Reviewer: Megan Hyland

Upstaged Rating: ⭐⭐⭐⭐⭐

Northern Broadsides’ As You Like It is everything that a Shakespeare adaptation in 2022 should be – hilarious, sincere, inclusive, and beautifully Northern. Director Laurie Sansom has created an electric, powerful ode to the bard by adapting his classic comedy for a modern audience; taking the way in which Shakespeare played with gender and examining it under a contemporary lens.

Everything that a Shakespeare adaptation in 2022 should be – hilarious, sincere, inclusive, and beautifully Northern.

And nowhere is this more evident than in the character of Rosalind. As Rosalind, EM Williams is the perfect fit – they effortlessly switch from profound musings to hysterical ramblings as easily as they flow between feminine and masculine. Their delivery is as compelling as it is captivating, and they command the stage with their raw emotion and the way in which they fully embody Rosalind’s character. 

In fact, the whole cast embody their characters in such a way that allows all audiences to see themselves within Shakespeare – a subsection of theatre that is so often closed and rendered inaccessible to those outside of the London theatre school elite. And it is not only Northerners that will see themselves represented by this adaptation – but disabled audiences, people of colour, and LGBTQ+ audiences as well. Everyone’s home is in the theatre, and As You Like It is a welcome, refreshing reminder that Shakespeare is to be enjoyed by everyone.

The way in which the adaptation plays with the concept of gender is extremely clever and unique, taking a Shakespeare staple of gender-bending and considering what this looks like in the modern world. Shakespeare was no stranger to disguising his female characters as men to give them more agency within his narratives and explore their roles within his society, yet Northern Broadsides take this a step further by abandoning gender roles altogether both in costume and casting choices. A particular favourite of mine was the attention to detail such as the transgender flag represented in ribbons towards the end.

As You Like It is a welcome, refreshing reminder that Shakespeare is to be enjoyed by everyone.

Designer EM Parry has truly outdone themselves with the costumes, creating extravagant, elegant costumes that bring Shakespeare hurtling into the 21^st Century. Whether it’s elaborate, corseted dresses in Renaissance style, Touchtone decked out in Wrestlemania drag, or outrageously hilarious goat outfits, Parry’s distinct, fantastic style shines through and chimes effortlessly with the striking lighting design of Kieron Johnson. All of this, coupled with the incredible talent of the cast and James Earls-Davies’ sound design works together seamlessly to bring the forest clearing to the stage without having to rely on props or backdrops. And this is a true testament to the talent of the whole company.

As Touchstone, cabaret performer Joe Marrow (a.k.a. Joe Morose) is rejuvenating, delivering Shakespeare’s classic jibes with a modern-day edge of camp humour and clever ad-libs. But perhaps what I enjoyed most about the inclusion of such a flamboyant and effeminate Touchstone is that his role within the play was not changed or marked by this – nor was his relationship with Audrey, driving home the overall message of this adaptation that love knows no gender.

Other notable performances came from Ali Gadema as both Duke Frederick and Duke Senior; and Bailey Brook as Charles and Silvius. As the opposing brothers, Ali Gadema brings a distinctive performance to each – powerful and commanding as Duke Frederick, yet charming and empathetic as Duke Senior, drawing the perfect comparison between the two. The way in which he is able to switch between them so quickly and flawlessly is truly commendable, particularly considering the power that he gives to Duke Frederick.

Similarly, as Charles and Silvius, Bailey Brook is outstanding. His delivery epitomises everything that Shakespeare can and should be – emotional and sincere, yet also witty and clever. His comedic timing is effortless, and the way in which he incorporates movement into his roles exemplifies the depth of his performance and the way in which he fully inhabits both characters. His monologue as Silvius is arguably one of the most significant, as it encompasses the overall message of the play itself – what it is to be in love – and Brook delivers this with masterful emotion and integrity.

You might think there is little more to do with a 400-year-old play that hasn’t already been done, but Northern Broadsides have proven that wrong tenfold. This is Shakespeare as you’ve never seen it before – but as I hope, you’ll see it again: bold, cleverly creative, heartfelt, and above all – for everyone.

