Posts with the label uk tour
Showing posts with label uk tour. Show all posts
Showing posts with label uk tour. Show all posts
Tuesday, 28 April 2026
Mean Girls The Musical Tour Review: A Fetch, Funny and Fierce Touring Triumph
A Fantastically Fetch Touring Production
Mean Girls (Tour) | Woking Theatre | ★★★★
Ever since Mean Girls made the leap from screen to stage, it has felt like a musical destined to evolve. From its Broadway beginnings at the August Wilson Theatre to its glossy West End run at the Savoy Theatre, the show has constantly refined itself. Now out on tour, it proves that North Shore High travels extremely well.
Touring productions sometimes feel like scaled-down versions of the real thing, but Mean Girls makes the transition feel surprisingly natural. The changes introduced since the original Broadway production remain firmly in place and continue to work brilliantly. The storytelling feels tighter, the comedy sharper, and the pacing keeps everything moving at exactly the right speed. While this version is slightly less glitzy than the West End production, with fewer big dance breaks and a little less visual sparkle, it never feels lacking. Instead, it leans into character and ensemble storytelling, which turns out to be one of its greatest strengths.
It is often the smallest details that make this production shine. One of my favourite running touches is the way members of the ensemble slowly begin adopting Karen’s signature style throughout the show. It is subtle, silly, and completely in keeping with the world of the musical. There are also constant interactions happening across the stage, little reactions, shared looks, and background moments that make the school feel alive rather than staged. You get the sense that every performer has built a fully realised student at North Shore.
The ensemble deserves huge praise. They bring relentless energy from start to finish and commit fully to every number. Even transitional scenes feel vibrant because the company never lets the momentum drop. Their enthusiasm is infectious and gives the show a joyful heartbeat.
Not every joke lands perfectly. There are still a handful of lines that make you cringe slightly, but honestly, that awkwardness feels very Mean Girls. The humour has always lived somewhere between clever satire and teenage chaos, and those occasional groan-worthy jokes somehow add to the charm rather than detract from it. The show knows exactly what it is, and it embraces that with confidence.
At the heart of this story is Emily Lane as Cady Heron, guiding the show fantastically with a performance full of warmth and sincerity. She brings a wonderfully bubbly infectiousness to Cady, making her journey feel genuinely heartfelt rather than naive. Her vocals are beautifully clear and assured, anchoring the production emotionally while matching the show’s high-energy comedy beat for beat. Across the entire company, the vocal standard is astonishing. This really is a 10/10 cast who serve some of the most outstandingly effortless, consistent and healthy belting you could hope to hear, creating a sound that feels powerful yet completely sustainable night after night.
Leading The Plastics is Vivian Panka as Regina George, and she is phenomenal. Her effortless belt is astonishing to witness live, soaring through the theatre with ease. What really impresses, though, is her control. She glides around the stage with quiet authority, conveying Regina’s icy judgment through the smallest facial expressions. A glance or slight curl of the lip says more than any line ever could.
Fresh from playing Andie Sacks in The Devil Wears Prada, Georgie Buckland steps into Janis like it was written especially for her. Her vocals are faultless, but it is her character work that really stands out. She balances humour with vulnerability beautifully, giving us a Janis who is funny, bitter, insecure, fiercely loyal and completely human. It is a layered and deeply engaging performance.
As Damian, Max Gill radiates joy. They use every second of stage time to its fullest potential, adding warmth and playful energy that lifts every scene they're in. Their presence brings lightness to the show and creates some of its biggest laughs.
Rounding out The Plastics, Kiara Dario is utterly charming as Gretchen, capturing both her desperation to belong and her comic panic perfectly, and Sophie Pourret delivers a Karen who is as adorably clueless as you could possibly hope for. She is sweet, dozy, and completely lovable. Duh.
It is remarkable to think how the original Mean Girls has grown into a stage musical with its own identity and legacy. What began as a cult teen comedy has become a theatrical comfort show for many audiences, constantly adapting while keeping its sharp humour intact.
This touring version might not have quite the same level of sparkle as the West End production, but it captures the heart of Mean Girls beautifully. It is funny, energetic, occasionally chaotic, and full of personality.
