On demand from 16th November: The Silence & The Noise | Pentabus

Reviewed by Aimee Forsyth

5*****

Two teenagers. Daize (Rachelle Diedericks) and Ben (William Robinson). A drug addict’s daughter and a young man caught up in the drug trade. Natural enemies that become unlikely friends.

Daize’s mother is trapped in the clutches of an addiction fuelled by the drugs that Ben’s boss is supplying. She is lonely, desperate and so hungry that she eats cat food to survive. Through no fault of her own, her life has become a disaster. Ben is trapped in his own personal nightmare. Lured in by the glamour of money he has become a drug runner and cannot escape out of fear of violence from his boss. They are from opposite sides of a county line but drugs unite them. Can they save themselves and each other from a life of destitution and tragedy?

They meet on an abandoned sofa in Daize’s back garden and their relationship gets off to a precarious start. With Daize brandishing a knife, their dialogue is quick and cutting. Neither one is trusting of the other but through the writer’s (Tom Powell) clever construction, their words bring them closer in a dangerous dance of dialogue. A tension builds between them and the chemistry between Diedericks and Robinson is palpable throughout. Despite the threat and menace from the adult world, Daize and Ben find a sanctuary in one another.

A particularly touching moment is when the two characters embrace towards the end. The danger and fragility of the world around them is shown as they find a peace together. They hold still in each other’s arms whilst Ben holds a knife in his hand in the forefront. This is a beautiful piece of direction by Rachel Lambert and Elle While and feels like a perfect representation of the safety the two characters find within each other contrasted by the instability around them.

This story is relevant and urgent. It is informative and educational showing the desperate lives of young people who get caught up in the County Lines drug trade. It is authentic and painful to watch whilst at the same time bringing hope and highlighting the sanctity of human interaction in the face of desperation and heartbreak.

The Silence and the Noise, which won a Papatango Prize in 2021, is a deeply moving and touching piece of theatre which touches upon real and relevant issues.

Rock & Roll Hall of Fame inductee Chaka Khan
to attend a staged reading of
I’m Every Woman – The Chaka Khan Musical
this week in London

Music legend Chaka Khan is set to attend a staged reading of ‘I’m Every Woman – The Chaka Khan Musical’ on Friday 1 December in London.

Chaka Khan, who has officially endorsed the show, was inducted in to the Rock & Roll Hall of Fame earlier this month, receiving the the Musical Excellence Award for her dazzling career which has now spanned 50-years. The queen of funk was recognised both for her solo catalogue and as part of synth-funk trailblazers Rufus.

The musical recently held a four-week development workshop, and is aiming to premiere in Autumn 2024.

The staged reading will feature cast members from the workshop including; Karen Mavundukure (Dreamgirls, The Color Purple) as Chaka Khan, Jordan Frazier (Hamilton) as Flashback Chaka Khan, Amarra Smith (Get Up, Stand Up) as Destiny, Alistair Toovey (Legally Blonde) as Dylan, Ashley Samuels (Hairspray, Motown) as Joel the Director and Stevie Wonder, Anelisa Lamola (The Color Purple) as Nina – the Book Writer, Hassun Sharif (Hamilton, Pretty Woman) as Flashback Richard Holland and Prince.

The book is written by screenwriter Tina Andrews (Sally Hemings: An American Scandal, Why Do Fools Fall In Love?); directed by Racky Plews (American Idiot, Footloose, Josephine Baker); orchestrations, vocal arrangements, and musical supervision by Ian Oakley (The Color Purple, The Lion King (UK Tours); choreography by Del Mak; sound design by Chris Whybrow; and casting by Debbie O’Brien.

Produced by Adrian Grant (Thriller Live).

‘I’m Every Woman’ brings Rock &Roll Hall of Fame inductee Chaka Khan’s explosive and dramatic life to the stage. Her story will be explored and experienced in flashbacks utilising the unique concept of a present-day musical within a musical about Chaka Khan herself.

