Ladies, gentlemen, and those of you who are yet to make up your minds... welcome to my review of Kinky Boots The Musical, a feel good, heartwarming show based on an incredible true story of self belief and acceptance. The show is currently playing at Winter Gardens Blackpool until 12 October 2019, tickets available here. 

When his father passes away, Charlie Price reluctantly returns home to Northampton to take on his failing factory. Orders are being cancelled, business is looking bleak, and jobs are on the line, until a chance encounter with glamorous drag queen Lola leads Charlie to make kinky boots to withhold the weight of her and her angels. With the Milan trade show his chance to prove himself, can Charlie come through for the factory and his friends?

Despite being written by 80s queen Cyndi Lauper, the majority of songs were no Defying Gravity, but then again, even Elphaba would have a hard time belting out lines about brogues. 

Lola's songs, on the other hand, were brilliant, with a sexy dance feel to most of them, and a real Whitney-style diva vibe to Hold Me In Your Heart. Kayi Ushe blew me away with Lola's powerful numbers and softer songs alike. Joel Harper-Jackson also hit the higher notes and key changes beautifully, and their harmony together was a highlight of the performance for me.

The Set

The set design for Kinky Boots really caught my attention, with simple industrial pieces switching to suit every scene. I particularly loved that the factory's conveyor belt split into pieces and became a central prop for the dance routine in Everybody Say Yeah, reflecting the change and fast pace the factory was undertaking as it prepared for their new line of boots and the Milan show.

In the film factory lout Don challenges Lola to an arm wrestle but Playful Productions wisely changed this to a boxing match for the musical, which is much easier for the whole audience to see and appreciate. 

The set became a boxing ring with just two pieces of rope across the central unit, and the lighting quickly flashed to imitate photography while the actors performed the show in slow motion. It was a clever, engaging way to illustrate the scene, and both the set and lighting design coloured me impressed.

Speaking of fast pace, the angels' dance routines were certainly that. Half incredible choreography, half acrobatic display, they brought so much fun and sparkle to Kinky Boots The Musical. I can honestly say this is the first show I've seen where my jaw has literally dropped, when one angel leapt high and landed in a perfect box split!

I was astounded to learn after the show that the actors playing the Angels are not full time drag performers, because they pulled it off perfectly, with help from their amazing makeup and costumes. The budget for sequins and gems in this production must have run into the thousands!

Whether in sequins as Lola or suited as Simon, Kayi Ushe was a stand out for me. The script was very similar to the film, in which Chiwetel Ejiofor portrays Lola, so it would be easy to compare the two, but Ushe developed the character for the stage beautifully, exaggerating her words and actions so she really was a larger than life queen strutting before our eyes.

Every character had an element of comedy, which is partly what made the musical so fun to watch, it felt like the audience were invited into the factory banter. The only performance that jarred for me was factory worker/Charlie's love interest, Lauren, portrayed by Paula Lane. 

Having seen Lane in Coronation Street I don't doubt her talent, but the character and her songs just seemed very awkward and pantomime-esque. Maybe it was the direction, or perhaps the fact I've never been to Northampton, where the musical is set, but I struggled to understand why her accent was different to the rest of the cast, too. 

Kinky Boots is one of my favourite films, and I really hoped that seeing it sexed up on stage with tonnes of songs and sequins would live up to it. I'm happy to report that it did, and every piece of the performance tied together to create the perfect feel good show about acceptance and courage.

I had my own lesson in acceptance too, when I looked around and saw all kinds of people in the audience. I had wrongly assumed that middle aged men wouldn't be the target audience, but my dad came along and loved every minute just like the rest of the crowd, who packed out the seats and filled the room with roaring applause. 

Have you seen Kinky Boots The Musical?

Shrek was a firm family favourite in our house as I was growing up. The animation is great, the characters are hilarious, and surely seeing it on stage with the addition of songs could only be an improvement. Wrong. I'm sorry to say it readers, but I just did not like Shrek The Musical.

