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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In the sparkle of the stage, Mitzi del Bra is a drag queen down on the town – and down on her luck. With both the crowds and the years starting to pass her by, she finds herself at a loss after a call from her ex-wife, who demands she come to the remote town of Alice Springs to meet their nine-year-old son. Now out of costume as Anthony ‘Tick’ Belrose, Tick takes his old friend Bernadette Bassenger – a transgender woman grieving her lover – and rival queen Felicia Jollygoodfellow to perform at his ex-wife’s casino, though doesn’t tell them the real reason for their visit.  

Thundering through rural Australia on a school bus christened ‘Priscilla, Queen of the Desert’, the trio soon find themselves face-to-face with a host of bizarre characters, with some far crueller than others. But after Priscilla breaks down in the middle of the Simpson Desert, the three must find a way to keep moving forward– and see if they can make their own dreams come true on the way.  

Famously difficult to do well, ‘Priscilla, Queen of the Desert’ is the blueprint of jukebox musicals. With timeless classics ranging from ‘Shake your Groove Thing’ to ‘Hot Stuff’ thrusting camp upon the audience from the get-go, Priscilla surpasses itself with a surprisingly insightful commentary on the changing generations of drag – delivered easily through the trio’s messy spats on the value of lip-syncing versus singing.
Adele Anderson’s (Fascinating Aida) solos and duets as Bernadette are masterclasses in classy-but-camp, while Nick Hayes’ vocals prophesise a glittering future for Felicia’s singing career. Also a treat was the young Harper Etienne as Tick’s son Benjy, whose unbelievable duet with his father (Kevin Clifton) had the crowd in a manic frenzy – a true delight to watch.  

The ‘Priscilla, Queen of the Desert’ musical comes just more than 30 years after the release of the original film, which was based on the lives of three real-life drag queens and became a worldwide sensation. Now considered a cult classic, the original Priscilla was far ahead of its time with its portrayal of LGBTQ+ culture, and the musical, in many ways, remains far ahead of ours. As hate crimes against LGBTQ+ people have skyrocketed over the past five years – rising by 88% among transgender people in particular – it has become increasingly rare to see scenes of bigotry given the same weight and horror that Priscilla affords. The music cuts, the stage stills, and we are left to stare; queer people are adored until the sun rises, Bernadette says – and we in the audience must sit with the characters through every second past dawn.  

‘Priscilla, Queen of the Desert’ is a tremendous rendition of a tremendous film, and comes to the UK at a time where queer culture needs desperately to be more embraced. The musical is an electric cocktail of debauchery and depth, with a clattering ego that’s rare to encounter outside of Canal Street’s smokiest balconies. Classy, flexible, and sharply polished, ‘Priscilla, Queen of the Desert’ is the queen of the Palace Theatre.  

Priscilla Queen of the Desert is at the Opera House, Manchester from 19-28 February before continuing on tour. Age guidance 14+

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Forget the high jinks of an intoxicated Dave Davies swinging from a chandelier in a dress. It is the band’s unabashed rootedness in their London home and joyous celebration of their working-class identity that makes this story all the more relevant today.

There is a scene when the band sing the musical’s title track Sunny Afternoon to a backdrop of England winning the world cup in 1966. The whole auditorium erupts in a huge party spirit as the band plays and the ensemble, draped in flags, dance through the aisles while streamers fall from the roof. If, as Ray’s character says later in the show, his songs aren’t about the lyrics but capturing an atmosphere – the Brit rockers have nailed it again.

This is one of many highs in what is a rollercoaster of a show, which charts the ups and downs of The Kinks’ journey to chart success both here and in the US. It’s that age old story, be careful what you wish for, as the young teenage foursome soon come to realise that rock ‘n’ roll isn’t all about guitars and girls, as music executives, chasing money, copyright, and court cases create a heavy burden. Yet, even though this journey is a well-worn track, the authenticity of Ray Davies’ true story and Joe Penhall’s tight and witty book give the piece an edge that keeps the audience invested throughout the 2 hours 45 minutes.

It is all brought to life with a terrifically talented cast of actor musicians, who inject the stage with an electrifying, gig-like energy. Danny Horn makes a charismatic frontman as Ray, while Oliver Hoare provides both convincing sibling friction and affection as wild brother and bassist Dave. Both actors previously starred in the musical in the West End production where the show won four Olivier Awards including Best New Musical and Outstanding Achievement in Music for Ray Davies.