It is definitely a marmite show. Some people will never quite click with its heightened style or unapologetic teen humour. Personally, I am firmly on the loving side. This production is fetch, funny, and packed with talent, and I would absolutely recommend grabbing a seat at North Shore High while you can!
Reviewed on Monday 27th April 2026 by Olivia
Photo Credit: Paul Coltas
{AD PR Invite- tickets gifted in exchange for honest review}
Mean Girls The Musical Tour Review: A Fetch, Funny and Fierce Touring Triumph
Tuesday, 28 April 2026
Thursday, 5 March 2026
Review: Single White Female on tour
"slightly melodramatic, and occasionally unintentionally comedic"
Single White Female (Tour)
New Victoria Theatre
Just back from seeing Single White Female at Woking — and I have to say, I have mixed feelings.
I was really looking forward to it. I remember the film from years ago and loved the psychological tension, so I was curious to see how it would translate to the stage. The atmosphere was definitely there — the lighting and sound design created some genuinely eerie moments, and you could feel the audience leaning in during the more intense scenes. There were points where the suspense simmered beautifully, and the claustrophobic feel of the set really helped build that sense of unease.
However… I didn’t quite connect with the acting. For me, some of the performances felt a little forced, and it made it harder to fully believe in the friendship-turned-obsession dynamic at the heart of the story. In a psychological drama you really need that chemistry and subtlety, and at times it just didn’t land. A few emotional beats felt rushed, which meant the shift from companionship to fixation didn’t feel as gradual or as unsettling as it could have been. There were moments that should have felt more chilling but came across slightly melodramatic, and occasionally unintentionally comedic, which took me out of the tension rather than drawing me deeper into it.
What did, however, connect with me personally as a mum was the daughter’s role and her reactions to her mother. At times it genuinely triggered me into thinking I was watching my own life and how I try to navigate the joys of social media and the daily drama that comes with teenagers! That thread of the story felt authentic and surprisingly relatable, adding a layer of modern relevance that grounded the more heightened psychological elements.
I do admire the ambition of adapting such a well-known film for the stage- it’s not an easy thing to do, especially when audiences inevitably bring strong memories and expectations with them. Translating that kind of cinematic tension into a live setting is a challenge, and there were clear moments where the production showed real creativity and boldness in trying to make it work.
It wasn’t terrible by any means- just not quite as gripping as I’d hoped. That said, there’s always something special about live theatre and the shared experience of sitting in a room full of people, collectively holding your breath. Even when it doesn’t completely hit the mark, that sense of immediacy and connection is something you simply can’t replicate anywhere else
★★★
Reviewed on Tuesday 3rd March 2026 by Melanie Myers
Photo Credit: Chris Bishop
{AD PR Invite- tickets gifted in exchange for honest review}
Wednesday, 18 February 2026
Matthew Bourne’s The Red Shoes Review- A Dazzling, Cinematic Ballet Masterpiece
Matthew Bourne’s The Red Shoes Review
A Perfect Balance of Cinematic Spectacle and Theatrical Magic
There are some productions that entertain, and then there are those that completely transport you. Matthew Bourne’s The Red Shoes is firmly the latter. This exquisite ballet is a breathtaking fusion of storytelling, design, and choreography that feels both gloriously cinematic and intimately theatrical. It is a production that understands the power of visual narrative and trusts its audience to meet it halfway.
Inspired by the Powell and Pressburger film and Hans Christian Andersen’s dark fairy tale, The Red Shoes tells the story of Victoria Page, a young dancer torn between love and ambition. Under the watchful eye of the obsessive impresario Boris Lermontov, Victoria rises to stardom, but her heart is divided between her devotion to dance and her love for composer Julian Craster. As ambition, jealousy, and desire collide, the red shoes become a symbol of artistic obsession and sacrifice.
Act one carefully lays the groundwork. Bourne allows the narrative space to breathe, establishing character dynamics and emotional stakes with precision. It feels almost filmic in structure, with seamless transitions and sharply drawn relationships. The storytelling is rich but never heavy handed. Through nuanced physicality and expression, the cast communicates layers of longing, rivalry, and ambition without uttering a single word.
