However it not only managed to fend off the bad reviews, it had praise heaped upon it for being the feel-good smash hit we all needed...and in 2026, as it's mid way through a UK tour, that enthusiasm for 90s pop shows no signs of stopping!

Here & Now is based in a seaside superstore; Better Best Bargains, and follows the story of Caz, who discovers that the shelves of the store are stocked with lies and betrayal and the summer of love she and her friends dreamed of suddenly feels like a tragedy - all pun's intended!

Back in 2024, the show played to a theatre filled with invited guests, paying audience members and the band themselves - so the stage was set for a great evening but with an audience who are primed for a positive outcome. This time round, Here & Now is on its own - but it managed to prove itself and captured Wolverhampton under its spell!

Here & Now remains a beautifully constructed riot of colour, fun and music from the first beat to the very last bar.

This show is unashamedly camp, brash and in your face and every member of the audience was absolutely there for it. The laughs, applause and camaraderie was palpable and created an unbeatable atmosphere.

The first point of congratulation has to go to Shaun Kitchener who wrote the book, and what a brilliant job he's done. Here & Now takes the audience on an emotional rollercoaster with belly laughs coupled with tears and that's predominantly down to Kitchener's funny, clever and elegant script.

This musical is as hilarious as it is heart-warming and it hits all of the right notes effortlessly. Whilst it's absolutely down to the cast to deliver what's on the page, Kitchener should be applauded for giving them the tools to do that so well.

Talking of the cast, they are very much the backbone of the show - and what a slick, well choreographed bunch they are - and one who seem to be having the time of their lives on stage.

Jacqui Dubois, Rosie Singha and Blake Patrick Anderson take on the roles of Vel, Neeta and Robbie respectively and are just brilliant. This is a story about camaraderie and solidarity and you could feel the energy and see the chemistry between the trio.

However, for me, the night belonged to Lara Denning who was, quite simply, world class.

The audience was a real mix of generations - primarily kids of the 90s who were reliving their childhood, but also younger people who might have heard a few songs and older age groups who were the parents of the Steps generation. What Denning managed to do this evening was unite all three generations together with a stunning vocal performance.

Her rendition of One For Sorrow was a stand-out moment with silences that allowed you to hear the tears flowing in the auditorium. What Denning did with that song vocally was incredible and I could happily listen to it over and over and never get bored.

In fact, talking of music Here & Now has a predictably brilliant soundtrack with some incredibly strong arrangements. The show takes a cross section of some of Steps' biggest hits and re-jigs them to fit the show.

The narrative weaves lyrics into the characters lines and immaculately hypes up the auditorium who erupt into applause almost spontaneously after each track. Iconic dance routines are sacrificed, with the ensemble instead taking inspiration and incorporating some of the moves (you can't sing Tragedy without the hands, right?!) but this isn't a Steps gig on stage.

Equally, whilst some of the songs are big dance numbers there are also a handful which are stripped back to just a voice and single instrument and that really exposes the lyrics of the songs and the storytelling nature of so many of them.

Songs you'd never normally give a second thought to whilst you do the hand movements at a gig, or when you hear them on the radio - but when a show deconstructs Heartbeat and aligns it to a story about baby loss, you very quickly realise the poignancy of the words and they take on a very different meaning.

Here & Now is a masterclass in jukebox musical theatre and not just a show for Steps fans, it's a show for anyone who loves the genre and should definitely be one on your to do list.

Here & Now plays at Wolverhampton Grand until 15th March 2026. For more information, or to get your tickets, visit grandtheatre.co.uk.

The original production premiered in 2011 and opened at the Milton Keynes Theatre before transferring to the Aldwych Theatre in London's West End, winning multiple Olivier Awards

The show tells the story of Broadway sensation, Jerry Travers, who dances his way across Europe to win the heart of society girl, Dale Tremont. It brings the glamour of Hollywood’s golden age and the glorious, tap-dancing magic of Astaire and Rogers to the stage in one of the greatest dance musicals of all time.

Top Hat has an immediate fix of the glamour of classic musicals. The set, the costumes and the energy in the auditorium threw you immediately back to classic Hollywood glitz. The production has more sequins and feathers than you knew you needed - but it's unashamedly beautiful.

Phillip Attmore takes on the role of Jerry Travers alongside Amara Okereke as Dale Tremont. Both are exceptionally skilled performers with a natural chemistry which shone on stage. Their physical and vocal ability shone through this evening in roles which are anything other than laid back. The stamina you require to take on these characters alone is worth five stars so to see that reflected in a seemingly effortless performance was a joy.

James Hume and Kirsty Sparks are comedy personified as Horace and Madge Hardwick. Their timing is exceptional and they brought an effortless charm to the piece - alongside James Clyde as Bates, the long-suffering man servant who's sporadic appearances are an absolute joy.

Clyde's delivery is on another level and at one point near the end of the second act had the entire audience in fits of laughter.

Top Hat is a beautiful mix of exquisite dancing, laughs and proper 30's cinematic flair - in fact there's not many marks this show doesn't hit and the reaction of the audience this evening cemented that feeling.

Top Hat plays at Birmingham Hippodrome until Saturday 7th March. For more information, or to get your tickets, head to birminghamhippodrome.com.

With 12 episodes spanning two series, Fawlty Towers is one of the greatest British sitcoms of all time. 

Having won BAFTA's for Best Scripted Comedy and Best Entertainment Performance, the show was ranked first on a list of the 100 Greatest British Television Programmes drawn up by the British Film Institute in 2000.

In fact the BBC profile for the series calls it "the British sitcom by which all other British sitcoms must be judged" and so much of that is based on the characters who inhabit this fictional Devonian hotel.

This production is a joyous reminder of just how indestructible this classic comedy is when it’s placed in the right hands. From the moment the curtain rises, it’s clear that this cast understands the fine balance required; honour the original characters while still letting the performances feel alive, immediate and theatrical.

At the centre of it all is an outstanding performance from a duo playing the most recognisable married couple on TV.

Mia Austen is outstanding as Sybil, a character who dominates the stage with pitch-perfect authority. Her devastating put-downs and effortless control of both Basil and the audience are a constant delight - and her rendition of Sybil's laugh at the start meant those naysayers in the stalls gave a huge sigh of relief straight away!

Alongside Sybil, Danny Bayne is exceptional as Basil. Incredibly, he captures his volcanic blend of arrogance, panic and barely suppressed rage with astonishing precision. The physical comedy is razor-sharp as well. Every twitch, glare and spluttering outburst lands perfectly and he has Cleese's mannerisms down to a tee.

But from both Austin and Bayne it’s the pacing that really impresses. The performance never becomes an impersonation; instead, it feels like the duo have leapt fully formed from the screen onto the stage, still gloriously unpredictable and permanently on the brink of collapse.

We also need to pause to reflect on Joanne Clifton's near-perfect take on Polly. Her mannerisms and voice were so spot on, it could easily have been Connie Booth on stage this evening.

What makes this production such a success is how confidently the cast inhabit these iconic roles. They clearly respect the original performances while injecting enough energy and spontaneity to make the show feel fresh for a live audience.

Whether you're a die-hard fan or just someone who appreciate's a good laugh - this play is everything you want it to be...and so much more.

Fawlty Towers The Play runs at Wolverhampton Grand Theatre until 21st February 2026. For more information, visit grandtheatre.co.uk.

The Woman in Black is the West End's second longest running a stage play, first performed in 1987 and based on the 1983 book of the same name by English author, Susan Hill. 

The Woman in Black is also notable for only having two actors perform the entire piece alongside an incredibly simple set with very few props.

The story follows Arthur Kipps, a junior solicitor, as he journeys to the small market town of Crythin Gifford to attend the funeral of a client - Alice Drablow. At the funeral, he sees a young woman with a wasted face, dressed all in black, standing in the churchyard.

Bemused by the villagers' reluctance to speak of the 'woman in black', Arthur goes to Eel Marsh House, Mrs. Drablow's former home which is an old building in the middle of a marsh, cut off from the mainland at high tide. Sorting through her papers, he finds a box of letters, and ultimately discovers the dreadful secret of the woman in black – to his own cost.

The first point of note is that a very large portion of the success of this production is the exquisite use of sound and lighting. this is a piece which takes the basics of theatre and capitalises on them. There's no special effects and nothing flying in from above the stage - and so rarely nowadays do you find a show that relies on these conventions. The manner in which they were executed was a key part of the success of the piece.

However absolute credit has to go to John Mackay (Arthur Kipps) and Daniel Burke (The Actor) for their outstanding portrayal of the two lead roles.

Both had a daunting enough time leading a two-man show, let alone having to play such a large variety of characters. Their performances were slick, polished, well rehearsed and with such gravitas that, as a member of the audience, you felt compelled to watch their every move.

This piece is also insanely wordy; for two actors to effectively perform concurrent monologues for almost two hours must be an exhausting task, but such was the talent of those fulfilling the roles that the energy never dipped and the pathos never faltered.

This production has been described as 'one of the most brilliantly effective spine chillers you will ever encounter' and, I have to admit, the part of me that was trepidation free (and that's a very small part!) was wary about how well a show that's been running for three decades would stand up in 2026. That fear was very much misplaced, though.

This isn't a play that's 'ghost train' or 'zombie film' scary - it's a piece of theatre that plays with your emotions and lulls you into a false sense of security. It heightens your senses and makes you question every creak of the auditorium seating. 

However don't let that stop you buying tickets - to see two acting greats on stage. Although some said there was a third performer...but my programme disagrees...

The Woman In Black plays at The Alexandra until 31st January 2026. For more information, or to get your tickets, visit atgtickets.com/birmingham.

There's a number of ways that Six reinvents musical theatre. From Tudor Queens to Pop Princesses, the six wives of Henry VIII take to the mic to tell their tales, remixing five hundred years of historical heartbreak into a 75-minute celebration of 21st century girl power.

With five Olivier nominations and eight from the Tony's (including two win's!) Six is very much a tour de force and a piece of theatre to be reckoned with.

Staged in the style of a concert, this production is loud, seductive and in your face, commanding your attention from the moment the first note hits.

