Theatre Review Adrift Lyceum Theatre Oldham

This is one of the final offerings in this year’s Oldham Arts Festival, performed by a Welsh theatre company called Infinity Productions. The premise is simply that of three men adrift in a boat on the Atlantic after a failed mutiny. It is also simply one of the funniest shows certainly this review has seen in long time. 

The minimalist set comprises of three boxes with a rope marking out the boat, with the movement from the waves and the expanse of the ocean left to the audience’s imagination. What makes the show so entertaining is a combination of the changing dynamics between the three characters, some very funny dialogue and numerous absurd scenarios but none of this would work without excellent acting and great comic timing, which the cast display in abundance. There are several moments of extended silence where the audience is kept in suspense to see how a specific character will ultimately react to certain ridiculous or bizarre suggestion and there is great comedy in watching the facial expression of the character pondering how to react, as if you can almost hear the cogs in his brain working out what to do.

The set sounds almost like a joke in itself, being that of an Englishman, a Welshman and an Australian alone in a boat. There is no attempt to mock racial stereotypes with the premise being that Wilbur, the Englishman, appearing to have some authority, had started the mutiny; Mr. Roberts, the Welshman is an experienced seaman who was coerced into joining it and John the Australian seems to be a man of limited intelligence who just happily went along with the suggestion. There are certainly tensions as to who is blame for the predicament in which they find themselves but ultimately, they are all quite literally in the same boat in a life and death scenario. The men are certainly in the boat for at least a month, though it is never explained what they drink to survive (presumably there is meant to be a barrel of water somewhere!).

The play very amusingly explores various aspects of their shared predicament, from trying to pass the time with petty games to trying to control their emotions (and often failing!), consider ways how they might try to get on a shipping lane and generally how they just get on each other’s nerves. The sole prop is a clothes-peg which eventually becomes of extraordinary importance as the men’s collective sanity starts to disintegrate.

This is a festival-length play of around fifty minutes which packs in an awful lot and delivers a powerful punch. The audience laugh virtually all the way through the performance, though there are moments of real pathos and tension. This really is a genuinely funny play from start to finish, with the audience kept guessing how it will end right up until the final curtain.

Reviewer: John Waterhouse

On:  9th August 2026

Concert Review This is Merseybeat Museum of Liverpool

 

This show, in collaboration with The Cavern Club, is part of The Summer of Sound a summer-long series of special musical events taking place from 24^th July – 29^th August at the Museum of Liverpool. The riverside venue will host a series of acts each Saturday evening throughout the summer, honouring the verve and heritage of Liverpool’s infamous music scene.

This show gave a musical insight into the Swinging 60’s and helped the audience experience and re-live the thrilling birth of the Mersey Sound. The show commemorated the music that launched the British invasion and changed pop music history forever. It featured the Cavern Club’s resident beat combo The Shakers, guest stars portraying pop music icons such as Cilla Black and Gerry Marsden and was hosted by Liverpool Everyman and Playhouse actor Paul Codman. The energetic production recreated the sound and spirit of Liverpool’s most exciting musical era.

Host for the first part of the show, Dale Roberts from the Cavern Club, informed the audience that it will be The Cavern Club’s 70^th birthday next year and that there will be a special exhibition held in the Exhibition Hall where this show took place. He then went on to introduce resident Cavern Club band, The Shakers, who entertained with  various 60’s hits such as ‘Some Other Guy’, ‘Rock and Roll Music’, ‘Love Potion Number 9’ and ‘Love Me Do’. There was also a nod to Buddy Holly with ‘That’ll Be The Day’.

Neil Ainsby entertained with a medley of Gerry Marsden (Gerry and the Pacemakers) hits followed by  Victoria Jones singing as Our Cilla (Cilla Black).

After a short interval, compere Paul Codman introduced the audience to hits of 1963 with The Shakers performing a medley of Beatles hits and ‘Gerry’ and ‘Cilla’ following on with more hits from the exciting musical period.

The show was atmospheric of the Merseybeat era and recreated the Mersey sound which was much appreciated by the audience who sang, clapped and danced to the hits of the 60’s. Hit songs from The Searchers, The Swinging Blue Jeans, Billy J. Kramer and The Big Three were also featured.

The show ended with all acts on stage singing and dancing to ‘Twist and Shout’, ‘Ferry Across The Mersey’ and ‘You’ll Never Walk Alone’.

It was a special, nostalgic night for many of those attending who lived through the Merseybeat era and they showed their appreciation throughout.

Full Cast List:-

Compere/Narrator - Paul Codman

The Shakers:-

Tony O’Keeffe - Drums,

Kevin Benson - Bass/vocals,

Tom Benson - Rhythm guitar/Backing vocals/Harmonica

Liam Mannion - Lead guitar/Vocals

Keyboards - Toni Baker

Cilla - Victoria Jones

Gerry Marsden - Neil Ainsby

For more information see https://www.liverpoolmuseums.org.uk/summer-of-sound.

 

Reviewer:  Anne Pritchard

On: 8^th August 2026

 

 

 

Theatre Review Everything That Should’ve Been Mill One, 1853 Studios, Oldham

This play by Jake Talbot, is one of various productions taking place across five venues in the second annual Oldham Arts Festival. Featuring essentially new writing and performed largely by Oldham-based actors, this new festival looks set to ensure an on-going platform for emerging dramatic talent from the Oldham area. A quick glance through the listing of events reveals an emphasis on hard-hitting themes and ‘Everything that should’ve been’ is no exception.

