo, who began working with him on the Graceland album, is the last surviving member of the Graceland band. Also on this tour is drummer Steve Gadd, whose drum part for ‘50 Ways to Leave Your Lover’ is instantly recognisable, and it was a privilege to hear him play it live.

The arrangements are familiar yet presented in a new way that emphasises subtle, often understated variations, allowing different parts of the band to shine at different moments.

Beautiful versions of ‘Spirit Voices’ and ‘Cool, Cool River’ (from 1990’s The Rhythm of the Saints) followed, full of intricate interplay between Simon and his musicians. ‘Me and Julio Down by the Schoolyard’ and the Simon & Garfunkel classic ‘Homeward Bound’ sounded fresh, as if the 84-year-old Simon had refined them through the eyes and ears of an older man, adapting them for the voice he has today.

Simon & Garfunkel were further represented in two of the encore songs: ‘The Boxer’ and, of course, ‘The Sound of Silence’, for which he remained alone on stage. The evening is over, and Simon must finally leave us. But before he goes, he takes his time, time to be honoured by the audience and time to thank them. 

In all likelihood, this will be the most intimate concert I’ll attend this year: a truly special experience. Tearful, goosebump-inducing, and moving. 

Paul Simon A Quiet Celebration tour continues and tickets can be found here, 

https://www.paulsimon.com/events/

Reviewer – Adrian Cork 

On – 07.05.2026

Theatre Review The Assassination of Margaret Thatcher The Everyman, Liverpool

 

The title of this work by Alexandra Wood (adapted from the Hilary Mantel short story) combined with fact that it was being given a World Premier in Liverpool suggested a heavy dose of left-wing politics with a rant about social divisions in the 1980’s. It was a pleasant surprise to discover that the play had neither of these hang-ups and was in fact a clever, psychological thriller combined with comedy, satire and even the surreal.

Creating a full-length two-hander that maintains pace throughout is not an easy task for any playwright. Becket’s ‘Waiting for Godot’ (ok, it has a couple of minor characters) is a standout with continuous philosophical explorations and Schaeffer pulled it off with the brilliant thriller ‘Sleuth’ by constantly changing the perspective of each of the two protagonists. 'The Assassination of Margaret Thatcher’ had elements of both these approaches but managed to add more besides.

Almost all the action took place at a third floor flat in Windsor opposite a hospital from which Prime Minister Margaret Thatcher was shorty due to emerge. Brendan, an IRA assassin entered the flat under false pretences and soon made it clear to the occupant Caroline that he intended to wait for the right moment to shoot the PM and that no harm would come to her provided she did exactly as she was told.

An initial misunderstanding of identity quickly turned into a tense drama that was punctuated with a lot of very funny comedy; a good example being when Caroline initially thought Brendan was a paparazzi cameraman and asked what he might expect to get to get for a good shot to which he calmly replied ‘life’. Another brilliant line occurred when Brendan, starting to show stress from the situation, was fumbling to tie Caroline to a radiator, causing her to wryly observe ‘I take it you’re not a sailor’. The comedy never detracted however from the tense situation, with the ever- present threat that Brendan might at any moment lose patience with his captive and all that that might entail.

Brendon knew about Caroline’s lifestyle and personal situation but nothing about her character. Little by litter, the two divulged more information about themselves leading to several ironies.

Brendon complained about historical oppression and racism which as Caroline observed, was a bit rich coming from a white man to a black woman (particularly back in the early ‘80s). It also seemed that Caroline had arguably more genuine personal reasons to dislike Thatcher, yet had absolutely no desire to kill her.

The admirably detailed set of Caroline’s flat paid close attention to detail, right down to the hotpot coming steaming out of the oven. Director John Young ensured that this was a very physical production with a large number of props giving a feeling of realism (although Brendon’s M16, whilst used by the IRA, was more of an assault weapon than a sniper’s rifle).

For the second act, it seemed at first as if Harold Pinter had stepped in and taken over the writing and to say much more would be to give spoilers. The audience were given several punchy surprises and taken right out of the centre of the action as possible outcomes, past and present, were explored, as the technical capabilities of the Everyman were shown to their full extent. Eventually the story was brought back to the flat, now just ten minutes before Thatcher was due to come in view of Brendon’s crosshairs. Anita Reynolds, having brought Caroline from being a friendly chatterbox into a progressively scared woman now gave emotion free reign as she tried to confront with the enormity of what he was about to do. 

Robbie O’Neil had taken Brendon from a tight-lipped control freak to an emotive man on a mission and now showed an icy coldness as the play moved towards its inevitable conclusion.

This was a very enjoyable theatre experience which not only kept the audience on its toes but was not afraid to take unexpected and sometimes even bizarre turns. Highly recommended.

