Tag: tour

REVIEW: Legends of Irish Music and Song: The Fureys Farewell Tour

Published on by Ross BevanLeave a comment

Rating: 5 out of 5.

The passing of time has done nothing to dull the talent of these Irishmen, absolutely sensational

Embarking on what is being dubbed as their farewell tour, The Fureys took to The Beacon stage and reminded everyone why this theatre included the word legends in the title of this show. With stories as well as songs, these talented Irishmen provided a full rundown of their 48 years as a group.

It is truly astonishing the level of quality this band are still able to play to. If 48 years in the business didn’t give it away, these are not young men, as they acknowledge themselves. They perform as if time hasn’t grazed them and to call what they do a gift would not be overselling anything. It’s not just their singing abilities, which are stellar but their abilities as musicians which sincerely amaze. The speed and intensity with which they play defies logic. The skill with which they apply their craft is not only wonderful to hear, it’s a sight to behold it. It really has to be seen to be believed and blew the audience away. There were moments throughout the evening where the floor was actually vibrating from everyone tapping their feet simultaneously.

Many of the hits from their back catalogue made it into the mix such as The Red Rose Café and The Grand Affair to great success. They also sang some of their well-known covers such as Leezy Lindsay, originally written by Robert Burns and even closed with Wild Mountain Thyme, giving the Scottish audience a taste of music from home. The Green Fields of France, a song popularized by the group, was a pensive, emotional moment and deeply moving. Eddie Furey had everyone singing along during Steal Away and From Clare To Here was one of the most beautiful musically. A personal favourite was The Old Man which really struck a chord as George Furey sang of a father/son relationship, the father having passed but how the “memories linger on”. Sweet and sentimental, this was a lovely moment in the early stage of this concert.

The Fureys also treated us to many sections that were purely instrumental and this is where their abilities as musicians shined out the most. These were often fast and furious, gaining momentum and intensity which each passing second. It was as if the 5 of them were in contest with one another, trying to see who could play the fastest. If it was a contest, accordion player Camillus Hiney probably stole the crown. How his fingers were able to move at that speed is a mystery. Perhaps the best moment of the entire night was instrumental and funnily enough, the calmest of all. The piece in question was The Lonesome Boatman. Beautiful, mysterious, enthralling, it felt as if everyone was on a journey together to some distant land. The tin whistle especially helped to create that affect. It was, unquestionably, a standout moment.

Overall, this was an incredible evening! The Fureys are indeed legends of Irish music and this was a testament to that. The band has touched many and it was felt in the audience through their cheers and every song they joined in with. There’s something about Irish music that makes you feel it in your bones, makes people feel present and The Fureys did that. 

REVIEW: Horrible Histories LIVE (AND DEAD)! – The Concert

Published on by Ross BevanLeave a comment

Rating: 4.5 out of 5.

Whether you grew up with it or are being raised with it now, Horrible Histories is perfect for all ages

There was real buzz in the air of the Theatre Royal as fans young, old and in-between gathered for Horrible Histories: LIVE (AND DEAD)! – The Concert. Based, of course, on history but also the original works by Terry Deary, Horrible Histories has been an ongoing television show since 2009 with songs written and composed by Richie Webb. As both band and cast member, Webb is a solid example of the meta, fourth-wall breaking joy this concert offers, much as Horrible Histories always has.

Now, just to get it out the way for anyone wondering, no; this does not have any of those classic original cast members from way back at the TV show’s inception. While that would also be a wonderful opportunity for an event and one many would love to see someday, that’s not what this is. The last thing I’d want is for any original fans to go in unaware and be disappointed. As many know, most of that particular group moved on to do the Ghosts show some time ago, to great success. However, this cast is truly delightful and have an exuberant approach to the work, it really comes across onstage.

The concert is not contained solely to the stage though. The audience are indeed addressed throughout and it’s especially interactive for kids. Singing, heckling, and even pantomime actions are encouraged. Chorus words appear for the songs (although frankly, nobody seemed to need them, other than perhaps the parents who have no idea what’s happening), the audience are asked to assist from their seats in question games and there is an open dialogue between the fans and whoever is onstage at the given time. The main sources for back-and-forth audience/cast interactions are Webb and Richard David-Caine’s Shakespeare, who gives a wonderfully camp performance. Being someone playing a character in a television show for kids doesn’t necessarily equate to someone who is actually good at entertaining them live so David-Caine should really be commended for terrific crowd work. 

