The Spy Who Came in from the Cold scratches far beneath the surface to recall the dark realities of the Cold War whilst delivering its modern reframe to the Lowry audience. As agent Alec Leamas is dragged into a British Intelligence (MI6) operation alongside compromised officers and cover-ups that he must unmask. Ralf Little (Death in Paradise, The Royal Family) takes the lead as the cynical, outsider Leamas, who poses as a defector with a plan to take down East German spymaster, Hans-Dieter Mundt (Peter Losasso). Unfortunately, Leamas soon finds he is a small fish in a big pond, with his own agency using him as bait. Creator, John le Carré’s flaunts the moral ambiguities and betrayals of our betters at the Circus, bringing to light the psychological warfare coming from both sides of the Iron Curtain. le Carré’s 1963 tale of interrogations and secrets twists his capable characters into pawns; however, David Eldridge’s adaptation and Jeremy Herrin’s direction are fascinating to watch unfold on stage. Created in opposition to James Bond’s undercover capers, le Carré’s authentic agent carries a heavy burden of a double life, which gives Little the spotlight to lose himself in the muddy waters he helps create. Drunkenly moving from back-alley meetings to a librarian assistant with difficulty, Little’s compelling performance keeps you invested in this deceptive man, whose life is always on the line. The cross-questioning and deception of le Carré’s world of spies is built to keep a tight grip on its audience despite the fact that this solid stage adaptation unfolds with minimal flair. Presenting a divided Europe through the flags, maps and courts, The Spy Who Came in from the Cold is high in stakes and low in spectacle. Herrin’s smoky set keeps his characters isolated and overlooks our lead Leamas as he is surveilled by his bosses and rivals. However, Little and Gráinne Dromgoole (Liz Gold) bring serious emotional weight to this production as Leamas finds some solace debating and bonding with his bookish colleague whose communist sentimentality sees her sacrificing herself for the greater good of society. As the roguish Leamas is forced to confront the depths of his situation, this thought-provoking fiction delves into forgotten ideologies of both sides, with backstabbing reveals that showcase intelligence over military might. The Spy Who Came in from the Cold may not be a feel-good thriller, but this absorbing production of the former intelligence officer’s bestselling novel is rooted in the bleak realities of the spy game. Revealing a story that trusts its audience to follow its layered moves and complex characters, for a serious second act payoff. The human cost of victory is presented with shady government officials and their haunting officers who draw you deeper into their world of espionage but if there’s any justice, it won’t be the only la Carré classic we see on stage. #TheSpyWhoCameInFromTheCold #TheLowry #Manchester Tickets are available via the Lowry link

Mischief Theatre is back with their first foray into musical theatre, bringing their mixture of caricatures, comedy and blunders to create the ancient art form of acting. Thespians is a surprisingly understated play from the comedy troupe who have created the physically demanding The Comedy About a Bank Robbery and the seamless The Play That Goes Wrong. It sits closer to Grown-Ups with its down-to-earth and tampered retelling of how a group of friends fashioned an entertaining way to please The Gods and their tyrannical ruler named The Tyrant. Rhapsodes (Allie Dart) and Bard (Matt Cavendish) zhuzh up the tale of the self-loving Thespis (James Spence) and his smartass sister Poly (Claire-Marie Hall) who form an acting troupe representing the island of Ikaria in a mandatory battle of worship to end Greece’s ongoing drought. Along with their friends, the cocky Adonis (Marc Pickering) and the oracle Melampus (Ashely Tucker), the show moves between its ten-person cast, showcasing their talents through a familiar and formulaic musical soundtrack. Wicked, Chicago and Avenue Q all get a reference, and the catchy Part of the Parthenon warm-up track offers a cute retelling of the future of theatre yet to come. However, these are not all high-flying musical numbers; it's a pun-heavy production, with constant callbacks and overt references that can land a little heavy. Leaving Thespians, despite all its originality, with little new to add. It's not as punchy as The Book of Mormon and it is not as flashy as Something Rotten, but its use of theatre references