The ensemble scenes are meticulously staged. Corps de ballet formations are clean and intentional, often reflecting hierarchical tensions within the company. There are soaring legato lines matched with sharp musicality that keep the momentum alive and make for a truly exciting piece of theatre. Even in quieter passages, the dancers maintain a strong dramatic focus.
Act two, at just 35 minutes, is where the choreography truly takes flight. The emotional intensity deepens and the movement vocabulary expands into soaring pas de deux and sweeping ensemble work. Bourne’s choreography blends classical ballet technique with contemporary theatricality. The lifts feel weightless yet charged with narrative tension. Extensions are held just long enough to heighten drama. Turns are not simply virtuosic but emotionally motivated.
The central ballet sequence within the story is mesmerising. Here, the red shoes themselves seem to drive the choreography forward. The dancers move with urgency and abandon, their lines elongated and expressive. It is thrilling to watch technique used in service of storytelling rather than display alone.
The cast delivers extraordinary performances. The portrayal of Victoria Page is filled with vulnerability and steel in equal measure by Cordelia Braithwaite, who carries emotional weight in every moment. Andy Monaghan as Boris Lermontov commands the stage with icy restraint, conveying obsession through subtle shifts in posture and gaze. Julian Craster is portrayed with romantic sincerity by Dominic North, his partnering gentle yet assured.
What makes this production particularly remarkable is how strongly the performers act as well as dance. Ballet can sometimes feel emotionally distant to newcomers, yet here every performer inhabits their role fully, with facial expressions, breath, and timing become as vital as footwork. This strong acting and characterisation really helps the audience follow the story and get swept up in the drama of it. The humour woven throughout the production is a welcome surprise; with moments of wit and theatrical flair that lighten the tone without undermining the drama.
The soaring score, orchestrated by Terry Davies, elevates the production to another level. It swells and recedes in perfect harmony with the choreography, amplifying emotional crescendos and intimate exchanges. The music feels expansive and cinematic, yet perfectly suited to the stage.
The set and costume design are nothing short of brilliant. Thanks to Lez Brotherston's design, the stage transforms completely between scenes, shifting from rehearsal rooms to lavish theatre interiors with fluid precision. Partnered with Paule Constable's brilliant lighting design, the production is a multi-layered feast.
Costumes subtly chart character evolution. Small changes in silhouette, colour, and texture communicate shifts in status and emotional state. Victoria’s costumes in particular reflect her journey from hopeful ingénue to tormented star; and of course, the iconic red shoes themselves glow with symbolic power.
One of the greatest strengths of ballet is its refusal to spoon feed the audience, and this production embraces that fully. The story is clear yet layered. Viewers are invited to interpret glances, gestures, and motifs. It asks you to engage actively rather than passively consume. That sense of intellectual and emotional participation makes the experience deeply rewarding and I'd encourage people to take the step into the ballet world if they haven't previously.
Matthew Bourne’s The Red Shoes is theatrical magic at its finest. It balances cinematic grandeur with the immediacy of live performance. It delivers technical excellence, emotional depth, humour, and visual spectacle in equal measure.
This is ballet that feels alive, urgent, and utterly spellbinding- a triumph which reminds us why dance remains one of the most powerful storytelling forms on stage.
★★★★
Reviewed on Tuesday 17th February 2026 by Olivia
Photo Credit: Johan Persson
{AD PR Invite- tickets gifted in exchange for honest review}
Wednesday, 11 February 2026
Dear England UK Tour Review: A Powerful, Timely Portrait of Modern Britain
Dear England (UK Tour)
New Victoria Theatre
When I saw Dear England in 2023, I was struck by just how urgently relevant it felt and seeing it again in 2026 inspired that same emotion. Written by James Graham and originally staged at the National Theatre, this sweeping, emotionally intelligent production captures the intricate fabric of contemporary Britain through the lens of football, and somehow makes it feel deeply personal.
At its heart, Dear England charts the journey of Gareth Southgate as manager of the England men’s national team, but this is far more than a sports story. Instead, it’s a thoughtful, layered exploration of British identity, national trauma, history, hope, and the complicated relationship between patriotism and progress.
