Directed by Matthew White and written by Marshall Brickmman and Rick Elice, this musical follows Wednesday Addams, the 18-year-old daughter of Gomez and Morticia who loves shooting at all objects with her crossbow and torturing her brother Pugsley. Wednesday has recently fallen in love with a ‘normal’ boy Lucas. The problem starts when Wednesday invites Lucas and his family to meet her slightly more unusual one. One normal night is all they want but, as drama has it, that certainly doesn’t go to plan. Secrets, rings, potions and one little game threatens to tear the two families apart in more ways than one.

The cast is relatively small but all of the characters are so clear cut that it works perfectly for this musical. The ensemble play their role of ancestors impeccably, providing all the Addams characters with support in their musical numbers, particularly standing out in their scenes with Fester. Scott Paige as Uncle Fester is so in tune with the character and his song ‘The Moon & Me’ showcases Paige’s brilliant voice as well as his comedic acting and narration.

Kingsley Morton as Wednesday is incredible throughout, executing every note perfectly, with a particularly great rendition of her song ‘Pulled’ in Act 1.

Joanne Clifton is as beautiful as ever as the elusive Morticia and she shines in all of her scenes. The five minute long tango in Act 2 – with choreography by Alistair David – allows Clifton’s flawless dancing to take centre stage and she truly looks at home on the stage and in this role.

But a special mention must go to seasoned performer, Cameron Blakely as the ever charming and hilarious Gomez Addams. Blakely truly captures Gomez’ brilliance and his comedic timing is flawless, drawing so many laughs from the audience throughout the show. His mannerisms and facial expressions add layers to the character and it is immediately clear why Blakely is reprising his role as it’s hard to imagine anyone else doing it so well.

Clever lyrics and one liners have the audience in pieces throughout the show and there is a great mix of mature jokes for the adults and sillier ones for the younger members of the audience. “Wednesday’s growing up… she’ll be Thursday before you know it,’ sums up the musical’s comedic direction perfectly and the humour is so quintessentially Addams-esque that every joke lands.

It’s hard to imagine someone attending this show and not having a great time, the music by Andrew Lippa is fantastic with Spanish inspiration throughout, the cast work brilliantly together and the production as a whole is sure to put a smile on anyone’s face – although the Addams Family might prefer a grimace!

The Addams Family is at the Opera House, Manchester from 19-23 April 2022 before continuing its tour.

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Having just moved house myself, I am glad to say that the house I have moved to is not haunted (although I have not tried out a ghost box yet, or any of the other ghost hunting equipment we are introduced to in this production). I think if some of the weird goings-on that Ollie and his family experience as they move into Cold Hill House happened to me, I would be moving out pretty smartish!

In this production, the stage design by Michael Holt, perfectly introduces us to the strange Georgian mansion that our family has moved into.

Parents, Ollie and Caro are excited about their move from Brighton to the Country, having bought the house of their dreams, which they can barely afford.

Daughter Jade, technology-addicted and surgically attached to her smartphone, is disappointed to have moved away from her friends. As the play evolves, we learn the house has been empty for the past 40 years and we soon find out the reason why.  It becomes apparent that our family might not be the only residents of their dream home!

Shaun McKenna’s stage adaption provides several sub-plots that could explain the weird goings on. Modern technology is being installed – laptops, WiFi and an Alexa – which are all being affected in this strange old house. But, is it locals, Chris, a self-confessed tech geek and his friend, Annie, behind all the goings-on? Or, is there something more sinister and paranormal afoot? We get explanations of what ghosts are and if they really exist from different perspectives during the play.

There’s a strong performance from Rita Simons as wife, Caro, who is willing to believe in the paranormal and what she is experiencing right from the start. Joe McFadden (of Casualty and Strictly fame) plays husband, Ollie, excited by the opportunities the house provides, but his ‘chirpy-chappie’ routine feels overdone at times. Persephone Swales-Dawson gives a convincing performance as their excitable and scared teenager daughter, Jade.

There are good performances too from the village locals. Charlie Clements is the village technology geek brought in to help Ollie with his business, and Leon Stewart is builder Phil, surprised at some of the things he’s finding as he tries to rectify problems with the house. Padraig Lynch is the local vicar who turns up to sell raffle tickets but ends up getting more involved than he was expecting, while Tricia Deighton gives a quality performance as Annie, the craft shop owner with a secret.