and insider jokes leaves little to distinguish it from musicals that have a similar premise. Ultimately, this show could have benefited from more mayhem or playing with its own concept, but as the gods don’t intervene in mortals’ musical affairs, this show is shaped by the watered-down rehashing of the same jokes. Something Rotten’s play within a play is moulded by the character Nostradamus, who helps orchestrate a medley of all the greatest stage hits combined. Here, Old Man Tango and the underused Rhys Taylor (The Tyrant) are some of its freshest and brightest spots. Thespian’s medley of remixed Greek hits is a fun intermission treat, but overall, the show’s familiarity with overused material slows it down as it relies more on filler than original and memorable musical numbers. Its playful Eurovision tracks offer a glimpse into what could be on stage, with its fantastic cast, roleplaying through multiple characters as the story of friendship, love and self-discovery waddle on, they also double as stagehands for the clunky set. But with a live band on stage and too many characters to develop, the close HOME theatre has little space for choreography and movement. Mischief venturing out into a new format is commendable, but Thespians feels overlong and underwhelming. Unfortunately, in its current form, the show will not have the lasting influence of Mischief’s other works, as their fine-tuned comedic timing is not enough for this musical. God only knows why it is hemmed in by such static staging, why its fantastic villain is left to wilt and why there are so few hits, but it makes for a musical comedy of errors. #Thespians #MischiefTheatre HOMEmcr #Manchester Tickets are available via the HOMEmcr link

Northern Ballet are aiming to make the Lowry audience blush with the titillating reimagining of Anne Lister’s 1820-30 diary entries. Recapturing Anne’s enlightening thoughts, desires and fantasies by streamlining her five-million-word diaries into a time-jumping ballet that spotlights the most explosive moments of her adventurous life. Refusing to dilute or diminish her physical and mental prowess, the Yorkshire woman described as the “first modern lesbian” hits the stage for an ambitious retelling of a life climbing the social ranks with trips abroad, work expansions and women of status. Blending her life with Ann Walker and her relationship with Mariana Lawton, the show tells of her passionate love affairs and Britain’s first recorded lesbian wedding. Overlooking her Shibden Hall estate in Halifax, Northern Ballet’s production offers a romantic and minimalist direction of the suited, top hat and tail wearing Anne. Annabelle Lopez Ochoa’s choreography dramatises Anne’s love of work and women with stunning moves that highlight Anne’s commanding presence and precision. Gemma Coutts is enthralling to watch as Anne, building chemistry with Saeka Shirai (Mariana) in a mischievously slick scene where the two romp under the nose of her suitor. The production builds powerful solos for Coutts to showcase her ambitious and authoritarian nature, attempting to have it all with secret trysts, long-time lovers, and a ruthless approach to business. While Anne’s original diaries, parts of which were coded in Ancient Greek, were transcribed by historians and volunteers, Louise Flanagan’s costume design and Christopher Ash’s set design extend and integrate her work through intricate fashion and visuals. Using Anne’s obsessive eye for detail, her words are projected onto the Lowry floor, alongside code sprawled across the ensemble's costumes, allowing her original work to float throughout the production. Flanagan’s 1830s styling reels you into the repressed society Anne lived and the expressive world she built. The majority of the colour largely comes from the women in Anne’s life, showcasing colourful pleats and corsets, whilst the smooth-moving Anne’s playful side is revealed through the women surrounding her, encouraging more suggestive moves. Anne does not appear to be a whimsical character built for ballet, but her direct and forceful solos quickly morph into heartfelt pas de deux, all backed by an original score composed by Peter Salem. The second act brings her lover Ann Walker (Rachael Gillespie), another wealthy heiress twelve years her junior, to feature in the last leg of her short 49-year life. Breaking out of a tangled web of lovers and haters, jumping financial hurdles and overcoming barriers to be together, Northern Ballet has made light work of this remarkable woman whose words translate beautifully into dance. Anne’s relentless life of abundance has been meticulously written, but her work has proven to shape-shift into multiple genres. Northern Ballet’s production is the perfect companion piece to her work and is made richer if you are already familiar with Anne Lister’s history. For those who aren’t, this ballet will spark your intrigue into the legend of Gentleman Jack. #NorthernBallet #GentlemenJack #TheLowry #Manchester Tickets are available via the Lowry link