A journey of music, love and betrayal, this brand new musical reveals the woman behind the diva. ‘I’m Every Woman’ features Chaka Khan’s much-loved songs released as a solo artist and lead singer of the band Rufus.

Featuring beloved, famous songs from Chaka and her famous friends such as I’m Every Woman, Ain’t Nobody, I Feel For You and Higher Love, the workshop combines Chaka’s phenomenal music catalogue with a fusion of dynamic, intricate choreography which mirrors Chaka’s eclectic music career. This untold story of Chaka Khan reveals her passion for civil rights, struggles within a toxic music industry, a dangerous road to a drug-fuelled overdose, and the high pressures of working whilst being a mother.

CASTING ANNOUNCEMENT

JASON DURR

TO STAR AS COLONEL MUSTARD

HELEN FLANAGAN

TO MAKE HER STAGE ACTING DEBUT AS MISS SCARLETT

IN THE UK TOUR OF

TICKETS ON SALE NOW: CLUEDOSTAGEPLAY.COM

Helen Flanagan – known to millions as Rosie Webster in Coronation Street – will make her theatrical stage debut as Miss Scarlett in the world premiere UK tour of Cluedo 2. Starring alongside Helen will be leading West End actor and TV favourite Jason Durr, who stars as Colonel Mustard. Most recently seen as David Hide in BBC One’s Casualty, (a role he played for seven years from 2016), audiences will also recognise Jason from his numerous other roles, including the motorbike riding policeman Mike Bradley from ITV’s hugely popular series, Heartbeat.

Following the huge success of the critically acclaimed original play, Cluedo is back on stage next spring with a brand new comedy mystery, written by BAFTA Award winning writers Laurence Marks and Maurice Gran, (Birds of a Feather, Dreamboats and Petticoats) and directed by Mark Bell (The Play That Goes Wrong). Based on the classic Hasbro boardgame, which celebrates its 75th anniversary in 2024, the five month UK tour marks the world premiere of Cluedo 2 – The Next Chapter, which kicks off at Richmond Theatre on 29 February and visits theatres across the UK until July.

Jason Durr said: “I’m thrilled to be joining the cast of Cluedo 2 as Colonel Mustard. I was a huge fan of the Cluedo board game as a child and the Colonel is such a great character. I am looking forward to bringing laughter and this ultimate whodunnit to audiences across the UK in its 75th anniversary year.”

Helen Flanagan said: “I’ve long been looking for the right theatre role for ages and I’m so excited to be making my stage acting debut in the iconic role of Miss Scarlett. It could not be more perfect! Cluedo 2 is going to be so much fun and I am thrilled to be working alongside such a great actor as Jason. I can’t wait to begin rehearsals in the New Year, and, of course, wear the famous red dress!”

Cluedo 2 is an original new story set in the swinging 60s, penned by one of the UK’s most successful TV and stage writing duos, Laurence Marks and Maurice Gran’s numerous credits include much loved series such as Birds of a Feather, Goodnight Sweetheart, The New Statesman, Shine on Harvey Moon and, for the stage, the musical franchise Dreamboats and Petticoats.

Olivier award winning director Mark Bell, who directed the original Cluedo play in the UK and the worldwide phenomenon, The Play That Goes Wrong, as well as A Comedy About a Bank Robbery in the West End, brings the action of this hilarious whodunnit to life.

As the bodies pile up, our colourful characters – The Honourable Mrs Emerald Peacock, Colonel Eugene Mustard, ‘Professor’ Alex Plum, Miss Annabel Scarlett, ‘The Reverend’ Hal Green and the housekeeper Mrs White – move from room to room trying to escape the murderer and survive the night. Cluedo 2, will keep audiences guessing right up to the final moments, and budding detectives of all ages, from 8 to 80 and beyond, can watch for the clues and unravel the secrets, as they try to work out whodunnit… with what… and where!