The show mixes the historical aspect with a myriad of modern references and a nod to the fact that, even a few hundred years later, there's still a lot of relevance in this story.

It's clear to see why SIX has become one of the most popular shows on the planet. With catchy songs, amazing choreography and six of the most talented women in musical theatre on stage, alongside an all female band, this is ultimately the show that so many musicals wish they could be. And what's more, it's captured the heart of a nation and brought a whole new audience into theatres - the Queendom really know how to show their love.

What makes this show tick is the energy and the chemistry between all six of our leading ladies. There is no stand out because this is an ensemble piece with equal weighting given to our sextet of leads. Each had an exceptional voice, commanding stage presence and bought a personality-driven slant to the roles which was well received by the audience.

Lucia Valentino stepped in as Anne Boleyn and proved why the Six super swing is legendary.

Valetino has achieved the indescribable and played all six queens across the last few months and her sassy, quick witted interpretation of Bobo is brilliant. Alongside an equally up front performance from Sammy Timbers as Katherine Howard the pair bring a sense of outlandish fun to the production.

Lasasha Aldredge brought a powerful vocal to Catherine of Aragon and Eve Kitchingman excelled as the only queen who managed to outlast the king.

However, for so many in the audience, the powerhouse vocals of Emily Dawson as Jane Seymour, alongside the loud and proud performance from Jodie Knight as Anna of Cleeves really stole the show.

With equally stunning staging and lighting, SIX The Musical is a behemoth of a production which doesn't rely on anything other than pure, driven talent to succeed. And long may their reign at the top of the tree last. 

SIX The Musical plays at Wolverhampton Grand Theatre until Saturday 31st January 2026. For more information, or to get your tickets, head online to grandtheatre.co.uk.

Every year we sit down to watch the Hippodrome panto, and every year we come away convinced they've raised the bar as high as it can go. We're sold on the fact they may as well not bother next year, because nothing will ever beat what came before...and then, twelve months later, the team behind the show prove that we were way off the mark!

In keeping with tradition, Robin Hood arrives in Birmingham direct from the London Palladium. The story has been adapted, the jokes have been localised but the glitz, glamour and sheer scale of this show remains phenomenal. To say the audience was overwhelmed is an understatement.

As one person in the audience said before the curtain went up - this is the show that the Palladium panto is the warm-up for...and he was right.

What was immediately evident was the sheer scale of the production. The costumes are lavish, the set is spectacular and the production values are second-to-none which left the audience (specifically the younger generations) in awe at what was before them.

It sounds incredibly cliché to say this is the first experience many young people have of theatre, but it's also true and what was amazing to see was the sheer joy and awe of kids walking out of the theatre, grinning ear-to-ear.

Full to the brim (probably more than ever!) of double entendre's, the adults in the audience were laughing until they cried and their kids were looking bemused at the spectacle!

First thing's first, the sheer scale of the production is mind-blowing. It uses every inch of the Hippodrome stage to create the magic. This is a multi-million pound show of epic proportion.

Another thing that's epic is the cast - and this year they seem to have struck gold.

Matt Slack is back for his 12th consecutive year and the response to his entrance onto the stage was deafening. There were swathes of the audience in their Matt Slack merch who were there primarily to see his performance - and what a show he puts on. Slack has funny bones. His physical, intelligent brand of comedy is so incredibly suited to panto that he is, without a doubt, one of the best panto comics in the country. 

What's incredible is he knows exactly how far he can push something and is the master of innuendo - which serves him well alongside Gok Wan who is an equally inspired piece of casting. Acting very much as a foil to Slack's humour, Aunty Gok is in his element. With an infectious laugh and an incredibly likeable personality, Slack and Wan would be welcome back on stage together any time.

Pop music royalty, Faye 'from Steps' Tozer plays Maid Marion and it's a part which allows at least two of the bands greatest hits to echo around the auditorium! Her scene with Slack where they try and sing an Elvis classic and end up swapping voices is comedy brilliance and showcased Tozer's acting prowess. Whilst being part of one of the biggest pop groups of a generation is an easy reference point, Tozer proved she is a rounded performer who's more than just a name on an album.

An honourable mention must go to panto royalty, Christopher Biggins who immediately won the hearts of the audience from the moment he walked...or, more accurately, the moment he was pushed - on to stage. Look, if I'n honest, I think Biggins could have entered stage left, waved and left on the other side and still got a standing ovation, but his casting was perfection.

Not taking on a massive role, because of recovery from knee replacement surgery, his character plays on his SIXTY year career in the genre, and portrays him as a performer who's so desperate to get back on stage that htey'll show up at any point, in any costume to try and make an entrance. The name Biggins is so synonymous with panto that his presence in a show feels like a royal visit - but he absolutely showcased why he's the best in the biz!

What Robin Hood really provides is two hours of pure escapism at a show that you won't be able to stop grinning at. The Hippodrome knows how to do world class panto and this is an exceptional case in point.

Robin Hood runs at Birmingham Hippodrome until Sunday 1st February 2026. For more information, or to get your tickets, visit birminghamhippodrome.com.

Fiddler is an instantly recognisable story, set in Imperial Russia around 1905. The story centres on Tevye, a milkman in the village of Anatevka, who attempts to maintain his Jewish traditions as outside influences encroach upon his family's lives.

The original Broadway production opened in 1964 and was the first musical theatre run in history to surpass 3,000 performances, and held the record for the longest-running Broadway musical for almost 10 years. It won nine Tony Awards, including best musical, and ultimately spawned five Broadway revivals and a highly successful 1971 film adaptation. Fiddler opened in the West End in 1967, and has since had four revivals in the capital.

From the moment the first notes hit in an otherwise silent auditorium, Fiddler transports you into a world of tradition, love and longing.

The staging is evocative and atmospheric: the set design, under the creative eye of Tom Scutt, is as beautiful as it is simple. Iconic songs like If I Were A Rich Man and Tradition speak to a time and a culture of living within your means and the staging, albeit a spectacle, isn't shrouded in glitz and glamour.

But what truly makes this production soar is the strength and heart of the performances, especially from the leads.

So often I talk about productions being ensemble pieces and, whilst there are clearly performers who portray the characters at the heart of the tale, this is a story about community. It's a 'group performance' like no other and to put it simply - Fiddler is reliant on the strength of its chemistry.

Matthew Woodyatt's performance as Tevye is mesmerising. He is a physical and vocal powerhouse and brings the character to life with a visible warmth and humour, alongside a subtle dignity. This is clearly a character who wants to be the father his daughters need but who's depth of tradition is so woven into his soul that he struggles to articulate that desire. Woodyatt personifies everything I want Tevye to be and everything Tevye wants to be himself - and this show absolutely belongs to him.

Jodie Jacobs as Golde is the perfect counterpart to Woodyatt. Their performance together is heartfelt and authentic and in particular their rendition of Do You Love Me hits every beat and portrays every emotion it needs to. This is a husband and wife who were put together in the same way that Tevye is expected to match his own daughter to a suitor. For him, at the height of his confusion, to turn to his wife and ask "I know we're married but do you actually love me?" is an incredibly poignant moment, handled incredibly by the pairing.

Golde isn’t just Tevye's wife: she’s a woman rooted in tradition but who is also clearly the matriarch of the family. Her sarcastic response to Tevye trying to assert his authority in the family, when she say's "...yes, I'm very frightened of you. After we finish supper, I'll faint" was delivered so perfectly it sliced through the tension like a knife through butter.

What I love most about this production is how it makes the timeless themes of tradition vs change feel deeply human. At times you're laughing and at others you're deathly silent. Alongside the tradition of family lies the tradition of persecution and it's fair to say you leave the theatre hopeful and moved.

Fiddler On The Roof plays at Birmingham's Alexandra Theatre until Saturday 3rd January 2026. For more information, or to get your tickets, visit atgtickets.com/birmingham.

A few years back, The Grand took a decision to move its panto away from being a generic off-the-shelf show to be a self-produced in house piece. That comes with benefits but also a number of risks.

Would the theatre be able to create something of scale every twelve months and would they be able to attract writers and performers of a calibre that the city commands?

That decision turned out to be one of the best moves the theatre has ever made - and the production on stage this year exemplifies the reason why.

Sleeping Beauty is two hours of laughs, amazement and ear-to-ear grins which is testament to the drive of Ian, Tam and the creative team to develop an annual production that Wolverhampton deserves.

First thing's first, the set is stunning. Jutting out into the auditorium, this is the biggest, flashiest backdrop to a Wolverhampton pantomime I've seen in a long while and it sets the tone of the show perfectly. The lighting and sound design complement the visuals so before a foot has touched the boards, we're already starting from a good place.

Cue the music, up goes the curtain and we're treated to a sensory overload (in the very best way!) that gives you a snapshot of what's to come.

We also need to credit our writing team who are charged with creating something new every year and who, incredibly, seem to push the boundaries of what can be done more and more.

Last year I said Tam and Ian had smashed the script out of the park. This year they've run and collected it, brought it back and done it a second time. 

The story brings together a good number of local nods, the perfect complement of innuendo, a brilliantly executed run of political satire and comedy which isn't so silly it's unwatchable.

So many other shows around the country hang their hats on using their celebrity lead as a foil for the comedian's one liners. Where this show differs is the comedy is clever; it's old school pantomime jokes that aren't over-egged and land perfectly.

What's also spot on is the casting and, for the third year running, the team have brought together a number of performers who are both well known...and also really good at what they do!

Debra Stephenson takes on the role of The Queen and delivers a stellar performance. Whether you know her from Bad Girls or Corrie, or one of the myriad of voices she brought with her to Wolverhampton, you won't leave disappointed. She also worked seamlessly alongside Wolverhampton's very own Zak Douglas, who swapped the big screen for the stage playing The Herald - a role with a twist and one which he excelled in. 

As well as putting pen to paper, Ian and Tam are back as mother and son - Mickey Fortune and Dame Mary Fortune. Make no bones about it, this pair are pantomime in Wolverhampton. On paper, having the same dame and comic back year in, year out could become stale very quickly - however Ian and Tam manage to keep it effortlessly fresh and the audience love them for it. 

