Thankfully, my estate was not as harsh and unforgiving as Paradise Heights, the creation of writer, actor, director, Joe O’Byrne. There are currently five episodes of O’Byrne’s series, ‘Tales from Paradise Heights’. One of them, ‘The Bench’, is playing in the studio theatre at Bolton’s Octagon.

On a simple set – a war memorial, a litter bin, and the eponymous bench – O’Byrne and the five other members of his troupe play out a series of scenes (some stand alone, some interlinked) which offer a satisfying range of characters, moods and emotions.

It is night. ‘Little Rabbit’ (Jeni Williams) sits alone on the bench. Underneath her dark raincoat, she wears only stockings and sexy red underwear. She is about to be subjected to a “surprise attack” by Mr Wolf (Peter Slater). Unfortunately, Mr Wolf can’t quite play his part well enough to arouse…well…his part, no matter how willing the spirit might be. Enter the hapless, homeless Eric (Joe O’Byrne). Can he really be Little Rabbit’s secret lover, now confronted by an irate Wolf? Might jealousy (even manufactured jealousy) prove to be the missing ingredient for Wolf and Rabbit?

And so, we’re off on a journey of discovery (or, for loyal followers of ‘Tales from Paradise Heights’, rediscovery) of the characters who populate this deprived locale.

Lennie (Peter Slater) and Archie (Hector Macduff) are two elderly veterans laying a wreath at the war memorial in honour of fallen comrades. They discuss Archie’s world war memorabilia, that he’s planning to sell (no doubt to make ends meet). It’s a low key, sobering tale of how a country can fall short in its duty to those who serve.

Unfortunately, the villainous and menacing Matty (Peter Slater), with assistance from his mouthy toy-boy Jake (Jack Vardy), plans to steal Archie’s treasures and sell them himself.

Meanwhile, the intimidating Matty is underpaying needy shoplifter, Gabrielle (Abbie Richardson) for a designer handbag she’s stolen to order. A talented but untutored artist, Gabrielle needs a champion. Could the doting Eric be hiding shining armour under his shabby overcoat?

Trainee angel, Corny (Hector Macduff) can’t quite let go of the place where he grew up. His mentor, Shirley (Abbie Richardson) seems to promise him a very particular kind of heaven, if only he can refrain from interfering and just be a watcher of the affairs of the living, as he’s meant to be.

Heavenly (though slightly naughty) angels or earthly devils, everybody knows well enough to give the psychotic gangster, Frank Morgan (Joe O’Byrne) a wide berth. Well, almost everybody. Kev (Hector Macduff) might be just out of prison, but seems to be too firmly in the grip of his despicable urges to avoid crossing paths with Frank. He might not live to regret it…

And so it goes; theft and threat, love and laughter. And violence, of course. There’s no lack of that on Paradise Heights.

O’Byrne’s skills in storytelling, dialogue and character offer his ensemble plenty to get their teeth into, and they don’t hold back. The pace is relentless without ever being frenetic. You’re not gripped by this story? Don’t fret. There’ll be another one along in a few minutes.

At two hours plus running time, ‘The Bench’ certainly gives value for money. The moods swing from funny to romantic, to pitiable, to coldhearted and downright terrifying. You will surely have your own favourite scene.

Mine is the first encounter between nervous, chirpy street sweeper, Colin (Peter Slater) and the fragile Janice (still grieving for, and indeed talking to, her late husband, Barry). Colin and Janice flirt via corny/clever jokes about ice cream and brushes. Slater and Williams lap up the dialogue and each plays off the other with relish and skill. Together they create one of the most witty, charming and moving love scenes I have ever seen on stage.

Judging by the closing ovation, I think it’s safe to say a good time was had by all.

The Bench: A Tale from Paradise Heights is at the Octagon Theatre Bolton from 28-30 May 2026

The post The Bench: A Tale from Paradise Heights – Review appeared first on Quays Life.

But don’t let Jenna’s sweet singing, about her mum’s homemade deep-dish pie, fool you into thinking this musical is no more than another saccharine soaked tale.

There is much more to this young waitress from small town USA than meets the eye. And who could be better to take us on this journey for the show’s 10^th anniversary production than Carrie Hope Fletcher.

Fletcher is something of a modern-day phenomenon – a top-quality musical actress; a Grammy nominated singer, an author of both adult and children’s books, and (according to the Sunday Times) one of the UK’s top 100 social media influencers. The love for her in the auditorium is tangible and I’ve never seen so many people waiting outside the stage door for autographs as I did after the show on Tuesday night. Whatever part of her multi-faceted career this following is coming from, her sensational performance as Jenna cements her top billing and guarantees she’ll leave the run with an even bigger fan base.

The other recognisable name on the posters is Les Dennis, taking on the role of Old Joe who owns the diner where Jenna works. Dennis in his one big solo number doesn’t even pretend to be a singer yet still manages to make it a showstopper. What he lacks vocally he more than makes up for with his well-honed comic timing and the ability to draw the audience in to the heart of a character and make us care.

