As the audience files into the theatre, we’re treated to instrumental versions of hits from the 60s, befitting the setting of tonight’s show.  Looking around me, it’s safe to say that the majority of the audience don’t need to read the programme to learn about the British pop scene of 1962-3 – they’d lived it, and loved it, and were here to have a good time.

Produced and directed by the prolific Bill Kenwright, this sequel picks up where Dreamboats and Petticoats left off.  The show opens with the Joe Brown hit Picture of You, which unfortunately lacked the energy and pizazz I would expect from the opener of a musical showcasing the toe-tapping pop of the 1960s. Then we are re-introduced to Bobby (a fresh-faced Alex Beaumont) and Laura (the beautiful Elizabeth Carter), who have had a ‘fluke’ of a number one hit, and are desperately trying to hang onto their fame, while also trying to hang on to each other.  And so we are drawn into a rather thin, contrived story that seems to have been written to fit the songs around.  There are a few laughs along the way, quips and one-liners that hark back to a more innocent time and may seem slightly dated to the younger members of the audience, but were lapped up in the main part.  That is not to say I didn’t enjoy it - the story is not the key here – it’s the music the audience have come to enjoy, and we weren’t disappointed.

The music is played live on-stage throughout, and brilliantly so.  The stand-out musicians for me were Chloe Edwards-Wood and Charlotte Peak, on tenor sax and bass sax, respectively. Every time they strutted sassily on stage carrying these enormous instruments, I was amazed at their ability to dance, act and play the sax, and make it look completely effortless and fun.  Indeed, the entire cast seem to be having a good time, with the louder, more upbeat numbers providing a shot of energy to the story.  It was the outstanding performance of Twist and Shout that really picked things up for me early on, providing a shift into the more exciting Merseybeat era, in that infamous backdrop of The Cavern. Other numbers that stood out for me were Laura’s comeback hit You Don’t Own Me, which was completely captivating, and the hypnotic a capella version of You Really Got a Hold on Me, which involved the whole company.

While I couldn’t quite get emotionally involved with Bobby and Laura’s relationship (they were just too sweet), I enjoyed the ups and downs of the feisty Donna (Anna Campkin) and Ray (David Luke) and Norman (Ross William Wild) and Sue (Louise Olley).  They provided a little conflict to help move the story along, and make the show about more than just the songs. All of the performers were note perfect, and threw themselves into the performance.  My toes were a-tapping constantly and I was itching to get up and dance, but it seems the British conservatism won out on that front, and unfortunately there was no dancing in the aisles at this performance, despite the fact that it was clear the audience were having a grand old time.