Album Review You May Offend The Proclaimers

Nearly forty years after This Is the Story introduced Craig and Charlie Reid to the world, The Proclaimers could quite reasonably spend the rest of their career trading on one of the most recognisable back catalogues in British music. Instead, their thirteenth studio album finds the brothers doing precisely what they have always done best: looking at the world around them, deciding what annoys, puzzles or moves them, and writing songs about it.

You May Offend is their first album since 2022’s Denture’s Out and was recorded at the legendary Rockfield Studios with producer Dave Eringa. The Reids are joined by their regular band of Steven Christie on keyboards, Garry John Kane on bass, Zac Ware on guitar and Clive Jenner on drums, while Manic Street Preachers’ James Dean Bradfield makes guest appearances on three tracks.

If anyone expected the brothers to mellow with age, the opening few minutes quickly dispel the notion. ‘Knock It Down’ comes charging out of the speakers with an almost punk like urgency. Beneath the infectious chorus is something considerably less comfortable, Craig Reid addressing what he sees as the impotence and hypocrisy of Western governments. It establishes one of the album’s recurring themes: anger at the gap between what society says about itself and what it actually does.

That idea continues into the excellent ‘But It Is’. Beginning relatively gently before opening into a big, euphoric chorus, it contrasts an uplifting melody with lyrics concerned with injustice and the uncomfortable realities people would sometimes rather deny. It is a particularly good example of something The Proclaimers have always understood: a serious song doesn’t necessarily require solemn music.

‘Easy Rhyme’ maintains the momentum, a muscular slice of guitar driven rock which also demonstrates that the familiar Proclaimers mixture of folk, country, soul and rock ’n’ roll remains intact. There is little attempt here to sound contemporary for contemporary’s sake. The Reids long ago established their own musical identity and appear perfectly content to inhabit it. 

The title track changes the atmosphere. ‘You May Offend’ is a deceptively melodic meditation on free speech and the consequences of expressing an opinion in an increasingly polarised world. Even the title is deliberately ambiguous: is it a warning that you may cause offence or an invitation giving  you permission to do precisely that? It is typical of the album that the Reids pose the question rather than wrap it up neatly for the listener.

The pace picks up again with the short, sharp ‘Till The Ink Dries’ before one of the record’s most striking songs, ‘The Grooming’. Here the subject is not sexual grooming but the grooming of young men through nationalism, militarism and romanticised ideas of patriotism. Beginning with the image of a young teenager on Remembrance Sunday, the song follows that idea towards its bleak conclusion. Musically restrained in comparison with some of what surrounds it, its impact comes from the story being told.

There is some welcome release in the second half. ‘A Little Bit Late’ barrels along with rock ’n’ roll energy, while ‘Anything’ is barely more than two minutes long and all the better for it. Throughout You May Offend, there is remarkably little excess. Most of these songs arrive, make their point and leave. ‘The Talent Show’ offers another change of pace, its gentler, nostalgic feel providing breathing space before ‘There’s No Plan’ returns to the frustrations of contemporary life. Its stomping rhythm carries a characteristically sceptical view of those in authority and the suspicion that, behind the confident pronouncements, nobody really knows what they are doing.

As the album approaches its conclusion, the mood becomes more reflective. ‘In A Year Or Two’ considers the passing of time and its ability to alter perspective, before ‘When You Get There’ brings proceedings to a beautifully melodic close. Mortality and the prospect of an afterlife might appear unlikely material for an uplifting finale, but in the hands of Craig and Charlie Reid there is humour as well as scepticism. It is a fitting ending to an album concerned not only with the state of the world but with ageing, memory and what ultimately awaits us all.

What is perhaps most impressive about You May Offend is its refusal to become a heritage exercise. The temptation must be enormous. The Proclaimers have ‘Letter From America’, ‘Sunshine on Leith’ and, of course, ‘I’m Gonna Be (500 Miles)’ waiting whenever required. They don’t need another song, let alone another album. Yet Craig and Charlie Reid clearly don’t see it that way.

There are familiar ingredients throughout You May Offend: those unmistakable voices, instantly memorable choruses, acoustic guitars rubbing shoulders with muscular rock ’n’ roll and lyrics delivered without disguising their Scottish identity. But nostalgia isn’t driving the record. These are songs concerned with what the Reids see around them now.

Producer Dave Eringa gives proceedings considerable punch without polishing away the rough edges, while the band sounds like exactly that, a band, rather than two singers surrounded by session musicians. James Dean Bradfield’s contributions also fit naturally into a record whose louder moments occasionally share something of the Manic Street Preachers’ combination of melody and righteous indignation.

Not every listener will necessarily agree with every argument the brothers make. Given the album’s title, one suspects they would be disappointed if they did. The point is that, approaching four decades since their debut, The Proclaimers still believe popular music is somewhere you can actually say something.

You May Offend is angry in places, funny in others and unexpectedly tender when it needs to be. Most importantly, it sounds like an album made because Craig and Charlie Reid still have something they want to say, rather than because another record was contractually required.

Forty years in, The Proclaimers remain unmistakably themselves. And they still have plenty to say.

You May Offend is available in all good record stores and on all major streaming platforms.

Reviewer: Adrian Cork 

On: 27/09/2026

Theatre Review In Conversation with Ricky Tomlinson with Asa Murphy at Chickenshed London

Ricky Tomlinson who has been performing across the U.K. on his ‘Retirement My Ar*e! Tour’ an evening of conversation about his life and career and hosted by Asa Murphy, played its only London gig at Chickenshed Theatre, and there are some evenings when you leave the theatre having watched a performance, and there are evenings when you leave feeling that you have been allowed, for a couple of hours, into someone’s life. In Conversation with Ricky Tomlinson was very much the latter.

There was something rather lovely and serendipitous about the timing. The date of this show was September 25th, and happened to be the evening before Ricky’s 87th birthday, although you would be forgiven for forgetting that once he was on stage. There was a twinkle, an energy and a wonderfully cheeky warmth about him that made those particular numbers feel rather irrelevant.