The scenario is five women meeting in a hospital treatment room, each one of them in a different decade of life, from mid-twenties to mid-sixties and what follows could be described as existentialism from a female perspective but there is too much raw honesty and energy in this play to simply dismiss it as a feminism rant. The setting is a female hospital ward so the characters have female perspectives but much of what is considered and discussed is universal and this is a play for everyone.

Each character has their own distinct background but coupled with very individual thoughts on life. The twenty-something has a bleak outlook not sure she’ll make it to thirty with her job as a waitress causing her to see all people as like glasses waiting to be broken. The thirty something is finding fulfilment in motherhood and a good marriage. The forty-something regrets several life choices, feeling as she enters middle-age that people are starting to ‘look through her’ in contrast to the fifty-something who looks back a good relationship cut short by her partner’s death. The sixty-something looks forward, contemplating people crying when she dies, humorously saying ‘they’d better!’ whilst looking back on many years of a fulfilling marriage.

There are echoes of ‘Waiting for Godot’ as the characters consider the seeming meaningless of life, both in terms of the span of life when measured in the light of eternity and the daily drudgery of boring tasks such as cleaning, washing and various jobs which just have to be endlessly repeated. There is a lot of consideration also of what might have been if only different choices had been taken at specific key moments. However, there is a lot of balance as well, with the women in different ways finding numerous things they have to be thankful for with even the twenty-something eventually realising the good sense in living for the moment rather than moping about a bad future which may not even come.

Director Miranda Parker takes a minimalist approach with the sole prop being a black block, which double up as one of the hospital beds (the other beds being represented by comfy armchairs). The block also serves as a focal point, to which all the women come for mutual support. However, there is more to this play than dialogue. A blend of mime and dance, choreographed by Jayne Sladen, is used to bring over the emotional backdrop to the setting, with emotive electronic music making is clear that none of the women are in a relaxed state, echoed in their movements which appear either robotic or restricted. The lighting in this studio theatre also serves for various moods to be created.

This is a thought-provoking play that explores the extent to which we need each other and find fulfilment coming from being with and helping others. There is certainly plenty of philosophising but this is contrasted with the joy of finding fun in the moment. After all, you can hardly spend time contemplating death in the midst of laughing with friends! Look out for more offerings from Dare to Know productions.

https://www.1853studios.com/events/dare-to-create

Reviewer: John Waterhouse

On: 07.08.26

Theatre Review Take Me Home County Road Royal Court Liverpool

 

This show, written by Adam McCoy and directed by Emma Bird, is a production which is all heart and combines unrequited aspirations, loneliness, marriage issues and community spirit wrapped around a love story in a kind of adult pantomime fashion where everything comes together and works out well in the end. It has the feel-good factor whilst being entertaining with lots of child-like humour and at the same time highlighting adult themes.

The stage set is constant, Shelly’s kitchen in Liverpool’s County Road, where her family and best friends/neighbours gather to chat and catch up with life events. Shelly’s marriage seems to have hit the rocks and she is being threatened with redundancy from a job she loves.  At the same time her heart is elsewhere, wanting to re-live her singing career and a prime opportunity arises in the form of a TV talent contest, The Next Big Thing.

The cast is made up of five actors, each bringing their own powerful, individual talents to the fore and worthy of equal commendation. Helen Carter (Shelly) delivers effortless vocals and is made for the role delivering fragility with determination and practicality, whilst Adam McCoy plays Anthony, Shelly’s next-door neighbour, delivering heartwarming camp humour with heartfelt warmth. Joan, Shelly’s mum played by Eithne Browne, a Liverpool theatre stalwart, is recognisable as a typical Liverpudlian mum looking out for her daughter and looking back at the relationship she had with Shelley’s dad, whilst also bringing her singing talent to the stage. The main thrust of the comedy is provided by Keddy Sutton as Margy. Keddy has a well-recorded history of providing humour to many local productions and with just one look can have audiences crying with laughter. She is adept in her craft with perfect timing and delivery bearing in mind her facial expressions are worth pots of gold.  She is an added bonus to any production and her skills are to be admired.  Shelly’s husband Mick, played by Lenny Wood, takes on what seems like the ‘baddie’ role but no spoilers here, only to say as his story unfolds, we see a different side to him and he delivers his role with sensitivity and understated accuracy.

The chemistry between the five actors is plain to see, as is the enjoyment they exude whilst playing their roles.

Adam McCoy’s talents are showcased as writer and actor, this being his playwriting debut and he has managed to hit the nail on the head with this heartwarming tale which will appeal to all.

Set and Costume Designer Alfie Heywood centres the narrative in the heart of the house, the kitchen, which is an excellent choice as characters can come and go from two doors in and out of the set and the kitchen window is put to good use by Margy. Additionally, audiences can relate to the kitchen as being the heart of the home creating a sense of familiarity and warmth, both in temperature and emotion.