There are other acutely drawn performances from Mark Willshire as Jenna’s abusive and self-absorbed husband, Earl; as well as from Sandra Marvin and Evelyn Hoskins as Jenna’s friends and work mates Becky and Dawn.

Now I’ve already warned the ingredients of this musical aren’t all sweet and there is a pile of inappropriate relationships thrown in that will leave you cringing. But on the whole it is an uplifting mix with a sprinking of spice to give it an unexpected and memorable kick.

Waitress is at the Palace Theatre, Manchester from 26-30 May 2026 before carrying on its UK 10th anniversary tour.

The post Waitress: Review appeared first on Quays Life.

“Hi Lorraine

Meet Steve. Steve is Safeguarding and Crime Prevention Lead for TPE and proud owner of Nya the Therapy Dog.
They’d love to meet up with you as we chatted about a while ago and I expressed your love for all things animal.”

And so, began my communication with Steve O’Callaghan, Safeguarding and Crime Prevention Lead for TransPennine Express, not forgetting the wonderful Nya!

Nya is a Pets as Therapy registered German Shepherd and the first dog in the UK to be officially registered with a Train Operating Company.

Having spent the past 20 years as a Police Officer, Steve left his role as Police Sergeant to take up his groundbreaking role as Safeguarding and Crime Prevention Lead for TransPennine Express. Steve’s work centres around the safety and well-being of both passengers and staff with a strong focus on putting measures in place to support people’s mental health and wellbeing.

I asked Steve how it all began…

“I have owned dogs most of my life and currently own Nya, a 6-year-old German Shepherd. I have always known the benefits that dogs can have on people and last year I registered Nya as a therapy dog through Pets as Therapy, the leading national charity for animal assisted therapy in the UK. Throughout the beginning of last year, I worked closely with our Occupational Health department to bring to fruition an idea of incorporating my passion for dogs and safeguarding due to the multitude of benefits that dogs gave on people’s health and wellbeing”.

In May of last year Nya officially started her new role and I’m now proud to say that TransPennine Express is the first train operator to have its own therapy dog which can offer support to passengers and staff. On her first operational day Nya supported a vulnerable female passenger in crisis, helping her break a chain of negative thoughts. Nya has had 100s of positive interactions with both staff and passengers since the project commenced. She quickly became a familiar and calming presence across the network. With her gentle temperament, she began helping everyone from worried young travellers to adults having difficult days.”

I had a look at Nya’s biography, and it is celebrity worthy! She has been featured on BBC Radio 5 Live, Good Morning Britain, Storm Huntley Show, BBC’s Look North and That’s TV South Yorkshire. Only last month Nya became the first canine contestant to feature on the BBC TV game show “Bridge of Lies” She has been featured across national media, government departments, and major safeguarding campaigns including World Suicide Prevention Day, World Mental Health Day, Stress Awareness Week, and Brew Monday.

It wasn’t long before Nya had her own online presence she has hundreds of followers on social media platforms.
On day two ‘in the job’ Steve and Nya travelled to Manchester Airport Station to be interviewed by ‘Mancunian Matters’.
As year two dawned for them, I arranged to meet Steve and Nya on one of the platforms at Manchester Airport Station. I was greeted by Steve and Nya and with what I instantly labelled as “Team Nya.” I met Tom Gilmour-Seconded PCSO from British Transport Police (BTP), Rachael Cobain-Seconded BTP Liaison Sergeant, Ian Hutchinson-Safeguarding and Crime Prevention Coordinator for TransPennine Express (TPE), Debbie Easby-Lead Occupational Health & Wellbeing Specialist for TPE and John Merritt-Seconded PCSO from BTP, all enthused about the benefits of Steve and Nya’s role.

Over coffee and dog treats, with many lovely interrupts from members of the public coming up to meet Nya, I was able to hear from Steve about his and Nye’s educational work. In November last year they presented to 400 pupils at Oasis Academy, Manchester, on safeguarding and the benefits of Pets as Therapy. The visit formed part of the operator’s early careers strategy, which aims to build strong partnerships with schools and create new opportunities for young people to explore the diverse roles within rail.

The programme includes career talks, workplace visits and structured work experience, supporting the government’s goal for every child to complete 10 days of work experience.

Nya proved to be the star of the morning, winning over students and staff alike while helping to highlight the importance of wellbeing in the workplace.

Steve said “It was brilliant to meet so many enthusiastic young people. Their energy and curiosity were infectious, and Nya certainly helped make the day one to remember. Engaging with schools like Oasis Academy gives us a real opportunity to inspire future generations and show that the rail industry has a place for everyone.”

Like all good celebrities, around Christmas Nya wore her Christmas outfits and travelled to Manchester Airport Station to meet with the children from Peel Hall Primary School.