Reviewer - John Waterhouse

On - 7th May 2026

Theatre Review The Spy Who Came in From the Cold Lyceum Theatre, Sheffield

David Elridge’s play is the first theatrical adaptation of the classic 1963 John le Carre novel of the same name, although it was made into a 1965 blockbuster movie starring Richard Burton. The story depicts a British spy, Alec Leamus, being sent to East Germany as a fake defector to deliver false information about a powerful East German Intelligence Officer. The book itself was an international best seller and received notable critical acclaim; it has since been selected by Time Magazine as one of the top 100 novels of all time.

The atmospheric stage set was minimal and mainly consisted of tables, chairs and other ancillary items which were moved swiftly between scenes. The exception was a large platform to the rear, used to visualise thought sequences and was an integral part of the final scene. The costumes were similarly understated and equally as effective in communicating the cold world of political espionage without taking centre stage. The use of lighting and music during scene changes was flawless and matched the rhythm of the play.

Ralf Little took the Lead Role of Alec Leamas, a hard-drinking, chain-smoking British spy who, after the murder of his colleague and only friend, Karl Riemek, decides to embark on one final assignment under the tutelage of puppet master in chief, George Smiley. 

Due to the complexity of the original story, David Eldridge’s adaptation was always going to be dialogue heavy and loaded with exposition. It was a wise choice to address the latter by placing many of the characters - Smiley in particular - as demons inside Leamas’s head to explain the backstory.

Ralf Little’s portrayal of Leamas began slowly but grew exponentially with the storyline, building into a display of emotional dysfunctionality, exhaustion and occasional hope. A lot was asked of him in this role and he delivered an assured performance. Grainne Dromgoole was effective as love interest Liz Gold, as was Tony Turner’s portrayal of George Smiley.

The plot remains true to the book and is not updated to suit the modern era. The story is a masterclass in espionage and twists and turns like a twisty turny thing, opening up the possibilities of double, triple, or quadruple agents amongst the protagonists. It exposes the murky world of spying and how the ends justify any means, provided you are deemed to be on the right side. Moral justification is sacrosanct if you are protecting the many. There were, however, moments that did not have the impact they could have, in particular during the final scenes. I also thought that, although Little and Dromgoole had chemistry, they landed short in expressing the seismic impact love would ultimately thrust upon them. 

The Spy Who Came in from the Cold is a theatrically slick, stylish and tense production. It is entertaining, thought-provoking and shines a light on the moral compass of government and society as a whole. 

Production run (The Lyceum Theatre, Sheffield): Tuesday 5th March –Saturday 9th May 2026.

Running Time: around 2 hours, including an interval.

See https://www.sheffieldtheatres.co.uk/events/spy-who-came-in-from-the-cold/dates

Reviewer: Matthew Burgin

On :  5th May 2026

Theatre Review CONTEMPORARY DANCE EMERGENCE: Triple Bill WATERSIDE THEATRE SALE Greater Manchester

Contemporary Dance has come a long way over the years, since the first ideas of this new art form came from the trailblazing works of the likes of of Pina Bausch, Isadora Duncan and of course Martha Graham; and indeed its popularity and format have allowed it to not just be a modern expression of ballet, but it now embraces almost all other dance forms too, as well as strong improvisational roots, mime, physical theatre and even gymnastics. 

In this evening's offering from local choreographer and company owner Joss Arnott, we were treated to three substantial and very differing pieces of contemporary dance, performed by recent graduates of Salford University, perhaps most of them taking their first professional dance steps this evening. 

The company comprised some twenty dancers, and between them they created three beautifully crafted dancescapes. I think the over-riding difference, for me at least, between contemporary dance and contemporary ballet is that in ballet, there is a definite narrative, they tell a story; whereas here, the dances perform ideas, images, reflections, no actual formed narrative, and so we, as audience, are able to seek out our own stories to the dances we see represented before us. 

In the first, 'Our Guests' (choreographed by Jason Mabana), we are (from my perspective at least) are taken into an almost  nightmarish world of insects - spiders, scorpions etc dressed ominously all in black, two equal sections of the company work in opposition to each other before coming together, their body shapes and jerkish movements make this a most interesting piece, and was simply excellently executed.

The second piece, 'Rapture', (choreography by Faye Stoeser), was again excellently realised, again utilising a lovely mix of full company, ensemble, duet and solo work, to show our modern club culture in all its grimy 'glory'! It was extremely repetitive, perhaps deliberately so, but I had difficulty personally in truly engaging with this work.

After the interval, and the longest of the three pieces was performed, this time choreographed by Joss Arnott and Lisa Marie Robinson. Titled, 'Euphoria', this was a reimagined version of a work that I had previously seen last year, and again, proved most interesting with what could almost be described as  a masterclass in Laban: showing us light / heavy, slow/fast, and pointed / smooth with the BESS principles of movement ever-present.

