To start with, we’re going to begin this review by advocating for going into stage shows with as little knowledge as possible because it only dials up the already exaggerated nature even further – we knew next to nothing about Joseph and the Amazing Technicolor Dreamcoat before seeing it in Manchester.
And we truly think it helped.
Now, when we say nothing, we’ve obviously heard the title plenty of times over the years as it remains one of the most celebrated musical productions on the planet, and you don’t need to be an avid theatre buff to know who Andrew Lloyd Webber is. The point being is that all we knew was its reputation.
Going along with a second party several decades older than us who shared the same blindspot and just never quite understood what all the fuss was about makes the next part even funnier: we both loved it.
Colour, colour and more colour.Some impressive yet superbly simple production value.Our review of Joseph and the Amazing Technicolor Dreamcoat at the Opera House in Manchester. (Credit: Press Tristram Kenton)
We’re not going to dive too heavily into the story as we’re sure plenty of you who are more well-versed in the genre don’t need a synopsis regurgitating for the umpteenth time, but what we will say is that we’re somewhat glad we weren’t aware of its religious themes and numerous biblical references.
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Not because we have any particular issue with Christianity nor adapting stories within theologies to turn them into entertainment, but because as atheists we probably would have been less keen to choose this particular text over another.
However, this is why we’re thankful for going in blind as we fear many others have missed out on this long-standing vibrant, energetic, all-singing, all-dancing twist on the tale of Genesis for decades simply due to being non-believers/agnostic.
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That being said, we can confidently assure you that not only can you put your thoughts on faith to one side for the duration of the performance but, for us at least, it felt like it was more of an undercurrent than anything else and had little bearing on what a truly joyful evening for all ages.
You also get hand-held through it through the eyes of the children being retold the story right in front of you by the expert narrator, Christina Bianco, whose interventions and comic timing were lethal on a crowd already easily cracked up by a punchline or two – but she had the best of the lot.
Where else to begin than with Joseph himself, played by Adam Filipe, who although we’ll admit to being layman on the subject until last night, feels almost born to play the role.
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Not only did he bring respite to an otherwise frenetic (in the best way possible) onslaught of singing with his ability to deliver certain lines as nothing more than perfectly enunciated and emotional speech, but his voice was on point throughout and the way he made full use of the stage from the start was great.
One particularly immature slide up the curved wall of the set in the opening five minutes and we knew all we needed to know about not just movement but the rest of the cast too; pretty much non-stop movement and expression virtually at all times.
The dancing – particularly a rather hilarious ‘can-can’ confusion – was top-notch throughout and no matter which bright, flowing costume he or the ensemble was wearing during a specific number, they all looked the part and didn’t put a foot out of place.
Even a more serious interlude was welcome.We’d have loved more yellow-forward moment and backdrops in the palette but that’s just us being picky…Credit: Press Images
But much to our delight, there really wasn’t one standout performance that stood head and shoulders above the rest, simply because they were all brilliant.
Whether it was the Jacobs and Sons company of brothers bringing both melodrama and some comic relief, or the score of female dancers delivering an elegance and added level of pageantry to proceedings, they all played their part.
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However, every time one or more of the kids took to the stage a show-stealing moment was ripe for the picking and they all seized their opportunity, be it in unison or in the select few solo moments in the spotlight. An audience is always going to get up for youngsters shining front and centre.
But, we suppose if we absolutely had to give another special mention to another member of the production and single them out, there’s only one person it could be…
Having previously played the lead role back in 2016 following his X-Factor success, Joe McElderry returns to Joseph and the Amazing Technicolor Dreamcoat and the Manc crowd in the role of the Pharoah and boy was he good having passed the baton and shifted gears. So good and so funny.
As well as an expert command of light, colour and choreography, the one thing we were surprised by was just how well-placed the comedy was throughout.
Not too much, not too little and nothing too contrived – a hard balance to strike and one that helps ease in those rare typically theatre-goers prone to a touch of cringe.
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All in all, we sincerely urge you to go and see this show for yourselves, especially if you’re like us and have never given it a chance before. You won’t regret it.
Joseph and the Amazing Technicolor Dreamcoat is on in Manchester until Sunday, 9 March. You can still grab tickets HERE.
In case you were wondering who stole the show in @JosephMusical at the @PalaceAndOpera, they all did… but we'll admit the Pharoah is a bit of a legend. 😅👏
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 -
28th February 2025 