Cluedo 2 is produced by JAS Theatricals, Gabriel Creative Partners, The Araca Group and Lively McCabe Entertainment. Cluedo on stage is based on the Hasbro board game and the Paramount Pictures motion picture, Clue.

CLUEDO 2 – The Next Chapter: UK Tour Dates

29 February – 2 March Richmond Theatre

5 – 9 March Woking, New Victoria Theatre

12 -16 March York, Theatre Royal

19 – 23 March Brighton, Theatre Royal

25 – 30 March Cambridge, Arts Theatre

2 – 6 April Salford, The Lowry

9 – 13 April Hull, New Theatre

16 – 20 April Milton Keynes Theatre

23 – 27 April Shrewsbury, Severn Theatre

30 April – 4 May Malvern, Festival Theatre

6 – 11 May Bath, Theatre Royal

14 – 18 May Sheffield, Lyceum Theatre

21 – 25 May Nottingham, Theatre Royal

28 May – 1 June Newcastle, Theatre Royal

4 – 8 June Glasgow, Theatre Royal

19 – 23 June Southampton, Mayflower Theatre

25 – 29 June Cardiff, New Theatre

2 – 6 July Norwich, Theatre Royal

9 – 13 July Truro, Hall for Cornwall

16 – 20 July Cheltenham, Everyman Theatre

23 – 27 July Birmingham, Alexandra Theatre

Listings Information

Ticket prices: From £13

Website: cluedostageplay.com

X (formerly Twitter): @CluedoStagePlay

Instagram: @cluedostageplay

Facebook: /CluedoStagePlay

THE MYSTICAL WORLD OF FROZEN BEAUTY AND MAGIC

IS BACK BY POPULAR DEMAND AS

CIRQUE ENCHANTMENT

OPENS FOR A LIMITED UK TOUR IN JANUARY

Presented by Stuart Glover (The SpongeBob Musical, Madagascar the Musical, An Audience with Anton du Beke, Firedance and many more)  the critically acclaimed magical and mystical world of Cirque Enchantment is back by popular demand with a limited UK tour .Opening at The Royal & Derngate, Northampton on 27 January 2024 before visiting Leicester, Lincoln, Peterborough and Bournemouth.

A dynamic fairytale for all the family. Cirque Enchantment see’s a little girl with a big imagination enter a frozen circus wonderland and a mysterious path of good versus evil. Meeting an array of weird, wonderful and talented characters along the way. This magical production features superb choreography, breathtaking live vocals and mesmerising circus performers. With an eclectic and iconic musical soundtrack including Wings, Mad World, Sweet Dreams, The Show Must Go On, Relight My Fire, Chandelier, I’ll Put A Spell On You and many more. 

Following a number fo residencies Cirque enchantment last toured in 2018 to great acclaim with audiences hailing it as “Hypnotic, Mesmerising and an escape for reality”  and “A brilliant, magical, entertaining show, we will be booking again” 

Stuart Glover Creative Director & Producer said “Cirque Enchantment is a show which allows the audience to switch off and enter a world of creativity and imagination in a magical and ethereal adventure which has delighted audiences across the UK & Europe . We’re very excited to be performing this beautiful show in 2024”.

The perfect tonic to the winter blues, prepare to escape reality and be enchanted and mesmerised with this perfect treat for the whole family.

 For more information and tickets visit www.cirqueenchantment.co.uk

THE ROYAL COURT THEATRE CREATES DIGITAL ARCHIVE ALLOWING OPEN ACCESS FOR ALL IN MAJOR NEW PROJECT – LIVING ARCHIVE

The Royal Court Theatre today announced the launch of Living Archive, their first ever standalone online archive. The digital archive holds information on every play which has ever been presented on the Royal Court stages from when it opened its doors in 1956 to the present day, totalling almost 2000 works by over 1000 writers. 