A superb evening of contemporary dance, deftly directed with aplomb from a company which deserves wider acclaim.

Reviewer - Alastair Zyggu

on - 1/5/26

Theatre Review Entertaining Angels- Guide Bridge Theatre Company

From an audience point of view, Entertaining Angels is a character study that depends heavily on the strength and subtlety of its performances. The central character of Grace was played with real quality and charisma by Michelle Lockwood, who bore a striking resemblance to Alison Steadman in both presence and manner. Her sister, Ruth, played by Joanna Bircher, was delivered as a delightfully ditzy, slightly neurotic missionary figure, with plenty of well-judged humour and puns woven through her dialogue. Beneath that comedy, however, sat a backstory that gradually bubbles to the surface following the death of Grace’s husband, Bardolph (Bardy), played by Martin Wadsworth.

Grace’s daughter, Jo, played by Hannah Combs, brought a more severe and serious energy as a clinical psychologist, initially positioned as the pragmatic counterpoint to the rest of the family, before ultimately becoming the emotional mediator of the piece as it unfolds. The incoming clergyette, Sarah, played by Michelle Cook, was portrayed with a calm serenity and a quietly diplomatic presence, and also carries a carefully revealed backstory that is teased out slowly and brought into alignment by the end of the play.

It is a very cleverly constructed piece, and this was matched by thoughtful direction from Gerard Lennox. There is a particularly strong moment at the start of Act 2, set in the garden, where the ensemble is arranged in a way that feels almost painterly—each character positioned within their own emotional space, yet collectively forming a cohesive whole. It gives the impression of a carefully composed painting, with each figure contributing to a shared narrative journey.

Added to that is a strong sense of design throughout the production, particularly the striking radial patio outside the vicarage, set against a finely manicured lawn, which is introduced immediately by Ruth as she busily and rather neurotically mows it into precise diagonal stripes. The atmosphere is further supported by thoughtful lighting and some well-executed painted flats, all of which help establish a clear sense of place.

Sound was generally effective, although there were moments in Act Two where clarity became slightly inconsistent; we even moved seats at one point to get closer to the action, and there were comments from some audience members who struggled to hear, despite the actors being mic’d. That aside, it remained a very enjoyable afternoon.

Overall, it is certainly worth seeing again, and GBT do a very strong job with Entertaining Angels, supported by a clear directorial vision from Gerard Lennox. The production lands many genuine laughs, often drawn from theological humour and well-judged clerical quips and puns, while still allowing the deeper emotional undercurrents of the piece to emerge.

Reviewer - Kathryn Gorton

On - 2nd May 2026

Theatre Review Dame Ida’s Cabaret Show The Little Theatre Birkenhead

 

Dame Ida’s Cabaret Show is a non-stop feast of showbiz, music, comedy and playful sexual innuendo. Before the show started an announcement was made for all those in the audience who are easily offended to leave and for everyone else to get ready for a great night of entertainment with no holds barred.

This lively, flamboyant show has 25 costume and wig changes brought about in timely fashion with musical interludes, flashing lights, strobe lighting and dry ice. It is a laugh-out-loud spectacular night of sometimes naughty comedy which had everyone in stitches laughing.  It is a drag show with hysterical parodies, witty jokes and one-liners and tongue-in-cheek humour.

Audience participation is very much an important aspect of the show and it seemed there were a lot of audience members who had been to see Dame Ida before and were willing to participate often to their detriment but all was taken in good fun and the laughs came one after the other.

Dame Ida had the audience in the palm of her hand, they were delighted to partake in sketches and comedy routines with her.  She left the stage on a number of occasions to mix with the audience looking for suitable stooges.  My only one criticism is that when she was in the audience, there was no lighting on her and the audience members she chose, so other members of the audience who weren't nearby couldn’t see what was going on properly, which meant they couldn’t join in with the fun and it rather spoilt it for them.  It could be improved and be better enjoyed if a spotlight was on Dame Ida when she mixes with the audience.

There was a short interval for Dame Ida to catch her breath but even during that time she was out amongst the audience having a Meet and Greet, posing for photographs and catching up with members of the audience who had seen her shows before. She is a true superstar with a very warm personality who has a charming manner with her fans, she has time for everyone and everybody loves her.

Away from her cabaret act, Dame Ida is Thomas George Weetman who hails from Doncaster; he is a superb showman and his love of entertaining shines through during his act.  He is a fabulous entertainer with a very endearing, friendly personality and is much loved by his fans; one of the sweetest and kindest drag queens I have had the pleasure to review with an amazing voice and quick-witted humour.  His show regularly tours UK and Europe. He is aided by his dresser and wardrobe mistress, Paula who he gave full credit to at the end of his show; his costumes are fabulous and he carries off his dual persona with the use of elaborate make up and beautiful wigs.

