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PLAYHOUSE THEATRE, LIVERPOOL – UNTIL SATURDAY 8TH FEBRUARY 2025

REVIEWED BY MIA BOWEN

4****

This production has recently concluded its run at the Trafalgar Theatre in the West End and launched its 2025 UK tour at the Playhouse Theatre in Liverpool last night, performing to a sold-out audience. “The Merchant of Venice 1936” is a fresh adaptation of Shakespeare’s controversial play, set in 1930s Britain. Brigid Larmour and Tracy-Ann Oberman, who also portrays Shylock, have reinterpreted this classic work into a compelling and refined adaptation.

Since its premier in 2023, the UK has experienced the sharpest rise in antisemitic attacks in decades. In this context, the play resonates on a deeply emotional level, making it all the more unsettling. “The Merchant of Venice 1936” goes beyond being a mere depiction of antisemitic tropes; it acts as a profound exploration of antisemitism itself. By placing the narrative within the historical framework of Britain’s Fascist movement in the 1930s, the audience is prompted to reflect on modern-day racism. This is no longer a story set in Italy, as Shakespeare originally intended.

From the very beginning, the audience becomes immersed in the performance, joining Russian Shylock, along with her family and companions, as they share a toast at the dining table. Tracy-Ann Oberman excels in her portrayal of the Jewish money lender, bringing the character to life. Oberman delivers a powerful performance as a woman who courageously confronts the daily assaults on her character. She asserts her identity while navigating persistent racism and the continual experience of being treated as an ‘alien’ in society.

The entire cast was exceptional, presenting a range of diverse characters and intertwining stories. Portia’s quest for a suitable suitor added numerous light-hearted and humorous moments for the audience, balancing the seriousness of the play beautifully.

The back wall was effectively utilised to project footage from the events of 1936, creating a chilling atmosphere as it depicted attacks on Jewish homes accompanied by a soundscape of breaking glass reminiscent of Kristallnacht. Additionally, Shylock’s residence was marked with antisemitic graffiti, which added to the unsettling imagery. Throughout the performance, the changes in scenery and backdrop, along with the introduction of propaganda, serve as poignant reminders of this troubling period in history, which, although not far removed, still resonates today.

With Hitler’s ascent to power aligning with the impending outbreak of World War Two, this contemporary retelling offers a thoughtful and engaging blend of uproarious comedy and poignant commentary on pressing issues such as antisemitism, war, and the struggle for power.

Hall for Cornwall, Truro – until 8th February 2025

Reviewed by Kerry Gilbert

5*****

A very special and beautifully crafted play which is still wowing audiences after 40 years!

I was overjoyed when it was announced that Willy Russell’s Blood Brothers would be returning to the Hall for Cornwall. This is the 3rd time I’ve seen this incredible show and I wasn’t disappointed; the story certainly continues to capture hearts and minds. Directed by Bob Tomson and Bill Kenwright, this is a show that will move you, it will make you laugh, and it will break your heart.

Set in Liverpool, it follows the story of the Johnstone twins, separated at birth, and raised in different circumstances by polar opposite mothers. The lives of Mickey Johnstone and Eddie Lyons could hardly be more different. But the pair are drawn together by a strong unnamed bond and their friendship is the foundation on which all hilarity and tragedy is built.

Vivienne Carlyle brings plenty of warmth and spark as Mrs Johnstone and carries the weight of the show with her powerful voice and emotional believability. Sarah Jayne Buckley provides the perfect contrast with the upright Mrs Lyons. She gave a brilliant performance and had the neurotic traits down to a tee. Sean Jones is absolutely thrilled to return to the role of Mickey, the kid from the disadvantaged side of town, and plays the part effortlessly. From him playing the young boy to being recently released from jail and suffering mental health as an adult. The range he showed throughout was mesmerising. His stage brother was played by Joe Sleight who made us all fall in love with his upper class character Eddie instantly. The pair combined were totally electric on stage and you could really feel their chemistry and relationship throughout.

Whilst the first act features lots of comedy, the second act is much darker and Sean Keany, who has been lurking in the background as the ominous narrator, becomes more threatening. He had the eerie, melodramatic part down to a tee and spent most of the time on stage relaying their emotions and feelings expertly. His poem which was delivered at the end was truly the stand out of his performance and gave me the chills. Gemma Brodrick plays the part of Linda, the boys’ love interest and the catalyst for the fate that ensues them. She did a beautiful job at this role and her scene with Mickey in their new home was jaw dropping.

