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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Read our interiew with Matthew Bourne.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

The post Stephen Webb opens up about being Frank-ly fabulous Sweet Transvestite appeared first on Quays Life.

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

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

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

Why were you first attracted to Bizet’s Carmen?

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

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

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

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

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

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

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

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

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

So why revive The Car Man In 2026?

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

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

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

But don’t let Jenna’s sweet singing, about her mum’s homemade deep-dish pie, fool you into thinking this musical is no more than another saccharine soaked tale.

There is much more to this young waitress from small town USA than meets the eye. And who could be better to take us on this journey for the show’s 10^th anniversary production than Carrie Hope Fletcher.

Fletcher is something of a modern-day phenomenon – a top-quality musical actress; a Grammy nominated singer, an author of both adult and children’s books, and (according to the Sunday Times) one of the UK’s top 100 social media influencers. The love for her in the auditorium is tangible and I’ve never seen so many people waiting outside the stage door for autographs as I did after the show on Tuesday night. Whatever part of her multi-faceted career this following is coming from, her sensational performance as Jenna cements her top billing and guarantees she’ll leave the run with an even bigger fan base.

The other recognisable name on the posters is Les Dennis, taking on the role of Old Joe who owns the diner where Jenna works. Dennis in his one big solo number doesn’t even pretend to be a singer yet still manages to make it a showstopper. What he lacks vocally he more than makes up for with his well-honed comic timing and the ability to draw the audience in to the heart of a character and make us care.

There are other acutely drawn performances from Mark Willshire as Jenna’s abusive and self-absorbed husband, Earl; as well as from Sandra Marvin and Evelyn Hoskins as Jenna’s friends and work mates Becky and Dawn.

Now I’ve already warned the ingredients of this musical aren’t all sweet and there is a pile of inappropriate relationships thrown in that will leave you cringing. But on the whole it is an uplifting mix with a sprinking of spice to give it an unexpected and memorable kick.

Waitress is at the Palace Theatre, Manchester from 26-30 May 2026 before carrying on its UK 10th anniversary tour.

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The patient, dedicated and methodical Barnaby was played on TV for 13 series by John Nettles. “Barnaby and Troy had an almost father/son, mentor/pupil relationship and that is very much like my relationship with John. When he learned that I was taking on the role in the play, he said, ‘Well, he’s learned at the feet of the master’,” Daniel says with a smile. “That is certainly true.

“John’s advice to me has always been ’Be true to yourself,’ so that is how I have approached playing Barnaby.”

The pair starred together in the hugely successful murder-mystery show from the pilot episode, which was shot in 1996 and aired in March 1997, through to Daniel’s departure in 2003. The actor says of Nettles: “I spent all those years standing next to him, watching and listening, so hopefully I have absorbed a bit of his magic. It’s a bit daunting, because his are big shoes to fill, but I’m really excited about doing it. I think it is important not to do an impression, so I will be bringing my own ideas to the role, while honouring John’s original Barnaby’s essential attributes of honesty and integrity.”

And Daniel’s advice to the actor who takes on the role of Troy on stage? “Make it your own and enjoy it. He’s such a lovely character to play and I’m excited to see what someone else does with it.”

Published in 1987, The Killings at Badger’s Drift was the first of Caroline Graham’s Chief Inspector Barnaby books and formed the basis of that very first Midsomer Murders episode. Adapted for the stage and directed by Guy Unsworth, the play revolves around the death of well-loved spinster Emily Simpson in the picturesque village of Badger’s Drift.

Her friend Lucy Bellringer refuses to accept that Emily’s death was an accident, so DCI Tom Barnaby and DS Gavin Troy are called in to investigate – uncovering a world of hidden passions, long-buried secrets and deadly rivalries.

The play, Daniel promises, offers “a night of murder and mystery, full of theatricality and intrigue, with the central partnership of Barnaby and Troy, a whole host of English eccentrics and this real dark undercurrent of secrets and lies going on.”

Returning to the world of Midsomer, Daniel muses: “I never thought that I would revisit it. I had such a happy time playing Troy from when I was 24 to when I was 31. It was a fantastic time in my career, but when I made the decision to leave to pursue other things I thought that was that.”

