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

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

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

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

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

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

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

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

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

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

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Having taught herself to read as an infant, Matilda (Madison Davis) is leagues apart from the rest of her television-obsessed family. Mr Wormwood (Adam Stafford) is an engine-stuffing, motor meddling, Vinny Gambino-esque secondhand car dealer, and his wife Mrs Wormwood (Rebecca Thornhill) is just as eyebrow raising, if you don’t buy that she really is ‘just practising’ with her World Amateur Flamenco Competition partner Rudolpho (Ryan Lay) in the living room. Matilda’s brother Michael (Samuel Leon) is the supposed brains of the family – yes, he’s apparently got one. Somewhere.  

Life for Matilda goes impossibly further south after her parents enrol her in her new primary school, Crunchem Hall. A concrete jungle ruled over by an ex-Olympic hammer throwing champion, Agatha Trunchbull’s (Richard Hurst) reign of terror is defined by her motto BAMBINATUM EST MAGGITUM: children are maggots. Her hatred of children puts her at odds with reception teacher Miss Honey (Tessa Kadler), a woman forever trembling with her own self-doubt, whose insecurity belies a deep fascination with her strange new student. Miss Honey and Matilda have a lot to learn from each other – they may also have far more in common than they realise.  

‘Matilda: The Musical’ is indescribably brilliant. At just shy of two-and-a-half hours long, this performance would be a mean feat for any seasoned actor – let alone a cast dominated by children under 12, who share roles between shows. Sharp, assured, and yet deeply, shyly vulnerable, Madison Davis as this particular Matilda is everything every child imagines when growing up reading the original book. Bruce Bogtrotter (Brodie Robson) is a standout act for his lead in ‘Revolting Children’, and Sana Lennon as Lavender is a delight to watch skittering across the stage – an especially incredible debut for the only cast member without any formal theatre training.  

Miss Trunchbull is cocky, cruel, and hilariously, brilliantly camp from beginning to end, and Miss Honey quietly sneaks the audience’s hearts as she is forced to confront her own demons. Esther Niles as Mrs Phelps plays a much bigger role than in the original story, and is for a long time Matilda’s only support – a heartwarming watch, and comforting anchor in a story so chaotic from scene to scene.  

‘Matilda: The Musical’ makes interesting strays from the original book’s story, perhaps explained by Dennis Kelly’s screenwriting background in gritty dramas and surreal comedy. The biggest change is the decision to cut back on Matilda’s telekinetic powers, which she originally develops as a toddler because her brain is so large, it pushes the extra energy out of her eyes. Instead, much of the play is driven by Matilda’s dogged sense of justice, and her frustration at the state of her life – “Nobody but me is going to change my story,” after all. For a change so drastic, it is a shift that only sharpens the show’s edge: this is a Matilda that is entirely self-driven, and far more relatable than her aloof, superpowered inspiration. To see this tiny girl abused is a vastly more disturbing watch.  

However, with so much of the plot hinging on Matilda’s telekinesis, powers eventually do play a role in the second act – I only wish they had been introduced slightly earlier than the infamous newt scene. Shockingly for a performance already eclipsing the average theatre runtime, the show could benefit from an extra scene or two to fully flesh out this part of its story. Time may be well spent in the way it introduces characters, settings, and songs, but the introduction of her powers felt slightly out of left field: ‘Oh, so she does have powers in the end – wait, the show’s nearly over!’  

In all, ‘Matilda: The Musical’ is nothing short of out-of-this-world entertainment. This show embellishes an intergenerational classic with a surreal, dreamlike retelling, and is a fantastic showcase of the brilliance of the UK’s youngest theatrical talent. Brilliantly staged, beautifully scored, and with a blindingly talented cast both big and small, if you’re on the fence about tickets, treat yourself – sometimes you have to be a little bit naughty.  

Matilda the Musical is at The Palace Theatre Manchester from 26 March until 25 April 2026 before continuing on tour.

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This new tour from Bill Kenwright Ltd brings the Watermill Theatre’s 2024 production to a nationwide audience, with West End star, Lee Mead as 19^th century circus impresario Phineas Taylor (P.T.) Barnum.

