Le Navet Bete is back with another larger-than-life comedy, this time taking on the wildly dysfunctional world of Greek mythology.

When the stability of Olympus is threatened by the marriage of Zeus’ daughter Hebe to a mere mortal, the King of the gods hatches a plan to derail the wedding. The result is a fast-paced physical comedy in which three actors play 40 characters in a mythical farce through Ancient Greece, the Underworld and back.

Ahead of the show arriving at Lowry, Salford Quays Life chats to actor and Co-Artistic Director Nick Bunt talks to find out what it takes to bring Le Navet Bete’s unique style of controlled chaos to the stage.

We loved your version of King Arthur last time La Navet Bete toured to Lowry, Salford. What made now the right time to take on the Greek gods, and why did Greek mythology feel like the perfect playground for your unique brand of comedy?

Nick: “After ‘King Arthur’, we wanted to dive into another epic world that was universally known but with a completely fresh comedic angle. We really wanted to drop these legendary Greek gods into a surprisingly normal, relatable setting – which is actually how we came up with the idea of setting the whole thing at a hotel wedding between Zeus’ daughter and a mere mortal. The gods are larger than life, extremely petty and all awful people which makes them perfect for physical comedy and a riotously funny night out for our audiences. They’re one seriously dysfunctional family!”

The three of you play around 40 characters between you. How do you keep track of so many personalities, costumes and quick changes without descending into chaos?

Nick: “To be honest, it does descend into chaos – that’s half the fun of it! But it’s very tightly controlled chaos born from years of working together. Behind the scenes, it’s a military operation of split-second full costume changes. There’s almost more going on backstage than onstage at times! It certainly keeps us on our toes. The costumes for ‘Oh Zeus!’ are fantastically designed by the wonderful Fi Russell and really help us ‘become’ that person (or animal, at times!) and help drive the narrative along for the audience”. 

Do you have a favourite character to play or a favourite scene that always gets the biggest audience reaction?

Nick: “For me, it’s got to be Nestor, Zeus’s servant – he’s a centaur, so the half-man, half-horse costume is just brilliant fun to wear. I also love playing Thanatos, the god of death, but he’s definitely not your typical Grim Reaper. He’s the irritating guy who just hangs around making awful jokes until you want to punch him in the face so I love pushing that as far as I can! Al and Matt have some absolute corkers too that audiences instantly fall in love with. Al’s uber-macho Zeus vs Matt’s Anna Wintour-esque Hera reminds me of a certain US President and First Lady behind closed doors. Juggling all those different personalities helps build the whole mad world and keeps the story flying, and there’s a couple of brilliantly chaotic scenes where everything collides that always get a massive roar from the crowd”.

Physical comedy has become a real trademark of Le Navet Bete. How much planning goes into making the slapstick look effortless, and how physically demanding is performing ‘Oh Zeus!’ night after night?

Nick: “It is immensely demanding. Essentially every show is like a marathon! Making slapstick look effortless takes an enormous amount of rigorous planning, precise choreography, and relentless rehearsal. Every fall, slip, and comedic beat has to be calculated down to the millisecond to ensure we stay safe while making it look completely spontaneous and chaotic. By the end of a run of shows, our bodies definitely know about it, but the sheer electricity of the audience laughing back at us completely fuels the stamina and adrenaline we need to push through”.

Your productions are known for being accessible to audiences who may not usually go to the theatre. How important is it for Le Navet Bete to create comedy that appeals to everyone, whether they’re theatre regulars or complete newcomers?

Nick: “It is the absolute beating heart of everything we do. We firmly believe that theatre shouldn’t feel exclusive or intimidating. Whether you’re a seasoned theatregoer or someone who hasn’t ever stepped foot in a venue, we want you to feel included from the very first minute. When an entire auditorium of different ages and backgrounds is howling at the same silly joke, it creates a wonderful, communal atmosphere that makes for an unforgettable night out”.

