The Rocky Horror Picture Show plunges its audience into an interactive rock and roll musical that captures you with its pulsating music and nonsensical story. The Opera House gets you up close and personal with the characters that carry a sentimental fan base for its original 1973 stage show, and it’s 1975 cult film starring Tim Curry. The long-running production has taken on a life of its own with a deeply satisfying walk on the wilder side of theatre. Its sprightly storyline follows the newly engaged Brad (A1’s Ben Adams) and Janet (Strictly Come Dancing professional Joanne Clifton) who stumble across a secluded castle after getting caught out in a storm. Having found the castle's owner, Dr Frank-N-Furter (Stephen Webb) the two are invited to watch the scientist unveil his latest creation, a man by the name of Rocky. Written by the original Crystal Maze master, Richard O’Brien the horror/comedy parodies science fiction B-movies with vigour. With an unnecessarily confusing backstory riddled with quirky characters and hammy acting, the glam rock musical takes the B-movie status up three more points. Running as our personal guide, Coronation Street’s Beverley Collard takes on the role of narrator and takes on the weight of the audience’s abuse. Playing through the sights and thoughts of our heroes, Collard must counter the one-liners hurled at her by the audience. Like a reverse improv show, the live crowd are encouraged to say lines while the actors are attempting to speak them, fling jokes at the cast and dance to the Time Warp. Considering the unforeseen obstacles the show creates for its actors, it is diligently performed alongside the lively audience and live band. Webb especially has a strenuous role of nonstop footwork performing the hits Sweet Transvestite, and I Can Make You a Man back to back in heels. A chilly, dark colour pallet sets the scenes for the scientist’s affairs, leaving the props and costumes to brighten the Opera House stage with cardboard cut-out cars and shiny computer gizmos. The costumes shaped by the shows original stage and film designer, Sue Blare styles the cast in sparkly dresses, leather corsets and birthday suits. Throwing everything and the kitchen sink into its story, The Rocky Horror Picture Show highlights that the philosophy “more is more” can work onstage. Transfixing audiences with a monster mash of catchy sing-along tunes in an all-inclusive story, the night of debauchery with Dr Furter will bring buried desires out onto the open in an alluring piece of British rock royalty that remains as original as its initial release. TheRockyHorrorPictureShow #Manchester TheOperaHouse

Ex-Drifter Roy Hemmings has merged three American labels to mix a concert overspilling with a soulful sixties sound. The RnB admirer brings hit records from Motown, The Sounds of Philadelphia and Stax Atlantic’s for audiences to rediscover a catalogue of classics that continue to be sampled, covered and remixed by new artists. Crafting the show around iconic songs that capture the crowd, Hemmings has positioned himself as an admired resident of the rhythm and blues scene. Since the Drifters originated in 1953, there have been dramatic changes in their line-up, including sixty vocalists that have taken on the turbulent mantle of membership in its original and splinter groups. Having worked for over a decade as the longest-serving member, together with the groups second longest standing member, John Moore, Hemmings’ solo show is a joyous celebration of the genre he loves. Opening the production with sixties glamour and spirited vocals, the group the Love Supremes kicked things off with a rapid collection of Motown songs to get the crowd in the dancing spirit. After introducing Hemmings, the four performed their own covers of What Becomes of the Broken Hearted and (Your Love Keeps Lifting Me) Higher and Higher. With the choreography to match, these Supremes offered familiar routines to match Hemmings timeless selection. Synchronising their arm swaying and finger clicking dance moves, the playful touch of sixties nostalgia brought choreography fresh from the legendary Motown training camps. Despite clearly being at home with his mix of sixties soul classics, Hemmings finds time to offer audiences the Drifters storytelling seventies hit, Like Sister and Brother. Harmonising with his three backing singers, the now solo star brings a polished and warm stage presence to his established performance. Traditional in his take of I’ll Be There and a Drifters tribute to band member Ben E. King, the carefree energy and laid-back atmosphere encourages audience participation that feeds into the feel-good concert. Radiating from the Lowry stage in his sparkling silver suit, Hemmings features a few of the love songs included in his album Philly vs Detroit. The tracks Me and Mrs Jones and Love Train by Gamble and Huff highlight the enduring songs from the Sounds of Philadelphia writing duo, known for defining the sound of their city. Arranged alongside a live six-piece band and amped by the doo-wop backing singers in matching getup, the show continues to increase in energy. By the second half Hemmings and the Love Supremes have been through three costume changes and a six-piece, all-female string band named the String Infusion has been added to the stage. Capturing the memorable moments of Motown and showing the crossover appeal of soul music with songs covered by Marvin Gaye and Lionel Richie, Hemmings elates the audience with his nostalgic revivals. The Sounds of Philadelphia and Motown offers tasteful renditions of fan favourites from the seasoned professional. It is a show that finds solace in RnB and reminds its audience why the soulful heavy hitters continue to haunt us decades after their release. This review was originally written for Frankly My Dear RoyHemmings #Manchester TheLowry