The Watermill, of course, is a much smaller venue than Manchester’s Palace Theatre, so the Kenwright company has its work cut out to fill the stage with the same buzz of a bustling circus ring.

In recent years the musical has been superseded by ‘The Greatest Showman’ film starring Hugh Jackman. But since that hasn’t been produced as a live show yet, for fans of the story, there is still plenty to enjoy here, even if you don’t know all the tunes to sing-a-long.

‘Come Follow the Band’, by CY Coleman ad Michael Stewart, is probably the most well-known song from the show. It is perfectly apt for this production that fills the stage with a large ensemble of actor musicians playing 150 instruments.

There are also fabulous puppeteers bringing us a life-sized elephant, awe-inspiring aerial acts, acrobatics, fire eaters and contortionists. At one point a circus performer accurately fires a cross bow with her feet while upside down, which is just one of many impressive feats going on in the background throughout this jam-packed performance.

Mead, as Barnum, is central to the success of this show. He has the voice, the killer smile and has mastered the high wire with a real sense of jeopardy for the audience. Perhaps it is his generosity towards the rest of the cast that is preventing him from really excelling in this role. While this production is a strong ensemble piece, a stage the size of the Palace demands P.T. Barnum is not just the brains behind the greatest show, he is himself the world’s greatest showman. He is the star, and for this production to truly soar he needs the freedom to shine brighter.

Barnum is at The Palace Theatre, Manchester from 10-14 February 2026 before continuing on tour.

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Of course, back then I had little knowledge of the grit and determination, as well as the talent it had taken for her to get there. Since then, there has been the 1993 film ‘What’s Love Got to Do with It’, that revealed the extent of the domestic abuse she suffered at the hands of ex-husband and singing partner Ike Turner. More recently there have been several documentaries, most notably the 2021 HBO documentary film, simply titled, ‘Tina’.

But it takes a live show to capture both the emotion of the story and the electrifying energy of a gig. And this show maxes out both to jaw-dropping effect.

If you’re thinking, well this is not the first time we’ve seen a Tina Turner show, don’t mix this up with ‘What’s Love Got to Do With It’ – the theatre tribute show, which recreates a concert.

Tina – The Tina Turner Musical is a biographical jukebox musical that chronicles her incredible journey from young Anna Mae Bullock of Tennessee to the global superstar we know today. This tour is it’s first time out of the West End.

While it’s written by Olivier Award and Pulitzer Prize winning playwright, Katori Hall, the content of the show has been guided very much by Tina Turner herself who played a central part in the creation of the musical, ensuring audiences get to understand more of the real woman behind the stage persona.

This leads not just to scenes of her turbulent love life, but a closer lens on her family, from her early upbringing as the daughter of a Baptist preacher, the break-up of her parents’ marriage, reliance on her Gran, her difficult and often abusive relationship with her mother and her strained relationship with her sons. Literally no punches are pulled and in one scene we see a bloodied Tina begging for a roof over her head.

The story is told through 23 songs from Tina’s extensive back catalogue, including Proud Mary, River Deep – Mountain High, Private Dancer and (Simply) The Best. Mark Thompson’s set design uses minimal props and a lot of projection to seamlessly move locations in an almost filmic fashion between scenes. The costumes are fabulous too and some of the dresses from the West End show are on display to be viewed close-up at The Palace Theatre in the space where there is often a merchandise stand at the back of the stalls.

Overall, it is a slick and immersive experience, driven by a compelling story and mesmerising central performance. Jochebel Ohene MacCarthy played Tina on Thursday when we saw the show. She captures the star’s powerful vocals and signature moves while at the same time giving us an authentic interpretation that never feels like it is falling into an impression or mimicry of the singer. Jochebel shares the role with Elle Ma-Kinga N’Zuzi because it is too vocally and physically demanding for one actor to perform six days a week, sometimes twice a day.

If you see the show, you will understand why it has two actors for the starring role as well as an alternate. The show runs for just under three hours and the lead is on stage almost throughout. The storyline is emotionally demanding and the energy required at the end to lift the atmosphere to stadium gig levels is phenomenal.