The show is recommended for ages 12+, but you’ve also introduced special ‘No Kids Allowed’ performances. What can audiences expect from those versions?

Nick: “The standard show is a riot in itself but the ‘No Kids Allowed’ performances are where we really take the safety off! These ones always sell-out first. While our main shows are brilliantly high-energy and cheeky enough (think Shrek humour) these specific adult versions let us lean a bit heavier into naughtier words and humour, spontaneous audience interaction and the use of a few extra props and costume that we might otherwise rein in. The gloves definitely come off and the audience can completely let their hair down and have a wild night out”. 

The show arrives at Lowry as part of its UK tour. What are you most looking forward to about performing for Salford audiences, and how does touring keep each performance feeling fresh?

Nick: “We absolutely love it up here! I think this is our fifth or sixth time playing the Lowry (in every space). Salford and the Lowry have such a fantastic reputation for loving live comedy, and the audiences here always bring an electric, up-for-it energy. There is nothing quite like playing to a packed house in such an iconic venue and the Quays Theatre is the perfect size for our style of comedy and storytelling. Touring keeps us sharp because no two audiences are ever the same, making us play off the room, improvise, and keep the show alive. It means ‘Oh Zeus!’ is constantly evolving, making every single performance a unique live experience”.

If audiences leave the theatre talking about just one thing after seeing Oh Zeus!, what do you hope that will be?

Nick: “We hope they walk out into the foyer with aching cheeks from laughing so hard, turning to each other and saying, ‘I haven’t had a night out like that in ages.’ If they leave feeling thoroughly entertained, uplifted and buzzing from a brilliant, joyful communal experience (and maybe remembering a few of our ridiculous characters) then we’ll be happy knowing that we’ve done our job!”

Oh Zeus! is at Lowry, Salford from 28 July to 1 August 2026.

The post Le Navet Bete’s Nick Bunt on bringing the Greek gods down to earth 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.

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.

There’s no simple answer to this, though a quick fix of escapism is a guaranteed, short term antidote. Top Hat is now on stage, in a new adaptation by Matthew White and Howard Jacques. The show’s USP is multi award-winning double threat Kathleen Marshall, a premier league director and choreographer, feted for an acclaimed series of shows on Broadway, and in the West End (her brother is film director Rob Marshall, so it must be in the genes).

I have to admit to being late to this particular party, only discovering Kathleen Marshall’s talents with the Barbican production of ‘Anything Goes‘ a few years back. The latter was a dazzling piece of popular art, quite unlike anything I’ve ever seen before. Marshall brings the same eye for glamour and sophistication to Top Hat. If it doesn’t surpass ‘Anything Goes’, it is certainly the equal; impressive enough to convert a musical heretic to the joys of song and dance. 

In New York, wealthy producer Horace Hardwick (James Hume) hires American entertainer Jerry Travers (Phillip Attmore, possessing Zeus like dancing abilities) to headline a new musical show. The action then zips across the Atlantic to London. Jerry stays in Horace’s hotel suite, and his night time dance episodes (described as ‘tapititus’) are irksome enough to wake pretty Dale Tremont (Nicole-Lily Baisden, a pint size package of fizzy energy) in the room below. When she stomps up to Horace’s suite to tell Jerry to keep it down, he falls instantly in love. The next day, Jerry follows Dale around London, croons and charms until she can resist no longer.

This being the 1930’s, she neglects to ask his name – yes, this is the improbable dramatic device on which Top Hat pivots, because Dale now believes Jerry is Horace (who she’s never actually met). Next stop, Venice. Dale knows Horace is married to sassy redhead friend Madge (Emma Williams), who informs Dale that her husband is staying in the same hotel. Misunderstandings quickly pile on top of each other. To say more would spoil the ride.

