Theatre Review - BUDDY, THE BUDDY HOLLY STORY - DARLINGTON HIPPODROME

 

Darlington Hippodrome has been alive with rock ’n’ roll this week as Buddy – The Buddy Holly Story brought its high‑energy production to the region. The show, powered by a talented cast of actor‑musicians, delivers the feel of an authentic 1950s concert.

The story opens with Buddy Holly and his band playing country music, the style expected by local radio stations at the time. But Buddy has other plans. Determined to follow his own musical instincts, he pushes forward with the rock ’n’ roll sound that would soon make him famous. The production charts his rise from early recording sessions to major appearances, including a standout performance at the renowned Apollo Theatre in Harlem, where he wins over an entirely new audience.

From there, the show builds towards the Clear Lake concert, the final performance featuring Buddy alongside Ritchie Valens, played by Miguel Angel, and The Big Bopper, portrayed by Joshua Barton. Their on‑stage chemistry brings plenty of energy and humour before their fateful flight.

At the centre of the production, A J Jenks gives a vibrant, confident performance as Buddy Holly. His vocals, guitar work and easy stage presence capture the spirit of the rock ’n’ roll pioneer, and he is strongly supported by the multi‑skilled ensemble who play every note live on stage.

Hits such as “Peggy Sue,” “That’ll Be the Day” and “Oh Boy” had the audience fully engaged throughout. By the end, many were on their feet, giving the Hippodrome the atmosphere of a true 1950s gig.

Overall, the production offers energy, nostalgia and strong musical performances, making it a standout week at the Darlington Hippodrome.

Buddy, The Buddy Holly Story runs until Saturday 21^st March at Darlington Hippodrome.

Theatre Review - THE LIGHTNING THIEF - THE PERCY JACKSON MUSICAL - DARLINGTON HIPPODROME

 

The Lightning Thief – The Percy Jackson Musical delivered a high‑voltage evening of theatre, blending mythological mayhem with modern teen angst in a way that kept the audience thoroughly entertained. Based on Rick Riordan’s bestselling novel, the show brings the story to life with a mix of humour, heart and clever staging.

The plot follows 16‑year‑old Percy Jackson, whose ordinary school problems suddenly pale in comparison when he discovers he is the half‑blood son of the Greek god Poseidon. From that moment, he is plunged into a world far bigger—and far more dangerous—than he ever imagined. With powers he can’t control, a destiny he doesn’t want and a string of mythical monsters on his trail, Percy is forced to find out what being a hero really means. The stakes couldn’t be higher, with the future of the world resting on the shoulders of Percy and his friends.

Percy is played with charisma and bold spirit by Vasco Emauz, whose confident performance anchors the adventure. He is joined by Kayna Montecillo, sharp and assured as Annabeth, and Cahir O’Neill, who brings warmth to the role of Grover. Together, the trio form a strong and likeable core that carries the show forward.

A particular highlight comes from Danny Beard, whose portrayal of Mr D bursts with personality. His razor‑sharp comic timing and theatrical flair consistently delighted the audience and added an extra spark to every scene he appeared in.

The music proves to be one of the production’s driving strengths. The punchy score keeps momentum high from start to finish, performed with an energy and tightness that brings the story’s more dramatic moments to life.

Visually, the show is equally impressive. The lighting design is exceptional, guiding each scene’s mood with clarity and creativity. Meanwhile, the staging is cleverly realised, helped by the presence of a small band positioned above the action.

All in all, The Lightning Thief – The Percy Jackson Musical offers an energetic and thoroughly enjoyable evening, packed with talent, creativity and youthful enthusiasm. It’s a lively retelling that fans of the books—and newcomers alike—can appreciate.

Darlington Hippodrome until Saturday 14th March.

Theatre Review - PICASSO AT THE LAPIN AGILE - PEOPLE'S THEATRE, NEWCASTLE

 

Written by Steve Martin, Picasso at the Lapin Agile tells the humorous and thought-provoking story that never was. Imagine Pablo Picasso and Albert Einstein are both in the same bar in Paris in 1904, both just about to show their true genius to the world. What would they discuss? The nature of art, science, beauty?  This show is filled with gentle musings of philosophy and humour, without ever tipping over into something that is overly intellectual.

