Shipwrecked and separated from her twin, Viola (a savvy performance from Hannah Ellis Ryan) washes ashore in Ilyria. Disguising herself as the suave Cesario, she enters the service of Count Orsino (Angela Heenan), who pines for the aloof Olivia (Jessica Mannion). But as Viola navigates tangled desires and mistaken identities, love blossoms in unexpected places.   

Hawkins and Crowther are clearly fans of Blackpool. Ilyria might be an island but here it’s one with its share of seaside tat, including vending carts selling oversized sunglasses, and cuddly toys. When Malvolio is imprisoned, it’s not in a dungeon but what appears to be an abandoned theme park. The boozy party atmosphere continues with the choice of music, mostly 90’s dance: Dee-Lite, Venga Boys, SNAP, N-Trance, and Alice Deejay (no Whigfield, sadly). The simple traffic light set up at the rear of the stage adds atmosphere during the musical numbers, expertly performed by Feste (Channique Sterling-Brown, who soap fans may recall as Dee Dee Bailey in Coronation Street). Hannah Bracegirdle’s inventive sound design adds another layer of detail, as does the work of movement director, Lisi Perry. Credit where its due, Act 2 opens with a choreographed, slow motion piece where the cast move through a series of stylized freezes, set to a Kelsey Lu cover of 10cc’s ‘I’m Not In Love.’ Genius.    

After Midsummer Night’s Dream, Twelfth Night is perhaps the bard’s most accessible work. Of course in Shakespeare’s day, all roles were played by men, so an all female cast is no big deal. Why do I even mention this? Those unfamiliar with the story might be confused by the fact some male characters – like Toby Belch – wear dresses. This is a minor quibble, hopefully one which doesn’t detract from the narrative arc. Belch (Beth Vyse) and Aguecheek (Kassie Jay Ellis) are a classic duo, a drunkard and a fop, who appear to care for nothing but their own pleasure. Carrying around her own Vodka optic, Vyse is hilarious, like an entertaining lush, convinced of her genius, and gamely stepping up to perform at a chaotic Wetherspoons’ talent night. These amusing grotesques threaten to hijack the production but are smartly counterbalanced by the calmer energies of Jessica Mannion, and especially Lucie Browne as Sebastian; the latter gives an effortlessly nuanced performance, one that hits every stress of the bard’s famed rhythmic language.

If there’s a flaw in Twelfth Night, it concerns the character of Malvolio, the Count’s steward, and whose only crime is being a pompous dullard. The prank letter sent by Belch, Aguecheek and Maria (Maya Dhokia) seems cruelly disproportionate. But Frankie Gold is so great in the role, we end up rooting for Malvolio rather than the plotters – particularly when she dons a ludicrous line dancing outfit as a love declaration to Olivia. Only a romantic fool would do such a thing, but as Duke Orsino says early on, uttering the play’s most famous line – ‘If music be the food of love, play on.’  Highly recommended.

Twelfth Night is at Hope Mill Theatre from 24 June to 5 July 2026 before touring to Rochdale Heywood Civic on 9 and 1 July and Lawrence Batley Theatre on 14 and 15 July. Age recommendation 14+

The post Twelfth Night HER Productions: Review appeared first on Quays Life.

There is a pantomime feel to this riotous new musical comedy, but this is just a nod to the many theatrical genres it both reveres and mocks in equal measure. Indeed, there are so many theatrical references it is hard to keep up – and whatever your tastes there is something in this expert mash-up of a show to keep you entertained. For musical fans, think ‘Schmigadoon!’ but 100 times better.

The bigger question is not why are they staging this show, but what took them so long?

‘Something Rotten’ has already been a runaway hit on Broadway, premiering in 2015 where it received 10 Tony Award nominations, including Best Musical. Yet aside from a concert version in 2023, this new production is the first time it has been staged in the UK.