-Megan Hyland

As You Like It runs at The Lowry until Saturday 12 March 2022.

Upstaged Rating: ⭐⭐⭐⭐

Reviewer: Rachel Foster

A performance that has not been without bad luck (postponed for two nights due to covid) the cast bounce back undeterred to take to the stage in Salford.

One of ballet director Carlos Acosta’s personal favourites, this traditionally colourful and uplifting tale is a definite antidote to doom and gloom.

This traditionally colourful and uplifting tale is a definite antidote to doom and gloom.

The story centres around Don Quixote, a knight of old, who is characterised by his frequent drifts into a fantasy world and his beloved Dulcinea, the woman of his dreams. He is accompanied on his travels by his trusty servant, Sancho Panza who he meets stealing a chicken.

The two central characters are brought expertly to life by Tom Rogers and Jonathan Payn; delighting in their comical escapades, mounting a large wooden horse with aplomb and nearly knocking each other out with swinging swords in a kind of Baldrick and Black Adder way.

Running alongside that storyline are the lovers Kitri (Momoko Hirata) and Basilio (Mathias Dingman). Dingman brings a proud charm and flair to his character while Hirata’s performance is poised and delightful.

The scenery is stunning – a visual feast – with huge arches towering over the performers and no detail spared. The lighting by Peter Mumford is sumptuous and subtly changes from a grey moody sky or a bright sunny day. Special effects on the windmill scene captivated the audience – with Nina Dunn’s video design, enabling them to visualise the hallucinations of Don Quixote.

There were some hugely memorable scenes – the Garden of the Dryads on another level both visually and technically. The Dryad mischievous and enigmatic danced with thrilling verve.

Also the gypsy campfire and the town square scenes. Where powerful routines captivated and throbbed with energy. Ruffled skirts, Spanish guitars, fans flicking, hands clicking, it had all the excitement and energy expected.

Tim Hatley’s costume designs are a joy, beautiful brocades, vibrant green and pink matador costumes full of attention to detail. Truly the icing on the cake accompanying wonderfully choreographed and spectacularly executed dance segments.

A powerful pulsating performance that sparkled…

This was a treasure to watch – a powerful pulsating performance that sparkled and gave the magic and commitment to perfection. It was a delight to see the dancers still going when the curtain went down as if we really had been transported to the world of Don Quixote in our minds.

-Rachel Foster

Catch Birmingham Royal Ballet’s Don Quixote at The Lowry until Saturday 5 March.

Reviewer: Daniel Shipman

Upstaged Rating: ⭐⭐⭐⭐⭐

February is here, and that means only one thing. Nope, not Valentine’s Day, it’s time for Queer Contact. The climax of the festival is the House of Suarez Vogue Ball, and this year is no exception.

With a theme of ‘Night at the Poseum’, the houses take us on a tour from ancient Egypt to English monarchs, all hosted by the effervescent Rikki Beadle-Blair. In a crowded field, he is the highlight of any ball. I genuinely think my mental health benefits from seeing this man introduce the categories and empower the audience every year.

Hosted by the effervescent Rikki Beadle-Blair… my mental health benefits from seeing this man introduce the categories and empower the audience every year.

Proceedings start slowly with an Egyptian-themed introduction, by far the most popular theme of the night. The costumes here weren’t as spectacular as they might have been, but that only leaves room for the houses to elaborate on the theme later in the evening.

The confidence, originality and body positivity…lights up the entire Academy…

Honestly, I have no idea how the judges manage to pick a winner for any category, the standard is so high that the performers seem super-human. The confidence, originality and body positivity they bring to the stage lights up the entire Academy and makes the cavernous space feel welcoming for anyone who wants to celebrate queer culture.

Having attended the ball for many years in a row now, I feel qualified to say that it really does get better every year, and this was no exception, it was the best year yet. Long may the posing continue.

-Daniel Shipman

Find out more about House of Suarez, and also cast your eyes over upcoming events/ performances at Contact.