"A Story That Seamlessly Blends Football and British Identity"
One of the production’s greatest strengths is its ability to move fluidly between past and present. Graham’s storytelling transports audiences across decades, linking Southgate’s own history- including that infamous missed penalty- with England’s broader national narrative. The result is a theatrical experience that feels modern, necessary, and culturally significant.
This isn’t just a play about football; it’s about immigration, activism, history, politics, and generational change. The ensemble cast bring these threads together beautifully, creating a vibrant tapestry of contemporary Britain. Each character feels authentic and grounded, representing different corners of the nation with nuance and care.
Leading the charge is David Sturzaker, whose portrayal of Southgate is both commanding and vulnerable. He anchors the production with emotional depth, drawing the audience into the psyche of a man carrying the expectations of an entire country. His performance elevates the ensemble, forging a genuine and often moving connection between stage and audience.
The production’s visual storytelling is equally compelling. Designed by Es Devlin, the set is unmistakably National Theatre in scale and ambition. Seamless transitions shift us across time and space with cinematic fluidity, while multimedia elements add interest and emotional weight.
Each transformation of the stage subtly alters the mood, reinforcing the play’s themes of change, reflection, and national reinvention. The design never overwhelms the story; instead, it enhances it, grounding big ideas in human experience.
James Graham’s writing is as sharp and insightful as ever. There’s a poetic quality to the dialogue, but it remains accessible and emotionally honest. Clever flashes of humour punctuate the heavier themes, preventing the production from becoming overly solemn.
That said, there are moments where the play feels a little bit on the cringe side. A handful of scenes don’t land with quite the impact they’re aiming for. But this is a minor quibble in a production that ambitiously attempts to encapsulate the essence of a nation.
Ultimately, Dear England succeeds because it dares to ask: what does it truly mean to be British today? And it does so in a way that feels inclusive, thoughtful, and surprisingly hopeful.
Dear England on its UK tour proves itself to be more than a hit play about football, it’s a cultural moment. With compelling storytelling, exceptional performances, and innovative staging, it stands as a testament to the power of theatre to mirror, challenge, and celebrate our shared story.
Whether you’re a football fan or not, this production resonates on a human level. It’s a touching, timely exploration of national identity that leaves you reflecting long after the final whistle.
★★★★
Reviewed on Tuesday 10th February 2026 by Olivia
Photo Credit: Marc Brenner
{AD PR Invite – tickets gifted in exchange for honest review}
Thursday, 16 October 2025
Priscilla Queen of the Desert Musical Returns with Kevin Clifton and Adèle Anderson in Dazzling London Theatre Revival
A sparkling new cast has been revealed for the upcoming UK and Ireland tour of Priscilla Queen of the Desert- The Musical, promising sequins, heart, and disco anthems galore. Kevin Clifton (Strictly Come Dancing) stars as Tick/Mitzi, alongside Adèle Anderson (Fascinating Aïda), Nick Hayes, and Peter Duncan in this joyous celebration of self-expression and friendship.
Directed by Olivier Award-nominated Ian Talbot OBE, with choreography by Olivier winner Matt Cole, the production features over 100 eye-catching costumes designed by Strictly favourite Vicky Gill. Expect dazzling feathers, glitter, and glamour in every scene.
Based on the Oscar-winning 1994 film, Priscilla follows three friends on a road trip across Australia in a battered bus, discovering love, acceptance, and the courage to be themselves along the way. With its iconic soundtrack featuring "It’s Raining Men", "I Will Survive" and "Girls Just Wanna Have Fun", it’s a feel-good party wrapped in heart and humour.
Kevin Clifton shared,
“This show is pure joy from start to finish, it’s bold, unapologetic, and full of love.”
A celebration of identity, friendship, and the power of being unapologetically you, Priscilla Queen of the Desert is set to dazzle audiences across the country.
photo credit: Matt Crockett
Wednesday, 8 October 2025
Les Misérables Arena Concert Spectacular Announces New 2026 Dates in Dublin, Birmingham, London & New York
As the iconic London production of Les Misérables celebrates its 40th Anniversary tonight with a special Gala Performance at the Sondheim Theatre, producer Cameron Mackintosh, in association with Nick Grace Management, has announced exciting new tour dates for Boublil and Schönberg’s Les Misérables- The Arena Concert Spectacular.