Andy Walmsley’s set design brings the streets of Liverpool to life through an iconic cityscape backdrop and Nick Richings lighting comes into its own with fragmented light mirroring the anguish oozing from the troubled characters.

The songs, written by Willy Russell, contain the most beautiful lyrics and the live band led by Matt Malone, were absolutely wonderful! ‘Marilyn Monroe’ and ‘Bright New Day’ were my particular favourites.

I so wanted it to be a happy ending, but this is a play that begins at the end, so you know from the start what will happen, just not how it will happen. That final scene where they sing ‘Tell Me It’s Not True’ will stick with me for years to come. Every single actor on stage sang the song effortlessly and the pain in their faces felt so real. It was such a powerful ending to a show which deserved it and I don’t think there was a dry eye in the house.

As the play ended, the audience quickly erupted with cheers and a full standing ovation, which was well deserved. Blood Brothers is a Masterpiece and if you’ve not yet been, it’s probably time that you went!

SECOND BEST EXTENDS RIVERSIDE STUDIOS

RUN FOLLOWING PHENOMENAL PUBLIC DEMAND

AS ASA BUTTERFIELD MAKES A CRITICALLY ACCLAIMED STAGE DEBUT 

Now playing at the Riverside Studios until Saturday 1 March 2025

www.secondbestplay.com

In response to high public demand, Simon Friend Entertainment is delighted to announce an extra week of performances for Second Best at the Riverside Studios. Asa Butterfield stars, having received critical and audience acclaim for his powerful stage debut in this hilarious and heart-breaking one-man play about the road not travelled. Written by Barney Norris and directed by Michael Longhurst, his not-to-be-missed engagement plays a strictly limited run until Saturday 1 March, 2025. Tickets are on sale now for the additional dates at www.secondbestplay.com.

At ten years old, Martin Hill was on the brink of stardom, down to the final two contenders for the role of Harry Potter but narrowly missing out. Now an adult, Martin is about to embark on the ultimate adventure – fatherhood. As he navigates this whirlwind of emotions, he is pulled back to that pivotal moment in his past as he struggles to move beyond imagining what his life might have been.

Second Best is a playful yet poignant new play about fate, near misses and the winding paths life takes. It explores the ache of almost touching greatness and the humour and hope that come when dreams remain just out of reach. A story about the tender moments that shape us, Second Best is for anyone who has ever wondered about the road not taken, and whether the other life would have been as glittering as it looks.

Producer, Simon Friend says of today’s announcement: “I remain completely in awe of the exceptional work of Asa and the entire creative team of Second Best. It’s wonderful to have such public and critical adoration for this one-of-a-kind hilarious and heart-breaking solo performance which we are fortunate enough to now have around for a little bit longer!”

Michael Longhurst is an award-winning stage director and former Artistic Director of The Donmar Warehouse, where he directed, amongst others, Keeley Hawes in The Human Body by Lucy Kirkwood, Next to Normal (four Olivier Award nominations; also West End), The Band’s Visit (six Olivier Award nominations), Rory Kinnear in Force Majeure, Teenage Dick, Belleville starring James Norton, and the Olivier Award-winning multi-cast revival of Nick Payne’s Constellations (originally Royal Court, West End and Broadway). His programming included the globally transferring pandemic sound installation Blindness, a new version of The Cherry Orchard by Benedict Andrews (starring Nina Hoss and Adeel Akhtar) and Macbeth starring David Tennant and Cush Jumbo, also transferring to the West End this autumn.

His Chichester production of Tony Kushner and Jeanine Tesori’s civil rights-era musical Caroline, or Change, starring Sharon D Clarke in an Olivier Award-winning performance, transferred to the West End and Broadway where it was Tony-nominated for Best Musical Revival.

Other productions include the National Theatre smash hit Amadeus (Olivier Theatre, featuring The Southbank Sinfonia), The Son and Bad Jews (West End), Carmen Disruption (Almeida), A Number (Young Vic), ‘Tis Pity She’s a Whore and The Winter’s Tale (Sam Wanamaker) and Between Riverside and Crazy (currently at Hampstead Theatre). 