Reviewer: Megan Hyland

Upstaged Rating: ⭐⭐⭐⭐

As the inaugural production for The Nigel Havers Theatre Company, Private Lives is everything that you would want it to be. It is a charming and hilarious performance of Noël Coward’s 1930s classic farce, starring Havers himself alongside Patricia Hodge OBE as divorced couple Elyot and Amanda, who find themselves in the unfortunate position of sharing a honeymoon destination following their second marriages.

It feels as though these roles were written for Havers and Hodge.

Despite being written just under 100 years ago – and Coward himself taking on the original role of Elyot – it feels as though these roles were written for Havers and Hodge. They bring every inch of the sophistication, charm, and intensity that Coward intended for these characters, and manage to make them feel thoroughly modern whilst remaining respectful and true to the 1930s setting. This is a testament to their well-deserved places as two of the nation’s favourite actors.

Best known for his roles in films such as Chariots of Fire (1981) and Empire of the Sun (1987), as well as a vast number of theatre credits and a role in Coronation Street between 2009-2019, Nigel Havers has established himself as the perfect English gentlemen time-and-time again. However, in the role of Elyot, he allows us to take a trip behind the curtain and reveals the fury that can lie beneath. Elyot is quick-tempered, bitter, and cruel; yet somehow Havers’ masterful acting and Coward’s excellent script make us like him all the same. He is consistently clever and occasionally genuine, but charmingly well-rounded.

The perfect match to Havers’ temperamental Elyot comes in the form of Patricia Hodge’s powerful Amanda. Like Havers, Hodge is no stranger to the stage or screen, having been nominated for two Olivier Awards for Best Actress in a Musical, and starring in series such as Jemima Shore Investigates (1983) and Miranda (2009-2015). As Amanda, she is truly exceptional, displaying expert command of the stage and delivering a thoroughly interesting and complex character that draws us in instantly. She is every bit as intelligent as Elyot – perhaps even more so, and she makes it known.

Yet as talented and skilful as they are in their own rights, it is Hodge and Havers together that is genuine magic. They carry off Coward’s cleverly crafted dialogue with grace and quick wit that one can only assume comes as naturally to them as it appears. Their scenes together flow so organically that you can almost forget that it is rehearsed, with flawless comedic timing from both; allowing the audience to feel the full impact of Coward’s wicked humour. Even with the added task of performing Coward’s original melancholy score, Hodge and Havers lend their voices to his music with sophistication and 1930s style.

As their spouses, the shrieking Sibyl and vehement Victor; Natalie Walter and Duglad Bruce-Lockhart successfully follow suit in bringing the ’30s to life on stage. With their over-the-top, old-fashioned speech, and the way in which they adapt to their roles as jealous husband and melodramatic wife, they are archetypes of ’30s pop culture and play off each other expertly. However, at times they feel slightly cartoonish in comparison to the free-flowing wit of Havers and Hodge, and their dialogue borders on stiff and unnatural.

Designer Simon Higlett has created a visually stunning production that perfectly captures the essence of Coward’s narrative.

It would be difficult to discuss the way in which Private Lives establishes and holds true to the time period without mentioning the fantastic set and costume design. Designer Simon Higlett has created a visually stunning production that perfectly captures the essence of Coward’s narrative whilst elevating his original concepts using more modern techniques and set pieces. The way in which lighting designer Mark Jonathan conveys the passage of time using pink, golden, and blue hues; combined with Higlett’s masterful set pieces is truly outstanding. And costume supervisor Karen Large has done a fantastic job with the costumes, providing the quintessential art-deco glamour that Coward was known for.

Whether you are familiar with Noël Coward’s work or not, Private Lives remains as integral and hilarious as it has ever been. The way in which Coward explores the marriages of high society and the fragility – and ferocity – of their relationships stands the test of time, and with the help of epic talents Nigel Havers and Patricia Hodge, it is both accessible and irresistible to a 21st-century audience.

-Megan Hyland

Private Lives runs at The Lowry, Salford until Saturday 19 February.

Upstaged Rating: ⭐⭐⭐⭐⭐

Ethereal and spectacular, the smash-hit production of CS Lewis’ The Lion, the Witch and the Wardrobe is a beautifully magical production with some important messages at its core. A wintery feast for the senses – packed with wonder and imagination – the book that introduced many to the joy of reading, leaps perfectly from page to stage in this unmissable production.

