Speed Dating Review Matchlove Old Hall Farm Ellesmere Port

 

Matchlove Speed Dating was established approximately 18 months ago by Gifty Boadu who also hosts the events. Her aim is for singles to have fun whilst searching for Mr or Miss Right. Her business is based in Ellesmere Port, and she prides herself on personal attention to detail and commitment with enthusiasm at each event. Her approach is rooted in delivering memorable encounters, guaranteeing that everything she does displays her dedication in assisting singles find their perfect match.

It was a very hot summers’ evening and host, Gifty made the wise decision to hold the event outdoors in the very pleasant seating/garden area outside the pub. It was one of their smaller sized events with 8 ladies and 8 gents meeting in the hope of finding a match, all in the 50-65 age group.

Gifty’s events are perfect for singles who like to meet potential partners in person, almost viewed as the old-fashioned way in today’s internet/online chat climate, but events such as these are an ideal way of meeting a selection of dates in one night, obviously if they fit the bill, looks and personality wise.

The major advantage for speed dating is that singles are meeting other singles in person, contrasting on-line dating apps, meaning singles can’t edit themselves and they can’t display a much younger photo of themselves as they can do online. With speed dating, singles are able to experience a sample of potential dates and decide if there is that sparkle they are hoping for and pick up if their is chemistry between each other in person and if the correct questions are asked, they’ll know if they are well-matched.

Friendly host Gifty made everyone comfortable with a drink upon arrival and informed them of the schedule and what was expected of them. After the registration process was completed, she explained how the event works; attendees are given a name badge, a pen and a 'scorecard' to note their opinions about each date and tick either a 'Yes' to those they are interested in meeting again, or a ‘No’ to any they think are not a match. Ladies are seated on tables whilst the men visit each table to chat to potential dates. Host, Gifty is on hand with a bell to let the men know when to move on as there is a time limit of 15 minutes per date. Within 24 hours after the event, attendees receive a results email informing them who they've matched with (i.e. mutual 'Yes' ticks). They are also informed of those dates who have given them a ‘Yes’ tick who they’ve declined.

Most people arrived alone at the event and the atmosphere was very relaxed with everyone chatting to each other amicably. The event was scheduled to last for two hours but everyone stayed longer, chatting and drinking and the time flew by very quickly. This is a very enjoyable way of meeting possible matches for those looking for a partner or even those looking to form new friends.

Similar events are scheduled for other age groups and are perfect for a girls nights out as they entail lots of conversation, laughter, the buzz of  meeting new people during one evening and a bar on hand for drinks.

See more details at https://www.matchlove-speed-dating.com/

For tickets see 

https://tablesdatingevents.co.uk/speed-dating-events 

Reviewer:  Anne Pritchard

On: 24^th June2026

Theatre Review Taking The Piste Royal Court Liverpool

Taking the Piste is a hilarious and captivating comedy-drama based on the true story of the 1970s Kirkby Ski Slope fiasco. The production dramatizes the chaotic construction of an ill-fated ski slope and a journalist's efforts to expose the project. 

The narrative centres around Donald Storm (Paul Duckworth), head of Kirkby Council, who schemes to build a monumental ski slope near the M57 motorway to put the town on the map. Assisted by a builder, Geoff Ditchwater (Michael Starke), they manage to spend vast amounts of taxpayer money building a ski slope from people’s rubbish, which proves to be exactly the wrong way round.

Standing in their way are two young journalists from the Liverpool Echo, Derek Whitaker (Elliott Kingsley) and Kelly White (Hayley Sheen), who break ranks, Woodward and Bernstein style, to investigate Storm’s shady dealings and expose the grand scheme for what it is, aided and abetted by Councillor Storm’s assistant, Sandra (Holly Mimi Bernice).

The production used three sets in telling the story: the pubs The Grapes and The Railway, a cramped Liverpool Echo office and the dry ski slope itself. The latter was particularly good as it changed each time it was seen. The use of BBC2’s Ski Sunday theme just before the completed slope was revealed was genius. 

Period detail is nicely observed in the costuming and the choice of music from the era adds to the contemporaneous feel. 

Writer Kieran Lynn has balanced a dark, crazy narrative with fantastic comedic moments, seamlessly blending local knowledge with political satire of civic ambition, political vanity and the power of investigative journalism. The genius of his script is that he never has to exaggerate the absurdity as the facts themselves provide many of the laughs.

The actors were all at the top of their game, particularly Paul Duckworth who was superb as Donald Storm, the larger-than-life council leader determined to put Kirkby on the map whilst also making sure he lined his own pockets. He played his role with the relish of someone drunk on pints and drunk on power.

The counterpoint comes through the journalists investigating the growing scandal. What could have been a simple good-versus-bad narrative instead becomes a celebration of determined local reporting, reminding us that some of the most important stories are uncovered not by national media but by people who know their communities best.

Director John Young keeps the pace brisk throughout. The production rarely pauses for breath, moving effortlessly between broad comedy, political farce and moments of genuine human warmth. The humour is unmistakably Scouse, packed with references that drew knowing laughter from the audience, yet the themes have a wider resonance. Ambitious projects, inflated promises and taxpayers left wondering where the money went are hardly unique to Kirkby.