A guest appearance in the 11th series in 2008 aside, that was indeed that. But then Unsworth called up Casey to say that he was adapting The Killings at Badger’s Drift for the theatre and asked him if he’d be up for starring in it. He wasn’t sure if he wanted to go back to Midsomer at first, but then Unsworth asked him to go along to a workshop and he recalls: “Sitting down and reading Barnaby out loud, it just felt right.” Now 53, he adds: “I’m about the same age as John was when we made that original episode and it brought back so many memories from a really lovely part of my career.”

Their chemistry, Daniel remembers, was instant. They were cast separately and didn’t meet until the first read-through. “And when John walked in he had his script in a carrier bag and I thought, ‘Oh, I like him!’ We got on famously from the start.”

Casey is effusive in his praise for Nettles. “I loved playing beside him, I learned so much from him and he’s always been there for me over the years if I want to talk about anything. He’s a lovely, lovely man.” Like millions of TV viewers, Casey is also a fan of the Barnaby character. “He’s a very straight-up-and-down family man, with a good moral compass. He’s a good cop, he’s watchful and he’s thoughtful.”

Does Daniel share any of those qualities? Married to his wife Ellie since 2005 and a father of two, he maintains: “Family is so important to me too and I think I’ve got a pretty good moral compass. And I’m the fourth of five children. As a kid I couldn’t get a word in, so I’ve always been watchful.”

He’s hard-pressed to pick his fondest memory from his time on the show because “John and I sat in a car, a room and a Winnebago together for so many years, so there are loads of stories”. One abiding memory, though, is when they filmed the very first episode, The Killings at Badger’s Drift. He was supposed to pull up in front of a house and Barnaby and Troy would then step out of the car. But he got out and John didn’t. “I’d parked about two inches away from a concrete bollard and he couldn’t get out,” Casey laughs. “He was shouting from inside the car ‘Is it too late for a recast?'”

One of ITV’s most popular shows ever, Midsomer Murders is syndicated in over 200 territories worldwide. Daniel believes it’s been so successful because: “It’s set in the modern day yet it has a kind of 1940s or 1950s feel to it. It’s a wonderful form of escapism. Apparently a lot of clerics like it because it’s like a modern day morality tale. It’s good versus evil, right versus wrong. And it has such cross-generational appeal, where kids watch it with their grandparents. The beautiful countryside is another part of its appeal and it’s full of eccentrics, which British actors play so well.”

As for why Midsomer fans should come and see it on stage, he says: “It is true to the spirit of the TV show, which has an inherent theatricality to it. We’re bringing that theatricality to the stage and we have a fantastic cast of actors who are multi-roling, which gives them the opportunity to showcase their amazing acting skills. I challenge the audience to guess how many actors there are in the cast as they transform into so many different characters between scenes!”

Casey was born in Stockton-on-Tees and, at age 14, he went along to the local youth theatre, walked into the room and immediately thought, “I love it here”. He landed the lead in Bugsy Malone. “And it was amazing,” he recalls. “The week after we finished I was walking through town with my mate when a girl walking towards us screamed and went, ‘Oh my God, it’s him!’ I knew then and there that this was the job for me.”

After graduating from Grey College in Durham with a BA in English Literature, he began his professional acting career in the Hull Truck Theatre touring production of the play Dead Fish just three weeks later. Casting directors for Our Friends in the North saw him in it and cast him as Anthony Cox.

“I hadn’t been to drama school, so that was a massive game-changer for me,” he says of his three-episode stint on the show, where he played Mark Strong and Gina McKee’s son. “It was an extraordinary opportunity and just opened every door for the rest of my career.”

Parts on The Grand, A Touch of Frost and The Bill, to name just a few of his credits, followed before Midsomer Murders turned him into a household name. His post-Midsomer CV includes Steel River Blues, Marchlands, Casualty, Coronation Street, EastEnders and Emmerdale, but stage work remains a particular passion with parts in The Curious Incident of The Dog In The Nighttime, A Number and The Wings of a Dove to name a few.