Following a record-breaking global run, the Les Misérables Arena Tour will play at some of the world’s most prestigious venues in 2026, including:
3Arena, Dublin: Friday 29 May to Saturday 6 June 2026
Utilita Arena, Birmingham: Thursday 11 to Sunday 14 June 2026
Royal Albert Hall, London: Thursday 18 to Sunday 21 June 2026
Radio City Music Hall, New York: Thursday 23 July to Sunday 2 August 2026
Fans can sign up now at worldtour.lesmis.com for exclusive presale access starting Monday 20 October 2025.
Since the world tour opened in Belfast in September 2024, Les Misérables Arena Tour has sold over one million tickets worldwide, captivating audiences across 30 cities and 25 countries. These newly announced performances will mark the culmination of Les Misérables’ 40th Anniversary celebrations, honouring the world’s longest-running musical.
The London production has just entered its 41st year at the Sondheim Theatre, while Les Misérables was last seen on Broadway in 2016. Full casting announcements for the 2026 tour dates will be revealed soon.
Producer Cameron Mackintosh shared:
The Arena Concert Spectacular, which I put together as a World Tour to celebrate the incredible 40th year of Les Mis continuously running in London, has been a success beyond my wildest dreams, attracting capacity crowds around the world since it opened over a year ago - even in countries where the full stage production has never yet played.The Arena Tour has already sold over a million tickets, and the rapturous reception has been the same for over 300 performances in 30 cities across 25 countries around the globe wherever MIZ ROCKS is playing. Continuing what will have been an almost two-year record-breaking run, I am thrilled to announce that in 2026 we will be bringing home this iconic event to Dublin and Birmingham before it plays two of the World’s most iconic music venues – the Royal Albert Hall in London in June and Radio City Music Hall in New York in July.We haven’t played the Royal Albert Hall since the show’s legendary 10th Anniversary Concert (which has just been remastered and released on vinyl for the first time) and in New York, Les Misérables has not been seen for almost a decade since we closed our third triumphant run on Broadway. Even our return to Dublin, to the 3Arena (formerly the legendary Point), is full of Les Mis resonance as it is the place where our original Irish star, the great Colm Wilkinson, came home to play Jean Valjean – we hope to have another great Irish star to make the upcoming Dublin engagement equally memorable. We are putting together an incredible array of Les Mis alumni for these engagements and look forward to announcing our cast later in the year.I am especially excited about bringing this Arena production to New York as America is the only major English-speaking country in the world where I have not yet produced the concert. So, I was personally delighted that we were invited to do so by Radio City Music Hall where American audiences can see this spectacular event for the first time.To quote The Times, “Only Les Mis can generate an atmosphere between a rock concert and a football match – a hypnotic and virtuoso production”.Looking forward to seeing you roll up to MIZ ROCKS…. But hurry to avoid having to storm the barricades for a ticket!
With breathtaking staging, state-of-the-art lighting, and a world-class cast and orchestra, Cameron Mackintosh’s acclaimed production delivers Les Misérables on a scale never before seen- an electrifying celebration of one of the greatest musicals of all time.
Photo Credit: Danny Kaan
Keywords: Les Misérables Arena Tour 2026, Les Misérables 40th Anniversary, Cameron Mackintosh, Boublil and Schönberg, Les Misérables Royal Albert Hall, Les Misérables Radio City Music Hall, Les Misérables Dublin 3Arena, Les Misérables Birmingham Utilita Arena, Les Misérables New York 2026, Les Misérables tickets, Les Misérables world tour, Les Misérables concert spectacular, MIZ ROCKS, Les Misérables musical London, Les Misérables tour dates, Les Misérables presale, Les Misérables arena concert
Thursday, 5 June 2025
Review: Joseph and the Amazing Technicolor Dreamcoat- A Joyous Revival that Shines Bright on Tour
Joseph and the Amazing Technicolor Dreamcoat (UK Tour)
New Victoria Theatre
Like so many theatre lovers, Joseph holds a special place in my heart. I must have worn out the DVD as a child, rewatching the dazzling colours, catchy tunes, and sheer joy of it all. To this day, I take great pride in knowing every single colour of that famous coat by heart, and one day, I’m convinced it will finally come in handy in a pub quiz.