Despite some good performances, and the ghostly going-ons achieved through some good effects, this production seemed rushed and disjointed, and I felt it would have worked much better in a more intimate setting than the large stage of the Manchester Opera House. After reading the book I was rather disappointed. An episode of Most Haunted is a much better option if you’re looking to be frightened.

The House On Cold Hill is at The Opera House, Manchester from 13-18 May 2019. Visit website for full tour details.

Read our interview with Charlie Clements and Persephone Swales-Dawson .

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From Cinderella’s lively opening song about the theatre, the scene is firmly set in the city. And being the home of the nation’s favourite soap, we get a trip down the Corrie cobbles, with a sinister twist on the theme tune at the entrance of this year’s pantomime villains.

In Connor McIntyre, as Ugly Sister, Phelina, the Opera House pantomime may have bagged the biggest villain of them all. Known best as Coronation Street’s murdering, Pat Phelan, McIntyre’s towering presence is enough to scare the mums and dads, never mind the little ones. However, when paired with veteran entertainer, Les Dennis, his menace is tempered to pitch perfect. As my six-year-old theatre buddy shouted at the dastardly double act: ‘Boo, double boo (and to McIntyre’s Phelina) triple boo to you!’

Les Dennis, who started his career as a comedian, has a wonderful warmth on stage. As the villainous Michaela, we sense in another life she might be one of life’s good guys and is being reluctantly dragged along by her evil twin. Together the sisters are both hideous and hilarious, channeling Corrie’s Bet Lynch with their big hair and outrageous costumes.

But while the sisters may be the comedy queens of the show, the king’s crown goes to Rochdale comedian, Ben Nickless as Buttons. His dynamism fuels the whole show with laughter for all ages, bringing a host of famous faces to the party with his quick changing impressions.

For little-ones, Cinderella is the true star and Shannon Flynn’s princess builds instant rapport with the youngsters who recognise her from CBBC’s Friday Download and Shout Out Saturday.

Gareth Gates makes a sweet and unassuming Prince Charming, showing unexpected comedy talent in some of the show’s best slapstick moments. A real treat at the ball is hearing him sing the Righteous Brothers, Unchained Melody, with which he had a hit following his runner-up success in Pop Idol 2002.

Soul singer, Hayley-Ria Christian is another fine voice as Fairy Godmother sprinkling her magical fairy dust with every firework entrance, so everyone enjoys the ball.

And what a ball it is – the first act closes with Cinderella’s carriage, pulled by flying white horses, hovering high above the stalls. After that there’s still an hour of spectacle to go and I won’t spoil the surprise in Button’s parcel – enough to say it’s another treasure in this gift of a pantomime.

Cinderella is at The Opera House, Manchester from 8-30 December 2018.

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It’s also one the director has already thought of, and it is just one of many self-depreciating gags narrator, Lonny (Lucas Rush) makes about the show. This is a musical that doesn’t take itself seriously, and laughing at itself is what it does best.

To be fair, Kevin Kennedy has done wonders in transforming his career from Corrie favourite to musical star and more than ably fills the role of ageing rocker and club owner, Dennis.

And it is not the fault of any of the cast that the musical doesn’t always quite hit the mark. Rather it’s the lewd gags and broad stereotyping that makes it feel all a little bit sleazy and dated. For all it’s tongue-in-cheek humour, it has twice as much butt cheek on display.

Set in LA’s Sunset Strip of the 1980s, Rock of Ages tells the story of Sherrie (BBC1’s Over the Rainbow winner, Danielle Hope) who in the words of Journey’s Don’t Stop Believing is ‘just a small town girl, livin’ in a lonely world, who took the midnight train goin’ anywhere.’

With aspirations to be an actress she finds herself working as an LA club waitress where she falls in love with fellow dreamer, Drew (Luke Walsh), gets ‘romanced’ then spectacularly dumped by rock star, Stacee Jaxx (Sam Ferriday) and ends up working in a strip joint.

There is obviously more to Chris D’Arienzo’s book, but not an awful lot more. Like many juke box musicals, the story is a mere thread to weave together a stack of hits, of which Rock of Ages has plenty including: We Built This City, Every Rose Has it’s Thorn, Dead or Alive, Waiting For A Girl Like You, The Final Countdown, Here I Go Again, Can’t Fight this Feeling and I Want To Know What Love Is.

There are some belting numbers and strong vocals, which win over the audience. As does, Lucas Rush’s Lonny, who starts off all tongue-out as a weaselly letch, but settles into a more watchable role as he builds rapport and interacts with the audience.