Barney Norris’s work has received awards from the International Theatre Institute, the Critics’ Circle, the Evening Standard, the Society of Authors, and the South Bank Sky Arts Times Breakthrough Awards, among others, and been translated into nine languages. His plays include Visitors, Eventide, Nightfall, The Wellspring and acclaimed adaptations of Ishiguro’s The Remains of the Day and Lorca’s Blood Wedding; his novels include the acclaimed Undercurrent and the bestselling Five Rivers Met On A Wooded Plain.

Set and Costume Design will be by Fly Davis.

Second Best is produced by Simon Friend Entertainment.

STARS ANNOUNCED FOR “SOME ENCHANTED EVENING” CONCERT 

A BRAND NEW CONCERT CELEBRATING THE BEST OF BROADWAY, SOME ENCHANTED EVENING WILL BE IN LONDON AND YORK THIS SPRING 

The English Musical Theatre Orchestra are pleased to announce the stars for Some Enchanted Evening, celebrating the best of Broadway. 

From Rodgers & Hammerstein to Lerner & Loewe, Some Enchanted Evening will open at the Richmond Theatre, London on Saturday 5th April before travelling to the Grand Opera House, York on Saturday 20th April 2025. 

Renowned for her breathtaking vocals and captivating stage presence, soprano Lisa Jane Kelsey is one of the UK’s most sought-after classical crossover and musical theatre artists. With an extensive career spanning worldwide theatre tours and performances aboard luxury cruise liners, Lisa’s northern charm and stunning voice promise to bring something truly special to the stage.

Internationally acclaimed for his portrayal of The Phantom in Andrew Lloyd Webber’s The Phantom of the Opera, Roy Locke is a powerhouse of musical theatre and classical crossover. His career has taken him to some of the world’s most prestigious opera houses and theatre stages. Now, Roy brings his unparalleled talent and passion to this production, delivering an unforgettable and moving performance.

Following its critically acclaimed success in Manchester, this breathtaking tribute to Broadway’s most iconic composers and timeless show tunes is set to captivate audiences once again.

Conductor,  Gregor Reid, said: “We were blown away by the audiences’ reactions to Some Enchanted Evening in May 2024, we’re so excited to be bringing the show back, with even more must-see moments and some new additions to the set list. What can beat 26 artists who are all passionate about classic Musical Theatre”

This extraordinary production showcases beloved classics such as People Will Say We’re in Love, You’ll Never Walk Alone, Getting to Know You, and My Favourite Things. The legendary music of Rodgers & Hammerstein takes centre stage alongside audience favourites, including Maria from West Side Story and selections from My Fair Lady.

Two outstanding vocalists will join a full 26-piece orchestra, delivering a stunning performance of unforgettable songs from Oklahoma, The Sound of Music, South Pacific, The King and I, and many more. With soaring melodies and rich orchestration, the concert brings to life the golden era of Broadway in a truly spectacular evening of live music.

This production celebrates the enduring legacy of Broadway’s greatest composers, including Rodgers & Hammerstein, Lerner & Loewe, Bernstein & Sondheim. It features music from award-winning musicals such as Annie Get Your Gun, The King and I, South Pacific, Brigadoon, West Side Story, The Sound of Music, Carousel, Show Boat, My Fair Lady, and Oklahoma!

Tickets are now on sale. 

Early booking is recommended to avoid disappointment.

On 4 February the UK and Ireland tour of KINKY BOOTS celebrated its gala night at the Palace Theatre Manchester. Pop Icon and the show’s songwriter CYNDI LAUPER attended the show and joined the cast on-stage. 

Other guests in attendance included: Gethin Jones, Helen Skelton, John Waite, Catherine Tyldesley and Dr Oscar Duke.

KINKY BOOTS stars Johannes Radebe as Lola, Dan Partridge as Charlie Price and Courtney Bowman as Lauren, Newtion Matthews as Simon Sr & Lola at certain performances, Kara Lily Hayworth as Nicola, Joe Caffrey as Don, Kathryn Barnes as Pat, Lucy Williamson as Trish, Jonathan Dryden Taylor as Mr Price, Scott Paige as George and Liam Doyle as Harry. The cast is completed by Kofi Dennis, Ru Fisher, Ben Middleton, Ashley-Jordon Packer, Cerys Burton, Cole Dunn, Kaya Farrugia, Jordan Isaac, Deena Kapadia, Tori McDougall and Liam McEvoy.