Take Me Home County Road combines Scouse wit, which local audiences love, and family and relationship issues with well-loved country music foot-tappers. The story is relatable for audiences on many levels and along with lots of humour can also bring a tear to the eye.  This is an extremely enjoyable jukebox musical combining country classics and a story about following your dreams at any age. Take Me Home County Road is well worth an outing for, it is a heartwarming production full of positivity and will lift the spirits of all. As expected the audience were on their feet dancing and singing during the encore and showed their appreciation throughout.

This production runs from 6th-29th August 2026.

Tickets available from https://liverpoolsroyalcourt.com/

Full cast, company and creatives information available at https://issuu.com/iainchristie/docs/take_me_home_county_road_show_programme?fr=sYWEzNjkyMzU1OTQ

Reviewer:  Anne Pritchard

On:  6^th August 2026

Theatre Review The Importance of Being Earnest Thingwall Players Thingwall Community Centre Liverpool

This fabulous play directed by Paul Arends and Chrysanthi Fergani, and stage managed by Catherine Flower is an adaptation of the famous farcical comedy written by Oscar Wilde, who spent the summer of 1894 with his family at Worthing on the Sussex coast, where he began writing his new play ‘The Importance of being Earnest’ which was first performed on Valentines Day in 1895 at the St James’s Theatre in London.

This farcical comedic play depicts the tangled affairs of two young men about town who lead double lives to evade unwanted social obligations, both assuming the name Ernest, whilst wooing the two young women of their affections and gives the play a witty double meaning. Credit must be given from the set designed by Hayley Jeffrey, costume designers Carol Golightly and Angela Clarke and all involved who created beautifully convincing sets and characters depicting the 1890’s perfectly.

The play begins set in Algernon Moncreiff’s flat in London with his maid attending to his every need and serving a light afternoon tea of cucumber sandwiches and muffins in anticipation of a visit from Lady Bracknell and Gwendolen Fairfax. Algernon the lead character played by the brilliant Kyle Jensen, was superb and the standout performer of the night. Bringing humour, whimsicality and authenticity to his character and the stage, he wowed the audience and had them in fits of laughter and hanging onto his every word throughout.

Algernon’s cousin John Worthing played by Kenny Young arrives and the banter between the bachelor’s on their behaviour with the fairer sex is tantalizingly sexist as both assume a different name in the country to the city to hide their discretions. John admits he’s in a spot of bother with unpaid depts, dining at the Savoy, which catch up with him later in the play. John is very taken with Gwendolen and she of him and a coy courtship develops, only to be thwarted by Gwendolyn’s aunt Lady Bracknell played by the very talented Lorna Pout, who is blunt and cold and disapproves entirely of the union and is only interested and so comically acted throughout the play, in social standing and wealth and not emotional attachment in any way. She reminded me of actor Maggie Smith as Lady Violet Cawley in Downton Abbey, so hilariously dry and commanding.

Act 2 is set in the garden of John Worthing's manor house, with a fabulous backdrop of a beautifully painted scenic garden, by Hayley, Chris, Catherine, Kayleigh, Carol, Maya and Angela, where we meet the characters Cecily Cardew, John Worthing's ward and her governess Miss Prism. We also meet the Rev. Canon Chasuble who is the blatant affection of Miss Prism. Algernon appears uninvited and under the name of Ernest pretending to be John Worthing's brother, with a glint in his eye for Cecily and she of him. A lot of flirtatious behaviour ensues between all six characters, but both ladies Gwendolen and Cecily continue to insist that they can love only a man named Ernest.

Acts 3 and 4 are set in the morning room of the manor house, where we meet all the characters, who are waited on by their butler and servant and very entertainingly so. Hidden family secrets are unearthed during these scenes and eventually we are witness to three romantic engagements, leading up to the final scene which perfectly depicts ‘The Importance of being Earnest’ and it’s double meaning.

The audience clapped loudly and with admiration for a superb performance by all the cast and I think Oscar Wilde would be proud. 

This production is running until Saturday 1st July.

Cast:

Servant Lane – Daisy Robins

Algernon Moncrieff – Kyle Johnson

John Worthing – Kenny Young

Lady Bracknell – Lorna Pout

Gwendolyn Fairfax – Cat Fox-Kirk

Miss Prism – Angela McComb

Cecily Cardew – Elle Murphy

Moulton – Dave Owens

Merriman – Manuj Rastogi

Rev. Canon Chasuble – Kevin Thomas

Gribsby – Samra Uddin

Crew:

Sound & Lighting - Tim Saint, Meg Doherty

Backstage – Michael Ananins

Reviewer: Jill Ollerton 

On 31.07.26

Film Review Wham! 10 Days in China Vue Cinema Southport

In 1985, Wham! did something that, at the time, seemed unimaginable. At the height of their fame, George Michael and Andrew Ridgeley became the first Western pop act to perform in Communist China. What was originally conceived by their manager Simon Napier-Bell as an audacious publicity stunt to break the American market became something far more significant: a genuine moment of cultural history. Wham! 

10 Days in China tells that story with warmth, humour and surprising emotional heft. Director Mike Christie has taken the original, long-forgotten footage shot during the trip and painstakingly restored it, weaving it together with new interviews featuring Andrew Ridgeley, members of the touring party and Chinese concertgoers whose lives were changed by those extraordinary ten days. The result feels less like a conventional music documentary and more like a fascinating time capsule. A peek behind the Bamboo Curtain.