The night ends with the whole audience on its feet singing and dancing along to a whistle stop through some of The Kinks’ greatest hits, including “You Really Got Me,” “Lola,” and “All Day and All of the Night.” Again, there is nothing new about medley endings, but the infectious energy of this cast and Davies’ rock anthems, make it one of the best.

Sunny Afternoon The Kinks Musical is at The Palace Theatre, Manchester from 11-18 October 2025 before continuing on tour.

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The musical’s 50-year history gives the show its own superstar status, and this production, from London’s Regent Park Open Air Theatre, arrives with a host of awards in tow, including an Olivier Award for Best Musical Revival.

Tim Rice and Andrew Lloyd Webber originally wrote the show as a concept album, and director Timothy Sheader gives us a concert-style presentation that blasts with rock-star excess from start to finish.

Tom Scutt’s dramatic, multi-layered set divides the stage with crosses-upon-crosses. There is with a huge spot-lit cross at the back reflected by a cross-shaped platform that looks like a fashion catwalk.

The band is on stage; the cast swagger with hand-held mics and plugged guitars; the ensemble flow from energetic backing dancers to backing singers with mic stands… in short, the stage is never still.

Ian McIntosh is a beefed-up, street-savvy Jesus in drop-crotch pants and hoodie. He’s dressed like and walks with the confidence of a Jay-Z JC. We see him through the jealous and confused eyes of Judas (Shem Omari James) whose passionate vocals move through aggression to tormented regret – his hands visually stained with silver as a guilt he can’t remove.

The Pharisees are given a machine-like, Kraftwerk influence with Jad Habchi delivering his lines with an almost other-worldly bass tone. Ryan O’Donnell’s leather-clad Pilate is a strong, traditional rocker, while Julian Clary gives us full-on glam-rock, with his camp, crazed King Herod who he has described as “Putin meets Cleopatra with a hint of Biggins”.

There are quieter moments such as Mary’s (Hannah Richardson) emotional ballad ‘I Don’t Know How to Love Him’ – perhaps the closest song to what you might expect from other Lloyd Webber musicals.

As a sung-through rock opera it can sometimes be difficult to make out all the words, but the thrilling sense of it comes through. We know where the story is taking us and Sheader doesn’t hold back in his graphic depiction of Jesus’ crucifixion. It’s a loud, roller-coaster, rock-god of a show that will leave you in awe.

Jesus Christ Superstar is at The Palace Theatre, Manchester until 23 September 2023 before continuing on its UK tour. Age-guidance 10+.

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Cher is one of those rare artists to have earned the title superstar – or megastar as people say as everything in the world gets bigger. Not only does she have an electric presence, but she has such a distinctive voice, whether speaking or singing, she’s instantly recognisable. How are they going to recreate her on stage? Well, to give us the megawatt personality, wall of sound effect, we get not one Cher, but three – and all on stage at the same time.

It sounds a little odd, but this part of the show works well, not just for the vocal power but for the retrospective look at a career that has spanned six decades. The three Chers play the singer at different stages of her life and career, while also watching over the whole action and commenting on events from their own life experience perspective.

Millie O’Connell plays Babe, the goofy daughter of an absent Armenian American truck driver who feels she never fits in, until a Disney tune of all things empowers her to believe, and she follows her dream of fame and falls for Sonny Bono (Lucas Rush) while working as a backing singer at age 16. Danielle Steers as Lady steers us through Cher’s years of motherhood, the Sonny and Cher comedy hour and Vegas residencies. While Debbie Kurup steps it up as Star when Cher’s career goes stratospheric with stints on Broadway and numerous awards including an Academy Award for her role in Moonstruck.

Incredibly all three women capture an aspect of Cher as they dazzle in the singer’s trademark skimpy glittering costumes and take us on the rollercoaster of her dramatic life that highlights the fickleness of fame as well as the steely determination that it takes to stay at the top. It’s like a two-and-a-half hour long, rousing anthem to girl power.

In all 35 of Cher’s top tunes are packed-in including, If I Could Turn Back Time’, ‘I Got You Babe’, ‘Strong Enough’, ‘The Shoop Shoop Song’ and ‘Believe’. It is fair to say that Cher can now add jukebox musical to her long-list of successes. And for those waiting for her next ‘farewell’ tour, The Cher Show could be the next best thing.