Zoe Birkett, although young to play life-battered whore, Justice, commands the stage and clearly has a massive fan base with audience members cheering every time her character steps on stage.

Aside from the sexist stereotyping, the comedy works best with fun, physical jokes, like seeing hero, Luke Walsh ride out on a toy motorcycle. And for people who lived through the 1980s, hearing the music again is a nostalgia trip and one the audience clearly loved.

★ ★ ★

Rock of Ages is at The Opera House, Manchester from 25 – 20 September, 2018 and touring until July 2019. See website for full details of the tour.

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If Qdos Entertainment were to return to Manchester after 10 years with a bang, it didn’t feel like this line-up was it. How wrong could I be?

This is the biggest pantomime the region has seen for many years, in every sense – entertainment, comedy, pace, costumes and spectacular special effects.

Barrowman is an all-round entertainer – he can sing, dance, act, present – and he gives it all in a high-energy, charismatic performance as Dick Whittington, who saves the world from King Rat (Phil Corbitt) and wins the girl (Lauren Hampton). Barrowman, a high-profile gay man, has some fun with this show , camping up the boat scenes singing The Village People’s ‘In the Navy’, and getting the whole audience to join in the actions to ‘YMCA’. At age 50 there is something of the Peter Pan about him, and the costume department play along with his cheeky antics, dressing him in either velour jodhpurs or tight white shorts.

There is a playful innocence about Barrowman’s cheeky innuendo, which is matched perfectly in The Krankies, who’ve been working their act since the late 1960s and are old pros at pantomime. In a twist on the traditional pantomime dame, we get schoolboy Jimmy Krankie – played by a 70-year-old woman. Her real-life husband, Ian, the other half of the Krankies, plays Councillor Krankie.

Like many adults in the audience, I grew up with the Krankies’ TV show and have seen them in panto more than 20-years-ago now. I thought they were fan dabi dosi then, but aside from the nostalgia of seeing them again, I did wonder how the act would work at their time of life. Remarkably it does. Little Jimmy Krankie is still thrown around like a ventriloquist’s dummy, although she does joke at one point: ‘How long do I have to keep doing this?’ Theirs is a silly, physical humour that leaves room for plenty of innuendo to keeps the adults and the kids laughing for different reasons.

Barrowman and the Krankies have been working pantomime together for several years now. They bounce off each other easily and their infectious energy fuels a fast-paced swirl of a fairy tale adventure that involves a flying sleigh, a 3D sea adventure, super-soakers aimed at the audience, fireworks, and little Jimmy Krankie being swallowed by a giant shark.

If Qdos wanted to show Manchester why it is the world’s leading pantomime company – it’s done it with sleigh bells on. For the Opera House this Dick Whittington may very well be the panto paved with gold – it’s terrific!

Dick Whittington is at the Opera House, Manchester from 9 December 2017 to 7 January 2018.

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So far, so predictable. Then Gary Barlow throws a curved ball to his fans, putting the spotlight on them and creating a story that has all the ingredients to make it the new Mamma Mia.

Yes, in one sense it is a jukebox musical. But, like Mamma Mia, it is so much more. At its heart is a celebration of female friendship that sees women screaming for the band as the show begins and hugging friends as they leave.

Writer Tim Firth previously collaborated with Gary Barlow on musical The Girls, based on Calendar Girls. Once again, the story has heart, but the familiarity of the Take That songs and the spectacular, pop-concert staging give this show the wider appeal necessary for an instant hit.

The young singers, Five to Five, inject a vibrancy that lifts the energy and gives the audience what they expect – a nostalgia trip of reliving a Take That concert on stage. Then, with the scene set, the focus switches to the fans – five 16-year-old girls. The songs form a soundtrack to their lives, making for some inventive comic scenes as the boys pop out of bedroom drawers and school lockers.

This is where the formula wins. Rather than shoehorn songs into a story, Firth weaves them through the narrative like a soundtrack.

The parallel to Take That is The Band’s comeback, 25 years on, which is a catalyst for the friends, who had lost touch, to reunite and discover what happened in the intervening years.

As well as introducing Five to Five – Curtis, Sario, Nick and Yazdan – there are strong professional debuts from, Lauren Jacobs as Zoe and Rachelle Diedericks as Debbie.

Rachel Lumberg, Alison Fitzjohn, Emily Joyce and Jayne McKenna play the fans as 40-somethings with both an authenticity and lightness of touch that has everyone rooting for them.