Your no-nonsense archaeologist is back at the Bridgewater Hall with a live orchestra to recount the classic tale of a religious relic, a pit of snakes and the Nazis’ plan for world domination. If you ever needed an incentive to dust of an antique, the 1981 four-time Academy Award-winning classic, teamed with a live rendition of John Williams’ Grammy Award-winning score, makes Indiana Jones in Concert an irresistibly epic experience. Driven by the brilliant Dr Henry Walton Jones (Harrison Ford), this 1930s adventure follows the professor as he searches for the Lost Ark of the Covenant, whilst being pursued by some unscrupulous characters. With screenwriter Lawrence Kasdan constantly placing Indy in the path of danger, the 007 of archaeology is helped by his daring ex-girlfriend, Marion Ravenwood (Karen Allen), and his loyal friend Sallah (John Rhys-Davies). Director Steven Spielberg’s Herculean fantasy is given the respect it deserves, projected above the orchestra on a cinema-size screen, ensuring all levels of the Bridgewater Hall audience have a clear view of the film. Indy, named after his creator, George Lucas’s family dog, sets the action in motion, thrusting audiences back into his action-packed world, punctuated by the elegance of the orchestra that synchronises with the score. Giving the world-famous theme a powerful upgrade and cued up to match every comic beat, chase scene and even the end credits, this immersive production is a perfect concert film. Raiders of the Lost Ark may be the first of its timeless five-film franchise worthy of repeat viewing, but the fusion of live orchestration and a critically acclaimed film makes these concerts must-see events. Adding a twist to the nostalgic movie night, these cosy theatre re-releases are a fantastic way to whip audiences back into live music as they cater to the entire family. Fedoras are optional, but longtime fans and the next generation can be introduced and reacquainted with Jones’s instantly recognisable score delivered by the UK’s finest musicians. With A Muppets Christmas Carol currently staking its claim at the Bridgewater Hall each Christmas, these shows offer a legacy for not only Indy, but the lasting classics that truly deserve a revival. ###IndianaJones #InConcert #BridgewaterHall #Manchester Tickets are available via the BridgewaterHall link

Waxing on a thick layer of 80s nostalgia, Karate Kid the Musical offers a questionable balance of slow-motion karate and drawn-out pacing. Based on writer Robert Mark Karen’s 1984 film, the story follows New Jersey native Daniel LaRusso as he and his mum relocate for her new career selling newfangled computers. After swiftly making enemies with the karate dojo, Cobra Kai, Daniel (Gino Ochello) is forced to defend himself if he wants a shot at dating a Cobra’s ex-girlfriend or if he wishes to walk the streets in peace. With the help of his apartment’s maintenance man, Mr. Miyagi (Adrian Pang), Daniel is offered the training required to enter a local karate tournament to put some respect on his name and square up against his rival. The Palace theatre’s broad stage is put to poor use with this boxy production, making it almost impossible for end and corner seats to see the majority of the show's projections or its final fight scenes. The often blank set obscures its actors with impressive dojo shades, which light up and allow for playful, sliding door set changes, but leaves the largely empty set feeling barren. Unfortunately, the sound quality for the first three songs was too quiet to decipher any lyrics and the soundtrack soon became largely forgettable. Despite featuring all original music and lyrics from Drew Gasparini, including the show-stealing Strike First, Strike Hard. No Mercy performed by the talented and terrifying Matt Mills, there are too many ballads in this action/comedy. As the seventeen-year-old Daniel and his love interest gossip during a house party, he impresses with an insult to a guest “He hasn’t reached puberty, but he thinks he’s Casanova”. It is hard to imagine revisiting any of these songs but the saving