While it would be a shame to give away all the songs in store for ticket-holders, it should be noted to pay attention to the cast. Many of the famous monarchs show up in this concert, all thinking they’ll get to perform the final number of the show, thanks to a misunderstanding with Shakespeare. They all get their moments to shine, so if you were hoping to hear from Charles II, Elizabeth I, or perhaps Cleopatra, you’ll be very satisfied. My personal favourites though, had to be The Viking Song (more affectionately known as “Literally”) and without a shadow of a doubt, Boudica. Truly, the excitement was palpable. There’s a great blend of classics and more recent hits so there is definitely something for everyone. 

It goes without saying but Horrible Histories has always been funny. It hasn’t lost that in this transfer to the stage or even all these years after it started. The cast have excellent comic timing and recognise that fun is the most important thing. They understand their job and they execute with maximum efficiency, giving each number, each one-liner, each facial expression 100% in terms of energy, effort and positivity. As a collective, they truly can’t be rated high enough. There are no weak links in this chain.

Now, there is some disappointing news; our host was not, in fact, a talking rat. Yes, sadly, the iconic host of the TV version Rattus Rattus, does not make an appearance. Heartbreaking to be sure and in all honestly, this did lose the concert a few points. Maybe there is an argument for a puppet being onstage the whole time and ruining the illusion of the character for children but damn it, it’s 2026! Surely there could have been a way! With all of that being said, Shakespeare still did a fine job in his role. There is a world in which they could have shared hosting duties, which absolutely could have led to some moments of comedy gold but alas, it was not meant to be. So, a note for the future would simply be this; give us the rat!

Overall, this concert was a huge success with the audience, myself included. It’s really lovely to see that in 2026, not only is Horrible Histories still going but it’s thriving. Many people probably watched those first episodes nearly 17 years ago who dreamed of days like this, where they could see these songs performed live. That day has come and let me tell you, it’s okay to still go if you were one of those kids. If you’re a 20 or 30 something who feels like they need permission to go and have fun, you’ve got it. Indulge yourself! Whether you’re 7 or 27, you’ll have a blast.

This concert’s final tour stop will be Sunderland Empire in Sunderland from Friday 17th-Saturday 18th April.

REVIEW: Choir of Man

Published on by sophieelizabethmorrisonLeave a comment

Rating: 4 out of 5.

Community, crisps and a cracking feel-good time

Do you know someone who would rather go to a pub than a musical? This is the one for them! Nic Doodson and Andrew Kay’s Choir of Man is a feel-good jukebox musical with a heartfelt throughline of monologue about the individual regulars at “The Jungle” pub. Discussing themes of home, community and belonging this piece of theatre really aims for everybody to join them from the audience from the get go. The stage is dressed like a traditional pub, stained glass backdrop behind alcohol, familiar patterned wallpaper and a huge bar complete with pub tables. 

The audience participation element was a great way to get everybody involved as if in an authentic pub, encouraging the original title “public house” meaning all would be welcome. Audiences were invited to join the cast onstage as a pre-show, and then again during the interval. This could get chaotic and busy with so many attendees, so a massive well done to the ushers and staff at the New Wimbledon Theatre. 

The cast members of the show demonstrated their individuality and insane amount of talent from accessing those high falsetto notes, tap dancing at the bar and storytelling with heart and soul through words or song. The friendship displayed was moving, clearly the cast got along both onstage and backstage based on their chemistry as a team of nine. A shoutout to Freddie Huddleston for his movement and choreography skills, especially since he originated the role of “Handyman”, since the orchestration of space and bonds between members echoed through his work. 