This review includes spoilers Immersed in longing and nostalgia, The Band reinterprets the music of Take That to tug on the heartstrings in a story surrounding friendship and loss. We follow five sixteen-year-old girls in 1993 on the cusp of young adulthood, with little distinguishing them from your average teenage group, apart from having better comeback lines and one black friend. Fortuitously that friend, Debbie (Rachelle Diedricks) wins a radio contest allowing the five teens to watch their favourite boy band perform in Manchester. Unfortunately, like a 90’s horror flick, she does not survive past the first 20 minutes of the show and the feel-good pop vibes of the remaining four pass them by with their youth. We revisit the girl's, twenty-five years later having gained grown-up problems and lost touch. Luckily for the remaining four, Rachel (Rachel Lumberg) is able to score four tickets to Prague, and the girls are content with the prospect of reuniting over their favourite boy bands reunion tour. Throughout their fraught connections and new dilemmas, The Band features the music of Take That as their personalised soundtrack but never name the group on stage. Boy band, Five To Five feature either in concert mode or as the girl’s spirit guides, popping up and out of props throughout the show. For the inbuilt audience who are going to hear the music of Take That performed on stage, the collection of countless hit songs from Britain’s most successful boy band will not disappoint. You can place any band name into the blank space the group represents so you don’t have to be a fan of the original to enjoy this heart-warming narrative. It's easy to get sucked in with its 4D theatre theatrics throwing smoke and confetti directly into your face, encouraging fans to light up the sky with their phone screens and singalong. Tim Firth’s original story holds a candle for the fans who continue to hold a candle to their favourite junior jams. In an entertaining and appreciative celebration to pop bands and their followers, this sweet northern tale feels familiar and relatable. Having co-written the stage and film productions of Calendar Girls, The Band echoes Firth’s past work. The production balances nostalgia and sweet performances with a strong catalogue of songs. While the narrative may be riddled with cliches, there are enough original elements to stop the show from becoming a jukebox musical that does little more than replace the dialogue with a popular track. Here the mix of uplifting songs, snappy choreography and clever set pieces create a colourful, fast-paced production. The show wades through smaller personal scenes and grand concert sets, directed by Kim Gavin and Jack Ryder, to play out a light-hearted narrative for its Lowry audience. The BBC contest winners of Let It Shine, AJ Bentley, Curtis T Johns, Nick Carsberg, Sario Solomona (replaced by Harry Brown in this performance) and Yazdan Qafouri, play out the soundtrack with energetic performances that mirror Take That concerts. Although the story focuses on its female cast, Curtis shines leading a slower performance of Rule the World. Singing in silver trench coats, posing as TSA staff and striking statuesque poses, the show delivers a sentimental and fresh take to its hardcore legions of Take That devotees. There are bright performances of fan favourites Patients, Flood and Greatest Day, with some songs edited to offer a new spin into the mix of the turbulent storyline. In a gesture of love to the fans, The Band brings a surprising hit that continues to rise in the musical arena and will soon be taking to the West End. Hopefully, the tale will relight the fires of all the fans it was created for. #TheBandtheMusical #Manchester TheLowry