The hype around whether the real Take That – Gary Barlow, Howard Donald, Mark Owen and Robbie Williams – will appear on stage for the finale has no doubt boosted ticket sales. And there was an unexpected bonus on opening night when Lulu joined three of them (minus Robbie) on stage to sing Relight My Fire.

On Tuesday night, the atmosphere in Manchester Opera House was electric.  But it is the warmth and humour that will keep audiences uplifted and coming back for more. It’s a winner.

The Band is at the Opera House, Manchester from 8-30 September 2017.

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Recent years have seen mega-stars, like Priscilla Presley and David Hasselhoff on the bill. But sometimes blowing the budget on one box office breaking name can leave the finished production feeling a little imbalanced.

This year the theatre could have had the opposite problem with several star names vying for attention. But the mixed-billing in Aladdin is a winner with adults and children alike.

It could be thought a risk to put a magician into what is usually the central comic role of Wishee Washee. But in the hands of Neil Henry it works well. His magic – from conjuring a bird from the air to drawing a bowling ball and having it drop from his sketch pad – has the kids wowed. These are sensational tricks, woven into the script as if they are all part of the magic that is pantomime.

In a show with a spectacular flying carpet and not one, but two, genies you can never have enough magic and it’s great to see it integrated in this way rather than a separate part of the show.

Henry’s energy is high and the youngsters quickly warm to him. He has his share of jokes, but the main comedy falls to Eric Potts as the colourful Widow Twankey.

Potts, who also wrote the panto, is not only a terrific dame he is a mighty stage presence and a comedy force who pitches just right for a family audience. His rendition of Hello Dolly is a full musical show-stopper.

It is good to see John Thomson back on stage in his home city. He is a charming Abanazar with great stage presence and appeal. Always with a twinkle in his eye, he’s not a thoroughly nasty villain but one children love to boo.

The audience love Thomson’s references to his characters from The Fast Show and Cold Feet. And he always has a comedy twist, such as bursting into song with Spandau Ballet’s Gold each time he thinks about the hidden treasure.

Sherrie Hewson, as the Genie of the Ring, similarly plays-up her well-known persona with plenty of tongue in cheek references to her parts in Loose Women, Benidorm and Coronation Street.

Even Aladdin (Ben Adams) is a household name. Former lead singer with boyband A1 and finalist of Celebrity Big Brother and Masterchef, he brings adventurous charm and strong pop vocals to what can often be a bland role.

As well as treating the audience to one of A1’s hits, the cover of Aha’s ‘Take On Me’ there is a good mix of songs for all ages.  And the end sees the whole audience on its feet dancing to Proud Mary (Rolling on the River). It’s a great party atmosphere that has everyone leaving with a smile on their face.

The four-year-old critic with me loved it and gives it 10/10!

Aladdin is at The Opera House, Manchester from 9 December 2016 to 8 January 2017.

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This year marks 100 years since the birth of the much-loved children’s author and as part of the centenary celebrations, Birmingham Stage Company, which has produced more Roald Dahl stories than any other company in the world, is touring David Wood’s interactive stage adaptation of George’s Marvellous Medicine.

The story is a simple if fantastical one, which Wood has updated with modern-day references such as Nintendo Wii and Breakfast TV. George (Ed Thorpe) is on half-term from school. All he wants to do is rest and read his book about a wizard boy, but unfortunately for George his parents have other plans. Living on a farm there are cows to be milked, chickens to be fed, as well as bedrooms to be cleaned.

As if his fun wasn’t being spoiled enough, grandma arrives. George fantasises about having a wonderful grandma who gives him compliments, presents and plays computer games. Sadly, he has a grouchy grandma, who downs her gin in one and has him running after her every whim at the ring of a bell.

To cure his grandma of her terrifying temper, George decides to swap her medicine with one of his own making, with the audience egging him on to add more and more outrageous ingredients. This is one part where as an adult I did find myself thinking it’s maybe not such a good idea to have children playing with a mix of anti-freeze, diesel oil, bleach and hairspray – but there is a warning disclaimer at the end reminding youngsters not to try this at home.

Hopefully none of the youngsters will have a granny like this one of George’s. If she bears more than a passing resemblance to his mother this is because in real life the actresses playing the parts, Tessa and Deborah Vale, are twins. It shows how good the make-up is that they pass realistically as mum and daughter, but pity the casting director who had to make the choice which was which.