KINKY BOOTS The Musical was a Broadway and West End phenomenon based on a true story and movie of the same name released in 2005. After inheriting his family’s failing shoe factory and with a relationship on the rocks, life is proving to be very challenging for Charlie Price. That is until he meets Lola, a drag queen whose sparkle and unsteady heels might just hold the answer to saving the struggling business.

The production will be directed by Curve’s Artistic Director Nikolai Foster with choreography by Leah Hill, set and costume design by Robert Jones, lighting design by Ben Cracknell, sound design by Adam Fisher and casting by Harry Blumenau CDG CDA. KINKY BOOTS is produced by ROYO and CURVE.

Hull New Theatre – until 8th February 2025

Reviewed by Dawn Bennett

5*****

Now That’s What I Call A Musical brought sunshine and laughter into Hull New Theatre on a cold February night. Based on the book by Pippa Evans and with direction and choreography by Craig Revel Horwood this new jukebox musical looked very promising. From the first sight of the stage, that had cassette tapes around it, to the end of show with the 80’s medley it was an absolutely joyous production. It was funny, brilliantly acted, danced and sung and the band, led by musical director Georgia Rawlins, were outstanding.

It was hit after 80’s hit, from Frankie Goes to Hollywood through to The Buggles. It was great to hear the songs sung at a different pace and they really fitted the story line and added to the flow of the production.

The show tells the story, set in 1989 Birmingham, of two friends at the end of their school life and before they go off into the wide world. It is told in a series of flashbacks with younger and older cast members playing the same character, it’s very cleverly done and makes the story easy to follow. Younger Gemma (Nikita Johal) and Younger April (Maia Hawkins) know what they want to do. Gemma wants to be a Nurse, get married and have children while April wants to go to America and make it big in films. Fast forward 20 years and we see Gemma (Nina Wadia) at the school reunion hoping to see April (Sam Bailey) who she hasn’t heard from a lot since she moved away. Gemma’s husband, Tim (Chris Grahamson) is there at the reunion and you really get the impression that their marriage is not a happy one (to say the least!!). The story is full of twists and turns and I won’t spoil it for you by telling you too much of the plot but needless to say it’s hilarious and very cleverly done.

All the cast are very, very talented and they were all a pleasure to watch, their singing and their harmonies were just fabulous.

The costumes (by Tom Rogers and Toots Butcher) were excellent, bright garish and very 80’s. The number of quick changes the cast did was mind boggling and very impressive!!

I knew Sinitta was in this production, and wasn’t sure how, or where she would appear but goodness me, I wasn’t disappointed, an 80’s icon in every sense of the word.

I would highly recommend this musical, if you are a fan of 80’s music done really well, an excellent cast, lots of laugh out loud moments and a great storyline this is one for you!

STARRING TOM CHAMBERS AS THE ICONIC DETECTIVE IN MORSE FRANCHISE’S FIRST-EVER ORIGINAL STAGE PLAY,

BY ALMA CULLEN

MAJOR UK TOUR OPENS AT

BIRMINGHAM REPERTORY THEATRE ON

THURSDAY 28^th AUGUST 2025

www.inspectormorseonstage.com

DIRECTED BY ANTHONY BANKS

Simon Friend Entertainment is today delighted to announce a new co-production with Birmingham Repertory Theatre which will see Tom Chambers play the beloved detective Inspector Morse in a thrilling new stage production, Inspector Morse: House of Ghosts. The production opens in Birmingham on Thursday 28 August 2025 ahead of a major UK tour.

The tour then goes on to visit: Richmond Theatre, London; Grand Opera House, York; Theatre Royal, Nottingham; Churchill Theatre, Bromley; Grand Opera House, Belfast; Theatre Royal, Brighton; Lyceum Theatre, Sheffield; Everyman Theatre, Cheltenham; New Victoria Theatre, Woking; Theatre Royal, Norwich; Waterside Theatre, Aylesbury; Playhouse Theatre, Liverpool; Playhouse Theatre, Leeds;Theatre Royal, Newcastle; Festival Theatre, Malvern; Festival Theatre, Edinburgh; Milton Keynes Theatre, Milton Keynes; His Majesty’s Theatre, Aberdeen; Theatre Royal, Glasgow; The Lowry, Salford.