The audience was welcomed into a warm auditorium that had a feeling of a French bar or café. Gentle music plays, the front row of seats are set in a cabaret style with tea lights glowing under the low ambient lighting and as we take our seats, the barman walks around filling up pretzels on each table. All of this leads to a very comfortable, inviting atmosphere. Director Kaila Moyers clearly wanted everyone to enjoy this play as much as they do. Tim Swinton, who designed the lights, sound and set took the vision and brought us all along for a delightful evening in Paris. Wardrobe, by Ailsa Anderson, showed each character’s personality. I particularly liked that artist Sarah Pavlov (Pavart) had provided some of her beautiful abstract pieces as set dressing. This did not just add the feel of the show but also gives you that rare opportunity to buy a piece of the set as all of the paintings are for sale.

The occasional breaking of the fourth wall, and audience interactions throughout, added to the fun feel of the show. Although some of the many accents did waver, or were a little inconsistent at times, this didn’t detract, and it is always difficult to maintain accents when so many different ones are jostling together on the same stage.

Now the cast in order of appearance (sort of…):

Freddy, played by Ian Willis, is perfect as the host, occasionally walking around tables to check for empty glasses, but always understanding what is said with nicely under-played wit and excellent timing. Jim Boylan was very entertaining as the drole Gaston. Rhiannon Wilson was fiercely funny as the sensual and clever waitress Germaine. Peter Dawson was excellent as the always eccentric and completely lovable Albert Einstein. Helen Doyle seemed to enjoy showing her powerful emotions as Suzanne, an admirer of Picasso. Matthew Shepherd took joy in performing the money-oriented Sagot. Jamie Cordes gave us a tremendously passionate, and yet also troubled, Pablo Picasso. Oli Pages brought a charming nervous energy to the overly-enthusiastic Charles Dabernow Schmendiman. Beth O’Doherty brought out two very different character as a Countess and a female admirer. However, it was Jonathan Goodman who brought the strings of thought together and tied the show up neatly with warmth and much mirth as ‘A Visitor’.

A thoughtful and thoroughly enjoyable night at the theatre.

Picasso at the Lapin Agile is showing at The People’s Theatre, until 7^th March 2026.

Theatre Review - MARY SHELLEY, THE PEOPLE'S THEATRE, NEWCASTLE

 

In ‘Mary Shelley’ - written by Helen Edmundson - we are treated to the inner workings of the author Mary Shelley’s life (although some historical points are intentionally adapted in service of the story arc). We start by seeing a mid-teens Mary returning home from her travels to her doting ‘revolutionary’ father, stepmother and two loving half-sisters. Then she meets, and immediately and passionately connects with, the married Percy Shelley. This is the moment when life changes for everyone, as Mary runs away with him, taking her sister Jane with her. The play allows a slow-burn exploration of moral philosophy to unfold. We watch key characters’ decisions having unexpected repercussions for others, and themselves. The points are made strongly and clearly, but not overtly or heavy-handedly, and we, the audience, are allowed to reach our own conclusions in our own time.

Directors Tracey Lucas and Matthew Hope have created an excellent production brimming with drama, style and a touch of humour. The whole production was rehearsed and produced to perfection with clear understanding of the subject matter.  The minimalist set design (Sands Dodson) was well thought-out and added to the mood and tone of the play. The very fact that the stage is dominated by two over-sized books, written by each of Mary’s parents, alongside her mother’s grave, gives an idea of how deeply the lives and philosophies of her parents affects her own thinking. It was clear when stylised dream sequences were happening with blue lights (Lighting Design, Claire Brissenden and Ben Nielsen-Rouse) and the sound of flowing water (Sound Design, Kate Scott). The overall design supported throughout and helped the show flow smoothly.

Emma Jane Robson gave a very raw performance as Harriet, the pregnant and wronged wife of Shelly, begging Mary not to take her husband. There was a great feeling of push and pull in one two-handed scene, as Mrs Godwin (Anna Dobson) tries her best to warn her daughter Jane (Minnie Dobson) of the perils of trusting dubious men. I particularly liked how it showed Mrs Godwin’s reasoning and vulnerability, in a character often used as a figure of fun, while also showing how naïve and stubborn Jane could be. Ashton Matthews brought tears to our eyes with her nuanced performance of the stoic but quietly-breaking Fanny. Andrew De’Ath brought a depth and complexity to William Godwin as a moral, intellectual, standoffish, yet loving father. Joe Moore seemed to enjoy his role as the flirtatious and free-spirited Percy Shelly. However, it was his most serious scene that had me captivated, as Percy and Mary dealt with a heartbreaking loss in a very real, raw and beautifully-performed moment of shared grief. As to Holly Stamp as Mary Shelly, she was simply sublime, truly grasping the strength of character it took for Mary to live the way she did, but maintaining her vulnerability and her need for her father’s approval.

