From the moment the curtain rises at Manchester Opera House, A Knight’s Tale bursts into life with exhilarating energy. This stage adaptation of the beloved 2001 film expertly blends medieval spectacle with a bold, modern twist.
Full of jousting tournaments, noble quests, and underdog triumphs, the production delivers both heart and high drama – all with a heady dose of rock ‘n’ roll.
At the centre of it all is William Thatcher, a young squire who dares to defy his lowly birth and enter the world of high-born knights. Played with charm and confidence by Andrew Coshan, William’s journey from peasant to jousting champion is rousing, if occasionally veering into heroic cliché.
Still, Coshan’s likability and natural charisma keep the audience cheering for him through every lance charge and dramatic monologue. The supporting cast also shines.
A standout is Eva Scott, whose comic timing and delivery consistently land laughs, often stealing scenes with her sharp one-liners.
ADVERTISEMENT
Meanwhile, Meesha Turner brings elegance and spark to the role of Princess Jocelyn. Her powerful vocals during the show’s pop-classic ballads transform the character into a fiery, modern princess you can’t help but root for.
The production’s standout sequences are undoubtedly the jousts, theatrical set pieces that are an absolute masterclass in stagecraft. Using a clever combination of rigging, physical choreography, and dynamic sound design, the creative team conjures a truly immersive atmosphere.
ADVERTISEMENT
Dramatic lighting and resonant sound effects make you feel the thud of hooves and the crash of lances. The cleverly designed set, featuring an arena-style jousting field, draws the audience into the action in a way that feels fresh and cinematic.
However, the show stumbles slightly in its quieter, more emotional scenes. The dialogue, while laced with humour, sometimes dips into melodrama. The villain, Count Adhemar, feels a touch underwritten, with motivations that don’t quite match the emotional weight the story strives for, but is still well-acted.
Don’t just take it from us: the A Knight’s Tale reviews from Manchester crowds are already very strong.
The stakes between him and William never fully build to the payoff they could – leaving certain dramatic beats a little flat. Musically, the show makes a bold departure from traditional scores. Instead, it leans into a soundtrack of classic rock anthems; think Queen, AC/DC, The Who and more.
ADVERTISEMENT
At first, it seems like an odd match for a medieval tale, just as it did with the movie, but it works brilliantly. The music injects the show with rebellious energy and gives it a timeless quality. It’s loud, bold, and exactly what this high-octane tale of ambition and identity calls for.
A special mention must go to the ensemble and choreography. The jousting scenes are beautifully choreographed, blending acrobatics, dance, and swordplay with seamless precision. Even in quieter moments, the movement on stage supports the storytelling with subtle grace.
But the unexpected stars of the show? The horses. Designed with clever costume and movement illusions, they create the convincing effect of riders in full gallop – and at times, they very nearly steal the spotlight altogether.
Credit: Supplied
Though clearly aimed at adult audiences, with its cheeky humour and classic rock soundtrack, the show flirts with the spirit of panto, oversized characters, regional accents, and exaggerated physical comedy. And it works.
The regional dialects add warmth and levity, grounding the fantasy in a cheeky, very British sensibility. In the end, A Knight’s Tale is a triumphant and entertaining spectacle, an electrifying mix of medieval mythology and modern musical theatre.
ADVERTISEMENT
Whether you’re a die-hard fan of the original film or seeing the story for the first time, this production offers a fun, fast-paced, and surprisingly heartfelt night out. It’s not perfect, but it’s hard not to be swept up in the clashing swords, galloping hooves, and power chords.
Put simply, this is a knight to remember – with a soundtrack that slays.
Matilda The Musical at Palace Theatre Manchester – a lesson in letting your imagination run wild | Review
Emily Sergeant
I think growing up is overrated. I’m just going to start off by saying that, okay? Right… now onto the actual review.
Matilda The Musical has finally arrived in Manchester, and it’s every bit as imaginative as the title character herself.
The Royal Shakespeare Company’s smash-hit musical production – which is, of course, based on Roald Dahl’s beloved book of the same name – has been seen by more than 12 million people in over 100 cities around the world since it first debuted back in 2010, and it continues to play to packed houses in London’s West End and on Broadway each week… but now, it’s Manchester’s turn.
The critically-acclaimed musical is currently out on a tour of the UK and Ireland, and has just arrived for a special four-week run here at Manchester’s iconic Palace Theatre.
