Live Art Alive

All Blood Runs Red

Written and devised by Morgan Bailey, Pete Brooks, Simon Wainwright and Andrew Quick

Directed by Tyrone Higgins

Leeds Playhouse

There are some theatre companies whose name conjure up a certain magic and impel you to go see everything they do. One of these is the innovative Imitating The Dog whose work is always seeped in great storytelling using visually creative and innovative methods. This latest production tells a series of interlinked stories with a recurrent theme around how stories get told and what makes some stories get whitewashed from history…can we reclaim them and what might they tell us about ourselves.

All Blood Runs Red takes its name from a plane flown in WW1 by one of the first ever African American fighter pilots who flew in the French Flying Corps at a time when his native airforce still refused people of colour. Eugene Bullard emerges from history as an extremely colourful character. He fled his native Georgia at a time when lynchings were common, he travelled to Paris via Scotland learning some German en route. He was a drummer in the golden jazz years knowing people like Josephine Baker,he ran a club, was a circus performer and then a spy in WW2. In later years he returned to America and was involved in the Civil Rights movement and finally worked as a lift attendant in the Rockefeller building. This indicates a remarkable life worthy of a Hollywood blockbuster. Yet the whole essence of this production highlights how easily history can whitewash and marginalise remarkable people based on the colour of their skin.

This is not a linear story of the life of Eugene Bullard. Instead vignettes from his life are interspersed with the lived experience of the Deviser/Performer Morgan Bailey who peppers the production with recollections of how he discovered who Eugene was. On a French film set in Paris, Bailey was playing the role of a young black G.I. in WW2 when he first encountered a book about Eugene Bullard. This production includes Bailey reflecting on his own personal experience of feeling his cultural history and sense of self being whitewashed on set. Woven through the stories of these two men born a hundred years apart is the description of a Parisian lunch where Bailey first suggests telling Bullard’s story with members of Imitating The Dog.

This interplay may frustrate those who may desire a more fully fleshed out history of this fascinating man, however the whole point of the production is to play with the narrative and explore the ways in which stories are told. This is a theatre company that is all about finding new ways to look at stories and bring them alive. Their trademark blend of live theatre mixed with live film-making, digital creativity and sound design brings theatre alive in a unique and challenging manner. This multi faceted and layered production honours a man who emerges from history as someone who defies categorisation and whose life was as rich and varied as this vivid and beautifully constructed production.

LEEDS PLAYHOUSE 14/15th February 2025

On Tour

Blithe Spirit

Small Theatres

Written by Noel Coward

Directed by Hannah Ellis Ryan

Hope Mill Theatre

The latest offering from HER Productions is the sparkling screwball comedy Blithe Spirit. This Noel Coward classic sees urbane couple The Condomines entertaining some friends to an evening with the local clairvoyant Madame Arcarti. Charles Condomine callously hopes to use the evening purely as research for his latest novel. Initially the butt of arch comments and wicked jibes, the high spirited clairvoyant accidentally conjures up a real live spirit in the ectoplasmic form of Charles’ dead first wife Elvira. The resulting high jinks see the two wives desperately competing for their husband which culminates with Elvira attempting to win him over by murdering him to reunite as ghosts. Amusingly it is wife No2, Ruth that dies instead leaving both ghostly women to ultimately unite and vent their frustration on their erstwhile husband who suddenly seems to relish in his new found liberty!

The theatrical polymath that is Hannah Ellis Ryan is at the helm as Director. It may be her first outing in this role but it is an assured debut that she clearly relishes. It’s an ambitious production that makes for a highly entertaining evening despite an overly lengthy first Act.

The staging by Jenny Holt Wright does an excellent job of conveying a feel of comfortable opulence with a gleaming cocktails table and over stuffed furnishings. Although originally staged in 1941 with a definite nod to the relaxed decadence of the pre war era, this new production has gone with a Bridgerton vibe for the costumes by Hannah Bracegirdle. They certainly look lush and colourful and there are some fabulous coiffures but I’m uncertain how well the idea works within the rest of the play. Regency style costumes seem somewhat at odds with Madame Arcarti speeding around on a bicycle in trousers and Ruth being killed off in a car accident! In addition Kayleigh Hawkins as Elvira has hair and a gown that looks much more at home with a 1930s feel.