Having toured in Abigail’s Party in 2019 and Cluedo in 2022, Daniel says: “I love being part of a company of actors. When touring, the challenge is to keep something fresh, real and immediate every night, and I like that challenge. There are different entrances and exits, different sizes of venues, so you’ve got to be nimble and you’ve got to be on your toes.

“Also, I’ve discovered some gorgeous places in my time when touring. You usually get told about all the little hidden gems in the area by people who come and see you, and it’s lovely to be able to meet the audience afterwards – especially with something like Midsomer Murders that’s got such a loyal fan base.”

The Badger’s Drift tour calls at Manchester, which is a score for Daniel. “I’m a big Man United fan,” he beams, “and it’s a great city. I did The Grand there with Russell T. Davies, I’ve done Corrie and I was at the Opera House with Abigail’s Party and it’s a fantastic venue in one of the best cities in the world. I also did ‘A Number’ at the Library Theatre and was nominated for an MEN Best Actor Award.”

Midsomer Murders: The Killings at Badger’s Drift is at The Opera House, Manchester from 27-30 May 2026.

The post Daniel Casey steps up as DCI Barnaby for Midsomer Murders on stage appeared first on Quays Life.

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.

The post The Karate Kid the Musical: 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.

Quays Life chats to director Nikolai Foster ahead of the show’s world premiere at Lowry Salford.

Some might think this is an unlikely story to be put on stage – how has ‘Bank of Dave the Musical’ come about?

Nikolai: “Several years ago Matt Williams, CEO of Future Artists Entertainment (the company who produced ‘Bank of Dave’ on Netflix) felt this David versus Goliath tale of a man from Burnley taking on the big city bankers could become a great musical. Matt met with our collaborators at ROYO and soon after, Rob Madge and Pippa Cleary were brought on board as writers and Curve and Lowry joined the project as co-producers.

“At the heart of ‘Bank of Dave’ we have what all musicals need: a larger-than-life character who can drive the piece forward. For me, Dave is the real-life ‘Barnum of Burnley’, so it felt perfectly natural to imagine this story staged as a musical. After a number of years in workshops, we’re now here in rehearsals, ready to share the show with the world!”

You’ve directed a wide variety of productions in your career – from huge shows like ‘Billy Elliot’, ‘A Chorus Line’, ‘Kinky Boots’ and ‘Annie’ to dramas like ‘A Streetcar Named Desire’ and ‘My Beautiful Laundrette’. How are you approaching directing ‘Bank of Dave the Musical’ compared to your previous work?

Nikolai: “From my point of view, no matter what show you’re working on as a director, you’re a shapeshifter, responding to the writing and what best serves the piece. I always think of it like a triangle between the artists – in this case, the writers Rob and Pippa – the actors who bring the piece to life on stage and the audience who respond to it.

“The humour and the wit of this piece is so exhilarating. In rehearsals, we’ve been working with the actors in the most dynamic and imaginative ways to serve Rob and Pippa’s writing, hopefully to share a musical with audiences that is as fun and exciting as the book and music they’ve provided us with”.

How important was it to launch the show in the ‘north’? It feels like this adds authenticity to bringing Dave’s incredible story to life on stage?

Nikolai: “Dave himself was really keen we should open the show as close to Burnley as possible and that makes perfect sense. We’re thrilled the world-premiere of the production will be held at the terrific Lowry theatre in Salford, close to the Pennines and Dave’s place of birth, where he stills lives to this day.

“‘Bank of Dave the Musical’ reflects the experiences and lives of many real people in the community of Burnley but like all great plays and musicals, it transcends that location and reflects experiences of modern working-class life and post-industrial life all up and down the country”.

Why should audiences be excited to experience new productions like this?

Nikolai: “Supporting new work is so important and really, anybody who cares about the future of theatre should be interested in new work because it’s the lifeblood of our industry. Once upon a time ‘My Fair Lady’ was new, ‘The Sound of Music’ was new, ‘A Streetcar Named Desire’ was new, ‘West Side Story’ was new – it was those audiences who took a punt and were excited to celebrate that new work that helped ensure those musicals and plays lived long and have remained part of the repertoire.

