30/12/25

Royal Exchange Theatre, Manchester

It’s Philip’s birthday, and his lovely daughter and her husband have treated us to a night out at our favourite theatre. We were press-night regulars at Manchester’s Royal Exchange before we relocated to Edinburgh a decade ago, and we’ve never lost our love for the alien-like glass pod, squatting improbably amid the opulence of the old corn exchange. But we’re here for more than just the bricks and mortar, of course, and director Raz Shaw’s revival of Singin’ in the Rain offers a whole lot of nostalgic fun – as well as another chance to see the venue’s well-used water feature in action.

The show’s lead, Louis Gaunt, is off sick tonight, so understudy Adam Davidson steps into Don Lockwood’s black and white Gatsby brogues, impressing with his slick performance of this incredibly demanding role. He and Danny Collins (as Cosmo Brown) make a formidable duo, hoofing up a storm and delighting the audience with their dance moves.

Laura Baldwin plays Lockwood’s silent movie co-star, Lina Lamont, who refuses to accept two major facts: she doesn’t have the requisite talent to succeed in the newfangled ‘talkies’ and her engagement to Don is just a PR stunt. Baldwin nails the character of the petulant diva, imbuing Lina with just enough vulnerability to make us sympathise with her, despite her cruelty and hubris. Meanwhile, Carly Mercedes Dyer dazzles as Lina’s nemesis, Kathy Seldon, who is not only an accomplished singer and actor, but also Don’s true love. Dyer’s vocals are soaringly beautiful, making it easy to believe that studio boss RF Simpson (Julius D’Silva) wants to hire her, even if it means betraying Lina, his most bankable star.

The movie clips are cleverly staged, designer Richard Kent perfectly utilising the in-the-round performance space to suggest the rotating of the cinema reels. Captions are projected onto semi-circular boards framed with vanity lights, while Alistair David’s exuberant choreography reinforces the circularity. The use of blackouts and freeze-frames is wonderfully comic: this is a very playful musical, gently satirising not only the characters but also the theatrical conventions they employ.

It’s no mean feat to take a well-loved classic and render it so fresh and appealing. But Shaw’s sprightly production manages to do just that, allowing each of the big numbers (by Nacio Herb Brown and Arthur Freedby) enough space to shine. My only slight criticism comes courtesy of Betty Comden and Adolph Green’s original screenplay: I think the Broadway Ballet sequence at the start of the second act is far too long. Although the dancing is magnificent, I can’t help feeling it interrupts the narrative, akin to a self-indulgent drum solo in a live performance of a song. That niggle aside, I have nothing but praise for this sparkling show. Collin’s rendition of Make ‘Em Laugh is comic perfection, while the titular number is a vibrant spectacle. But be warned: if you’re in the first two rows, you’re really gonna feel the effects of that infamous water feature…

We couldn’t have asked for a better way to see out 2025. Happy New Year!

5 stars

Susan Singfield