Tickets were gifted in exchange for honest review.

If it had been labelled Shrek the pantomime, perhaps I would have viewed the show more favourably, but it was not what I had been expecting. The characters were very exaggerated, sometimes overly so, and while I do understand that this is to cater more toward the younger audience, I felt that it became messy. The lines between pantomime and musical became blurred, with audience participation being encouraged twice, and a few panto-style jokes about Blackpool directed to the audience. There were also some references to The Lion King and Wicked which were out of place and unnecessary.

The whole performance felt very overboard, and there were parts that could have been fantastic yet were dampened. The songs were okay, and the accompanying dance routines were flawless, but they all lasted a long time and I didn't leave with any stuck in my head, which is rare for me.

My favourite was definitely Dragon's song, which was my personal highlight of the whole show. I had wondered how they could bring her to the stage, and I was delighted to discover that she is portrayed through a stunning piece of puppetry.

The puppeteers were perfectly in sync and gave Dragon a really animated performance, using every bit of the puppet and stage to their advantage. Tim Hatley, the puppet's designer, also breathed life into her by cleverly including illuminated eyes for a powerful effect.

Lucinda Shaw, the singer who voiced Dragon, could give Adele some competition, and belted out her song with soul and sass. She was one of only a few characters that really stood out for me, as unfortunately it felt like most had been directed to mirror the animated characters in everything from voice to intonation. I was really disappointed for myself as a viewer, and for the actors, as they could have really had fun with the roles and brought tonnes of their own personality, but were limited instead.

The visual aspects of Shrek The Musical were brilliant. The set and lighting had all been planned and executed perfectly, which helped massively in bringing the story to the stage and clearly taking us on a journey through the swamp, castle, and Duloc. I particularly liked that even between big scenes, smaller pieces of set were brought of to add more interest and clearly identify to the younger viewers that the characters were in a different area.

The costumes were also very clear and well designed, with little touches that helped to pull it all together, such as the dancers in Duloc wearing vinyl to give them a polished, uniformed effect in keeping with Farquaad's rule.

I really wanted to love this show, but sadly it wasn't for me. However, the children seated around me loved it. They weren't scared by Shrek or Dragon, and the show held their full attention, so if you're looking for a family night out, this is the funny fairytale for you.

I was kindly invited to review the show, but this does not affect my opinion. Shrek The Musical is running at Winter Gardens Blackpool until 27th May 2018.

So far in my What's Up series we've visited Kendal and Saltaire, quaint places that embody English countryside and history and really need no celebration from me. Today, however, I want to talk about a town that gets a bad rap and deserves some love: Blackpool.

The Northern seaside town was once the place to be, where families would flock every summer to enjoy traditional treats of fish and chips, Punch and Judy shows, and donkey rides across the sand. Nowadays it's more synonymous with hen nights and horror stories, and that's just not fair.

Low Cost Entertainment

If you want entertainment, Blackpool is the place for you. Without even a penny in your pocket you can stroll the seafront, cackle at the comedy carpet, or walk down to the huge expanse of sandy beach. I'll have you know it's especially good for kite flying!

When the Great British weather sends you indoors, seek out Coral Island where you can play classic penny slot games, fruit machines, or win yourself a souvenir on the teddy pickers.

In the Winter months, plan a visit in the evening, when the famous Blackpool Illuminations light up the road. Head out on foot to interact with some exhibits, or stay cosy in your car and drive through for a suggested donation of £5 to keep the lights running.

The Blackpool Tower

If your budget is bigger and thrills are your thing, there's plenty in the tower to keep you busy. Alongside the famous ballroom, it has its own ballroom, circus, sky deck, and even The Dungeons, where you can drop into The Hangman's Tavern then laugh in the face of fear thanks to the amazing actors and audience participation.


Educational Entertainment
For fun facts and interesting exhibits, pop into the Ripley's Believe It Or Not Odditorium, which even has its own fertility statue supposedly responsible for 1000 pregnancies!