Tickets are available from www.inspectormorseonstage.com  

A chilling mystery unfolds when a young actress suddenly dies on stage during a performance, and Detective Chief Inspector Morse embarks on a gripping investigation. What begins as a suspicious death inquiry takes a darker turn when the legendary inspector, together with DS Lewis, uncovers a connection to sinister events in his own past, twenty-five years earlier.

Inspector Morse: House of Ghosts marks the first-ever stage adaptation of the iconic detective. ITV’s long-running Inspector Morse, hailed by Radio Times as ‘The greatest British crime series of all time’, has inspired equally beloved spin-offs, Lewis and Endeavour. Starring Tom Chambers (Father Brown, Strictly Come Dancing) as Inspector Morse, this original story written for the stage is a must-see for fans of compelling detective stories and thrilling mysteries.

Tom Chambers says of taking on the role of the legendary detective: “I am absolutely thrilled to be bringing to the stage the nationally loved character of Inspector Morse. Played by John Thaw in the TV series, it is an iconic role which audiences clearly loved alongside the Morse murder mysteries. This brand-new production is a tantalising tale, rich in story and character and even unpicks some of Morse’s closely guarded personal life. It’s going to be a fabulous evening of entertainment.” 

Simon Friend, co-producer of the production added: “Bringing the nation’s favourite detective to the stage is a very rare proposition. The genre has never been more popular, and we look forward to sharing this terrifically exciting production with audiences across the country from later this year, and continuing our ongoing collaboration with the Birmingham Repertory Theatre.”

Alma Cullen penned episodes for the ITV crime drama series including, The Secret of Bay 5B (1989), The Infernal Serpent (1990), Fat Chance (1991) and The Death of The Self (1992), derived from the characters created by Colin Dexter.

Based on the novels by Colin Dexter the hit ITV series, Inspector Morse starred John Thaw as the erudite Inspector, famed for his love of opera, crosswords and a fine real ale. Alongside his trusted Sergeant, DS Lewis, played by Kevin Whately, the pair captivated audiences for 13 years and a total of 33 episodes with the programme’s trademark gripping mysteries, intelligent plots and memorable characters. The series became a classic of British television, earning numerous accolades and a devoted fanbase. Dexter’s characters continue to enthral audiences, with House of Ghosts marking the latest chapter in the iconic detective’s career.

Inspector Morse: House of Ghosts is written for the stage by Alma Cullen. The tour also reunites Tom Chambers with Director Anthony Banks (The Girl on the Train, West End / UK Tour; Steel Magnolias, UK Tour) following their collaboration on the 2020/21 tour of Dial M For Murder.

Tom Chamber’s theatrical credits includeMurder in the Dark(Touring); Elf (Dominion Theatre); Dial M For Murder (Tour); Crazy For You (UK Tour); Private Lives (UK Tour); White Christmas (Dominion Theatre); Top Hat (Aldwych Theatre) Cyrano De Bergerac (Derby Theatre). His TV credits includeFather Brown, The Great Train Robbery, Midsomer Murders, Casualty, Emmerdale, Holby City and Waterloo Road. Films include Fakers, Apollo 13: Dark Side of the Moon and Meet Pursuit Delange.

Anthony Banks has directed world premieres of many new plays including: The Girl On The Train (West End/National Tour); Jim Cartwright’s Raz (West End/National Tour) and The Gap (Hope Mill); Lucinda Coxon’s Herding Cats (Soho/Hampstead/Ustinov); James Graham’s Bassett (Bristol Old Vic); Dennis Kelly’s DNA (National Tour); Mark Ravenhill’s Blackmail (Mercury); Nick Dear’s Hogarth’s Progress (Rose); Ryan Craig’s Games For Lovers (Vaults); Kevin Elyot’s Twilight Song (Park Theatre); Bryony Lavery’s Cesario and More Light, Lucinda Coxon’s The Eternal Not and Michael Lesslie’s Prince of Denmark (National Theatre); Snoo Wilson’s Pignight (Menier); Mark Ravenhill’s The Experiment (Soho Theatre/Berliner Ensemble). 