While Nya was doing what she did best, Steve was not idle. As Nya took her well earned breaks Steve decided to write a book “Nya the Train Dog – a Tale of Safety and Smiles.”

On 5 March 2026 on World Book Day, the book was launched at….Crufts of course!

Steve said: “I recognised the natural way that children and families were drawn to Nya, and I wanted to harness that curiosity to create a gentle, engaging way to introduce safeguarding and rail safety messages though an educational and friendly narrative.
“It will encourage children to stay clear of the platform edge, stick close to a trusted adult, know when to ask staff for help, and understand what to do if they are lost.” The campaign will also extend into classrooms, with visits to schools supported by the company’s new Police Community Support Officers, who will help reinforce the book’s key safety themes.

Steve added: “I hope children enjoy reading this book as much as I’ve enjoyed writing it and Nya and I can’t wait to meet you all out on the TransPennine Express network when you’re next catching one of our trains.”

Nya’s fame is continuing to spread as her work as a Pet Therapy Dog becomes ever more in the public eye. Hot off the press – Nya will be off to the House of Commons because Nya has been chosen as one of the National School Dog Alliance’s Top Dogs of 2026!

Nya no doubt wagged her tale when Steve read the email to her: “Congratulations on this wonderful achievement, the judging panel was extremely impressed by the work you are doing and the positive difference it is making within your setting.”

Nya The Train Dog: A Tale of Safety and Smiles is available to read free online.

The post The dog taking the stress out of train journeys appeared first on Quays Life.

The patient, dedicated and methodical Barnaby was played on TV for 13 series by John Nettles. “Barnaby and Troy had an almost father/son, mentor/pupil relationship and that is very much like my relationship with John. When he learned that I was taking on the role in the play, he said, ‘Well, he’s learned at the feet of the master’,” Daniel says with a smile. “That is certainly true.

“John’s advice to me has always been ’Be true to yourself,’ so that is how I have approached playing Barnaby.”

The pair starred together in the hugely successful murder-mystery show from the pilot episode, which was shot in 1996 and aired in March 1997, through to Daniel’s departure in 2003. The actor says of Nettles: “I spent all those years standing next to him, watching and listening, so hopefully I have absorbed a bit of his magic. It’s a bit daunting, because his are big shoes to fill, but I’m really excited about doing it. I think it is important not to do an impression, so I will be bringing my own ideas to the role, while honouring John’s original Barnaby’s essential attributes of honesty and integrity.”

And Daniel’s advice to the actor who takes on the role of Troy on stage? “Make it your own and enjoy it. He’s such a lovely character to play and I’m excited to see what someone else does with it.”

Published in 1987, The Killings at Badger’s Drift was the first of Caroline Graham’s Chief Inspector Barnaby books and formed the basis of that very first Midsomer Murders episode. Adapted for the stage and directed by Guy Unsworth, the play revolves around the death of well-loved spinster Emily Simpson in the picturesque village of Badger’s Drift.

Her friend Lucy Bellringer refuses to accept that Emily’s death was an accident, so DCI Tom Barnaby and DS Gavin Troy are called in to investigate – uncovering a world of hidden passions, long-buried secrets and deadly rivalries.

The play, Daniel promises, offers “a night of murder and mystery, full of theatricality and intrigue, with the central partnership of Barnaby and Troy, a whole host of English eccentrics and this real dark undercurrent of secrets and lies going on.”

Returning to the world of Midsomer, Daniel muses: “I never thought that I would revisit it. I had such a happy time playing Troy from when I was 24 to when I was 31. It was a fantastic time in my career, but when I made the decision to leave to pursue other things I thought that was that.”

A guest appearance in the 11th series in 2008 aside, that was indeed that. But then Unsworth called up Casey to say that he was adapting The Killings at Badger’s Drift for the theatre and asked him if he’d be up for starring in it. He wasn’t sure if he wanted to go back to Midsomer at first, but then Unsworth asked him to go along to a workshop and he recalls: “Sitting down and reading Barnaby out loud, it just felt right.” Now 53, he adds: “I’m about the same age as John was when we made that original episode and it brought back so many memories from a really lovely part of my career.”

Their chemistry, Daniel remembers, was instant. They were cast separately and didn’t meet until the first read-through. “And when John walked in he had his script in a carrier bag and I thought, ‘Oh, I like him!’ We got on famously from the start.”

Casey is effusive in his praise for Nettles. “I loved playing beside him, I learned so much from him and he’s always been there for me over the years if I want to talk about anything. He’s a lovely, lovely man.” Like millions of TV viewers, Casey is also a fan of the Barnaby character. “He’s a very straight-up-and-down family man, with a good moral compass. He’s a good cop, he’s watchful and he’s thoughtful.”

