A viral video showing two audience members being removed from a musical in Manchester by security has prompted a wider discussion on theatre etiquette.
The Bodyguard is the latest musical to captivate and entertain audiences in Manchester.
Based on the beloved 1992 film of the same name starring Whitney Houston and Kevin Costner, the stage musical adaptation that’s currently here at Manchester’s Palace Theatre until Saturday 15 April is already an award-winning smash hit international production, and is lead by former Pussycat Doll Melody Thornton and soap actor Ayden Callaghan.
The show tells the story of Secret Service agent turned bodyguard, Frank Farmer, who is hired to protect superstar Rachel Marron from an unknown stalker.
Just like the film, the stage production is known for its music – with a score featuring some of Whitney Houston’s most iconic songs, including ‘One Moment in Time’, ‘I Wanna Dance with Somebody’, and, of course, ‘I Will Always Love You’.
But as the musical’s massively talented cast attempt to do Houston’s hits justice each night, they ask that the audience “please refrain from singing along” while they do so.
Two “rowdy” audience members in Manchester didn’t appear to get the memo last week though.
After the duo were said to have been “singing over the lead during the final song” and were asked to stop by staff, Greater Manchester Police (GMP) were called to reports of a “disturbance” the Palace Theatre and removed the audience members from the venue.
A video showing the moment they were removed from the crowd by security has gone viral and has been widely-shared across social media over the last few days.
The Palace Theatre said in a statement after the incident that it was “disappointed” the show had to be halted and the last 10 minutes needed to be cancelled due to “disruptive customers refusing to stay seated and spoiling the performance for others”.
The incident has prompted a widespread discussion on theatre etiquette – with the topic debated on ITV‘s This Morning and Good Morning Britain, and on BBC News.
Hundreds have also been sharing their takes on social media.
While reaction has been fairly mixed, with some having chosen to make light of the situation, and others saying they would be “devastated” at the thought of not being able to sing along with the hugely-popular hits that usually fill musicals’ scores, others have shared their disappointment in the situation.
Some have also pointed out that The Bodyguard isn’t unique in its request to ask that audiences “refrain from singing along”, and that this has been common theatre knowledge for quite a while, with several other shows also asking the same.
Others who have either worked front of house or in theatre settings have also shared their experiences and opinions on the matter.
Famous names from the world of musical theatre and wider entertainment industry are also among those sending their support to The Bodyguard’s cast and crew.
Acress Hayley Tamaddon said on Twitter: “I truly feel for the cast of The Bodyguard. Do you know how hard it is to sing songs like that 8 shows a week?! I don’t understand how people can be so disrespectful. There are plenty of karaoke bars or “sing- a- long” shows. go there instead.”
Etiquette consultant and society commentators William Hanson added on Twitter: “Where does one begin with this? When people have paid (a lot of) money to see the lead in ‘The Bodyguard’ musical do her thing, it’s because they want to hear *her* sing ‘How Will I Know’, not Debbie from Macclesfield.
The Bodyguard’s leads Melody Thornton and Ayden Callaghan both spoke out after the incident, thanking fans and audience members who “respect the people on stage who want to give you a beautiful show”.
Thornton said in a video message shared to Twitter that it felt “awful” to have to cancel the last 10 minutes, and that she “fought really hard” to keep the show going, but that the situation was out of their hands.
“I thank everyone who was respectful of the performers, and am very very sorry for those who weren’t,” she added.
Prior to the incident in Manchester, Ayden Callaghan first gave his take in response to the topic being discussed on This Morning, explaining: “It’s not karaoke, we want people to enjoy themselves, and enjoy the performances they have paid to see. You don’t expect to go and have a kick about at Anfield when watching or a few rallies at Wimbledon as well as spectating.
“Respect the performers and fellow audience. Simple.”
He then followed up on this following the Manchester show, adding: “Theatre pulled the show at the end tonight because of disgusting behaviour. We wanted to carry on but it had become a major incident. I’m really sorry to what was 99.9% a brilliant audience that a few badly behaved individuals ruined it.”
A spokesperson for the Palace Theatre confirmed that future performances of The Bodyguard would “continue as planned” in Manchester right up until it closes this Saturday.
But the theatre has asked that customers are “considerate” towards the cast, fellow audience members, and theatre team so that “everyone can enjoy the wonderful entertainment on stage”.
Featured Image – ATG Tickets
Theatre
Joseph and the Amazing Technicolor Dreamcoat – a masterclass in comedy, colour and movement
Danny Jones
To start with, we’re going to begin this review by advocating for going into stage shows with as little knowledge as possible because it only dials up the already exaggerated nature even further – we knew next to nothing about Joseph and the Amazing Technicolor Dreamcoat before seeing it in Manchester.
And we truly think it helped.
Now, when we say nothing, we’ve obviously heard the title plenty of times over the years as it remains one of the most celebrated musical productions on the planet, and you don’t need to be an avid theatre buff to know who Andrew Lloyd Webber is. The point being is that all we knew was its reputation.
Going along with a second party several decades older than us who shared the same blindspot and just never quite understood what all the fuss was about makes the next part even funnier: we both loved it.
Colour, colour and more colour.Some impressive yet superbly simple production value.Our review of Joseph and the Amazing Technicolor Dreamcoat at the Opera House in Manchester. (Credit: Press Tristram Kenton)
We’re not going to dive too heavily into the story as we’re sure plenty of you who are more well-versed in the genre don’t need a synopsis regurgitating for the umpteenth time, but what we will say is that we’re somewhat glad we weren’t aware of its religious themes and numerous biblical references.