The independent website will be accessible to all and can be navigated by users through pathways created by guest curator-writers. It has been designed to challenge preconceptions around what we archive, who gets to decide what is archived and how we mark historic projects. The site also features an interactive portal, where visitors are encouraged to contribute to the archive themselves. The Royal Court’s physical archive is and will continue to be held by the V&A. 

Living Archive evolved out of Living Newspaper, a project the Royal Court undertook in 2020. Living Newspaper raised questions around the politics of archiving, and who gets to decide what is remembered. This led to a series of research and development performances which took place in the Royal Court Jerwood Theatre Upstairs over two weeks in June 2022. The performances in turn led to the Living Archive website, which has been in development since last year. In line with the Royal Court’s commitment to supporting and developing writers, the archive is, in the first instance, being targeted at emerging writers. This will expand and grow with time. 
 

Living Archive presents an innovation in archiving, and marks the beginning of a total democratisation of Royal Court archive access. It is built around the idea that an active theatre archive can and should never be finished. 
 

Vicky Featherstone, Artistic Director of the Royal Court, said, “Living Archive was born out of the long summer of 2020 which felt like it was changing the world forever. It grew from several questions: Who tells our history? Who controls what is remembered? What do we gain from obsessing over legacy and how can we create something which provides more insight into possible futures?

Living Archive is a portal into the words, passions, beliefs and craft of the writers and theatre-makers who have brought their skill, care and curiosity to the Royal Court. 

This is only the beginning of what Living Archive can be. Arriving at this stage is the result of hours of interrogation, argument, research, reading, and I am deeply grateful to everyone who has poured so much into this vital project. Living Archive is not merely a celebration of the Royal Court’s extraordinary past, but a much-needed tool to fire us into new and as yet unimagined futures, standing on the shoulders of everyone who has toiled before us, each showing us worlds in new ways. It would have not been possible without the significant support and vision of Bloomberg Philanthropies and it is a privilege, as I leave the beloved Royal Court, to be part of the team who was able to make this happen.”
 

Sula Douglas-Folkes, Lead Researcher and Project Coordinator, said, “Participating in the Living Archive project has been both an honour and a deeply enriching experience. We’ve unearthed a wealth of plays, each rich in diversity and storytelling, which is a testament to the unexplored depth in our theatrical heritage. Our aim has been not just to bring to light unserved and underseen voices but to create a platform where these voices lead the narrative. The Living Archive stands as an educational resource, a spark for creativity, and a tribute to the storied history of the Royal Court. It’s designed to inspire writers, theatre enthusiasts, and creatives to engage with our past, and in doing so, to ignite the creation of new and meaningful work. I am immensely proud to contribute to this project, which is a significant step in preserving and celebrating our unique theatrical legacy while fostering new artistic dialogues.” 
 

Hamish Pirie, Royal Court Associate Director, said, “Living Archive is a natural extension of the Royal Court’s work as an opportunity for the writers of the past to support the writers of the future.”
 

In October 2023, the Royal Court also announced The Unfinished Archive. This was a public call-out orchestrated by artists Matilda Feyiṣayọ Ibini, Shahid Iqbal Khan and Tom Ryalls for people’s memories of seeing D/deaf, Disabled or neurodivergent work. The artists intend to collate these memories into texts, building an archive that does not currently exist for Disabled work, which will eventually come to contribute to Living Archive. 
 

The Living Archive project has been commissioned by Royal Court Artistic Director Vicky Featherstone, led by Royal Court Associate Director Hamish Pirie, Lead Researcher and Project Coordinator Sula Douglas-Folkes and Bloomberg Tech Fellows Robert Smael, Royal Court Head of Sustainability and Operations, and Katherine Osborn, Royal Court Director of Development. Dr Nicholas Holden, University of Greenwich, is a specialist on the Royal Court’s history and is project consultant and associate researcher on the Living Archive.
 

Living Archive was developed with the support of Bloomberg Philanthropies’ Digital Accelerator Grant for Arts and Culture, which supports arts organisations through strategic improvements to technology infrastructure. Bloomberg has supported the Royal Court for more than 20 years. 
 