Set in 1931 during the rise of the Nazis, American author Cliff Bradshaw (Charles Hagerty) finds his inspiration, losing his inhibitions in Berlin’s seedy Kit Kat Klub. A timely encounter sees Cliff connect to the world of the cabaret, smuggling and the spread of Nazi propaganda that is bleeding into everyday life. The confrontational musical is threaded together through the cast in the club and Cliff’s boarding house owner, Fräulein Schneider, who falls for Jewish fruit shop owner, Herr Schultz. The black, dreary backdrop is uplifted by the alluring lights of the Kit Kat Klub, where boundaries are blurred. The live band brings a sharp score, with catchy lyrics that seduce despite their nightmarish undercurrents of fascism, racism and passive oppression. The dehumanising and cutting conclusion of If You Could See Her is just one of the examples of the production blending its superb staging, casting and commentary together. The Kit Kat Klub messaging is loud and clear. The shows striking production lays inventive props, terrific choreography and glitzy dancers to remind its audience that it is all about spin. Emcee, Will Young softens systematic oppression, despite leading an institution that centred around Otherness. The plucky Sally Bowles, played by Louise Rednapp was not as convincing teetering between fragility and rebellion. Rednapp’s performance felt stiff when not carrying out a choreographed number. The larger than life Sally is not an easy character to portray but scenes in which Rednapp is forced to perform whilst sitting on a bed and missed lines during her final number did not help. The show sandwiches the familiar hits like Money and Mein Herr between songs such as So What? and It Couldn’t Please Me More, for the second storyline that runs between Fraulein Schneider and Herr Schultz. Susan Penhaligon and Linal Haft bring a grounded element of honesty to the production with their old school charm and earnestness. There is much to love in Bill Kenwright’s production. Fundamentally, Cabaret is about its audience. It speaks to the dangers of Groupthink, detaching yourself from the truth and turning a blind eye to bigotry. Rufus Norris’ direction makes you feel uncomfortable, involved and engaged in the performances. Its retelling is a relevant reminder to its audience that we should continue to think critically and check our own moral compass in a world awash with fake news and alternative facts. Cabaret #Manchester TheLowry

What do Disney’s Frozen, La Boheme and Wizzard have in common? They each feature songs included in the Bridgewater Halls Christmas Spectacular. In a show that promises to stuff your stocking to the brim with Christmas carols, conductor John Rigby leads the audience through an impressive display of relentless Christmas cheer. The Manchester Chorale delve into a varied program of Christmas classics that are beautifully blended with the Manchester’s Concert Orchestra. While both the orchestra and chorale remain on stage throughout the program, special guests included Anna Patalong and Nico Darmanin, singing the final act of La bohème and The Jingle Belles dance troupe. The traditional carols and classical music are fused with familiar pop hits performed with the talented Laura Tenbutt. Laura is known for lending her voice in West End productions (The Wizard of Oz and Les Miserables) and alongside the incredible orchestra, the second act encouraged far more audience participation. The audience were forced to their feet, as each seating section of the hall were asked to recite the 12 Days of Christmas along with a movement for their day. Even hardened Grinch’s will be forced to succumb to the Christmas spirit. Awash with energy and colour, the shows positivity was mirrored in the Jingle Belles performances. The group consisted of two men and six women who were onstage sporadically. Although, the Bridgewater Hall is a large space, it’s orchestra and carollers were a permanent fixture and it was a tight squeeze for the Belles. Impressively they moved from the waltz, to hand jive (hanging off the edge of the stage) and eventually dancing out into the audience. It was a heart-warmingly cheesy additive to the traditional show. However, I recommend they add a Santa clause as he was oddly missing amongst the fleet of Mrs. Claus’s. The Christmas Spectacular brought a timeless vision of Christmas, designed to get you ready for the main event. To complete the program, fireworks were set off during the final routine of I Wish It Could Be Christmas Everyday. These turned out to be too fiery as they eventually set off the fire alarms to the building. Nevertheless, this is a Bridgewater production that plays annually so if you want to be inundated with Christmas carols I suggest you put a note in your diary for next year. ChristmasSpectacular BridgewaterHall #Manchester