Does Daniel share any of those qualities? Married to his wife Ellie since 2005 and a father of two, he maintains: “Family is so important to me too and I think I’ve got a pretty good moral compass. And I’m the fourth of five children. As a kid I couldn’t get a word in, so I’ve always been watchful.”

He’s hard-pressed to pick his fondest memory from his time on the show because “John and I sat in a car, a room and a Winnebago together for so many years, so there are loads of stories”. One abiding memory, though, is when they filmed the very first episode, The Killings at Badger’s Drift. He was supposed to pull up in front of a house and Barnaby and Troy would then step out of the car. But he got out and John didn’t. “I’d parked about two inches away from a concrete bollard and he couldn’t get out,” Casey laughs. “He was shouting from inside the car ‘Is it too late for a recast?'”

One of ITV’s most popular shows ever, Midsomer Murders is syndicated in over 200 territories worldwide. Daniel believes it’s been so successful because: “It’s set in the modern day yet it has a kind of 1940s or 1950s feel to it. It’s a wonderful form of escapism. Apparently a lot of clerics like it because it’s like a modern day morality tale. It’s good versus evil, right versus wrong. And it has such cross-generational appeal, where kids watch it with their grandparents. The beautiful countryside is another part of its appeal and it’s full of eccentrics, which British actors play so well.”

As for why Midsomer fans should come and see it on stage, he says: “It is true to the spirit of the TV show, which has an inherent theatricality to it. We’re bringing that theatricality to the stage and we have a fantastic cast of actors who are multi-roling, which gives them the opportunity to showcase their amazing acting skills. I challenge the audience to guess how many actors there are in the cast as they transform into so many different characters between scenes!”

Casey was born in Stockton-on-Tees and, at age 14, he went along to the local youth theatre, walked into the room and immediately thought, “I love it here”. He landed the lead in Bugsy Malone. “And it was amazing,” he recalls. “The week after we finished I was walking through town with my mate when a girl walking towards us screamed and went, ‘Oh my God, it’s him!’ I knew then and there that this was the job for me.”

After graduating from Grey College in Durham with a BA in English Literature, he began his professional acting career in the Hull Truck Theatre touring production of the play Dead Fish just three weeks later. Casting directors for Our Friends in the North saw him in it and cast him as Anthony Cox.

“I hadn’t been to drama school, so that was a massive game-changer for me,” he says of his three-episode stint on the show, where he played Mark Strong and Gina McKee’s son. “It was an extraordinary opportunity and just opened every door for the rest of my career.”

Parts on The Grand, A Touch of Frost and The Bill, to name just a few of his credits, followed before Midsomer Murders turned him into a household name. His post-Midsomer CV includes Steel River Blues, Marchlands, Casualty, Coronation Street, EastEnders and Emmerdale, but stage work remains a particular passion with parts in The Curious Incident of The Dog In The Nighttime, A Number and The Wings of a Dove to name a few.

Having toured in Abigail’s Party in 2019 and Cluedo in 2022, Daniel says: “I love being part of a company of actors. When touring, the challenge is to keep something fresh, real and immediate every night, and I like that challenge. There are different entrances and exits, different sizes of venues, so you’ve got to be nimble and you’ve got to be on your toes.

“Also, I’ve discovered some gorgeous places in my time when touring. You usually get told about all the little hidden gems in the area by people who come and see you, and it’s lovely to be able to meet the audience afterwards – especially with something like Midsomer Murders that’s got such a loyal fan base.”

The Badger’s Drift tour calls at Manchester, which is a score for Daniel. “I’m a big Man United fan,” he beams, “and it’s a great city. I did The Grand there with Russell T. Davies, I’ve done Corrie and I was at the Opera House with Abigail’s Party and it’s a fantastic venue in one of the best cities in the world. I also did ‘A Number’ at the Library Theatre and was nominated for an MEN Best Actor Award.”

Midsomer Murders: The Killings at Badger’s Drift is at The Opera House, Manchester from 27-30 May 2026.

The post Daniel Casey steps up as DCI Barnaby for Midsomer Murders on stage appeared first on Quays Life.

Rory Mullarkey explores what it means to be a Mancunian past and present in his panoramic survey of who we are, our roots and the 1996 IRA bomb which became the turning point for Manchester to reinvent itself.

The play opens in Angel Meadow on St Michael’s Flags in the 19^th century, with Irishwoman Annie Donovan swearing to revenge death on the person who killed her pig – also called Annie. Played by Elaine Cassidy with bulldozer energy, Annie strides across filth-ridden Angel Meadow and its salubrious characters without so much as a look-back. Everyone in the city is caught up in the grimy swirl of the industrial revolution, none more so than the Irish immigrant population filling up Manchester’s underclass.

Mullarkey then swiftly transposes us to 1996 and a sweltering hot day in June. Market Street is awash with the usual baggage of shoppers and characters flit on and off the stage, some in less than a few seconds. Some roller skate, some push prams, some stroll uncertainly after one too many. But they all make up the fabric of this indomitable city.