He has also directed some twentieth-century classics: Daphne du Maurier’s My Cousin Rachel by Joseph O’Connor (Bath/Chichester); Patrick Marber’s After Miss Julie (Theatre Royal Bath); Patricia Highsmith’s Strangers on a Train (National Tour); Patrick Hamilton’s Gaslight (National Tour); Tennessee Williams’ The Hotel Plays; Dial M For Murder (National Tour) George Bernard Shaw’s Mrs Warren’s Profession (Bath/Chichester) and Robert Harling’s Steel Magnolias (National Tour).

Anthony was an associate director at the National Theatre 2004-2014 where he commissioned and developed a hundred new plays for NT Connections. 

Simon Friend Entertainment Limited and Birmingham Rep present, Inspector Morse – House of Ghosts.

INSPECTOR MORSE: HOUSE OF GHOSTS

UK TOUR DATES

Birmingham Repertory Theatre

Thursday 28 August – Sunday 14 September

www.birmingham-rep.co.uk

On Sale Now

Richmond Theatre

Tuesday 16 – Saturday 20 September

www.atgtickets.com/venues/richmond-theatre

On Sale Thursday 6 February 2025

York Grand Opera House

Tuesday 23 – Saturday 27 September

www.atgtickets.com/venues/grand-opera-house-york

On Sale Thursday 6 February 2025

Nottingham, Theatre Royal

Tuesday 30 September – Saturday 4 October

www.trch.co.uk

On Sale Thursday 6 February 2025

Bromley, Churchill Theatre

Tuesday 7 – Saturday 11 October

www.trafalgartickets.com/churchill-theatre-bromley/en-GB

On Sale Soon

Belfast, Grand Opera House

Tuesday 14 – Saturday 18 October

www.goh.co.uk

On Sale Monday 10 February 2025

Brighton, Theatre Royal

Tuesday 21 – Saturday 25 October

www.atgtickets.com/venues/theatre-royal-brighton

On Sale Thursday 6 February 2025

Sheffield, Lyceum Theatre

Tuesday 28 October – Saturday 1 November

www.sheffieldtheatres.co.uk

On Sale Tuesday 25 February 2025

Cheltenham, Everyman Theatre

Tuesday 4 – Saturday 8 November

www.everymantheatre.org.uk

On Sale Thursday 6 February 2025

Woking, New Victoria Theatre

Tuesday 11 – Saturday 15 November

www.atgtickets.com/venues/new-victoria-theatre

On Sale Thursday 6 February 2025

Norwich, Theatre Royal

Tuesday 18 – Saturday 22 November

www.norwichtheatre.org

On Sale Monday 24 February 2025

Aylesbury, Waterside Theatre

Tuesday 25 – Saturday 29 November

www.atgtickets.com/venues/aylesbury-waterside-theatre

On Sale Thursday 6 February 2025

Liverpool, Playhouse Theatre

Tuesday 13 – Saturday 17 January

www.everymanplayhouse.com

On Sale Soon

Leeds, Playhouse Theatre

Tuesday 27 – Saturday 31 January

www.leedsplayhouse.org.uk

On Sale Soon

Newcastle, Theatre Royal

Tuesday 3 – Saturday 7 February

www.theatreroyal.co.uk

On Sale Friday 4 April 2025

Malvern, Festival Theatre

Tuesday 24 – Saturday 28 February

www.malvern-theatres.co.uk

On Sale Thursday 6 February 2025

Edinburgh, Festival Theatre

Tuesday 3 – Saturday 7 March

www.capitaltheatres.com

On Sale Soon

Milton Keynes Theatre

Tuesday 17 – Saturday 21 March

www.atgtickets.com/venues/milton-keynes-theatre

On Sale Thursday 6 February 2025

Aberdeen, His Majesty’s Theatre

Tuesday 24 – Saturday 28 March

www.aberdeenperformingarts.com 

On Sale Soon

Glasgow Theatre Royal

Tuesday 31 March – Saturday 4 April

www.atgtickets.com/venues/theatre-royal-glasgow/

On Sale Thursday 6 February 2025

Salford, The Lowry

Tuesday 7 – Saturday 11 April

www.thelowry.com

On Sale Thursday 6 February 2025

New Wimbledon Theatre, London – until Saturday 8 February 2025

Reviewed by Ava Clarkson

5*****

“Oh, my love, my darling… I’ve hungered for your touch…”

We all know the song and the iconic scene around the potter’s wheel… I have always avoided reviewing iconic films as I don’t want to be let down – but boy was I wrong! Ghost was the highest grossing film of 1990 and became one of cinema’s biggest all-time hits with a memorable cast including Demi Moore, Whoopi Goldberg and the late Patrick Swayze. This is hard to bring to stage, but Ghost the Musical delivered.