Jochebel is supported ably by a fantastic cast including an aggressively explosive, David King-Yombo in the difficult role of Ike Turner. The live band, which we get to see at the end, rocks the house down and everyone gets their chance to join in to (Simply) The Best.

The show is in Manchester until January and some people who saw it in London have told me they can’t wait to see it again closer to home. It is the kind of show you will want to see again – it’s terrific.

Tina – The Tina Turner Musical is at The Palace Theatre, Manchester from 25 November to 3 January 2025. Age guidance 14+

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Created by Alain Boublil and Claude-Michel Schönberg, with lyrics by Boublil and Richard Maltby Jr., Miss Saigon reimagines Puccini’s Madama Butterfly – shifting the action to Vietnam during the final days of the war and the fall of Saigon in 1975. Over the decades it has attracted both acclaim and controversy, but this production steers closer to emotional and political clarity than most. It gives the story a contemporary resonance without sacrificing its operatic scale.

I felt privileged to see what I believe to be one of the best casts in any show I have ever seen. Seann Miley Moore’s Engineer is nothing short of a revelation. I cannot say enough about this performance. Moore brings swagger, danger, needle-sharp timing and a charisma that shimmers between comedy and horror. It’s the kind of performance you feel lucky to witness, and now I can say ‘I saw them play the Engineer in Manchester, I was there to see who I believed, would turn out to be a legend’.

There has been some criticism of shaving down the production meaning less impact. I would disagree. For instance – the use of animation and projected design by George Reeve is a strong asset to this production. The exodus from Saigon to Bangkok – the boat on the ocean, the wash of light, the echo of past horrors meeting the refugee crises of today – lands with astonishing force. The visuals melt into the story in a way that deepens the emotional ocean rather than floating an idea of it. For me, compromising on aspects that were spectacle in earlier productions, allows for a big cast, and that is what I appreciate. That’s work for more people in a difficult industry. I believe, the cuts are in the right place. And nothing is budget about this production.

Jack Kane’s Chris is played with precision, and this staging allows something I’ve wanted to see the last time but it didn’t quite reach. Kane gives us a Chris who carries the horror of war and the guilt of his choices. His relationship with Kim feels, here, like something he used to decorate his trauma – a connection he couldn’t maintain and a responsibility he didn’t fully own. There’s a sense he could have done more. It exposes the self-serving and his terrible experiences taking effect on his choices, in a way that feels closer to the truth of what a soldier experiences.

Opposite him, Julianne Pundan’s Kim is extraordinary. She is utterly believable from her first moment to her last: steadfast, tender, fierce, doomed. Pundan’s voice and emotional truths are the heart of the entire show. You cannot look away from her. She embodies brave love and the devastation, the demolition of a true heart in a terrible war.

And then there’s Moore’s Engineer again – because he truly holds the centre. What makes the character fascinating is his honesty: he is openly self-serving, openly sleazy, openly opportunistic. Chris hides behind the myth of being morally torn. Ellen hides behind middle-class Western righteousness. The Engineer hides nothing. So when Moore tears into “The American Dream,” the audience erupts. The number becomes a glittering, rotten masterpiece – a beautiful bitch of a sequence where satire, violence, patriotism and fantasy merge into something unforgettable. He lifts the embroidered silken veil of Vietnam and shows the blood beneath it; the dreams of America become stripes and sequins stuck to a desperate fool. It’s mesmerising, horrifying, exhilarating.

The tragedy of Miss Saigon endures because no one escapes unscathed. The score remains one of the strongest ever written for musical theatre. The book – when handled with clarity instead of varnish – exposes the truth that men can go blindly into war, devastate lives, misunderstand everything, and then move on. This production edges closer to that truth than most. It is harrowing. It is spectacular. And it is, without question, worth seeing. I feel I can speak for future audiences of this production when I say – this is theatre at its best.

Miss Saigon is at The Palace Theatre, Manchester from 4-15 November 2025.