The nature of the musical being that of a “jukebox” style, this opened up the floor to those who know British classic community sing-alongs, contemporary ballads and nostalgic songs from pop music past. Jukebox musicals are notorious for trying to bring a contemporary audience in, however this felt more purposeful due to the pub setting and playing songs most likely to feature in that environment for the choir to sing. This also brings a shared knowledge and understanding for audience members, removing the barrier of being a hardcore theatre fanatic and allowing space for those who wouldn’t usually attend musicals.

This was a particularly special night for two community choirs as well, who attended the gala night. They were given the opportunity to sing an acapella rendition of Sia’s “Chandelier” with the cast from the stalls. Experiencing this live was a special moment for all as this was the first of many on tour they were sharing, making the performance even more unique and breaking the fourth wall again to offer up a community in house.

Overall, the amazing talent shone through from cast and creatives and was a fun and relaxing watch. Cheers!

Follow the tour dates here

Credit: Marc Brenner

REVIEW: Dear England at Liverpool Empire

Published on by ayoungishperspective1Leave a comment

Rating: 5 out of 5.


“A warm, Ted Lasso‑style celebration of Gareth Southgate’s England that proves football onstage can be funny, moving and joyfully life‑affirming for fans and newcomers alike.”

I saw Dear England at the Liverpool Empire on the 3rd March, and it turned out to be a warm, uplifting night that completely challenged what I thought football onstage could be. Going in, I found the concept rather interesting as in my head, the crossover between theatre and football was tiny- but I left feeling that the overlap is much bigger, richer and more emotional than I’d imagined.

On the surface, Dear England, written by James Graham and directed by Rupert Gold, is about Gareth Southgate (David Sturzaker) and the England team from 2018–2022. What really comes through is that it isn’t always about winning; it’s about the process, the culture and the people. The show has a very “Ted Lasso‑esque” tone- funny, heartfelt and quietly profound. It sends you out of the theatre seeing the more positive, hopeful side of life and the world. I loved looking around and seeing families, dads and grandads with kids, all sharing the experience together; it felt like the production genuinely bridged generations.

The football sequences themselves were hugely effective. The slow‑motion movement, crowd noise and tense sound design had me gripped, even when I already knew exactly how those matches turned out. I’m not a big football person and have only been to one game in my life, yet these scenes completely pulled me in. The impersonations of real‑life figures were another highlight: I could tell from the audience reaction that many of the player portrayals were spot on, and the Harry Kane impression in particular had the crowd roaring, so hats off to Oscar Gough in his theatre debut role. The ones I did know, like Gary Lineker (including a cheeky nod to his Walkers crisp adverts) felt delightfully accurate.

The show also had a lot of fun with political figures, using them to root the story in recent history. Cameos from Theresa May (complete with her infamous dancing), Liz Truss and Boris Johnson are hilarious, but they also serve as sharp little time capsules of what life felt like in those years. Because the play covers 2018–2022, it’s dealing with a period that is both “just now” and “a lifetime ago”: lockdowns, personal upheavals and national dramas. The way the production weaves these references in really underlines how the World Cup and Euros act as markers in our lives – a point made explicitly in the script when Physio Phil (Steven Dykes) talks about how you tie tournaments to life events: one World Cup you’re dating, the next you’re engaged, the next there’s a baby taking its first steps.

That idea really stayed with me. I found myself reminiscing about where I was during the 2018 and 2022 World Cups, what was happening in my life, and how those tournaments coloured the mood of the country. Seeing those years replayed onstage made me feel unexpectedly patriotic (not something I would usually call myself) and it genuinely made me want to get into football more, to feel that sense of connection to a team and a country. I came away with a huge admiration for Gareth Southgate as portrayed here: a man trying to make the “impossible job” possible by humanising the sport and treating players as people first. The refrain that “football is more than a game” doesn’t feel like a cliché in this production; it’s earned.

Visually and technically, the show is inventive and slick. The use of space and lighting keeps the stage dynamic, with the set and backdrops clearly signalling which players are onstage, where in the world we are, and which tournament or moment we’re in. Real‑life throwback footage and imagery help anchor the story in the specific World Cups and Euros being referenced. I particularly loved the unexpected ballet‑style transitions set to classical music, as well as the more modern dance sections with house tracks; they add texture and energy, and one of the ballet motifs cleverly links back to an anecdote earlier in the play.