There are some sparkling performances from the cast. Peter Stone as Charles oozes rakish charm when everything is going his way. As Elvira arrives and his current marriage starts to unravel, he is by turns peevish and increasingly flustered. The result is highly amusing as we watch the supercilious man of the house be driven demented by a petulant dead wife and a bewildered and infuriated living one.

The cast of Blithe Spirit at Hope Mill Theatre Image credit: Lowri Burkinshaw

Ntombizodwa Ndlovu is wonderfully imperious as Ruth. This is a woman used to having her own way and the arrival of Elvira is certainly not tolerable. As the chaos mounts she becomes increasingly angered and threatened resulting in her losing her composure and venting her rage. It’s in the second half that she really comes into her own and any stiffness in the first Act evaporates. Kayleigh Hawkins as Elvira is perfectly cast. Her sinewy grace and brittle charm work wonderfully well as the petulant and mischievous Elvira wreaks havoc with all the nonchalant abandon of a truly Blithe Spirit.

Karen Henthorn is a great comedic turn as Madame Arcarti. Her birdlike swooping and boundless energy and enthusiasm are joyful to watch as she careers around the stage. She exudes a proper Northern charm and a total disregard for staid upper class values. At times a little shouty in her delivery; her performance is a masterclass in letting your inner child out to play on the stage.

This new production at Hope Mill Theatre once again proves what passionate and committed casts and creatives can achieve in small theatres with small budgets. Companies such as HER Productions are blazing a trail ensuring that theatre productions in Manchester remain varied and vibrant.

HOPE MILL THEATRE til 22nd February 2025

THE Dukes, Lancaster 25th Fed – 1st March 2025

ONE PUNCH

Small Theatres

Written by Jane Thornton and Martha Godper

Directed by Jane Thornton

HOME MCR

We all love a good night out with friends especially if celebrating a birthday. Fun times and hijinks before heading home to blow out the candles on our favourite cake with our nearest and dearest. This production narrates just such a night out in great detail but in this story, it is a human life that is extinguished instead of those birthday candles. The John Godper Company have worked closely with community charity One Punch Hull who raise awareness of just how lethal one single punch can be. This dynamic and deliberately punchy drama has a strong focus on education and is clearly intended as a piece that can successfully tour schools to promote the charity’s message STOP. THINK. WALK AWAY.

The three strong cast narrate the story of Reece as the Paramedics who were called to a horrific incident. This young man is celebrating his birthday in a very ordinary, everyday manner. There are multiple caterpillar cakes from a loving partner and a doting Mum, a day at work followed by drinks with his best mates and a planned taxi home to kiss his young daughter goodnight. Sadly in this drama this happy day reaches a shocking and desperately unhappy conclusion. A single drunken punch from his best mate Connor fells the birthday boy and the subsequent bang to his head has devastating consequences. Two loving parents and his partner and a small child lose a loved one and a young man loses his best mate and his liberty.

The cast of ONE PUNCH at HOME
Image credit: Ian Hodgson

The simple staging is strikingly effective hinting at a boxing ring edged with police hazard tape and a few beer crates. The multi coloured back screen lighting panels suggest a nightclub and ultimately the stained glass illuminating a church funeral. George Reid, Ellis Basford and Camille Hainsworth-Staples play multiple roles as they both narrate the events but also act out the events taking on the roles of Reece and Connor as well as the parents and Reece’s partner. This is a demanding feat especially in such an emotive story based on real events where the writers and the cast have worked closely with the parents of Scott Akester on whom this production is based. George Reid delivers a particularly impressive performance moving between his roles especially when performing as the father where he really shines.