grace for this musical is Mr. Miyagi’s excellent casting and the inclusion of what all audiences came to see, his Wax On! Wax Off! song. Pang’s straight-faced, comedic performance is true to the original, but Pang is also given some interesting moments related to his World War II history to refresh this reimagining. The choreographed karate felt slow outside of the Cobra Kai dojo, with those snakes bringing all the best moves. Without the constant threat of the Cobras the show slows down to a snail pace, taking Daniel’s mum away from her computer job to sing the heartfelt, If I Could Take His Pain Away, a sweet song that feels completely undeserved considering how little we see her character and how it is sandwiched between other ballads, including Mr. Miyagi’s WWII tragedy. Karate Kid the Musical prematurely ages itself with a cheesy, generic soundtrack and a bland Casio keyboard-backed score. Designed for centre viewing, this musical brings the worst of both worlds, adding too many forgettable songs and slow-motion choreography that will likely have audiences reaching for the original, its TV show or even the Phoenix Nights episode. #KarateKidTheMusical #PalaceTheatre #Manchester Tickets are available via the ATG link

Spotlighting their 30th anniversary with a reflective, puppet-filled caper, Theatre-Rites’ Return To the Forest is a five-piece fantasy built on collaboration and heritage. The Aviva Studios audience gets to participate in an after-hours visit to a museum of ancient masks, maps and a stolen heart, trapped in place but yearning to break free from their enclosure. As the family-friendly show unearths its five items, director Sue Buckmaster playfully crafts their journey with a multitude of designers who channel the objects’ tales through stunning puppetry, soulful music and magnetic choreography. The production draws on five adventurers set out to recapture these items, restoring and regaining their origins as they travel deeper into the forest. Despite its minimalist staging and small ensemble, this team unify and integrate into the open planned stage. Teele Uustani impressive puppetry allows her to mould herself into several figures, dropped set pieces allow the group to metamorphasise and a little assistance from its younger audience help expand the team. Building on a traditional Niger Gelede mask, reimagined by artist Bunmi Agusto and designed by Alison Duddle, the ensemble are handed the space to channel the Gelede masks ancestral spirits through Gregory Maqoma’s (The Global Playground, Manchester International Festival 2021) choreography. This beautifully collaborative piece showcases the earthy and fantastical mouldings of Theatre-Rites’s work, which moves between magic and nature. With a deceptively simple and natural coconut matted face, the group comes together in a celebration of women and balance to preserve a tradition passed down to future generations. Surrounded by the beautiful vocals of Xolisile Bongwana, the show’s blend of tradition and modernity offers a unique and hauntingly memorable style. Theatre-Rite brings a celebratory atmosphere to its show of reflection that leaves technology behind to showcase the heart of nature. With an appreciation for the simple things in life, these artists breathe new life and recognising new perspectives for these ancient objects. Alongside the meditative music from Bongwana, the calabash plant is used as a bowl, a musical instrument and originally food, to appreciate the joys and necessity of nature. While a ceremonial Ishoba stick is presented as a tool that can be used for healing and brings questions of the varied levels of protection that nature brings. This production also offers audiences a sense of wonder and play as it is partly interactive. Interactive in the sense that you will be standing and moving between two spaces. Factory International is perfect for demonstrating how uniting and responsive live theatre can be in connecting with audiences. There are no social anxiety-producing exchanges included, but like Jean Chan’s Knotted Heart, the show offers a peaceful reunion for the Aviva Studio audience to come together for an event surrounding connection, collaboration and care for the traditions that keep us grounded. Return to the Forest is a thoughtful, dreamlike production, short and sweet in its celebration that reminds us to enjoy nature and community. #ReturnToTheForest #FactoryInternational #Manchester Tickets are available via the Factory International link