Sealife Centre Blackpool is home to many more oddities, like their big blue lobster, colour changing jellyfish, and even shovel nose sharks.

Action Entertainment

Let the fun get physical in Sandcastles Water Park, with themed rides for all the family to enjoy, including the world's longest indoor rollercoaster water slide, and even a spa area for adults to relax.

Speaking of rollercoasters, I couldn't write about Blackpool without a nod the the Pleasure Beach, home to Nickelodeon Land, The Big One, and my personal favourite: Valhalla. With a mixture of mazes, fairground rides, and thrill rides, there's something for everyone to enjoy.

Theatre Entertainment

Blackpool has two theatres, Winter Gardens Blackpool and Grand Theatre, on the same street, and between them they cover events for every taste. Both are beautiful old buildings where you can enjoy top musicals, comedians, magicians, and musicians.

For an evening with more glam and glitz, book your spot at Funny Girls, Blackpool's answer to Ru Paul's drag race! With burleseque, cabaret, and singalongs, it's easy to see why this place is so popular with hen parties.

Further Afield
From the town centre you can easily reach Stanley Park and Blackpool Zoo, or travel over to Fleetwood (Alfie Boe's hometown, dontcha know?) for the Freeport discount outlet. If the excitement gets too much, you can always swing by Lytham for a more relaxed taste of the Fylde coast.

Have you been to Blackpool?

Visiting the theatre is always a magical occasion. Meeting the characters and being whisked into their world is enchanting, but it doesn't get better than Peter Pan taking you to Neverland, as I was lucky enough to experience at Winter Gardens Blackpool.

I've grown up hearing the classic tale and seeing the animated and live action films, but seeing so many children watching wide eyed and experiencing the adventure for the first time made the evening more magical. It will be a memory that they will cherish forever, and the cast and crew guaranteed that it is a wonderful one. 

The first element that gripped my attention was the set, designed by Jessica Curtis. A huge tipi design covered the stage, drawing us in to the world of child's play and make believe, which was reinforced by a single wooden archway that the characters used to build Peter's den and Hook's ship. Even the sheets hung around the tipi had been designed to show silhouettes of the cast and puppets and serve as part of the story. The set was innovative and well thought out, and really impressed me.

 For me, the stars of the cast were not actually the starring roles, but the ensemble, who switched between staff in the Darling house, pirates, lost boys, and mermaids seamlessly. They emphasised their characters clearly enough to amuse the audience and show contrast between the roles, but did not overact, and performed each section with high energy and dedication. Gracie Lai and Lori McLare were particularly valuable members of the cast and really stood out for me.

 As the cold draws closer and the nights draw in, I find myself looking for exciting things to fill my evenings with warmth and light. Cosy nights in front of the TV are all well and good, but the theatre is even better, and Flashdance UK Tour was exactly the electric experience I needed on a stormy Autumn night.

After watching Dirty Dancing on stage I was a little apprehensive that the 80's film wouldn't translate well, but fortunately I was proven wrong, and the show had engrossing story lines, comedy characters, and cleverly designed set and lighting to ensure that none of the detail or drama was missed.

With Strictly's Joanne Clifton taking the lead, I knew that the dance routines would be incredible, but I hadn't anticipated her vocals and acting being just as powerful. She totally embodied the role of Alex, a tough street girl with big dreams, and somehow managed to bring a rough-around-the-edges vibe to her delicate and perfectly executed movements.

The male role was filled by Ben Adams, of pop group A1. His singing experience clearly came into play, and each of his songs was fantastic. His harmonies with Clifton were perfect, and the pair were able to deliver long, powerful notes just as easily as softer lines. Again, while his known talent is singing, he was certainly up to scratch acting the role of Nick Hurley, company executive by day, Alex's boyfriend by night, and his dances were just as impressive as the chorus.