Attmore and Baisden make a charming lead couple, though are in danger of being upstaged by the sub plot players, Hume and Williams. Hume is a hilarious bundle of bristling neurosis, seemingly afraid of everything – particularly air travel. “I get frightened when I arrive at the airport, and see the word ‘departures.” Act 2’s secret weapon is Williams who crackles with attitude and whip smart put downs. Hume and Williams have such chemistry, it would be great to see these performers return in a spin off.  

I still recall versatile James Clyde from a run of mid 90’s appearances at the Royal Exchange; he deserves a mention for his droll turn as Horace’s jaded valet, Bates. Likewise understudy Zak Edwards, who brings a controlled, toreador energy to the role of flamboyant dress maker, Alberto Beddini.

The mark of a gifted designer is when their work stays in the mind, rather than fading after the curtain. Peter McKintosh’s sumptuous set is a giant art deco clock; at various points, the face spins open to reveal different rooms and suites. Alongside Yvonne Milnes, McKintosh has also created the fabulous costumes. Every member of the company is immaculately attired. Top Hat exists in a rarefied atmosphere of covetous excellence (I’m almost tempted to break into the theatre at night, and steal a souvenir – perhaps Jerry’s duck egg blue suit).

Alongside Cole Porter, Irving Berlin was the prime mover of the great American songbook. His best known tunes might be ‘White Christmas’ and ‘No Business Like Showbusiness’ but those featured in Top Hat are easily the most melodic: ‘Cheek to Cheek’, ‘Putting on the Ritz’, ‘Let’s Face the Music and Dance’ are ear worms that take up permanent residence. The undoubted highpoint of Marshall’s production is ‘Top Hat, White Tie and Tails.’ This is a dance team operating as a hive mind, a series of jaw dropping sequences which include intimate groupings, spiral stage crossing, and dancers tossing and catching canes across parallel lines. How is this sort of thing even possible? A scene like this belongs in a choreographer’s textbook; a blueprint for what the art form can achieve.    

Top Hat is as bracing as a glass of chilled champagne in a cryogenic ice bath. But you will have to hurry: this Chichester Festival production is at the end of its tour (Southampton Mayflower follows this Lowry run).   

Top Hat is at Lowry, Salford from 2 to 4 April 2026.

The post Top Hat: Review appeared first on Quays Life.

Since its world premiere in 2017 the show, by The Old Vic’s Artistic Director Matthew Warchus, has been seen by almost a million people in London, America and Australia, and across the globe as part of OLD VIC: IN CAMERA in 2020. But this is the first time UK audiences will have had a chance to see it outside London, where it will also run for its tenth consecutive year at The Old Vic.

“To now be able to share the joy of this production with the Lowry and its audiences makes this year a truly special one,” says director Matthew  Warchus. “I am immensely proud of the impact it continues to have on audiences – whether it be their first time seeing the show or one visit of many”.

This production sees Charles Dickens’ famous tale of Ebenezeer Scrooge, adapted for the stage by Jack Thorne (His Dark Materials, Harry Potter and The Cursed Child), and audiences can expect a big-hearted show full of music and festive cheer.

“We know North West audiences are in for something very special this festive season and everyone at the Lowry is delighted to be welcoming the show to Salford and presenting it on our Lyric stage,” says Lowry’s Chief Executive, Julia Fawcett.  “It’s the first time the show will have been presented in the UK outside of London – a real landmark moment for theatre in the region. We’re absolutely thrilled to be working with The Old Vic – one of the UK’s leading theatres – to present their landmark production of A Christmas Carol – one of the most exciting, joyous and moving Christmas productions you’ll ever see”.

Matthew Warchus’ ‘A Christmas Carol’ comes to Lowry, Salford from 11 December 2026 to 10 January 2027.

The post The Old Vic’s multi-award winning A Christmas Carol comes to Lowry, Salford appeared first on Quays Life.

“There’s a script?”

“Not tonight there’s not!”

