Epstein Theatre, Liverpool – until 12th October 2025
Reviewed by Phil Daley
5*****
“Liverpool isn’t the Reeperbahn… but Lime Street tries”
This single, sharp back-and- forth between John Lennon and George Harrison encapsulates the heart of Shake It Up, Baby! The brilliant new musical written by Ian Salmon, which captures the chaotic, gritty, and often hilarious two-year journey that forged The Beatles in Hamburg. This isn’t just a history lesson; it is a vital, often manic origin story that captures the very essence of how the “worst group in Liverpool became the greatest group the world has ever seen.”
The genius of Salmon’s script lies in its balance. It is meticulously researched, grounded in real-life lines spoken by those who were there, yet infused with even more wit, if that were possible.
The lynchpin of the production is as the Beatles’ first manager and the show’s narrator, Allan Williams. Schofield delivers a tragicomic portrayal of a well-meaning entrepreneur who is simply outpaced by the raw talent he discovers. He balances hilarity and colourful language with frustration as he tries to wrangle the young band, turning to bitterness and anger as he is sidelined. Though his fondness of the boys and acceptance of being a footnote in history wins out.
Of the boys in the band, Michael Hawkins’ John Lennon is a standout. He delivers a performance defined by John’s hyperactive stage presence, perfectly embodying his wit, sarcasm, presence, and even stance with a guitar. His raw, powerful vocal on “Money” marks a musical turning point for the band.
The versatility of the ensemble is brilliantly highlighted by two actors in particular. Kieran Andrew as Stuart Sutcliffe is effortlessly cool, spending the first half playing his bass lines sitting on his amp at the back of the stage and peering out over his ever-present sunglasses. Later as Brian Epstein, he shifts flawlessly into the role of the foppish, determined gentleman who nervously tries to rein in the band with paternal care.
Nick Sheedy as Pete Best / Ringo Starr achieves a moment of virtuoso transformation. Dumbfounded by his sacking, the cocky Pete glides from centre stage to the drum kit, and with a swift brush through of his rocker quiff into a moptop, Nick is instantly Ringo, jumping into the next song with hair flicking, head bobbing, and a cheeky grin that shows he studied his subject flawlessly.
The supporting cast provides real depth: Grace Galloway as Astrid Kirchherr adds gravity to devastation in the aftermath of tragedy, while Andro Cowperthwaite delivered the best vocal of the show as Derry Wilkie. Jess Smith as Beryl and Frankee-Mae Mciler provide excellent support. And I lost track of how many characters Connor Simpkins played, each with wonderful comedic timing and panache
Under the expert direction of Stephen Fletcher, the pacing is expertly managed,
accelerating with the band’s inevitable ascent from the shambolic Silver Beetles to the
polished and unstoppable momentum of The Beatles! The staging is simple, efficiently
accounting for the various clubs and venues, allowing the focus to remain laser-sharp
on the performances.
The actor-musicianship is a thrilling high point. The entire cast plays their instruments without a bum note, establishing the raw, live sound of the era. Special note goes to James Jackson for guitar parts probably better than George Harrison could manage at the time!
The choreography from Wow Liverpool’s dancers in the ensemble is dynamic, frenetic and quintessentially ’60s – injecting vitality into the stage. Tia Breese deserves particular recognition here.
The final scene where the newly suited Fab Four achieves its final form, the harmonies kick in, and they perfect the well-known staging we all recognise, is a powerful moment of myth-making. As Allan Williams suggests in his moving closing monologue, this is a story of dreamers who didn’t just belong to the world, but made the world belong to them.
This play is a triumph of local talent and rock-and-roll energy. Like the boys themselves,
it will certainly travel and find success well beyond Liverpool