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REVIEW: Barnum

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Rating: 4 out of 5.

A bold burst of Barnum brilliance

Manchester Palace Theatre played host to the spectacle that is Barnum: The Circus Musical, a musical based on the life of PT Barnum. This was a high-energy, vibrant production that truly delivered on spectacle and showmanship. It was full of life, wonder and charisma. From the moment the auditorium doors are opened, audiences are transported back in time to the traditional big top circus and large fairground times, with that age-old circus music to get you in the mood for what is to be a night of music, magic and drama. The production is bursting with colour, movement and lots of personality, with the entire cast bringing a level of energy that never wavered

Lee Mead as PT Barnum has the perfect stage presence, charming audiences and drawing them in. His personality shines, and his voice is pure brilliance. He brings Barnum to life as if it were his alter ego. He graciously balances the character’s flashy bravado with moments of vulnerability and sincerity that offer glimpses of the man behind the spectacle we know and love. Mead carries the role with a steady energy that keeps the audience invested in the journey of PT Barnum.

Monique Young gives a beautifully measured and heartfelt performance as Charity Barnum. She brings a calm strength to the character, offering a thoughtful contrast to Barnum’s restless ambition. Her vocals are clear and expressive, and she delivers her scenes with a sincerity that makes Charity feel grounded and relatable. Young’s chemistry with Mead is gentle and believable, and she adds a beautiful emotional depth to the production without ever overstating it. Her presence provides a steady emotional anchor throughout the show, and she shines in moments where Charity’s quiet resilience comes to the forefront. What makes her performance even more impressive is her versatility; Young plays several musical instruments throughout the show, weaving them seamlessly into the action without breaking her character. Truly extraordinary.

As for the ensemble and the other characters, the cast were so committed to everything they did, whether it was singing or playing an instrument; they brought so much enthusiasm to each scene, it was infectious. There were always multiple layers to the storyline, with many things happening on the stage, but they never broke, and everything was done with precision. One of the most striking aspects of this production is the performers’ versatility. Not only do they sing and act with incredible confidence, but many of them also play instruments live on stage. This added richness to the musical numbers, making the show feel dynamic and immersive. It’s rare to see a cast so comfortable switching between disciplines, and it gave the performance a distinctive, almost ensemble‑band quality that worked beautifully. Its not something you see often in musical theatre, but it certainly was one of the highlights of the show

The circus elements were another highlight. The acrobatics, balancing acts, and physical theatre sequences were genuinely impressive and added a sense of spectacle that elevated the entire production. There were several moments where the audience collectively held their breath, and others where the skill on display drew spontaneous applause. These sequences brought a playful unpredictability to the show, and the cast handled them with remarkable confidence and precision. It was exhilarating!

Visually, the production is lively and engaging. The staging makes clever use of the space, and the expertly crafted choreography by Oti Mabuse ensures that there is always something interesting happening on stage. The movement is constant, purposeful, and creative, creating a sense of momentum that suits the world of Barnum well. The combination of live music, circus performance, and ensemble work gives the show a distinctive identity that sets it apart from more traditional musical theatre productions.

If there was one area that felt slightly less clear, it was the storyline. There were moments when the narrative became a little confusing, and certain transitions happened so quickly that it was easy to lose track of the finer details. While this didn’t detract significantly from the overall experience, it did mean that some plot points required a bit of reflection and deep thought afterwards to fully piece together what happened and why. However, the strength of the performances ensured that the even though it may have seemed confusing at times, audiences would still have a very enjoyable time.

Overall, Barnum is a vibrant production that showcases the exceptional talent of its entire cast. Their energy, versatility and commitment to every fine detail elevate this show into something so memorable. The combination of classic circus-style music, impressive acrobatics, and dynamic performances makes it a thoroughly enjoyable night. It’s a production that leaves a lasting impression and highlights the sheer talent and creativity that went into creating this wonderful celebration of PT Barnum and the joys he brought to many who came to his circus.

This production of Barnum continues at the Palace Theatre, Manchester, until 14th February, before carrying on its UK-wide tour.

REVIEW: Murder at Midnight

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Rating: 5 out of 5.

“A fun-filled night of comedy, creativity and a whole lot of chaos.”