Ladies and gentlemen, we hope you’re having a lovely evening – and if you’re not sharing a bed with your appropriately-aged best friend, how could you be? In celebration of the comedians’ 100th birthdays, the UK’s leading Morecambe and Wise tribute act has returned after a sellout tour in 2022. Now at Lowry, Salford for a limited-edition run, ‘Eric & Ern’ guarantees a night of love, sunshine and laughter for fans old and new alike.

After a sparkling debut at the Edinburgh Fringe (or technically, their five-minute skit at the Stage Golfing Society’s ‘70s Night in 2002), Jonty Stephens (Eric Morecambe) and Ian Ashpitel (Ernie Wise) have brought the UK’s greatest variety show back from the grave – and even brought in their own Eddie Braben-inspired jokes as a bonus. In a glittering new remaster, the 2026 tour spills over with treasures from the ice cream van, to Mr Memory (‘Arsenal!’), and more, all delivered with a fondness palpable from beginning to end.

“The diehard Morecambe and Wise fans, who grew up with Morecambe and Wise, all bring their children and grandchildren now,” Stephens remarked in a Quays Life interview earlier this month – and reader, include your reviewer in the latter category. At 22, I’m just past the vintage of the dynamic duo, but that doesn’t mean the joy of watching Morecambe play the ‘right keys in the wrong order’ was in any way diminished. Charming, innocent, with the odd poke at pettiness, my first impression of this Morecambe and Wise was somewhere near Bert and Ernie after a sherry too many – and I couldn’t have asked for a better introduction.

Stephens and Ashpitel are a delight to watch as they skip onto the stage, and are brilliant in their rosy revival of a bygone era of comedy. Childish, twitching, and unwavering in his commitment to jumping to the wrong conclusion, Stephens’ Morecambe is forever fizzing with nervous energy. Ashpitel’s Wise, meanwhile, remains the proud peacock of the pair, swanning under the spotlights with an unshakeable charm – which quickly goes down the pan at the slightest breath of wind towards his hairline. The new dynamic duo know their inspirations back-to-front and inside-out, and are uncanny in their apparent ability to read each other’s minds; no wonder an audience member asked if they were about to propose!

And like every great Morecambe and Wise act, there is – as ever – an unfortunate stooge to be used, abused, and bemused, and West End performer Olivia Fines fits the bill perfectly. Having performed “across the world, and in Stockport”, Fines’ brilliant vocals make her a class act on stage, as does her willingness to join in the fun of her hapless hosts. Her rendition of ‘Where are the Clowns’ is beautifully soulful – oh Olivia, if only you would just look behind you!

Stephens and Ashpitel’s ‘Eric & Ern’ is what you get when you put the souls of two old men inside two little boys inside two middle aged men with a dream. The jokes stack, the personalities rival, and the delightful charm of golden age comedy is beautifully revived.

‘Eric & Ern’ is a sprawling banquet of jokes both old and new, and leaves no stone unturned in its tribute to Britain’s greatest dynamic duo. “If you liked this show, we’ve been Morecambe and Wise – and if you haven’t, we’ve been Mike and Bernie Winters!”

We loved it!

Eric & Ern is at Lowry, Salford fro 22-28 March 2026.

Read our interview with stars Ian Ashpitel and Jonty Stephens.

The post Eric & Ern: Review appeared first on Quays Life.

With feminism under attack as never before from the rise of the manosphere, a play which champions women’s economic freedom within marriage and their ability to make their own choices is admirable. Maugham here presents marriage as a transactional relationship where women stay silent on the subject of infidelity in exchange for ‘bed and board’ and economic reassurance. 

Constance Middleton (played with sophisticated elan by Kara Tointon) is the eponymous constant wife. She breezes on stage with the unruffled elegance of a superyacht, determined not to be blown off course by the domestic tribulations presented by philandering husband and Harley Street surgeon John. He has patients, she has patience. Her mother Sara Clover (a brilliant performance by the great Sara Crowe) dispenses ditsy advice to keep quiet and accept that men are born to be unfaithful (at least it’s with your best friend, she says, and not someone you don’t know); while Constance’s sister Martha – the paragon of the independent new woman – is all for tearing down the shibboleths of marriage and confronting the guilty parties. In the end, Constance decides forgiveness is a more powerful weapon than revenge. 