Conceived by brothers Karey and Wayne Kirkpatrick it tells the story of Nick Bottom (Manford) and his younger brother Nigel (Cassius Hackforth) whose writing partnership is forever in the shadows of the rock star poet of their day, William Shakespeare.

Desperate for a winning idea to keep the debt collectors at bay Nick visits a soothsayer he believes to be Nostradamus to find out what Shakespeare’s next great hit will be so he can steal the idea. Nostradamus, a brilliantly eccentric performance from Cory English, turns out to be the famous astrologer’s nephew who foretells a confused future of musicals and omelette. You can imagine the madcap chaos that follows.

Actress and singer Marisha Wallace who performed in the Broadway production joins the cast as leading lady, Bea, wife of the hapless Nick. It is a powerhouse performance where her American accent becomes just another of the oddities of this version of Elizabethan England.

Hackforth brings a tender vulnerability to Nigel, while Manford is as warm and entertaining as ever.

Richard Fleeshman plays the Bard as a leather clad superstar of his day. Whatever your version of a rock and pop hero might be – Elvis, George Michael or Harry Styles – he channels them with confidence, charisma and a knowing wit. It is a phenomenal performance, putting Fleeshman at the top of his game.

The show runs in Manchester until 19 July. Catch it while you can.

Something Rotten is at the Opera House, Manchester from 16 June -19 July 2026.

The post Something Rotten: Review appeared first on Quays Life.

Fasten your seat belts because you’re in for a ride, with no let-up in this roller coaster of a two-hour show.

It opens on a scene reminiscent of ‘Grease’ – a stage full of muscly young men working on cars and girls in swinging circle skirts working the nearby bar. The familiarity of Bizet’s Carmen score, with additional orchestration by Terry Davies, immediately draws us into the life of small-town Harmony. Its vibrancy is matched by the energy of Bourne’s choreography. Everywhere you look there are pairs of dancers, each telling their own story of playful youth, seduction and lust. When in the first five minutes dancers strip off and head for a cold shower Bourne sends the audience a tongue-in-cheek knowing that this show too darn hot for its own good.

As you’ve probably guessed, this isn’t the Carmen opera in a dance form. Rather Bourne has taken the essence of the tale along with the music to create something new, but equally thrilling. Bourne’s new story takes the desire and violence of the original and layers it with the noir fatalism of James M. Cain’s novel ‘The Postman Always Rings Twice’, giving the piece a sticky inevitability.

Here the handsome drifter is Luca, an imposing and mysterious Will Bozier. He crackles with sexual energy attracting both men and women and destroying any chance Harmony had of living up to its name.

His first conquest is the beautiful and feisty Lana (Cordelia Braithwaite), a name that nods to Lana Turner who played Cora in the 1946 film version of Cain’s thriller.

Alan Vincent, who played Luca in the 2000 premiere returns now as garage owner and Lana’s abusive husband, Dino. He is a giant of a man and yet Bozier lifts him as if he weighs no more than a child.

The acting as well as the dancing from this cast is phenomenal as they draw us into their dark and complex world. Leonardo McCorkindale captures this to heartbreaking effect as young Angelo who is also captivated and seduced by this enigmatic stranger.

Betrayal and jealousy fire the story forward to its tragic end. It’s a scorcher of a show made for these hot summer nights.

Matthew Bourne’s The Car Man is at Lowry. Salford from 23-27 June 2026. Age recommendation 12+

Read our interiew with Matthew Bourne.

The post Matthew Bourne’s The Car Man: Review appeared first on Quays Life.

Was there a moment when you realised you wanted to be a professional performer and is there a role that changed everything for you?

Stephen: “I was obsessed with John Travolta in ‘Grease’. I went to watch it in London when it first opened. I was obsessed – I thought, ‘I NEED to be in theatre’. That changed it for me really. I used to watch the film all the time.”

What was your first reaction when you found out you’d be playing Frank in ‘The Rocky Horror Show’?