Introduced and beautifully facilitated by Asa Murphy, who, as well as a children’s author and writer of stage musicals, is the UKs No1 Swing Artiste, really gave Tomlinson full licence to share his innermost thoughts. The evening unfolded as a genuine conversation rather than a formal interview. Murphy created the space for Tomlinson to wander through his memories, career and life, knowing when to prompt and when simply to let him tell the story. There was an easy rapport between them, we went on to learn they have been friends for 20 years, and it made the whole evening feel wonderfully relaxed.

And what a life there is to wander through…

Before the television roles that made him a household name, Brookside, The Royle Family and, of course, the unforgettable Jim Royle, there was a very different Ricky Tomlinson. His story includes his years as a plasterer, his involvement in the building workers’ strike, and the extraordinary period that followed when he was imprisoned. His time in prison is not some convenient footnote in the story of his success. It was a deeply significant chapter in his life, one that changed the direction his life would take, I felt myself getting emotional when he spoke about his cockroach encounter in prison and that still effects him to this day. 

Yet somehow, sitting listening to him recount these experiences from the comfort of the on-stage sofa, there was no sense of being lectured or handed a neatly packaged story of adversity followed by triumph.

Instead, there was simply Ricky.

Funny. Frank. Occasionally mischievous. Willing to laugh at himself and, just as importantly, willing to let the more difficult parts of the story sit alongside the humour.

His route into acting was hardly conventional. Life with all its ups and downs happened first, rather than a carefully constructed plan, and perhaps that is one of the things that makes his story so engaging.

We like to think we know where we’re going.

Then life moves the furniture.

Ricky found another door.

And thankfully for audiences everywhere, he walked through it.

There were, naturally, stories from his remarkable television career, and hearing about the people and experiences behind those familiar characters was a particular pleasure. But the evening never felt like a simple trip down Memory Lane. It was much more about the human being behind the familiar face. That is perhaps Ricky’s great gift as a storyteller. He doesn’t put himself on a pedestal. He brings himself into the room. That felt especially fitting at Chickenshed, a theatre whose very ethos is rooted in connection, community and the belief that everybody has a story worth hearing. There was something rather lovely about this particular story being shared there. 

The audience laughed a lot. But there were quieter moments too. Moments where the humour gave way to reflection, and where you were reminded that a long life and a long career are made up of considerably more than the highlights reel. Asa Murphy deserves real credit for allowing all of that to breathe. His conversation with Ricky was warm, generous and unhurried, giving us not just the actor but the man behind the roles.

And then there was the small detail that made the evening feel even more special about the next day Tomlinson’s 87th birthday, something rather wonderful about spending the evening before it with him, surrounded by an audience who had come to hear his stories and share a few laughs.

From plasterer to actor. From prison to some of Britain’s best-loved television characters. From working men’s clubs to living rooms across the country. During the interval it was then time for the audience to participate and ask Tomlinson a question that just might get answered by the man himself after the break - many people quickly made their way to the table with paper and pens and got writing. Of course, how could I resist as I eagerly went to write down my own question 

We all came back for the second half and it was so interesting hearing people questions.. 

“What are you doing for your birthday Ricky”

I’m not sure I can repeat his wildly humorous answer here 

 “Who was your favourite character on The Royle Family?” 

He didn’t need a second to think about that one, Nana. We were then treated to a wonderful story about their on set relationship and how food was involved! My question was asked - I couldn’t help but but get a little nervous. This was an event that involved a lot of humour - I’m not sure my question was that funny. But still it’s a passion of mine and I wanted to hear Tomlinson’s take. It was centred on mental health, my mention of being a Samaritan and I wondered what Tomlinson, who had led a full, rich, layered life (and I’m sure much more to come) with his own ups and downs, would say to anyone in the audience who might secretly be struggling with their mental health. 

This is where I wanted to stand up and high five Tomlinson with his response. I was moved Murphy thought a question appropriate to ask and it was very clear Tomlinson and Murphy are both incredibly supportive of mental health support and talking about how we feel, especially men. A very moving moment indeed.   

What then followed was a wonderful and special audience sing-along with Tomlinson and Murphy. A perfect end to a superb evening. Tomlinson’s life certainly didn’t follow a straight line. Perhaps that’s the nicest thing to take away. We don’t always get to choose every twist in the road. Sometimes the road chooses us. What matters, perhaps, is what we do with the next bit of it.

Ricky Tomlinson has certainly done plenty with his. And now at 87, as I write this, he is still sitting in front of an audience, telling stories, making people laugh and sharing a little of his journey on his own road with us. What a lovely way to spend the night before a birthday.Happy 87th, Ricky.

Thank you to Ricky and to Asa for a genuinely lovely evening. A special mention for Des (Dessie) Warren, now no longer with us, and of course the banjo. Des, a person who was very close to Tomlinson’s heart and the banjo, an instrument that is a great love of his life and how playing it brings people together. Something being an audience member that night did, hearing stories from Tomlinson’s life indeed brought us all together.

More dates can be found on https://www.ticketsource.com

Review - 25th September 

Reviewer - Mary Fogg 

Theatre Review Death of a Salesman Everyman Liverpool

More than 75 years after it was first performed, Arthur Miller’s Death of a Salesman remains one of the great examinations of ambition, family and the destructive power of believing that success is always just around the corner. In this ambitious new production at Liverpool’s Everyman, director Tristan Fynn-Aiduenu finds another layer within Miller’s familiar story by placing the immigrant experience at its heart.

What Fynn-Aiduenu has done is find his own personal inspiration to inform the characters in the play. This gives him a thread to pick up, in reading the family as first and second generation immigrants, and he capitalises on the fact that both Brooklyn, where the play is set, and Liverpool, where it is being performed, have a long history of both African and Irish communities.

Willy Loman has spent his life chasing the American Dream. He has worked, travelled and convinced himself that being well liked is the route to prosperity. More importantly, he has passed that belief on to his sons, Biff and Happy. Now ageing, exhausted and increasingly unable to separate memory from reality, Willy is being forced to confront the possibility that the future he spent his life pursuing may never have existed in the first place.

Here Willy, played by Cyril Nri, is viewed through the experience of migration, while the family around him reflects the African and Irish communities that have helped shape both Brooklyn and Liverpool. It gives another dimension to the American Dream. For an immigrant, success can represent more than personal achievement: it can become proof that the sacrifices involved in leaving one country and building a life in another were worthwhile.