Every member of the ensemble contributes to the production’s success. Vicky Binns, as hard-nosed newspaper editor Patricia Grimes, particularly epitomises the balance between caricature and credibility that runs throughout the cast. What elevates Taking the Piste above a straightforward comedy is its affection for the community at its heart. While politicians, officials and opportunists all come in for their share of ridicule, the play never mocks the people of Kirkby themselves. Instead, it celebrates the resilience and humour that allowed locals to laugh at a fiasco that might otherwise have been forgotten. 

By the final curtain, Taking the Piste has achieved something special. It is hysterically funny, deeply rooted in local history and surprisingly relevant. Like the ski slope itself, the story should never really have existed. Unlike the ski slope, however, this is a venture that succeeds spectacularly.

The Royal Court has long excelled at turning Merseyside’s unique history into compelling theatre, and Taking the Piste may be one of its most inspired excavations yet.

Taking the Piste runs until 18th July 2026 and tickets can be booked here,

https://liverpoolsroyalcourt.com/main_stage/taking-the-piste/

Reviewer: Adrian Cork 

On: 24/06/2026

Cabaret Show Review Linda Gold’s Funnyboyz Saturday Night Cabaret Club Liverpool

Funnyboyz cabaret club in Liverpool, founded by drag artist and entrepreneur Linda Gold alongside Dys Alexia, is a completely unique and interactive concept in Drag Queen experience. You are invited to mingle with their drag queens and have the time of your life, and they certainly delivered on that this evening.

They offer a rotating line up of resident drag queens and tribute acts bringing the most hilarious drag shows, ‘RuPaul’s Drag Race Queen’ appearances by “Sumtingwong and Justmay,” also various tribute acts ranging from Abba, Adele, Lady Gaga to Becky Hill. They have cocktail masterclasses, bottomless brunches, bar crawls, Benidorm bingo, there’s something for everyone for a fabulous night out as the list is endless. 

The show is full of humorous banter and quite blue, and with the aid of a phallus it added to the overall effect which the three hen parties there certainly enjoyed. You can also dine from the choice of a set menu of one, two or three courses, a snack menu is also available, and you can help yourself to free popcorn throughout the whole show, and on arrival you receive a complementary drink.

Tonight we were greeted by the delightful drag queen Angelina Holey, who explained the evenings proceedings and later mingled with the audience selling raffle tickets for the Spin The Wheel section of the show, where the audience can win prizes, and the profits raised are used to support their charities including Pride Events and “Cancer is A Drag.”

All the staff were lovely, very friendly and extremely helpful and courteous throughout the evening and made the whole experience a real pleasure. Izzy Fierce, a delectable vision in vibrant blue with feathers was our compere for the evening and proceeded to go around the room introducing everyone from each table so that we were familiar with each other and asked where everyone came from, if they were here celebrating something and some, their occupation, which was later cunningly used humorously within the show.

The main live singing cabaret act who entertained us in a slinky silver sequinned number, was dazzling drag queen, ‘Baby Darling’ known as ‘Baby D’ who sang a compilation of songs ranging from Tina Turner, Erasure, Cindi Lauper, Bucks Fizz and Abba to name but a few. The audience thoroughly enjoyed themselves and sang and danced along on the dance floor all evening.

Angelina Holey and Izzy Fierce gave us an array of their talents and agility by performing amidst many costume changes and alternating between the two stages. They gave a Saturday Night Cabaret Show, Linda Gold’s Funnyboyz Cabaret Club, Liverpool, enthralling full-on display that included lip syncing, singing and dance routines, with the can-can and the splits thrown in for good measure. They got people from the audience up on stage to twerk and lip sync and provided everyone with a fun and hilarious evening.

To find out more about Linda Gold’s Funnyboyz Manchester & Liverpool events, visit their website. Funnyboyz.co.uk

Reviewer: Jill Ollerton 

On: 20.06.26

Concert Review Pet Sounds A Tribute to the Beach Boys Tung Auditorium, Liverpool

What better way to celebrate Brian Wilson's eighty-fourth birthday than by playing his masterpiece, Pet Sounds, in its entirety? So kudos to Novelty Island and Credits for not only taking on the challenge but knocking it out of the park. 

The first set opened with 'Our Prayer', Brian Wilson's wordless a cappella hymn. The seamless blending of multiple voices set the tone for the night. The musicians went straight into 'California Girls' and 'I Get Around';, two of the Beach Boys pre-Pet Sounds hits. They slowed things down for 'Surfer Girl' and 'Don't Worry Baby', so we were now ready for the centrepiece of the night: 'Pet Sounds'.

A video of Brian Wilson talking about the album sometime in the late 1970s was the precursor to the opening track, 'Wouldn't It Be Nice'. The musicians played through the rest of side one, with different people taking lead vocals on different songs. 'Sloop John B' took us to the interval.

Side two opened with, arguably, the album's most famous song, 'God Only Knows', for which Tom McConnell played piano and sang. It's fair to say that the songs on this side are more emotionally mature and highly orchestrated than those on the album's lighter first half. The musicians captured both the lush romantic devotion and  he melancholy realisation of lost youth perfectly, ending with the rumble of a passing train and the sound of two dogs barking.

To play an album of this sophistication required ten exceptional musicians and probably 30 musical instruments, including a bicycle bell and horn, woodblock, sleigh bells, tambourine, baritone saxophone, clarinet, flute, bass saxophone, bass clarinet, tenor saxophone, theremin and alto flute. More impressive still was how effortlessly they made it sound. Wilson's famously intricate arrangements were reproduced with remarkable precision yet never felt academic or over-rehearsed. The warmth, invention and sheer joy of the original recordings remained intact. The upbeat 'Darlin'; and 'Feel Flows', a deeper cut, brought the second set to a close.