It's also evident that they love what they do and that filters through their performance, and the performances of everyone else on stage. It's an infectious love for the genre and the venue which just can't be learnt and goes such a long way to make the show what it is.

Georgia Iudica-Davies and Solomon Davy bring the best of the West End to The Grand as our Prince and Princess. Both are incredible young talents who have the perfect chemistry together and perfectly matched out veterans when so many others would get lost in the mix.

And then we have Danny Beard.

I have to confess, Drag Race UK has never been on my watch list and Big Brother just doesn't float my boat. However, Danny's performance as Carabosse was exceptional.

When I interviewed them at the press launch, they said their interpretation would be glamorous and evil in equal measure, but with a bit of heart too - and that's exactly what was delivered.

There was nothing cheesy of over the top about Danny's performance - instead they brought an immaculate level of sass, timing and charisma, plus a phenomenal singing voice. It was easily the best panto villain I've seen on stage - and whoever takes on the role next year will have a long way to go to beat it.

What's incredible about the Grand Theatre pantomime is the lack of pretentious characters and the excitement of everyone involved to create the show.

Last year I said this was the regional pantomime that all others look to for inspiration - and I stand by that. If anyone wants to understand how to create a pantomime which works for their theatre and its audience then this is the text book that should be studied.

To quote Danny Beard; this is a pantomime for Wolverhampton, by Wolverhampton, with love poured through it on every level.

Sleeping Beauty plays at Wolverhampton Grand until 4th January 2026. For more information, or to get your tickets, visit grandtheatre.co.uk.

Brought to life by Birmingham and Midland Operatic Society, Gary Barlow and Tim Firth’s musical is based on the worldwide big-screen phenomenon of the same name. It charts the story of a group of ordinary ladies who did something extraordinary when Annie's husband dies from leukaemia.  

Her fellow WI member - and best mate - Chris decides they need to create a calendar with a difference - a ‘nude’ calendar to raise money for the local hospital. They come up against a raft of opposition but, ultimately, support and perseverance pays off.

Before now, I’ve singled out Calendar Girls as the show that never quite got the run it deserved. Opening in Leeds and Salford in 2015, it moved to the West End in 2017 lasting just 6 months before it toured the UK with a raft of stars including Leslie Joseph, Denise Welch and Ruth Madoc.

It’s a heart-warming and hilarious story which, combined with Barlow’s music and lyrics, make the societies return to The Cornbow Hall one not to be missed.

Having never been to The Crescent Theatre before, I was pleasantly surprised! As soon as you enter the auditorium you’re cast into the Yorkshire Dales with a set which is visually beautiful. Simplistic yet functional, it provides a perfect backdrop to the performance.

However, what makes this production so special are the people on stage. A cast who are, quite simply, exceptional.

It sounds cliche, but I still find it astounding that the majority of them hold down a day job to pay the bills such is the calibre of the performances we saw this evening.

It feels callous to have favourites because Calendar Girls really is an ensemble piece. So much of the humour is derived from situation and delivery that everyone needs to bring a consistent a-game...and bring it they did.

Jo Smith gave a larger than life, vivacious and hilarious portrayal of Chris. Her interpretation of the role was exceptional and amongst the best I've seen. Her stage presence was commanding and you could honestly have told me she'd played the part for years in the capital and I wouldn't have batted an eyelid.

Alongside Michelle Worthington as Annie, who delivered a performance which was a perfect balance of emotional and raw coupled with quick-witted and brave. It was the natural chemistry of these two key ladies that made the show so special.

Jaz Davison deserves a mention too for her brilliant one liners as retired head mistress, Jessie. A role often overlooked, it suited Davison perfectly.

Sarah Russell and Sarah Morris gave brilliant performances as Cora and Celia respectively taking on some of the best songs in the show - and adding in some choreography too which is a first for me when it comes to Calendar Girls...but it works so well!

Special mention also needs to go to Charlie Pugh, Emerson Clarke-Selby and Jessica Smith who were 'the kids' of the show - Danny, Tommo and Jenny. Again - three roles which so often get no praise but which this trio absolutely smashed out of the park. The banter and humour between them was brilliant and their future with BMOS looks bright.

Calendar Girls is an incredibly special piece of theatre. After this many years of reviewing it's not always the case that you feel compelled to go back to see a show, in the same venue for a second time. This incarnation of the show gives you that feeling and proves the professional production's run ended too soon.

Some shows make you laugh, some make you cry - Calendar Girls does both, and quite often simultaneously. BMOS should give themselves a huge pat on the back for a job very well done.

Calendar Girls plays at The Crescent Theatre until the 29th November 2025. For more information, or to get your tickets, visit crescent-theatre.co.uk.

Photos: @withthisringphotography.

The production describes itself as a 'universal and timeless theatrical poetic spectacle'. First conceived in 1993, Slava's Snow Show has been seen in hundreds of cities across dozens of countries resulting in millions of ecstatic spectators

The show surrounds you (quite literally) with somewhat of a visual and sensory overload, scratching an itch in your brain you didn't realise you had. Everything about Snow Show is simple.

From the personalities of the clowns to the set and props. Whether it's a bed becoming a boat, cotton webs engulfing the audience or giant inflatables being let loose, this production takes you back to the childhood innocence you had in your early years.

The performers, however, are what bring this piece to life. All of them absolute masters of their craft, the subtlety of a head tilt, or a change of expression changed the mood of an entire auditorium - and they do it so well. The audience had genuine empathy for each and every one of them and they rewarded us with a stunning performance.

Every scene brought a sense of wonder and intrigue, along with a strange feeling of calm. A number of set pieces are synonymous with the show and none more so than the snowstorm of tiny white paper flakes and the giant inflatable balls bouncing around the auditorium at the end.

This show promises to make you walk out of the theatre smiling, and during that climax in particular, there were grown adults running round like children and it was a joy to see.

Slava's Snow Show plays at The Alexandra until Saturday 15th November. For more information, or tickets, visit atgtickets.com/birmingham.

Based on the 2003 film of the same name, Elf The Musical is a heartwarming, family-friendly extravaganza! It follows Buddy, a human raised as an elf at the North Pole, as he embarks on a journey to New York City to discover his true identity and rekindle the Christmas spirit.

This is a show packed with catchy songs, choreography and laugh-out-loud comedy - plus Santa himself soaring across the stage in his sleigh.

It's fair to say the audience was a mixed bunch. Some people who were die-hard fans of the movie and some, like me, who had never met Buddy before - but all of us left the theatre beaming from ear to ear.

Elf is the perfect combination of light-hearted fun and heartwarming story which doesn't take itself too seriously and within seconds of the opening bars hitting, had the audience in the palm of it's sparkly, snow-covered hand!

Jordan Conway is an absolute sensation as Buddy and is clearly having the time of his life. Having played the role before, what's evident is his love for a part he's comfortable in and a part he's free to play around with. It would be incredibly easy to compare his take on the role to Will Ferrell but this isn't an attempt at a recreation. This is clearly Conway's take on a well-loved character that evokes the response he deserves.

Conway is supported on stage by an incredible ensemble cast, not least Kelly Banlaki who plays his long-suffering girlfriend, Jovie. With a stunning singing voice and a brilliant comedic presence, she's the perfect foil to Conway's comedy and the two play off each other amazingly.

Elf is exactly what the world needs right now - silly, clever fun that plays to its own strengths and just makes the audience happy. Is it Sondheim? No. DId everything go to plan? Absolutely not.

Did the entire audience clap and cheer along at every opportunity - you bet your life they did.

Elf The Musical plays at Wolverhampton Grand until 16th November 2025. For more information or to get your tickets, visit grandtheatre.co.uk.

Adapted from Stephen Elliott's 1994 film The Adventures of Priscilla, Queen of the Desert, the stage musical tells the story of two drag queens and a transgender woman, who contract to perform a drag show at a resort in Alice Springs, a resort town in the Australian desert. As they head west from Sydney aboard their bus, the three 'friends' come to the forefront of a comedy of errors, encountering a number of strange characters, as well as incidents of homophobia, while widening comfort zones and finding new horizons.

After a successful run in Australia, 'Priscilla' enjoyed a two-year West End stay in addition to its Broadway debut in 2011. The show was nominated for the Laurence Olivier Award for Best New Musical as well as two Tony Awards, winning these awards in the costume design categories.

This is my eighth time watching the show and it's safe to say - it never get's old! Priscilla is the show that keeps on giving with probably some of the best costuming, staging and scores of its time. 

This production was staged by Bilston Operatic Company - one of a myriad of local societies who always pull out all the stops. It astounds me every time I sit in an auditorium and remember that the people on stage are doing this purely for the love of the craft; and never more so than this evening.

The role of Tick, in the stage musical was written for Jason Donovan so, in any production, the man who fills his boots (literally!) needs to have the impact to pull it off. Matt Elson gave us a different spin on the character - his interpretation was very much his own and not becoming a Donovan clone, which was gratefully received by the audience.

His co-stars; Adam Partridge (Felicia/Adam) and Tim Brown (Bernadette) were equally as strong and, in a show where so much is placed on the shoulders of the three leads, it was pleasing to see such credible talent come to the floor. Switching between bitchy and tender in a heartbeat they managed to show both vulnerability and sassiness in equal parts. A particular audience favourite being Brown's deliverance of the ultimate comeback in the outback bar - but I'll leave you to find out what that is for yourselves!

However the trio can't do what they do without the other members of the cast supporting them and that support came in droves this evening. Special mention should go to Stacey Lovatt, Heather Mills and Katie Walker as our incredible Diva's who's voices were outstanding, as well as Edward Jones who stole the audience's hearts as Ticks' son, Benji.

In fact the entire cast seemed to 'click' perfectly to produce a slick, rehearsed and crowd pleasing show. The supporting cast had an infectious energy that spread like wildfire around the room - every single person in that auditorium was on there feet during the finale and the deafening screams at the end capped off an evening of amazing entertainment.