One of the documentary’s greatest strengths is that it never attempts to deify its subjects. George and Andrew were still in their early twenties and, despite their global fame, often appear overwhelmed by the bizarre diplomatic obligations thrust upon them. Watching them pose stiffly with officials, tour the Great Wall or endure awkward press conferences provides moments of genuine comedy. Andrew’s recollections are particularly engaging, offering affectionate insight into both the absurdity of the trip and his enduring friendship with George.

George, meanwhile, emerges as the more introspective figure. Even this early in his career, there are glimpses of the artist he would soon become: thoughtful, ambitious and increasingly aware that he had outgrown the happy-go-lucky image of Wham! 

The documentary captures the beginnings of an important transition in his life. The concert footage is outstanding. Beautifully restored, it reminds us just how accomplished Wham! had become as a live act during the Make It Big era. Hits such as ‘Freedom’, ‘Wake Me Up Before You Go-Go’ and ‘Careless Whisper’ jump from the screen with infectious energy. 

The first show, at the Workers Gymnasium in Beijing, showed an audience that wanted to react, to dance, but didn’t know how. Those that dared to dance were arrested and removed from the venue. It’s these moments, where Western exuberance collides with Chinese restraint, that become some of the film’s most memorable images. 

At the second show at Guangzhou the Chinese had clearly had enough of restraint so really let themselves go. Yet the documentary’s biggest surprise is the contemporary interviews with Chinese people who were at the concerts who explain the impact they had and what it meant for them. Expanded horizons and future musical careers. Suddenly a nostalgic music documentary becomes something more. What began as a calculated publicity exercise became an unexpected act of cultural exchange whose influence is still felt some 40 years later. 

Wham! 10 Days in China succeeds because it is about far more than nostalgia. It captures a fleeting moment when music briefly transcended politics, ideology and geography. It reminds us that two young men armed with little more than charisma, optimism and a catalogue of irresistible pop songs became unlikely cultural ambassadors.

For Wham! fans it is essential viewing. For everyone else, it is a compelling reminder that, sometimes, pop music really can change the world, even if only for ten unforgettable days.

Wham! 10 Days in China was a one night only cinema release but check your local listings just in case.

Reviewer: Adrian Cork 

On: 28/07/2026

Theatre Review Sadomasochism for Accountants The Old Clubhouse, Buxton Fringe Festival

This show, by Martin Coslett and Tim Leichfield, describes itself as an adult comedy musical, which is broadly a correct label but there is more depth ‘To Sadomasochism for Accountants’ than might be expected and anyone expecting a reworking of ‘The Rocky Horror Show’ will disappointed, with no nudity or kinky outfits to be seen. 

This is an intriguing show, where the story is largely told through songs, interspersed with snippets of dialogue and there is certainly a lot of comedy but also several sharp and highly relevant observations as well. Accountants have been a butt for comedy going right back to the Monty Python accountancy sketch but there is a bit more depth in this instance where the metaphor of an accountant can be applied to pretty much any white (or even blue!) collar working environment. 

The premise is that an accountant called Paula is madly in love with another accountant called Alan, who is now going out with the bitchy Belinda. Compounded to this unfortunate scenario, Paula has low self-esteem and self-image. A chance meeting with a man who has a fetish for noses leads Paula to the kinky Club Luscious where she meets the transvestite Luda (who is no Frank N Furter, with a powerful sense of self-awareness) and the dominatrix Gretchen, who shows Paula new perspectives. 

At the same time, the sad and lonely Fred is also finding a new direction in life as a gimp at the Club Luscious. However, it is not just Paula and Fred who go on journeys of self -discovery. Alan and Belinda find their own perceived world of self-sufficiency and superiority is not what they thought it was, having thought they had it all (as proclaimed in the opening song ‘Accountants Rule’). This is most marked by Belinda making Alan have plastic surgery as she tries to craft her own ideal man, in sharp contrast to Paula who much preferred Alan just as he was. This is the real central point of the story, where Paula and Fred find self-discovery and progress by daring to step outside of themselves whereas Alan and Belinda, in different ways, think they can achieve self-perfection unaided. 

The music of this show is not particularly catchy, perhaps most comparable in style to ‘Little Shop of Horrors’ but it is powerful, requiring considerable singing ability. 

Certain songs such as 'Plan A', sung by Gretchen and Luda, have the flow of performance poetry delivered at speed, as does ‘The Fetish Song’ sung by the Noseman. There are some charming duets, such as Paula and Fred’s blending of ‘Paula’ and ‘Lonely life of Fred’ and a rousing ensemble number ‘Sadomasochism for Accountants’ as a finale. A nice touch is that all the cast have microphones for the singing so that (as can be the case in small venues) there is not a competition to heard over the sound of recorded music.  

Director Frazer Meakin made effective use of the space, with a central open area enabling the cast to act very much in the thrust with a small stage at the back allowing a separate area for certain scenes such as the wedding planning or the arrival at Club Luscious to be performed. 

The presentation is certainly minimalist but the props are used effectively. Each member of the cast plays both a main character and a secondary character. Alex Aram is superb as Luda, bringing over the complexities of the this curious character. Georgia Maria Rodger alternates well between the Germanic dominatrix (with a great accent!) and the aloof Belina. 