Drawing inspiration from the UK’s longest-serving Labour politician’s real-life band, TONY! The Tony Blair Rock Opera looks at Blair’s youthful experience as the frontman of Ugly Rumours and reframes his tenure as Prime Minister through the surreal Harry Hill lens. The show's relentless pace touches on Blair's hippier side, his turbulent 10 years in office and his team-up with Bush on the War on Terror, as well as his successor and his marriage. Only neglecting to ruminate on the most depressing facts around Blair’s most troublesome moments in office, the production's surprisingly informative musical is a piece of pure chaotic joy that glitters over realism. Longtime collaborators Hill and composer/lyricist Steve Brown share how Blair made the move from the defunct bandleader to the Houses of Parliament in a hilarious styling of sketch comedy, stand up and singsong. The quick-moving production spews jokes in the same hybrid mash-up as Harry Hill’s TV Burp, with an experimental blend of comedy tinged with truths, but more focused on the spectacle of the events. The show's lively pace races by due to its high-spirited cast of political characters led by the fantastic Jack Whittle as Blair. Whittle’s physical comedy is surprisingly heavy for a prime minister, answering the phone with a Tyra Banks smize and dancing with everyone within his vicinity. The talented ensemble merge into multiple characters, even when only playing one person on stage, Saddam Hussein (Phil Sealey) does a terrific Groucho Marx and the multiverse approach to the show’s timeline ensures that your memory of the events shown will not align with Hill and Brown’s. With Princess Diana (Emma Jay Thomas), Osama bin Laden (Rosie Strobel) and George W. Bush (Martin Johnston) all making an appearance to entertain the Lowry audience through song, Tony! is a satire that everyone can get behind. Few props are required as the caricature-led show and the eccentric cast offer enough of a sensory overload to push this story forward. Director Peter Rowe places Tony! in the Lowry’s Quay’s theatre, with a more intimate and minimalist set lit up by the star's name above the stage. The set places a live backing band throughout the performance and its cast of multitalented singers are able to dance through life. With such a playful dissection of moments many would rather forget, Hill and Brown’s revisionist take on history doesn’t let the truth get in the way of this absurdly funny musical. TONY! The Tony Blair Rock Opera puts spin doctors to shame, creating a thoroughly entertaining night out reminiscing over Blair’s time in office and offering an inspirational and hilarious production. #Tony!TheTonyBlairRockOpera is playing at the #Lowry Tickets are available via the Lowry link

After a small fishing community on the coast of England is rocked by the news of a child dying at sea, all fingers point to the elusive Peter Grimes, who is forced to fight back a wave of accusations in Benjamin Britten’s biting 1945 opera. The Lowry audience is soaked in a tale of tragedy as director Phyllida Lloyd forms a dark and intimate portrait of Peter Grimes (John Findon), offering an insightful opera that examines empathy, ambition and mob mentality. When the reclusive outsider, Grimes and his apprentice fail to both come back from their fishing trip, Grimes is charged with the boy's murder and put on trial. Yet despite being cleared of murder, Grimes finds that the community have poisoned the well, labelling him a traitorous stranger to the village and leaving the audience to question whether or not he was actually at fault. Under the cover of community, the group strikes to hand out vigilante justice, which alongside Lloyd’s mystic set, leads to an intense and all-encompassing production, including sweeping scenes and a towering chorus. As Findon delves into vulnerable and revealing arias from Grimes’s perspective as an unwanted other, the opinionated townspeople come together to reckon with their loss as a piercing, forceful collective or in eerie communal whispers. It is clear that the town does not take well to strangers and at one point in the production, the ensemble aims their cries directly at the audience, which is hard not to take personally. The only empathy for the fisherman comes from his relationship with Ellen Orford (Natalya Romaniw), whose gentle character and thoughtful demeanour lead to her unearthing more of Grimes’s unspoken hopes and desires. Romaniw’s aria Embroidery in Childhood   allows the opera a moment of quiet reflection of a loss of innocence, with Romaniw’s lulling performance and Montagu