Obviously, there was an encore, starting with 'All I Wanna Do' and 'In My Room'. Dan Astles joined the musicians for an exuberant version of 'Help Me, Rhonda', and Frankie Tibbles came on to sing the final song of the night, 'Good Vibrations'.

McConnell played a mean theremin as the musicians clearly enjoyed the psychedelic wig-out that brought the night to an end. This review cannot do justice to the hours of preparation and rehearsal that went into the show, nor to the skill required to bring such a complex and ambitious work to life.

Pet Sounds remains one of the most intricate albums in popular music; to perform it live so convincingly was an extraordinary achievement. This cannot be a one-off show, so I would implore the bands to get back together and do it again.

Reviewer: Adrian Cork 

Date: 20/06/2026

Theatre Review Malory Towers Playhouse Theatre Liverpool

 

Emma Rice’s stage adaptation of Malory Towers from infamous story teller, Enid Blyton envelops everything about boarding schools which young readers who were not privileged to be a part of, were in awe of.

The six original Blyton novels depicted twelve-year-old Darrell Rivers during her school years, relating friendships, rivalries and the difficult business of growing up and this production showcases life in a boarding school, from loneliness and friendships to bullying and passionate loyalties.

This production, adapted and directed by Emma Rice, is a co-production between the Emma Rice Company, Alexandra Palace Theatre, Belgrade Theatre, HOME Manchester, and the Liverpool Everyman & Playhouse.

Fundamentally, it presents the story of new girl, Darrell Rivers (Robyn Sinclair), her friendship with Sally Hope (Bethany Wooding), her encounters with timid Mary-Lou (Eden Barrie) and conflicts with the dreadful Gwendoline Lacey (Anna Soden).

The eight member cast are all to be commended; their vocal range and singing were superb and acting characterisation was totally accomplished and believable. Plus, many of the cast are multi-talented instrumentalists, moving effortlessly between acting, singing and playing instruments. The upright piano, played on stage by Stephanie Hockley as Parisian Irene Dupont, is a touch of genius as it immediately evoked memories of the school assemblies and music lessons from yesteryear which added another touch of nostalgia to the production.

Another surprise bonus is the introduction of the puppetry which is novel and entertaining and which helped support the transition of the story to excellent effect.

The plot,  generally, is set at a pace that keeps younger audience members absorbed as there were many in the audience thoroughly enjoying the piece.

The production fulfils on every level, it lovingly embraces the spirit of the original whilst is subtly refreshing for modern audiences; for those seeking nostalgia it delivers it in abundance, the jokes and humour landed brilliantly with all generations attending, the introduction of the puppetry was novel and entertaining  and the songs are interwoven naturally throughout the show, this was helped enormously by having the musicians on stage as part of the narrative. Ian Ross’s musical arrangements shine particularly during the a cappella singing which is beautifully atmospheric. Musically, the show weaves familiar songs into the framework of the story. Some 1950’s songs, such as ‘Mr Sandman’, have been smartly updated, while original compositions added to the emotion and narrative quality of the piece.

Set design (Lez Brotherston) is a simple backdrop with screens opening up for some of the more imaginary scenes with Simon Baker's video designs transforming into different locations with superb animations. The video provided insertion of the only adult in the cast in the form of a silhouette of the head teacher, voiced by Dame Sheila Hancock.

Rice has created a true family show that will charm adults and children alike.

Cast Members & Roles

• Darrell Rivers: Robyn Sinclair
• Sally Hope: Bethany Wooding
• Alicia Johns: Molly Cheesley
• Gwendolyn Lacey: Anna Soden
• Bill Robinson: Zoe West
• Irene & Musician: Stephanie Hockley
• Mary Lou Atkinson: Eden Barrie
• Musician / Understudy: Emily Panes 

Creative Team

• Adaptation and Direction: Emma Rice
• Producer: Sian Weeding
• Set and Costume Design: Lez Brotherston
• Composer: Ian Ross
• Sound and Video Design: Simon Baker
• Choreographer: Alistair David

 Malory Towers is at the Liverpool Playhouse from 16th to 20th June.

Tickets available from www.everymanplayhouse.com/event/malory-towers/

Reviewer: Anne Horne

On: 19^th June 2026

Theatre Review Nell Gwynn Shakespeare North Playhouse Prescot

Performed at the Cockpit Theatre at Shakespeare North Playhouse to an audience literally packed to the rafters, a most entertainingly humorous play, written by Jessica Swale and directed by Bryony Shanahan. A co-production with Theatre by the Lake and Storyhouse, this is a perfect setting for a very apt play. A fabulous performance by all involved, Rose Shalloo who played Nell was outstanding, but all the cast were truly amazing to watch.

Credit must be given for the fabulous costumes, of which there were many changes, the set design and music which invitingly whisks you away to the era seamlessly. This fast-paced play enchantingly explores how the artifice of males acting female roles changes from the imaginary world created by playwriters for an all-male cast, to a more realistic world with women playing women and how audiences loved and craved it and why Nell Gwynn became so well known.

The stage is set in 1660 during the reign of King Charles II, and a group of thespians enter the stage singing dancing and playing their musical instruments. They depart and Nell enters the stage, a bold brassy young woman with flaming red hair, selling oranges with her sister. She is heckled by one of the cast members hiding in the shadows of the audience, by referring to her strumpet ways and she confidently deals with him in her witty outright manner.