“This is such a funny, brilliant piece of writing and I think it’s really going to blow people’s minds with how hilarious, how moving and how original it is. You get the tone and grit of ‘Billy Elliot’ with the subversive, naughty, northern humour of Victoria Wood and Alan Bennett. It really is brilliant”.

Dave Fishwick is a real, larger-than-life figure – what can you tell us about Sam Lupton’s interpretation of Dave in the show?

Nikolai: “Sam is obviously being true to the essence of who Dave is but it’s not about an impersonation of Dave, it’s about creating a character within the world of the musical. Sam is an incredibly gifted star, a real triple threat.

“It took us a long time to find our Dave because we were so determined to find the right person. When Sam came into the room it was clear he had the star quality and charisma to really ignite the musical and embody the essence of Dave Fishwick through the medium of song and dance”.

How are things going in the rehearsal room? The photographs look like everyone is having a lot of fun?

Nikolai: “I think sometimes we’re having too much fun! There’s a lot of hilarity and literal tears of laughter – I honestly haven’t laughed so much in a long time. The writing is hilarious and the actors have really bonded. Everything has come together in the best possible way to create a really fun and beautifully chaotic rehearsal process and I know the audience will feel that energy and anarchy. I think we’ll need to see if Dave’s minibus company has a supply of extra seatbelts because audiences will be bursting out of their seats with laughter, I’m sure!”

What can audiences expect when they come to ‘Bank of Dave the Musical’?

Nikolai: “You are guaranteed a night of side-splitting hilarity and incredible songs, all performed with joy, love and enthusiasm by our phenomenal company. In these very uncertain times, we want to give people the chance to come to the theatre and see a show which says something hopeful about the world and how we can make a difference for our communities”.

Bank of Dave the Musical premieres at Lowry, Salford from 6-16 May 2026 with a further run at Leicester Curve from 20-30 May.

The post Director Nikolai Foster on his Barnum of Burnley Bank of Dave the Musical appeared first on Quays Life.

What do you love about playing Joe?

Les: “I played the father Wilbur in Hairspray who was devoted to his wife and daughter, and I love this show just as much. Joe is a surrogate dad to the main character Jenna. He’s described as curmudgeonly, but with a buttercream centre. He doesn’t give much away, he’s a bit snappy but he really cares about Jenna”.

Why is the show Waitress like it’s famous pies?

Les: “It is a really lovely show, with so many layers. It seems more to me like a play with music than a full-on musical. It deals with so many issues, with domestic violence, with love, lost dreams and the power of female friendship. Audiences will both laugh and cry and see incredible singers. I mean, our cast is amazing”.

Are music theatre performers looked down on compared to straight theatre?

Les: “Absolutely right. And yet they are a triple threat, they have to be able to do everything at the highest level. I mean, the acting is paramount in this. The story really has to be beautifully acted”.

Did you get the same comments as a comic rather than a straight actor?

Les: “Oh yeah. There’s definitely judgement and yet Shakespearean actor Edmund Kean said on his deathbed, ‘Dying is easy. Comedy is hard.’

“I think audiences get lulled into enjoying it so much, thinking, ‘Oh, he’s just having a good time.’ Yeah, we are all loving what we’re doing. But it doesn’t mean that, you know, it’s easy to do it!

“If you sing a song, you get applause. If you time a joke wrong, there’s nothing.
And when we get the chance to play the drama, we can do it because it’s the flip side of the coin. You know, Les Dawson was a very good serious actor when he wanted to be. You had to hold him down if he got bored, though”.

Do you feel you get more respect now for your acting?

Les: “I get a kind of respect. It’s not grudging, it’s confused because I do things they don’t expect me to. Denise Welch and I always used to ring each other after doing a play and say, ‘Were you a revelation?’”

Have you even surprised yourself?

Les: “Oh yeah. I did Anna Karenina last year. I loved that. I did Venice Preserved with my niece Jodie McNee playing my daughter. If my mum had been around to see her son and granddaughter onstage at the RSC she would have been so proud”.