Slater absorbing lyrics taking a step back from the drama. This production is sung in English, making it the perfect entry to Opera for newcomers. However, this ravenous tale is fuelled by raw and powerful performances that merge Findon’s simmering rage with the explosive judgement of the chorus. As both Grimes and the community feel the constant pressure of living with a perceived threat to their way of life, one side snaps under the pressure with devastating consequences. Conductor Gary Walker and the Opera North orchestra ground the piece in the environment, immediately connecting audiences to the cold, coastal and unforgiving landscape. Alongside the thunderous drums and trumpets, there is no sugar-coating Lloyd’s strikingly atmospheric and minimalist set that leaves Grimes in a cruel solitude, under blue-drenched lighting that blends the ensemble into its scenery. Lloyd keeps the ever-present threat of the chorus by having the tight-knit community emerge onstage united in crowds and forming together under a sea net as a haunting presence. Packed full of turbulent and compelling performances from the ensemble and Findon, Opera North’s Peter Grimes  allows the audience to second guess the authenticity of its protagonist, in a daring allegory around oppression and alienation. #PeterGrimes #Lowry #Manchester OperaNorth Tickets are available via the Lowry link

Opera North is bringing Wolfgang Amadeus Mozart’s cherished tale of schemes, disguises and seduction back to the Lowry. Refreshing a classic so timeless, it consistently ranks in the top 10 operas of all time, this revived rom-com remains full of surprises and irresistible charm. This intrepid new production from Opera North moves the 1786 production outside a Spanish estate and into the contemporary English country home of Count Almavivas (James Newby), who appears to be living the life of luxury with his Countess (Gabriella Reyes). Yet despite soaking up the champagne, the story indulges the audience in copious plot twists as the Count sets out to sleep with his wife’s assistant, bride-to-be, Susanna (Claire Lees). On the day of Susanna’s wedding to fiancée Figaro (Liam James Karai), Figaro also struggles to repay his debt to housekeeper Marcellina (Katherine Broderick), who has lent him money with the promise that if he can’t repay, he will have to marry her. The foundations of Figaro and Susanna’s nuptials are already on shaky grounds but as the heartbroken countess finds herself seduced by the errand boy Cherubino (Hongni Wu), the frenzied characters start leaking secrets like a sieve. Director Louisa Muller’s creative sets, filled with split scenery, shrewd props and extravagantly large backdrops are all the better for helping characters pull focus for spying, clashing, confronting and not-so-private confessions. The staging is fantastically framed for embracing Lorenzo da Ponte’s exquisite libretto as the story visually blurs the lines of class and power within its scenes. The Marriage of Figaro  is a playful production full of seduction and sabotage, but Opera North’s ensemble delivers warmth and vibrancy to Mozart’s score, keeping the choreographed chaos constantly in motion and endlessly entertaining. The live orchestra conducted by Valentina Peleggi shape the music to the mayhem, building characters through simple arias and emotional duets that result in a rollercoaster of emotions throughout this production. Claire Lees playful aria, Deh vieni, non tardar and Reyes earnest arias pull on the heartstrings and play on the touching, passionate nature of the show. Offering the women moments of comedy and vulnerability while revealing the class and power dynamics these women are in, playing in a perilous game of cat and mouse built to benefit the powerful. However, Karai’s humour shines throughout this production and Newby’s manipulative charisma is larger than the stage, setting a high bar for opera as it balances the romance and drama to deliver a timeless and compelling piece. The Marriage of Figaro  finds a sweet spot between the chaos and comedy to form an opera of irresistible charm. Opera North’s elegantly reimagined production has a cast with the chemistry to build a world teaming with energy, passion and wall-to-wall heated performances. This 240-year-old opera does not age, it evolves with the times with Muller bringing the grandeur and pace for any fan of music to join in the celebration. #TheMarriageOfFigaro #Lowry #Manchester OperaNorth Tickets are available via the Lowry link