The story follows Nell being noticed by Mr Hart one of the thespians who thinks she has the makings of an actress and she agrees to be taught under his supervision and takes to it like a duck to water. She is a spirited and independent woman, very different to other women of the time who were thought to be meek and mild, afraid to stand up for themselves and speak their mind. It follows her progress and antics and weaves its way through the journey of her life of joy and sorrow.

The rest of the thespian group are not so happy, feel threatened and their resistance to change is displayed in the most humorously condescending way referring to women’s breasts on many occasions as being a distraction and getting in the way and a preposterous notion. King Charles II was a proactive supporter of the theatre and announced that women should also become actors, it was a pivotal point in the making for this thespian group. Until then women were very much in the background and shadows of men, but Nell was given lead roles and flourished. She became very popular with King Charles II as he certainly took a fancy to her and invited her to his court.

The most memorable prop must be the most ginormous turquoise ‘biggest hat you’ve ever seen’ moment, where Nell enters the stage and proceeds to make fun of her newest French female rival, in front of the King. This titillatingly tongue in cheek play, with bawdy references and smattered with double entendres had the audience howling with laughter and heartily appealed to the wide audience age range. I thought it had a touch of ‘Blackadder’ meets ‘Carry On’ vibe, pure magic.

A thoroughly enjoyable evening of entertainment, full of fun and mischief, singing, dancing and music, what more could you ask for. I fully recommend that you go and see for yourself.

Cast:

Rose Shalloo – Nell Gwynn

Adam Clifford – Lord Arlington & Thomas Killigrew

Celia-Cruwys-Finnigan – Rose Gwynn, Lady Castlemaine & Louise de Keroulle

Elliot Harper - Charles Hart

Burhan Kathawala - Ned Spigget

Jamie Ross – John Dryden & Music Captain

Guy Woolf – King Charles II

Sufia Manya – Nancy, Queen Catherine & Old Ma Gwynn

Stanton Wright – Edward Kynaston

Creative Team:

Tamsin Dowsett – Offstage cover & Assistant Director

Jessica Curtis – Set & Costume Design

Candida Caldicott -Composer & Musical Director

Nell Gwynn will be running at Shakespeare North Playhouse until Sat 4th July.

https://shakespearenorthplayhouse.co.uk/

Reviewer: Jill Mather 

On: 17.06.2026

Theatre Review Neighbourhood Watch PADOS Theatre Company Manchester

As an avid fan of Alan Ayckbourn, I was absolutely looking forward to seeing Neighbourhood Watch, a play of his that I had never seen before, performed by PADOS Theatre Company. PADOS is a society with more than a century of history, based in a former library building in the heart of Prestwich that is widely regarded as one of the area’s hidden gems. From this unique home, the company continues its proud tradition of presenting a high-quality programme of plays, musicals, reviews and concerts, alongside a thriving youth group whose most recent appearance was at the Prestwich Carnival. As always, PADOS managed to transform this small, traditional theatre space into an immersive setting that immediately drew the audience into both the world of the play and its unfolding narrative, making excellent use of its compact stage through a clear, practical arrangement of entrances and exits: a stage-right garden area suggesting the wider estate beyond, a rear entrance serving as hallway and bedroom access, and stage-left leading into the kitchen, all of which helped to create a coherent and functional domestic geography that supported the flow of the action.

Neighbourhood Watch centres on brother and sister Martin and Hilda Massie, whose well-intentioned attempt to improve safety and community spirit in their suburban neighbourhood gradually spirals out of control. What begins as a simple residents’ scheme to tackle petty crime soon descends into suspicion, division and unintended consequences, as personal insecurities, prejudice and the desire for control begin to overshadow the original aims. With his trademark blend of humour, sharp observation and social commentary, Ayckbourn explores how fear can distort even the best of intentions, creating a thought-provoking and darkly comic examination of modern community life. There is also a sense that Ayckbourn’s playwriting was ahead of its time, with themes that feel strikingly contemporary in their resonance with issues such as perceived threat and menace, the culture of accusation and “claiming”, knife crime anxieties, the rights of victims, culpability, self-defence, and an increasingly manic culture of self-preservation that can quickly escalate within communities.

The decision to present the living room as a predominantly black space illuminated by green LED lighting was initially confusing and somewhat disorientating. However, as the play unfolded, it became apparent that this may have been a deliberate directorial choice. Given the play’s reputation as a dark comedy, the visual design subtly prepared the audience for the darker themes that emerge beneath the surface of an apparently ordinary suburban setting. By moving away from a conventional domestic environment, the production encouraged the audience to focus on the ideas, tensions and relationships at the heart of the story rather than the realism of the setting itself.

The green LED lighting evoked images of modern surveillance technology, reinforcing the play’s central themes of vigilance, observation and control. Any uncertainty surrounding the design may well have been intentional, mirroring the growing paranoia, distorted perceptions and moral ambiguity that develop throughout the narrative. As events spiralled increasingly out of control, the visual concept became more meaningful, complementing Ayckbourn’s exploration of how fear and suspicion can gradually reshape both individuals and communities.