Murder at Midnight playing at the Lowy Quay’s theatre is exactly the kind of night that delivers thrills, laughs and a plenty of unexpected twists. Written by Torben Betts and directed with precision by Philip Franks, this comedy-thriller blends the classic tension of a whodunnit with the absurdity of a farce and over the top performances, that delights audiences and gives an exciting night out at the theatre.

Set on New Year’s Eve in a large, cluttered Kent house, the play opens up with a chaotic start as police arrive on a crime scene for the ages. From there, audiences are taken back to only hours before to reveal how a seemingly ordinary night spirals dramatically into a murder scene. The plot is intentionally tangled and filled with double-crosses, secrets and misunderstandings which forms a fast-paced and very funny, if slightly ridiculous night full of twists and turns. One of the real strengths of this production is the cast. The performers are bold and energetic, fully committing to the over the top, tone of the script.

Jason Durr’s standout performance as Jonny “The Cyclops”, a notorious gangster whose bravado masks a whole lot of insecurities. Durr’s stage presence is dominating throughout the performance, balancing menace and theatrics so brilliantly. He swaggers across the stage commanding the room as he effortlessly brings his character to life.

Another memorable mention has to go to Susie Blake, who’s portrayal of Jonny’s eccentric and tarot obsessed mother steals so many scenes with her impeccable timing and unpredictable nature. It was a wonderful sight. Her character brought so much warmth and heart, and of course some comedy moments, it made her interactions with the rest of the cast some of the best parts of the play.

Max Bowden added a different intensity as the undercover police officer. His jittery nervousness contrasted with the more larger-than life characters that surround him onstage, but this added a different humour to the storyline that you wouldn’t get anywhere else. Meanwhile, Katie McGlynn brought the drama with all the antics her character, Jonny’s girlfriend, got up to that night. It really brought a new depth to the story and a lot of laughs along the way.

Special mentions must go to Bella Farr and Andy Mcleod as the Police officers for setting the scene right from the off. Also, to Callum Balmforth as Russel, the robber with a clown mask, who’s vulnerability really added to the scenes. Peter Moreton as Trainwreck really brought the twists and some very comical moments, whilst Iryna Poplavska plays the nervous carer Cristina who brings some new perspectives and edge to the storyline. The cast handle the precise timing and strong chemistry with practised ease which helps the scenes flow flawlessly. 

The humour is at times dark and the violence is very exaggerated but the commitment from this cast to bring this masterpiece to the stage really makes it clear that this show will bean entertaining night for anyone who loves comedy, thriller and the fun of a whodunnit.

The script itself is sharp and packed with jokes, many of which land brilliantly thanks to the timing from the cast. There’s a lot going on at once, but rather than feeling confusing, it adds to the sense of chaos and fun. The multi-level set design adds a new layer, allowing different scenes to play out simultaneously and giving the audience plenty to watch. It feels busy, but in a way that suits the story.

Technically, the production is smooth. Lighting and sound are used effectively to heighten tension or underline punchlines, and the pacing rarely drops. The whole thing barrels towards its conclusion with a sense of gleeful madness that keeps the audience engaged right up until the end.

Overall, Murder at Midnight is a lively, fun and very unpredictable evening of theatre. It lets audiences be swept away in the chaos and mystery. It’s something a bit different to the typical murder mysteries, the comedy and farce of the show adds a special element to this production that makes it a must-see show. It certainly is one midnight audiences won’t want to miss.

Murder a Midnight plays at The Lowry until 24th January. Tickets are available here.

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REVIEW: Varna International Ballet – The Nutcracker

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Rating: 4 out of 5.

“Varna International Ballet delivers a classic tale which brings audiences tradition, hope and the magic of storytelling”

The Varna National Ballet’s production of The Nutcracker delivered a beautiful interpretation of this Christmas classic. It had a familiar feel of festive magic that draws audiences in each year. From the moment the lights dimmed and the familiar music of Tchaikovsky filled the room, the anticipation was electric, reminding me why these productions are so popular among families and ballet fans alike.