Her majesty's secret service offers great protection and even greater music. In a show that delivers back to back James Bond scores, the Bridgewater Halls, An Evening With 007 highlights one of Bonds most remarkable and recognisable assets. The talented Hallé orchestra accompanied by conductor Stephen Bell feature a smooth array of music including, From Russia With Love, Quantum of Solace and Live and Let Die. The evening of espionage also celebrates the immersive sounds of the British hero with classic Shirley, Tina and Adele titles. Performed by guest vocalist, Alison Jiear, the immensely charismatic singer belted songs such as Skyfall with impressive power, flirted with the conductor and even had time for a costume change during intermission. Bonds theme tunes are instantly recognisable, but a few lesser known titles were also featured. Both guest vocalists, Jiear and Matthew Ford were brought on stage to duo Another Way To Die, originally performed by Alicia Keys and Jack White. A cover of Duran Duran’s A View to Kill was revived and an instrumental version of Sam Smiths ballad, Writing’s On The Wall was performed from Spectre. Writing’s On The Wall is the only Bond theme tune to reach number one in the U.K. charts with even Adele’s Skyfall and Duran Duran’s A View to Kill peaking at number two. The concert features an incredible array of classics and after hearing the pieces back to back, you begin to recognise the familiar pattern that makes a Bond score so distinctive and memorable. Even with unknown tracks, you can appreciate the orchestra’s intensity and passion that create a mood both young and old can appreciate. The Hallé perform throughout the year at the Bridgewater Hall, offering other classical musical medleys and sometimes Duran Duran. #007 TheHallé #Manchester BridgewaterHall

The Russian State Ballet of Siberia retells the tragic tale of Prince Siegfried, a magician and Princess Odette, with the Bridgewater Hall playing host to this stripped back production directed by Sergei Brobov. In a tale that is ultimately about innocence, passion and plotting, the cast spotlight a romance that has captured the attention of hard-core ballet fans since 1877. Accompanied by the Orchestra of the Russian State Ballet, the show embraces a limited number of props and special effects. Whittling the production down to focus on the dancer’s connections, hypnotic movements and detailed choreography by Marius Petipa, Lev Ivanov and Alexander Gorsky. The twelve-piece orchestra pushes the narratives intensity and energy, with familiar classics such as Dance of the Little Swans impactfully performed alongside its prima ballerina. Based on a German fairy-tale, we follow Prince Siegfried as he falls in love with Princess Odette. Odette explains that she is under the spell of Von Rothbart, spending her days as a swan and her evenings in human form. The next day during a celebration for Siegfried in which he is presented with potential princess’s he is spellbound by Von Rothbart’s daughter, Odile, who appears to him as Odette. While he proposes to the imposter, Odette watches from the window but is spotted as she runs away. After Siegfried chases after her and fights for his true love, the Prince is defeated by Rothbart and engulfed by the lake, leaving his love cursed forever. The Russian State Ballet of Siberia has hardened this classic and deliver an elegant but unusual ending to the tale. The Bridgewater Halls false proscenium houses a production that switches between three projected images that appear to have been lifted from the British game show Knightmare (1987). The set has limited movement as it maintains focus on the story, and apart from the lake sequences, in which the river moves alongside the herd of swans, it is stilted in its framing. The show builds from the traditional costumes and its powerful orchestra, however, after setting the scene in Act 1, it takes a minute to become absorbed in the dreamlike world that inhabits the story. Fancy footwork aside, the production only offers three projected landscapes and the first of which is dramatically inept. The presence of the prima ballerina is haunting but to build to her sequences takes a lot of patience. The dual role of Odette / Odile is clearly challenging, and its ensemble swans are technically gifted and thrilling to watch. Tchaikovsky’s will always resonate with its audience so if you have never seen a production of Swan Lake, its fantastic score is enough to move you through. The Russian State Ballet of Siberia brings a strong company that focuses on the craft. But based on its entirety, two of the acts take far too long to find the right tone and reach their dramatic peak. Technicality alone was not always enough to carry a scene that lasted over 20 minutes, but this was mostly due to the lack of theatrics. TheRussianStateBallet #SwanLake #Manchester BridgewaterHall