With music by Jamie Cullen and sharp direction from Tamara Harvey, this dialogue-heavy play is given a much-needed lift which keeps it bobbing along nicely. There are some delicious double entendres and the set – all tennis whites and art nouveau abstraction – underscores how the glitter of marriage may just be that once the shine has worn off. 

The drama, such as it is, effectively ends with the first act and much of the second act is spent explaining the first. But you can only get by on so many apothegms about the relative personality traits of men and women before wanting to set fire to the playbook. Constance is indeed constant (annoyingly so), not wanting to upend a cosy domestic set-up, but at what cost? She goes into business with her sister and finds she is able to support herself but chooses not to leave John, instead paying him a year’s rent for board and lodging at the family home. At this point, anything seems possible. 

There is some fine acting in the production. Tim Delap gives us a John terrified less of being caught out by his wife than being societally shamed by the thought of her going away on holiday with another man. Said man, Bernard Kersal (played with puppyish sincerity by Alex Mugnaioni) is the real love of her life but Constance is too much of a realist to fall for him. Jocasta King is perfect as the femme fatale, all swoon and swagger, while Amy Vicary-Smith plays Martha with strident urgency. 

The final word, however, must go to Philip Rham as Bentley the butler who – like all butlers, of course – knows everything about everyone and in the end is the only person you can rely upon for being straight down the line. 

The Constant Wife is at Lowry, Salford from 17-21 March 2026.

The post The Constant Wife: Review appeared first on Quays Life.

“Every year we did a show for the Stage Golfing Society. They did a ‘70s variety show and asked if I would do Eric Morecambe,” Jonty Stephens says. Sat buttoned up and thickly-bespectacled in the Lowry theatre bar, he could break into the act at any moment. Next to him, equally crisp with an easy grin, fellow actor Ian Ashpitel perches on his seat.

“And I said, well, I need an Ernie,” Jonty carries on. “And I looked over at the bar – it was the summer, and Ian had his shorts on because we’d been playing golf – and I saw his little, short, fat, hairy legs like Ernie Wise and thought, ‘he’s perfect’.”

Ian and Jonty have known each other for 43 years, only a year less than the original Morecambe and Wise. Self-confessed ‘anoraks’, the pair have built a joint career in bringing comedy’s greatest dynamic duo back to life. Following a string of sellout West End plays and an Olivier nomination, a special run of their latest show ‘Eric & Ern’ will come to the Lowry theatre this March, in celebration of the comedians’ 100th birthdays this year.

Cramming in classics from ice cream-police sirens to Mr Memory, ‘Arsenal!’, ‘Eric & Ern’ also teases a smattering of original material, based on the work of original joke-writer Eddie Braben. With the flick of a curtain and a guaranteed grand piano (if you know, you know), the show promises to bring love, sunshine, and laughter as it skips its way to the Salford stage for both old and new fans alike.

“The comedy and the writing is good,” Ian says. “It’s excellent, it’s timeless. It wasn’t cruel or horrible, it wasn’t crude, it wasn’t political. It looks easy and funny, and it should do.”

The original run of the show was a sellout, to rave reviews cheering nostalgia-done-well. With a list of gleefully manic, mischievously smug performances behind them, ‘Eric & Ern’ shapes up to be a variety act revived, promising a song, a dance, a string of gags, and if past performances are to be believed, a mystery stooge ripe for humiliation. “If this is living in the past,” one reviewer said of the 2022 run, “it is certainly a fun place to be.”

“It’s an exciting thing,” Jonty says. “The die-hard Morecambe and Wise fans, who grew up with Morecambe and Wise, bring their children or their grandchildren now. You get three generations of the same family, sat in the front row, all laughing at the same thing – that’s just so rare now.