The V&A have been generous supporters of this initiative and are ongoing contributors to Living Archive. The Royal Court greatly values this vital partnership and look forward to developing and deepening this collaboration.
 

To go to the Living Archive site, click here. 
 

The Royal Court’s physical archive is and will continue to be held by the V&A. The V&A have been generous supporters of this initiative and are ongoing contributors to Living Archive. The Royal Court greatly values this vital partnership and look forward to developing and deepening this collaboration.

Society of London Theatre announce search for next cohort for their pilot scheme, ‘Associate Membership’

Society of London Theatre have announced their plans to search for their next cohort of Associate Members. 

The ‘Associate Membership’ pilot was launched in March, designed to identify producers and future theatre industry leaders in London who would not be eligible for other categories of SOLT membership.  

The first cohort, who will be Associate Members for another year, are Aidan Grounds, Ameena Hamid, Charlotte Holder, Chuchu Nwagu, Fiona Steed and Sarah Jordan Verghese. 

SOLT are now beginning the search for up to six more individuals to join the scheme for a period of 2 consecutive years. 

SOLT are encouraging applications from groups who have historically been under-represented within their membership over the last 114 years, ensuring that the membership becomes more inclusive and representative of society in its broadest sense and reflects the people of London.

The aim of Associate Membership is to support future theatre industry leaders in the early-mid-stages of their careers.  Membership will be free of charge and will offer a range of member benefits to encourage career progression and to provide experience and access to best working practices.  

Eleanor Lloyd, independent producer and President of SOLT, commented: 

“At SOLT we have a responsibility to look to the long-term future of the theatre industry and ensure that we welcome the emerging talent who will be that future.  

“This programme is designed to give upcoming professionals, especially those who will diversify our community, the access, guidance and support that SOLT has to offer. After a successful start last year, we’re excited to begin the search for our next cohort.” 

Aidan Grounds, current associate member, said: 

“Becoming an Associate Member of SOLT has been transformative at a pivotal point in my career. It has given me the confidence and contacts to set up my own company – the support of a mentor has been invaluable, and becoming an Olivier voter as part of the scheme is an added bonus.” 

Ameena Hamid, current associate member, said: 

“Being part of the SOLT Associate Member program has been truly wonderful. It has opened doors to higher-level industry conversations, providing invaluable insights as I continue to develop my producing career. The warm welcome from the membership and the SOLT team has made this journey even more fulfilling. I’m genuinely excited to continue my membership this year and hopefully beyond.” 

Charlotte Holder, current associate member, said: 

“Becoming a SOLT Associate member has given me an invaluable insight into how SOLT champions, supports and sustains our industry. Being able to connect with the other members has allowed me to grow in ambition and confidence, giving me access to new rooms that previously felt out of reach, something that I know has inspired me and will impact my practice long after my associateship ends.”  

Fiona Steed, current associate member, said: 

“Becoming an Associate Member has been a career affirming moment for me – knowing that I have SOLT’s support/guidance in everything I do across the duration of the membership has been a real confidence boost. I have already made great use of the brilliant training opportunities, readily available employment advice and new industry connections. I can’t wait to see what the next 18 months holds.” 

Sarah Jordan Verghese, current associate member, said: 

“Being a SOLT member felt untenable to me, especially financially, so being an associate member has made this an accessible venture for me. The networks and resources that the membership provides isn’t support I can find anywhere else, so it has been extremely useful for my learning and development.” 

Lyric Hammersmith Theatre – until 6th January 2024

Reviewed by Fozia Munshi-Nicholson

5*****

A truly spectacular take on an old family favourite. I took my children aged 4-20! And they all without exception loved the performance.

The classic fairy tale is given a modern twist and is set in Shepherds Bush. Tilly La Belle Yengo is our feisty Cinders, she does the household chores and runs her own (slightly odd) business, with only a Gerbil as a best friend. Tilly’s Cinders was very likeable she clearly had a ball (see what I did there) playing the part, she and Damien James’s somewhat hapless Prince Henry had a sweet chemistry together.