Priscilla runs at Wolverhampton Grand until Sunday 26th October. For more information, or to get your tickets, head to grandtheatre.co.uk.

Moulin Rouge is (shamelessly!) a jukebox musical, based on the 2001 film directed by Baz Luhrmann. Set in Paris, it follows Christian - a young composer who falls in love with Satine, the star of the Moulin Rouge cabaret.

The musical premiered in 2018 in Boston before beginning performances on Broadway the following year. The production won ten of its fourteen Tony nominations and opened in the West End in 2021.

If there's one thing this show is renowned for, it's the spectacular surroundings the action takes place in. The creative team have all but transformed the space at the show's London home, the Picadilly Theatre into the Parisienne venue and the same can be said for the auditorium of the Hippodrome this evening. 

Aside from a brightly lit, red and white spectacular on stage, the boxes were adorned with both a giant windmill and what looked to be a full size elephant's head, both of which quickly proved to be showstoppers in their own right as the crowd took their seats.

What was also show-stopping was the action on stage this evening in what can only be described as a world-class performance.

Moulin Rouge is very much a show which relies on its ensemble, with a number of high energy, fast paced and lengthy choreography pieces to contend with. Performed to a soundtrack which largely comprises mash-up style tracks, the pace and stamina required feels superhuman - but is also something the cast took in their stride.

Which brings me to the incredible performers on the stage this evening. Every single person should be commended for the part they played in an outstanding production.

Cameron Blakely grabbed the role of Harold Zidler with both hands and wouldn't let it go. In the most sublime piece of casting I've seen in a long time, Blakely embodies the part perfectly bringing a camp, extravagant and quirky stance to the character - but with a softer edge which gave a feeling of safety and security, no matter how much of a showman was 'out front'.

However, stealing the show this evening were Verity Thompson and Nate Landskroner playing Satine and Christian respectively.

Their performance this evening was nothing short of exceptional. Throwing their characterisation back to the 2001 film, there was an essence of Nicole and Ewan but with a fresh, independent slant.

What stood out was their seemingly effortless vocals with both showcasing the most perfect voices for their respective roles. Thompson in particular sounded like a Disney princess but with the strength and power of an opera star. However, what was most noticeable was their incredible chemistry on stage - switching in a heartbeat from new lovers to established romantics, their performance set the stage alight this evening.

Moulin Rouge plays at Birmingham Hippodrome until 15th November 2025. For more information, or to get your tickets, visit birminghamhippodrome.com.

2:22 is written by award-winning writer Danny Robins and is directed by Matthew Dunster. Brilliantly funny and intriguing, the audience are in for an adrenaline-filled night where secrets emerge and ghosts may, or may not, appear. It's also a piece which stays with you - sitting and writing about the production, and reliving the action on stage, still sends shivers down my spine!

The plot is straightforward. Jenny believes her new home is haunted, but her husband Sam isn’t having any of it. They argue with their dinner guests - old friend Lauren and her new partner Ben - when Jenny reveals she hears footsteps and crying in their daughters bedroom each morning at exactly 2:22am. 

Throughout the evening, belief and scepticism clash. Sam is a man of science who has to have an explanation for everything, whilst the other three in the room have more faith in the supernatural. But something feels strange and frightening, and that something is getting closer. So they’re going to stay up until 2:22….and then they’ll know.

First thing's first - this is a stunning piece of theatre.

2:22 began its West End run in 2021 before productions opened as far afield as Australia and Singapore. For a long time it was the show to see in London, so much so that at the end of its initial engagement the demand meant it had to move to a new venue - a feat it repeated a further four times.

The previous UK tour back in 2024 received standing ovations every night so it's fair to say there's been a lot of expectation placed on the production.

The intrigue and mystery behind the story is akin to The Mousetrap's 'whodunnit' element. In fact it's incredibly difficult to talk about the action on stage without making reference to spoilers that don't need to be revealed!

Having seen the previous tour, I took my seat this evening with the anticipation of seeing the things I missed first time round. However that lasted about 30 seconds because this is a piece you can't help but be absorbed in, whether you've seen it once or a hundred times.

2:22 is synonymous with misdirection and psychological subtlety. In some cases, throwaway reference to things or scenarios which seem meaningless are actually the complete opposite - incredibly meaningful, and it's that which makes this show stand out in a crowded marketplace.

Whilst 2:22 certainly fulfils its 'thriller' remit well (and has some great jump-scares) the real aesthetic of this production is it's creepy, haunting nature. It makes you question your understanding and drip feeds you the information you need to make judgements, whilst also being very funny at the same time.

One liners often take the place of an expected shock and as the piece progresses you can see audience members start to sink into their seat as the eerie music draws to a climax, only to be met by a joke rather than a scare. It's that variety that, for me, sets this show apart from many of its contemporaries.

Kevin Clifton is exceptionally well cast as Sam, alongside Stacey Dooley as Jenny. Clearly their chemistry is exceptional, but what is also impossible to believe is that this is their first shot at 'straight' acting. In particular, Dooley's final five minutes of the show are mind-blowingly good and gave a real gravitas to the plot twist. 

Equally glorious to watch were Grant Kilburn and Shvorne Marks as Ben and Lauren respectively. Marks gave us a beautifully layered characterisation of Lauren and Kilburn showed his acting prowess with a hilarious portrayal of Ben.

2:22 is a story of mystery and intrigue and, whilst in hindsight there is only one possible ending, the creatives threw in a curve ball when the audience least expected it. 

It's very rare that, in a review, I urge you to get tickets but I'll happily make an exception for this show. This is a wonderful piece of theatre that should be seen at least once by everyone.

And if you do go, theres a few top tips to bear in mind. Question everything, trust nobody and remember - you're being told what's happening constantly...you just can't see it yet!

2:22 A Ghost Story runs at The Alexandra Theatre until Saturday 18th October 2025. For more information, or to get your tickets, visit atgtickets.com/birmingham.

The internationally award-winning musical is based on the film of the same name, released in 1992. It tells the story of former Secret Service agent turned bodyguard, Frank Farmer, who is hired to protect superstar Rachel Marron from an unknown stalker but, as you'd expect with two big personalities, each of them expects to be in charge - but what they don’t expect is to fall in love.

The story is beautifully interwoven with a soundtrack that comes with a pedigree that so many other jukebox musicals don't. When you start with a catalogue of Whitney Houston classics, including So Emotional, I Wanna Dance With Somebody and one of the greatest songs of all time - I Will Always Love You - you're almost guaranteed a hit show.

However what that pedigree also delivers is an expectation. After all, whilst the 1992 film had a solid storyline it was ultimately the soundtrack that received the majority of its award nominations.

But, where the musical is concerned, from the ensemble to the leads it’s the cast on stage tonight took that to another level.

Sidonie Smith takes the lead role on this tour, one she's played before and her confidence shows. Her charisma and chemistry with her peers shines through and with her history with the show, it's clear she's at a point where she's able to enjoy playing Rachel and belting out those songs - it’s as though she’s been Queen of the Night for decades.

That said, one thing that's definitely worth noting is that Smith isn't playing Whitney. Such is the strength of the link between Houston, The Bodyguard and a soundtrack of her own hits, it's a point that can often be overlooked. However Smith is playing her version of the character - a moe which is to be applauded.

Theatre stalwart, Adam Garcia plays Frank Turner and, with a list of credits as long as your arm, his experience is clear to see. Frank is the archetypal 'gentleman' and Garcia fits that persona perfectly. What is strange is to see someone with this breadth of experience in the role - one which requires a two-time Olivier nominee to be 'bad' at singing and dancing. If we could drop a quick dance break into the story, that would be brilliant...!

Special mention should go to Sasha Monique as Rachel's sister, Nicki. A part which often gets overlooked when you've got a 'Whitney-esque' character on stage, Monique excelled this evening and gave a beautiful vocal performance with her rendition of Saving All My Love For You being a stand out moment of the show.

An element The Bodyguard is well known for is its staging, lighting and effects. From the subtleties of the productions mood lighting to the out and out stadium level extravaganza that plays through the first number, this show is visually beautiful and pushes the boundaries of most peoples understanding of musical theatre.

In previous reviews of earlier productions of the show I mentioned there was a noticeable difference in the set in comparison to previous tours. Seemingly a lot more basic, there were also points where a usually slick scene change became less so.

This incarnation of the show does seem to have fixed many of the points that seemed overlooked last time round and, even with those subtle changes, the production is back where it belongs.

That said, this show never stops and there's no lull's in the score to allow you to catch your breath. This really is intense and, even for the non-Whitney fans in the audience, you can't deny that this is hit after hit from an artist who sold almost 200 million records in her time.

The Bodyguard plays at The Alexandra until Saturday 27th September. For more information, or to get your tickets, head online to atgtickets.com/birmingham.

First staged back in 1961, Calamity Jane is inspired by the 1953 film starring Doris Day...and it still packs a punch in 2025.

The story is based on the historical figure of frontierswoman, Martha Jane Canary who lived from 1852-1903. The musical's plot is the epitome of artistic licence, being non-historical and somewhat farcical, offering an exaggerated view of relationships and events of the time.

The stage musical made it's debut in 1961 in Texas before making its way to the UK for a 1974 outing in Sheffield. A number of tours followed, including the last commercial production with Jodie Prenger playing Calamity back in 2014 - this production is a revival of that run, 11 years later.

When it comes to well trodden paths, Calamity Jane is one of the most well-worn, but also one of the most well-loved. There's something warming and charming about seeing a Western on stage, and the stage is the first huge plus point for this production.

Designed as a theatre inside a theatre, the creative team have done an outstanding job of making the set convey an atmosphere which suits the production down to the ground. 

All of the action takes place in that singular space, with props used to create movement and to signify a switch to another location - the set design maintained a perfect balance of simplicity and functionality.

So rarely nowadays do you get to see a production twice and be blown away even more-so the second time around. Calamity is nearing the end of its run. Having kicked off almost nine months ago, Wolverhampton is it's third to last stop - but the cast and crew show no signs of slowing down!