The book that introduced many to the joy of reading, leaps perfectly from page to stage.

For those who aren’t familiar with the classic tale, The Lion, the Witch and the Wardrobe tells the story of the Pevensie siblings, Lucy (Karise Yansen), Edmund (Shaka Kalokoh), Susan (Robyn Sinclair) and Peter (Ammar Duffus) when they are evacuated from London and sent to live in the countryside with Professor Kirk during the blitz of World War II. On exploring their new home and discovering a mysterious wardrobe packed with fur coats in the spare room, the children find themselves on an unforgettable wintery adventure – and part of something much bigger than anything they could have imagined. 

With phenomenal performances and clever puppetry, audiences witness all of their favourite characters spring to life: the charming faun, Mr Tumnus (Jez Unwin) and the comical duo Mr Beaver (Sam Buttery) and Mrs Beaver (Christine Tedders). Sam Wommack glitters as the icy, feared White Witch and Chris Jared breathes life into the legendary lion, Aslan.

Setting young imaginations racing and gently nudging childhood nostalgia, this production is as much a page-turner as the original novel. Directed by Michael Fentiman, the show takes place within a brightly lit circular frame which moves from a golden tone to cool white signalling the transition between Narnia and the real world. With superb design by Max Humphries and wonderful sequences by Puppetry Director Toby Ollie, the audience ‘oohed and ahhed’ with delight on the night I attended. Clever staging – from The White Witch gliding on her chariot to her flying majestically high above the audience – teamed with energetic dance sequences, talented actor-musicians and lively musical numbers, this show really does have the wow factor.

Truly spellbinding and everything I wanted it to be.

Perhaps, what is most special about this show are some of the messages it carries: how to be a leader and do the right thing; the willingness to sacrifice and to give, and also the importance of courage and imagination. 

The Lion, the Witch and the Wardrobe is truly spellbinding and everything I wanted it to be. Leave rainy Manchester behind and step through the wardrobe into Narnia this Christmas – you will not be disappointed.

-Kristy Stott

The Lion, the Witch and the Wardrobe runs at The Lowry until 15 January 2022.

Upstaged Rating: ⭐⭐⭐⭐

Taking a wild and devilish detour from the usual festive programming, The Royal Exchange transport their audience to a remote and snowy Scottish border town for an enchanting and supernatural tale this Christmas. The Strange Undoing of Prudencia Hart is an inspired and wonderfully ridiculous play anchored in Scottish folklore and Border balladry.

An inspired and wonderfully ridiculous play anchored in Scottish folklore…

Anxious academic Prudencia Hart specialises in folklore, most specifically the topography of hell. One wintry morning she sets off to attend a conference in the remote town of Kelso on the Scottish Borders. As she shares her theories with her academic colleagues, the snow falls thick and fast outside. Unable to escape, the night takes her on a trippy journey of unexpected twists and surreal encounters. In a bid to escape the hellish sequence of events, Prudencia decides to run into the snowy night to find a B&B – and it is a decision that will be the making of her…

The lively group of musician-performers welcome the audience with a pre-show folk session. Surrounded by empty bottles and glasses, the folksy band hint at writer David Greig and co-creator Wils Wilson’s initial drive to produce a theatre ballad told in a pub. Lively and animated, the cast move smoothly into the ballad of Prudencia Hart.

Under Debbie Hannan’s directorial hand, the cast of six draw the audience close. The Exchange’s in-the-round stage feels inviting and informal – decked out with Max Johns’ delightful design – small wooden buildings create a village scene – the perfect backdrop for the animated storytelling. The small wooden constructions double up as stepping stones, platforms and seats. While, in the second half of the show, carpets are peeled back to reveal illustrator Ellie Foreman-Peck’s illustrations of the underworld as the play takes a supernatural turn. 

The Strange Undoing of Prudencia Hart is best experienced with an element of surprise and no preconceived ideas.