Tonight’s review venue is the New Wimbledon Theatre, an iconic landmark in Wimbledon Town Centre since 1910. The theatre has approximately 1,670 seats across three levels. Even after many refurbishments, the theatre still retains its beautiful Baroque and Adamesque internal features. The theatre is welcoming and comfortable with a feel of yesteryear.

Ghost The Musical is based on the film of the same name and is produced by Bill Kenwright. Bill Kenwright said “Ghost is a story full of hope and is one of those films which never leaves you. The book by Bruce Joel Rubin and score by Dave Stewart and Glenn Ballad come together wonderfully in one of my favourite new musicals in years.”

The story is set in New York and sees Banker Sam Wheat (Josh St. Clair) and his Artist Girlfriend Molly Jensen (Rebekah Lowings) living a dream life. Moving into a beautiful apartment with the help of their best friend Carl Bruner (James Mateo-Salt) – life is good. However, their perfect life is shattered when the couple are mugged on the way home. A gunshot rings out and although Sam appears to chase the mugger away, he returns to see Molly cradling him on the ground and realises he is dead. A beam of light appears, but as Sam walks towards it, he is snapped back from it and the light disappears.

In his new form as a ghost, Sam follows Molly but is unable to interact with the physical world. Sam finds out that the mugging was deliberate, and Molly is in grave danger. He must find a way to communicate with her. Sam asks for help from a violent ghost (Garry Lee) on the subway train and learns how to touch physical objects. He learns that he was mugged by Willie Lopez (Jules Brown) under the instructions of his best friend Carl and who hired Willie to rob Sam of his book of bank passwords.

Still lost and unable to communicate his findings to his beloved Molly and keep her safe, Sam meets Oda Mae Brown (Jacqui Dubois) a fraudster Psychic who claims she can talk to the dead. She cannot – until Sam comes into her life and she is just as shocked as he is that they can hear each other. With Oda Mae’s help Sam convinces Molly that the afterlife is real as Oda Mae says “ditto”, his response whenever Molly said she loved him. The three of them set about solving the crime and in doing so Sam involves Oda Mae in reclaiming the stolen money from Carl and making her reluctantly donate it all to charity.

With the crime solved, Sam is with Molly and Oda Mae in their Manhattan apartment when the beam of light returns, allowing them both to see and hear him. Sam shares a kiss with Molly, telling her he loves her. She responds, “ditto”, before Sam walks into the light.

With the live orchestra nestled beneath the stage, we have been truly treated to an outstanding show tonight. The musical score is modern in its deliverance with Electric Guitar solos and gentle interludes during emotional scenes. Musical Director Jordan Alexander brings a host of new songs to life as well as much loved songs such as Unchained Melody. Dave Stewart and Glenn Ballard have co-written and produced original songs across the musical. The cast have breathtaking voices and were all flawless tonight in their delivery. A special mention should go to Molly (Rebekah Lowings) for her solo performance of “With You” which was sensational and got the biggest applause of the night.

The stage set designed by Mark Bailey was comparable with a big budget west end production. The moving parts and backdrops were impressive, especially the New York subway carriage which adorned the set twice. Ghostly illusions were cleverly bought throughout the show by Richard Pinner including levitating newspapers and guns and cast members appearing on stage before our very eyes.

How do you follow Whoopie Goldberg… you bring Jacquie Dubois out of a wardrobe and let her take the role for herself. The portrayal of Oda Mae Brown is funny and captivating. You can feel the warmth towards her ghostly friend Sam as he leaves her and Molly.

The villains of the show were believable. Garry Lee was a truly petrifying subway ghost with an intensity that made us scared and feel sorry for him at the same time. Jules Brown who played the mugger Willie Lopez also made us dislike him immensely and revel when he is dragged down kicking and screaming to hell.

The ensemble dancers moved seamlessly around the stage and were very much part of the show. Scenes in New York bought “suited and booted” dancers, dancing with briefcases under the backdrop on The Twin Towers.