Jacqueline Trousdale’s design of a house with the front taken off works brilliantly, particularly for the scenes where granny grows and grows until she bursts through the roof.

From the start George talks to the children in the audience, making them his friends. Things liven up considerably when he starts to involve them in remembering his medicine mix and warming their hands to heat the pot.

And while George and his dad (Richard Mullins) may struggle to recreate the original concoction, their adventure has all the right ingredients for a fun-filled, family show.

George’s Marvellous Medicine is at The Opera House, Manchester from 15-19 November 2016.

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Fast-forward 40 years and those same girls are asking the same questions, only they now wonder how life got so complicated and downright dreary. Cue the audience recognition for our heroine’s early line: ‘I work, I cry, I eat.’ The mention of her age alone – 54 – gets a cheer.

Jackie the Musical knows its target audience well and gives them everything they could ask for in a musical and some. It’s a juke box musical, along the lines of Mamma Mia, in so far as Mike James has woven a strong, emotional story around a host of Seventies hits. And judging by the audience reaction it has every chance of enjoying the same success as the ABBA favourite.

Nostalgia for the teen magazine, which ran from 1964-1993, may be selling the show but it is only the backdrop to the serious issue of middle-aged divorce.

A year after her husband John (Graham Bickley – Joey from Bread) left, Jackie (Janet Dibley – EastEnders’ Lorna Cartwright) is living among a pile of boxes, nursing her broken dreams and despairing at the wannabe pop-star ambitions of her teenage son, David.

Searching through her old belongings she comes across her old collection of Jackie magazines, up pops her teenage self (Daisy Steere) who has all the beauty and enthusiasm she feels she’s lost, and despite being baffled by mobile phones and text-messaging proves to be a voice of reason, churning out time-worn advice from popular Jackie agony aunts, Cathy and Claire.

Young Jackie, like the magazine, is supportive and informative but overall she’s fun, something her 54-year-old lost a long time ago. It’s time to get it back.

Tim Shorthall’s two-tier design with an onstage band and clever use of photo-story speech bubbles, coupled with Philip Gladwell’s neon lighting and glittering disco balls set an upbeat tone from the start.

Arlene Philips energetic choreography with a retro shimmy, injects a youthful excitement that bursts with silliness. The scene where our two would-be middle-aged lovers, Jackie and Max (EastEnders’ Dr Trueman – Nicholas Bailey) nervously navigate their first date to the soundtrack of Love is In the Air, while the ensemble dance with trees behind them is hilarious. The earnest singing of the actors coupled with the playful choreography created a ridiculousness left me crying laughing.

The former Strictly Come Dancing judge also gives some show-stopping moves to young teen, David, which actor Michael Hamway turns into a real crowd pleaser, proving that despite what his stage mum may think, he has the makings of a star and is one to watch.

There is not a weak link in this production which fizzes with fun from start to finish.

Jackie the Musical is at the Opera House, Manchester from 17-21 May 2016.

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The show features the hits of Frankie Valli and the Four Seasons and there are lots of them – Beggin’, Sherry, Walk Like A Man, December, 1963 (Oh What a Night), Big Girls Don’t Cry, My Eyes Adored You, Let’s Hang On (To What We’ve Got), Bye Bye Baby, Can’t Take My Eyes Off You, Working My Way Back to You, Fallen Angel, Rag Doll and Who Loves You, being just a few – but, this is no jukebox musical. Rather the songs are carefully crafted around an intelligent, witty, and often moving script that gives the back story to how four boys made it from the streets of New Jersey to the Rock ‘n’ Roll Hall of Fame.

Matt Corner takes on the role of Valli with all the confidence and charm of a real superstar. His voice is sensational and at one point audience members stand up to cheer in the middle of the show. Touching his heart, Corner is clearly moved at the level of applause – the atmosphere is electric, it feels like we’re at a concert. The rest of the guys and the orchestra have a large part to play in achieving that response too.

It’s not a one-man show by any means. We get to hear the story of the group from the perspective of each of the four members: Stephen Webb is brilliantly cast as jack-the-lad Tommy DeVito, Sam Ferriday is the talented and sensible song-writer, Bob Gaudio, while the towering Lewis Griffiths is far more than the Ringo of the band, as his character Nick Massi suggests.

The show was every inch worthy of the spontaneous standing ovation it received on opening night. The audience loved it, and I’m sure, like me, many will go back again.

Jersey Boys is at the Opera House, Manchester from 27 October to 7 November 2015.

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