The Cher Show opened in Broadway in 2018. It first European Tour arrives at The Opera House Manchester from 17 – 21 May 2022.

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In fact, the plot is so baffling and nonsensical that it is hard to explain. Directed by Christopher Luscombe, the story starts with girl next door, Janet (Haley Flaherty) and her new fiancé, Brad (Ore Oduba) having to take shelter from the rain in a spooky castle in the middle of nowhere – which never exactly ends well. There they meet various strange characters including servants, Riff Raff (Kristian Lavercombe) and Magenta (Suzie McAdam) and of course, the charismatic, confident and ambiguous in every way possible, Frank N Furter played by the incredible, Stephen Webb.

Frank N Furter is a mad scientist and he unveils his newest experiment to everyone in the form of Rocky, an artificial human played by Ben Westhead. From there, relationships are formed, broken and chaos ensues.

Despite the constant plot twists and turns, the production suits the 1950s sci-fi meets low budget horror style down to the ground and the cast pull off every number with ease, particularly fan favourites ‘Time Warp’ which has the audience out of their seats dancing along and ‘Touch-a, touch-a, touch-a, touch me’ in which Westhead and Flaherty bounce off each other brilliantly.

Phillip Franks as the narrator brings constant comedy to his lines, improvising with current anecdotes that has the audience cheering and clapping every time he walks on stage and Lauren Ingram as Columbia has a great standout scene where it’s surprising she’s able to keep a straight face by the end of it.

There’s copious innuendo and is a mature show in every aspect. But it is also refreshing to see gender and sexual fluidity completely normalised and not treated as a joke or gag in the show.

The costumes by Sue Blane are flawless, with each one looking tailored to perfection, capturing each character and personality and it’s fascinating to see how the costumes become more edgy and dark as the show does too.

By the end, the constant back and forth dialogue and hard to follow storyline becomes slightly tiresome but Stephen Webb captures the audience entirely and is the perfect Frank N Furter, which means any small critiques can be brushed aside.

Funny, raunchy and packed with a talented cast, The Rocky Horror Show is guaranteed to make you laugh and leave with a smile on your face even if you have no idea how to describe what you just experienced.

The Rocky Horror Show is at The Palace Theatre, Manchester from 17-22 January 2022 and touring until July.

The post Richard O’Brien’s Rocky Horror Show with Ore Oduba: Review appeared first on Quays Life.

The original story has been skilfully adapted by playwright Brian Hill in this spanking new stage musical. For those unfamiliar with the film, it’s the tale of eccentric misfit Eglantine Price, owner of a seaside house in England who has three orphaned children – Charlie, Carrie and Paul – foisted upon her in WW2. Initially, both parties view each other with wariness. But the children warm to Eglantine when they discover she is a trainee witch, enrolled in a correspondence course run by phony wizard, Emelius Browne. Eglantine informs Browne of her plan to find the magic words for a spell known as ‘Substitutiary Locomotion’, which brings inanimate objects to life, and will hopefully help the British war effort in defeating the Germans. What they need first is the powerful star of Astroroth, which can only be found in the distant, animal isle of Naboombu. How will they get there? A flying bed of course.

Neil Bartram has rearranged the original Sherman Brothers songs, opening them out, and giving them a bit of extra zip (whilst adding a few songs of his own). ‘A Step in the Right Direction’ is a highlight, accompanying Eglantine’s ham-fisted attempts at learning to fly on a broom. The musical jewel in the score, of course, is ‘The Beautiful Briny’, a lovely, woozy number which signals the group’s arrival in Naboombu: here Eglantine and Emelius waltz in a fishy, undersea bar. Director Candice Edwards and Jamie Harrison – responsible for set and illusion design – conjure real magic in scenes like this, cleverly mixing puppetry, movement and sumptuous lighting.

Conor O’Hara as Charlie Rawlins comes across as an all round good egg, and he’s given solid support by a rotating team of child actors in the roles of Carrie and Paul. It’s pot luck who you see at each performance so it’s only fair to mention everybody: Dexter Barry, Isabella Bucknell, Haydn Court, Sapphire Hagan, Jasper Hawes, Poppy Houghton, Evie Lightman and Aidan Oti.

