Awards
Reviews
“Celebrating its 10th anniversary, Hope Mill Theatre once again proves why it’s one of the UK’s most inventive producing houses. Its latest show Mel Brooks’ Young Frankenstein, sees Nick Winston return to Hope Mill to direct this outrageously camp and unapologetically silly revival.”
THE THEATRE TALK ★★★★★
“Directed and choreographed by Nick Winston, this electrifyingly chaotic revival proves that Hope Mill can deliver blockbuster-scale spectacle within the intimacy of its beloved Ancoats venue. Bursting with laughter, heart, and just the right amount of madness, it’s the perfect way to mark a decade of outstanding storytelling from one of Manchester’s most exciting creative spaces.”
ALL ABOUT THEATRE ★★★★★
“Slick direction from Nick Winston ensures an excellent blend of sci-fi and silliness transfers from screen to stage; from flouting horror film tropes to dancing with double meanings, one scene effortlessly flows into the next as Dr Frederick and co descend into chaos. This remains both a satire of and a tribute to the cult classic.”
NORTH WEST END ★★★★★
“Director Nick Winston pulls off the impressive feat of enhancing Mel Brooks’ brilliant original script. Every element is spot on: from the loving homage to the classic Universal horror films of the ’30s and ’40s, to the absurdist humour, rapid-fire gags, and new show-stopping song-and-dance numbers.”
OPENING NIGHT ★★★★★
“There really aren't enough superlatives for this one, and that's without mentioning the lighting, set, costumes, sound effects, orchestra or video design. On the latter, stay for the credits. Yes, really.”
THEATRE REVIEWS NORTH ★★★★★
“This production of Young Frankenstein is a monstrous triumph – lovingly crafted, gloriously silly and performed with impeccable comic timing. Through thoughtful creative decisions in set design, lighting, choreography and video, the show not only honours its source but builds on it for a contemporary audience.”
ALL THAT DAZZLES ★★★★★
“Directed and choreographed by Nick Winston (with musical direction from Francesca Warren and orchestration from Charlie Ingles), the production leans into every cliché that leaves the audience belly laughing throughout; no matter how many times you hear the sound of that invisible horse. From the euphonious percussive echoes of the tap shoes reverberating around the intimate space, to the slapstick nature of the direction, this team has created a monster smash.”
STAGEY REVIEWS ★★★★★
“Directed and choreographed by Nick Winston, the precision, slickness and formidable timing of this show catapults you into a whirlwind of devilish delight, and the discombobulated chaos expertly teeters at the very edges of crazed commotion.”
MANCHESTER THEATRES.COM ★★★★★
“Easily the most entertaining aspect is the performances and enthusiasm of the cast, who bring the energy and passion of a Broadway show to the small Hope Mill stage.”
ILOVEMANCHESTER.COM
“It is a very entertaining piece of popular theatre of the highest quality, possibly having greater impact taking place just a few feet away on a small stage rather than behind a proscenium arch in a large receiving theatre.”
BRITISH THEATRE GUIDE
“Director and choreographer Nick Winston keeps the pace racing along at lightning speed, being equal parts homage to the absurd, a love letter to old Universal horror, and joyous musical chaos. The numbers, such as ‘Transylvania Mania,’ are deliriously overblown and ‘Puttin’ on the Ritz’ is like a jazz-handed fever dream halfway between Fred Astaire and a Halloween disco. The choreography is tight, the lighting gleefully gothic, and the set just camp enough to feel both spooky and splendid.”
WHATSONSTAGE ★★★★
“Those adventurous enough to stray a little from the bright lights of the city centre, prepare to be rewarded with something that far exceeds your expectations, because Nick Winston and his company have created something monstrously good.”
THE REVIEWS HUB ★★★★
“Directed and choreographed by Nick Winston the staging is effective and the choreography especially slick. In particular, the theatrical tap number in the second act, oozes comedy whilst demonstrating the talent of the ensemble.”
CURTAIN CALL ★★★★