Alexandre Dumas’ classic swashbuckling adventure is almost so obvious a candidate for being parodied/adapted that I wonder why I’ve not seen it done before.

Dan Chadwick & Natasha Rasos’ original script throws Athos, Aramis, Porthos, D’Artagnan and many of the famous story’s familiar characters into Pantoland with wonderful results.

The plot goeth thusly: King Louis has commissioned a diamond encrusted crown as the Queen’s Birthday present (It’s definitely not for him, honest). However two typically dastardly villains, Robbie Nicks and Milady are plotting to steal the crown and pin the crime on everyone’s favourite tavern owner (and panto dame) Madame Petit Pois. Can the Musketeers foil the scheme and save the day?

The script is rapier sharp, pacy and fun with all the audience interaction and knockabout goings-on - including swordfights; this is the Musketeers - that you’d expect from a panto. There are also some moments of pathos and emotion which will probably go over the kids’ heads but that we so-called grown-ups sometimes appreciate.

The set was simple, blacks with two revolves painted to represent our two main locations, the tavern and Louis’ Throne Room. It was simple but worked to let us know where we were and made for quick scene changes.

Music was very good particularly helped by it being played live by two talented musicians/singers. The music was used to help cover those scene changes meaning the pace never dropped. Production numbers were well chosen and performed well. One of them, a rendition of “From Now On” built into the greatest showstopper - the audience stamping, clapping and singing along - that was easily the highlight of the evening.

Costume was good with all costumes having the right look for the setting. I particularly liked King Louis’ regal white and gold suit.

The performances of all the cast were very good indeed with a wonderful amount of energy that never dropped. This engaged the audience who were happily very responsive. Dan Chadwick (King Louis) made a good comically clueless king. Sinead Doherty (Constance) was lovely as the feisty and capable Principal Girl (who didn’t need D’Artagnan to save her). Gareth Smith (Robbie Nicks) was very good as the stereotypical panto villain. He combined well with Marit Schep (Milady) who portrayed a fabulous scheming femme fatale villainess.

One of the show’s only crimes was that Milady wasn’t given more to do; her character had potential and was underused. Her backstory with Athos (pleasingly carried over from the source material) could have had more made of it.  I also felt that perhaps the first Act ended a little weakly. I wasn’t quite sure that it was the interval until the announcement was made. However, all in all, it was a terrific show and a good night’s entertainment that the audience obviously enjoyed.

To paraphrase that famous line: All for fun. And fun for all. 

Musketeers is on at the Lowry until Sunday.

The best magic tricks are not a simple case of getting from A to B: magician takes off his hat, and then pulls out a rabbit; trickster removes a card from his deck, and it is miraculously yours.

No, behind the best conjuring is so much more. It is not the trick itself that is magic; it’s the impact.

Magic requires attention and anticipation, pathos and performance, wows and wisecracks.

And beauty. Magic turns the ordinary into the extraordinary, the natural into the supernatural, and the seemingly inhuman feats shine a light on what it is to be human.

The Ocean at the End of the Lane is magic at its purest: a dazzling array of theatrical magic.

The National Theatre has transformed Neil Gaiman’s fantasy novel into a stunning production that leaves the audience utterly spellbound.

From the casting to the staging, the writing to the direction, the result is an exquisite, fantastical tale where imagination is limitless.

A man (Trevor Fox), who remains nameless, is grieving for his father, and whilst in a daze following the funeral, he returns to his hometown - and to Hempstock Farm.

It is a familiar place from his childhood, and yet he cannot quite grasp those memories from his past; not forgotten, per se, but just out of his reach.

When he encounters the mysterious Old Mrs Hempstock, charmingly played by Finty Williams, who is arguably the star of the show, the memories start to flood back to him. And the story begins in earnest on his 12th birthday in 1983.

After a dark and deadly event, involving a lodger at his familial home, the Boy (Keir Ogilvy) meets the eccentric Hempstock family: the aforementioned Old Mrs Hempstock, the maternal Ginnie Hempstock (Kemi-Bo Jacobs), and the seemingly young girl, Lettie (Millie Hikasa).

This ancient farm with its ancient inhabitants, with a duck pond that’s described as an ocean, begins an amazing adventure for the Boy and Lettie - where dreams are real, and more importantly, so are nightmares.

The staging for this production at the Lowry is simply stunning. The illusions are breathtaking, the costumes, props and set are phenomenal, and the choreography is timed wittily.

The direction from Katy Rudd is incredibly clever, turning a barren stage into a world of witches, monsters, and pure wonder.

The faithful adaptation of Gaiman’s novel hauntingly and beautifully explores childhood, grief, family, and relationships, whilst taking you away to a dark and magical place.