“We’ve done a few [original] bits and bobs and people go, ‘Oh, I loved them when they did that’. And I say, ‘Well, they didn’t do that – we really did that!’. But it’s still very true to Morecambe and Wise.

“We’re in continual touch with the family, and they’ve been supportive of everything we do. They’ve seen the show, they know what we’re doing, they know what we’re including – and in fact, they’re coming to see it in Morecambe!”

In keeping with the spirit of authenticity, ‘Eric & Ern’ has already been put through the wringer of trial and error – and now stands “in the best shape it’s ever been”, according to Ian. That said, for the benefit of the audience, the pair insist there’s a line to be drawn between going through the motions and a faithful rendition.

“We’ve often talked about it,” Jonty says, “we were inspired by a live video of Eric and Ernie live at the Fairfield Halls in Croydon in the ‘70s. And we watched and watched and watched it and tried to do every mannerism, every little tick and be faithful to that, and of course we soon discovered that you’ve got a live audience in front of you that may not laugh at something that they got a laugh for at Fairfield.”

Jumping in, Ian draws an invisible string with his hand. “Tring to move your hand on a line literally drives you insane. [This show] is abandoning that,” he says. “That’s an impression, and what we’re doing is a portrayal – we’re portraying these ‘characters’. As actors, we’ve studied them as characters, and then added onto that is all the other information we’ve come up with.

“[Morecambe and Wise] were very different sorts of people, which works, because they’re a bit like me and [Jonty]. We’re like the ying and yang of each other, and I think Eric and Ernie were like the ying and yang of each other. That’s why they worked. That’s why we work.”

The pair have come far since their early golf club days, and their even earlier days in acting school where they were routinely asked if they were a double act (to which they would answer, in unison, ‘no’). Having since exploded as the UK’s most successful Morecambe and Wise duo, neither see themselves hanging up the jackets just yet.

“We are Eric and Ernie, for this set amount of time, and then after this, we’re still actors trying to do other things,” Ian says. He smiles: “But we never had a clue it would be this successful or last this long. This is our baby.”

“Without the talent of Morecambe and Wise, we wouldn’t be doing it,” Jonty nods. “We shine a light on that talent, and for that moment, that two hours that you’re in the theatre, we hope people forget where they are and all the horrible things that are going on in the world, and we take them away from that and they have a good old laugh.

“They were loved, so hopefully if we do a good job, we get a bit of that love from the audience. We’re very lucky in that respect: it’s wonderful to do.”

It must be an incredible feeling to get to perform with your best friend, too. “Yeah, it is,” Ian laughs. “He’ll be here in a minute!”

‘Eric & Ern’ is at Lowry, Salford from 24 to 28 March 2026.

The post “You get three generations of the same family, all laughing at the same thing – that’s just so rare now” – Jonty Stephens appeared first on Quays Life.

“I’ve lived an extraordinary life! I really have. I’ve done some amazing things and I’ve been very lucky,” says Cheryl.

Cheryl has so many stories to tell, and after trialling this format of event on cruise ships she is excited to bring it to Manchester and share her memories with audiences in an intimate setting. “Fans can expect honesty. I’m unfortunately to my detriment a very honest person!

“I’m giving it a try, opening at The Lowry, which is very nerve-racking, but I’m really looking forward to it!” However, Cheryl admits that she may struggle to include everything, “I can’t pack it all in!

“I’ll talk about Bucks Fizz, and I’ll talk about my TV days, but there will probably be things from an audience point of view I won’t talk about, so the QnA will be their opportunity to ask me questions that might not be on my list of things to talk about”.

Bucks Fizz won The Eurovision song context in 1981 with the feelgood hit ‘Making Your Mind Up’, which Cheryl says was ‘absolutely the highlight’ of her career. The group then went on to have three number one hits and oppportunities to play all around the world.