Overall, Dear England is a genuinely feel‑good night out that works for devoted football fans and complete novices alike. If you already love the game, you’ll recognise the details and enjoy seeing your heroes and villains brought to life; if you’re more like me and not especially into football, you’ll still find a funny, thoughtful, human story about pressure, hope and belonging. And if you have a football‑mad friend or family member you’d like to tempt into the theatre, this is absolutely the show to bring them to- and, if it’s a sign of things to come, local football fans have more to look forward to, with Everton Football Legends visiting the Empire on the 28th of May.

The show is playing at the Liverpool Empire until the 7th of March, before heading to the Birmingham Hippodrome from March 10th until March 14th . 

Author:
Georgia von Broembsen

FEATURE: Joshua Beaumont and Matthew Emeny for The Production Gardenin association with Exeter Northcott Theatre present “Private Peaceful”

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Joshua Beaumont and Matthew Emeny for The Production Garden
in association with Exeter Northcott Theatre present
Private Peaceful
Based on the novel by Michael Morpurgo
Adapted and Directed by Simon Reade

After captivating audiences worldwide, Private Peaceful returns to the stage for an Autumn 2026 tour with fresh energy and timeless power. 

From Michael Morpurgo – beloved author of War Horse – comes the unforgettable story of Tommo Peaceful, a young First World War soldier. On the eve of battle, Tommo looks back over the events that shaped his life: the warmth of family, the innocence of first love, and the deep bond with his brother that carries him through the horrors of war.

In this acclaimed one-person tour de force, adapted and directed by Simon Reade, a single actor conjures an entire world of characters, landscapes, and emotions. At once heartwarming and heartbreaking, Private Peaceful is both a moving family drama and a powerful reminder of the human cost of war.

Lauded across the globe as an international smash hit, this production now embarks on a bold new chapter.

Author Michael Morpurgo said: “I am continually moved by the way Private Peaceful finds new life on stage. This production captures the tenderness, humour and sorrow of Tommo’s story with great care and humanity. It is a piece of theatre that speaks gently, but stays with you for a very long time.”

The Private Peaceful tour will visit: Exeter Northcott Theatre (8-10 Sept); Lichfield Garrick Theatre (11-13 Sept); Victoria Wood Theatre Windemere (16 Sept); Lyceum, Edinburgh (17-19 Sept); London, venue to be announced (21-23 Sept); Harrogate Theatre (24-26 Sept); Theatre Royal Winchester (28-30 Sept); Hull Truck Theatre (1-3 Oct); Hall for Cornwall (6-7 Oct); Belgrade Theatre, Coventry (13-17 Oct); Malvern Theatres (21-25 Oct); Theatre Royal Wakefield (27-28 Oct); Worthing Connaught Theatre & Studio (11 Nov) and Curve, Leicester (17-19 Nov). 

Produced by Joshua Beaumont and Matthew Emeny for The Production Garden in association with Exeter Northcott Theatre.

Suitable for ages 8+.

REVIEW: Varna International Ballet – Swan Lake

Published on by Savinay SoodLeave a comment

Rating: 3.5 out of 5.

A storybook take on a classic ballet.

Swan Lake is one of the most iconic pieces of ballet for a reason; the score is absolutely faultless. Led by artistic director Daniela Dimova and music director and chief conductor Peter Tuleshkov, Varna International Ballet are a Bulgarian company currently touring the UK. The ballet follows a love story between Prince Siegfried and a young woman named Odette, who has been cursed to turn into a swan. Her curse can only be broken by his love. This is complicated by the machinations of the evil wizard Rothbart, who attempts to trick the prince into falling in love with a woman identical to Odette. The endings to the ballet differ and are often tragic; however, in Varna’s production, Siegfried and Odette are reunited.

The narrative was not immediately clear throughout the show, nor did the presentation of the narrative feel like a priority for the company. The focus was instead on the choreography. However, even to the untrained eye, several moments in the show stood out: the princesses’ solos, the first duet between the prince and the Black Swan, and the performance of the jesters, who injected such joy and whimsy into the show and proved instantly charming.