From the start, the company moved with effortless grace across the stage. Their visual expressions brought the characters to life, and the corps de ballet delivered a performance that was confident and cohesive. Their movements were flawless as they danced across the stage with an elegance that you know comes from years of practiced discipline and trust amongst the dancers. The individual soloists brought their own artistry and interpretation to the characters, as they led the audience on a journey of wonder and discovery that can only be imagined in our dreams. 

Pauline Faget was particularly enchanting as Marie, taking the audience into her dream world and leading them through this captivating tale of wonder and mystery. Her Pas de Deux with the Prince (Danylo Motkov) was elegant and a beautiful sight to see. Their chemistry was effortless and their movements and power show why they were chosen to play these characters.

Visually, the production leaned into tradition whilst also having a more modern feel to it with the scenes being changed by a visual display at the back of the stage. It meant the changes were effortless and did not need huge set pieces to tell the story. It is different from other Nutcracker productions in this sense, as I have not seen one that has used this way of scene setting before. It did not take anything away from the production, and was hardly noticeable with all the dancing going on right across the stage. 

The costumes were so detailed and vibrant, they really made the production lifelike. It was easy to tell what characters and themes were going on in each scene. From the Fairytale about Hard Nut, to Marie’s dream in the Nutcracker’s world, that included dances from different countries, the costumes really played a huge part in adding personality to each scene, without taking away from the choreography.

Tchaikovsky’s iconic score filled the room with familiarity and a richness that added to the warmth of the production. It brought an emotional depth that helped to carry the story forward, from the quiet, more delicate moments to the sweeping score of the more dramatic scenes, the room was filled with an energy only Tchaikovsky’s brilliance could bring. Conducted by Azat Maksutov, the orchestra worked together to add balance and harmony to create poignant peaks that make The Nutcracker feel so timeless.

Overall, this was a heartfelt interpretation of the traditional Nutcracker story that delivered exactly what people need; hope, imagination and a little bit of magic. Through strong work from the corps de ballet and the soloists, this ballet brought a beautiful, familiar story to life that brings people together and gives audiences an enjoyable evening that they will remember for a long time after the curtain falls.

REVIEW: A Christmas Gaiety: A Fabulous Festive Extravaganza

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Rating: 4 out of 5.

A Christmas Gaiety: A Festival Extravanganza, truly was what it said on the tin, fabulous, festive and oh so very extravagant.


The Liverpool Philharmonic Hall played host to A Christmas Gaiety: A Fabulous Festive Extravaganza, a show that promised sparkle, sass and seasonal cheer, and boy did it deliver. Conducted by Edward Outwater, and presented by the legendary Peaches Christ, the evening brought together the Royal Liverpool Philharmonic Orchestra with a fabulous line-up of drag royalty, which included: Baga Chipz, Ginger Johnson, Kyren Thrax and Le Gateau Chocolat. They were joined by legendary star and West End Queen Kerry Ellis who’s vocal prowess was an added Christmas joy for all to hear.

The evening opened with the Royal Liverpool Philharmonic Orchestra in full festive swing, their beautiful sound carried throughout the hall, getting everyone into the Christmas spirit with a medley of our festive favourites. Conducted by Edward Outwater, audiences were treated to an abundance of symphonic power, cabaret energy and an added touch campness. What more could an audience ask for?

Peaches Christ was a fabulous host who commanded the stage with sharp humour, glitter and a lot of glam. Her warmth, wit and festive cliches brought together a celebration of chosen family and queer community, whilst adding some festive flair and knew exactly how to land a good joke and give the orchestra their time to shine.

The night was laid out in 2 acts, with each Queen coming out to do their own little solo numbers, be that singing, dancing or writing a letter to Santa. They each brought a whirlwind of energy and fabulousness that had audiences laughing all night long.

Baga Chipz’s first performance was an unexpected rendition of The Dance of the Sugarplum Fairy. This perfectly summed up the spirit of A Christmas Gaiety. Baga managed to turn a dance often associated with delicacy and precision into something so joyfully absurd and chaotic. Her commitment to parodying this ballet is what had audiences cheering as laughter rippled though. It felt like a pantomime moment.Baga’s second performance came towards the end of the second act, when she was joined by Ginger Johnson and Peaches Christ as they paid a beautiful tribute to The Vivienne, a notable name in the drag world and who was from Liverpool, and other Queens they had lost. Baga Chipz sang a rendition of Over The Rainbow that had audiences stunned in silence wight through to the final note where they erupted in rapturous applause for such a touching moment.