However, In all shows, there is always one star who steals the show, and this one is no different, Emmanuel Akwafo’s Lady Jelly Bottom did just that, without giving too much away by the end we decided Lady Jelly Bottom was our second favourite, Cinderella being the clear favourite (well it is her show). The ugly sisters played by Charlie Cameron as Muffy and Meghan Treadway as Gusset were both hilarious as the mean (not so) ugly sisters, their dance moves were truly something to behold.

The show is skilfully performed with some surprising twists, it kept us rivetted to our seats, the poor put upon set director deserves a mention too (you need to see the show to find out why), although they are not in the programme.

Jodie Jacobs fairy godmother is great fun, and her magic totally surpasses the conventional pumpkin into a carriage trope.

The show was fresh and fun, and the cast clearly thoroughly enjoyed themselves sweeping us all along with them in the riotous retelling of our favourite fairy tale. There were gags for older audiences, and younger audience members were kept enthralled by the story unfolding in front of them too, with some great renditions of favourite songs along the way, Lady Jelly Bottoms rendition of Cher’s ‘If I could turn back time’ did not leave a dry eye in the house, tears of laughter that is.

This is a panto, but it’s very different from the usual, although it has all the ingredients of a classic panto, it’s style and performance is new and fresh and thoroughly engaging.

After much discussion my two youngest aged six and four agreed this Cinderella show was a hundred stars. I can’t say I disagree.

“Christmas with The Choir of Man”

New EP released by Westway Music on 1st December

Olivier Award-nominated, worldwide smash and West End favourite The Choir of Man, is releasing a six track Christmas EP, Christmas with The Choir of Man on Friday 1 December.

The EP is a must have for fans of the show and fans of Christmas! With classic Christmas songs including This Christmas, Driving Home for Christmas and The Christmas Song all given the incredible The Choir of Man treatment, and introducing a brand-new original song Spend the Rest of Christmas, the EP is a joyous and uplifting celebration for the holiday season.

Not only is this EP a brand-new collectable for The Choir of Man and musical fans, but also features an all-star line-up of Choir of Man cast members who have been seen on stage across the world!

The EP will be available on CD from the home of The Choir of Man, the Arts Theatre in London’s West End and will also be available digitally from all the usual digital stores.

Pre-save and be the first to hear, here!

Track listing:

1.               This Christmas

2.               Driving Home for Christmas

3.               The Christmas Song

4.               Christmas Time (Don’t Let the Bells End)

5.               River

6.               Spend the Rest of Christmas

Meanwhile, THE CHOIR OF MAN continues its sell-out West End run at the Arts Theatre, with new tickets just released for dates until June 2024.

Welcome to THE JUNGLE, the best pub in the world!

Here, an (extra)ordinary cast of nine guys combine beautiful harmonies and foot-stomping singalongs with first-rate tap dance and poetic meditations on the power of community.

Now in its 2ND SINGSATIONAL YEAR in London’s West End, and brimming with hits from artists such as Queen, Luther Vandross, Sia, Paul Simon, Adele, Guns & Roses, Avicii and Katy Perry to name but a few, this is a pub like no other!

An uplifting celebration of community and friendship with something for everyone – including free beer! Enjoy 90 minutes of feel-good, foot-stomping entertainment unlike anything else in the West End

Westway Music is the UK’s only dedicated musical theatre label. Launched in 2021, the label has released music by Samantha Barks, Ramin Karimloo, Kerry Ellis, John Barrowman, Lee Mead, Rachel Tucker, Cassidy Janson, Jason Manford, Rachel John, Joe Stilgoe, Peter Jöback and the original cast recording of West End musical My Son’s A Queer.