Martin Massie (played by Nick Angus) – A well-meaning and conscientious man whose characterisation was sharp, clearly defined and subtly layered. Nick Angus delivered a controlled and measured performance, portraying Martin as a man quietly constrained by anxiety, routine and responsibility. Through expressive facial reactions, thoughtful movement and carefully judged physicality, Angus effectively conveyed the character’s growing inner conflict. Beginning as a timid and somewhat hesitant figure, Martin gradually gained confidence and presence, particularly through his encounters with Amy Janner. A particular highlight was his manifesto-like monologue outlining his vision for a better society, delivered with sincerity and conviction, making Dorothy Doggett’s suggestion that he should be the next Prime Minister all the more amusing. Angus charted Martin’s journey convincingly, revealing a man yearning for change and escape from an increasingly claustrophobic and dependent relationship with his sister.

Hilda Massie (played by Charlotte Elmitt) – Martin’s devoted and protective sister. Fiercely supportive of her brother’s ambitions, Hilda’s determination to help often has unintended and far-reaching consequences.

Luther Bradley (played by Ed Hurley) – A neighbour whose experiences become increasingly significant as the neighbourhood watch scheme develops and tensions within the community begin to grow.

Magda Bradley (played by Mindy Leonard-Lockett) – Luther’s wife, whose interactions with those around her contribute to the complex social dynamics that underpin the story.

Amy Janner (played by Gemma Moon) – Portrayed with a sassy, underplayed femme-fatale edge and an apparent “I don’t care” persona that was carefully controlled and well measured. Already labelled by the local community as a “scarlet woman” due to her adulterous relationships, the character gradually revealed deeper inner turmoil and a sense of abandonment, which in turn informed her search for escapism and emotional refuge through an unlikely connection with Martin.

Rod Trusser (played by Matthew James) – One of the local residents drawn into the neighbourhood watch scheme, whose over-enthusiastic, self-appointed vigilantism provides much of the comedy. His epic recounting of retrieving his stolen hedge trimmer was a particular highlight, delivered with real flair and generating strong audience reaction, establishing his determined and slightly absurd sense of authority.

Dorothy Doggett (played by Carole Taylor) – A nervy, nosy neighbour with a sharp eye for local gossip, particularly regarding the “Scarlet Lady” of the street. Pious in tone yet highly subjective in her commentary, she frequently filtered gossip through her own judgement, effectively “pouring poison” into the ears of newer neighbours, particularly Hilda, though she was a familiar figure to the community and widely understood for what she was. Taylor took over the role at short notice after a previous cast member withdrew due to illness and delivered a confident, well-judged performance that landed plenty of comic moments in the first act.

Gareth Janner (played by Chris Parkinson) – A resident whose presence and interactions subtly deepen the web of relationships, misunderstandings and tensions that drive the narrative forward.

Together, these characters form the heart of Ayckbourn’s darkly comic exploration of community spirit, good intentions and the unforeseen consequences that can arise when fear and suspicion take hold.

Director Alex Cohen had a clear vision for this production and a confident understanding of Ayckbourn’s work, with the staging making effective use of some strong central performances to anchor the piece. There was, at times, a need for finer detail and additional textural layering in the ensemble work, though this may well develop further as the run progresses and the company continues to tighten its cohesion. Lighting and sound design by Ben Fairhurst was particularly strong, with the “blues and twos” emergency-style lighting through the garden window proving especially effective and atmospheric. PADOS, as ever, provided a warm welcome from the society officials and front-of-house team, and the well-stocked bar was very much appreciated on a notably hot and stuffy evening.

Neighbourhood Watch continues at PADOS House until Saturday 26th June.

Reviewer: Kathryn Gorton

On: 16th June 2026

Theatre Review Desperate Scousewives Lily’s Story Epstein Theatre Liverpool

 

This production, produced by Bill Elms, is billed as a fast-paced, smash hit comedy, and aims to raise awareness of domestic violence using humour as a means to get the message across but unfortunately it doesn’t fulfil the brief for many reasons.

It has taken the use of stereotypes to a different level so much so that it just was not funny. This was evidenced by the many empty seats when audience members didn’t return after the interval and those who left shortly after the second act began.

One of the contributory flaws was that the accents used by the leading ladies were so broadly Scouse it was difficult to understand what they were saying throughout the performance, mainly from Lynne Fitzgerald (Sue), Sam Alton (Nessa), and Crissy Rock (Lily). Director, Lynne Francis, (Tricia), played the outsider from Manchester.

Fitzgerald and Alton used contorted faces throughout which also didn’t help with their diction. Additionally, there were some sound issues in that although the cast were wearing head mics, a lot of their speech delivery could not be heard meaning a lot of their one-liners and jokes were missed.

The script was interspersed with well-known songs with altered lyrics which came across as rather amateurish, something which might have been performed at a school play rather than at a well-established theatre with well-known Liverpudlian actors.

Before the show began, there was an announcement relayed that the play contained substantial references to domestic violence and that if audience members wanted to leave, this was acceptable.  This should have been made clearer on advertising and publicity for the show, i.e. on posters etc., as once a ticket has been bought and the show has started, it’s rather too late to change one’s mind.  The only options are to sit through the show feeling uncomfortable with the show content or to get up and leave and feeling disappointed at the show not fulfilling the brief, (and feeling that the ticket paid for was a waste of money), which unfortunately is what a lot of people did.

If the aim of writer, Lynne Francis, was to deliver an evening of laughter, warmth and recognisable Scouse spirit that immediately wins over its audience, unfortunately, on this occasion, she has failed.  The Liverpudlian stereotypes were far too over-exaggerated to the point of being disliked rather than taken to one’s heart and the storyline was verging on the ridiculous, as it was so unbelievable. Classic farce is contained in Act 2 and the script became even more far-fetched.