Ginger Johnson’s first performance The Typewriter was incredible. Set to the Orchestra’s music, Ginger typed her Letter to Santa on an old fashioned typewriter with such practised precision, you couldn’t help but cheer her on at the end. It was funny, fast and brilliant. Typing on a typewriter is definitely a talent in its own right, and Ginger brought that bit of extra magic to make it all the more festive.                                                                           The second performance from Ginger began with the first lines of the Christmas story, Twas the Night Before Christmas, before she unleashed her powerful voice in a rendition of Its oh so quiet. What a spectacular performance this was. Ginger owned the stage and commanded the audience.

The next queen to perform was Kyran Thrax, who’s first half performance as Rita La Roach fell a bit short with the audience. While the poem spoke was witty, it didn’t seem to reach audiences the same as the previous performances. However, Kyran made up for this with a delightful Elvis Medley in the second act, where it really showed their vocal talent and love for performing. Audiences loved this medley and it was a highlight of the night.

Le Gateau Chocolat brought brilliant baritones brought a new life to the Christmas classic, Walking in the Air. A great act 1 closing performance. From this song you can tell why he has a name for himself as one of the best in the business. The second performance from this powerhouse was Nothing Compares 2 U. It was a solid performance all round that audiences loved. Whilst not as festive a song choice, the outfits worn by Le Gateau Chocolat really were dazzling.

Kerry Ellis,  joined Peaches Christ in a very queer performance of the 12 Days of Christmas (changed to 12 Gays of Christmas for this performance). This particular song involved an audience sing-along, which definitely had the audience doubling over with laughter instead of singing. You never knew what was going to come up next for each day. It was certainly a version of this usually traditional festive song that won’t be forgotten for a while after. However, the most notable performance from Kerry was a stunning rendition of O Holy Night that had audiences on the edge of their seat ready to cheer for the big note at the end. Of course Kerry’s vocal prowess is why she is the Queen of the West End. Her talents are endless. We were also treated to a little singalong of All I Want for Christmas, led by Kerry herself. Oh what fun that was for all.

The finale to this show had all the acts together on stage singing Merry Christmas, which gave a perfect ending to a night of festive fun. This show really left audiences with a smile on their face, warmth in their heart and ready for the festive season

REVIEW: Quadrophenia: The Mod Ballet

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Rating: 5 out of 5.

“Quadrophenia Stuns at The Lowry”

Quadrophenia: The Mod Ballet at The Lowry is nothing short of a revelation. This groundbreaking production reimagines The Who’s seminal 1973 rock opera through the expressive language of ballet — and the result is a pulsating, poignant, and visually electrifying triumph.

From the moment the curtain rises, it’s clear this is not your typical ballet. Choreographer Paul Roberts fuses classical technique with gritty, high-octane physicality, reflecting the emotional turbulence of its central character, Jimmy, danced by Paris Fitzpaatrick, with precision and raw energy. Every leap, turn, and stomp captures the era’s unrest and the protagonist’s internal chaos. The blending of modern dance, traditional ballet, and mod subculture movement is nothing short of genius.

This ballet isn’t like your typical Romeo and Juliet romance, despite its similarities. It also has some features not to distant from the Jets and Sharks across the pond. The whole concept of the Mods v Rockers brings to light a history of subcultures of music that didn’t mix, but one man’s tale of trying to fit into the everchanging world, not knowing where he truly belonged is what truly shows through and resonates with many in the audience. The 1960s were a changing time, and Quadrophenia explores all concepts throughout the evening. It creates a story and brings people together under one roof to relive the past for one night

What truly elevates this production is its deep respect for its musical prowess. The original music of Quadrophenia—remixed and reorchestrated for this performance—serves as both backdrop and emotional engine. It’s loud, immersive, and profoundly affecting. Each change of song and scene is lived through the bodies on stage. Each dancer channels the existential angst, disillusionment, and identity struggle of 1960s Britain with a power that transcends words.