Seeing the touring production felt like reconnecting with an old friend, and this version couldn’t feel more right for now. There are brief flashes of modern self-awareness that could veer into cringe- a wink here, a gag there- but they never overstay their welcome. It’s one of the rare revivals that manages to feel modernised without being try-hard or losing its sense of self. At its core, Joseph is still what it’s always been: a musical powered by joy, timeless melodies, and that signature blend of heart and humour.
The music, as ever, is the star. From 'Any Dream Will Do' to 'Go, Go, Go Joseph,' the songs are as infectious as I remembered. But what makes this version truly sing is how the whole thing feels so light on its feet. There’s a freshness to the production, a sense of play and invention that keeps it moving briskly and brightly.
Adam Felipe brings a charming sincerity to Joseph, with vocals that land with clarity and ease. He finds both the innocence and confidence in the role, and it’s easy to see why audiences root for him from the start. Joe McElderry’s Pharaoh is a crowd-pleasing standout, leaning into the Elvis pastiche with charisma and a wink that’s impossible not to enjoy. And in the role of the Narrator, Christina Bianco is the glue that holds the whole show together- commanding, warm, commical, and vocally impressive throughout.
Beyond the leads, it was an unexpected delight to watch the ensemble. There’s such care in their performances- it felt like many of them had created full little back stories for their characters. I caught moments between brothers, glances, physical comedy, even subtle through-lines. Honestly, I’d go back just to keep an eye on different people and see what else I might spot.
This show is a proven success, and this production shows exactly why. The audience- young kids, nostalgic adults, and everyone in between- were beaming throughout, myself included. It’s hard not to be swept up by it. This show is a real reminder that it’s a gift to sit in a theatre and just have a great time.
It’s not a reinvention of the wheel, but it doesn’t need to be. Joseph is a show that understands what it is, and this production delivers it with style, heart, and a technicolour sparkle that never fades.
★★★★
Reviewed on Wednesday 4th June 2025 by Olivia
Photo Credit: Tristram Kenton
{AD PR Invite- tickets gifted in exchange for honest review}
Wednesday, 7 May 2025
Bat Out Of Hell 2025 Review: Killer Score, But What Happened to the Set?
Bat Out of Hell (Tour)
New Victoria Theatre
Bat Out Of Hell has never pretended to be a subtle piece of theatre. It’s loud, it’s chaotic, it’s over-the-top, and when it leans into those extremes, it can be glorious. The 2025 tour keeps the heart-pounding spirit of Meat Loaf and Jim Steinman’s bombastic score alive and well. But while the music remains the show’s undisputed heart, this scaled-back tour suffers from a lack of cohesion in its storytelling and staging, and some puzzling creative decisions that dull the production’s edge rather than sharpen it.
Gone are many of the more lavish set pieces from earlier versions. Raven’s once-gothic bedroom is now reduced to a few scattered boxes, and in one unintentionally comic moment, poor Falco is left wheeling on a crate in place of a sofa. It’s a stripped-back aesthetic that might work in a musical with a stronger plot to fall back on, but Bat has never been about narrative clarity. With this reduction, the production’s structural weaknesses are exposed: transitions between scenes are clunky, and what little dialogue remains often feels amateurish and stilted. Without the visual grandeur of past runs to distract us, the cracks are harder to ignore.
Perhaps the most jarring change is the prominent use of handheld microphones. While they work in conjunction with in-ear monitors to create a stunningly well-mixed sound—easily one of the best elements of the show—they’re stylistically out of place. It's never made clear why they’re being used within the world of the show, and watching characters like Tink wave them around during emotional scenes only pulls the audience further out of the moment. They add a layer of disconnect, making it feel more like a concert with awkward scene breaks than a piece of music theatre. In combining the previous tour and the International arena tour, the show has become a weird mish-mash that doesn't quite work.
That said, the score remains killer. Steinman’s songs are packed with drama, emotion, and sheer rock-and-roll punch. Even though they rarely serve the plot in a traditional sense, each number stands on its own as a mini-epic. And the cast? They do not disappoint. Every vocal was delivered with power, control, and intent. The arrangements remain mostly true to form but benefit from the show’s stripped-back nature- revealing gorgeous musical moments that previously got buried in the chaos. A standout example is the delicate piano work in 'What Part of My Body Hurts the Most,' which offered a rare, emotionally resonant pause in an otherwise thunderous night.