Asya Stoimenova’s set and costume designs created a storybook effect. The framing device at the start of the show features the prince reading a storybook by the lake. The costumes, with their highly saturated colour scheme and theatrical flair, worked alongside this design and helped to create the impression of watching a story unfold.

There were a few elements of the show that did not entirely work. At various points, the projections decorating the back of the stage were distracting and baffling. They had a grainy quality and often undercut the rest of the production. While the intention of most of the projections was clear, the execution felt unsuccessful, with certain choices such as the owl flying towards the screen at the end of the opening remaining confusing. Another factor that detracted from the show was the orchestra, which felt muted and was occasionally difficult to hear, impacting the effect of some of the ballet’s biggest moments.

Whilst the show was not perfect, with moments where dancers appeared out of sync and some design elements fell short, it was nevertheless a pleasant and enjoyable evening. As a first experience of watching ballet, it’s definitely left me wanting to see and experience more.

C: Lovett Logan

IN CONVERSATION WITH: Julia Taudevin

Published on by Ke MengLeave a comment

We sat down with Julia to talk about her latest play Auntie Empire premiering at Manipulate Festival.

1. You’ve described this work as absurd and rambunctious. At what point did you know this story needed to be told through comedy?

The idea began in 2019 in a Summerhall lab. The audience for that scratch found Auntie hilarious. The idea then went through a number of different developments – firstly in a short film which I co-directed with the brilliant Niamh McKeown, then in a traditional play structure through the Traverse’s Creative Fellowship programme they run with IASH, then a devising phase  with Jordan & Skinner. But with Tim Licata as Bouffon director the show found its true comedic voice. I’ve heard it said many times that Britain is beyond satire. 2026 has started with news that exposes the Imperialist agenda of our liberal Democracies. Although that is a hard reality to face up to in our daily lives, it does appear to have opened the door to political satire being a welcome form once again.

2, The show has already lived several lives — as a short film, pop-up performances, and now a full stage premiere at Manipulate Festival. How has Auntie changed as she’s grown?

What is most exciting about teaming up with Tim is the access his expertise has given me to bouffon as an art form. The bouffon is a character and is an extension of the performer/creator. That bouffon then creates other characters as they satirise the powerful. So thanks to Tim I now play several characters in the show: Auntie Empire, who is my characterisation of the personification of Great Britain, Britannia; her parents, which in my story is England and Scotland, and a bouffon which is a version of myself the artist. It is a quite, quite different show from the work in progress we shared at Summerhall during the Edinburgh Festival last year.

3. Auntie Empire feels especially timely, but it’s also rooted in long-standing myths. Why do you think this figure needs confronting now?

Auntie Empire is massively informed by my experience of facing up to my culpability as a Brit. The character  is inspired by Britannia whose footsoldiers literally beat the Gaelic language out of my elders on the isle of Lewis in the early 20th century. She’s also inspired by the Britishness that I believed was all that was great and good growing up in expatriate Indonesia. She is both inspired by the likes of Bake Off and Britain’s Got Talent and the various personalities currently in and recently departed from the Royal Household. I want us to see that even though the British Empire might be considered a thing of the past, the values and benefits of that shameful and horrific period in history are still alive and well today – in us. 

4. Audience interaction is a big part of the show. What kind of relationship are you hoping to build with the people in the room?

The audience plays a huge role. In all our work in progresses and trial shows we have found the audience fun and full of surprises. I take good care to make sure that everyone who participates in the active participation moments have consented to do so, but really the show only works with an audience. And therefore every show is completely different because as the saying goes, there’s nowt queer as folk. So although the show knows what it needs to do, I don’t always know what an audience wants to do in it! The relationship between us is playful, consensual and challenging. 

5. When audiences leave Auntie Empire, what do you hope lingers with them the longest?

I hope they leave having had an absolute blast. It is so silly and so much fun. But I also want them to leave feeling unsettled and looking at themselves and each other in a new light.

For listing info, please visit: https://www.disasterplan.co.uk/whatson

IN CONVERSATION WITH: Fern Wareham and Rachel Maffei

Published on by Ke MengLeave a comment

Coalesce Dance Theatre’s latest production, Mika and the Polar Bear, is an imaginative and unforgettable journey into the wonders of our natural world, with friendship, compassion, and the power of hope at its centre. We sat down with Rachel and Fern, the founder of Coalesce Dance, to talk about it. 