A particular shoutout must go to Stuart Neal as the Father, and Georges Hann who played the soldier. The scene where the Father is reliving his past in the war during The Dirty Jobs was one of the most moving scenes in the show. Not only was this scene beautifully choreographed and danced, the scenery and sounds depicting the grave familiarity of the war created a special piece of movement. As the music falls to an eerie silence and the Father is trying desperately to save his comrade, all we can hear is the breathing and grunts of the men as they move hauntingly through the scene. This was so powerful and impactful that no music was needed at all. It was truly the work of a master choreographer.

The ensemble is excellent, moving fluidly between scenes and characters with practiced poise and perfected transitions. However, special praise must go to the Paris Fitzpatrick portraying Jimmy and the four dancers acting as the four parts to his personality. The different depictions of the Tough Guy, the Hypocrite, the Romantic and the Lunatic where nothing short of extraordinary in telling the story of Jimmy’s struggle and how each personality guides him and challenges him through his journey. Their performances are magnetic and seamless, shifting between the ideas of vulnerability and rage, despair and defiance. Paris’ solos — especially during the haunting beach scenes — are emotionally devastating in the best way. One of the final scenes was another thought invoking performance, where the four personalities face the four main character’s Jimmy interacted with along the way. The childhood friend who is a Rocker, the Godfather who Jimmy idolised, the Ace Face everyone wants to be, and the Mod Girl who all the guys want. Each one of these characters represented a personality struggle for Jimmy, so to see them face off and dance with each other at the end was very effective and really brought the journey and the story home. 

Visually, the show is a knockout. The set design evokes the grimy beauty of London streets and the faded glamour of Brighton’s seaside. Costuming is spot-on, capturing mod culture with a stylish flair that enhances, rather than distracts. Lighting plays a crucial role, moving from strobe-fuelled nightclub euphoria to solitary, dim-lit introspection with masterful effect.

This production doesn’t just adapt Quadrophenia — it reinvents it for a new generation, inviting both ballet aficionados and rock fans into a shared, unforgettable experience. It’s a celebration of rebellion, identity, and the everlasting journey to find oneself.

Quadrophenia: The Mod Ballet plays at The Lowry until 19th July . Tickets are available here.

REVIEW: War Horse

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Rating: 5 out of 5.

A tragically beautiful tale of love, loss and never giving up

War Horse has returned to the Liverpool Empire Theatre, and it’s every bit as moving and powerful as ever. Not to mention visually enchanting. Based on Michael Morpurgo’s much-loved novel, this production tells the emotional story of a young boy, Albert, and his deep bond with his horse, Joey, during the outbreak of World War I.

From the moment the curtain rises and the music starts, its clear War Horse is something special. The star of the show is the incredible puppetry by the Handspring Puppet Company. The life-sized horse puppets, especially Joey and another horse named Topthorn, are astonishing. Then you have the other horses that are used to bring the horrors of war to life.  The puppets are brought to life by a team of puppeteers who control every subtle twitch, breath, and gallop, creating a precision that is unmatched and make the animals feel alive. Their movement and expressions are so lifelike, it’s hard not to be emotionally drawn in.

Tom Sturgess, who plays Albert, gives a touching performance. From the start, he perfectly captures Albert’s determination, hope, and heartbreak as he tries to reunite with Joey after the horse is sold to the army and sent to the front lines of the war. Sturgess beautifully captures the innocence, determination and bravery of a young man who refuses to give up on his best friend. The chemistry between Albert and Joey forms the emotional heart of the show that is inspiring and heartfelt, and keeps the audience invested from start to finish.

The stage design is simple but clever. Using lighting, sound, and creative props, Rae Smith’s creative designs allow the production to move effortlessly from the peaceful fields of Devon to the terrifying chaos and dangers of the trenches. War scenes are handled with care—there’s no sugar-coating, but it never feels overdone or too graphic. It strikes a balance that respects the audience’s emotions while staying true to the story’s seriousness. They are powerful but also sensitive to the story. The video technology used in the backdrop creates a subtle, yet effective graphic of what is happening that helps to heighten the emotional stakes.

Live folk music is another beautiful part of the show that adds lots of emotion and weight to the scenes. Performed by the company and featuring Sally Swanson as ‘the singer’  the songs are authentic to the time period and add a powerful emotional layer that reflects the underlying emotional highs and lows of the show. They’re sad, stirring, and sometimes haunting—perfectly capturing the mood of the scenes they accompany whilst also bringing a touch of humanity.