The chorus had to work just as hard as the main roles in Flashdance, as they moved sets, sang, and portrayed the supporting characters. Above all, I have to give a special mention to their phenomenal dancing. There were several moments where I audibly gasped, as they lifted and leaped on stage. As you might imagine, the show had even more routines and variety than most musicals, and each one was better than the last, thanks to their impeccable timing, neat footwork, and their strength in performing individually, as couples, and as a group. In all honesty, I have heard better vocals, and did think that some of the songs needed slight improvement, but the dancing more than made up for it.

Speaking of improvement, the performers sadly faced a tough crowd. Perhaps the bad weather was to blame, but the theatre wasn't as packed as I am used to, and therefore people felt self conscious. When encouraged to clap along, I was one of only a few who did so. Nevertheless, the cast didn't let this negatively affect their performance, and seemed to come back after the interval bursting with even more energy and adrenaline. While the first half had already been wonderful, they brought even more to their performances. The kicks were even higher, the scenes were doubly passionate, and their dedication paid off. By the finale the theatre was on its feet, dancing, singing, and clapping along to the classic 80s' soundtrack. 

I cannot commend the cast enough for facing the challenge and picking the performance up. I already respected their work, but their attitude further proved their passion and highlighted how professional they are. Flashdance certainly ended on a high, and I couldn't have asked for a better show to brighten up a dark night.

*I received tickets from Winter Gardens Blackpool, where the show is running until 04 November 2017, in exchange for an honest review. For more details, see my disclaimer.

I have a very clear memory from when I was around 4 years old. I used to have my own little table and chair set, and I was sat at it on a Saturday night. We'd had a Chinese takeaway and I was eating my favourite sweets, Polo Gummies. Blind Date was on the telly, and a Scouse lady with a big smile was hosting it.

Little did I know that the lady was Cilla Black, star of the sixties and Liverpool's leading lady. It was only after her passing, when ITV's Cilla hit our screens, that I realised she had even been a singer at all! The series was hugely popular and inspired Cilla The Musical, which I went along to watch at Winter Gardens Blackpool*.

Photo: Matt Martin

I particularly liked that Hayworth did not emulate Cilla completely. She was not a tribute act, she brought her own incredible, unique voice to the character, and it was so different to other musicals I have seen and enjoyed. Rather than singing sweetly, Hayworth boomed out powerful notes and runs, bringing a real rock and roll sound to the show.

Photo: Matt Martin

Cilla The Musical is practically half theatre show, half gig, with so many songs of the era being performed. The Beatles were a huge feature, and the actors illustrating the band had obviously studied footage to perfectly mimic the facial expressions and mannerisms. Whether you are a fan of Cilla, grew up in the era, or just love the songs, I think you would really enjoy the show. Every performance had equal attention to detail and it truly did feel like stepping back in time and watching Paul McCartney and co pull the audiences at The Cavern.

Personally, I'm not mad for the era, and I was more interested in the love story that ran alongside the rises and falls of Cilla's success. The man who was there through it all was Bobby Willis, portrayed by Carl Au. I was so impressed by the way both he and Hayworth developed their characters and their relationship throughout the show. From a boy full of enthusiasm and stubborn determination, to a man visibly carrying the weight of the world, Au took us through every emotion. We almost watched through his eyes as he saw Cilla go from strength to strength, while their relationship weakened, and he commanded empathy from the audience.

Photo: Matt Martin

I really appreciated the way that the focus was not solely on Cilla in the show, and the stage was shared by The Beatles and Bobby- both as her boyfriend, and as a singer in his own right. It was representative of how she felt that Brian Epstein, the manager, had been treating her, and yet it became clear that she was the leading lady of his life. I'm not sure I agree with the show bringing to light personal details of him, as it left me with the impression of a very sad and lonely man, rather than a powerful media manager. Nevertheless, Andrew Lancel illustrated both sides with skill, changing from a confident stride to closed body language and short, sharp movements and speech. The contrast worked very well to warm the audience to Epstein and when the businesslike illusion was shattered, we saw that he was much more than a manager, he deeply cared for Cilla and Bobby. 