Leading you on this fantastical story are the brilliantly paired Ogilvy and Hikasa, as the leads. They exude childhood imagination, fascination, and insecurities. 

Eastenders star Charlie Brooks is clearly having a hoot as the villainous Ursula, aka the Flea. It would be very easy to stray into the realm of pantomime with this role, cackling laugh an’ all, but she manages to deliver a considered and deliciously evil performance.

The Ocean at the End of the lane is the perfect fairy tale for teenagers and the older teenagers amongst us. It is a thrilling, darkly funny, and occasionally scary ride.

The most effective and expertly crafted fairy tales are the ones that challenge and terrify kids; so be warned, it might not be suitable for the more nervous and anxious of our younger ones.

And like the magic tricks that stay with you forever, the spectacle stays behind the auditorium. 

The standing ovation was rightly deserved after the theatrical phenomenon, with the Salfordians completely under its spell.

On until Sunday 8th January 2023.

Venue: The Lowry Theatre - Salford Quays

Date: 16th March 2022

Our Verdict: An innovative but respectful take on a timeless classic, well worth a viewing with the family.

As a long time fan of the 1971 iconic film I had high expectations for the theatrical adaptation and I was not left feeling disappointed.

As an adult I can look back with fondness when I remember the vividly the deliciously colourful visuals and equally captivating tunes I bore witness to as a child, all of which I am happy to report, translate well from the silver cinema screen to the well trodden boards of the Lowry's Lyric Stage.

The addition of Neil Bartram's new lyrics and musical score only helps bring the story to life once more for another generation to enjoy. The new music blends flawlessly with the classical Sherman Brothers score from the movie which we love so well.

What Candice Edmunds and Jamie Harrison have created is a magical retelling of a timeless classic for the entire family to enjoy.

For those who have not seen the original material, the story in short is that of siblings Charles, Carrie and Paul Rawlins who are orphaned and fleeing war torn London to the safety of the countryside where they come to find themselves in the care of trainee witch Miss Evangeline Price, played perfectly by Dianne Pilkington who puts her own unique spin on the character formerly played by screen legend Angela Lansbury.

Calling upon the aid of the children now in her care as well as that of her bewitched broomstick and magical bedknob, Miss Price sets off on a quest to discover the long lost spell named 'Substitutionary Locomotion' which in the hands of the right witch can bring life to inanimate objects.

What follows is a delightfully surreal and equally ridiculous fantasy adventure set upon a magical flying bedstead, a meeting with the eccentric magician Emelius Browne (Charles Brunton), an underwater dance contest with the fishes as well as a terrifyingly close call at being eaten by the lion ruler of mythical Nepeepo, King Leonidas.

But that is just the start of the adventure to come as the children and their strange carer return home to defend the country from the jack boot of the evil Nazi's by using magic to bring to life the contents of the local military museum to defend the sacred isle. 

The story telling is first class and the adaptation to stage is utterly flawless in its implementation. The sets are just as mesmerising and magnificent as the visuals from the cinema release, if not vastly more so.

It is the perfectly ensembled cast that pull the whole show together, as whilst you are in their presence the audience is transported on that flying bedstead along with them, you really feel as if that magical fantasy world has come to life in front of your very own eyes.

Charles Brunton gives an energetic performance as the quirky Emelius Browne which is a delight to behold, whilst Dianne Pilkington was the perfect choice to take on such a beloved role as Evangeline Price.

As for the children, they were fantastic, professional throughout and never missed a cue.

If for some bizarre reason you have not seen the film then fear not, you are in for a pleasant surprise, if however you have then get ready to take a step into the silver screen as it is even better up close and personal as a theatrical performance. 

It is a perfect theatrical adaptation of an all time screen classic.

Bedknobs & Broomsticks runs from the 15th to the 19th of March 2022 at the Lowry's Lyric Theatre and we thoroughly recommend it.

Casting

Charles Brunton plays Emelius Browne. Charles starred in the iconic role of Miss Trunchbull in Matilda both in the West End and on Broadway. Other credits include Love Never Dies, Chess and Scrooge.

The rest of the company includes Mark Anderson, Jessica Aubrey, Georgie Buckland, Kayla Carter, Jonathan Cobb, Jacqui Dubois, Matthew Elliot-Campbell, Sam Lupton, Rob Madge, Vinnie Monachello, Nathaniel Morrison, Conor O’Hara, Sadie-Jean Shirley, Robin Simoes Da Silva, Emma Thornett and Susannah Van Den Berg.

The Rawlins children are played by Dexter Barry, Izabella Bucknell, Haydn Court, Poppy Houghton, Evie Lightman and Aidan Oti.

For tickets and information please see this link: https://bit.ly/363TofF