Drew Sinclair plays Alan but it is as the geeky Fred he is most memorable (what kind of a gimp wears thick black glasses over his mask!). Ella Maria Danson is wonderfully expressive as the repressed Paul.

All in all, four great performances of an unusual and surprisingly deep show. 

Sadomasochism for Accountants is on until 25.07.26 

Reviewer: John Waterhouse 

On: 23.07.26

Concert Review For You Blue: Celebrating The Beatles Greatest Hits 1967-1970 featuring the Royal Liverpool Philharmonic Orchestra with The Bootleg Beatles

 

For music fans of a certain age, their introduction to the Beatles came through two iconic compilation albums, The Red Album (1962–1966) and The Blue Album (1967–1970). First released in 1973, they have since been reissued in several formats, each time introducing a new generation of listeners to the Beatles.

As the Beatles stopped touring in 1966 to concentrate on studio work, they never performed most of the songs featured on The Blue Album live, save for a brief rooftop appearance in 1969, but more of that later. Bringing this music to the concert hall therefore requires something rather special, and the Bootleg Beatles, joined by the Royal Liverpool Philharmonic Orchestra under the baton of Richard Balcombe, proved equal to the task.

Covering the period from 'Sgt. Pepper's Lonely Hearts Club Band' to 'Let It Be', the setlist offered two hours of music spanning twenty-six songs from five (abridged) albums. Between each section, video interludes explored the music that influenced the Beatles while capturing the spirit and tensions of the late 1960s, while also allowing time for the Bootlegs' inevitable costume changes.

The lights dimmed and a video opened the door to 1967 with Pink Floyd's 'See Emily Play' and Timothy Leary urging us to "turn on, tune in and drop out". The Bootlegs took to the stage in their psychedelic Sgt. Pepper uniforms and launched straight into 'Sgt. Pepper's Lonely Hearts Club Band', 'With a Little Help from My Friends' and 'Lucy in the Sky with Diamonds'. Next came the double A-side single 'Penny Lane/Strawberry Fields Forever' that, as Lennon famously bemoaned, was kept off the number one spot by Engelbert Humperdinck.

The first half closed with a magnificent performance of 'A Day in the Life'. As the monumental final E major chord reverberated around the Philharmonic Hall, the lights faded and the Bootlegs recreated the famous album cover while, behind them, members of the orchestra raised masks depicting its many iconic figures.

The video screen then transported us to 1967 with BBC footage of that year's Wimbledon, the closure of the pirate radio stations, the launch of Radio 1 and the Small Faces performing  'Itchycoo Park. The Bootlegs returned to the stage dressed in colourful kaftans.

They launched into 'Magical Mystery Tour,' 'I Am the Walrus', 'Hello, Goodbye', 'The Fool on the Hill' and 'All You Need Is Love', during which the audience were enthusiastically encouraged to sing along.

The next interlude featured a montage of American politics, particularly protests against the Vietnam War, accompanied by music from the Rolling Stones and Julie Driscoll. The Bootlegs reappeared, this time dressed for The White Album, performing 'Revolution' (the B-side of 'Hey Jude') and 'While My Guitar Gently Weeps', before rounding off the first half with a rousing rendition of 'Ob-La-Di, Ob-La-Da'.

It would be remiss of me not to credit the men behind the costumes who so clearly relished becoming the Beatles. Stephen Hill's George Harrison appeared completely relaxed and at home in his role, delighting in songs from the Quiet Beatle's most creative period. His quips about Eric Clapton only added to the authenticity.

Miles Frizzell, the newest member of the band, was outstanding as Paul McCartney, capturing not only McCartney's distinctive vocal style but also his unmistakable mannerisms and stage movement.

The video opening the second half featured the Clangers, a Scaffold advertisement for Watney's Ale, The Liver Birds, On the Buses, Monty Python, Easy Rider and a clever insert showing the Bootlegs appearing to walk onto the roof of Apple Corps headquarters in Savile Row. This, of course, recreated the final time the Beatles ever performed together live.

'Get Back', 'Don't Let Me Down', 'The Long and Winding Road' and a solo performance of 'Across the Universe' by John offered a flavour of what witnessing that famous rooftop concert might have been like. Paul Canning, now sporting Lennon's famous white suit and flowing beard, had both his singing and speaking voice down to a tee.

The Royal Liverpool Philharmonic Orchestra then performed Richard Strauss's 'Also sprach Zarathustra', the instantly recognisable theme from 2001: A Space Odyssey.

The final interlude was perhaps the evening's cleverest. The white Volkswagen Beetle from the Abbey Road cover drove through London towards Abbey Road itself to the strains of Led Zeppelin's 'Whole Lotta Love', passing Carnaby Street, a Who concert, an anti-nuclear march and the Rolling Stones in Hyde Park. Concord flew overhead, man landed on the Moon and David Bowie sang 'Space Oddity'.

The band, now dressed in their Abbey Road finery, played 'Come Together', 'Something' and 'Octopus's Garden', finally giving Gordon Elsmore's Ringo Starr the opportunity to take lead vocals once more.

'I Want You (She's So Heavy)', 'Here Comes the Sun' and 'Let It Be' brought the main set to a close.