Nri carries that burden at the centre of the production. Willy is simultaneously salesman, husband, father and unreliable narrator of his own life, moving between the present and memories that become increasingly difficult to distinguish from it. His tragedy lies partly in the fact that he has spent so long selling an idea of himself that he can no longer admit the truth.

Laurence Ubong Williams as Biff and Kiren Kebaili-Dwyer as Happy represent two different consequences of their father’s influence. Happy continues to embrace much of Willy’s obsession with status and appearances, while Biff has begun to recognise the gulf between the family mythology and reality. Their relationship gives the production some of its most compelling moments because beneath the anger remains the uncomfortable fact that these men love one another.

His Irish-American wife Linda, played by Emma Cater, captures the mixture of exasperation and affection that she has for him with warm but weary realism, although her character is not explored in as much depth as in some other productions.

Meanwhile Tayo Aluko is splendidly shadowlike as the ghostly figure of Willy’s late brother Ben, while Joe Speare provides a strong sounding board for Willy as the friendly neighbour Charley.

Willy’s memories do not behave like conventional flashbacks; people and events from his past invade the present as his mind begins to fracture. Adelaide Banks’ mysterious presence as The Woman, Willy’s extramarital affair, accompanied by flute and African musical influences, adds another dimension to this shifting landscape of memory. Miller’s jumping between timelines and locations isn’t flagged clearly enough, so it’s hard to know who to trust. The uncertainty seems to reflect Willy’s mental state but makes it hard to stay focussed on the production.

The cultural reimagining works because it illuminates ideas that were already present in Miller’s play. Death of a Salesman has always asked what happens when a society convinces people that material success is evidence of personal worth. By adding migration and generational expectation to that equation, Fynn-Aiduenu makes Willy’s pursuit of success feel even more loaded.

There is a particularly effective connection with Liverpool too. This is a city built in no small part by generations of people arriving from elsewhere, establishing communities and attempting to create something better for their children. The American setting remains, but the questions surrounding identity, belonging and aspiration travel easily across the Atlantic.

At around three hours and fifteen minutes including an interval, this remains a substantial evening in the theatre. Fynn-Aiduenu does not attempt to turn the play into something artificially brisk, rather the production asks its audience to spend time inside Willy Loman’s increasingly unstable world. But this is necessary because Willy’s downfall isn’t caused by one disastrous decision. It is the accumulation of decades spent measuring himself against an idea of success he can never quite reach.

Georgia Wilmot’s set is clearly faithful to Miller’s original in its multiple levels, partially absent walls, and towering apartment blocks to the rear. The 1940s period look is oddly weakened by the appearance of a handful of anachronistic props, particularly a laptop.

The idea that if we work hard enough our children should have more than we did is a universal dream, not exclusive to America. So too is the risk of confusing wealth, popularity and professional achievement with happiness. More than seven decades after Willy Loman first packed his sample cases and went out on the road, his desperate need to believe that tomorrow will somehow be better remains painfully recognisable.

Death of a Salesman plays at Liverpool Everyman until 10th October and tickets are available here,

https://everymanplayhouse.com/event/death-of-a-salesman/

Reviewer: Adrian Cork Date: 25/09/2026

Theatre Review Achy Breaky Bride St Helens Theatre Royal

This bright and pacy new musical by Emma Culshaw & David Paul, is firmly rooted in Merseyside but centres on the unlikely coupling of bridal wear and American Country & Western music. The entire action takes place in an up-market bride dress shop as a cast of eight take us through a musical journey celebrating the greats of the genre (including Dolly Parton, Johnny Cash, Elvis Presley and Tammy Wynette and Shania Twain). Aside from the singing and dancing, there is a rich mix of relationships and personal hang-ups amongst the main characters, with doubling-up enabling us to be introduced to a curious mix of eccentric and unusual customers. 

The atmosphere in the shop is often reminiscent of Edwina and Saffron visiting Harvey Nicks in ‘Absolutely Fabulous’, where physical appearance and style battle to take precedence over personal insecurities and disfunctions. To complicate things further, there is a strong LGBT presence, in the form of Shania (played by Shania Pain) and Sue (played by David Heath). The complicated mix of emotions and connections is held together at a constant frenetic pace, as spontaneous country and music songs are weaved into the plot (although it is perhaps a little unsubtle to have the central character played by Leanne Campbell named ‘Jolene’!).

With an impressive set which remains constant throughout, no time is needed for changes of scenery but even so, blackouts between scenes literally last no more than 5 seconds, during which time characters leave the stage or are repositioned as music of the current song fades, giving an almost cinematic quality to the passage of time. The pace never slacks and at times it is hard to keep up with who is interested in who but the central issue is that Jolene had been jilted at her wedding some years before and the man in question, Hank, played by Conor Barrie, is now back on the scene but engaged to another woman. Hank is American and perhaps not surprisingly, has a taste for Country & Western clothing (possibly because he comes from Nashville?).     

This show is first and foremost a comedy but be warned, it is for the broad-minded, both in the language, nature of humour and comic representations of nudity. There is nothing irreverent or shocking and there are no nasty digs or satires but it is not for nothing that the show has an 18+ warning (and somehow, this reviewer got away with taking his 95 yr-old mother!).

There are too many different characters in this show to give individual attention to each one  but two that seemed to stand out are Faye, the shop manager, played by Jenna Sian O’Hara, who gives an air of constancy amidst all the shenanigans going on around her ( whilst having her own inner issues to contend with) and  Mikey played by Shania Pain. Interestingly, Shania’s female persona is in-yer-face, over-emotional and quite scary but as a white suited male, there is a tenderness and humanity in the character of Mikey which is much more relatable. It is also worth noting that these two characters sing what is the only true duet in the show, with a cracking rendition of ‘Stand by your man’.

The audience at press night was very enthusiastic and if you want a fun show full of classic singalong songs with ribald humour from a plethora of outrageous characters, you are likely to feel the same way and you don’t really have to be a fan of Country & Western music to enjoy the show; the action after all takes place in Merseyside!