With a strong ensemble of performers – Joanne Thomson unravels beautifully as Prudencia, Oliver Wellington is a huge source of fun as bumbling academic Colin Syme and Paul Tinto’s devil is calm and enigmatic. Perhaps, The Strange Undoing of Prudencia Hart is best experienced with an element of surprise and no preconceived ideas – let the rhyming couplets, spirited vocals and Malin Lewis’ live score seduce you – you’ll find no spoilers in this review.

The Strange Undoing of Prudencia Hart is a raucous and pleasing performance for the festive season; witty, rowdy and creepy – in perfect contrast to the classic, sparkly Christmas shows. Don’t miss out.

-Kristy Stott

The Strange Undoing of Prudencia Hart plays at the Royal Exchange until 15 January 2021.

Reviewer: Megan Hyland

Upstaged Rating: ⭐⭐⭐⭐⭐

Earlier this year, Manchester actor and activist Nathanial J Hall starred in Russell T Davies’ hit drama It’s A Sin. The series followed a group of friends as they navigated love, loss, and the 1980s AIDs epidemic, a topic that was extremely close to Hall’s heart for more reasons than one. Now, he takes to the stage solo to perform his own award-winning show, First Time.

Written and performed by Hall, First Time tells the story of his life after contracting HIV during his first time having sex. It is by far one of the most personal, emotive, and sincere performances that I personally have ever seen, and for 1 hour and 15 minutes, Hall allows us to enter his world.

It is Hall’s sparkling personality, quick wit and boundless energy that light up the stage from the moment that he begins to speak. He expertly commands the space he is given – filling the room and audience with laughter and joy; yet knowing when it is necessary to allow those quiet moments. Sometimes knowing when to pause is even more important than knowing when to speak, and Hall has mastered this art precisely. He allows the audience time to reflect with him, and with the echoes of his words heavy in our minds, those quiet moments can feel incredibly loud – allowing him to hold our attention whilst seemingly doing nothing at all.

Hall’s sparkling personality, quick wit and boundless energy light up the stage from the moment that he begins to speak.

It is this depth of communication and knowledge that allows Hall’s performance to flow masterfully. He takes us to the peak of sheer chaos – hurling baby dolls out of bins and firing silly string from between his legs – before effortlessly bringing us back to those quiet lulls exploring the recesses of his mind. Whether it’s making fun of himself or sharing his darkest moments, Hall truly holds nothing back and it is his sincerity that makes this piece truly special.

Something that felt especially significant to me is the way in which Hall manages to bring Manchester to life on the stage in a way that nobody ever has before. He reminds us of those familiar, everyday characters that we’ve all encountered in our lives; and he describes familiar places and scenes in such depth and detail that we can visualise them as though we’re there with him. His poetic storytelling and captivating sound design, coupled with Joel Clements’ lighting creates a truly striking experience for the audience that encapsulates all senses. And suddenly, we are there in that moment with Hall, whether it is familiar to us or not. It is the smallest details – the sound of rain in Sackville Gardens coupled with a light-up umbrella and dozens of candles – that takes Hall’s ability to set the scene one magnificent leap further, and drives home the message that this is still happening. Every day, people are being diagnosed with HIV and learning how their lives will change as a result, and it’s happening in Manchester too.

Nathanial J Hall takes us on a journey like no other.

The chronology of Hall’s storytelling and the nuances of his performance allow us to watch his life unfold before us from the moment that it changed forever to now. Using little more than music from each year; changes of clothes; and his astounding performance skills, Nathanial J Hall takes us on a journey like no other.

He puts the audience at ease and reminds us that not everything has to be so serious. We can have an open and honest conversation about even the most serious of topics and still have a laugh whilst doing it, which is something to keep in mind on a day such as today.

Wednesday 1^st December 2021 marks World AIDs Day, an international day to raise awareness of the AIDs epidemic and to mourn the lives of those lost to AIDs, a condition caused by HIV. Fortunately, the transition of HIV to AIDs is now preventable due to advances in medication and people that are HIV positive can now take medication to prevent passing HIV to a partner.

First Time is a beautiful reminder of just how far we’ve come, but also a reminder of how far we have yet to go.