We are given vignettes of city centre life on that fateful Saturday: a husband and wife shop for clothes; a young boy undergoes a viola exam at Chethams; people queue to make phone calls from a BT box (remember them?); bored teenagers hang around looking moody.

This tableau of life is narrated by Jenny (Katherine Pearce) as the mood suddenly turns darker: a police cordon is put in place, Corporation Street is inaccessible, no one knows what’s going on as the heat only intensifies. Until, that is, an earth-shattering boom rings out and clouds of dust rain down on everyone. In one unforgettable moment a pregnant woman is lifted 10 feet in the air after taking the full force of the bomb blast. It is a moment of shock and silence in the theatre.

The production is funny and fast-paced. A runner down the centre of the stage ingeniously allows for dining tables and cars to be propelled across it, and at one stage a woman traverses the stage in nothing more than a swimsuit. A huge community cast adds to the authenticity of the production.

The play ends on a sombre note, with Cassidy and Pearce inhabiting two characters who chance upon in each other in Angel Meadow Park in the present day. Anti-Irish sentiment and the conversion of the city from the site of industrial warehouses to plush residential warehouse lettings gradually give way to a moving meditation on the tragedy of loss – and survival.

The production brilliantly captures the madcap spirit of Manchester and its refusal to kowtow to bombs, bigotry or bombast.

The world premiere of Even These Things is at the Royal Exchange Theatre, Manchester from 15 May to 15 June 2026.

The post Even These Things: Review appeared first on Quays Life.

Since debuting at the 2025 Brighton Fringe, the show has continued to evolve with each performance using puppetry and physical theatre to deliver a raw and emotional message alongside its bizarre premise of a woman who falls in love with a hoover.

Claudia talks to Holly Critchley about the catharsis that comes with turning trauma into art and the challenges of confronting her abuse onstage.

Split Ends uses the surreal image of a woman falling in love with a vacuum cleaner. Where did that idea come from?

Claudia: “I’ve always had an OCD compulsion to cut my own hair, and yet this relationship I was in happened to be with the hairiest man in the world. His hairs would shed all over my apartment and I became obsessed with vacuuming them up. But they just kept appearing. My compulsion had transpired into just vacuuming up all his hair, and I realised how the hair grows back and repeats its cycles was such a good metaphor for being stuck in a controlling relationship.”

What kind of relationship were you enduring?

Claudia: “I was in a vulnerable place already when I got into a relationship that quickly became emotionally abusive. The man I was with would pick at my self-esteem, and keep on picking and picking. He would be a bad boyfriend, but if I confronted him on his behaviour, he would have astounding manipulation skills. The more this cycle happened, the more vulnerable I got, and suddenly I could no longer stand up for myself.”

Has performing ‘Split Ends’ so many times changed your understanding of your own experiences?

Claudia: “Definitely. Mainly, performing the piece has validated my experience – what happened to me was abuse, and I wasn’t dramatising it. When I first performed it was the first time that I got clarity. The feedback from the audience was so important. It reminded me that what happened to me shouldn’t have happened and this show wasn’t exploiting that. I didn’t have the proper words for the experience, so performing the show was at first semi for myself to express my emotions. But people would tell me how Split Ends really touched them, so it eventually became less for me and more as a way to connect with other people and validate their experiences of abusive relationships. As more time has passed, I’ve become more detached from the material, which has made it easier to perform than it was in the beginning.”

How do you balance art with heaviness when portraying coercive control on stage?

Claudia: “I use the vacuum and a piece of scissors as a puppet for my abuser. It’s inherently absurd, but it provides some levity too. But I’ve also faced criticism before that the play is too raw or too real, like watching someone go through it in real time.”

What do you hope audiences take away from ‘Split Ends’?

Claudia: “I wasn’t expecting so many people to reach out to me after performances, but so many have told me they experienced something similar and didn’t have the words for it. A lot of people are gaslit to such an extent that they struggle to even identify what happened to them. As heartbreaking as those messages can be, they’ve also shown me how important these conversations are. If the show helps even one person recognise those patterns in their own relationship, then it’s worth doing.”

Split Ends comes to Contact, Manchester on 19 and 20 May 2026.

The post Claudia Shnier talks toxic relationships and confronting her trauma head on appeared first on Quays Life.

We remember the music too. Joe Esposito’s uplifting ‘You’re the Best Around’ from the original soundtrack and Peter Cetera’s power ballad ‘Glory of Love’ from the sequel.

So, it’s understandable as a huge fan of the movie there is some initial scepticism on it being turned into a stage musical, especially one without its most memorable hits.