A number of the performers on stage are actor-musicians - that simple adjustment brings an entirely new dimension to proceedings and serves to form a chemistry and bond between everyone on stage. It feels like a community and, to be blunt, a hoedown in a mid-Western saloon wouldn't be played by a band in an orchestra pit!

It's important to say that the entire company are sublime. What makes this show work so well is the chemistry and camaraderie between the ensemble and is something they've got in bucket-loads. The family-feel with this group of individuals is palpable and that essence goes such a long way in winning the audience over. I believed they'd known each other for years.

However, once again tonight belonged to the duo of Carrie Hope Fletcher and Vinny Coyle who continue to pull off this phenomenal double act night after night. The pair are friends and have a history on stage together, and that inadvertently serves them well. 

Coyle is a formidable Wild Bill, and after recently having an enforced few weeks off it was a pleasure to see him back in the suit and hat tonight. He manages to strike an incredibly difficult balance between alpha male and caring friend with a progression which gave the character a new depth I'd not considered before.

We all know parents who comes across as brash and demanding when you're young, but more often than not it's because they want the best for you and want to protect you - a sentiment that Coyle's interpretation of Bill manifested for Calamity throughout the production.

Equally, Fletcher has an incredible talent, one where she manages to make every role she plays stand out. That's not to say that she pushed the rest of the cast into the background - quite the opposite.

When you see a confident and self-assured leading lady, sometimes the show can become more about them and their performance than anything else, not least when their name is 'above the door'. 

However Carrie manages to give us a Calam' that feels like she's leading the pack. Her vocals are outstanding throughout, but especially in 'Secret Love' when she finally gets to let out the belt she's synonymous with, to rapturous applause. Her humour is on point, her dancing is brilliant and it's evident she's having a blast on stage.

Fletcher is one of the best leading-ladies in the industry at the moment, her partnership with Coyle is awesome and, along with the rest of the company, they delivered an absolute masterclass in musical theatre this evening.

A special nod should also go to Samuel Holmes as Francis Fryer - the actor who shows up but who isn't the actor they wanted to show up! Holmes is a brilliant comedic actor and his subtle facial expressions and overtly camp characterisation of Fryer is a joy to watch!

This show is a slickly choreographed masterclass which deserves a 2026 West End run.Whether you're a fan of the story or just someone who loves a good musical - get your tickets. It'll be the best money you've spent this year!

Calamity Jane plays at Wolverhampton Grand until Saturday 13th September 2025. For more information, or to get your tickets, visit grandtheatre.co.uk.

Considering this show represents a period of just 18 months, the ground it covers is phenomenal. Buddy tells the story of one man's meteoric rise to fame. From his early influences to becoming an international star, right up until his legendary final performance at the Surf Ballroom in Clear Lake, Iowa – and tragic, untimely death at the age of just 22.

In that short time frame, the boy from Texas revolutionised an entire genre. He changed how music was written, recorded and performed in ways that are still relevant today. Holly influenced everyone from The Beatles to Bob Dylan, the Rolling Stones to Fleetwood Mac and this production capitalises on the respect and adoration that the public still have for him so perfectly.

It's local lad, AJ Jenks who takes on the titular role; one he's performed on numerous occasions before - and it shows. The ease with which he slips into character makes for a solid and comfortable performance - comfortable because there's a die-hard audience of Holly fan's who want to hear their heroes back catalogue and see his story come to life. Jenks' care and attention to detail, without becoming a parody of the legend, is admirable and his vocals are perfect.

Making up the comparatively small cast are an equally talented bunch of actor-musicians who bring the full rock 'n' roll experience to Brum. Joshua Barton returns to the role of Big Bopper and mesmerises the audience with his rendition of Chantilly Lace, alongside the insanely energetic Niguel Angel as Richie Valens - however it's the chemistry of the full ensemble that brings this piece to life so mesmerisingly.

Buddy really punches above its weight. Although it's visually beautiful - and of its time - it's not got set pieces flying in and light shows that would make Glastonbury look like Pontins. This production relies on sheer talent and experience to portray the story of a musical icon in easaily one of the best shows on the road this year.

Buddy - The Buddy Holly Musical plays at Birmingham Hippodrome until Saturday 30th August. For more information or to get tickets, head to birminghamhippodrome.com.

The Last Laugh is described as a 'laugh-a-minute play' which reimagines the lives of three of Britain's comedy heroes – Tommy Cooper, Eric Morecambe and Bob Monkhouse.

When I say icon's, that's a phrase that's incredibly overused - but I think you'd struggle to overestimate the impact these three individuals had on comedy during their reign. They were at the top of their respective games for decades and were some of the last of a generation of 'old skool' comedians to grace our screens.

Whether it was a stroke of luck, or an intentional coup, the make-up of this show is perfect. The three protagonists are representative of three distinct styles of comedy. Cooper was a more physical stand-up, whilst Morecambe is best known as one half of the greatest double-act of all time. Monkhouse sits somewhere in the middle - probably best known to most for his work as a TV host, he was a lover of the art of comedy, analysing why things were funny and crafting jokes that, by his own admission, he would labour over for hours.

Cooper and Morecambe died within months of each other in 1984, whilst Monkhouse passed away aged 75 in 2003 - so to see them portrayed in a (fictitious) dressing room story is a dream. However, whilst circumstance and material play a part, it's the cast on stage who hold this piece together. Plucked from various one-man shows where they portrayed their alter ego, the performances given this evening were on another level.

Damian Williams takes on Tommy Cooper - a role which is arguably the hardest to portray. Cooper was well known for being physically funny, often not needing to say a word to get a laugh. His mannerisms went before him, and the same can be said for Williams who channels the comedian's comedian with apparent ease. Giving the audience the catchphrases and physicality they crave, his performance takes us from funny to poignant as the show draws to a close.

Bob Golding plays Eric Morecambe and, arguably, has the hardest job to do. So many of those in the audience know Morecambe as half of a double act rather than on his own, but to see the vulnerability of the man and the fragility of his desire to be the best at what he does come through was inspiring.

However, whilst Williams and Golding did an incredible job, special mention has to go to Simon Cartwright who's impersonation of Bob Monkhouse was second to none. His look and mannerisms were spot on, but his voice was perfection. For me, Bob was a gameshow host who could make an audience smile, but to so many he was a first class comedian in his own right - something which came across in Cartwright's performance, as he showed us a comic who was scared he wouldn't be remembered in the same way his contemporaries would - a beautiful performance.

The Last Laugh is a beautifully written, excellently performed and perfectly crafted piece of theatre which is as poignant as it is hilariously funny. What also stood out is the distinct lack of swearing and innuendo. In the 80 minutes these three men were on stage, nothing that was even moderately PG in nature came out of their mouths as they told jokes that made the audience cry wit laughter. It's an out and out triumph that should be high on your list of must-see's.

The Last Laugh plays at The Alexandra until Saturday 26th July. For more information, or to get your tickets, visit atgtickets.com/birmingham.

I don't care what the rules are - this show deserves six stars.

Mary Poppins is a fusion of elements of the 1964 Disney movie and the original series of children's books by P. L. Travers.

The original West End production opened in December 2004 and won two Olivier Awards, one for Best Actress in a Musical and the other for Best Theatre Choreographer. A Broadway production with a near-identical creative team opened in November 2006, with only minor changes from the West End version. It received seven Tony nominations, including Best Musical, and won for Best Scenic Design in a Musical.

I don't think I'm over-exaggerating when I say that this production is quite literally the most magical thing I've ever seen on stage. Having caught glimpses of the West End production, there was a concern that many of those moments of wonder - and the technology behind them - may not travel well and we might get a slimmed down version. How wrong can I be?!

Forget practically perfect, this show is a spectacular, feel‑good masterclass in musical theatre.

Stefanie Jones embodies the iconic nanny with extraordinary poise, vocal power, and charm. Her mannerisms, facial expression and timing mimic Julie Andrews so beautifully but stop short of becoming a caricature.

Her voice is captivating, and her handling of complex choreography is mind-blowing. Working predominantly in a partnership with Jack Chambers as Bert, he delivers a refreshingly charismatic, comedic version of Bert with an astonishing aptitude for dance!

Similarly to Jones, Chambers' vocals on songs like like Chim Chim Cher‑ee and, in particular, Step In TIme are breathtaking.

They lead a cast of exquisite performers, especially our to youngest cast members; Olive Harrison and Oliver Benson as Jane and Michael Banks respectively. The pair are superstars with confident, assured performances with Benson in particular delivering some killer lines!

Set designer, Bob Crowley’s folding doll‑house aesthetic brings the Banks home to life in storybook fashion, unfolding on stage with explosion of colour, movement, and mechanical magic that astonishes young and old alike. In fact the choreography was so perfectly timed and the scene changes so exquisitely executed, this was a non-stop cascade of colour and joy with shocked looks on the faces of the adults, let alone their children!

Walking into the auditorium tonight, I've never been so excited to see a show. Such is the enormity and spectacle of the job at hand, it felt like we'd sat through an entire production by the time the interval rolled round! However, when those first chords of the overture ring out, and when you see the scene setting up for Supercalifragilisticexpialidocious, your entire body develops goosebumps upon goosebumps.

And the ending...is just the greatest conclusion I've seen to a story which fights to stay true to the nuances we know and love.

If you’re looking for a show brimming with magic, emotional heart, dazzling dance and a sublime soundtrack, this one delivers without compromise.

Mary Poppins runs at Birmingham Hippodrome until Saturday 23rd August. For more information, or to get your tickets, visit birminghamhippodrome.com.

The production brings to life the legendary anthems of Meat Loaf and Jim Steinman and follows Strat, the forever young leader of rebellious gang ‘The Lost’ as he falls in love with Raven, the beautiful daughter of the tyrannical ruler of Obsidian.

This is a stage full of motorbikes, fire, stunning lighting and intelligent alternatives to 'standard' staging. It's visually stunning and from the start, the atmosphere in the auditorium is electric.

It's also fair to say that this production is an amped up reimagining of previous tours, incorporating the band and handheld mics for our leads, giving a true rock experience.