Writers Jane Thornton and Martha Godper have clearly endeavoured to write a piece of theatre that can deliver on a range of levels. Using a lot of rhyming ensures the piece flows well and is accessible to a range of ages and backgrounds. They have created a piece of theatre sensitive to the true story behind the narrative while maintaining a realism that does not sugarcoat the message. People get drunk for all sorts of reasons whether in celebration or commiseration and anything in between. People can be happy drunks or funny drunks or sad or angry drunks. We cannot definitively predict outcomes but we can try to safeguard against some risks. This play highlights the potentially deadly impact of toxic masculinity when fueled by alcohol and adrenaline. The heartfelt request from the family of Scott Akester is simple…Stop. Think. Walk Away.

HOME 12th – 15th February 2025

Millennial Pink – Work in Progress at PUSH FESTIVAL 2025

Small Theatres

Devised and Performed by Girl Gang Manchester

HOME

Girl Gang Manchester have been around since 2016 making all sorts of work and operating as a collaboration of artists, activists and academics working together to celebrate popular culture and feminist activism. Millennial Pink sees them turn up the volume on the turntable and explore bedroom pop culture and that baptism of fire that is transitioning from girlhood to teenager to young women.

The stage of Theatre 2 at HOME is transformed into a messy teenage bedroom ready for a sleepover and that’s exactly the vibe of this production as the performers snuggle on beds and share stories, break into song and try out synchronised dance moves. The overwhelmingly feelgood factor in this show is the generous and collaborative approach of all the performers on stage and dotted through the audience. If these millennial have learned anything from their experience growing up whether positive or negative it is that we are all better and stronger coming together and supporting each other.

As to be expected from Girl Gang Manchester, this is a production high on audience participation whether it’s reading out cue cards, singing along to karaoke or learning some dance routines. By the end of the show there are a lot of people onstage, myself included as the stage becomes a dance floor for everyone who remembers what it was to be a teenage girl. This is a show high on energy and exuberance that manages to thread the delicate line between celebrating the positives and calling out the slut shamers and the casual misogyny and double standards in our Society without ever sounding preachy. I loved the energy and the passion throughout this production and although the sound needs some tweaks to ensure every performer can be clearly heard, this is a show I would definitely want to see again.

PUSH FESTIVAL 2025 HOME 31st January-1st February 2025

GIRL GANG MCR

Unhinged

Uncategorized

Written and Directed by Erinn Dhesi

Written and Performed by Stef Reynolds

PUSH FESTIVAL 2025

HOME

This solo production sees Stef Reynolds hold the stage confidently for a full length show without an interval, actively engage with her audience while also shifting props around to bring alive her childhood bedroom, her Grans’ council flat, the office she works in and trendy restaurants in the Northern Quarter. Reynolds may be delivering a show about a woman whose chaotic approach to life is rapidly unravelling at a rate that even surprises her but is clearly in total control throughout this piece. This is an accomplished performance that is memorable and highly engaging. Reynolds has great comic timing and her endearing goofiness blended with sharp observations pitched directly to the audience is a winning combo.

Hazel has grown up on a Manchester council estate and now lives in her Grans’ old flat which is actually owned by her absent brother. Elements of the narrative are confusing as an amusing trip to the council office to demand repairs on the property suggest a rented flat in her brothers name yet later in the production Hazel is losing her home as her brother is selling the flat. It’s a credit to the bouncy script by Reynolds and Erinn Dhesi (who also directs the piece) that these issues remain minor concerns. The central character seems both feisty and incredibly vulnerable. The relationship with her brother is as fractured as the main characters’childhood memories. This exploration of race, identity and burgeoning sexuality is never fully developed and at times is searingly perceptive and at others frustratingly hazy. The overall effect creates an nice snapshot of how childhood memories impact and shape how we view the world and how that impacts our understanding of the here and now.

