He is the A-L-E-X-A-N-D-E-R we are here to see, and for the first time we are doing so outside of London as the show embarks on it’s first ever UK tour which kicked off in Manchester. We went to two performances before writing this review; opening night and then the Saturday night performance a week later. We wanted to wait before writing this review as we know opening night may not be reflective of the full show, but if you want to see our opening night thoughts our YouTube channel has a review of that performance.
Stock Aitken Waterman are synonymous with the music of the 80’s. In 1989 alone, they were responsible for 27% of the UK music singles market sales! They are even responsible for the global phenomenon that is Rick Astley’s Never Gonna Give You Up. Now, Debbie Isitt who is best known for creating The Nativity films and musical has taken some of Stock Aitken Waterman’s best loved works to create the new musical I Should Be So Lucky.
As part of the celebration of the 400th anniversary of Shakespeare’s First Folio, Shakespeare North Playhouse are staging Lauren Gunderson’s The Book of Will. Telling the tale of how the First Folio came to be, and how so many of Shakespeare’s plays only survive due to the efforts of those who knew him best, The Book of Will is a fantastic co-production with Queen’s Theatre Hornchurch and Octagon Theatre Bolton.
A play within a play performed across three acts, Michael Frayn’s Noises Off is the original “goes wrong” play. Following the on and off stage antics of a touring theatre company as they perform ‘Nothing On’, Frayn’s work is timeless and this latest touring production directed by Lindsay Posner is brilliantly bad. The show begins with the cast of ‘Nothing On’ completing a final rehearsal before opening night. The cast are woefully underprepared; Dotty (Liza Goddard) is constantly getting lines wrong and misplacing sardines, Frederick (Simon Coates) keeps finding plot holes, and Brooke (Lisa Ambalavanar) is not only extremely inexperienced but has an uncanny ability to lose contact lenses.
High Times and Dirty Monsters is like no show we have seen before. Combining acting, dancing, and beatboxing, this fast paced, episodic production is raw and hard-hitting. A collaboration by Liverpool based 20 Stories High, Graeae Theatre Company, Liverpool Everyman & Playhouse and LEEDS 2023, this show is the output of workshops that have been held throughout the last year asking what’s good (the high times) and what’s bad (the dirty monsters) about being young in 2023.
If you’ve ever wondered what would happen if you crossed The Book of Mormon with Spitting Image, and then added a smidge of Harry Hill’s TV Burp insanity, then Tony! The Tony Blair Rock Opera has the answer! Telling the story of former Prime Minister Tony Blair’s rise to power, and his transformation from pop-rock hippy front man of Ugly Rumours to a warmongering multimillionaire, this hilarious musical comedy is written by Harry Hill and Steve Brown.
If you have never been in a theatre where the end of the show is met by massive amounts of tears by the audience and a standing ovation for a phenomenal cast, then you probably haven’t been to watch I, Daniel Blake. Based on the Ken Loach directed film, this stage production has been adapted by Dave Johns who starred in the original film as the titular character, and is a co-production between tiny dragon Productions andEnglish Touring Theatre, in association with Northern Stage.
Based on the true story of 17th Century Irish Rebel Thomas Blood (Aiden McArdle), and his attempt to steal The Crown Jewels from King Charles II (Al Murray), a play written by the person behind Men Behaving Badly and featuring some of Britain’s most critically acclaimed comedy performers should, in theory, result in an outstanding stage show full of satire and humour. In reality, this production is the antithesis of this.
Jesus Christ Superstar is arguable the original rock musical. Telling the story of the final days of Jesus, the sung through musical by Andrew Lloyd Webber and Tim Rice hasn’t toured for a number of years, but seems to go through a revival every decade. This revival was directed by Timothy Sheader in his capacity as Artistic Director of Regent’s Park Open Air Theatre where this production originated, and where it won an Olivier Award for Best Musical Revival in 2017.