What makes War Horse stand out is how well it blends a deeply personal story with a broader message. At its core, it’s about the connection between a boy and his horse, but it also offers a powerful reflection on the horrors of war, the cost of innocence lost, and the resilience of love and hope in the face of unimaginable odds.

This production is not only visually impressive but emotionally rich. Whether you’re familiar with the book, the film, or coming to the story for the first time, War Horse is an unforgettable experience. It’s a rare show that can move audiences of all ages, and at the Liverpool Empire, it’s clear from the standing ovation that this version does exactly that.

Overall, War Horse at the Liverpool Empire is a stunning piece of theatre. With jaw-dropping puppetry, heartfelt performances, and powerful storytelling, it’s a show that stays with you long after the curtain falls.

REVIEW: Blood Brothers

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Rating: 5 out of 5.

One of the most emotional and gripping experiences you can have in a theatre

If you’ve never seen Blood Brothers before, the iconic musical by Willy Russell, then you’re missing out on one of the most emotional and gripping experiences you can have in a theatre. Recently, the show returned to its roots with a stop at the Liverpool Empire; who were poignantly celebrating their centenary, and holds a deep significance for the show. This production was everything you could hope for — intense, heartbreaking, and unforgettable. This performance delivered a powerful rendition that maintained the emotional intensity and rawness that has kept audiences engaged for decades.


Set against the backdrop of a working-class Liverpool, Blood Brothers explores themes of fate, class, identity, and family. The story revolves around Mickey and Eddie, twins who are separated at birth and grow up not knowing they’re actually brothers. The boys grow up on opposite sides of the tracks, unaware of their shared bloodline, Mickey grows up in a working-class family, while Eddie is raised in a wealthy home. But their lives unknowingly collide. When they meet again, the fallout from their shared past leads to one of the most devastating endings in musical theatre. It’s raw, it’s emotional, and you can’t look away.


The Liverpool Empire is the perfect place for this show. There’s something about watching a story like this unfold in a venue with such a rich history that makes it feel even more personal. The production team did an exceptional job of bringing Russell’s vision to life. The set design, while minimalist, was incredibly effective in evoking the gritty atmosphere of Liverpool’s working-class environment. The set design was simple yet effective, it kept the focus on the characters and the story itself. The lighting helped build tension and highlighted the emotional intensity in the right moments.


One of the standout elements of this production was the cast’s exceptional performances. The chemistry between the two leads, Mickey (Sean Jones) and Eddie (Joe Sleight), was electric. Jones’ ability to portray the feelings of a boy growing up in the working class was sensational. You could feel his character’s struggle — one minute he’s laughing with his friends, and the next, you see the anger and frustration building in him. His energy was infectious, and when the show hit its emotional peaks, you could hear a pin drop in the theatre. Benedict’s portrayal of Eddie was equally strong, bringing a level of innocence and charm to the character that made the eventual tragedy all the more gut-wrenching.

Niki Colwell Evans, who played Mrs. Johnstone, really stole the show. Her voice was powerful, and her portrayal of the conflicted, loving mother was both heart wrenching and powerful. Her song “Tell Me It’s Not True” had the whole audience on the edge of their seats, feeling every word. Then there’s the sublime voice of Sarah Jane Buckley, who portrayed a desperate Mrs Lyons, who just wanted a child of her own. Her performance was tragically beautiful in every way. Let’s not forget Seán Keany as the Narrator. He was like the ominous force throughout the show, keeping the tension high, and his voice and delivery made the entire thing even more haunting.


Then there’s the music — Blood Brothers has one of the best soundtracks in musical theatre. Songs like “Marilyn Monroe”, “Shoes Upon the Table” and the iconic “Tell Me It’s Not True” stay with you long after the show ends. The live orchestra provided a rich, full sound, adding an extra layer of depth to the production.

Overall, Blood Brothers at the Liverpool Empire was an unforgettable experience. It’s a show that not only has breathtaking music but also hits you with some serious life lessons about family, identity, and fate. If you haven’t seen Blood Brothers yet, make sure you catch it on its 40th anniversary run. You won’t leave the theatre unchanged.