The Bridgewater Hall, Manchester – 28 April 2026
Reviewed by Carla Whittaker
5*****
I will be completely honest walking into this; I wasn’t entirely sure what I was about to get. I’ve never watched Strictly Come Dancing, so I didn’t have that built-in buzz that clearly filled most of the room. There was a tiny part of me wondering if I’d feel like an outsider, or whether the whole thing might lean a little too heavily into Strictly territory. But then again, a night at The Bridgewater Hall which is one of Manchester’s most stunning venues paired with a live show was something which I was never going to pass up. Within minutes of the curtain rising, any hesitation I had completely melted away.
From the very first note, the live music takes hold and doesn’t let go. Tom Seals and his band open the show with a richness and vibrancy that instantly transforms the atmosphere. There’s a depth to live music that you just can’t replicate and this was so true for this show, the music wraps around you, pulls you in, and makes everything feel more immediate, more alive and real. The band carry a gorgeous jazz and blues undertone throughout the night, giving each number warmth, texture and real soul. And then there’s Jill Marie Cooper whose vocals, particularly in the second half, are nothing short of breathtaking. Especially the power ballads which left me, and I think the whole room with goosebumps, proper spine-tingling, hold-your-breath moments.
When Aljaž Škorjanec and Janette Manrara step onto the stage, the whole atmosphere shifts up a gear. You can feel it instantly the energy lifts, the focus sharpens, and there’s this quiet buzz in the room that builds into something really special. Even without knowing anything about their background, it’s obvious within seconds why they’re so loved. There’s nothing forced about them. No over-performance, no trying too hard. Their chemistry just is. It’s playful in places, tender in others, and always completely genuine.
Their opening number, Night & Day, sets the tone beautifully. It’s soft and romantic, but never overly sentimental there’s a lightness to it, a natural ease that makes it feel almost effortless. The way they move together is so fluid it’s hard to pick apart where one ends and the other begins. You find yourself completely drawn in without even realising it, like you’ve quietly slipped into their world. It’s one of those moments where everything else fades a little the music, the lighting, the movement all working together to create something that feels quite intimate, even in a large venue.
Aljaž has this understated charm that really lands. It’s in the small things the way he holds a moment, the glance out to the audience, the little flashes of humour that feel spontaneous rather than rehearsed. He makes it all feel accessible, like you’re being invited in rather than watching something out of reach. And then there’s Janette, who is just completely captivating to watch. Her movement is so precise, but it never feels clinical. There’s so much emotion in everything she does—every line, every turn, every expression tells a story. She doesn’t just dance the choreography, she lives in it, and that’s what makes it so compelling.
What really caught me off guard, though, was the scale of what the show actually delivers. It’s so much more than just a collection of dances it feels like a carefully crafted journey through music and time. You move from the elegance of Cole Porter through to the distinctive sound of Kate Bush, with touches of Quincy Jones, The Beatles and Michael Jackson threaded throughout. And it’s done so seamlessly. The medleys are cleverly put together so nothing feels abrupt you’re gently carried from one era to another, one style into the next.
One moment you’re wrapped up in the softness of a traditional ballroom piece, completely absorbed in the romance of it, and then almost without noticing, the energy shifts. Suddenly you’re in something much more upbeat jive, lindy hop, flashes of contemporary influence full of pace, personality and a completely different kind of excitement. It keeps you on your toes in the best way, never letting things feel predictable or repetitive.
What stands out most is how fluid it all feels. There’s no sense of stop-start or separate segments it just flows. Everything connects, everything builds, and it keeps evolving in a way that holds your attention from start to finish. It’s engaging without trying too hard, polished without losing its heart, and full of those little moments that catch you off guard and stay with you long after.
The supporting dancers deserve their moment in the spotlight too. The four-strong ensemble brought relentless energy, precision and personality, tackling every style thrown at them with absolute commitment. You can feel the effort, the stamina, and the passion pouring off the stage which added a real depth and drive to the whole production.
And then there’s the personality woven all the way through it, which really lifts the whole show. The easy back-and-forth between Aljaž Škorjanec, Janette Manrara and Tom Seals brings a warmth you don’t always get with productions like this. It feels genuinely relaxed and natural never forced, never like they’re sticking rigidly to a script. There’s a lovely spontaneity to it, like you’re getting little glimpses of their real personalities rather than just polished performers on a stage.
It’s those small moments the quick jokes, the shared glances, the way they bounce off each other that make such a difference. It breaks down that invisible barrier you sometimes feel in theatre and instead creates this sense that you’re in the room with them, not just watching from a distance. You feel included, like your part of something unfolding rather than something being presented at you. It adds a layer of charm and authenticity that’s hard to fake, and it’s exactly what made the whole experience feel so memorable.
Visually, the whole production just works it’s stylish without ever feeling like it’s trying too hard. The black-and-white aesthetic runs right the way through and gives everything this timeless, almost cinematic quality, like you’ve stepped into a classic film for the evening. It’s clean, elegant, and really lets the detail shine. The costumes especially Janette Manrara’s are a real highlight. From soft, flowing gowns that move beautifully with every step, to more structured, glamorous pieces with intricate detailing, every look feels thoughtfully chosen. There’s sparkle, but it’s never overdone just enough to catch the light and elevate each moment. You can tell that every costume is part of the storytelling, reflecting the mood, the music, and the era being brought to life on stage.
The staging itself is kept relatively simple, but that’s exactly what makes it so effective. It never distracts or overwhelms instead, it frames the performance perfectly. The lighting, in particular, does a lot of the heavy lifting, shifting the mood from soft and intimate to bold and high-energy in a way that feels seamless. It allows the dancers, the music, and the emotion to stay front and centre, while still creating a really striking overall atmosphere.
By the time the finale arrives, there’s this undeniable buzz in the room. You can feel it building throughout the show, and then suddenly it tips over into something really special. The audience are up on their feet, clapping along, moving with the music, completely caught up in it all. It stops feeling like a performance you’re watching and starts to feel like something you’re part of. There’s this shared energy joy coming from the stage and bouncing straight back from the audience and it creates a moment that feels genuinely uplifting. It’s the kind of ending that leaves you smiling without even realising it.
The experience at The Bridgewater Hall itself just adds to everything. It’s one of those venues that makes a night out feel easy from the very start. It’s accessible, well thought out, and the staff are genuinely very welcoming, which makes such a difference. There’s no stress, no faff just a smooth, relaxed experience from walking in to heading home, which lets you properly enjoy the evening without distraction.
What really sticks with me, though, is just how much I loved this without having any connection to Strictly Come Dancing beforehand. It doesn’t rely on that at all it completely stands on its own. It’s uplifting, polished, and full of heart, with so much energy running through it. It manages to deliver those big, high-impact moments while still carving out space for something more emotional and meaningful, and it never loses that sense of fun.
Without hesitation, this is one of the best shows I’ve seen. The kind that leaves you walking out feeling lighter, happier and I already wondering when I can go again because I absolutely would.