For tickets and further show information see www.dameida.com and https://dameida.co.uk/upcoming-shows/ 

Contact details for private party information - info@dameida.co.uk

Reviewer – Anne Pritchard

On – 2^nd May 2026

Theatre Review Sunny Afternoon The Grand Theatre Blackpool

 

Sunny Afternoon features music and lyrics by Ray Davies, from a book by Joe Penhall with direction by Edward Hall; it commemorates the enduring sound of one of UK’s most well-loved bands. The Kinks were formed in 1963, they were originally called The Ravens.

This jukebox musical, produced by Sonia Friedman, first opened in the West End in 2014, featuring music entirely drawn from the works of The Kinks, with music and lyrics by Ray Davies.

This was a very pleasurable way to spent a Friday evening; the weather was wet and gloomy outside but inside the theatre the atmosphere was electric with anticipation as the audience waited for the show to start. The audience was mainly made up of the over sixties age group who had enjoyed their teenage years in the 1960’s; this was a walk down memory lane for them, reliving their time when the Kinks were at their height musically.

Danny Horn portrays Kinks lead singer, Ray Davies and mastered his mannerisms, facial expressions and vocal inflections expertly, delivering his role perfectly, he actually resembles the songwriter/singer.

Oliver Hoare takes on the role of his rebellious, often short-tempered, party-loving womaniser brother Dave Davies, who has a penchant for cross-dressing. He brings energy and passion  to the role whilst playing the guitar excellently.

Harry Curley plays bassist Peter Quaife and Zakarie Stokes plays drummer Mick Avory bringing the sounds and 1960’s Kinks engaging entertaining style to this enjoyable show.

Tam Williams plays the band’s first manager Grenville Collins, Victoria Anderson plays Gwen, Deryn Edwards plays Mrs. Davies, Joseph Richardson plays Robert Wace, Lisa Wright plays Rasa.

The company is completed by Alicia Ally, Morgan Burgess, James Chisholm, Phil Corbitt, Alasdair Craig, Dominic Gee-Burch, Kristian Jacobs, Robin Johnson, Sorrel Jordan, Jada Langley, Timothy Roberts, Georgiana Wainwright-Jones and Emily Whitby-Samways.

The show relates their story through a back catalogue of hit songs, including ‘You Really Got Me’, ‘Waterloo Sunset’, 'Dedicated Follower Of Fashion', and ‘All Day and All of the Night’ plus an unusual acapella version of  ‘Days’ sung by departing managers along with Ray and Dave, showcasing beautiful harmonies and exemplary talent of the cast.  

Personal disclosures about the brothers’ lives such as they came from a working class background, living in Muswell Hill, London, having six elder sisters, one of whom passed away when Ray was just 13 years old and Ray’s depression after the birth of his baby daughter were revealed but I was disappointed that the show didn’t touch on  his long-term relationship with The Pretenders lead singer, Chrissie Hynde.

The stage set has an array of speakers of various sizes on three walls with a single studio window left exposed. In front of the window is a drum kit at centre stage flanked by rows of guitars, basses, and several standing microphones. The space transforms throughout the production, sometimes resembling a recording studio and at others suggesting the environment of a live broadcast set. When the cast launched into ‘Sunny Afternoon’  confetti filled the air, floating down over the audience.

Set design is by Miriam Buether, with choreography by Adam Cooper, lighting by Rick Fisher, sound by Matt McKenzie, and musical supervision by Elliott Ware. Musical and vocal adaptations are by Ray Davies and Elliott Ware. Casting is by Natalie Gallacher CDG for Pippa Ailion & Natalie Gallacher Casting.

The whole cast bring vitality and energy to this production and their enjoyment and camaraderie shines throughout.  There is a strong 1960’s atmosphere to the production which is aided by the wardrobe choices, Mary Quant style black and white geometrical design dresses, white knee high boots and feather boas, whilst The Kinks band members stay true to the original Kinks stage outfits.

Ray Davies’s songs exhibit a strong sense of storytelling, blended with his exceptional intensity, humour, and a sometimes a tinge of melancholy and nostalgia. The songs blended in well with the storytelling, they didn’t feel disconnected from the plot as can often happen with Jukebox musicals.

The show ended with the audience on their feet, dancing and singing to a full on rock version of ‘You Really Got Me’ and firm favourite, ‘Lola’ which has been the subject of some controversy currently.

I can highly recommend this show to all music fans whether Kinks devotees or not, it includes stunning vocals, exceptional guitar playing and drumming and highlights the multi-talents of all actor-musicians involved. It’s no surprise that Sunny Afternoon won a number of Olivier awards for its West End run in the Best Jukebox musicals category.

The show runs from Tuesday 28 April - Sat 2nd May 2026.

For show details and tickets see https://www.blackpoolgrand.co.uk/event/sunny-afternoon

Reviewer – Anne Pritchard

On – 1^st May 2026