Achy Breaky Bride is on at the Theatre Royal St Helens until Sunday 27^th September - https://www.sthelenstheatreroyal.com/

 
Reviewer: John Waterhouse

 On: 24^th September 2026 

       

  

Concert Review Saint Etienne The Roundhouse London

Saint Etienne are a band that never quite broke the mainstream, instead quietly carved out a career since 1990 with far more albums than perhaps even they can remember. At times they were almost too prolific with extra songs filling fan only CDs and deluxe editions that even their music boffin Bob Stanley might struggle to recall. 'Tonight', their opening song from 2012, is a shimmering example of their knack at a catchy radio staple, as they capture the joyful rush of the night before the hangover. It’s a perfect example of their many pop hits that were chart misses. 

They have announced their split following a solid return to form with last years International album, which followed two experimental sound montage LPs that despite critical acclaim tested one’s patience for the melodic possibilities of dripping taps, creaking radiators and slowed down samples of better songs; the covers were nice though. 

Tonight they focus on what makes them great, wistful springtime pop about unrequited love kicked about by 60's girl bands, Italo disco, rave comedown rooms and suburban dreams of when bedroom wall posters mattered, top 40 chart positions measured our own success and Our Price was our mecca. 

What makes these songs more poignant is their audience, having once listened to via cassettes on collapsed bedsit sofas and in 1-litre hatchbacks, are now in their 50s. All those future lives and loves no longer a mystery. Hearing Sarah Cracknell croon 'Spring' and its strident ‘With The Love I've Got You'll Forget About Her/ And Find It Easy To Live Without Her,’ it’s hard not to wonder where all those hopes went. Did he forget about her, or did he have to recover from a second heartbreak. The tracksuits might be more expensive, with Audi car keys and Waitrose loyalty cards, but the stories filling the Roundhouse tonight didn’t exist in the 90s and all likely to be far from what anyone expected; much like Saint Etienne’s longevity. 

Sant Etienne were one of those early 90s bands that only featured guest singers, and tonight its long-stand backing vocalist Debs who Sarah Cracknell is now depending upon. Cracknell’s voice isn’t what it once was and she was never Mariah Carey in the first place. They always walked the tightrope of slight, and straddled the genres of rare groove and comedown funk with house and pop that probably confused as many people as it coalesced. 

Few bands found such lasting success via so many lower top 30 hits. There were a few break throughs like 'He’s On The Phone' and 'Who Do You Think You Are?', both glistening perfect pop meteorites of hi-nrg and vocals purring like a cat sanctuary’s feeding time that broke into the mainstream like postcards from an alternate future. These biggest hits all hit the Roundhouse joyously, but otherwise they might have played an alternate 20 songs without any complaints. The pulsating 'Heart Failed (In The Back of a Taxi)' from 2000 and last year’s 'Take Me To The Pilot' kept spirits high, as did the stomping curveball of a Gary Numan cover 'Stormtrooper In Drag'.

Despite the victory lap, it is hard not to conclude that it might be time to drop the final curtain. Bob Stanley was grinning throughout as he pressed buttons alongside schoolfriend Pete Wiggs, but there was barely any celebratory recognition you might expect; it felt more mid-tour than end of the last tour. 

They might’ve closed with the sumptuous 'Goodnight' from 2017’s Tales from Turnpike House, but instead signed off with a tearjerking 'The Last Time', and left the stage until next time. As is customary, they have announced a few festival shows for next year and maybe another final show might be too tempting to refuse, but they are no longer the well-oiled machine of yore. The drummer might give a live feel, but the lack of a lead guitar was missed. Sarah can still shimmy like she always did, but her vocals were too frequently a stroke rather than punch. Wiggs once describe his band as an iron fist in a velvet glove, but tonight it felt more velvet glove than perhaps these songs deserved. Still, we were lucky to have them and it was good while it lasted, which somewhat diminishes their tenuous 36 years of kooky samples, pop songs about pop songs and an encyclopaedic knowledge of London’s side streets (a song which sadly didn’t appear tonight). 

Reviewer:  Tom Hocknell

On: 18th September 2026

Concert Review The Sandkings (supported by the 48K’s Yellow Arch Studios, Sheffield

 

Oasis isn’t the only 90’s band that reformed last year and is about to embark on Leg 2 of the comeback trial. After a series of triumphant 2025 comeback gigs in their native Midlands, the Sandkings travel north to the Steel City for the first gig of the year. The comeback isn’t the only thing they share with the moody Mancunians, with drummer Terry Kirkbride briefly banging the Oasis drums, most notably on the ill-fated Death in Vegas sessions.

The Sandkings - named after a 1981 collection of sci-fi short stories by George R. R. Martin - scored three Top 10 hits in the UK indie single chart alongside the critically acclaimed album ‘Welcome to England’ between 1988 and 1992. They were the opening act for Happy Mondays and The Stone Roses in the early 1990s and even touted as the first ever Britpop band. They were fronted by Jass Mann, who later went on to top the charts singing the Number One smash hit ‘Space Man’ with Babylon Zoo.

This time around the frontman’s job belongs to Sheffield stalwart Vincent Cocker and on this occasion, he would be treading the same Yellow Arch stage once graced by local boys, The Arctic Monkeys. Sheffielder Vincent is a familiar face, having played the local circuit, including the gone but not forgotten indie musical Mecca, the Leadmill, with former band Paperslave. The 2026 line-up is completed with original members Glenn Dodd and David Brown.

The Sandkings have recently signed to Revolver Records and, having released a series of anthologies, are working on new material to be released in the new year. With the first album released in 1992, that would represent a 34-year gap between albums.

The support act was the excellent, Doncaster-based 48K’s who have a decent local pedigree and are also veterans of the Leadmill. Their brand of mod and indie rock, fuelled by guitar-driven riffs, was the perfect preamble to the evening. 

The Sandkings opened their account with ‘All is Well in the World’, followed by ‘Phoney Mahoney’. It was a great start, with tracks from the album featuring strongly. The synergy and quality of the band were clear to see, with the three long-term members complemented by the relatively new singer who looked the perfect fit for the rejuvenated outfit. He put in the high-octane and accomplished vocal performance you would expect from a seasoned performer who shares the same surname as a couple of other singers from the city. His warmth and comedic comments between songs added to the experience.