The musical premiered in St Louis, USA in 2022 and after success over the Atlantic it is now at The Palace Theatre on its first UK tour. Given my hesitation, the question wasn’t so much is there an audience for it – the 2010 remake starring Jackie Chan, and the more recent Netflix series (2018-2025) ‘Cobra Kai’ has kept interest going. And this was seen immediately in the wide range of ages watching at The Palace Theatre, from little kids to original 80s fans. My worry was more about what were they going to do with this story as a musical?

Well, the good news is, it’s not a comedy spoof. The story is played straight, and its central message of peace, balance and respect is as relevant today as it ever was.

The original music by Drew Gasparini has a ‘High School Musical’ feel and adds to the emotional intensity of the show, while the choreography by Keone and Mari Madrid makes impressive use of the fluidity in martial art katas.

At the centre of the story is Daniel LaRusso, a teenager from New Jersey who finds himself as an easy target for school bullies being the new kid in town. After one such encounter leaves his bicycle all smashed, the kind actions of maintenance man Mr Miyagi to get it back on the road leads to an unlikely friendship and LaRusso’s introduction to the art of karate.

Gino Ochello makes a remarkably confident stage debut as LaRusso bringing the audience with him on this rollercoaster with a carefully played mix of vulnerability, charm and strength. There is a sense of genuine connection in his relationship with Miyagi (Adrian Pang) that brings out the fun of their friendship. Pang’s comedy timing adds energy that keeps the scenes bouncing along. The wax on wax off sequence is just as memorable here as in the film.

There are strong performances all round, particularly from Joe Simmons who brings complexity as well as menace to bully Johnny Lawrence.

Even though we all know the ending, that final crane kick is still stunning. On screen or stage ‘The Karate Kid’ is a real crowd pleaser.

The Karate Kid the Musical is at The Palace Theatre Manchester from 13-23 May 2026, before continuing on tour.

The post The Karate Kid the Musical: Review appeared first on Quays Life.

The Burnley businessman’s quest to open the first high street bank in 150 years has already been told as a book, a documentary and a hit Netflix film starring Rory Kinnear.

So, naturally there is much anticipation for its transfer to the stage as a musical. And the fanfare begins even before curtain-up at Lowry for its world premiere, as the man himself, Dave Fishwick arrives in his trademark white van with a Lancashire brass band.

Lowry is one of the funders and producers of this new musical alongside ROYO, Future Artists Entertainment, and Curve Leicester. There is a sense even before it starts that everyone is rooting for this home-grown musical to succeed. It is the David and Goliath feel-good tale that everyone needs right now. It feels worth the ticket price alone just to soak up these good vibes.

What we love about Fishwick is that he is fun, honest, big-hearted and a bit rough around the edges. This musical embodies that in its authenticity and tongue-in-cheek spoof numbers that see the bankers switch to Broadway slick choreography, flanked by a chorus of dancing pigs.

If you have seen the global hit musical Come From Away, this has the same feel, with a strong ensemble cast doubling roles, soaring chorus melodies and a large open stage that draws focus on the well-drawn characters.

Amy Jane Cook’s expansive set is largely static with towering mill chimneys and a Rover’s Return style local pub. But it feels like it is constantly moving with wrap around projections and director Nickolai Foster’s fast-paced action.

Rob Madge’s book and lyrics are full of wit and cheeky northern humour, brought to life with vigour and warmth by a terrific cast led by Sam Lupton as Fishwick. Lupton captures Fishwick’s determination and it would be hard not to get swept away by the passion of his plight.

There are some extra revelations in the musical too that the film glosses over, which add to the overall gutsy punch of this staging. It’s another triumphant success for this universally uplifting story.

Bank of Dave the Musical is at Lowry, Salford from 6-16 May before moving to Curve Leicester from 20-30 May 2026.

The post Bank of Dave the Musical: Review appeared first on Quays Life.

Quays Life chats to director Nikolai Foster ahead of the show’s world premiere at Lowry Salford.

Some might think this is an unlikely story to be put on stage – how has ‘Bank of Dave the Musical’ come about?

Nikolai: “Several years ago Matt Williams, CEO of Future Artists Entertainment (the company who produced ‘Bank of Dave’ on Netflix) felt this David versus Goliath tale of a man from Burnley taking on the big city bankers could become a great musical. Matt met with our collaborators at ROYO and soon after, Rob Madge and Pippa Cleary were brought on board as writers and Curve and Lowry joined the project as co-producers.

“At the heart of ‘Bank of Dave’ we have what all musicals need: a larger-than-life character who can drive the piece forward. For me, Dave is the real-life ‘Barnum of Burnley’, so it felt perfectly natural to imagine this story staged as a musical. After a number of years in workshops, we’re now here in rehearsals, ready to share the show with the world!”

You’ve directed a wide variety of productions in your career – from huge shows like ‘Billy Elliot’, ‘A Chorus Line’, ‘Kinky Boots’ and ‘Annie’ to dramas like ‘A Streetcar Named Desire’ and ‘My Beautiful Laundrette’. How are you approaching directing ‘Bank of Dave the Musical’ compared to your previous work?