Charles Brunton brings an impish yet haunted quality to Emelius, signalling the character’s sense of having missed out on love. What’s surprising about this show is that’s it’s romantic. How refreshing to see two older characters – both loners, both independent – starting to fall for each other. The burgeoning affection between Eglantine and Emelius is touching, though not without some bumps along the road. ‘I’ll only let you down’, says the latter, ashamed of his charlatan like past.

The world is filled with actors who work mostly on stage, and aren’t necessarily household names. That doesn’t mean they don’t have a following. Dianne Pilkington is clearly a triple threat, a performer who can do everything. As Eglantine, she is never less than fabulous, and it’s easy to imagine some people falling in love with the character, an Ever Ready battery of resilience and British pluck. Pilkington even brings a soupcon of prim sexiness to the role. I overheard two young men in the bar trying to figure out which hotel she was staying in. If the merchandise stall had carried an Eglantine Price action figure I’m sure they would have bought one (as would I).

It’s taken 50 years for Bedknobs and Broomsticks to reach the stage. Was it worth the wait? These days, every show gets a standing ovation on opening night but in this case, it was justified. Bedknobs and Broomsticks is something special.

Bedknobs and Broomsticks is at The Palace Theatre, Manchester from 19-24 October and then touring nationwide.

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Jodie Prenger reprises her role as Emma following the original production at The Watermill Theatre. Emma, a character most notably played by Marti Webb and Bernadette Peters, is a strong and resilient woman. The one-act, sung-through musical shows Emma’s search for love. Through over 20 songs, Emma shares her stories of falling in love, heartbreak and strength. Her turbulent search for love takes the Brit to New York, California and then back to New York.

The set is perfect for the show, immediately giving a sense of intimacy and warmth that only a one-woman show can provide. A small, light-up New York skyline sits behind an 80’s inspired living room, where Emma’s search for love unfolds. Of course, the 80’s costumes are also something to behold: Jodie pulls off many a quick change into some beautifully bold dresses.

Jodie is perfectly cast in the role: she brings a simple vulnerability that is unlike any other. Despite following in the footsteps of some of musical theatre’s greats, Prenger more than steps up to the challenge. It is testament to any actor’s talent to keep an audience engaged while alone for the whole show. Jodie naturally gives the character a likable and relatable sensibility; her simple, innate choices fixate your gaze. There’s no need for a big cast or other characters when watching Jodie command the stage as she does in this production.

The musical is not Webber’s typical all-out, big buck’s musical – it’s simple and refined. The show includes well known classics such as Take That Look Off Your Face, and Tell Me On A Sunday, however undeniably the rest of the songs are rather forgettable. Nevertheless, the jazzy style and motif that runs throughout is very in-keeping with the tone and setting of the musical, and adds to the enjoyment of the music.

After the interval, audiences are treated to a Q&A with the star of the show. Jodie’s a natural entertainer: her northern wit and great sense of humour create a cabaret style second act, beginning with a rendition of Oom-Pah-Pah from Oliver! A great choice that had the audience singing along, and very relevant as Jodie reminds us of the role in which she made her name following her win of BBC television series I’d Do Anything.  After answering a few questions from the audience, Jodie is joined on stage by understudy Jodie Beth Meyer, who unites with Prenger to perform a small celebration of Andrew Lloyd Webber’s famous female hits.

Tell Me on a Sunday, is simply elegant with no gimmicks, displaying pure talent and bare emotion, performed beautifully by cast and orchestra alike. Although a musical that may not be everyone’s cup of tea, it provides an entertaining evening, and is somewhat a celebration of classical musical theatre.

Tell Me on a Sunday is at The Lowry from 19- 23 October 2021.

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If you didn’t grow up watching this series of movies – one, go see them and two, those who did are still huge fans. This means there is a ready audience for a theatre adaptation; but to live up to expectations, the show must be good.

The team behind this stage version gives a clue of what to expect. The book is by Bob Gale, one of the original writers of the films – he had the Midas touch before, and we have no reason to doubt he’s lost it now. But that still leaves the question of the music – how is this time-travelling story going to be staged as a musical?

Multiple Grammy Award Winners, Alan Silvestri and Glen Ballard have composed 16 original songs for the show, which are largely pop with a couple of Gospel inspired numbers for The Voice semi-finalist, Cedric Neal’s character, Goldie Wilson. There are no instantly catchy numbers, but the lyrics are full of humour and keep the show bouncing along. And the nostalgia pump kicks in with Huey Lewis and the News’ hits The Power of Love and Back in Time.