Stephen: “Well, I couldn’t believe it first of all. When I originally wanted to audition for Rocky, I thought I’d be up for Brad and then they said, ‘No, we want to see you for Frank’. When I got it, I was ECSTATIC, I couldn’t believe that I got this role. But in the next moment, I was really anxious because it’s such an iconic role, I just want to live up to the legacy”.

Frank is such an iconic character, how do you bring your own twist to the role while honouring the legacy of past performances?

Stephen: “I remember that Christopher Luscombe, the director, said, ‘We don’t want you to do an impersonation of Tim Curry, we want to see your version’, which actually settled me. I portray Frank using an American accent instead of an English accent. Obviously, Frank’s costume is quite feminine, so I do inject an element of masculinity into my performance – my take on it is a little bit rough around the edges. The audience has mixed feelings about Frank which I love. He is a lovable psychopath! Because the character was written during the 70s glam rock era, I take inspiration from David Bowie, T. Rex and Queen. But I always find something new every performance, which makes playing this role so exciting”.

What’s your favourite part of performing as Frank each night?

Stephen: “There are two moments. One is my entrance. I’m not on stage for the first 20 minutes and the audience are waiting for Frank to come on. There’s a big drum beat before I enter and I’ve got this big old cloak on. I walk down centre stage and sing ‘Sweet Transvestite’, whip off my cloak and reveal my crazy costume. The audience goes absolutely berserk for it. It doesn’t matter if I’ve had the worst day in the world – it goes away as soon as I’m on that stage. Another special moment for me is when you see the vulnerable side of Frank. It’s like he’s taken off his mask and you’re seeing the true side of him”.

The audience plays a huge role in the Rocky Horror experience. Do you have a favourite audience interaction or reaction so far?

Stephen: “There are loads of shouts throughout the show. The audience are very much part of the show; they are almost another character. I’ve heard pretty much all of them now, so they don’t tend to catch me out. When I’m talking to Rocky when he first comes out there are a few shouts that are quite rude, and I love them! I think they’re really funny”.

What’s the most challenging part about playing Frank, either physically or emotionally?

Stephen: “It’s not wearing the heels – I absolutely love wearing those – it’s actually wearing the black corset because it doesn’t give. I make sure I eat at the right time, otherwise I struggle throughout the show. Singing and dancing in a corset means I must make sure that I eat and drink enough at the right time before doing the show”.

Frank has some iconic costumes; do you have a favourite outfit to wear on stage?

Stephen: “My favourite outfit is my finale red sequin corset. I absolutely love it. It really fits me like a glove! And it changes colour. If you push it up, it goes a black, if you push it down, it goes red”.

If you could keep one piece of Frank’s wardrobe for yourself, what would it be?

Stephen: “I do a few scenes with a leather jacket with tassels on it. I’m a motorcyclist so would love to steal it and ride my bike wearing it!”

The Rocky Horror Show has been pushing boundaries for more than 50 years. Why do you think audiences keep coming back after all these years?

Stephen: “It’s a show that celebrates what it means to be different, to follow your dreams like the song ‘Don’t dream it, be it’. There are amazing songs; I don’t think you could ever get bored with the ‘Time Warp’ or ‘Sweet Transvestite’! It’s got a lot of heart, it’s extremely funny, and it allows people to be part of it – there’s no other show like it”.

Do you have any pre-show rituals before stepping into Frank’s heels?

Stephen: “I don’t really have any pre-show rituals. But I do love makeup. Before ‘Rocky Horror’, I never liked using make-up, now I absolutely love it. As soon as I start putting the makeup and wig on, it transforms me, like I’ve got an alter ego!”

Finally, what do you hope audiences take away from seeing The Rocky Horror Show?

Stephen: “I think everyone who comes to watch the ‘Rocky Horror Show’ will have fun. It’s unique, liberating, funny, fierce and sexy. It’s a brilliant night out where everyone can be who they want to be. It’s one great big party!”