The audience's standing ovation left little doubt that an encore was inevitable. Appropriately, the Bootlegs brought the story right up to date with the Beatles' final release, 2023's 'Now and Then'. The accompanying video formed a moving tribute to members of the extended Beatles family no longer with us, including Brian Epstein, George Martin, Mal Evans, Cynthia Lennon, John Lennon and George Harrison. It was an unexpectedly emotional moment before the evening concluded, as it surely had to, with 'Hey Jude' and an audience that enthusiastically took over the famous "na-na-na" refrain.

This was a triumph for which enormous credit belongs to Richard Balcombe, the Royal Liverpool Philharmonic Orchestra, the Bootleg Beatles and musical director Steve Earle. Rather than attempting a note-for-note recreation of performances that never existed, they created something far more imaginative: a convincing vision of how the Beatles' extraordinary studio masterpieces might have sounded had they ever taken them to the concert stage. It was a celebration not only of the music itself, but also of the creativity and ambition that made these recordings timeless.

For more dates and further information about the Bootlegs, visit their website HERE.

Reviewer: Adrian Cork 

Date: 21/07/2026

Theatre Review Matthew Bourne’s The Car Man Lyceum Theatre, Sheffield

Matthew Bourne is one of the UK’s most successful choreographers and directors with signature works including Spitfire, Nutcracker, Swan Lake and Cinderella. The Car Man was first shown in 2000 and has won many accolades, including an Olivier Award nomination for Outstanding Achievement in Dance. It is loosely based on both George Bizet's opera ‘Carmen’ and the film noir ‘The Postman Always Rings Twice.’

It is set in the fictional town of Harmony within an Italian American community in Midwestern America. The storyline has elements of lust, fate, revenge and murder and has been described as in the ‘dance noir’ genre.

Award-winning Lez Brotherston’s clever set and costume designs transport us back to 1960’s Harmony. The stage settings highlight that this is a high-quality production and depict a garage, prison and French nightclub amongst others. The dancers are at home in their surroundings and use the stage to full effect. 

The props are just as impressive, in particular when the cars are racing around the stage in scenes reminiscent of the James Dean classic ‘Rebel Without a Cause’. Chris Davey’s lighting helps the transitions between the dance scenes and completes the stage illusion. The music score by Terry Davies and Rodin Shchedrin’s Carmen Suite (after Bizet's Carmen) is suitably dramatic.

As a dance thriller, there is no direct dialogue, with movement and choreography responsible for delivering the narrative. It can be difficult to keep track of a dance-driven story as it develops, but not in the case of the Car Man. The story is simple, which enables the audience to relax and enjoy the show. The choreography is clever and succeeds in developing the story and characterisation in unison. The show

starts with a few steamy dance scenes in the men’s locker room, culminating with a ‘Full Monty’ style flash of nakedness.

Harrison Dowzell plays the role of Luca, the enigmatic and mysterious drifter, who arrives in town and seduces Lana (Cordelia Braithwaite), the beautiful young wife of his employer and garage owner Dino (Danny Reubens). This dangerous liaison has deadly consequences that result in murder and the framing of an innocent man.

The choreography and movement are breathtaking and executed with precision and beauty by a cast full of exceptionally talented dancers. The storyline is fast-paced with much of the dance action in a similar vein. There are also scenes of poignancy, like when Luca dances with the spirit of the man he bludgeoned to death. On the face of it he has got away with murder, but internally he is racked with guilt carrying demons. His internal struggle is brought to life with these scenes of dance and movement, with the clever use of light.

There is a dramatic ending to the story to bring the curtain down on a passionate, dramatic and exhilarating masterclass in dance theatre. This is a high-quality theatrical production rich in storytelling and visual drama, which I would highly recommend.

Production run (The Lyceum Theatre, Sheffield): 21st July – 25th July 2026.

Reviewer: Matthew Burgin

On: 21st July 2026

Theatre Review Jane England’s Nine Day Queen Eyam Mechanics Institute Eyam

Buxton is a somewhat isolated town in the Peak District so it is perhaps not surprising then that the annual festival Fringe’s reach extends out into the countryside with the small village of Eyam being twelve miles from Buxton. The Mechanics Institute theatre, seating around 50 and having a proper curtained stage is an idea venue for fringe productions, located directly opposite the church in this historic village, making a perfect setting for a historic play.

‘Jane – England’s nine day Queen’ by Kim Louise-Sparks, tells the tragic story of Lady Jane Grey with remarkable historical accuracy and attention to detail through twenty-five songs and very limited dialogue. The cast of nine (and a little doubling-up) display all the key characters in the story, with a key emphasis on the fact that Jane herself has no real desire to become a queen, essentially manipulated by relatives and others through mixed desires of power and religious fervour.

With the emphasis on telling the history, this is a very stylised production with the costumes a mix of modern dress and symbolic garments and weapons such as cloaks, swords and ecclesiastic appendages. The bare stage is bereft of props save a chair and a chess set on the two boxes (one of which also serving as the execution block), with the obvious symbolism that all the characters are to some extent pieces in a game although some clearly have more power to influence events than others.