Don’t call it a comeback. After a decade-long wait, Chris Rock has hit refresh and returned to the U.K. with his latest stand up tour, Total Blackout. Rock’s return to form has apparently been made possible by his divorce as he brings the personal and the pain of his life on show. It is a late starting performance, but you are recommended to arrive early due to the Manchester terror attack (May 22, 2017) that has seen a boost in the arena's security that now runs three layers deep. After checking tickets and going through metal detectors, an added Yondr pouch is provided to ensure the concert is a mobile free zone. Fortunately, there was no need to keep track of the time or entertain yourself before the show starts. Instead, compere Jeff Ross kept the audience focused on the funny, introducing two American warm-up acts, starting with The Daily Show contributor, Michelle Wolf. Anthony Jeselnik’s slow delivery brought an easy listening arrogance before the Roast Master General, Ross (known mainly from the Comedy Central series) brought up a handful of brave/drunk volunteers to be insulted directly onstage. Then it was time for the main act. With a sign behind him stating Comfort Is The Poison, Rock brought a familiar feel to his new circumstances. With topics switching from religion, politics, family and dating, the show felt like a fleeting moment. Rock apparently even had the time to Google Moss Side (or Mose Side according to him), comparing its troubling streets to the startling deprived corners of Jamaica. You shouldn’t review jokes and comedy is very much a personal preference, but anyone familiar with Chris Rock's work will not be disappointed with his latest show. His tone of voice hasn’t changed, and you can sense where he is taking you when he tackles topics like relationships. Specifically, how to keep a relationship going, which is in line with his observational humour. Rock’s comedy shows have never been highly political and here his focus on entertainment in line with his ethical issues (bullying, porn and Trump) are segues that swiftly circle back to himself. Regardless of the reasons for his new specials, I’m thrilled he’s back. Chris Rock is made for the stage. It has fashioned some of his most personal and memorable work. Total Blackout is old-school comedy at its best, with no projectors, props or facade needed. ChrisRockTotalBlackout #Manchester #ManchesterArena

"Get thee to a nunnery." The Royal Shakespeare Company (RSC) have uprooted the Bards longest running play to deliver a contemporary take on the tragedy. In a rich tapestry that combines African, Caribbean and British culture, Simon Godwin successfully reshapes Hamlet in a bright and unexpected direction. Hamlet returns home from studying abroad to discover his father has died, his mother has remarried his uncle, and his girlfriend is ghosting him. His father’s ghost then appears, revealing that his treacherous uncle Claudius has, in fact, murdered him. Despite seeking vengeance, the young Hamlet struggles with his decisive and divided mind that eventually leads him down a destructive path. Paul Willis has designed a stylish set that mirrors Hamlet’s tumultuous attitude. With a looming Tetris labyrinth as the shows main background, props are lowered, walls removed, and hidden depths are revealed. The Lowry’s Lyric Theatre shapeshifts from solid black backdrops and deep red spotlights to sherbet splattered graffiti walls. But as Hamlet hovers between truth and illusion, the wooden, natural props and live African percussion keeps the audience firmly grounded. Embarking on a spiritual journey, the script has been streamlined to focus on the characters motivations, leaving Claudius’ military regime on the back burner. The show flows better for it. Paapa Essiedu achieves a relatable and likable Hamlet whose performance exposes more to the audience through each passing soliloquy. The impressive cast also includes Clarence Smith (Claudius), Buom Tihngang (Laertes) and Mimi Ndiweni (Ophelia) who each carry physically demanding and emotionally draining roles. The shows modern twists keep tensions high and the comedy fresh. From its paint-splattered framing to its boombox carrying prince of Denmark. The RSC takes bold choices that are richly rewarding to watch and keep the audience engrossed throughout its 180-minute production. Hamlet is available to watch on Prime Video with MarqueeTV Hamlet #Manchester TheLowry RoyalShakespeareCompany

Gecko’s latest production is a disturbing and eccentric piece of physical performance art that focuses on issues surrounding men’s health. Institute confronts the breakdown of relationships, career pressures and death with an intense and almost unspoken production. In our increasingly disconnected and fractured lives, the rate of male suicides have increased and statistically moved men to become three times more likely than a women to take their own lives. Women are seen to have better support systems in place, whilst also being more open and honest about their problems. Anxiety and depression remain largely ignored and contained by men despite their overwhelming effects. Institute confronts and challenges these stereotypes by showing a community of men who are each other’s carers, colleagues and friends. The four performers Lahav, Chris Evans, Ryen Perkins-Gangnes and François Testory draw the audience into a fantastically enigmatic world of sky-high cabinets. While visually daunting, the men use them to compartmentalise their memories, fears and traumas in a controlled manner. A lack of communication, the use of multiple languages and expressive dance recognises the men’s ability to connect on various levels. In contrast, the lacking of any meaningful conversation highlights a progressively noticeable barrier surrounding the men’s lives. Safe spaces and counsellors may not ring as macho terms but the lack of opportunities for these men to find spaces for open and honest conversations leads them to a physical break down. The obstructions created by sky high cabinets that housed everything from work stations to dinner tables, captured a surreal world that darkened the themes of the play. The physical performances were gripping with the dances often used to accelerate the pace and energy for the audience alongside the productions difficult topic. Institute manages to be both moving and entertaining through its use of poignant repetition. It certainly deserves praise for being a brave and ambitious production that serves to provoke a new conversation through movement. Institute #Manchester #HOMEmcr GeckoTheatre