“It was wonderful, and we did everything first class! We flew first class, went to the best hotels, we were travelling in limousines, but what they didn’t tell us is that they would recoup that money out of royalties. I’m glad we didn’t know or we never would have done it.”

Although Cheryl has accomplished some incredible things, on this occasion she intends to take audiences through both the ups and the downs of her life. “There will be a lot of laughter. There will be a lot of laughter but also be prepared for tears.”

One of those sad incidents, she recalls, is when members of Bucks Fizz were injured in a coach crash in 1984, an experience that has stuck with her all these years later. “It’s like it happened to somebody else, but it was me that woke up in hospital. It’s really weird when something like that happens to you”.

After a successful career in the music industry, Cheryl ventured into the world of television presenting. “I left Bucks Fizz in the nineties because I was pregnant, and I thought I can’t have my kids and take them on tour and go around the country gigging, whereas TV was like a proper job,” she explains.

Cheryl then spent a lot of time in Manchester as television presenter, “I’ve got a lot of personal ties with Manchester, a lot. The Funny Side, My Secret Desire. A lot of BBC shows I did were filmed in Manchester.”

Cheryl is optimistic about this tour and willing to ‘take it nationwide’ if it goes well, she insists that the group is still where her heart is.

“I’d like to go all around the country. It would be nice to think I can expand on these three dates and do a proper tour. But I will still be fizzing, there’s no way this is gonna take priority, because Fizz is my happy place.

“Making Your Mind Up and Bucks Fizz opened so many doors to me and gave me so many opportunities that I am so grateful for. In the show at the Lowry, I can talk about them and relieve them. That’s the joy of it, that’s the joy of my career, that’s why I love it so much and I don’t want it to stop.”

Wearing Cheryl Baker is at Lowry, Salford on 25 March 2026.

The post Cheryl Baker – 50 years fizzing from Eurovision success appeared first on Quays Life.

Now a West End and Broadway hit with numerous awards, it is hard to imagine the musical’s humble beginnings in front of an audience of 80 in Lowry’s Aldridge Studio space.

SpitLip the talented company behind this inventive show rose up through Lowry’s Artist Development programme over a 10-year funding and mentorship scheme that included supporting other projects and co-commissioning Operation Mincemeat.

Before that, the four creatives behind the company – David Cumming, Felix Hagan, Natasha Hodgson and Zoë Roberts – cut their teeth performing sketch shows at the Edinburgh Fringe. And there is evidence of that background in the tight timing, high energy and carefully orchestrated chaos of Mincemeat.

The result is an exciting reinvention of the genre that will both delight musical lovers and win over those sceptics who say musicals are not for them.

Set in 1943, it is based on the bizarre true story of an MI5 mission to use a corpse as a decoy to fool Hitler and give allied troops a clear run into Sicily. It is one of those stories so strange you couldn’t make it up, and audiences will likely be familiar with it from the 2021 war drama starring Colin Firth.

Here the tale is told as a fast-paced, quick-witted comedy with five actors – Christian Andrews, Seán Carey, Charlotte Hanna-Williams, Holly Sumpton, Jamie-Rose Monk – taking on numerous gender-switching roles with lightening precision and clarity.  All the cast, except Monk, are reprising their roles performed in the West End and it is an exceptionally polished production with consistent high energy from the opening line to the curtain call.

It’s war time in a secret bunker, so the set is naturally pared back. However, Ben Stones seemingly simple set design, like the show itself, has more than a few surprises, with tongue-in-cheek nods to glitzier musicals, slick reveals and effective integration of Mark Henderson’s lighting design to evoke atmosphere without blinding.

There are some lovely harmonies in the music and some genuinely emotional moments that leave the audience spellbound. This fresh, clever, and funny musical is probably the best show you will see this year. It is certainly the best I’ve seen for a long time. Don’t miss it.

Operation Mincemeat is at Lowry, Salford from 16 to 28 February 2026. Age recommendation 5+

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