The music makes for a pacy show, for the most part piano-based but with some guitar and other instruments, in the style of later works by Andrew Lloyd Webber (where the rock operas are less centred on rock music). A good balance is achieved between solo performances, duets and full ensemble songs with the mood of the music suitable mirroring the emotions of the story, from the optimism of the taking of the crown to the separation of Jane and her husband Dudley, as they await execution. The cast have plenty of accomplished singers, although the volume of the recorded music makes it difficult at times to hear clearly the words of the un-amplified singers.

Writer Kim Louise-Sparks also directs the show and has made the most of the small stage area to allow movement of the cast, at times with some dance or swordplay, although the full complement of nine pretty much fills the performance area, with little room for much action. A duet between Jane and Mary works well with perfectly mirrored movements as each ruminates on the outcome of events. The split set of Jane and Dudley in separate cells awaiting execution is also simple but effective, as each receives last letters from the other.

Reviewer: John Waterhouse

On: 18th July 2026

Ballet Review Swan Lake State Ballet of Georgia London Coliseum

 

Some evenings begin long before the curtain rises, and Friday evening’s performance of Swan Lake at the London Coliseum was one of them.

Before the ballet, a small, invite-only gathering were treated to a fascinating pre-show talk with Nina Ananiashvili, Artistic Director of the State Ballet of Georgia and former Bolshoi prima ballerina. I always enjoy hearing the people behind a production speak because it reminds us that what we eventually witness on stage is just the final piece of an enormous creative journey. Listening to Nina talk so openly about the company, the dancers and her vision for Swan Lake brought an added depth to the evening. Her warmth, humility and obvious passion for the art form were evident throughout, and by the time the auditorium lights dimmed, I felt even more connected to what was about to unfold.

There are certain pieces of music that need no introduction, and as the Royal Ballet Sinfonia Orchestra with Conductor Levan Jagaev began Tchaikovsky’s iconic score, a hush seemed to fall across the entire theatre. Hearing such familiar music performed live is something recordings can never quite replicate. The orchestra played beautifully, bringing both power and tenderness to every scene. There were moments when I almost forgot to watch the stage because I was so captivated by the richness of the music rising from the pit.

The London Coliseum itself deserves a mention. There is something wonderfully reassuring about walking through its doors. Grand and elegant without ever feeling intimidating, it has that rare ability to make every visit feel like an occasion. Looking up at the ornate ceilings and beautiful architecture before the performance even begins reminds you that theatre is about the whole experience, not simply what happens on the stage. 

The warmth of the Coliseum staff also never goes unnoticed. From the moment we arrived, everyone we encountered was welcoming, friendly and genuinely helpful. It’s often the little things that stay with you, and their kindness added to what already felt like a very special evening. As for Swan Lake itself, it’s easy to understand why it has remained one of the world’s most loved ballets for generations. Unlike many productions today, there are no words to guide you. Everything is conveyed through movement, music and expression. A simple glance, the curve of an arm or the gentlest shift in posture somehow communicates joy, longing, fear and heartbreak. 

The corps de ballet were simply mesmerising. Watching so many dancers move together with such astonishing precision is almost hypnotic. Every line seemed perfectly placed, every movement perfectly timed. It looked effortless, yet you know it is the result of years upon years of relentless training, discipline and trust in one another. There is something incredibly moving about witnessing that level of dedication. Special mention should also go to the principal dancers. Nino Samadashvili who was captivating as Odette and Odile, bringing an elegance and emotional sensitivity to the role that made it impossible to look away. Her transformation from the fragile, ethereal White Swan to the confident, beguiling Black Swan was beautifully judged, demonstrating not only exceptional technique but wonderful storytelling. Alongside her, Oleg Ligai portrayed Prince Siegfried with warmth and sincerity, creating a believable partnership that allowed the love story at the heart of the ballet to shine. Together they balanced technical brilliance with genuine emotion, reminding us that ballet isn’t simply about perfect steps it’s about making us feel something, and they certainly did that.

The principal dancers brought both grace and emotional honesty to their performances. The story unfolded naturally, never feeling exaggerated or overplayed. Instead, it invited the audience to slow down, to notice the detail and to simply sit with the emotions that the music and choreography evoke.

I found myself thinking how refreshing that feels. In a world where we’re constantly encouraged to move faster, consume more and rarely sit still, Swan Lake gently asks us to do the opposite. To be present. To observe. To appreciate beauty for beauty’s sake.

As we made our way out into the warm London evening, I realised I felt calmer than when I’d arrived. Not because the story is particularly comforting, it isn’t, but because there is something deeply nourishing about watching exceptionally talented people dedicate themselves so completely to their craft.

The pre-show conversation with Nina Ananiashvili, the magnificent orchestra, the breathtaking dancers, the beauty of the London Coliseum and the warmth of its staff all combined to create far more than an evening at the ballet. It was one of those experiences that quietly reminds you why live performance continues to matter.

A truly beautiful evening, and one that will stay with me for a long time.

Swan Lake continues at London Coliseum until 26th July all information and tickets can be found here https://londoncoliseum.org/events/swan-lake/

Reviewer: Mary Fogg

On:17th July 

Theatre Review Outlaws A Robin Hood Story Grosvenor Park Open Air Theatre, Chester

The Open-Air Theatre in Grosvenor Park, located next to the River Dee in Chester, must be one of the most pleasantly-located venues in the country, alongside being the second home of the illustrious Storyhouse Theatre. After a pleasant stroll through the park grounds, there is something of a festival atmosphere as you walk through a compound with food, beer and wine tents with ample seating before entering the auditorium which is a true theatre-in-round, with around 500 fully-raked seats, four entrances and an ample performance area.