Not because we have any particular issue with Christianity nor adapting stories within theologies to turn them into entertainment, but because as atheists we probably would have been less keen to choose this particular text over another.
However, this is why we’re thankful for going in blind as we fear many others have missed out on this long-standing vibrant, energetic, all-singing, all-dancing twist on the tale of Genesis for decades simply due to being non-believers/agnostic.
That being said, we can confidently assure you that not only can you put your thoughts on faith to one side for the duration of the performance but, for us at least, it felt like it was more of an undercurrent than anything else and had little bearing on what a truly joyful evening for all ages.
You also get hand-held through it through the eyes of the children being retold the story right in front of you by the expert narrator, Christina Bianco, whose interventions and comic timing were lethal on a crowd already easily cracked up by a punchline or two – but she had the best of the lot.
Where else to begin than with Joseph himself, played by Adam Filipe, who although we’ll admit to being layman on the subject until last night, feels almost born to play the role.
Not only did he bring respite to an otherwise frenetic (in the best way possible) onslaught of singing with his ability to deliver certain lines as nothing more than perfectly enunciated and emotional speech, but his voice was on point throughout and the way he made full use of the stage from the start was great.
One particularly immature slide up the curved wall of the set in the opening five minutes and we knew all we needed to know about not just movement but the rest of the cast too; pretty much non-stop movement and expression virtually at all times.
The dancing – particularly a rather hilarious ‘can-can’ confusion – was top-notch throughout and no matter which bright, flowing costume he or the ensemble was wearing during a specific number, they all looked the part and didn’t put a foot out of place.
Even a more serious interlude was welcome.We’d have loved more yellow-forward moment and backdrops in the palette but that’s just us being picky…Credit: Press Images
But much to our delight, there really wasn’t one standout performance that stood head and shoulders above the rest, simply because they were all brilliant.
Whether it was the Jacobs and Sons company of brothers bringing both melodrama and some comic relief, or the score of female dancers delivering an elegance and added level of pageantry to proceedings, they all played their part.
However, every time one or more of the kids took to the stage a show-stealing moment was ripe for the picking and they all seized their opportunity, be it in unison or in the select few solo moments in the spotlight. An audience is always going to get up for youngsters shining front and centre.
But, we suppose if we absolutely had to give another special mention to another member of the production and single them out, there’s only one person it could be…
Having previously played the lead role back in 2016 following his X-Factor success, Joe McElderry returns to Joseph and the Amazing Technicolor Dreamcoat and the Manc crowd in the role of the Pharoah and boy was he good having passed the baton and shifted gears. So good and so funny.
As well as an expert command of light, colour and choreography, the one thing we were surprised by was just how well-placed the comedy was throughout.
Not too much, not too little and nothing too contrived – a hard balance to strike and one that helps ease in those rare typically theatre-goers prone to a touch of cringe.
All in all, we sincerely urge you to go and see this show for yourselves, especially if you’re like us and have never given it a chance before. You won’t regret it.
Joseph and the Amazing Technicolor Dreamcoat is on in Manchester until Sunday, 9 March. You can still grab tickets HERE.
In case you were wondering who stole the show in @JosephMusical at the @PalaceAndOpera, they all did… but we'll admit the Pharoah is a bit of a legend. 😅👏
Hit theatre production set at a house party to visit Manchester on UK tour
Daisy Jackson
Alright then, 24 hour party people, we’ve found a theatre production you might like the sound of – it’s called The House Party, and it’s set in (you guessed it) a house party.
This smash hit production by pioneering theatre company Headlong is set to land at HOME in March as part of the arts venue’s 2025 theatre season.
It tells the tale of a wild 18th birthday party, where Christine is trying to pick up the pieces of her best friend, a newly-dumped Julie (who happens to be the birthday girl).
Themes of class, power and privilege are all explored with a raw intensity as the cast on stage plough through shots and dive head-first into a night that will change everything they know.
The House Party, which has received glowing reviews from previous showings, is filled with ‘privilege, desire and destruction’.
When it stops off in Manchester, its cast will include Bridgerton’s Sesley Hope as Christine, Synnøve Karlsen (Miss Austen, Last Night in Soho) as Julie, and Tom Lewis (Gentleman Jack, Patience) as Jon.
The ensemble of Frantic Assembly performers includes Ines Aresti, Oliver Baines, Cal Connor, Micah Corbin-Powell, Rachael Leonce, Jaheem Pinder and Jamie Randall.
The House Party is written by Laura Lomas and is a reimagining of August Strindberg’s Miss Julie for today’s generation.
It’s directed by Headlong’s artistic director Holly Race Roughan, who directed the Royal Shakespeare Company’s world premiere of David Edgar’s major new political play The New Real.
The House Party. Credit: Ikin YumThe production will be at HOME. Credit: Supplied
Movement direction will come from Frantic Assembly’s Scott Graham.
Prior to the UK tour of The House Party, Headlong celebrated its 50 year anniversary, including the hit production of A Raisin in the Sun which played nationwide.
The House Party will be at HOME in Manchester between 25 and 29 March, 2025 – you can get your tickets HERE.
Emily Sergeant -
10th April 2023 