Nikolai: “From my point of view, no matter what show you’re working on as a director, you’re a shapeshifter, responding to the writing and what best serves the piece. I always think of it like a triangle between the artists – in this case, the writers Rob and Pippa – the actors who bring the piece to life on stage and the audience who respond to it.

“The humour and the wit of this piece is so exhilarating. In rehearsals, we’ve been working with the actors in the most dynamic and imaginative ways to serve Rob and Pippa’s writing, hopefully to share a musical with audiences that is as fun and exciting as the book and music they’ve provided us with”.

How important was it to launch the show in the ‘north’? It feels like this adds authenticity to bringing Dave’s incredible story to life on stage?

Nikolai: “Dave himself was really keen we should open the show as close to Burnley as possible and that makes perfect sense. We’re thrilled the world-premiere of the production will be held at the terrific Lowry theatre in Salford, close to the Pennines and Dave’s place of birth, where he stills lives to this day.

“‘Bank of Dave the Musical’ reflects the experiences and lives of many real people in the community of Burnley but like all great plays and musicals, it transcends that location and reflects experiences of modern working-class life and post-industrial life all up and down the country”.

Why should audiences be excited to experience new productions like this?

Nikolai: “Supporting new work is so important and really, anybody who cares about the future of theatre should be interested in new work because it’s the lifeblood of our industry. Once upon a time ‘My Fair Lady’ was new, ‘The Sound of Music’ was new, ‘A Streetcar Named Desire’ was new, ‘West Side Story’ was new – it was those audiences who took a punt and were excited to celebrate that new work that helped ensure those musicals and plays lived long and have remained part of the repertoire.

“This is such a funny, brilliant piece of writing and I think it’s really going to blow people’s minds with how hilarious, how moving and how original it is. You get the tone and grit of ‘Billy Elliot’ with the subversive, naughty, northern humour of Victoria Wood and Alan Bennett. It really is brilliant”.

Dave Fishwick is a real, larger-than-life figure – what can you tell us about Sam Lupton’s interpretation of Dave in the show?

Nikolai: “Sam is obviously being true to the essence of who Dave is but it’s not about an impersonation of Dave, it’s about creating a character within the world of the musical. Sam is an incredibly gifted star, a real triple threat.

“It took us a long time to find our Dave because we were so determined to find the right person. When Sam came into the room it was clear he had the star quality and charisma to really ignite the musical and embody the essence of Dave Fishwick through the medium of song and dance”.

How are things going in the rehearsal room? The photographs look like everyone is having a lot of fun?

Nikolai: “I think sometimes we’re having too much fun! There’s a lot of hilarity and literal tears of laughter – I honestly haven’t laughed so much in a long time. The writing is hilarious and the actors have really bonded. Everything has come together in the best possible way to create a really fun and beautifully chaotic rehearsal process and I know the audience will feel that energy and anarchy. I think we’ll need to see if Dave’s minibus company has a supply of extra seatbelts because audiences will be bursting out of their seats with laughter, I’m sure!”

What can audiences expect when they come to ‘Bank of Dave the Musical’?

Nikolai: “You are guaranteed a night of side-splitting hilarity and incredible songs, all performed with joy, love and enthusiasm by our phenomenal company. In these very uncertain times, we want to give people the chance to come to the theatre and see a show which says something hopeful about the world and how we can make a difference for our communities”.

Bank of Dave the Musical premieres at Lowry, Salford from 6-16 May 2026 with a further run at Leicester Curve from 20-30 May.

The post Director Nikolai Foster on his Barnum of Burnley Bank of Dave the Musical appeared first on Quays Life.

What do you love about playing Joe?

Les: “I played the father Wilbur in Hairspray who was devoted to his wife and daughter, and I love this show just as much. Joe is a surrogate dad to the main character Jenna. He’s described as curmudgeonly, but with a buttercream centre. He doesn’t give much away, he’s a bit snappy but he really cares about Jenna”.

Why is the show Waitress like it’s famous pies?

Les: “It is a really lovely show, with so many layers. It seems more to me like a play with music than a full-on musical. It deals with so many issues, with domestic violence, with love, lost dreams and the power of female friendship. Audiences will both laugh and cry and see incredible singers. I mean, our cast is amazing”.

Are music theatre performers looked down on compared to straight theatre?

Les: “Absolutely right. And yet they are a triple threat, they have to be able to do everything at the highest level. I mean, the acting is paramount in this. The story really has to be beautifully acted”.

Did you get the same comments as a comic rather than a straight actor?

Les: “Oh yeah. There’s definitely judgement and yet Shakespearean actor Edmund Kean said on his deathbed, ‘Dying is easy. Comedy is hard.’