What Bat Out Of Hell has managed to do is create a story which has introduced a new generation of theatre-goers to the music of Steinman and, by extension, Meat Loaf, as well as reignite the passion for those songs in existing fans.

In a similar vein to shows like We Will Rock You, this is a two-hour rock opera with anthems that often send shivers down your spine. I've seen Bat Out Of Hell on a good few occasions, but the opening chords of the title track still make your whole body tingle.

Steinman's music encapsulates an era of excess and his iconic lyrics have a pedigree of their own as individually exquisite examples of storytelling. In fact his collaboration with Meat Loaf has been called one of the top 10 most important moments of rock history - and it's plain to see why.

This is a writer who's records have sold over 190 million copies worldwide including nine number one's which encapsulate some of the biggest songs of all time. As one guy said to his friends in the row in front, "...it's almost impossible to overestimate just how important Jim Steinman's contribution to music was".

It must be near impossible to pick and choose which of the star's hit's to include, but with song's like I’d Do Anything For Love (But I Won’t Do That), Dead Ringer For Love and Bat Out of Hell on offer, coupled with an outstanding cast the producers own description of 'an exciting over the top theatrical spectacle unlike any other' definitely rings true.

Leading our cast were Glenn Adamson as Strat and Katie Tonkinson taking on Raven. Adamson has been with the show for a number of years, taking Strat across the world via the West End. Tonkinson is comparatively new to the partnership, but both look like they could have been performing together for an eternity. With an incredibly demanding sing for both of them, their stamina and talent was infectious and it was almost impossible to take your eyes off them.

Rob Fowler (Falco) and Sharon Sexton (Sloane) are somewhat more accustomed to their roles, having originated them and subsequently played them for a number of years. It's clear playing the duo is second nature to them, which gives them licence to play around with the characters and really enjoy themselves - they're having a blast, something the audience definitely picked up on and both delivered an outstanding vocal performance, taking us on a journey of strong, belt-filled showstoppers alongside more timid, sweeter numbers.

Georgia Bradshaw and Ryan Carta gave a stunning performance as Zahara and Jagwire. Playing a classic 'boy wants girl but girl's not fussed' couple, their duets were simply outstanding. In fact, with an incredibly empowering take on the characters the entire cast made a connection with the Wolverhampton crowd tonight that meant they deserved every second of their standing ovation.

We should also give a special mention to Wolverhampton's own Sophie-Rose Emery, who understudied Valkyrie this evening and absolutely brought the house down. Her vocals were insane and to see her representing the region, on Black Country Day, was extra special. Welcome home, Bab!

Finally, we need a moment for the ensemble who must be amongst the hardest working in the business! rarely getting chance to pause, their performances gave an extra edge to the show - especially Gerogia Iduica-Davies and Carla Bertran who seem to teleport around the stage and bring an incredible buzz of energy throughout!

Let's be absolutely clear. This isn't Sondheim. This is a fairly solid plot anchored by some of the biggest rock anthems on the planet - and that's no bad thing. There wasn't a soul in The Grand this evening who wasn't blown away and didn't impulsively rise to their feet for the bows.

There's something about this cast and this soundtrack that lends itself beautifully to a musical theatre themed, ensemble led, 20-odd part harmony and we're all absolutely there for it.

Bat Out Of Hell plays at Wolverhampton Grand Theatre until Saturday 19th July. For more information, or to get your tickets, visit grandtheatre.co.uk.

Two years (almost to the day!) since Peter James' stories last graced The Alex's stage, an all star cast, which includes George Rainsford (Casualty), Ore Oduba (Pretty Woman) and Fiona Wade (2:22 A Ghost Story) bring the 19th book in his series of Roy Grace novels to life.

Back home in Brighton, DSI Grace investigates a cold case that leads him to the secretive world of fine art, but beneath the respectable veneer lurks a dark underworld of deception and murder.

When one unsuspecting couple unearth a potentially priceless masterpiece, they discover that their dream find is about to turn into their worst nightmare, and only Grace can stop them from paying the ultimate price.

Taking place on a single, imposing set, Picture You Dead is a simple premise but one which is executed, in every way, with a great deal of skill. The action takes place on two sides of a large space - which acts as a beautiful metaphor for the audience, truly showing the two sides to the story. It allows us to glimpse into the lives of protagonists who aren't currently front and centre of the stage which is a novel - but welcome - point of difference.

The show is very much a piece of two halves. Act 1 set's up the story with act 2 adding meat to the bones and leading to an explosive conclusion.

Rainsford shines as Roy Grace - a role which he plays in a significantly different way to that which was seen in the recent ITV drama series. He gives the character a believability and a loveable side which means he has the audience in the palm of his hand from his first moments on stage.

Wade brings a multi-faceted take on Freya, darting from frantic to reassuring and every emotion in between. Oduba brings a charm and sophistication to the role o Stuart Piper, the man pulling the strings and receiving the boo's from the audience however special mention has to go to Jodie Steele who was phenomenal as Roberta. 

Embodying 'hench-woman' and giving just the right mix of sass to confidence, I've only ever seen her in musicals (where she takes the roof off night after night) so it was lovely to see her acting prowess at the forefront.   

All in all, whilst the story is simple, Picture You Dead perfectly balances humour, drama and suspense - attributes which make it probably one of the best productions of its kind touring the UK at the moment.

Picture You Dead plays at The Alexandra until Saturday 28th June 2025. For more information and to get your tickets, head to atgtickets.com/birmingham.

The musical had its world premiere in 2018 at the Aldwych Theatre in London with the Broadway production opening the following year. The show has spawned a number of successful European productions, plus a run in Australia, culminating in this new UK tour.

Let's set our stall out from the beginning. Tina Turner is an icon.

From humble beginnings in Tennessee, to her triumphant transformation into a multi award-winning global superstar, Tina Turner didn’t just break the rules, she rewrote them.

TINA is set to the soundtrack of her iconic hits, including The Best, What’s Love Got To Do With It? and River Deep, Mountain High and takes you on the ultimate rollercoaster of emotion. From shock to empathy to adulation - this is a show which has everything the audience is after.

To some extent it's difficult to know where to begin because there are so many stand-out elements to this show that merge to create what is nothing short of incredible,

Mark Thompson, Bruno Poet and Nevin Steinberg have excelled themselves with the staging, lighting and sound design respectively. The stageing does an excellent job of switching from house to studio to concert venue in a beautifully choreographed movement. 

However, as you would expect, it's the cast that make this show what it is.

David King-Yombo plays Ike Turner with the depth and manipulation that you'd expect, not shying away from representing the brutality that Tina was put through. His chemistry on stage with our leading lady was incredible - never before has the realism been so stark that it felt like you were watching a documentary unfold.

Which brings us to our leading lady, Jochebel Ohene MacCarthy and, make no bones about it, MacCarthy's performance is out of this world. It would be so easy to become a Tina Turner mimic in this show, such is the unique nature of the subject matter. Turner was known for her eccentricity, gravelly vocals and choreography, all of which MacCarthy has down to a tee, but without looking like a tribute act, which is an incredibly fine line to tread.

Tonight felt like we were watching the legend herself on the Hippodrome stage, and that's testament to the skill and ability of all of our performers. TINA is a powerful, bold and confident piece which doesn't shy away from the reality of domestic violence - but also portrays a strong, resilient woman who overcomes that life and becomes one of hte most successful entertainers of all time.

TINA - The Tina Turner Musical plays at Birmingham Hippodrome until Saturday 20th June 2025. For more information, or to get your tickets, visit birminghamhippodrome.com.

Set in early 19th Century France, Les Miserables follows the story of Jean Valjean, a French peasant released in 1815 after serving nineteen years for stealing a loaf of bread for his sister’s starving child.

Valjean breaks his parole to restart his life, but is relentlessly pursued by policed inspector Javert. Set in revolutionary France, their paths cross via student revolutionaries and a street barricade in France.

Les Mis has been seen worldwide by an audience totalling over 120 million people, in 52 countries and is often referred to as a super-musical. This is the first time the rights to the full show have been made available, and just 11 groups around the UK have the privilege of bringing this masterpiece to life.

I have to say, that whilst BMOS shows are always first class, I did take my seat with an air of trepidation. There was a very realistic chance this could be a step too far for any company of this type - but as those opening chords struck and the first few bars of the prologue began - so did the goosebumps that covered my entire body for the next two hours.

To say this production is a triumph would be a catastrophic understatement. This production is, hands down, the best piece of amateur theatre I have ever seen.

In fact, I'd go so far as to say that many of the performers on stage this evening - specifically the principal cast - performed to a higher standard than some pro's I've seen in the West End.

Robbie Love took on the role of Javert, the character I maintain has the best song in the entire show; Stars. Love gave us a confident and assured take on the 'baddie' of the piece, balanced with some exquisite tender moments. 

Ismay Dudzinski-Grubb shone as Cosette, with an outstanding soprano voice, coupled with Luke Griffiths interpretation of Marius. The latter is a role which so often seems to be given to performers with a timid, airy tone to their voice - however Griffiths embodiment gave his voice chance to shine.

Tim Jones and Sophie Grogan brought the laughs as Monsieur and Madame Thenardier, perfectly hitting every beat and milking the laughs for all they were worth. We also had an assured performance from Annabel Pilcher, who joins a long list of stand-out performers to play Fantine. Pilcher gave us a much more thought-out performance than we might have seen from some other companies, really delving into the heartache and pain she feels.

Special mention has to go to Beth Dickson and a stunning performance as Eponine. Alongside I Dreamed A Dream, Eponine's performance of On My Own is a moment the audience are waiting for - and definitely one which requires a strong and confident performer, both of which are qualities you can easily attribute to Dickson.

In a long list of women who have put on the coat and hat, Dickson's performance easily stands up alongside those of performers like Samantha Barks and Carrie Hope-Fletcher, giving the audience all they wanted and more.

However, the stand out performance of the evening has to be that of Wil Neale. Jean Valjean is a behemoth of a character - as iconic as names like Eva Peron and Elphaba and renowned for being just as challenging to perform. Neale's performance this evening was incredible; from dramatic monologues to a beautiful falsetto, he embodied everything this role needed.