Director Erinn Dhesi ensures there is lots of movement and action which keeps the pacing of the show feeling fresh and interesting. The pace however drops off towards the end of this 90 minute show. As new work it may benefit from a tighter edit but overall there is a lot to enjoy. As a performer Stef Reynolds really shines in the lighter moments as she has a natural comic timing and a real knack for engaging with her audience.

PUSH 2025 FESTIVAL 30th-31st January 2025

LUCKY TONIGHT!/BAD SCIENCE/What is love to a GODDESS?

Uncategorized

HOME

It’s that time of year again when HOME launches its biennial festival of new work showcasing and supporting local artists. This year kicks off with an interactive quiz show in the Event Space. Afreena Islam-Wright is an established theatre maker and quiz show host whose work includes Daughters of the Curry Revolution and Meet me at the Cemetery Gates. Her latest work takes the novel approach of blending a one woman theatre show with a lively quiz experience.

Tables are set with tablecloths and beer mats and each team has a tablet set up to join a speed quiz with your chosen team name and buzzer choice. The interactive quiz is a bit of a shock to the system to anyone new to the world of speed quizzing but Islam-Wright instills her audience with confidence and enthusiasm. This is a fun evening on many levels and the questions may be quite niche but are all skillfully woven around the narrative of her personal story. Interspersed through the rounds are the threads that weave the performer’s personal story as a young woman who grew up in Old Trafford as part of a very traditional Bangladeshi family and started her own family with someone outside her family’s culture. This is a work in development which shows a lot of potential especially if the intention is to use the medium of quizzing to bring theatre and storytelling into pubs across the country.

SwitchMCR are a Manchester based company comprised of graduates from the Royal Exchange Young Company. This new production BAD SCIENCE is a hi-energy, adrenaline fuelled romp that has its three female performers cast as a group of incompetent politicians scrabbling for survival within their party. Tasked to use psychiatry as a means of squashing public protest they shamelessly use the audience as a Focus Group to create a new psychiatric condition. The result is anarchic and amusing as our production created a new condition called Lemonism and its dodgy premise brought down yet another dodgy politician. The use of loud music and lively choreography certainly ramps up the generally buzzy feel of this piece. There is some nice physical comedy especially from deviser Emily Bold.

What it is love to a GODDESS? takes place on the stage in Theatre 1 and sees Maz Hedgehog retell the story of Medea and her obsessive love of Jason of The Argonauts. This is a perhaps too faithful retelling of the myth in that a sense of dynamic theatre-making risks getting lost in a slightly static monologue. Max Hedgehog is a strong and charismatic performer who leans into a sinuous and terrifying malevolence that is both impressive and commanding. Some tweaking of the movement and sound direction in this piece could ramp up the impact of this piece and enhance some very poetic writing by the performer.

PUSH FESTIVAL 24th Jan – 8th Feb 2025

FAITH HEALER

Small Theatres

Written by Brian Friel

Directed by David Thacker

The King’s Arms

It’s not very often I have the time or indeed the inclination to go see the same play twice in one week. Faith Healer at The King’s Arms on opening night was so perfectly rendered that I had to catch it again before it finished its short run. Brian Friel often writes of the rural Northern Ireland that I grew up in and he absolutely captures the mercurial aspects of a community where people have co-existed while always seeing the same world through such different prisms. In Faith Healer he takes 3 characters and gives them lengthy monologues which highlight their very different perspectives on a series of key moments they all experienced together. Within the story telling of each character there are constant threads that connect and confirm each other’s story but numerous elements that differ or conflict challenging the audience to draw their own conclusions. Director David Thacker uses every inch of the space to create an immersive vibe where the performers are placed amongst the audience so the storytelling feels up close and intimate. The result is mesmerising as the truth and the fantasy meet, merge and fade into the ether.

