Hamilton is a masterpiece. Its creator – Lin-Manuel Miranda – a genius. This review could simply stop at ‘10/10, no notes’.
But there is so much more to say about this revolutionary, record-breaking musical, which has secured shelves full of awards and dazzled tens of millions of audience members across the globe.
It follows the life of Alexander Hamilton and his fellow Founding Fathers, through the American Revolutionary War to the creation of America’s economic system (there’s a reason his face is on the $10 bill).
Lin-Manuel Miranda has taken politics, a pen, and a piano, and struck gold.
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This is a stage experience with very few frills – the set barely changes, and most of the cast members wear the same beige costumes throughout – and yet the talent on stage, and the fast-paced sung-spoken script will whisk you through three decades in a little under three hours and in what feels like the blink of an eye.
Despite earning its place as arguably the biggest musical in the world, I walk into Hamilton a complete novice. I’ve completely avoided spoilers (although can we really call them ‘spoilers’ when the production is centred on events that happened literal centuries ago). I’ve dodged the Disney+ streams, swerved the Spotify soundtrack, swiped past any Hamilton TikToks, and gone into the Palace Theatre blind. I wanted to experience the whole thing for the first time in the way that Miranda intended – in the room where it happens.
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Maya Britto, Aisha Jawando and Gabriela Benedetti as The Schuyler sisters in Hamilton. Credit: Danny KaanDaniel Boys as King George in Hamilton, which is in Manchester until 2024. Credit: Danny Kaan
People warned me that I should have done my homework, and while a loose understanding of America’s founding fathers is useful, and you’ll need to have your wits about you to keep up with the ferociously fast pace of the spoken word dialogue, it’s impossible not to be swept away by Hamilton even if the plot does slip away from you.
These are songs – ‘My Shot’, ‘Helpless’, ‘Say No To This’ – so brilliant you actually want to listen to them away from the theatre, songs which weave back throughout the story of Hamilton so that by the second act they feel like familiar friends.
Of the touring cast in Manchester, Shaq Taylor is astonishing in the lead role of Hamilton, while Billy Nevers nails his split role between Lafayette and Thomas Jefferson through charisma and comic timing.
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Maya Britto as Eliza Hamilton is another star, who whips from sweet, hopeful bride to fierce independent woman, the transformation brought to life in a staggering rendition of ‘Burn’.
The full touring company of Hamilton in Manchester. Credit: Danny KaanShaq Taylor as Hamilton. Credit: Danny Kaan
I can’t help but wonder if we’d all be a little more engaged with modern-day politics if there was an element of hip-hop to it – if parliamentary debates took place as rap battles. Although, we’ve all seen Theresa May’s sense of rhythm, so maybe not…
Hamilton has arrived in Manchester in a cloud of the largest hype I can remember in decades, and let it be known – it’s here to Blow Us All Away.
Hamilton is at the Palace Theatre in Manchester until Saturday 24 February 2024 – you can book tickets here.
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.
Daisy Jackson -
22nd November 2023 