The simple set showed the outside of four houses with different coloured doors, belonging to the leading characters, with spotlights above each door. The actors used a seating area to sit and chat on and deliver their lines.  The script required Lily, Nessa and Sue to be dressed in pyjamas with rollers in their hair depicting the Scouse attire sometimes seen across the city. Props such as penis shaped straws and chocolate covered sex toys were used to raise laughs along with expletives and sexual themed jokes.

The script contains sharp one-liners and is set against a backdrop of bullying behavior and physical assault, the writer has tried to balance comedy and emotion but unfortunately hasn’t been successful this time.

The premise of the play is excellent, a story with three characters with long-standing friendships relaying their stories, with a script steeped in local culture, incorporating a simple set enabling the audience to focus on the characters and their stories. But for me the production didn’t live up to the promise of “a riotous, fast-paced comedy following the lives of three loud, no-nonsense Liverpool women and one nervous newcomer, all navigating life, love, loyalty, and lipstick on a tightly knit street”.

This production is not for those easily offended by bad language, sexual innuendo or the portrayal of domestic violence issues.

Desperate Scousewives on Tour at St Helens Theatre Royal 12^th June 2026 and The Epstein Theatre 16^th & 17^th June 2026.

See https://www.epsteintheatre.com/whats-on/desperate-scousewives/#book-now

https://www.scousewivesonstage.com/

Reviewer: Anne Horne

On: 16^th June 2026

Theatre Review ‘Us, Pots, And A Welsh Chapel’ Storyhouse Chester

Tonight, courtesy of FANE  productions, appearing on the very impressive Storyhouse theatre’s largest auditorium stage, are Keith Brymer Jones of ‘The Great Pottery Throw Down’ fame and his partner Marj Hogarth, both of the popular ‘Our Welsh Chapel Dream’ TV series, (series 3 aired in April this year).

They have invited us to share with them their life, escapades and antics whilst restoring Capel Salem in Pwllheli Wales, which they purchased in September 2022, and relate what we didn’t see happening behind the scenes.

The stage is set as an informal living room with sofas and lamps and a pottery wheel for Keith to demonstrate his craft to the audience.

The couple tell stories of how they first met in Harrogate, their lives before they met and their challenges and struggles whilst being filmed during their restoration of the Grade 11, 163-year-old chapel, (definitely not for the faint hearted!!), plus how they coped bringing it back to life and making it into their forever home, incorporating a pottery studio and a community space plus explaining how they are providing opportunities there for the underprivileged.

We experienced a very warm, friendly and caring couple, their chemistry together is undeniable, and they are complementary and respectful of each other and the new friends and neighbours they have made during their time together in Wales, paying homage to them throughout their show.

Keith is both entertainingly funny, and very emotional, he is famously known for his crying on ‘The Great Pottery Throw Down’ TV series, and not averse to making fun of himself; he was demonstrative in his story telling, with a brilliant example of accents and language lessons thrown in for full realistic and hilarious effect. Interjected throughout the show were supporting video clips which are projected onto a large screen behind them on the stage to complement their real down-to-earth storytelling. They have  a large pigeon prop to relate to a particular part of the show for great comedic effect.

"This was our first show of our tour to sell out here in Chester" Marj explained appreciatively and the packed audience were emotionally moved to tears and crying with laughter and clapped loudly in appreciation throughout this very enjoyable show.

Marj, an actress, singer and textile designer and self-confessed seamstress from age 7, who has previously sang in a band, and had a working relationship with rubber as a dominatrix, had to hide her sorrow as did Keith during their renovation TV show as they both experienced a very sad time in their lives with their loss of parents.

Keith, a former dancer, potter and singer in a band, who as a youth attended the same Scottish drama school as David Tennant, got his break to host ‘The Great Pottery Throwdown’ in a very unusual and hilarious way, after making a video of a spoof of Adele’s ‘Rolling In The Deep’ and I strongly recommend you see it, if you haven’t already.

The couple surprise their architect, Rhodri by inviting him on stage for a pottery lesson by Keith, whilst Marj sings the theme tune from the film, Ghost, ‘Unchained Melody’ (by The Righteous Brothers) which is so entertainingly funny.

The show ended with Keith and Marj singing the song, ‘I Got You Babe’ (by Sonny & Cher) and I think this could be yet another partnership venture ready to be explored here guys……. just saying. 

Keith has written two books, ‘Boy in a China Shop: Life, Clay and Everything' published 2022 & 'Firing Earth: An Unexplained History of Pots & Potters' published 2026.

‘Us, Pots, And A Welsh Chapel’ by FANE productions UK tours until end of June 2026. 

Tickets: https://www.fane.co.uk/keith-marj

Further dates -

Mon 15 June - Theatre Severn, Shropshire

Thu 18 June - New Theatre Cardiff

Tue 23 June - Assembly Hall Theatre, Tunbridge Wells

Wed 24 June - The Marlowe, Canterbury

Thu 25 June - Charter Hall, Colchester

Reviewer: Jill Ollerton 

On: 15.06.26

Concert Review Shalamar: The Gold Tour A Fifty Year Celebration with Support From Gwen Dickey Philharmonic Hall Liverpool

Shalamar, having been formed in 1976 by the producers of the American musical television show Soul Train, are celebrating 50 years together with an extensive tour. Their current line-up features long-serving members Jeffrey Daniel and Howard Hewitt, with Carolyn Griffey replacing Jody Watley.