Richard O’Brien’s Rocky Horror Show tour comes to Manchester’s Palace Theatre on 27 July to 1 August 2026.

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Loosely based on Bizet’s ever-popular opera, ‘The Car Man’ has one of the most thrilling and instantly recognisable scores in New Adventures’ repertoire. The familiar 19^th century Spanish cigarette factory becomes a greasy 1950s garage-diner in the American Mid-West where the dreams and passions of a small-town are shattered by the arrival of a handsome and enigmatic stranger. Fuelled by heat and desire, the inhabitants are driven into an unstoppable spiral of greed, lust, betrayal and revenge.

The show orginally premiered in 2000 and, aside from a unique revival for The Royal Albert Hall’s 150th Birthday in 2022, this is the first time audiences have had a chance to see it live on tour since 2015.

We caught up with choreographer Sir Matthew Bourne to find out more:

Why were you first attracted to Bizet’s Carmen?

Matthew Bourne: “I resisted it for quite a while because there were so many versions of it, both ballet and opera, but I kept listening to the score and I felt that it was the right kind of music for my company, New Adventures. I also felt in 2000, when I made the original piece, that it suggested a different kind of movement than we had done before. It was particularly listening to the Shchedrin arrangement (the short 40–minute ballet version using only strings and percussion) which got me really excited and I thought, we’ve got to do this, we’ve got to use this music. But to stop myself, and probably everyone else, thinking, ‘Oh no, not another Carmen’, I thought, well, we’ll use the music but we’ll tell a different story and that’s what really inspired me and made the whole thing feel like a totally original project. I was also keen to create a ‘dance thriller’, full of plot twists and suspense. You can’t do that with a story people already know!”

How does New Adventures’ The Car Man differ from the original Carmen?

Matthew Bourne: “Quite a lot but there are parallels with the opera story; there are elements of lust, fate, revenge and murder and all those things that are associated with Carmen. I think the essence of Carmen is there, but we’ve set it in a different place and time. ‘The Car Man’ is set in an Italian-American community in a small mid-western American town in the 1960. Although it’s set in the USA there is quite a European feel to the production and although there are some obvious American elements, we’ve tried to add a gritty kind of realism, associated with Italian, French and Spanish cinema, and to avoid Hollywood glamour”.

So place is not so important, it’s the flavour and feeling of the period that matters?

Matthew Bourne: “Well, we came up with a name for this fictional town, which is Harmony – it’s also by chance the name of several real towns in the States. I was looking for something charming like Pleasantville, a name that could become increasingly ironic as the story develops. The characters are very gutsy and real, requiring a whole different acting style from much of the New Adventures repertory. It was certainly a change of direction in 2000 following the royal court and lakeside fantasy of ‘Swan Lake’ and the more genteel period feel of our war-time ‘Cinderella’. ‘The Car Man’ has always been a piece that has challenged my company as actors too. The movement that came from this was also much more earthy and gritty and contemporary in feel. You could call it a classic film noir but one that tells a story that no film of that era would have been able to tell! In dance terms, 26 years on, it remains a comparative rarity, as the first ballet to depict bisexuality as a major part of the plot”.

Earlier you mentioned the orchestration by Rodion Shchedrin being only 40 minutes long, so presumably the other hour of music was commissioned?

Matthew Bourne: “Yes. I really love the Shchedrin music and wanted to use this so I contacted Terry Davies and asked him if he would consider composing further music based on Bizet’s ‘Carmen’. There is a substantial amount of great music that Shchedrin did not use in his version, and so Terry’s brief was to use this other music, again with strings and percussion, to come up with a full-length score. With other shows that I had choreographed, ‘Nutcracker!’, ‘Highland Fling’, ‘Swan Lake’ and ‘Cinderella’, I had worked to an existing score and I made the story fit the score but with this piece, I was able to work in reverse for the first time, so with certain scenes or dances I was able to ask, what kind of music do we need for this? In that sense, it was the first time I had collaborated with a composer to create a complete score. I think that the results are very filmic and incredibly contemporary in feel. A tribute not only to Terry and Shchedrin, but to the enduring genius of Bizet”.

