Energetic ensemble numbers, lavish costumes and stand-out performances: Hairspray welcomes everyone to the 60s in its latest tour production.
If you’re anything like me, you’ll hold very fond memories of the 2007 movie-musical version of Hairspray, a cinematic masterpiece that breathed new life into the already iconic musical. I bring this version of the show up because until last night it was my only experience of the story.
Yes, much to my shame, I had never seen a live production of the show but after coming out of the Palace Theatre last night, I can now say that Hairspray‘s latest tour production is just as fun-loving – and as free wheeling.
From start to finish, Hairspray is a vibrant, colourful, high-energy show which takes you on the journey of teenage misfit Tracey Turnblad as she deals with the struggles of pursuing her dreams, in the face of adversity and a 1960s America that seems determined to halt progression.
The entire cast gave stellar performances from leading lady Alexander Emmerson-Kirby in the role of Tracy, all the way through to the ensemble who constantly wooed me with brilliantly executed dance routines, filled to the brim with swinging-sixties dance moves.
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I’d like to take a second to highlight some standout performances, which in my opinion elevated the show to new heights. Starting with Neil Hurst in the role of Edna Turnblad, Tracy’s ‘larger-than-life’ mum.
Neil was a constant comic relief throughout a show that whilst generally lighthearted does tackle some serious issues such as unrealistic female beauty standards and racial segregation.
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Neil, alongside his comedic partner Dermot Canavan, gave a standout, belly-laugh performance of their duet ‘You’re Timeless To Me’. It truly had the audience in fits of laughter and lauded huge applause from the entire theatre.
On to Gina Murray as Velma Von Tussle and Michelle Ndegwa as ‘Motormouth’ Maybelle. Both gave superb renditions of their solo numbers and showcased their experience in every scene they were in.
Murray’s rendition of Miss Baltimore Crabs (still always caught off-guard by that name) was impressive, to say the least, with the performer delivering big and bold vocals, all whilst being held upside down by a group of the male cast.
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Meanwhile, Michelle Ndegwa’s version of ‘I Know Where I’ve Been’ was spellbindingly beautiful. It carried with it the weight and severity of the number, all whilst delivering knock-out vocals that were filled to the brim with pain and suffering.
Hairspray Production Photos taken on 16th July 2024 in ManchesterStunning vocals all around.
Finally, a small shoutout to Reece Richards as Seaweed. Growing up (and occasionally to this day) I tried many times to stumble my way through Seaweed’s big number, ‘Run And Tell That’, and let me tell you from experience, that’s one damn hard song to sing…
Reece delivered the number expertly, all whilst dancing in a routine that even just watching, made me feel slightly exhausted. Props to Reece… One day I will nail that opening high note (I won’t).
All in all, Hairspray delights, delivering laughter, splendor, and high fuelled entertainment from start to finish – we’d consider a must-see if you’re a fan of the film, especially.
The show runs through till 27th July and with limited tickets still available, there’s no reason to not get yourself down and enjoy an evening of mesmerising, musical fun. You can grab yours HERE.
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Hairspray Production Photos taken on 16 July 2024 at the Palace Theatre in ManchesterSeriously, give it a go.
Review | Midsomer Murders comes to Manchester for a satisfying Opera House adaptation
Hollie Wells
‘The Fuzz are here!’ – also known as the well-known duo, Detective Chief Inspector Barnaby and Detective Sergeant Troy. As ever, they’re here to solve the murder of orchid-loving, elderly lady Emily Simpson in the seemingly sleepy county of Midsomer…
Manchester’s historic Opera House played host to the first ever stage production of Midsomer Murders: ‘The Killings at Badger’s Drift‘ last night.
With a busy, full audience of fans of the original novel by Catherine Graham and the acclaimed ITV staple. There was a hum of anticipation to see the timeless tales unfold.
Excitingly, the role of Barnaby in the stage play is under the trusted care of Daniel Casey, who is best known as DS (Detective Sergeant) Troy in the prior television adaptation of Midsomer Murders between 1997 and 2008.