‘Need to Know’ was the pre-encore closing song and my highlight of the night, with the trademark melodic hooks and introspective lyrics laced with a slice of psychedelia; served up with the help of super cool keyboard player Nil Patel. Brilliant! The curtain was brought down with ‘Earthwheel,’ and we were joined again by Nil for the final crowd pleaser, ‘Tomorrow Never Knows.’

Although I’m familiar with the Sandkings music, it was my first live experience, and I was blown away by how good they are. I will be checking out the new album next year and would watch them again. I will also check out what the 48K’s are up to. A superb evening.

The Sandkings upcoming Tour Dates

Saturday 24th October 2026 - The Castle and Falcon, Birmingham

Friday 13th November 2026 - Butlins (Minehead) - Shiiine - On

Thursday 26th November 2026 - London Dingwalls

Friday 19th March 2027 - Butlins (Minehead) - Shiiine On

Reviewer: Matthew Burgin

On 18th September 2026

Theatre Review ‘Fences’, Courtyard Theatre, Leeds Playhouse

August Wilson’s ‘Fences’ returns to the UK for the first time in over 10 years in a new production directed by Daniel Bailey. Set in the 1950s, this Pulitzer Prize-winning play explores masculinity, motherhood, music and abiding hope for a different future centred around Troy Maxson and his family.

Bailey’s production opens strongly and with foreboding as the solitary figure of Troy’s brother, Gabriel, (Simon-Anthony Rhoden) appears on a darkened stage struggling awkwardly with his trumpet strung around his shoulder and sings a song about Judgment Day. The audience is hooked and the tension builds as the Maxson family’s story unravels before us.

The action takes place mainly in front of the Maxons’ home (set designed by Lily Arnold) with its unfinished fence. Ray Fearon is compelling as Troy, he has physical and emotional presence on stage, and his portrayal is edgy and unnerving both when he is in dialogue with other characters and alone on stage. There is a standout scene where he addresses Death defiantly: “All right... Mr. Death. See now... "I'm going to tell you what I'm gonna do. I'm gonna take and build me a fence around this yard... I'm gonna build it for you. You stay on the outside of my yard".

The symbol of a fence as a boundary is reinforced in scenes where Arnold’s set revolves to reveal the interior of the Maxons’ home and Jai Morjaria’s lighting design uses neon wireframing to draw a rectangular outline around the space in which different characters perform at various times, including around Troy’s son, Lyons (Michael Ahomka-Lindsay), as he plays the saxophone. Lyons is an aspiring jazz musician who has an uneasy relationship with his father who is not interested in engaging with his son’s ambition.

The characters and their connections with each other are believable. The relationship between Troy and Jim Bono (Everal A Walsh) feels real. We care about Rose (Madeline Appiah) when Troy tells her of his infidelity, and for Cory (Josh Tedeku) when Troy insists that he addresses him as ‘Sir’ and thwarts his dreams.

The quality of the acting, set and lighting designs along with Khalil Madovi’s music and sound design serve the plot and characterisation well. This three-hour show engaged throughout.

‘Fences’ can be seen at Leeds Playhouse from 11–26 September 2026, it is a Leeds Playhouse, Headlong, Lyric Hammersmith Theatre and HOME Manchester co-production and is touring through autumn 2026. 

Tour details can be found at https://www.headlong.co.uk/productions/fences

Reviewer: Sue Hayward

On: 17 September 2026

Theatre Review Macbeth Shakespeare North Playhouse Prescot

This candlelit production of Macbeth was performed within the cockpit theatre at Shakespeare North Playhouse, directed by Ben Crystal and produced by Siobhan Noble it created a very special experience for its audience. Macbeth is a dark brooding, haunting, thrilling play, about a brave Scottish general and his lady, who turns into a brutal tyrant to those around him or who get in his way.

It contains daggers, the prophecy of the three sisters, murder plots, assassins, spirits, a ghostly banquet, paranoia and hallucinations, a Scottish King and Queen, and ghastly murders.

The performance begins with a dim spookily lit stage casting shadows and three witches (called weird sisters throughout) all dressed in black, chanting and lighting candles in the candelabras to an eerie sound played by a solo cellist. Within the first scene those famous words, “Fair is foul, and foul is fair” which sets the theme of confusion between good and evil that runs throughout and “Double, double toil and trouble, fire burn, and cauldron bubble” are spoken as the witches brew their mix of toxic potion designed to drug and hallucinate it’s intended. 

Throughout the performance the solo cellist must be given credit (Semay Wu musician) as she constantly moved slowly around the auditorium whilst gently plucking and occasionally humming in parts to create a hauntingly mysterious and clever simplistic and most effective atmosphere to compliment the overall dramatic effect the characters portrayed throughout the story.

Each character commanded the stage, with some actors playing multiple roles, and used Shakespeare’s spoken word in monologue style to brilliant effect; the acting was superb and authentic. All the characters were dressed in black throughout except in one scene towards the end where Lady Macbeth appears in white to signify purity, before she asks the dark spirits to strip away her feminine qualities so that she can commit murder. Credit must be given to Mark Bailey Costume Designer and the costume makers for creating a realistic coherent collection of costumes.

Each actor held a lit candle in a holder up to their faces as they spoke to illuminate their face and created impact and intensity, and when not speaking they turned them away from their faces to create darkness and shadows and intrigue. Above the stage Macbeth – Shakespeare North Playhouse over 50 candles adorned the candelabras which were lowered up and down for different scenes during the play creating the perfect ambiance.

The overall performance was a total spellbindingly enthralling experience, and I have not experienced anything like it before. The audience clapped for what seemed an absolute age in appreciation.