My reservation as to how the show would manage to convey the iconic potters wheel scene was quickly allayed. By slightly changing the much loved and copied scene and adding a comic but endearing element to it, the production managed to “own” the scene and do it justice in their own way.

Overall, I would say Ghost the Musical is a 5-star triumph. I would highly recommend watching this show as it tours the country. If you’re a fan of the film, you will not be disappointed by this adaptation.

Yvonne Arnaud – until 8^th February 2025

Reviewed by Heather Chalkley

3***

Nick Lane has adapted the well known Bram Stoker novel in a unique way, giving a different perspective to the traditional story. Based in Victorian England, during the height of the British Empire, Lane draws on unusual parallels with the plight of the lower classes and the powerlessness of woman. 

This slick and well rehearsed production delivers a faultless performance. The cast transition smoothly between acts, moving the set into position effortlessly. Giving Maya-Nika Bewley the main narrative role as Mina Harker, who pulls the story together and then the traditionally male role of Doctor Hennessey, provides a refreshing strength of female character not usually present in Dracula. Bewley offers some relief from the intense story with moments of humour as Doctor Hennessey. In the same way, the contrasting roles of Lucy Westenra and Renfield, were confidently played by Marie Osman. In the novel, Dracula becomes younger as he feeds on his victims and this was portrayed well by the change of actors in each act. Harry Rundle played convincingly the challenging role of the youngest Dracula and the complete opposite character of Arthur Holmwood. 

You can be forgiven for losing track of the timeline and setting, where the production takes a purist approach to the original book’s narrative of letters, newspaper cuttings and other similar devices. It is a valiant choice of the director and adaptor Lane, that does not 100% come off. Whilst you are focusing on the spoken letters read by one character, written by another for another, you can forget where you are in the story line right now!

You have to admire Blackeye Theatre for taking on this epic story in these frugal times, when arts funding is hard to come by. This is a reflection of the company’s professionalism and creativity as they celebrate their 20^th year of producing thought provoking performances. 

Park Theatre, London – until 22 February 2025

Reviewed by Claire Roderick

3***

Alexander Raptotasios’s bold modern adaptation of Sophocles’ tragedy is an intriguing mix of drama and debate.

While the ancient tale has King Creon forbidding the burial of Antigone’s brother with honour – an order defied by Antigone, Raptotasios has home secretary Creighton (Phil Cheadle) refusing to allow Antiya’s (Hiba Medina) sister Esmeh (Hanna Khogali) back into the UK. Esmeh was groomed at 14 and became an ISIS bride in Syria. Now, with one child dead and her youngest son sick, she is fearing for her life and desperately waiting for news of appeals in the English court. Creighton’s son Eammon (Ali Hadji-Heshmati) is in a relationship with Antiya and is horrified by his father’s actions.

Sorcha Brooks introduces the proceedings with initial questions for the audience to answer on their keypads – generating pie charts instantly projected that are used to steer the action of the play. Brooks’s character Ty is a modern version of the prophet Tiresias, here an analyst and political strategist who takes the pragmatic view, but finally reveals that the facade of democratic voting shaping events is all a sham and the information has been used to gauge public reaction and plot Creighton’s next move on his path to number 10.

As Antiya realises that there will be no swift result through the appeal court, she takes drastic action and goes on hunger strike. The building political and racial tensions that erupt as her protest gains publicity are explored through TV debates and more private arguments, with each side not trusting the other and trying to gain the upper hand. Sophocles’ themes of justice, morality, family loyalty and civil disobedience are all still relevant. The play takes place on Marco Turcich’s stark white set that serves as courtroom, TV studio and House of Commons. Projections of social media and TV rolling news are used to recreate the rabid frenzy of coverage of emotive political topics. The easy anonymity of social media and notoriety of TV pundits allows a cacophony of conflicting reports and views to bombard the audience, resulting in a sensory overload that is wonderfully effective as it blurs the borders between emotional and intellectual judgement when the next question is asked.

The excellent cast work incredibly well as an ensemble. None of the characters are fully fleshed out but are mere sketches of personalities that could all possibly be manipulating the optics. Your sympathies can change with one line during certain scenes, as each character doggedly follows their moral/political code. Ty’s question to the audience about one character’s sincerity was met with a tremulous “I don’t know” – which sums up the clever ambiguity of the characters and the writing. This is an innovative and exciting approach to a classic, and well worth a look.