Neil O’Brien from Westway Music said, “I am incredibly excited to be releasing this great collection of Christmas music on Westway. The show is just perfect for the festive season and already one of go to shows for Christmas this year in the West End and beyond!”

Jack Blume, music producer, arranger and orchestrator of Christmas with The Choir of Man said, “It’s been an absolute joy bringing the unique sound of The Choir of Man to some of the season’s most beloved songs and working on our second ever original song. After living and breathing this festive record for 10 months, I can’t wait for everybody to hear what we’ve been cooking up.”

Christmas production 2023: 53two and Imaginality Productions present

Bear Left

Manchester-based theatre and arts venue 53two kicks off the festive season with its new Christmas production, Bear Left. Featuring original songs and created by Simon Naylor and Ollie Mills, Bear Left presents an anthology of uplifting human stories that unfold in a motorway service station on Christmas Eve.

The fast-paced festive journey follows a series of weary travellers as they descend on Pinkerford Services in search of coffee, petrol…and answers to their existential crises. The festivities are just around the corner, but not without a few detours first.

Playing from 13 – 23 December, Bear Left features writing from Manchester talent Steph Lacey, Emma Hinds, Hannah Macdonald and Mohammed Barber with brand new music from composer, Ollie Mills.

Hosted in 53two’s iconic 150-year-old arches, the production will feature some famous Manchester faces, with each performance narrated by a surprise guest.

Simon Naylor, artistic director at 53two said: ‘‘We’re incredibly excited to collaborate with the team at Imaginality Productions for the second time to deliver a Christmas show that will set us all up for the festive period.

‘‘From keeping tickets affordable to physical access and British Sign Language interpretation, accessibility is at the heart of everything we do and we’re proud to deliver a show that the whole community can enjoy.’’

Bear Left is proud to have Autotrader as its official Access Sponsor, ensuring the show is open to everyone.

This is also the first major production for 53two where performers, creatives and audience members will have access to the venue’s newly fitted Changing Places toilet. 53two is the first indie arts space in Manchester to install the facility, which will provide increased independence to users.

Tickets are now available here.

BSL / Captioned shows will take place on:

Saturday 16th December at 2:30pm

Thursday 21st December at 7:30pm

Leeds Grand Theatre – 25 November 2023

Reviewed by Kevin Roberts

5*****

Advertised as the official Take That musical, it’s far more than that. In fact the story itself surpasses the band and the songs. Well written and based on a journey of five school friends. It tells a story of love, laugh and heartache and what it meant to be a fan of the biggest boy band of the 90s, and more importantly the importance of true friendship.

Act 1 begins with the lead character Rachel (Kym Marsh) carrying out the housework and reminiscing about her younger days, and what could have been. Go back 25 years and we are back with the young Rachel (Emilie Cunliffe) chatting with her school friend Debbie (Mary Moore), who informs her she had entered them in to a competition and they had won tickets to see “the band”. The act then focuses on the school friends and their enduring friendships.

Not wanting to give any spoilers, the second act much like the band, the friends reunite 25 years later and take you back to how their lives panned out and where they are now. With a few twists these characters all have their own personalities that endear you to them, portraying their relatable and flawed personalities in all their glory.

Tim Firth clearly intended to portray the girls in a similar vein to Take That, in the sense they follow the same path as a group of friends/band who had loved, lost, split up, but ultimately reformed and were hopefully back for good.

Most shows depend on intricate sets and clever lighting, but the set of Greatest Days is simple and the story relies on the characters to bring it to life and doesn’t detract from their story. The boys in the musical were fantastic with great voices and also great dancers. They also seamlessly help move the set around for each scene. The cast and the story, however steal the show for me. There were some stand out characters that made it funny and heartwarming and they were Kitty Harris who plays the young Heather, great comedy timing and Alan Stocks (Every Dave) that brought a few laughs from the audience. Although every member contributed to bring a fabulous musical alive.

If you’re a fan of Take That’s music and love a good story and a good cry, then I thoroughly recommend this musical.