Creative Team

 Director, Curator & Co-Facilitator: Ben Crystal

 Associate Director & Co-Facilitator: Andrew Codispoti

 Company Stage Manager : Rae Woods

 Designer and Costumes: Mark Bailey

 Musician: Semay Wu (live improvised music)

Ensemble Cast (10 Storytellers)

 Devon Anderson -Banquo, Duncan’s general

 Kate Benfield – Lennox, Lady Macbeth’s servant

 Cranks – King Duncan

 Ben Crystal -Macbeth, Duncan’s General

 Jen Hardy – Lady Macduff

 Megs Kumari – Lady Macbeth

 Macsen McKay – Rosse, the Kings Royal Advisor

 Callum Sim – Malcolm, Duncan’s son

 Janelle Thompson -Macduff, Duncan’s General

The autumn 2026 candlelit production of Macbeth at Shakespeare North Playhouse

runs from September 11th to October 3rd, 2026, directed by Ben Crystal

https://shakespearenorthplayhouse.co.uk/whats-on

Reviewer: Jill Ollerton 

On: 16/09/26

Theatre Review Love’s Labour’s Lost A New Pop Musical at The Bridewell London

A sun-drenched, bittersweet pop rock musical adaptation of Shakespeare’s early comedy, Love’s Labour’s Lost, has arrived at The Bridewell courtesy of Sedos — and it is an absolute burst of modern theatrical joy. With a book adapted by Alex Timbers and music and lyrics by Michael Friedman, this production reimagines the Bard’s tale with a contemporary twist, setting the action at a lively university college reunion and as the audience enter we are taken back into our own uni days with the whole ensemble partying. Directed by Owen Thomas James, the show blends Shakespearean wit with pop exuberance, creating a fresh, accessible gateway into one of his lesser performed works.

At its heart, Love’s Labour’s Lost is a story of four regal young men who swear an oath to abandon worldly pleasures — especially the company of women — in favour of study and contemplation. Naturally, their resolve is tested the moment the Princess of France and her three ladies in waiting arrive, sparking a cascade of flirtation, temptation, and comedic mischief. This modern adaptation leans into the absurdity of that premise, heightening the humour and making the narrative instantly relatable for a 21stcentury audience. The university reunion setting works beautifully: it’s playful, familiar, and allows the characters to feel like people we might genuinely know. Although a basic stage setting with only a door and a bar, it is the fast-paced action that sets the scene every time.

Sedos, a company renowned for its ambitious amateur productions, brings infectious energy to the stage. The cast looks as though they truly enjoyed creating this show together, and that camaraderie radiates throughout the performance. The musical numbers are vibrant, the choreography bold, and the staging cleverly designed to keep the pace brisk and the atmosphere upbeat.

The second half is particularly delightful, featuring a standout sequence where the men transform into a gloriously camp version of Take That — a moment that had the audience roaring with laughter. It’s cheeky, self aware, and exactly the kind of irreverent fun that makes this adaptation shine. Despite a few understandable first night nerves, the cast delivered a confident, joyful performance that won over the audience, especially the many Gen Z theatregoers who clearly appreciated the humour and modern styling.

The male performances were notably strong, with several standout portrayals. Alex Stephenson as Berowne anchors the narrative with charm and sincerity, acting as a confidante to the King and a witty observer of the unfolding chaos. Edward Horrocks as Dumaine impresses with a powerful voice and an equally striking costume. Arthur James Page brings a steady presence as the King, while Joby Blair as Longaville steals more than a few glances in his unforgettable Kylieesque gold mini shorts. And Alvaro Blecua as Don Armado provides irresistible eye candy and comedic flair.

The women’s performances, though occasionally overshadowed by the musical underscoring during spoken scenes, were still full of personality and vocal strength. Anna Colless as the Princess leads with poise, supported by Rachel Clements as Rosaline, Emma Miller as Maria, Izzi Richardson as Katherine, and Beth Dickson as Jaquenetta, all of whom deliver strong musical performances that elevate the production.

Musical director Maria Hallows leads a small but mighty band that drives the show with energy and precision, while choreographer Mia Mann injects the production with movement that feels youthful, bold, and perfectly attuned to the pop rock score. And a special mention must go to Adrian Hau, whose ongoing dedication to Sedos continues to champion the power and importance of amateur theatre in London.

This production is smart, sexy, gloriously silly, and full of heart, modern celebration of Shakespeare that feels both respectful and refreshingly irreverent. Sedos has once again proven that amateur theatre can be ambitious, polished, and deeply enjoyable. For lovers of Shakespeare, musicals, or simply a fun night out, Love’s Labour’s Lost at The Bridewell is absolutely worth seeing.

This amateur production is presented by Music Theatre International. All authorised performance materials are also supplied by MTI. www.mtishows.co.uk The show is rated 14+ for strong language and sexually suggestive content.

The show runs 15th-19th September, with matinees on Saturday.

SEDOS on Instagram https://www.instagram.com/sedoslondon?stkn=cmpodWliZnl6cnQw

Reviewer: Penny Curran

On: Tuesday 15th September 2026

Theatre Review Julia’s Song The Epstein Theatre Liverpool

 

John Lennon’s relationship with his mother Julia has become part of Beatles mythology. We know that she encouraged his love of music, taught him to play the banjo, bought him his first guitar and, most poignantly, that her sudden death in 1958 left an emotional wound that would remain with Lennon throughout his life. Yet Julia Lennon herself has too often been reduced to a supporting character in somebody else’s story. Julia’s Song sets out to put that right.

Written and directed by Sylvia Hall, the play begins on a summer’s evening in 1958, the evening Julia was knocked down and killed by an off-duty police officer. Then the first original song takes us back to 1929 and her meeting with John’s future father, Freddie Lennon. From there, the production follows Julia through the changing world of the 1930s and the upheaval of the Second World War. Her complicated personal life, romances and controversies are explored alongside her infectious sense of fun and love of music.

Alison Crawford, in the lead role, is outstanding. Always dressed flamboyantly for the times, colourful dresses, red shoes, red handbag and red lipstick, she is able to convey the emotions Julia must have felt when making the impossible choices she faced. Those choices had consequences, particularly for those around her, and the tensions within her family provide some of the evening’s most affecting moments.

Florence King as Julia’s sister Mimi Smith is just as impressive, playing the strait-laced, buttoned-up, sensible older sister. Julia’s Song explores the contrast between the two women particularly effectively.

We get to see two John Lennons, first as a six-year-old and then  as a teenager. Arian Perry, sporting a Lennon hairstyle, plays the younger version whom his father, played by Luke Seddon, takes to Blackpool under the guise of a holiday, though he secretly plans to emigrate to New Zealand with him.