Small, new theatre companies such as Rising Moon Theatre rely on Fringe theatre spaces and here the venue is perfect for this play about these itinerant travellers who move around the country selling hope or as Frank says perhaps bringing the gift of letting go of the last vestige of hope. Seated on fold up chair and absorbing the slightly shabby faded grandeur of the space evokes the kind of venues that may have hosted Frank as the fantastic Frank Hardy…Faith Healer. Grace is his wife or mistress who may be from Yorkshire or Northern Ireland. They are accompanied by Frank’s manager Teddy who is a Londoner with a history of nurturing vaudeville acts.

Vicky Binns as Grace in Faith Healer at The King’s Arms. Photo credit: Shay Rowan.

The cast all give thoroughly committed performances. Vicky Binns wrings every ounce of emotion from the tortured and traumatised Grace. This is a deeply emotionally fragile woman who is untethered by grief and yearning. Watching Grace emotionally unravel is not an easy watch but Binns imbues her character with such a plaintive poignancy and brittle dignity that her monologue is utterly absorbing. Colin Connor is Frank a wounded bear of a man who spews bluster and passion and frustration peppered with moments where his face lights up as he recalls a night in Wales where the stars aligned and he cured everyone in the room. Connor is a masterful storyteller who clearly relishes this role of the Healer both feared and reviled whether perceived as the real deal or a master of chicanery.

Rupert Hill as Teddy in Faith Healer at The King’s Arms Photo credit: Shay Rowan.

Rupert Hill is on a real creative roll recently taking the lead in his self -penned play HUSK at Hope Mill Theatre, directing an excellent production of COCK at 53Two and starring in In The Time Of Dragons at The Edge Theatre. Here he sits silently throughout the first half intently watching and listening as husband and wife relive pivotal moments from their past. A stillborn baby birthed in the back of a van in the back of beyond and buried in a field. Fights and recriminations as they travel Scotland and Wales seemingly exiled from their homeland until the great return to Ireland. Then a dark horrific night in Friel’s fictional Ballybeg where a crooked finger is cured and this momentary success sets of a terrible series of events. Hill brings a light touch to the second half weaving humour and pathos with charm and aplomb. He lights up the stage as he tells tales of past successes with such acts as a bagpipe playing whippet which seems to come alive as he describes it. Hill’s character Freddy may be down on his luck and also bereft of his colleagues but ultimately he is imbued with more hope and faith than the fantastic Frank Hardy could ever muster.

This is the real deal when great writing, a good Director with vision and a strong cast open to taking risks come together and create theatrical alchemy. This production hit all the right notes with its immersive feel ramping up the intimacy and inviting the audience to have faith in what happens on stage and trust the process. Having been on the receiving end of rural Irish faith healers on numerous times growing up its a strange sensation when it works. It feels like a warm sense of satisfaction that envigorates the mind and body and restores the spirit with a sense of bliss. If Frank nailed it in a hall in Wales and cured everyone there then I think Thacker and his team may have achieved a similar success rate in a pub in Manchester.

The King’s Arms 15th – 19th February 2025

I WISH

Children's Theatre

Created by Le Gateau Chocolat, Rachel Bagshaw and Seiriol Davies

Directed by Rachel Bagshaw

HOME MCR

Most of us grow up absorbing Fairy stories throughout our childhoods whether in books, Disney movies or Pantomimes. How many of us have ever wondered what happens after the final dénouement and those fateful words And They All Lived Happy Ever After…? Thankfully Le Gateau Chocolat has gone above and beyond for all us curious adults and wide eyed children and unleashed his inner Fairy Godmother. The suitably fabulous and glittery Effie is about to celebrate her brumble thrillionth wish and seems confident that all her work has been of a high calibre until her bubble suddenly pops.

Colourful and vibrant, the costumes look like Effy has raided the dressing up box via a crash course prepping for Rupaul’s Drag Race and a trolley dash through a sequin factory. The costumes and set design by Ryan Dawson Laight has a frothy, magical quality with a backdrop that allows for plenty of costume changes as Le Gateau Chocolat speedily recreates characters that allude to Cinderella, Peter Pan and Snow White. There is loads of audience interaction allowing children to get up close to the fabulous costumes and really connect with the magic that is happening on stage.