What I want to stress about First Time is that it is not the story of a man’s life destroyed by HIV. However, it’s also not not that. First Time is a beautiful reminder of just how far we’ve come, but also a reminder of how far we have yet to go. Because while we are so fortunate that HIV is no longer a death sentence, there is still work to be done – around education; around the damaging psychological effects of an HIV diagnosis; and around smashing the stigma associated with HIV. But so long as HIV-positive creatives, activists, public figures and humans like Nathanial J Hall keep speaking up and sharing their stories, there is hope and there is strength to be found.

-Megan Hyland

First Time runs at Contact until Saturday 4 December 2021.

Upstaged Rating: ⭐⭐⭐⭐

New Adventures have been performing their stunning production of Nutcracker! for almost 3 decades. Popular, magical and fun for all ages, this beloved and delectable show returns for 2021. Still as charming as ever, set to Tchaikovsy’s profound and glorious musical score, Matthew Bourne’s sensational choreography has been refreshed and Anthony Ward’s iconic design has been revamped for the show’s 30th anniversary year. 

Matthew Bourne’s Nutcracker! is a sweet pick n mix of joy. 

The perfect theatrical Christmas tradition, Nutcracker is often the first ballet that many people see. Taking the bones of the much-loved story, Matthew Bourne delivers a Nutcracker for a modern day audience. Starting out in a gloomy Dickensian orphanage at Christmas time, the show rejects the lavish, privileged atmosphere of the present-filled family Christmas party that usually opens the classical ballet. And a simple coming-of-age story unfolds – the beautiful and fantastical tale is told through the dreams of one particular young orphan, Clara (Cordelia Braithwaite). 

With a monochrome, Burtonesque design, the orphans live miserably under the rule of Dr and Mrs Dross (Neil Westmorland and Stephanie Billers) and their brattish children, Fritz (Dominic North) and Sugar (Ashley Shaw)…until the Nutcracker (Harrison Dowzell), depicted as a ventriloquist’s dummy, springs to life leading Clara and the audience on a magical journey over the shimmering Frozen Lake and into the technicolour explosion of Sweetieland. 

Dreamlike and a real visual feast, slick choreography simulates ice-dancing as the orphans escape the orphanage. While, a tender pas de deux between Clara and the Nutcracker leads the audience sweetly into the interval. 

Passionate, original and witty, productions like this really lift the heart.

Act two brings a full sugary assault of the senses. Vivid and mischievous, Clara’s arrival in Sweetieland introduces an array of colourful and expressive characters: liquorice allsorts, feathery marshmallows, a Humbug-turned-doorman and a sticky Knickerbocker Glory all feature in this lip-smackingly brilliant production. 

Passionate, original and witty, productions like this really lift the heart. Tchaikovsky’s spectacular score featuring the ‘Waltz of the Flowers’ and ‘Dance of the Sugar Plum Fairy’ offers the perfect storytelling canvas for Bourne’s captivating choreography. Dancers deliver with precision and grace – every detail adding a fresh dimension to this well-loved story. A ballet for families of all ages – brought bang-up-to-date for a modern audience – Matthew Bourne’s Nutcracker! is a sweet pick n mix of joy. 

-Kristy Stott

Matthew Bourne’s Nutcracker! runs at The Lowry until 4 December 2021.

Reviewer: Megan Hyland

Upstaged Rating: ⭐⭐⭐⭐

Over the course of the next five days, The Contact Theatre will be home to Mika Onyx Johnson’s debut show, Pink Lemonade. And while it may only be showing in Manchester for a short period of time, it is a must-see. While at first glance this may appear to be a series of tongue-in-cheek tales of strained sexual relationships combined with lemons falling from the sky, it is far more than that. Powerful, clever, and personal, it is an exploration of Johnson’s experiences as a black trans person in Britain and what that has meant for their relationships with others and with themself.