Music, naturally, runs throughout the production. Five original songs written by Tom McConnell in collaboration with Hall, and one by Peter Davies help move the story across the decades while reflecting Julia’s personality and the importance music played in her relationship with John. Rather than simply using familiar Beatles songs as an easy route to nostalgia, the decision to employ original material helps the production maintain its own identity. I might be wrong, but I’m sure at least a couple of future Beatles lyrics are referenced in the script.

The soundtrack is played live by a band featuring Georgie Weston (Paul McCartney), Ed Haslam (Colin Hanton), Alan Meuller (Pete Shotton) and Jordan Quinn (Rod Davis), who together form The Quarrymen. The first stirrings of the Beatles gradually enter the story, but Hall wisely resists allowing them to overwhelm it. We know what John Lennon is going to become; Julia does not. That knowledge gives the later scenes an added poignancy.

Teenage John, played superbly by Adam James Johnson, gets to join them as they belt out ‘Be-Bop-A-Lula’ and ‘That’ll Be the Day’. John’s family story is essential because his unconventional childhood cannot really be understood without it. Julia’s father, Pop (Christopher Lee-Power), although supportive of his daughter at first, represents the social norms of the time and almost washes his hands of her, while Bobby Dykins (Leslie Longley) provides stability for Julia, something her husband never could.

What emerges is a portrait of a woman considerably more complex than the labels  that have been attached to her. Julia is vivacious, impulsive, rebellious and sometimes infuriating, but also warm, funny and intensely musical. Crucially, the production does not attempt to turn her into a saint.

Inevitably, the shadow of tragedy hangs over proceedings. Julia was only 44 when she was struck and killed by a car in July 1958, just as her relationship with John had become close again and his musical ambitions were beginning to take shape. 

The temptation with any drama connected to the Beatles is to view everyone through the prism of what came afterwards. Julia’s Song works best when it does precisely the opposite. It asks us to forget, temporarily at least, the global icon John Lennon would become and instead see a teenage boy reconnecting with the mother who shared his mischievousness, rebelliousness and love of music.

Warm, funny and ultimately deeply moving, Julia’s Song succeeds in giving Julia Lennon something history has not always afforded her: the opportunity to step out of her famous son’s shadow and take centre stage in her own story. And, more than sixty years after John Lennon became one of Liverpool’s most famous sons, it reminds us that before there was John the Beatle, there was John the boy – and there was Julia.

Julia’s Song ran for three nights only and no other performances have been announced.

Reviewer: Adrian Cork 

On: 11/09/2026

Concert Review Revolver is 60 The Mersey Beatles The Atkinson Southport

The Mersey Beatles celebrate 60 years of Revolver with a hit-packed journey through the Fab Four’s extraordinary career. In a world where literally thousands of Beatles tribute bands exist, you have to do something special to stand out. Being from Liverpool is probably a good place to start.

Mark Bloor (John Lennon), Steven Howard (Paul McCartney) and Brian Ambrose (Ringo Starr) were high school friends in Liverpool, while Craig McGown (George Harrison) is Glaswegian. After forming a band, they quickly realised that it was their Beatles covers that got the biggest reaction and, in 1999, The Mersey Beatles were born. Success wasn’t far behind. They took up a residency at the legendary Cavern Club and, some 600 appearances later, left to tour the world. Tonight, that journey brought them to Southport. The theme of the show was the 60th anniversary of the Beatles’ landmark 1966 album Revolver, but before reaching that particular milestone we were treated to a whistle-stop tour through some of the band’s earliest hits. 

The house lights went down and, projected onto a screen behind the stage, was an excerpt from a short film showing mid-60s Liverpool in all its Technicolor glory. Then, suited, booted and be-wigged, The Mersey Beatles took to the stage and launched into ‘She Loves You’. From those first ‘yeah, yeah, yeahs’, the audience knew it was in safe hands. ‘Please Please Me’, ‘From Me to You’, ‘All My Loving’, ‘Roll Over Beethoven’ and ‘I Want to Hold Your Hand’ followed in quick succession. With their authentic Gretsch and Rickenbacker guitars, matching suits and well-practised mannerisms, the band really did take on the air of the original Fab Four without ever allowing the impersonation to overwhelm the music.

The pace was unrelenting as hit followed hit. ‘This Boy’, ‘A Hard Day’s Night’, ‘Can’t Buy Me Love’, ‘Eight Days a Week’ and ‘Help!’ had the audience on their feet. The banter between the band was witty but never intrusive and, importantly, came across as natural rather than over-rehearsed.

All bar John then left the stage, allowing him to perform the Dylan-esque ‘You’ve Got to Hide Your Love Away’, with the audience enthusiastically supplying the ‘heys’. A brief interlude followed, accompanied by colour footage of Swinging London, before the band returned dressed as the mid-60s Beatles. ‘Drive My Car’, ‘Day Tripper’, ‘In My Life’, ‘If I Needed Someone’ and ‘Ticket to Ride’ were delivered expertly before the psychedelic influence began to emerge with ‘Rain’ and ‘Paperback Writer’. It was back to the early Beatles, though, for the final song of the first half: a suitably raucous ‘Twist and Shout’.

The second half was all about Revolver and the Beatles’ later years. Starting with ‘Tomorrow Never Knows’, we were treated to nine of the album’s 14 tracks, demonstrating just how extraordinary a creative leap Revolver represented. The highlight was undoubtedly Ringo taking centre stage for ‘Yellow Submarine’, which the audience absolutely loved.

With Revolver duly celebrated, we moved into the final part of the set, drawing on The White Album, Abbey Road and Let It Be. George stepped forward for a solo version of ‘While My Guitar Gently Weeps’, while Paul performed ‘Let It Be’ alone at the piano, providing two quieter moments amid an evening otherwise packed with hits.

The main set finished with ‘Get Back’ before the band returned for the inevitable encore of ‘Hey Jude’. By then, any remaining distinction between performers and audience had disappeared as the familiar ‘na-na-na’ refrain filled the venue. 