Mika and the Polar Bear was created in direct response to the climate crisis. What was the first spark for this piece?

    We were interested in developing a show that was a suitable and interesting alternative to a traditional English pantomime. We wanted to be able to offer theatre spaces a non-traditional show, that although being winter themed, could appeal to a really wide audience. We definitely knew we wanted to make another children’s show with climate themes, as this is a huge part of our Companies identity. Although our past show The Old Green Time Machine was really successfully in library and rural touring, it began to have outdated research and approaches. This was really what sparked the early conversations for Mika and the Polar Bear.

    The show is designed for audiences of all ages. How do you approach making work that speaks to children?

    All the work we make for children and young people begins with something called co-creation. This is where we basically work with groups of young people to help formulate ideas and elements that might exist within the work. They help develop the story, the characters, and the overall world that we develop for this story to live within. This process tests how children and young people want to interact with the ideas, ensuring the choices we make further down the line are informed by their needs and wants. By centering children in the process, the work we produce ends up being more successful, suitable and something that young people want to engage with. We believe it’s really important to try and make the show with their perspective of the world at the very forefront of our decision making.

    Mika is swept into a constantly shifting world. What does movement allow you to express about uncertainty that words might struggle to capture?

    Movement is a universal language. It’s used to express feelings way before we have the skills of language and words. Sometimes movement allows us to communicate on a really intrinsic level. We can communicate really complex and strong emotions and feelings just by using our bodies. It can be understood by both children and adults because it strips things right back. Everyone understands what a hug is. We don’t need words to explain what’s happening. Proximity, touch, and physical expression is sometimes so powerful, if you were to use words you would be saying the same thing twice.

    Alongside performance, you run long-standing programmes like DanceConnect and Coalesce Youth Dance. How do those relationships with young dancers feed back into your creative work?

    This year four young dancers from our Youth Company have made the transition to our youth advisory board, which was formed in early 2025. This youth boards helps The Coalesce Board of Trustees by offering youth voice for company direction and decision making. They are able to provide unique perspectives and understanding that ultimately supports and guides the company. This shift has had an incredibly positive impact on the last production we made Threads, as well as informing plans for future productions. This also provides those young people with more creative opportunities to learn about the sector, through organisational development meetings, shadowing and mentorship during projects. The youth board will be joining us during production week for Mika. Catch their takeover on social media!

    As lecturers as well as artists, what do you feel is most important to pass on to the next generation of dance-makers right now?

    We are still seeing some of the fall out from Covid on the young people we teach. Low self-esteem and confidence is a really prolific issue. Mental health and wellbeing is a really important part of what we advocate for in our practice. Taking care of your mind, as well as your body, and surrounding yourself with positive people who affirm you is so vital. We hope to provide spaces in all the places we teach dance that are safe, welcoming and filled with joy. We want young people to find dance as a vehicle through which they can grow and develop with confidence and support.

    Mika and the Polar Bear tours to Leeds, Burnley, Ellesmere Port, Oxford and Z-arts this spring. For tickets see: www.coalescedancetheatre.com/dates

    REVIEW: The Legends of American Country

    Published on by Ross BevanLeave a comment

    Rating: 4 out of 5.

    Toe-tapping hits with a band that makes all the difference

    The Legends of American Country, promoted by JMG Music Group, offers a lively and well-crafted celebration of American country music, providing an engaging opening to The Beacon’s 2026 programme. Touring across the UK and Ireland, the production presents itself as both accessible and enthusiastically executed.

    The show delivers convincingly on its promise, paying tribute to some of the most influential figures in the genre, including Patsy Cline, Tammy Wynette, Kenny Rogers, Darius Rucker, Shania Twain and Dolly Parton. The setlist is carefully curated to balance iconic anthems with well-loved classics, ensuring broad appeal. Songs such as The Gambler, Country Roads and 9 to 5 are instantly recognisable, making the performance equally enjoyable for long-time country fans and those less familiar with the genre.