The voice over Narrator is Julian Clary whose calm but quizzical tone is an excellent foil for Effies exuberant confidence. The ensuing exchanges start to deconstruct these famous fables and discover some troubling issues. In this quirky production the audience and Effie consider how it really was for a Peter Pan character to never grow up but just watch from afar as their loved ones live, love and thrive without him. What if the fairy Godmother gave a young girl the opportunity of a lifetime but then left her to make her way up the steps to the castle ball without checking if she needed wheelchair access? Or could making someone incredibly beautiful potentially cause them to become a raging narcissist? Effie scores big when it comes to heart and eyelashes but may need to reconsider her health and safety policy. Thankfully Effie has an (eff)iphany and suggests to her young audience that we are all better together when it comes to making our wishes come true.

The music and lyrics by Seiriol Davies are witty and delightful, covering a range of styles and allowing Le Gateau Chocolat to showcase his rich baritone voice to full effect. This is a charming piece of theatre designed for young children and it’s message of the benefits of cooperation and inclusion is definitely on point. This sweet production has all the heart one would expect from Le Gateau Chocolat and it is great to see this fabulous performer back on stage after a serious illness earlier this year. Having seen DUCKIE at CONTACT and now I WISH, it’s good to be reminded of the importance of making theatre for young children that is relevant and memorable.

I WISH at HOME MCR

THE LION, THE WITCH AND THE WARDROBE

Puppetry, Theatre

Based on the novel by C.S. Lewis

Based on the original production by Sally Cookson

Directed by Michael Fentiman

Leeds Playhouse

I still have all The Chronicles of Narnia books from when the they were given to me as a child. I remember being told the famous writer came from Northern Ireland and Narnia was inspired by our local landscape. A child’s imagination paints their own rich and unique vision from the words on the page. This theatrical adaptation directed by Michael Fentiman certainly delivers on both an epic and touchingly intimate level. The setting of the stage in The Quarry Theatre works beautifully. The opening scene is a lone soldier clad in his great coat and steel helmet quietly playing piano below a huge clock face. As the cast slowly gather on stage to the strains of We’ll Meet Again, the scene is set to meet the four siblings being evacuated during WWII who are heading for not only an unknown place in Scotland but a magical trip through a wardrobe that will lead to Narnia.

The four adult actors who play the sons and daughters of Adam and Eve do a good job of evoking the children. Joanne Adaran and Jesse Dunbar exude decency and earnestness as the elder Susan and Peter. Bunmi Osadolar gives Edmund all the sullen intensity and greedy spitefulness of an angry young boy while Kudzai Mangombe really shines as the pure hearted Lucy, The Bringer of Light.

Alfie Richards charms as Mr Tumnus the kindly fawn, and Ed Thorpe and Anya de Villiers are excellent as Mr and Mrs Beaver helping to lead the resistance in Narnia. Stanton Wright is the noble human face of Aslan the lion and Kraig Thornber is wonderful as the wise and benevolent Professor. The star of the show is Katy Stephens who is magnificent as The Snow Queen. Every second on stage she oozes imperious cruelty as she tries to hold her power over Narnia. As Aslan returns bringing Spring and her power starts to ebb away, she ramps up her evil ways shearing the mighty lion and wearing his pelt as a war trophy.

The set and costume design by Tom Paris is gorgeous. Sumptuous costumes for the Snow Queen create drama and some spellbinding moments especially when she rises up over Narnia floating with gauze robes descending ethereally across the stage as the snow falls steadily. Set changes are so smooth and fluid that they ramp up the magic as one moment Lucy is in the cosy woodland home of Mr Tumnus and the next she joins her siblings at a the dining table for kippers with The Professor.