Before the main event, we were treated to a set from Gwen Dickey, the voice of Rose Royce, one of the great soul bands of the late 1970s, whose songwriter and producer was Motown’s legendary studio man, Norman Whitfield. 

Gwen opened with ‘Is It Love You’re After’ and immediately felt the affection of the audience, who sang along to every word. ‘Ooh Boy’ followed before she delivered a fabulous rendition of ‘Wishing on a Star’ that had the audience on their feet applauding at the end. The love and appreciation for her were palpable. There was a technical hitch that prevented her from performing her new single, ‘Water’, but that didn’t affect the show. She closed with two Rose Royce classics, ‘Love Don’t Live Here Anymore’ and, of course, ‘Car Wash’, and left the stage to a standing ovation.

I was in Row B, seated just a few feet from the stage. Around me were people determined to dance the night away, so when Shalamar took to the stage, almost the entire theatre was up and dancing. Their set was divided into a series of medleys, which meant the music and energy were absolutely non-stop. ‘The Second Time Around’, ‘Make That Move’, ‘Friends’, ‘Sweeter as the Days Go By’, ‘I Owe You One’ and ‘Dead Giveaway’ allowed Hewitt, Griffey and Daniel to really find their groove. And they never let it go.

The decision to structure the set around four extended medleys is a clever one. It gives the show the feel of what it might have been like on the dance floors of jazz-funk clubs and underground venues in the early 1980s.

There were slower moments too, made more intimate by the band’s interaction with their audience, or “Friends” as they like to call them. Hewitt sang ‘For the Lover in You’ directly to a couple celebrating their 43rd wedding anniversary. A rousing ‘Take That to the Bank’ ended with the band showering the audience with Shalamar banknotes. More hits followed, as did more jazz-funk: ‘Dancing in the Sheets’ and ‘Full of Fire’. During these extended medleys, clever little riffs from Prince, Chic, Isaac Hayes and A Tribe Called Quest were woven into the arrangements.

Shalamar are as famous for Jeffrey Daniel’s groundbreaking dancing as they are for their music. His signature style is a dynamic fusion of popping, locking, waacking and jazz-funk, characterised by fluid body glides and moonwalking. He saved the best for the final three songs: ‘There It Is’, ‘I Can Make You Feel Good’ and the encore, ‘A Night to Remember’.

Shalamar’s greatest strength remains their ability to make every audience member feel part of the show. The interaction between the band and their “Friends” created an atmosphere that was both celebratory and intimate, while the relentless energy of the performance ensured the theatre felt more like a packed dancefloor than a seated venue. Half a century after the group’s formation, Shalamar remain a formidable live proposition.

Shalamar continue touring this year and tickets can be found at,

https://www.ticketmaster.co.uk/shalamar-tickets/artist/2178206

Reviewer: Adrian Cork 

On: 29/05/2026

Theatre Review Allegra Richmond Theatre London

There are some theatres that feel welcoming from the moment you walk through the doors, and Richmond Theatre is undoubtedly one of them. Nestled in the heart of Richmond, it manages to combine elegance with warmth in a way that many larger venues struggle to achieve. The beautiful Victorian auditorium, with its ornate detailing and intimate atmosphere, creates the sense that you are somewhere special before the curtain has even risen. It is one of those theatres that still feels like a destination in itself, and on this occasion it provided the perfect setting for Allegra, a new comedy by Peter Quilter starring Dame Maureen Lipman, and directed and choreographed by Stephen Mear.

The play arrives with a considerable amount of goodwill attached to it, not least because of Lipman’s superb comedic timing. Lipman manages to give off an energy and youthfulness far younger than her 80 years old, and she is one of those performers whose presence alone can generate affection from an audience, and there was certainly a feeling of anticipation as the lights dimmed. The audience at Richmond seemed eager to embrace the evening, and by the end there was no doubt that many had done exactly that.

At its heart, Allegra is a character-driven piece that explores family, memory, ageing and the often complicated relationships that shape our lives. These are themes that resonate universally and offer fertile ground for both humour and poignancy. The script balances light and shade reasonably well, allowing moments of comedy to sit alongside more reflective passages without becoming overly sentimental. Lipman is, unsurprisingly, the production’s greatest asset. She brings warmth, intelligence and a lifetime of experience to the role, creating a character who feels lived-in rather than performed. Her timing as mentioned remains impeccable, and she has that enviable ability to draw laughter from the smallest gesture or inflection. Yet beyond the humour, there is also vulnerability in her performance, a sense of someone navigating the complexities of later life while trying to make sense of the past.

Allegra is full of life, joy, and age has an irresistible urge to sing. She bursts into song at home, in the street, and even in local shops and cafes. The supporting cast including Emmerdale’s John Middleton playing Allegra’s much straighter-laced and concerned brother, Ronen, and Elizabeth Bower who plays Czech carer Anna, and who both do their best to keep life steady and calm. The real challenge however is in supporting Allegra’s many creative nuances, whilst not dimming her bright, and bold light. Bailey Patrick also supports the cast and plays a rather stressed and indeed likeable policeman, Officer Rogers. All actors contribute strongly, ensuring that the production never becomes a one-woman showcase. Relationships do feel believable, dialogue flows naturally and there is an ease to the performances that allows the audience to settle comfortably into the story. The production values are solid throughout, with thoughtful staging and design that serve the narrative without distracting from it.