You were talking earlier about the characters being different from the original Carmen. Is there a title Car Man character?

Matthew Bourne: “The title of the show is there partly to differentiate between this production and previous versions of ‘Carmen’, but also to give an indication that we are retaining elements of the original, particularly in the case of the music. In terms of character, the title is quite literal really and it relates to the idea of mechanics working in a garage where most of the production is set. More specifically, it refers to the character of Luca, a stranger who arrives in Harmony at the beginning of the show and takes a part-time job as a mechanic at the local garage / diner. He is really the Car Man, the title character. Luca is a kind of fate figure who affects everyone’s lives and becomes the catalyst for change. Lana can also be seen as a Carmen figure, as can Angelo and Rita be seen as nods to Don Jose and Michela”.

So why revive The Car Man In 2026?

Matthew Bourne: “Apart from the special Albert Hall London revival in 2022 to celebrate the iconic venues 150^th Birthday, the show has not been seen around the UK, on tour, for over 10 years. ‘The Car Man’ has become one of New Adventures’ most popular productions since its creation in 2000. It’s also probably the most popular show amongst my dancers who all want the chance to play these challenging roles. There is now a whole new generation of talented New Adventures artists ready to take up that challenge and that has to be one of the other main reasons for bringing it back into the repertory in 2026. It’s a particular favourite of mine because it combines my great love of cinema with a highly theatrical approach. It also gives me a great excuse to revisit many of my much loved old movies for research!”

Matthew Bourne’s The Car Man is at Lowry. Salford from 23-27 June 2026. Age recommendation 12+

The post Matthew Bourne on The Car Man and Ballet’s Bisexual First appeared first on Quays Life.

In fact, the Foley Sound FX could really be viewed as extra members of the cast, called upon as they are to stand in for a variety of sonic deliveries during the show’s leap from scene to scene. 

The action takes place in a BBC radio in 1959, its cramped interior standing in for a murder mystery set in America’s rural heartland. Commentary of sorts comes from the studio gallery but otherwise Keirl and Babbage are left to follow the madcap plot with the sort of energy that could cut fuel bills instantly for the entire nation. 

Director Caroline Leslie has taken the bold step of seamlessly marrying sound and action so that the aural dimensions of the show are just as important as its visual ones. The move plays off handsomely and makes for memorable comic moments – and more than one audience intervention. 

Keirl has the most onerous task of the show in playing al 13 suspects for the murder of crime novelist Arthur Whitney, which includes his wife, a shrieking harridan channelling the spirit of Katherine Hepburn. Babbage takes the role of local cop Marcus Moscowicz who thinks this is the case which can make his name in the ranks of the police and impress his chief. Other characters include a German psychoanalyst modelling Freud’s persona, members of a boys’ choir, a French ballet dancer who pirouettes effortlessly round the stage, and a masters student whose dissertation is on – you’ve got it – unsolved murder mysteries. 

The musical numbers in the show zip along at a fantastic pace and Babbage and Kierl display amazing virtuosity in handling the piano and switchovers. The pace at which such numbers come along can make it has to keep up, but it’s all part of the fun of the show – it’s probably not meant to make sense, just to be thrillingly funny, which it succeeds in doing in spades. 

The show takes us back to the heydays of radio and studio sound effects and to corny Hollywood detective stories which make Columbo look like Dostoyevsky, and underpins the truism that with a little imagination and a lot of props a whole world can be created for an audience. 

Murder for Two is at Octagon Theatre, Bolton from 5 to 27 June 2026

The post Murder for Two: Review appeared first on Quays Life.

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

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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.

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