While the show did not hold back from tender moments and twists of tragedy like the deaths of Bobby's father and Epstein, the creative team had also woven in witty one liners and comic characters, including Cilla's parents, played by Pauline Fleming and Neil MacDonald. A formidable father figure, MacDonald delivered deadpan lines with perfect timing to cut the tension and provide comic relief, ensuring that the show never felt flat.

The musical ended rather strangely, with Twist And Shout seeing the audience on their feet and dancing along with the cast, but followed by a slow melody. Hayworth seemed genuinely touched by the applause, and told us to listen to the lyrics as she used her beautiful voice one last time to tell us, as Cilla, that the audience were the motivation and the reward. Whilst it broke with tradition to end on such a number, it was lovely, and I'm sure a few tears were shed in the audience. 

*Winter Gardens Blackpool kindly provided my tickets in exchange for an honest review. You can learn more in my disclaimer.

I stepped into the Winter Gardens* knowing only that Cabaret was set in 1930s Berlin, and despite that information, I assumed it would be your regular musical- upbeat songs, sharp dance routines, and a character overcoming a struggle.

Right from the start, I had an inkling that I would be wrong. Having studied Brecht at college, I recognised his style immediately. The costumes were minimal, the set industrial, and only minor changes were made to either throughout. Brecht's plays were intended to distance the audience and have them watch as critical observers rather than become emotionally drawn in, and the bare set reflected that. It also meant that the actors had nothing to hide behind and had to deliver bold, outrageous performances, which they certainly did.

Will Young took the role of Emcee, a character who switches between jolly and devious quicker than you can say 'cabaret'. The narrator of the show, Emcee is not a character you can trust or relate to, and Young played him perfectly. The subtlest of gestures or expressions would sharply divert him from one extreme to another, while his sweet singing voice during his solos added yet more contrast. It was very easy to see why Young had been nominated for an Olivier award for this role.

The other big name in the show was Louise Redknapp, who embodied the glamorous yet troubled Sally Bowles. My first impression was not good; I thought she was exaggerating her movements and speech, but on reflection I did see that she was channelling Brecht and using techniques to distance the audience from the character rather than believe and empathise. 

Following their adventures and antics, it was easy to believe that everything was rosy, and forget that the story was set in 1930s Berlin. The scene before the interval quickly shattered the illusion, with Emcee pulling the strings as the dancers performed a puppet dance in which they pointed guns at the audience and Emcee became Hitler. I saw the show soon after the Vegas shooting, and I felt incredibly uncomfortable watching the scene. Brecht wanted to portray messages that would encourage the audience to think about their own lives, and this was certainly achieved. Initially I felt fear, then angry when I realised that the themes are still relevant today, with terrorism, dictatorship, and even Nazis hitting our headlines regularly.

The scene certainly set the tone for the following half, where we saw the start of the end through the lives of the characters. Whereas most musicals depict romance prevailing over all, relationships broke down under pressure from the rising Nazi regime, with both Sally and Fraulein Schneider, the landlady, making the difficult choice to stay safe and alive rather than risk resisting. 

The dancers' spirits were broken, too. Throughout the performance, they had been full of vibrancy and life, sass and attitude, not just accessorising the main characters but commanding even more attention with the precision of their routines. The show culminated in a harrowing scene that truly illustrated how the Nazis stole all hope and joy, extinguished even the strongest and brightest fire. Silence fell and discomfort rippled against the audience. The Nazi leader knocked down heavy letters spelling out 'Kabaret', and the echo that rang around the room intensified the unease. The dancers stripped, turned to the back to become faceless, nothing, to the leader, and each one whispered 'shhhhh', symbolising the showers in the concentration camps, and, on a deeper level, the silencing of the millions killed under the regime. 

As I said, Brecht did not want the audience to become involved. The minimal props and theatrical effects should have made me observe, and the distancing effects such as the silence and juxtaposition were intended to distance me, but during those final moments I could not help but break down in tears. I left the theatre sobbing and totally shaken, furious that such events had truly unfolded, livid that their ghosts are stirring in the world today. It was one of the most powerful, effective pieces I have seen. It is incredible that this awkward, disjointed show and slippery characters came together to hit me so hard, and it was truly special to see Brechtian theatre done so perfectly.