Casey’s comfort and wealth of experience with these narratives comforted the audience from the outset. In a purposely complicated plot, Casey grounded the performance and was the throughline in the show.
‘The Killings at Badger’s Drift’ is a good, light-hearted, mid-week show, with an enjoyable concoction of eccentric characters and the perfect ‘whodunnit’ plot, which keeps you intrigued and entertained throughout its roughly two and a half hour duration.
Even those more than familiar with Misdomer tales and the most typical murder mystery format will still get plenty of enjoyment out of it.
The engaging use of multi-role actors received a great response from the audience, particularly the moments between Barbara Lessiter and Dickie Whitley; all of their interactions were performed with fabulous comedic timing by Chandrika Chevli.
The elements of comedy throughout made for a lovely evening at the Opera House. This was not solely through the actors, either: the use of mechanics within the set of this stage-play allowed for multiple moments of physical comedy, and this was a strong motif throughout.
A rotation of impressive transitional sets also aided in transporting the audience to the infamous village and crime scenes, allowing one to be absorbed in the story and successfully converting Midsomer Murders from page to screen to stage.
Running for only three days from Wednesday, 27, until Saturday, 30 May 2026, with matinee shows available throughout.
One must act fast to join the detective duo and catch the killer before it’s too late!
Waitress at Palace Theatre Manchester – a perfect recipe for a delicious night out | Review
Clementine Hall
Waitress has all the ingredients for what makes a brilliant musical, with Carrie Hope Fletcher’s astonishing vocals as the cherry on top.
It’s been a decade since Waitress first wowed audiences on Broadway, and to celebrate this milestone, the show is touring the UK – bringing Sara Bareilles’ beautiful score to life once again.
This time, West End superstar Carrie Hope Fletcher is dusting off Jenna’s apron, and it’s safe to say, the beloved show is in very, very safe hands.
Waitress follows Jenna, a talented pie-maker working in a small town diner who is trapped in an abusive relationship.
Image: Matt Crocket (Supplied)
She dreams of a better life, and this only becomes more apparent when she finds out she is pregnant and falls in love with the charming Dr Pomatter (and after watching it last night, I think the whole audience did too).
Fletcher’s portrayal of Jenna is heartfelt and warm, yet perfectly powerful. Her vocals are nothing short of flawless, singing Bareilles’ glorious yet challenging score with ease.
Her rendition of ‘She Used To Be Mine‘ had us all reaching for tissues, and the round of applause that followed was the longest I’ve ever seen for a solo performance within a show.
Image: Matt Crocket (Supplied)
The opening number ‘Opening Up’ plunged us into her world, inviting the entire cast (of which there is no weak link) onto the stage for a exceptionally well-choreographed slice of diner dancing.
At drama school, we were told to never work with food on stage, but this production proved my lecturers wrong as clouds of flour and showerings of sugar were perfectly timed to the lyrics of ‘What Baking Can Do’. Impressive to say the least.
Jenna’s best friends Becky and Dawn, played by Sandra Marvin and Evelyn Hoskins, provided welcomed comedic timing in a story that often has its dark moments.
Image: Matt Crocket (Supplied)
Meanwhile, Mark Anderson brought a surprisingly tender charm to Ogie, balancing the character’s eccentricities with genuine heart.
His chemistry with Hoskins was utterly endearing, and their performance of ‘Never Ever Getting Rid of Me’ was one of the evening’s standout moments, earning huge laughs from the audience.
Visually, the show is a real treat too. The diner set feels cosy and intimate, while the live band gives Bareilles’ score an added richness that fills the theatre beautifully.
Image: Matt Crocket (Supplied)
Overall, Waitress remains as sweet as ever – a heartfelt story topped with a huge dollop of charm and a sprinkling of comedy that’ll have you craving another slice as soon as you’ve finished the first.
Oli Lowe -
19th July 2024 