I've only seen an audience give a standing ovation mid-show on two occasions, and after tonights performance of Bring Him Home we nearly made that three. Just brilliant.

You expect so much when you see Les Mis and this production exceeds those expectations effortlessly.

If these performers are the future of British theatre, we are in incredible hands.

Les Miserables plays at The Alexandra until 14th June 2025. For more information, or to get your tickets, visit atgtickets.com/birmingham.

The plot is fairly straight forward - Kathryn Merteuil goads her step brother, Sebastian into attempting to seduce Annette Hargrove, the headmaster’s virtuous daughter. However, their crusade wreaks havoc on the students at their exclusive Manhattan high school and it’s not long before the duo become entangled in their own web of deception and unexpected romance, with explosive results.

Cruel Intentions made its off Broadway debut in 2017 and was extended three times, through to April 2018. The show had its UK debut in August 2019 as part of the Edinburgh Fringe and opened at The Other Palace in January 2024.

What really comes across in this production is a deep sense of nostalgia, which is punctuated by the clothing, the references and the soundtrack as well as a stunning set by Polly Sullivan. The whole show is a personification of MTV, skateboards and Walkmans - and the audience lap up every moment.

Staying true to the film, with just some slight British tweaks (I'm thinking Spice Girls!) the cast are sublime.

Nic Myers plays Kathryn and, alongside Will Callan's Sebastian, brings us a deranged double act that are are cliche as they are brilliant. Vocally strong and with a phenomenal chemistry on stage, they had some of the cleverest moments which make this show shine.

Equally as brilliant are the West Midlands' own, Joe Simmons as Greg and Luke Conner Hall as Blaine - providing comedy and sassy one-liners, each are strong but as a twosome, their slick, well rehearsed take on these characters is refreshing. Their storyline was fairly concise in the film so it's pleasing to see it fleshed out for the musical.

We should also spare a moment for the soundtrack, which takes us on a rollercoaster of 90s emotion and, pleasingly, not always with obvious choices. Spice Girls and TLC are mixed in with Goo Goo Dolls and The Cardigans. Whilst some tracks are shamelessly crowbarred in to fit the narrative, there are some stand-out moments, including the finale with a stunning rendition of Bittersweet Symphony and a full dance routine for Bye, Bye, Bye!

Let's be clear - this isn't Shakespeare. Whilst the film is a cult classic, the storyline is fairly plain sailing and we don't come to learn a huge amount about the characters, so it can be difficult to form any sort of emotional attachment. Sebastian's attempts to woo Annette are a key part of the plot, but are condensed into a handful of short scenes with a song or two, after which he's madly in love and trying to stop her leaving.

However, what this production really serves as, is a vehicle for a period in time to be celebrated. This is a sassy, sexy and brash show which is a time capsule of nostalgia and a brilliant night out at the theatre. It's an exaggerated take on teenage life which had the audience on their feet spontaneoulsly.

Cruel Intentions plays at Birmingham Hippodrome until Saturday 7th June. For more information, or to get your tickets, head online to birminghamhippodrome.com.

Marie & Rosetta is a double header with Wolverhampton's greatest export, Beverley Knight taking to the stage alongside Ntombizodwa Ndlovu in a 'sparkling, intimate portrait' of Rosetta and her beloved singing partner, Marie Knight.

Set in Mississippi in 1946, Sister Rosetta has changed the face of gospel music with her exuberant, electric guitar-playing style. However, at the same time she has shunned by strait-laced church folk for glorifying rhythm and blues. She’s managed to persuade a saintly young singer named Marie to join her on a tour of the segregated southern states...but first she has to give her a little more swing!

To say this show is a masterpiece would be incredibly understated.

What we are presented with is just under two hours of pure perfection which see's neither performer leave the stage, nor have chance to pause for breath as they deliver line after line and song after song in a beautifully written and exceptionally directed piece of theatre.

Ndlovu shines as Marie Knight, with a strong singing voice, brilliant characterisation and a charm and charisma which more than matches that of her on-stage partner. Having only graduated four years ago, her talent is exceptional and its clear to see there's a stellar career ahead of her.

Then we come to Knight who, quite simply, is sublime. Her on-stage presence is compelling and her command of the audience is second to none. Granted she has a home crowd this week, but in many ways that's more of a risk for a performer. For many around the world, she's a multi-award winning performer but round here she's Bev from Wolverhampton - but she more than satisfied the audience from the moment the lights went down.

Her acting is top notch but her vocal ability is world class. Her effortless renditions of Tharpe's back catalogue, many with a soulful upgrade, were so well received that each could have spawned its own standing ovation.

However, what is truly special here is Knight and Ndlovu's chemistry on stage. Each is a phenomenal talent but the duo are at their best singing together. They bounce off each other so well you can tell they're great friends - but more importantly, you can see that Tharpe and Knight live on in these two incredible women.

I feel incredibly lucky to have seen this show - firstly because Wolverhampton is the second of just three stops on the tour, but also because this is a story beautifully told, with an ending that I'm still processing but a story arc which was beautifully portrayed.

Marie and Rosetta plays at Wolverhampton Grand Theatre until 31st May 2025. For more information, or to get your tickets, visit grandtheatre.co.uk.

Based on the novel by Paula Hawkins and billed as a 'gripping' play that will keep you guessing until the final moment, The Girl On The Train has well and truly arrived in Birmingham!

The story is, on the face of it, very simple. Rachel Watson longs for a different life and her only escape is the perfect couple she watches through the train window every day. They're happy and in love - or so it appears. When Rachel learns that the woman she’s been secretly watching has suddenly disappeared, she finds herself caught up as a witness and suspect in a thrilling mystery in which she will face bigger revelations than she could ever have anticipated.

However, we all know not to judge a book - or its subsequent stage adaptation - by its cover and we soon learn that this production is full of twists and turns that thrown your 'absolute certainty' from pillar to post.

Louisa Lytton (2:22 A Ghost Story, Eastenders) take on the role of Rachel - a woman who suffers with an alcohol problem and narrates the story without ever confronting her audience. Dealing with flashbacks, voices and amnesia, Lytton proves her worth from the get-go as an outstanding actress. 

A large chunk of the audience probably know her best from her time on Albert Square, but see a different side to Lytton this evening as she displays her versatility as an actor. From moments of laughter to ones of harrowing inferred violence, her ability and devotion to her character was a joy to watch.

Jason Merrells takes on the role of Tom Watson - Rachel's ex who may have more to him than meets the eye. His ability to go from caring old flame to a persona that's right at the opposite end of the spectrum was brilliant - and for me was up there with many of the best portrayals of villainy. Most importantly - on both parts - this show maintained a grasp of realism that can be lost in so many adaptations - and this was appreciated by the audience.

In this day and age, mental health and emotional abuse is prevalent and being openly discussed more and more - and for me, this play is being performed at just the right time to strike a chord with so many members of society. Partly because of its subject matter - and partly because it's a gripping, intense and thought provoking piece which speaks to an audience in a way that so many others miss out on.

What makes this piece so addictive, for me, is that every character you see on stage is flawed in one way or another, even the person you've earmarked as the good guy. In the vast majority of shows, there's an obvious 'baddie' and it's clear to see what's going to unfold. But, for me, watching a play and thinking you know what's going on - only to completely switch your allegiance every few minutes, is the dream.

This production maintains its position as one of the most all-encompassing pieces of theatre touring the UK at the moment and is visually stunning to watch. 

The Girl On The Train plays at The Alexandra Theatre until Saturday 3rd May. For more information or to get your tickets, head online to atgtickets.com/birmingham.

Riding high on the success of its first outing in Northampton - where the story itself is set - this show comes with an astonishing pedigree. With songs by Grammy and Tony winning pop icon, Cyndi Lauper, direction and book by Broadway legend, Harvey Fierstein, the piece celebrates a joyous story which takes you from the factory floor of Northampton to the glamorous catwalks of Milan.

Based on the 2005 British film of the same name, and inspired by true events, the show tells the story of Charlie Price who, having inherited a shoe factory from his father, forms an unlikely partnership with cabaret performer and drag queen to produce a line of high-heeled boots to save the business. And In the process, Charlie and Lola discover that they are not so different after all.

Kinky Boots is a show which celebrates a culturally diverse and forward thinking way of life and speaks to so many people on so many levels. Whatever part of the story you identify with, its safe to say there's representation on stage which makes this more than just a feel good musical. This is a piece which talks with, and connects to, the audience and that's warmly received by a diverse Brummie crowd.

I'd be lying if I said I didn't go into this with an air of trepidation. I've long considered Kinky Boots one of the best contemporary shows out there and the production shots and trailer show a very different version of the show. This production of Kinky Boots is a 'grown up' take on the original concept and injects a sense of glamour, opulence and sass.

Where the West End run and previous UK tours exuded colour and presence, there was more of a subtlety to this version, with a much more minimalistic colour palette to accentuate the bright red which pops throughout.

However, in its own way, Kinky Boots remains full on, drag queen sass from start to finish and personifies empowerment.

This is the first time such a big change in the staging of the show has been tried and it's meant that, for those who have seen the show before, certain touch points just aren't there.

No longer do we have choreography around the moving conveyor belts - in fact, no longer do we have the conveyor belts full stop. The angels have gone from stand out costumes to, at times, jeans and tshirts which makes them merge with the other cast members. The creative team have definitely pulled out all the stops to reinvent the show…but I do wonder if it's lost some of its charm in the process?

However, whilst you can have glam surroundings and a sublime soundtrack, it's the quality of the cast that makes a show like this.

Johannes Radebe took on the dress and boots of Lola and was the headline on every press release. This is his first musical and it takes a real confidence to be able to pull off a character like Lola - it's a bit like jumping from nowhere into Jean Valjean. However if anyone has that confidence, it's Radebe.

Taking a slightly different approach to previous incarnations, Lola is his to do with as he wishes and there was absolutely no compromise in his performance at all. At times she was powerful and at times he was vulnerable, this was a brilliant display of the complexity of confidence, coupled with a good comic wit. 