Brilliant performances came from Katie Tonkinson as Raven, bringing vulnerability and defiance in equal measure; Harriet Richardson-Cockerline as Sloane, who balanced brittle humour with aching depth; Rob Fowler as Falco, whose vocals were consistently commanding; and Ryan Carter as Jagwire, whose tone and presence added welcome gravitas and provided many of the stand out moments. The undeniable star of this performance was Luke Street as Strat, who fully embodied the anarchic, eternal-teen spirit of the role. His vocals were ironclad, but even more impressively, every movement and line felt fully intentional. Street didn’t just sing the score- he lived it.
There’s still plenty of enjoyment to be found here, especially for fans of the music. If you're coming for the songs, and many are, you’ll probably leave satisfied. But this tour’s theatrical elements feel underdeveloped and inconsistent, giving off the sense of a rock opera that’s lost some of its bite. The bones of the show are still there, but without a coherent structure or compelling visuals to support them, Bat Out Of Hell in its current iteration feels more like a fever dream than a fiery fantasy.
★★★
Reviewed on Tuesday 6th May by Olivia
Photo Credit: Chris Davis Studio
{AD PR Invite- tickets gifted in exchange for honest review}
Tuesday, 15 April 2025
Ghost the Musical UK Tour: Great Cast, Ghostly Magic, But Time for a Refresh? | REVIEW
Ghost the Musical (Tour)
New Victoria Theatre
Based on the beloved 1990 film starring Patrick Swayze and Demi Moore, Ghost the Musical first premiered in Manchester in 2011 before transferring to the West End and Broadway. With a book by Bruce Joel Rubin (who also penned the original screenplay) and a pop-infused score by Dave Stewart and Glen Ballard, the musical brings romance, loss, and the supernatural to the stage. The current UK tour proves there's still plenty of love for this story and though a few creaky moments show its age, the emotional core and a jaw-dropping central performance keep it engaging and enjoyable.
This touring production is anchored by a genuinely great cast, with standout performances across the board. At the heart of it all is the phenomenal Rebekah Lowings, whose portrayal of Molly is nothing short of spellbinding. Her vocals are among the best I’ve ever heard. Rich, emotional and technically flawless, she brings such raw depth to the role that you can’t help but root for her from her very first note. Honestly, I want to see her in everything from now on.
Josh St. Clair also provides some great vocal moments and makes for a compelling Sam, navigating the tricky emotional beats of his spectral role with sensitivity. As Carl, James Mateo-Salt is a real standout, bringing a great intensity to the role and some top level vocals to match, while Jacqui Dubois as Oda Mae delivers excellent comic timing and vibrant charisma, perfectly lifting the mood just when it’s needed. The show benefits from this balance of emotional sadness and humour, which helps it maintain a fairly fast pace and keeps the audience emotionally invested throughout.
That said, Ghost the Musical does show its age in places. Some moments feel a little on the cringe-worthy side, especially in the dialogue and transitions, and it’s easy to imagine how a subtle modern refresh-whether through design or direction- could polish off the rougher edges. The choreography also feels a little mismatched with the tone of the piece; while the dance breaks are energetic, they often feel more suited to a pop concert than a supernatural love story.
Despite that, the show offers some strong technical elements. The special effects (particularly those ghostly illusions) are slick and satisfying, and the lighting does a lot to establish mood and movement. While the sound mix could use some fine-tuning (a few ensemble lyrics got lost in the score), the overall production values are solid for a touring show.
Ultimately, this Ghost might not be reinventing the wheel, but it’s still an entertaining and emotionally satisfying night at the theatre. With a cast this talented, and a leading lady who deserves every starring role coming her way, it’s easy to overlook some of the creakier bits. Whether you’re a die-hard fan of the film or simply in the mood for a musical that blends romance, comedy, and a touch of the otherworldly, this tour is worth catching.
★★★
Reviewed on Tuesday 15th April by Olivia
Photo Credit: Alastair Muir
{AD PR Invite- tickets gifted in exchange for honest review}
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