Touring to celebrate its 15-year anniversary, the multi-award winning musical about a determined young heroine with a vivid imagination is written by Dennis Kelly, and developed and directed by Matthew Warchus, with music and lyrics by comedian Tim Minchin.
Matilda The Musical is now on stage at Manchester Palace Theatre / Credit: Publicity Picture (Supplied)
Despite being a fan of musical theatre, and even of the production’s popular soundtrack prior, Matilda The Musical was one I was yet to experience live on stage before last night.
Understandably because of this, it was one I was therefore really anticipating watching – and 15 years on, it’s truly not hard to see why it’s so beloved by so many.
Manchester audiences who gathered inside the storied walls of the Palace Theatre on opening night last night (26 March) were enchanted from the moment the colourful, eclectic stage lit up and the sets came to life, immersing you in the world right from the get-go.
It’s a production every bit as imaginative as the main character herself / Credit: Publicity Picture (Supplied)
Now, it would be fair to say that so much could go wrong in this production, given how many moving parts are involved in the stage design and choreography, but it’s a complete credit to every single member of the company that not once, as an audience member, did you ever feel anything would go wrong – that’s how technically impressive the staging was.
Those technical elements barely scratch the surface of just how much this show grabs you by the heart and makes you cling onto the magic of childlike imagination, though. This is where it really shines.
Through well-known songs like ‘Naughty’, ‘Revolting Children’, ‘When I Grow Up’, and ‘Quiet’, you are left feeling in awe of the incredibly (almost unbelievably, to be honest) talented ensemble cast of young performers on stage before you.
Led last night by Mollie Hutton as Matilda, who brought her own charm and cheekiness to the iconic role, each youngster really is living proof that ‘even if you’re little, you can do a lot’.
It’s now on stage in Manchester up until Saturday 25 April / Credit: The Manc Group
Tessa Kalder as Miss Honey, Richard Hurst as Miss Trunchbull, and Esther Niles as Mrs Phelps were all stand-out performances too, as were Adam Stafford and Rebecca Thornhill as Matilda’s parents, Mr and Mrs Wormwood.
It’s a show full of humour, eccentric characters, and captivating sets… and it’s well worth your time, whether a theatre-lover or not.
The beaming smiles from the cast at the end during the curtain call say it all.
Matilda The Musical is now playing at Manchester Palace Theatre until Saturday 25 April 2026, and you can get last-minute tickets online here.
Featured Image – Publicity Picture (Supplied)
Theatre
Oasis are back…in surreal new Britpop comedy ‘The Battle’ at the Opera House Manchester
Clementine Hall
The greatest pop rivalry of all time has been turned into a quick-witted, razor-sharp comedy.
And do you know what? It’s a proper laugh.
Oasis vs Blur, north vs south… it really is a tale as old as time, and one that symbolised a divided nation back in 1995.
This new play, written by past record industry bod John Niven, explores the testosterone-fuelled tantrums that came after the decision to release Blur’s Country House singlealongside Oasis’ Roll With It.
Image: Supplied (Helen Murray)
We’re plunged into backstage Britpop bickering right at the very start at none other than the Brit Awards, which is quite apt for a Manchester audience who have just witnessed the city hosting the awards for the first time.
From the offset, Paddy Stafford and George Usher who played Noel and Liam Gallagher, proved themselves as standout performances.
The physical mannerisms, the vocal nuances, they both had it down to an absolute T and looked exceptional in parkas, might I add.
Images: Supplied (Helen Murray)
By portraying such icons, in Manchester no less, you’re opening yourself up to a lot of criticism but their performances, which could’ve been perceived as awkward impressions, were the highlight of the evening.
The first act explores the rivalry between the two bands in depth, featuring countless slinging matches that are peppered with quick-witted remarks and plenty of swearing.
The between-scenes animations by John O’Connor portray radio DJs stoking the hysteria with the latest gossip, which is a nice way to keep the audience in check with whats going on amidst the chaos.
Image: Supplied (Helen Murray)
But it’s in the second act when things start to get really, really weird – and equally as fun.
I’m not going to spoil it for you, because that’s the whole point.
But what I will say is if you’re going for an Oasis singalong then you’re not going to get it, but you may want to brush up on your Take That lyrics.
The Battle is on at the Opera House Manchester until Saturday 21 March and you can get your tickets here.
Danny Jones -
2nd May 2025 