Our leading lady has some big numbers to pull off, which Radebe clearly gave his all to. His vocals were good and he definitely holds his own. In fact when he's in 'performance mode' he’s one of the best incarnations of the character I've seen.

Alongside Radebe, Dan Partridge's take on Charlie was equally as strong. Let's face it - of our two leads, Lola is clearly the attention grabber, but Partridge does a fantastic job of keeping Charlie in the spotlight rather than be consumed by the boots and sequins.

His criticism of Lola at the end of act two was a particular stand-out moment. So many other Charlie’s temper down the aggression but as the culmination of a narcissistic outburst, it needs to shock - and Partridge nailed it.

Special mention should also go to Courtney Bowman - best known for stints in shows like Six and Legally Blonde, her comic timing and facial expressions were outstanding, as was her equally beautiful vocal. Bowman plays Lauren in a less exaggerated way to some of her predecessors, and her version of 'History of Wrong Guys' was a particular highlight. That said, it did feel like the character was used less than in previous productions, however her interpretation was brilliant.

Can we also please have a moment for Scott Paige and his take on George. Often portrayed as the older gentleman who turns out to be ‘down with the kids’, Paige is a consistently brilliant comic actor who has reinvented this role and made him one of the stand-out characters on stage. His ad libs and throwaway lines are so perfectly fitting it really made his performance something special.

Finally, a moment for the final song of the show, please.

'Raise You Up' is a phenomenon in its own right - and this productions version is definitely different, with a change in choreography and - again - different staging. However what it also is, is a 'stop what you're doing', goosebump moment. Very few shows have a single song which sums up the entire premise of the plot in a three-minute extravaganza...but Kinky Boots does, and this performance of it was just...perfect.

For anyone who watches it, no matter their situation in life, this show is simply life changing. One of the best new musicals in existence. Period.

Kinky Boots runs at Birmingham Hippodrome until Saturday 19th April. For more information, or to get your tickets, head online to birminghamhippodrome.com.

The story follows Evan Hansen; a high school senior with social anxiety, who "invents an important role for himself in a tragedy that he did not earn".

It's a show which has become a firm fan favourite ever since it opened on Broadway in 2016, followed by a stint in the West End three years later. There followed six TONY Awards, including Best Musical, a Grammy, three Olivier's and two WhatsOnStage awards - so this musical is a big deal!

Dear Evan Hansen is also lauded for its approach to tackling depression and social anxiety, especially amongst younger generations - which is exactly the audience who identify with the show.

If I'm honest, that was my first stumbling block and the reason I'd never engaged with Dear Evan Hansen until now. I think I dismissed the musical as 'hype', being another in a wave of new productions which have garnered support on social media but which, ultimately, might not live up to expectations.

Fortunately, I quite enjoy being proven wrong!

This show matches every positive adjective in the dictionary - and then some. It's 160 minutes of constant goosebumps, visually stunning with a sublime soundtrack. More over, it's an emotionally intelligent piece of theatre with a 14-strong team of disgustingly talented performers who are beautifully cast.

Ryan Kopel takes on the lead role of Evan - and that could be seen as somewhat of a poison chalice. It's a part that's so synonymous with Ben Platt, who played it on stage for four years and in the big screen version. However Kopel gives us his own spin on the character, even down to an alternative costume which sees the famous blue and white striped polo shirt ditched. 

Coupled with Kopel's superb stage presence, it meant the production could be judged on its own merits and not compared to its predecessors - and 'our' Evan's merits are numerous. Kopel is vocally exceptional and gives a compelling performance that ticks every box ten times over.

Lauren Conroy takes on Zoe - Evan's long time crush and the one thing that seemingly makes him happy. The duo have a remarkable chemistry and Conroy has an incredible knack of conveying emotion without the need to say a word. Her final scenes with Kopel play to the classic line ' 'I'm not angry, I'm disappointed' and that calm sentiment that maybe things could have been different is payed so beautifully you can feel Evan's disappointment from the dress circle.

Conroy is an incredible talent who will be leading companies before you know it.

And talking of incredible talent, one of my two bucket list things to do this evening was to see the inimitable Alice Fearne on stage. Fearne's talent is incredible, having played a number of female powerhouses - and this role is no different. From a matriarchal standpoint, think 'Margaret New' and you're on the right track. 

Is Heidi flawed? Absolutely. Do you empathise with her despite knowing that? Definitely - and that's the skill and quality that Fearne brings to the role. Needless to say her vocals are flawless and, although there's no 'Defying Gravity' moment as such, her seamless connection to the music, especially the large ensemble numbers, means you can see she's having a blast - and so are the audience.

Dear Evan Hansen plays at Wolverhampton Grand Theatre until Saturday 5th April 2025. For more information, or to get your tickets, head to grandtheatre.co.uk.

The show premiered in the West End at the Theatre Royal Drury Lane in June 2013 and ran for 3 years and 7 months before closing on 7 January 2017. Receiving mixed reviews from critics, the show won two Laurence Olivier Awards in 2014 for Best Costume Design and Best Lighting Design. The show ran for almost nine months on Broadway and has toured both in America and Australia.

It tells the story of Charlie Bucket, who finds one of five golden tickets and earns a trip to Willy Wonka's Chocolate Factory. However, beyond the gates Charlie and the other winners discover more than just remarkable edible delights. As they embark on an extraordinary journey through Willy Wonka’s marvellous mind, they soon learn that nobody leaves the same way that they arrived.

Charlie and the Chocolate Factory is one of the most well loved stories from one of the UK's most revered children’s authors. Roald Dahl's work is the stuff of legend so there was immediately high expectation for what would emerge on stage. It's also incredibly easy to compare the production to one of Dahl's other infamous stories - Matilda - which has gone on to become a worldwide phenomenon. Charlie is a very different show to Matilda, but that's not altogether a bad thing.

This show is a local production from the incredibly talented team at West Bromwich Operatic Society who should be complimented on many areas of the production.

By its very nature, Charlie and the Chocolate Factory requires an element of other worldliness about it and the set, and in particular the shows use of video, is spellbinding. The world Dahl created for Wonka's factory was extrovert, loud and eccentric; and almost impossible to recreate accurately with physical props. Instead, cleaver use of video allowed for smooth transition between rooms of the factory and made way for various machines (and elevators!) to take centre stage.

However for me, tonight's star of the show was Theo Traat who played Charlie. For someone so young Traat proved himself to be a competent actor and an equally brilliant vocalist. Alongside Simon Pugh as Grandpa Joe, the duo had a tangible chemistry that gave a real sense of credibility to their performance.

Whilst there are definitely some areas of the show I feel hit the mark more than others, the source material is good, the costumes are beautiful and the cast slick and well rehearsed. If you're a Roald Dahl fan and, in particular, a fan of Charlie and the Chocolate Factory, then you'll have a brilliant night out, no question's asked.

Charlie and the Chocolate Factory plays at Wolverhampton Grand until Sunday 30th March. For more information, or to get your tickets, head online to grandtheatre.co.uk.

The story is based on the historical figure of frontierswoman, Martha Jane Canary who lived from 1852-1903. The musical's plot is the epitome of artistic licence, being non-historical and somewhat farcical, offering an exaggerated view of relationships and events of the time.

The stage musical made it's debut in 1961 in Texas before making its way to the UK for a 1974 outing in Sheffield. A number of tours followed, including the last commercial production with Jodie Prenger playing Calamity back in 2014 - this production is a revival of that run, 11 years later.

When it comes to well trodden paths, Calamity Jane is one of the most well-worn, but also one of the most well-loved. There's something warming and charming about seeing a Western on stage, and the stage is the first huge plus point for this production.

Designed as a theatre inside a theatre, the creative team have done an outstanding job of making the set convey an atmosphere which suits the production down to the ground. 

All of the action takes place in that singular space, with props used to create movement and to signify a switch to another location - the set design maintained a perfect balance of simplicity and functionality.

However the out and out stars of this show are the cast, who are quite simply exceptional.

A number of the performers on stage are actor-musicians - this is a show where every note is played live by the cast and now I've seen it performed in that way, it simply wouldn't work with a standard band.

That simple adjustment brings an entirely new dimension to Calamity Jane and serves to form a chemistry and bond between everyone on stage. It feels like a community and, to be blunt, a hoedown in a mid-Western saloon wouldn't be played by a band in an orchestra pit!

It's important to say that the entire company are sublime. What makes this show work so well is the chemistry and camaraderie between the ensemble and is something they've got in bucket-loads. The family-feel with this group of individuals is palpable and that essence goes such a long way in winning the audience over. I believed they'd known each other for years.

Vinny Coyle is a formidable Wild Bill Hickock - playing him with a menacing but ultimately caring streak. Coyle manages to strike an incredibly difficult balance between alpha male and caring friend with a progression which gave the character a new depth I'd not considered before.

We all know parents who comes across as brash and demanding when you're young, but more often than not it's because they want the best for you and want to protect you - a sentiment that Coyle's interpretation of Bill manifested throughout the production.

However, the night belonged to Carrie Hope Fletcher.

Carrie has an incredibly unique talent, one where she manages to make every role she plays stand out. That's not to say that she pushed the rest of the cast into the background - quite the opposite.

When you see a confident and self-assured leading lady, sometimes the show can become more about them and their performance than anything else. However Carrie manages to give us a Calam' that feels like she's leading the pack. Her vocals are outstanding throughout, but especially in 'Secret Love' when she finally gets to let out the belt she's synonymous with, to rapturous applause. Her humour is on point, her dancing is brilliant and it's evident she's having a blast on stage.

Fletcher is one of the best leading-ladies in the industry at the moment, her partnership with Coyle is awesome and, along with the rest of the company, they delivered an absolute masterclass in musical theatre this evening.

Whether you're a fan of the story or just someone who loves a good musical - get your tickets. It'll be the best money you've spent this year!

Calamity Jane plays at Birmingham Hippodrome until Saturday 22nd March 2025. For more information, or to get your tickets, visit birminghamhippodrome.com