*Winter Gardens Blackpool kindly supplied tickets in exchange for an honest review. See my disclaimer for more.

Call me Amy Winehouse, because I went back to Black(pool)'s Winter Gardens to take in another spectacular show this week. I'd previously been lucky enough to review Sister Act and Dirty Dancing, and once again, the staff and venue made me feel so welcome and showcased proper Northern hospitality. 

I was particularly excited to see Hairspray UK Tour, as I love the film and saw the musical tour once before. On the surface it's the cheesiest musical around, with bright colours, big hits, and toe tapping routines, but scratch it and you'll find stories about achieving dreams and overcoming obstacles along the way. If you've seen and loved the film, you'll enjoy the tour even more, as it offers songs and scenes that aren't in the motion picture.

The main character, Tracy Turnblad, is a girl with big hair and even bigger dreams, and she won't let anything stop her achieving them. It's impossible not to be swept up in her determination, as her fellow characters find. I was amazed to read that Rebecca Mendoza was playing Tracy as her first professional role, as she embodied the character wonderfully, and brought a cheeky attitude, a tonne of strength, and a voice that gave me chills. There are some big numbers in Hairspray, and the cast was perfectly chosen to fulfil them. Alongside Mendoza, Brenda Edwards shone as Motormouth Maybelle, and Gina Murray played an outstanding Velma von Tussle. Their solos were utterly brilliant, and held the whole audience completely captivated.

The men of the hour didn't disappoint either, and matched the ladies in energy and talent. There were some big boots for Daniel Clift to fill as he stepped into the role of Link, who was played by Zac Efron in the film, but Clift had them overflowing on the night! Rather than being a heroic, macho male love interest, Link is actually led by Tracy, which is a refreshing change, and the chemistry the actors forged was both exciting and endearing. 

Corny Collins, played by Ben Darcy, had some dry, witty lines, and the comedy was most definitely continued by Norman Pace and Matt Rixon as Tracy's parents. One scene in particular had us laughing so much that they couldn't help themselves and joined in for a quick giggle before snapping right back into character and illustrating a loving, supportive relationship, both as a couple and as parents. Some of their jokes were a little cheeky, but the audience loved it, and the lines helped to make it a musical that all ages will enjoy.

I've sometimes found that actors of colour can wrongly be relegated to the background and only cast for gospel style singing, but in keeping with the tale of Hairspray, the actors in this performance were here to shine, with Layton Williams and Monifa James sparkling as Seaweed and Inez, siblings with a dream to be seen on the Corny Collins show every day. Williams hails from the North West, which made me all the more proud to see him bringing smooth lines and sharp acrobatics to the Blackpool stage.

Speaking of sparkling, I adored the stunning sixties style costumes. The main cast wore bright dresses and suits, and The Dynamites were dressed in the most beautiful rainbow gowns, made from pieces of iridescent fabric to beam and twinkle under the technicolour lighting. Without a doubt, they were one of the most fabulous pieces of costume I've ever seen.

The costumes worked so well with the incredible dance routines in the performance, twirling and glittering with every move, and every cast member brought the same high energy and enthusiasm to their last step as their first. Throughout the show they truly gave it their all, and this wasn't missed by the audience. Sadly a lot of people sat through it without so much as clapping the beat, but those of us who did get involved made up for it- one man even had a dance routine, and another threw a bouquet of roses! It might not be for everyone, but for me, Hairspray is a show that calls you to shed your inhibitions and join in the fun, and this cast were too infectious for me to resist.

Try as I may to do justice to this incredible performance, the real testimony came when my mum, who hates musicals (I know), turned to me in the interval and said "I love it. I absolutely love it.". She even sang and danced with the best of them! I really would urge anyone to go and see the show. Between the actors, the script, the set, and the live musicians, there isn't a dull moment, and the whole family will leave with a lighter heart and a bigger smile.