As a performer, Johnson is outstanding. But as a writer, they are truly gifted. To translate their experiences into one medium would be talent enough, but to express themselves so fully through their own spoken word, poetry and lyrics is exceptional. They are able to switch so effortlessly between beautiful, lyrical language and quick, dirty wit, which is no easy feat. They allow us to feel their hurt through the poetry that they pour into every line, before pulling us back with their cheeky grin. It is their lyrics, however, that deserve special attention. They’re quick; clever; and emotive, and deliver perhaps the most powerful messages of the piece.

All things considered, it’s not hard to see why Pink Lemonade is currently in development for TV – nor why it was such a success at Edinburgh Fringe 2019.

“Pink Lemonade encourages you to get comfortable with being uncomfortable”

Because in this 60-minute piece, not only has Johnson effortlessly combined three written mediums, they have also mastered even the most difficult aspects of performance. For despite being the sole performer, they captivate and hold your attention throughout, creating characters around them that feel so real you can hardly believe they’re performing alone. Surrounded by velvet pink set pieces, Johnson commands the stage, allowing it to take the shape of what they want us to see almost immediately. This simplistic set design allows Johnson to be the focus and to tell their story. It places them in no boxes and allows them to define the world around them rather than the other way around.

In this space, Johnson takes the time to explore themselves fully with us. Without the presence of boxes and labels, they do not consider themselves as “just” a trans person or “just” a black person, as they cannot separate one aspect of their identity from another. Instead, they consider how their identity as a black trans person in Britain has been received; interpreted; and questioned.

It is this intersectionality that is so rare, powerful, and necessary for the future of entertainment. And while Johnson questions during the piece whether discussions around gender, sexuality, and identity are inaccessible and elitist, you need look no further for an accessible, personal, and honest exploration of all three. Pink Lemonade encourages you to get comfortable with being uncomfortable – to embrace yourself and others, but also to question how you can do better.

“Go out and get your tickets while you still can. Mika Onyx Johnson is a phenomenal performer and writer”

If I could say one disadvantageous thing of Pink Lemonade, it would be that it deserved more. While Contact is a fantastic venue, the space was scarcely populated. Pink Lemonade is a piece that deserves energy, enthusiasm, and warmth, and unfortunately, it did not receive that tonight. A bigger audience and enthusiastic atmosphere would have given it a boost, and it is a shame that Johnson did not get to experience the reception that their masterpiece deserved, especially upon its 2021 revival.

This is why I implore you to go out and get your tickets while you still can. Mika Onyx Johnson is a phenomenal performer and writer, and undoubtedly a rising star. I know I for one will be looking out for them on our screens and stages in the future.

-Megan Hyland

Pink Lemonade runs at Contact until Saturday 27 November.

Reviewer: Daniel Shipman

Upstaged Rating: ⭐⭐⭐⭐

Tell Me On A Sunday is not one of Andrew Lloyd-Webber’s most well-known musicals, but there are rewards here for anyone who dares to dig a little deeper into the Lord’s catalogue. Detailing the turbulent love life of Emma, the plot covers her various love affairs from New York to LA. It can get repetitive at times, but the songs prevent this from becoming too annoying.

Jodie Prenger deftly brings out the humour and resilience in the role.

It’s no mean feat to pull off a one-act, one-woman show but Jodie Prenger does it with ease. The character of Emma is a tricky one, with the potential for her to come across as petulant and unlikeable, but Prenger deftly brings out the humour and resilience in the role.

Whilst the themes of the show are timeless, Lloyd-Webber’s music does date it at times. The songs range from sublime to frustrating, but the peaks are surely some of his finest work, complemented by Don Black’s witty and concise lyrics.

An enjoyable night at the theatre.

After the interval, Prenger takes questions from the audience and performs a selection of Lloyd-Webber’s other work alongside her understudy, Jodie Beth Meyer. Both are gifted vocalists and it’s a treat to be able to see the talents of an understudy rather than them being hidden away backstage. Prenger really shines here with her natural charisma and personality shining through in her improvised reactions to the audience.

Whilst you could accuse the musical of being a little superficial at times with its short running time, combined with the post-show Q&A and songs, they make for an enjoyable night at the theatre.

-Daniel Shipman

Tell Me on a Sunday runs at The Lowry until Saturday 23 October 2021.