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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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This show is so spectacular you have to say it twice to grasp the excess on display here. It is worth arriving a little early just to soak in the atmosphere. The auditorium is bathed in red light – turning everything and everyone in it rouge, while the stage seems to stretch back forever, drawing us into the depths of its heart. Those sitting at the back of the stalls might want to wander a little forward and look up to the boxes, where there is a spinning windmill and a giant blue elephant. On stage there are burlesque dancers and sword swallowers – all before the opening can-can welcome to the famous nightclub that is the Moulin Rouge!

You’ve entered a world of extremes – of bohemians and aristocrats, romance and fantasy. Everything here is pushed to excess, even the music, with no fewer than 70 songs in a whirlwind 2 hours and 40 minutes.

How do they fit it all in? Well, we don’t hear the full tracks, rather the score is a clever mix of snippets from well-known hits. Fans of the 2001 Baz Luhrmann’s film will be pleased to hear the original song, ‘Come What May’ still has its prominent romantic pull. More than 20 years on the theatre show brings with it some musical updates, adding Katy Perry, Lady Gaga Gaga, Lorde and Rihanna to name just a few artists whose songs are sampled alongside those from the Rolling Stones, David Bowie, Madonna and The Police.

Again, the billing is fair here, describing the show as a ‘musical mash-up extravaganza’. To call it a juke box musical would give the wrong impression. The integration songs is seamless. And it doesn’t matter if you don’t recognise some of the tunes because they’ve been mashed together to create something new and fun.

All this and we still haven’t got to the story. It’s Paris, 1899 and despite all the outward glamour and glitz, the famous Moulin Rouge nightclub is struggling financially. It’s saviour comes in different guises – there is its star Sabine (Verity Thompson), who makes a swinging entrance to Shirley Bassey’s ‘Diamonds Are Forever’;  the bohemian artists – American songwriter, Christian (played by Josh Rose on the night we saw it), long-suffering artist, Toulouse-Lautrec (Kurt Kansley) and Argentinian tango maestro Santiago (Rodrigo Negrini) – and finally the man with the cash, The Duke (a deliciously dastardly James Bryers). 

Each of these characters could have a role to play in the club’s ongoing success, but the jeopardy comes because the Duke is not only wealthy, he is also entitled. When host Harold Zidler (Cameron Blakely) shmoozes him to invest, the Duke believes his money has bought the club, its shows and the lives of all the performers along with it. Poor Sabine, torn between her love for the penniless Christian, whose only gift is his song, and the domineering Duke whose fortune is keeping her and her fellow performers off the streets. And because this is a show of excess, romantic and financial woes aren’t the only challenges our heroine has to face – Sabine is also covering a serious illness with a smile and show must go on attitude.

Every one of this high energy, talented cast draws us into the fantastical world that is Moulin Rouge, but it is the spectacle of it, rather than the story or any one tune, that leaves a lasting stamp on the memory. This is a show where the costume, lighting, scenery, choreography, and performers come together to blast our senses into a world of fabulous fun that is true escapism. Go and be dazzled.

Moulin Rouge is at the Palace Theatre, Manchester from 20 August to 4 October 2025 before continuing on tour.

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This stage musical, from Cameron Mackintosh and Disney, is now in its 20th year. If you’ve seen it before you know what an amazing spectacle of a show it is. This time around it is equally wonderful, and I can’t recommend it highly enough – it is one of the best stage productions you are likely to see.

Julian Fellowes’ book is a mix of PL Travers original story and the 1964 Disney film starring Julie Andrews, who gets a nod in Mr Banks old nanny, ‘Miss Andrew’. Richard M Sherman and Robert B Sherman’s famous songs are all there, and with a live band become real showstoppers – Supercalifragilisticexpialidocious becomes a riotous hit that has you thinking, if this is only the interval what’s to come next?

There are some new songs from George Stiles and Anthony Drewe, which fit in seamlessly. One is called, ‘Practically Perfect’ and this show definitely is.

Who’s playing Mary Poppins? Well in many ways a recognisable big name doesn’t matter, because this is one of those rare shows where the character is the star. That said, the actor must make us believe in her, and it is testament to Stefanie Jones talent that she embodies Mary Poppins with such energy, the audience is under her spell from the start. And not just children – adults spontaneously cheer and wave as she flies overhead.