The puppetry by Toby Oliver and Max Humphries gives Aslan an ancient feel as this is no cuddly lion but a rather an ancient creature that almost seems like a terracotta warrior. Schrodinger the cat has the mangy look of an elderly beast and is imbued with all the character of a wise old family cat. The puppetry merges seamlessly with the human performances and the magic and illusions by Chris Fisher to give the production all the wow factor to be expected from a big West End production. Many of the cast are multi instrumentalists and the music by Barnaby Race and Benji Bower has a folky, whimsical feel with elements that feel like klezmer music.

The overall feel of this production is just beautiful. The deeply Christian and moral background to this story by C.S. Lewis is always present with its battle of good over evil and the redemptive journey for Edmund coupled with the willing sacrifice by Aslan and his subsequent resurrection. They may hark back to a better, possibly more noble era but as we approach another Christmas and a beckoning new year there is a certain comfort to be taken from being reminded that good can overcome evil if we unite together like the beasts of Narnia.

Leeds Playhouse 18th November 2024 – 25th January 2025

The Rock ‘n’ Roll Panto Rapunzel 2024

Pantomime

Written by Jude Christian

Directed by Francesca Goodridge

Liverpool Everyman

With every passing year Panto season seems to come round quicker and this year is no exception. My first this year is at Liverpool Everyman and the weather heading into the city is a sleety blizzard with high winds guaranteed to wreck any freshly coiffered mane. Thankfully there is a warm welcome inside the Everyman and a thoroughly cheery production on the stage. Jude Christian has taken this classic Panto staple and set it in Liverpool with two hairdressing salons battling it out to the final blowout while a feisty Rapunzel escapes her prison and discovers family, friendship and freedom. This rock ‘n’ Roll take is full of crowd pleasing musical numbers and a multi-talented cast perform, sing and play all the instruments on stage.

The set and costume design by Janet Bird works brilliantly. The colourful stage on two levels with a magnificent four poster bed making frequent appearances is all bright pastels and glistening with glitter. The overall effect is a fun blend of a Barbie house merging with an Andy Warhol exhibition. The costumes are equally vivid and are further elevated with elaborate hair styles that look straight out of a Manga comic book. The Dame’s costumes are wittily designed to illustrate her ownership of the now fading salon The Blonde Bombshell. Decked out as an iconic Marilyn Monroe, a Scouse take on Lady Gaga’s infamous meat dress or as Madonna in a Gaultier conical corset while heavily pregnant; the designs all guarantee laughs for an on form Michael Starke as Debbie UpDo.

Ai Kumar as Rapunzel at Liverpool Everyman Image credit: Marc Brenner

The multi-talented cast seem to relish in Francesca Goodridge’s lively fast paced production and the audience interaction is skillfully done and very effective. Adam Keast is a delight as Fairy Fixer-Upper and his blend of fey charm, mischievous asides and double entendres land well and make for good entertainment for all ages. Zoe West makes an excellent baddie as Mancunion rival Danny Ruff posturing like an overcharged quiff of testosterone as he tries to ruin his old Boss. Ai Kumar as Rapunzel and Rebecca Levy have great chemistry as the sweet duo seeking to escape the salon and find both independence and love. They are both vocally strong and provide a number of beautiful duets. Tomi Ogbaro and Emma Bispham are the salon assistants Trevor and Goop. The former is a hapless sweetheart while Goop is clearly modelled on the implacable Nessa from Gavin and Stacy. Ben Boskovic as Prince Timotei brings a nice silliness to the proceedings as the medieval Prince who seems a dead ringer for Lord Farquaad complete with his trusty steed Ed SheerRam.

Zoe West as Danny Ruff and Michael Starke as Debbie UpDo at Liverpool Everyman
Image credit: Marc Brenner

The musical numbers include Daytripper by The Beatles, a Blondie medley, numbers from Shania Twain, Lady Gaga and Queen. They all flow neatly within the script and involve a wide range of instruments played by all the cast. A genuinely fun night out for families that is colourful and entertaining with lots of surprises and laughs guaranteed. This is definitely a trip to the theatre where everyone is guaranteed to let their hair down and have fun.

Liverpool Everyman 16th November 2024 – 18th January 2025