Are you starting your own acting dynasty?

Les: “I’m very supportive that my daughter Eleanor (aged 18) is interested in acting and my son Tom (aged 15) was really great in a recent school production of School of Rock. I offer to run lines with them and they go, ‘No. I’m fine.’ They appreciate what I do and they’ve been in to watch rehearsals for Waitress, but they want to go their own way, which is great”.

What are you looking forward to on tour?

Les: “I’m looking forward to going back to Liverpool, my hometown. People there love their theatre, love their art. I used to go to the Everyman Theatre when I was at school, and I would watch Jonathan Pryce, Bernard Hill, Julie Walters, Pete Postlethwaite. There’s so much great art outside of London, and people really love it. It’s an embrace of community, of the beauty of life”.

What would you say to the government about regional theatre?

Les: “Theatre everywhere has had some knocks but should most definitely be funded outside London. We should appreciate what we’ve got”.

Have you ever had any mishaps on tour?

Les: “I did three years of panto in Liverpool with Cilla Black, Henry Winkler and then Pamela Anderson. She was lovely. She’d go into the local pub for a cider every night. She didn’t arrive until dress rehearsal and on opening night she flew in on a Vivienne Westwood swing and said, ‘Good evening Wimbledon!’ which is where she was the year before”.

Joe’s big number ‘Take It From An Old Man’ tells Jenna how the scars from life made him stronger. What has shaped you?

Les: “I did a double act with a man who I absolutely adored, Dustin Gee (Gerald Harrison). He was my best friend for a very short time. We met on Russ Abbott’s Madhouse in 1982 and I was having the time of my life with one of the funniest men I’ve ever known. His life was cut ridiculously short in 1986 at the age of 43 when we were flying high with our own TV show. We were in panto at the Southport Theatre at the time. We were being likened to the new Two Ronnies and it suddenly all went away.

“I was in a terrible state and actually went on stage the day after Dustin died, with Jim Bowen replacing him. Now I would not do that. I was convinced by promoters and agents that I had to do it.

“So, yeah, those scars are there”.

Attitudes to masculinity and mental health must be so different today from when you grew up?

Les: “When I first talked about being in therapy, it was frowned upon.

“Now people would check that I was okay. But this was 1986 and, and I was just told you’ve got to get on with it. You got to do it. The whole company went to Dustin’s funeral, but we couldn’t stay for the wake, because we had to go back for an evening show. I look back at that and just think that was wrong, and I didn’t get a chance to grieve and that’s why my first marriage (to Lynne Webster) collapsed, because I was just totally lost”.

What do you think of how Waitress presents so many different types of masculinity from Jenna’s toxic husband Earl to the very sweet Ogie?

Les: “There’s so much depth to this show. There’s a tragedy to Earl, to his destroyed dreams and how he takes it out on his wife.

“I think men are in a difficult phase right now, but we’ve got to support each other.

“My wife, Claire (Nicholson), will say, ‘Hey, hold my hand,’ because I still fear public displays of affection.

“I call her Claire in the community. She’s amazing, looking after us all and looking and looking after everybody, if she can”.

What have learned from her?

Les: “You’ve got to trust and love the people that you love, and you’ve got to show them that.

“I remember I stopped kissing my dad when I was about 13 or 14, because a school friend made fun of it. I really regret that.

“What I really love is that when I talk to Tom on the phone or he’s getting out the car to go to school, he always says, ‘I love you.’ That’s beautiful every single time. Tom kisses me, and, you know, gives me a hug all the time. I love it”.

It sounds like you’re in great place?

Les: “I’ve got a great, lovely family, lovely wife. I’m still here, still doing it. I love being in this business. I love the different things that are thrown my way. I did HMS Pinafore with the English National Opera. I did a season at the Royal Shakespeare Company. If I get a challenge, then I run for it”.

Waitress is at the Palace Theatre, Manchester from 26-30 May 2026.

The post “Men are in a difficult phase right now, but we’ve got to support each other” – Les Dennis appeared first on Quays Life.