Selladoor Theatre Company have revived the 1986 cult classic, Little Shop of Horrors in a faithful rendition of the Motown-flavoured musical. The original low-budget B-movie plays on peoples’ paranoia and fear of the unknown. Themes that remain relevant in 2016; a year defined by Brexit and Donald Trump’s eerie focus on immigration. The Palace theatre houses the sci-fi/comedy, portraying the down and out New York street, Skid Row. The story sees shy shop assistant Seymour Kreloyne modernise the failing Muskin’s florist after discovering a mysterious man-eating plant. While tending to his new plant, Audrey 2 (named after his co-working crush) Seymour sees his popularity rise alongside his ever-growing carnivorous plant. Selladoor Theatre Company is the troupe behind Avenue Q; an adult Sesame Street-like show with a precedent for eye-catching props, strong vocal performers and catchy crowd pleasing tracks. Similarly, the cast of Horrors fly through high-pitched, fast-paced songs with ease. There are fantastic vocal performances by Stephinie Clift, who consumes the goofy and humble Audrey character comfortably. Sam Lupton as Seymour is a multitasker of puppetry and vocals, with a performance that appears to be as difficult as patting your head and rubbing your stomach. While Rhydian as Orin et al was the standout performer whose comical costumes and personas put the production in traditional B-movie mode. With the Audrey 2 puppet controlled by Josh Wilmott and voiced by Neil Nicholas, the expectations of another runaway success of Avenue Q should be on Sell a Doors steps. Unfortunately, while an ever-growing man-eating, alien plant is visually impressive and exciting to watch, the music arrangement was often muddled and difficult to decipher. For a musical containing twenty-one songs, it was disappointing that any performance covered by more than one person was indecipherable and saved only by its likable cast and striking visuals. SelladoorProductions #LittleShopofHorrors #Manchester PalaceTheatre

This triple Tony Award-winning, feel-good comedy is aimed at the failing generation or anyone who has struggled to find their purpose in life. After completing his BA in English, Princeton is ready to discover what life has in store for him. His first move is a new apartment on Avenue Q, an outer-outer borough of New York City. We follow Princeton’s blossoming relationships with the Sesame Street-esque puppets Rod and Nicky (resembling Bert and Ernie) and Trekkie Monster, a distant relative of Oscar the Grouch. Alongside a range of actors and puppets who play archetypal characters. This is an inspirational musical that deals with racism, anxiety and love in a way that Sesame Street never could. These streetwise puppets are voiced by an extremely talented cast who act alongside their character and play multiple roles. Notable multitasking cast members, Sarah Harlington, Richard Lowe and Stephen Arden voiced numerous characters on stage at the same time. Considering the wider spacing of the Palace Theatre, the production was simple but smart, allowing actors to walk on and assist as a secondary puppeteer or run behind closed doors to get from different corners and levels of the stage. There are plenty of laugh-out-loud moments in this show, which is rated 18+ so be prepared for hits like “The Internet Is for Porn” and “Everyone’s a Little Bit Racist”. Avenue Q features a diverse ethnic cast who are all in on the joke and keep the audience at ease. The shows stereotypical Asian American character, sexism and racist jokes are unlike 2 Broke Girls and Two and a Half Men as it is clear from the start that it is not attempting to be as offensive as possible. Yet, its deliberately kitsch quips and old school comedy can feel a little dated at times. The show has been running since 2003 and one of the main cast of characters on Avenue Q is Gary Coleman (the Different Strokes actor who died in 2010). It makes sense as he is the epitome of the plays essence. A broken adulthood that was abetted by an over stylised, cosy childhood. More importantly you cannot liable the dead. Nevertheless, the bountifully entertaining production is completely inclusive in its running theme that everybody’s life sucks sometimes. AvenueQ #SelladoorProductions #Manchester PalaceTheatre