Armed with a bed-leg, a wooden horse and a faithful servant, Don Quixote breaks out of the page to dance in the streets of Spain with the help of Birmingham Royal’s free-spirited revival. Streamlining the sprawling 1605 novel into a quirky side-quest, the ballet follows an unwanted love triangle between the charismatic Kitri (Beatrice Parma), her playful boyfriend Basilio (Enrique Belgravia Vidal) and the wealthy Gamache  (Jonathan Payn) injected into the mix by Kitri’s father. While the storyline puts The Don in a timeout, this theatrical production overflows with impressive characters, stunning choreography and beautiful set pieces that build Don Quixote  into rich and enchanting world you want to explore. After the wannabe knight, Don Quixote (Dominic Antonucci) kits himself and his trusted squire, Sancho (Alfie-Lee Hall), out for a new adventure, the two ride through Barcelona hoping to rescue Don’s imagined lover. As the large ensemble cast pantomime and pose as villagers, original choreographer Marius Petipa and revival choreographer Carlos Acosta combine forces to bring the colourful and bustling Spanish marketplace to the Lowry audience. Birmingham Royal’s production is enriched by the strong personalities of its ensemble cast, dancing in the street with performances from a group of matadors, a kidnapped Sancho and a bewitching fan dance from Kitri. Despite bringing communal festivities and a relaxed atmosphere to this fun and flirty ballet, Act One is drawn together with deceptively effortless, athletic performances. A leaping Basilio and twirling Kitri alongside the pirouettes and castanets of the side characters are all performed under The Royal Ballet Sinfonia, with original music from Ludwig Minkus that draws you into the action. After the penniless Basilio fails to convince Kitri’s father, Lorenzo  (Rory MacKay) that he and Kitri are rich in love, Lorenzo brings in a wealthy match for his daughter to marry. Forcing the couple to escape the watchful eye of her father and escape into the woods for a second act of disguises, rebellion and impressive projected set pieces. The production’s darker Act 2 delves into Don’s dream sequence, giving us a glimpse into his mind, his love and his fight for justice that leads him to confront a giant/windmill on stage. This fantastically creative revival displays all the tricks and showcases the grandeur you would expect from a Birmingham Royal production. Miguel de Cervantes  1869 classic has been reworked into an enthralling ballet production, with a finale act that blends traditional techniques with a contemporary eye for style. Acosta’s ambitious choreography brings an explosive finale that rewards Don’s journey with a plethora of showboating and tricks from the ensemble cast partnering as Kitri and Basilio’s guests. Performing a technically demanding fandango, the focused and fiery storyline ends with the guests of honour’s pas de deux that commands attention from their show-stopping chemistry and precision. Don may find himself taking a backseat in his own production, but this charming ballet is a romantic journey, in which you will want to retrace your steps. Offering audiences a fresh angle on the classic that results in a sweet and hilarious quest, Birmingham Royal’s Don Quixote  is all about glamour and valour. #BirminghamRoyalBallet #DonQuixote # TheLowry #Manchester Tickets are available via the Lowry link

Operation Mincemeat  is a masterful musical that turns a twice-adapted historical drama into a boundary-pushing, high-stakes comedy. With an unstoppable cast and pulsating pacing, this production delivers a refreshing, laugh-out-loud reimagining around the World War II book, The Man Who Never Was (1953) . Bringing a bout of espionage to the Lowry audience, Operation Mincemeat  delves into a real-life deception used by MI5. Following the discerning Charles Cholmondeley (Seán Carey) and the self-assured Ewen Montagu (Holly Sumpton), the small team of agent's hatch a plan to circulate misinformation into German hands. Taking the body of Glyndwr Michael, a homeless man planted on Spanish shores with fake documents and fabricated plans about an Allied invasion, the cast shape-shift into a multitude of roles to showcase the elaborate bluff and their precision planning. Created by the SplitLip  comedy troupe, the five members each spin their performances into a handful of roles, switching genders, accents and costumes in rapid transitions. The versatile cast are extremely impressive and the irreverent show has a waltzing pace that rarely stops for breath. Despite having the same ingredients as its 