It had been a thoroughly enjoyable evening during which The Mersey Beatles rattled through an impressive 38 songs. But longevity in the crowded world of Beatles tribute acts takes more than wigs, suits and the right guitars. You don’t last as long as The Mersey Beatles have without talent, musicianship and a genuine affection for the music.

They announced that they’ll be back in Southport next year with a Sgt. Pepper show.

After tonight, that’s one I’ll not miss.

The Mersey Beatles tour continues and details can be found in the link below,

https://www.themerseybeatles.com/tour-dates

Reviewer: Adrian Cork 

On: 21/07/2026

Theatre Review The Sex Party Hope Street Theatre Liverpool

 

I wasn’t quite sure what to expect from this play, but I did expect to have a good laugh, but unfortunately this was not the case. It is billed as a comedy but I was hardly able to raise a smile; there were some titters from the audience but no big belly laugh-out-loud guffaws.

Written by Terry Johnson, one could be forgiven for thinking it looks like a 1970’s TV sitcom about swingers, although that word is not allowed for this sex-themed get-together.

The action takes place in the kitchen in the home of a middle class couple in an affluent part of London where four couples group for an evening of cheese and wine and more intimate experiences. The arrival of one guest in particular causes full scale curiosity and the plot develops.

There are naked male torsos and scantily-clad ladies in various lacey lingerie sets and much discussion of sexual themes, male and female anatomy, drugs and sexual freedom; gender politics and liberation are the order of the day resulting in a bold, sometimes erotic piece of narrative which has adult themes and language.

The set is constant recreating a modern kitchen in affluent London with a door stage left and a door stage right with many comings and goings in true stage farce style.

The cast work well together and portray their characters convincingly although I didn’t really warm to any of them and was not really interested in how they fared after the party.

I would describe this play as a somewhat serious comedy with lots of discussion about sexual liberation which maybe rather out of date by todays standards, and much of the narrative maybe considered offensive in today’s liberal world where same sex couples, transgender men and women are the norm. Some of the narrative and language may also make those viewing feel uncomfortable, bearing in mind the sensitive subject matter.

Cast:

Suzy Bloom

Jamie Ballard

Lisa Gorgin

Jack Loy

James Lavender

Pearl Schomerg

Jackie Green

Jamie Treacher

Zoe Teverson 

The play is suitable for adults 18+ and runs until 11^th September 2026

https://hopestreettheatre.com/whats-on/

Reviewer: Anne Pritchard

On: 3^rd September 2026

Theatre Review Krapp’s Last Tape Cockpit Theatre

Some pieces of theatre entertain you for an evening. Others stay with you long after you have left the theatre. Krapp’s Last Tape is very much the latter.

Performed at The Cockpit Theatre and directed by its own Artistic Director, Dave Wybrow, this is a beautifully intimate and deeply moving production. At its heart is Krapp, an ageing man confronting recordings of his younger self, and through them, fragments of a life that increasingly feels both familiar and unreachable.

There is something profoundly poignant about hearing the voice of a younger man while watching his older self grapple with memory, identity and the passage of time. The tapes become far more than recordings, they are a tangible connection to another version of Krapp a man with different ambitions, desires, disappointments and certainties.

Peter Marinker gives a remarkable performance. He brings humour, frustration, vulnerability and humanity to Krapp, never allowing him to become simply a figure of sadness. There is an almost uncomfortable honesty to the character, he can be irritable, self-absorbed and at times wonderfully funny, yet beneath all of that is a profound sense of loss. Perhaps that sense of loss has greater personal meaning for Marinker who received an Alzheimers diagnosis two years ago. In Krapp’s Last Tape, Beckett’s one-act monologue written in 1958. We meet a man marking his birthday alone, while listening to and reflecting on recordings he made each year on that day, as he makes what we are told his last tape. 

It is the contrast between the man we hear on the tapes and the man we see before us that makes the performance so affecting. The younger Krapp seems so certain of himself, while the older man is increasingly disconnected from the memories that once formed his identity. That raises one of the most powerful questions at the centre of the production, how much of who we are is held within our memories?

Dave Wybrow’s direction understands the extraordinary restraint required by a piece such as this. There is no need for theatrical excess. Instead, the production allows silence, pauses, movement and the smallest details of performance to carry the emotional weight. The intimacy of The Cockpit feels particularly suited to the piece, creating a sense that we are witnessing something intensely private rather than simply watching a character on a stage.

There is also a real sense of collaboration behind the performance. A particular mention must go to stage manager Marta Fossati, who worked incredibly closely with Marinker. In a production so dependent upon precise timing, cues, repetition and an almost instinctive relationship between actor and stage, that collaboration is fundamental. I was memorised at times by the delicacy of when needed, the live in-ear prompts where it felt Marinker and Fossati worked as a perfect team, a merry dance between the two. Actor and stage manager. 

Much of a stage manager’s work is deliberately invisible to an audience. When it is done exceptionally well, we simply experience the performance as seamless. But in a piece as technically and emotionally precise as Krapp’s Last Tape, the trust and closeness between Fossati and Marinker become an important part of what makes the production work.

What I found particularly moving was that this is not simply a piece about Alzheimer’s, ageing or memory. It is about the relationship we all have with the people we once were. We carry so many versions of ourselves  the person we were, the person we imagined becoming, and the person we eventually find ourselves to be. Krapp is forced to confront those versions almost literally, through his own recorded voice. The past is right there in the room, but increasingly beyond his ability to fully access it.

There is sadness here, certainly, but also warmth and humour. That balance is important. Krapp is not reduced to his condition, he remains a complicated, flawed and recognisably human character. And perhaps that is what makes the moments of vulnerability so much more powerful.

I left Krapp’s Last Tape feeling genuinely moved, but also strangely reflective. It made me think about memory, regret, ageing and the stories we tell ourselves about our own lives. More than anything, it reminded me how fragile our sense of identity can be, and how much of a life can exist in the smallest fragments of memory.

A quiet, intimate and haunting piece of theatre, beautifully held by Marinker’s performance and the careful collaboration of the whole creative team. 

A production that doesn’t shout for your attention it simply stays with you.

Krapp’s Last Tape is running until 5th September 

For more information and tickets https://www.thecockpit.org.uk/KrappsLastTape 

Reviewer: Mary Fogg  

On: 2nd September