Writer Kieran Lynn takes the familiar Robin Hood story and alternates the tone continuously between pathos and comedy, incorporating a lot of action, from dance to fight scenes. The twist in this version is that Robin Hood and the villainous Sheriff of Nottingham are actually old school friends whose paths in life have taken different courses and find themselves as love-rivals for the hand of Maid Marion. We also learn that the Sheriff's actual name is Philip (truly a novel idea!) and Robin’s ‘Merry Men’ all  appen to be women, apart from Little John (whose his own expressed love for Robin is left ambiguous).

Director Hannan Noane was clearly oblivious to any fourth wall when blocking this show, with the cast sometimes sitting amongst the audience or requiring them to look after their musical instruments for a while, in one instance even dragging a couple up into the central performance area and there are a lot of other interactions such as when the Sherriff offers a rose on bended knee to various ladies on the front  ows. The stairways up the rows of seating also serve as performance areas. A lot of exchanges between cast and audience are virtual pantomime but the tight direction of some of the fight scenes together with a few notable dramatic exchanges amongst the cast take the show to a higher level and unlike anything in pure pantomime, we actually see some characters go an emotional journey.

This is also an actor/musician show and a number of popular songs from the 70s and 80s such as Dancing in the Dark’, ‘A town call Malice’ and ‘Holding out for a hero’, are weaved in, in much the same way as in the movie ‘A knight’s tale’ where what initially sounds like medieval music quickly morphs into a modern song. To this end, acoustic instruments are boldly used on stage (an acoustic guitar does after all vaguely resembles a lute!) whilst the electric base-guitar (variously played by King John and Little John), looking too obviously 20 th century, is almost hidden behind a banner on a musician’s platform on the top row. Other instruments range from an accordion to a violin giving the show a rich range of sounds. 

The costuming is suitably medieval, with banners on poles giving a nice period feel, together with the outfits looking generally quite authentic for the styles of the period. In the light of England’s recent defeat to Argentina in the world cup, the play also serves as a timely reminder that the ‘three lions’ device was used by the English monarchy centuries before our national football team adopted it! The cast of thirteen (with some doubling up in various minor roles) give the impression of a big show, with minimal props other than occasional table and chairs brought on and off stage.

This is a fun, entertaining show with a lot of action in which audience participation is regularly encouraged and ensures a very pleasant way to spend a summer evening. 

'Outlaws – A Robin Hood story’ is on until the 23rd August.

Storyhouse.com

Reviewer: John Waterhouse

On: 16.07.26

Theatre Review Darren Brown Only Human Lyceum Theatre, Sheffield

Derren Brown is a multi-award-winning master of illusion and mind control and widely regarded as a master of showmanship, timing and misdirection. His stage shows are hugely successful and secretive affairs, which involve both individual and group audience participation. He describes himself as a psychological illusionist and has achieved notoriety on TV, initially through his 2000 Channel 4 series ‘Mind Control.’ He is known to request that reviewers and the audience in general do not discuss the secrets of his show on social media in order for future audiences to enjoy the surprise.

His latest show, Only Human, has a core premise that explores the nature of human choices, the illusion of free will, and our attempts to predict or control the future. Having never seen Derren on TV or experienced one of his shows, I entered the Lyceum unaware of what awaited me. As I took my seat, it was obvious from a prop that lay next to all the seats that some level of audience participation was expected.

The first thing that struck me about Darren was his ease on stage and with the audience, and also how funny and quick-witted he is. The show was split into two different acts, either side of the interval, with the first half being light-hearted and funny in parts and the second half much deeper and involved. At around 2 hours and 20 minutes, with an interval, it isn’t a short show, but Derren’s showmanship and the immersive nature of the overall experience ensured the time passed quickly. But through both parts of the show, the general theme of how free are your choices was integral to the entertainment.

There are many instances during the evening where audience participation occurs and this varies in its format. Sometimes it is in the form of the entire audience and sometimes individuals. It is worth confirming that this is entirely voluntary and no pressure is applied. What I found fascinating, during the group participation, is how readily some people are more susceptible to his suggestions than others. A sceptic may suggest that there are plants in the audience to help the show along, but the level, number, and varying format of this involvement make this seem unlikely. He may use group participation to identify individuals who are the most susceptible to his powers of persuasion.

In truth, I have no idea how he manages to do what he does, but I do know it is both entertaining and fascinating. I don’t believe in magic or mind-reading or much of what Darren was showcasing. What I do believe in, however, is someone who is a master of their craft and can produce a performance full of a sense of wonder. I also enjoyed that not all of the show is smoke and mirrors; there are moments of philosophy and positive messages of seizing your own destiny. It is an entertaining and fascinating experience.

Production run (The Lyceum Theatre, Sheffield): Tuesday 14th June –Saturday 18th July 2026.

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

https://www.sheffieldtheatres.co.uk/events/derren-brown-only-human-2026/dates

Reviewer: Matthew Burgin

On: 14th July 2026