What struck me most was how warmly the audience responded. There were plenty of laughs, frequent moments of recognition and that collective murmur of appreciation that emerges when people see aspects of their own lives reflected on stage. Theatre can often be measured by the atmosphere it creates in the room, and Allegra succeeded in generating a sense of connection among those watching.

For me, however, while the play was undoubtedly enjoyable, it stopped just short of becoming something truly memorable. It ticked all the boxes one might expect from a well-crafted evening at the theatre: strong performances, relatable themes, humour, professionalism and an engaging central figure. Yet, I found myself waiting for that moment of emotional lift-off, that unexpected surge of feeling that catches you by surprise and stays with you long after the final bow. The ingredients were certainly there. The themes invited deeper reflection, and there were moments when the play seemed poised to deliver a particularly powerful emotional punch. Yet somehow it remained just on the surface for me. I admired it more than I loved it. I enjoyed the journey while I was on it, but I didn’t leave the theatre carrying the characters or their stories home with me in quite the way that the very best productions can inspire.

That is not to say the play lacks heart. On the contrary, there is plenty of warmth running through it, and much of its appeal lies in its gentle humanity. Perhaps its strength is also its limitation: it aims to entertain, engage and comfort rather than challenge or unsettle. There is absolutely a place for that, and judging by the enthusiastic response around me, many audience members found exactly what they were looking for. In an era when theatre can sometimes feel determined either to provoke or overwhelm, there was something refreshing about a production content to tell its story clearly and allow audiences to enjoy the company of its characters. Not every play needs to reinvent the wheel. Sometimes a well-told story, performed by talented actors in a beautiful theatre, is enough.

And perhaps that brings me back to Richmond Theatre itself. There is a charm to watching a production like Allegra in such surroundings. The theatre’s warmth, character and intimacy complemented the play beautifully, enhancing the sense of spending an evening in good company. As audiences spilled out into the Richmond night, there was a noticeable buzz of satisfaction and conversation, a sure sign that the production had connected with many people. For me, Allegra was an enjoyable and accomplished evening rather than a revelatory one. It offered laughter, warmth and some thoughtful reflections on family and ageing, all anchored by the considerable talents of Lipman. While it didn’t quite deliver the special emotional spark that transforms appreciation into affection, it remained a thoroughly pleasant and worthwhile night. 

Allegra continues at The Richmond Theatre until June 13, Windsor Theatre Royal, June 15-20, Glasgow Theatre Royal, June 22-27, Bath Theatre Royal, June 29-July 4, and Harold Pinter Theatre London, July 8-August 8. For more details see https://www.allegraplay.com/

Reviewer - Mary Fogg 

On - June 8

Album Review Tony Jupiter Clown Syndrome

On Clown Syndrome, Texas surf-goth outfit Tony Jupiter trades irony for vulnerability, delivering a collection of songs that feel simultaneously sun-bleached and emotionally bruised. The album’s title suggests humour: a jovial façade masking deep underlying depression. Beneath the makeup, however, lies a record preoccupied with heartbreak and longing.

Spanning songs written between 2018 and 2026, the record blends dark, nostalgic post-punk with infectious Latino rhythms and surf-rock guitars. Inspired by 1980s and 1990s influences, the songs touch on relatable themes of late-night rebellion, heartbreak and community, all while maintaining a theatrical edge. 

Opening track ‘Sexual Guidance’ sets the tone immediately. Driven by jangling guitars and a restless energy, it captures the confusion of emotional dependency with a hook that lodges itself in your head long after the song ends. The band’s surf-rock instincts remain intact, but the darker lyrical themes give the track a sense of urgency that elevates it beyond simple indie-rock nostalgia. ‘Baby I Move’ has a breezy energy and a more upbeat feel. 

Elsewhere, ‘Forget Me’ is one of the album’s strongest moments. Its plea for remembrance is delivered with an appealing mix of vulnerability and restraint, avoiding melodrama while still cutting deep. The song showcases Jupiter’s knack for writing direct, emotionally resonant lyrics without sacrificing melody, very much in the vein of early Robert Smith and The Cure.

‘It’s Over’ strips things back further, condensing the pain of a collapsing relationship into just over two minutes. The track’s brevity works in its favour, arriving, devastating and disappearing before it has the chance to overstay its welcome.

What makes Clown Syndrome compelling is its consistency of mood. Across ten tracks, Tony Jupiter creates a hazy world where surf-pop melodies collide with goth melancholy and indie-rock confessionals. The band’s melodic instincts are strong enough to carry the listener through even the darkest passages. 

If there is a criticism, it is that the album rarely breaks from its emotional comfort zone. Listeners hoping for dramatic stylistic shifts may find its focus limiting. Yet that same commitment to atmosphere is also its greatest strength. Clown Syndrome feels less like a collection of songs and more like a late-night conversation with someone still trying to make sense of a broken heart.

Fans of dream-pop, surf-goth and indie rock will find much to like in Clown Syndrome. Tony Jupiter occupies a similar space to Martha and the Muffins: intelligent, quirky pop music that balances emotional sincerity with a slightly surreal, art-school sensibility. 

Clown Syndrome was released on 5 th June 2026 and is available on major streaming services and on Bandcamp, link below. 

https://tonyjupiter.bandcamp.com/album/clown-syndrome

Reviewer: Adrian Cork 

On: 29/05/2026