Tickets were kindly provided by Winter Gardens Blackpool in exchange for review. All opinions are my own, please read my disclaimer for more.

When I was in high school and college, I was lucky enough to attend lots of theatre trips in different venues around Manchester. Having visited Winter Gardens Blackpool twice now, I can vouch that none of them can hold a candle to it. The main entrance hall is open and airy, lit with colourful lamps and pillars. Leading off you can find a glassy, modern bar, an art deco coffee shop, a wooden chalet style pub, and a tiled, mirrored room with the glass dome sitting atop it. They even have their own burger restaurant! Visiting the theatre is an exciting occasion, and I firmly believe that the setting of Blackpool Winter Gardens makes it even more so, as they have catered to all tastes to create a welcoming environment that perfectly marries modern touches with classic style.

Full cast. Photo: Alastair Muir.

Danielle Pobega and Michael Kent. Photo: Alastair Muir.

Lewis Griffiths, and Carlie Milner as Penny, with dancers. Photo: Alastair Muir.

Call me crazy, but I don't like watching films. There are a few I can watch on repeat, Sister Act being one of them. I've always loved the catchy songs and Whoopi Goldberg's witty performance as the delightful Deloris Van Cartier, so when I was invited along to watch the musical tour at Blackpool Winter Gardens, I felt a strange mixture of excitement, and concern that it wouldn't quite live up to my beloved film. 

However, all my prayers were answered, and after the first 5 minutes any concern I had was replaced by a bigger worry- trying to stop myself from jumping up and dancing in the aisles! I was completely captivated, and watched the whole show in wide eyed wonder. 

Credit: Jay Brooks

A particularly wonderful part of the performance was the star, Alexandra Burke. I knew she could belt out the hits, but I had a whisper of doubt that her acting would not be as powerful. Well, she gave me a lesson straight from the Book of Revelation, and absolutely shone as a divine Deloris. She brought all of the sass, confidence, and wit that I loved from Whoopi's portrayal, and if anything, notched them up to an even higher level to bring her own brand of fun to the famous nun!

The rest of the cast did not disappoint. You may have heard of a triple threat- someone who can act, sing, and dance, but this cast even included some members who played instruments on top of it all. It was so impressive, and added an interesting element which I hadn't seen in shows before. Every member of the cast oozed talent, and truly appeared to enjoy it as much as the audience. The sisters had us in stitches, and I could easily imagine them laughing their way through rehearsals- especially with Susannah van den Berg stepping into the role of the hilarious Sister Mary Patrick so perfectly.

Spoiler alert! The show did vary from the film, introducing deeper story lines, some new comic characters and a love interest for Deloris in the form of Sweaty Eddie, portrayed by Joe Vetch. His performance was beyond brilliant, as he took Eddie from zero to hero with a stunning solo and dazzling dance moves along the way. I particularly loved that the male romance didn't become the sole saviour, and instead they helped one another equally, which is much more fitting for a diva like Deloris.

While the actors and musicians on stage were simply sublime, they couldn't have done it without choreography and direction from Craig Revel Horwood. He may be Strictly's bad guy, but his industry experience played an important part in making Sister Act so phenomenal, as did Glenn Slater's lyrics, and music from Alan Menken. He is the genius behind Tangled and The Little Mermaid, and he certainly sprinkled his magic on this show, too. Each song gave me goosebumps, and worked in perfect harmony with the performers' voices to get them raising the roof of Blackpool Winter Gardens. 

I truly hope that my review can do Sister Act justice. I was so honoured to be invited, and utterly blown away by every aspect of the show. It was one of the best nights of my life, and it's safe to say that the rest of the audience felt the same way, as we all rose during the finale to give the cast and crew a well deserved standing ovation. I thought it would be unequal to the film and I was right- it was so much better.

I owe the experience to Blackpool Winter Gardens, who kindly provided my tickets in exchange for review. The theatre itself is simply stunning, and helped to make the evening so special.