“I think audiences get lulled into enjoying it so much, thinking, ‘Oh, he’s just having a good time.’ Yeah, we are all loving what we’re doing. But it doesn’t mean that, you know, it’s easy to do it!

“If you sing a song, you get applause. If you time a joke wrong, there’s nothing.
And when we get the chance to play the drama, we can do it because it’s the flip side of the coin. You know, Les Dawson was a very good serious actor when he wanted to be. You had to hold him down if he got bored, though”.

Do you feel you get more respect now for your acting?

Les: “I get a kind of respect. It’s not grudging, it’s confused because I do things they don’t expect me to. Denise Welch and I always used to ring each other after doing a play and say, ‘Were you a revelation?’”

Have you even surprised yourself?

Les: “Oh yeah. I did Anna Karenina last year. I loved that. I did Venice Preserved with my niece Jodie McNee playing my daughter. If my mum had been around to see her son and granddaughter onstage at the RSC she would have been so proud”.

Are you starting your own acting dynasty?

Les: “I’m very supportive that my daughter Eleanor (aged 18) is interested in acting and my son Tom (aged 15) was really great in a recent school production of School of Rock. I offer to run lines with them and they go, ‘No. I’m fine.’ They appreciate what I do and they’ve been in to watch rehearsals for Waitress, but they want to go their own way, which is great”.

What are you looking forward to on tour?

Les: “I’m looking forward to going back to Liverpool, my hometown. People there love their theatre, love their art. I used to go to the Everyman Theatre when I was at school, and I would watch Jonathan Pryce, Bernard Hill, Julie Walters, Pete Postlethwaite. There’s so much great art outside of London, and people really love it. It’s an embrace of community, of the beauty of life”.

What would you say to the government about regional theatre?

Les: “Theatre everywhere has had some knocks but should most definitely be funded outside London. We should appreciate what we’ve got”.

Have you ever had any mishaps on tour?

Les: “I did three years of panto in Liverpool with Cilla Black, Henry Winkler and then Pamela Anderson. She was lovely. She’d go into the local pub for a cider every night. She didn’t arrive until dress rehearsal and on opening night she flew in on a Vivienne Westwood swing and said, ‘Good evening Wimbledon!’ which is where she was the year before”.

Joe’s big number ‘Take It From An Old Man’ tells Jenna how the scars from life made him stronger. What has shaped you?

Les: “I did a double act with a man who I absolutely adored, Dustin Gee (Gerald Harrison). He was my best friend for a very short time. We met on Russ Abbott’s Madhouse in 1982 and I was having the time of my life with one of the funniest men I’ve ever known. His life was cut ridiculously short in 1986 at the age of 43 when we were flying high with our own TV show. We were in panto at the Southport Theatre at the time. We were being likened to the new Two Ronnies and it suddenly all went away.

“I was in a terrible state and actually went on stage the day after Dustin died, with Jim Bowen replacing him. Now I would not do that. I was convinced by promoters and agents that I had to do it.

“So, yeah, those scars are there”.

Attitudes to masculinity and mental health must be so different today from when you grew up?

Les: “When I first talked about being in therapy, it was frowned upon.

“Now people would check that I was okay. But this was 1986 and, and I was just told you’ve got to get on with it. You got to do it. The whole company went to Dustin’s funeral, but we couldn’t stay for the wake, because we had to go back for an evening show. I look back at that and just think that was wrong, and I didn’t get a chance to grieve and that’s why my first marriage (to Lynne Webster) collapsed, because I was just totally lost”.

What do you think of how Waitress presents so many different types of masculinity from Jenna’s toxic husband Earl to the very sweet Ogie?

Les: “There’s so much depth to this show. There’s a tragedy to Earl, to his destroyed dreams and how he takes it out on his wife.

“I think men are in a difficult phase right now, but we’ve got to support each other.

“My wife, Claire (Nicholson), will say, ‘Hey, hold my hand,’ because I still fear public displays of affection.

“I call her Claire in the community. She’s amazing, looking after us all and looking and looking after everybody, if she can”.

What have learned from her?

Les: “You’ve got to trust and love the people that you love, and you’ve got to show them that.

“I remember I stopped kissing my dad when I was about 13 or 14, because a school friend made fun of it. I really regret that.

“What I really love is that when I talk to Tom on the phone or he’s getting out the car to go to school, he always says, ‘I love you.’ That’s beautiful every single time. Tom kisses me, and, you know, gives me a hug all the time. I love it”.

It sounds like you’re in great place?

Les: “I’ve got a great, lovely family, lovely wife. I’m still here, still doing it. I love being in this business. I love the different things that are thrown my way. I did HMS Pinafore with the English National Opera. I did a season at the Royal Shakespeare Company. If I get a challenge, then I run for it”.

Waitress is at the Palace Theatre, Manchester from 26-30 May 2026.

The post “Men are in a difficult phase right now, but we’ve got to support each other” – Les Dennis appeared first on Quays Life.