Tim Hatley’s absorbing set design stretches the full depth of the theatre stage, with a stunning mix of stage set, projection and special effects. I won’t spoil any surprises, but the entrance of the DeLorean time-machine catches everyone by surprise and that is just the start of this thrilling ride.

Tony-award winner, Roger Bart has the perfect mix of eccentricity and humour as madcap inventor Doc Brown. His onstage chemistry with Olly Dobson as young Marty McFly, played by Michael J Fox in the movie version, quickly draws us into the story. Doc has created a time-travelling machine and Marty tries it out, crashing back in time 30 years where he meets his teenage parents and almost changes the course of his own history.

To get back to the future he has to find Doc and work out how to get DeLorean to start up again. All the main scenes and many of the famous lines of the movie are there, delivered with terrific support performances from Rosanna Hyland and Hugh Coles as Marty’s parents Lorraine and George. After graduating in 2017 Coles has stacked up several screen credits but this is his stage debut and it is a confident assured one that wins him cheers each time he appears.

It is clear the audience is loving every second. It feels fun, familiar and escapist at a time when so much seems uncertain. But whether you’re a fan of the films or you’re completely new to the story this new musical is a helluva ride. So, strap yourself in and enjoy, because as Doc would say, ‘Great Scott! It’s good.

BACK TO THE FUTURE The Musical was reviewed at the Manchester Opera House in February 2020. It is now showing at Adelphi Theatre London.

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The show’s director and Co-Artistic Director of Pins and Needles Productions, Emma Earle tells us more…

It’s great to have you back at Waterside for your third Christmas show. What is it about this venue that works so well for you?
Emma: “We love the audiences at Waterside and enjoy being at the venue as much as we hope they enjoy the shows! The team at Waterside are also very helpful and friendly and all our casts have said how much they enjoyed their stay in Sale”.

Is the slumber show an idea from your company or is it from Waterside? How does it work
Emma: “It is something the venue has done for the past few Christmas shows and it is a lovely idea. Children – and adults too – are invited to come in their PJs and bring a favourite bedtime teddy to the 6pm Slumber Shows to make their theatre experience a real bedtime treat! Cookies and milk are also available to purchase”.

The 2011 film of Mr Popper’s Penguins, starring Jim Carrey, was only loosely based on Richard and Florence Atwater’s original book. For people who have read the book and/or seen the film, how does the stage show compare?
Emma: “Our adaptation is very much based on the original book, rather than the movie. Upon reading the book, we felt the story lent itself brilliantly to being reimagined on the stage. Our take on Mr Popper’s character for instance is really different to the 2011 film. In our adaptation he’s a shambolic but loveable house painter instead of a work obsessed business man with no time for his family”.

What were the challenges of bringing Mr Popper’s Penguins to the stage?
Emma: “Our biggest challenge was how to present a family of 10 penguins (8 children and two parents) on stage with only four performers!”

Can you tell us a bit about the puppets used in the show?
Emma: “We worked with Nick Barnes who designed and made the puppets to ensure that Mr and Mrs Popper feel over-run by penguins. It’s a logistical and choreographic feat!”

What is the music like in the show? Is it a musical?
“The show is a musical! Full of catchy songs and punchy lyrics, written by Luke Bateman and Richy Hughes. The cast all sing live on stage, it gives a wonderful feel to the performance”.

Is this the same production that was seen in New York?
Emma: “Yes. The show was performed at the Criterion Theatre in New York which is off Broadway. It is the same production direct from New York and the West End!”

What age range is the show aimed at?
Emma: “The show is aimed at 3-11 years but really we think that it is a show that the whole family can enjoy!”

Is there any audience interaction?
Emma: “There isn’t any audience interaction in this show”.

Have you changed anything to make it a Christmas show?
Emma: “We haven’t made any changes to the production to make it more Christmassy. It already works really well at this time of year because of our lovable, leading characters (penguins) and a snowy feeling. You can certainly expect hummable tunes, mischievous animal puppets and lots of Christmassy warmth”.

Mr Popper’s Penguins from Waterside Arts on Vimeo.

Mr Popper’s Penguins is at Waterside, Sale from 27 November to 31 December 2019. Cookies and milk packs are available to pre-order along with your tickets for an extra £2.50 each for all shows.

Read our review of Mr Popper’s Penguins.

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