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.
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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.
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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.
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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.
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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.
Dirty Dancing at Palace Theatre, Manchester – at least one audience member had the time of her life…
Daisy Jackson
For anyone who has watched Dirty Dancing so many times they can practically recite the dialogue, taking on the Patrick Swayze and Jennifer Grey roles is no small feat – and turning that lakeside romance into a live musical comes with even bigger expectations.
The stage production at the Palace Theatre in Manchester has all the familiar ingredients: the dancing, the music, the forbidden romance and, of course, that lift. But while there are moments when the theatre version captures the exuberance of the original, it doesn’t always manage to recreate its magic.
Charlie Varlet as Baby does a great job of embracing the knock-kneed awkwardness of the teenage star, slowly blossoming into a beautiful dancer who is almost eerily similar to the film’s Jennifer Grey.
And Joel Benjamin plays a striking Johnny, moving lightly for such an enormously muscular actor.
But there are moments where their chemistry fizzles out, too much of the script that focuses on their bickerings and misunderstandings to make you buy into their love story.
At points, it feels almost slapstick, and the result is a restless audience that keeps hooting and hollering at a topless Benjamin when he’s trying to deliver a serious monologue about Johnny’s upbringing. One woman shouts ‘LUCKY YOU’ and cackles as Baby sits in bed with him. It’s not a Magic Mike show, guys.
Where Dirty Dancing the musical shines is when it really makes the most of its full ensemble, with huge dance numbers that see limbs and skirts flying right across the stage.
Ellie Ferguson as Penny in Dirty Dancing. Credit: Danny Kaan
And it’s hard to take your eyes off Penny (Ellie Fergusson), even when she’s lurking in the crowd, so impressive is her stage presence and the execution of her dance routines.
Having a lot of the musicians on the stage is a fantastic touch too – you spot people playing saxophones and clarinets and guitars in a lot of the scenes and it adds a real party atmosphere.
The set design does its best to replicate the iconic moments of the film, but the cast shaking themselves dry under a blue light can’t come close to the magic of the lake scene.
If you’ve watched the film so often you can recite it word for word (guilty), you won’t find a lot of surprises up on the stage – the theatre adaptation sticks pretty tightly to the original plot and script.
Baby (Charlie Varlet) and Johnny (Joel Benjamin)Dirty Dancing is at the Palace Theatre in ManchesterCredit: Danny Kaan
It means that a lot of the moments that would translate best to stage – the underground dance party in the staff quarters, the montage of Baby learning to dance, the Hungry Eyes scene – are condensed into the first half of the musical.
The second half feels a little flat in comparison, just a lot of bickering and storming around the stage… up until that grand finale, when Johnny bursts from the back of the theatre and storms the stage to complete that iconic lift.
It’s worth all the trundle just for that final euphoric moment.
Dirty Dancing is at the Palace Theatre in Manchester until Saturday 3 October, then will return next summer. You can grab tickets HERE.
Greater Manchester announces £15m investment in grassroots culture
Lydia Mastrolonardo
Greater Manchester is investing more than £15 million in grassroots and community culture over the next three years, with funding set to support organisations across all 10 boroughs.
The funding will support a range of cultural activity, including disability arts, youth engagement, community music-making, theatre, live music, dance, and documentary filmmaking.
Investment will be prioritised in neighbourhoods that are viewed as facing greater barriers to cultural engagement, addressing inequalities in access, meaning these community theatres, grassroots music venues and local production companies are set to be given an additional £407,540 per year.
This investment is a fantastic opportunity for Mancunians to come together and celebrate the beautiful place that we are lucky enough to call home.
Culture is absolutely essential for unity and reinforcing our sense of civic pride, in addition to bringing valuable skills, expertise and new opportunities to our region. Not to mention the benefits co-creation can have on wellbeing and positive growth.
Recognising the transformational impact culture can have, Greater Manchester has pledged continual support to existing leading regional institutions which will ensure culture remains central to local regeneration, as well as committing funds and support to new grassroot talent.
What’s more is that funding has been secured for enrichment across all ten boroughs, meaning nobody has to miss out.
This boost in funding will also help deliver on the Mayor of Greater Manchester’s commitment to putting ‘things to do’ at the heart of town centres, with nine new organisations to receive funding for the first time. Included in this are OT Creative Space, String of Hearts, Manchester’s Reform Radio, Venture Arts, and Stand and Be Counted Theatre.
Mayor of Greater Manchester, Bev Craig said: “Shared cultural experiences are powerful opportunities to bring people together, create opportunities and build pride. We are investing more than £15 million for culture over the next three years, funding organisations of all shapes and sizes, in all 10 boroughs, so that everyone in Greater Manchester has access to an experience that speaks to them.
“Doorstep access to everything from theatre to live music, dance to documentary filmmaking, has the power to transform lives and shape communities. The Culture Fund is a key part of my commitment to putting things to do at the heart of our towns.”
This exciting £15m investment is to be divided into just over £5m each year, for cultural organisations in the region, across a three year period. This funding is designed to increase reach to more people within our communities and to ensure that the cultural sector remains thriving and strong.
Greater Manchester has also vowed to give the well-known Inspire Fund a £20,000 annual boost, to provide small grants to more local artists, small cultural organisations, creatives and freelancers.
In Rochdale, Breaking Barriers, known for amplifying unheard voices by co-creating work with local communities, have received an annual award of £40,000, as well as Skylight Circus Arts securing an annual award of £27,540 for its inclusive circus workshops for communities and schools.
Doc North, a not-for-profit organisation supporting working-class documentary makers and storytellers in the North of England, has been given £42,000 and popular grassroots music venue, The Snug, has been awarded £70,000.
In response to the challenges faced by the sector, a new Structural Fund of £100,000 has also been implemented to help to solidify stronger cultural networks and partnerships across the region. This will aid organisations to take risks and experiment in the delivery of new ideas.
In a city region so rich with culture and history, it’s about time we start engaging within our communities and celebrating what we have on offer here in Greater Manchester.
Danny Jones -
2nd May 2025 