This is an excellent production that will stay with you long after the last bow, both intellectually and emotionally.

Mary Shelley is showing at the Peoples’ Theatre until 14^th February 2026.

Theatre Preview - THE MIRROR CRACK'D - PEOPLE'S THEATRE, NEWCASTLE

 

A movie star, a cocktail party, and a puzzle only Miss Marple can solve!

 

A thrilling tale of scandal, lies, and murder comes alive at the People’s Theatre in Agatha Christie’s iconic mystery THE MIRROR CRACK’D.

 

Hollywood comes to St Mary Mead when a glamorous American film star moves into the village, only for a deadly poisoning to shatter the calm.

 

As suspicion spreads and secrets surface, Miss Marple must use all of her wits to piece together the truth behind a crime rooted in jealousy, obsession, and tragedy. Can she get to the truth before it’s too late?

 

Full of mounting suspense and Christie’s trademark twists, this fresh adaptation of the classic whodunnit is guaranteed to keep you on the edge of your seats!

 

Tickets are available from the People’s Theatre Box Office on 0191 265 5020 (option 2) and online at www.peoplestheatre.co.uk

Theatre Review - THE WOMAN IN BLACK - DARLINGTON HIPPODROME

 

Stephen Mallatratt’s stage adaptation of Susan Hill’s classic ghost story The Woman in Black remains one of the most gripping and terrifying productions in modern theatre. Each time I see it, the experience feels even more intense.

The story follows Arthur Kipps, played by John Mackay, a lawyer haunted by a curse he once encountered at Eel Marsh House. Desperate to warn others, Kipps enlists the help of a young actor, portrayed by Daniel Burke, to bring his tale to life. What begins as a flat, monotone recital soon transforms into a vivid and chilling re-enactment, with Kipps taking on multiple roles while The Actor embodies the younger Kipps.

John Mackay, playing several parts of the story, seamlessly changes from character to character, slipping back into himself as Kipps with ease. His use of perfect accents, dramatic pauses, and nuanced acting brings each role to life, adding depth and authenticity to the performance.

This production is a masterclass in suspense. With minimal props, clever lighting, and perfectly timed sound effects, the tension builds relentlessly. The audience’s gasps and occasional screams are testament to its power—few plays can send shivers down the spine quite like this one.

If you’re looking for an unforgettable theatrical experience, don’t miss The Woman in Black at Darlington Hippodrome. It runs until Saturday 10 January, and it’s guaranteed to haunt you long after the curtain falls.

Panto Review - CINDERELLA - GEORGIAN THEATRE ROYAL, RICHMOND

 

Stepping into The Georgian Theatre Royal for this year’s pantomime, Cinderella, feels like entering a perfectly preserved festive tradition — one that has been polished, sparkled, and joyously supercharged for the 2025–26 season. Running until 10 January 2026, this year’s production carries a fresh burst of energy thanks to a largely new cast and the creative leadership of Jake and Jo Mawhinney, who not only penned the script but also see Jo taking the helm as director.

One of the production’s most delightful quirks comes from the Ugly Sisters — Griselda (Joshua Payne) and Luretia (Aiden MacFarlane) — who double as the show’s musicians. Bursting up from the orchestra pit with impeccable comic timing.

Cinderella, played by Lucy Booton, shines with a beautifully controlled singing voice and warm stage presence. Dan Crookett is perfectly wicked as the Stepmother, inspiring hearty boos at every opportunity, while Sally Ann Staunton brings gentle charm and sparkle as the Fairy Godmother.

Buttons, performed by Matthew Fordy, and Prince Charming, played by Jack McGarry, maintain the show’s momentum with upbeat energy and easy rapport with the audience.

A personal highlight was the surprise appearance of Cinderella’s father, played by Domonic Goodwin, who joins the action through a video call. As one of my all‑time favourite Dames, it was a treat to see him — even if only via screen.

The young company of Cinderella’s mouse friends add another layer of charm, delivering impressively polished acting, singing, and dancing throughout.

This Cinderella has everything audiences have come to love about Richmond’s pantomime tradition: big laughs, catchy songs, local jokes, plenty of audience participation, and, of course, the beloved rituals of throwing knitted items onto the stage and trying to catch a flying Tunnock’s Teacake.

A sparkling, joy-filled production that captures the magic of pantomime perfectly — and keeps the Georgian Theatre Royal tradition alive in style.