When Jones is on the stage you can’t look anywhere else – she mesmerises with wit and mischief. We can well believe her favourite sugared spoonful is rum punch flavour, and we like her that way. Just like the Banks’ children we feel like we have entered another world and, wherever it is, it is fabulous!

Everything about the production draws us in, from Bob Crowley’s sketchbook inspired sets to Matthew Bourne and Stephen Mear’s dazzling choreography. Mary Poppins brings with her plenty of magic too, brought to life by illusionists Paul Kieve and Jim Steinmeyer.

Jack Chambers tap dancing upside-down as chimney-sweep Bert is worth the ticket price alone. Chambers, easy humour and megawatt smile, make him the perfect sidekick for Poppins. He’s a natural comic with the kids and a dream of a dancer.

Both Jones and Chambers are reprising their roles for this tour, having received critical acclaim in the recent Australian production. Their strong rapport gives an already brilliant show that extra sparkle.

There are several children playing Jane and Michael Banks throughout the run. On Friday we saw, Katie Ryden and Charlie Donald – both were terrific. There is not a weak spot in this cast and there are lots of them.

Mary Poppins helps us see the damp, grey streets of London (and Manchester) in glorious technicolour. Catch her before the wind changes and sweeps her off to the next city in need of a lift.

Mary Poppins is at the Palace Theatre, Manchester from 9 April – 17 May 2025 before continuing on tour.

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And who hasn’t been guilty at some point of talking too much or at least saying something that didn’t come out quite right and gets misinterpreted? There’s always that awkward moment when you want to explain – that’s not exactly what I meant – but the moment moves in another direction and then it’s lost. For 17-year-old Evan Hansen that moment snowballs into an avalanche of a lie that takes over his whole life.

Evan has social anxiety. As part of his therapy, he is asked to write a letter to himself about why today is going to be a good day. Another troubled kid in his class, Connor pushes Evan around, scrawls his name on his cast, and steals his letter. When Connor later commits suicide, his parents find Evan’s note and believe it was written by their son. They see the name on the cast covering Evan’s broken arm and joining the dots, with more than a little help from Evan, piece together the false memories of an amazing friendship that soon goes viral on social media and can’t be stopped.

If you don’t know the story, perhaps you can now see why I didn’t want to start off telling you this is a musical about suicide, social anxiety, grief and the disconnect between teenagers and their parents. That’s because while it is about that, it is also about more than that, and the overall feel at the end is uplifting – as musical theatre should be.

This is the first time the show has toured the UK, and this new production from Ambassador Theatre Group Productions and Nottingham Playhouse draws the audience into Evan’s world and keeps them hooked to the final curtain. It is a slick production with Morgan Large’s imaginative set of sliding walls, and projective forests changing scenes with almost film-like smoothness.

Steven Levenson’s book provides a good balance of drama and comedy, capturing both the intensity and sometimes absurdity of teenage school days. The music and lyrics are by Ben Pasek and Justin Paul – the duo behind La, La Land and The Greatest Showman. Dear Evan Hansen has a similar pop feel to it, with soaring ballads like ‘For Forever’ and funny upbeat tracks like ‘Sincerely, Me’.

It is the central performance of Ryan Kopel as Evan Hansen that really makes this production shine. Kopel embodies Hansen in an incredible physical performance that captures the impact of his mental state on his whole being. He also has wonderful purity to his vocals that enhances the youthful vulnerability of the character.

Kopel is supported by a strong cast. On Tuesday, Lara Beth-Sas and Will Forgrave deserve recognition for stepping into the roles of Zoe and Connor Murphy and so ably bringing us into this coming of age digital world. It can’t be easy going on last minute as an alternate, but they made it look a breeze.

We hope it won’t be 10 years before this show comes around again. On this tour it is only in town for a week so be quick to catch it – going will be a good day.

Dear Evan Hansen is at The Palace Theatre, Manchester from 18-22 February 2025 before carrying on its UK tour. Age guidance 12+

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