1956 and 2021 film adaptations, this character-driven story has been hilariously revamped, weaving together the bold and familiar to offer a quintessentially British operation. The devoted team, directed by Robert Hastie includes planner Hester (Christian Andrews), new recruit Jean Leslie (Charlotte Hanna-Williams) and their boss Johnny Bevan (Jamie-Rose Monk), who round out the charismatic cast with their uppity energy. The group’s vivid, fast-paced storytelling provides a genre-clashing, catchy soundtrack, which includes the plucky Making A Hero , the shenanigans of the far-right German track Das Übermensch   and the surprisingly moving love letter Dear Bill . While some songs like Das Übermensch feel  shoehorned in, the Six  and Hamilton -inspired score ensures there is something for every audience member to enjoy. The production’s 1940s setting is mostly based in the team’s MI5 London office. With a deceptively simple set that peels away to show secret panels, passages and revelations from its graph-paper patterned walls. With a few props and a portrait of Churchill moving between the scenes, this remarkable true story is left for the cast to do the heavy-lifting. The shows strongest suit is its nuanced performances that allow its cast to flow through scenes, switching gendered performances. It is extremely effective and hits on a combination of topics that layer class, war and gender into the mix quite effortlessly. The cast dial up the pacing of this production with Hanna-Williams taking on the under-appreciated women in service and Andrews stunning wit taking effect as the Bernard Spilsbury and Hester. Carey and Sumpton also play polar opposites of each other, but their precarious plans hinge on their unflappable shoulders and watching the pair clash forms much of the traditional British humour. Operation Mincemeat  is a mashup of old-school and new, focused on the weighty topic of war whilst offering a fantastic level of intimacy from its tight-knit cast and personal storytelling. The show crafts all the magic of a classic comedy and hopefully everyone can discover this unique piece of British history, given a confident and colourful spin. #OperationMincemeat # TheLowry #Manchester Tickets are available via the Lowry link

The iconic McCallister house is looking even grander projected above a live orchestra on the Bridgewater Hall stage. With the symphony performing John William’s nostalgic score, Home Alone in Concert brings the allure of live music to the perfectly crafted Christmas film. After eight-year-old Kevin McCallister’s (Macaulay Culkin) family forgets to take him on their trip to France, Kevin is forced to defend himself and his home from two fumbling burglars played by Joe Pesci (Harry) and Daniel Stern (Marv). While his four siblings, extended family and mum (Catherine O'Hara) fight to get a flight back home, Kevin’s grinchy Christmas turns into an impressive home improvement project that sees the kid make more changes than an episode of DIY SOS . Between the discombobulated break-ins, wickedly funny insults thrown at children and a hypnotic score, this much-loved Christmas classic has been blended into a new atmospheric experience. Home Alone  is flush with famous and familiar Christmas tracks and unwrapping this holiday gift with a live orchestra and choir turns Chris Columbus’s 1990 film into an irresistible revival. With Christmas fast approaching, the whimsical tracks, Somewhere in My Memory, We Wish You a Merry Christmas  and O Holy Night  make it feel like the cosiest indulgence. For anyone who keeps Home Alone  high on their Christmas film totem pole, this impeccable, supersized production is a true seasonal treat. The booby-trapped McCallister house is being brought to a new generation, as the orchestra pores over the movie and breathes new life into William’s already rich score. The warming, communal experience is clearly a family affair as the Bridgewater’s sold-out show showcases a crowd of all ages, with many dressed in a Christmas jumper for the occasion. Live film concerts don’t just frame a story alongside an orchestra, these shows celebrate the classics, delivering to boost the charm and nostalgia of a 35-year-old film that never gets old. Some things do not need to be modernised and this film’s phenomenal score, the energy of a live audience and the story of an accidentally forgotten child are key examples. #HomeAlone #Film # TheBridgewaterHall #Manchester #FilmConcertsLive Tickets for live cinema events are available through TheBridgewaterHall and Ticketmaster