    Among the highlights of the evening was Islands in the Stream, famously performed by Dolly Parton and Kenny Rogers. Delivered by Jim Devine and Tracey McAuley, this duet was particularly well received and stood out as one of the strongest moments of the performance, capturing both the warmth and familiarity associated with the song.

    As the sole female performer within the trio, Tracey McAuley carried the responsibility of representing a wide range of female country icons. She rose to the challenge with confidence and versatility. While the Dolly Parton and Shania Twain numbers generated significant audience energy, her rendition of Crazy, written by Willie Nelson and popularised by Patsy Cline, was especially effective. Her vocal tone suited the song’s relaxed style, demonstrating that the quieter moments of the programme were among its most impactful.

    Jim Devine brought a commanding stage presence and a clear enthusiasm for the material. His performance of Rhinestone Cowboy was a standout, marked by vocal strength and strong audience connection, contributing to one of the most enjoyable moments of the evening.

    Despite noting health issues during the performance, Justin McGurk delivered a commendable contribution, with Tennessee Whiskey emerging as one of the highlights of the night. His professionalism and vocal consistency ensured the overall quality of the performance remained high.

    The production was significantly enhanced by Keltic Storm, the accompanying live band, whose musicianship elevated the show from a tribute performance to a full concert experience. Their contribution added depth, energy and authenticity throughout. Particular praise is due to lead guitarist David Kee, whose performance was technically accomplished and visually engaging, complementing the show’s aesthetic with seamless transitions between electric and acoustic guitar.

    While the production was highly entertaining, one minor observation concerns the stylistic expectations of the genre. Country music is often associated with a distinctive vocal “twang”, which appeared less prominently than anticipated. This, however, remains a minor personal critique within an otherwise strong and cohesive performance.

    Overall, The Legends of American Country is an enjoyable and well-executed tribute that captures the spirit of the genre through a strong setlist, committed performers, and exceptional live musicianship. The trio successfully honour the legacy of country music’s most recognisable figures, while the band elevates the production to a higher level of theatrical concert performance.

    For Tour listing, please visit here.

    FEATURE: MJ Musical Hits Its Stride at the Prince Edward as UK Tour Looms

    Published on by ayoungishperspective1Leave a comment

    On a packed media night at the Prince Edward Theatre Wednesday 15th October, MJ confirmed its extension in the West End until 28 February 2026 and will start an international Asian tour from October 2026 before a newly announced UK tour in 2027.

    Lynn Nottage’s book wisely frames the action around a single high-pressure rehearsal window, a device that frees Christopher Wheeldon to direct and choreograph the pop icon’s life journey as well as his psychology. The show illustrates its unique pulse through the drilling of counts, the calibration of a toe pivot, and even the quiet breath caught before a lighting cue. The show machine operates to the fullest when Derek McLane’s spectacular set kicks in with Natasha Katz’s razor-edged lighting, Gareth Owen’s thrilling sound design as well as Peter Nigrini’s kinetic magnificent projections.

    As MJ, Jamaal Fields-Green manoeuvres each detail, such as the delayed exhale at the end of a phrase and the way a gloved hand “clicks” the air. He also finds space between homage and impersonation, letting vulnerability leak into quiet exchanges with journalist Rachel (Philippa Stefani) and his Motown mates. Mitchell Zhangazha’s Michael anchors the memories, while Matt Mills brilliantly doubles as Joseph Jackson and Rob.

    Crucially, the show doesn’t argue the case for Michael Jackson so much as it mainly focuses on reconstructing his working conditions. Over 25 songs (“Billie Jean,” “Beat It,” “Smooth Criminal,” and beyond) does a brilliant jukebox re-enacting the tempo, the staging angle, the emotional exhilaration. 

    For West End audiences, the extended run means there will be more time to catch the production. In the meantime, for theatregoers outside national wide, it will be a rare opportunity to enjoy such a gem through its announced UK tour. 

    The production also confirmed its first international Asian tour, visiting major cities worldwide over its initial two-year run. Further details for both the UK and Asian tours will be announced in the coming months.

    Tickets, info and listing can be found here.