With immense sets, intense choreography and a solid cast, Bat Out of Hell explodes onto the stage, dialling up the rock to eleven. We follow a rebellious gang called the Lost who were left frozen in time in an underground cave filled with noxious gasses that altered the gangs DNA to no longer age. The 2017 jukebox musical layers its dystopian prison plot against 70/80s hits from Jim Steinman and Meat Loaf, and while this story is exactly what you would expect from a musical pegged as a futuristic rock version of Peter Pan , it is spectacularly fun. Having first opened in Manchester, the time capsule show is back with a tour dedicated to its writer Steinman who passed away in April of this year. His long-wished-for passion project is a ball of energy and strobe lighting as its underground party production plays out hits including Two Out Of Three Ain’t Bad , I’d Do Anything For Love (But I Won’t Do That) and Dead Ringer For Love . Considering the average Meat Loaf single spans 7-8 minutes long, this production moves swiftly as it edits its popular tracks to place alongside its Peter Pan plotline. Although it is not your run of the mill, futuristic rock opera, this show falls in a similar vein to We Will Rock You (2002), scooping up lovers of rock and dystopian futures. However, Bat Out of Hell is drenched in audacious performances that embellish the familiar songs with passionate choreography and impressive visuals. The actual production gets straight to the meat and potatoes of the plot, bypassing much of the vampiresque understanding of its nightmarish new world to focus on its lead, Strat’s childlike whimsy and Glenn Adamson’s dramatic performance of the eccentric and boisterous leader of the Lost (boys). Without laying down much of the developed story, the plot is relayed almost entirely through its assortment of songs and projections which portray its leads two worlds apart. The shows direction and choreography overshadow its tale but audiences requesting a live concert of Steinman and Meat Loaf’s greatest hits will not be disappointed. When Strat falls in love with straight-talking Raven (Martha Kirby), daughter of a tyrannical ruler living in Falco towers, all rock breaks loose as he is determined to claim his love and freedom at any price. Director Jay Scheib stages the Opera House with a busy two-tiered set, placing cameras, projections and dancers on both levels to ensure that you will be entertained in any seat in the house. The show makes fantastic use of its technology, sprawling its huge cast against evolving screened images to give depth to their underground world. The musical also places a lone cameraperson to zoom in on Raven in her bedroom for an intimate, 80s style MTV performance. It's an elegiac future, but this gritty, underground gang know how to dance, high kick and mosh in heels. As invaluable lessons in life and love are performed by the Lost, the entertaining performances of its cast are combined with some kick-ass choreography and bootyful costumes. With bedazzled dresses and bralettes, leather shorts and shirtless, or very soon to be shirtless gang members that wrap up this tribute to rock with vigour. Bat Out of Hell is a full-on guilty pleasure but if you are a fan of its tracks, it is a show you do not want to see pass by in the rear-view of your Harley. BatOutOfHell OperaHouse #Manchester Tickets are available via ATG link

Priscilla Queen of the Desert the Musical has translated the 1994 film dramady to the stage, with added glitz and glamour, by paying lip-sync service to a soundtrack of timeless disco classics, while driving a positive message centred around individuality. Having first opened its stage production in 2006 in Australia, the worldwide hit has made its way to the Manchester Palace Theatre, inserting singer and Neighbours alumni Jason Donovan to revamp its newest tour as the show’s producer. The story following friends, Tick/Mitzi played by Joe McFadden ( Holby City and Casualty ), Felica/Adam (Nick Haynes) and Bernadette (Miles Western) as they aboard their rickety tour bus with a plan to take their drag show on the road. Travelling across the Australian Outback, their misadventure picks up steam with witty, back and forth banter between the bickering trio that takes the show outside the realms of a PG 13. Alongside the introduction of some memorable characters discovered along the route, the group find a few obsticles in their path. Repurposing the skills learnt from his time on Strictly Come Dancing , McFadden’s charming song and dance routines are abruptly detoured after Tick confesses, he has a wife he wishes to reconnect with on the road. Tick/Mitzi’s personal journey allows the audience to follow alongside as the story grapples with themes of identity and plays with otherness in a guideless, pigeonholing world. Accompanied by the hilarious Bernedette and the extravagant Felicia, the show replaces the beautiful Australian landscape with eye-wateringly impressive props and surrealist costumes that promise to transform the ordinary into the ultra glamourous and exceptionally glittery. Despite having won an Academy Award for the films costume design, the stage production has taken an Anything You Can Do , live theatre can do better approach; placing the majority of its budget on driving the production with ham and cheese musical performances that bring over twenty recognisable dancefloor classics and just as many incredible costume changes. The imaginative direction of Ian Talbot brings spectacular scenes of solid, pacing performances. Placing spectacle after spectacle, the talented ensemble assists in belting out the disco hits with the backing of a live band and a trio of divas. Alongside cupcakes and colossal flower crowns, the remarkable costumes rotate on and off the stage with the support of the spirited ensemble team who fuel the energetic and uplifting story. Vibrant from start to finish, the show including songs Go West , I Will Survive and Hot Stuff , staged in lavish music video formation. With a rich bounty of classic disco numbers wrapping the campy cult musical in bubbly, joyous delight, Priscilla’s light narrative travels far and fast. Its story is ultimately used to break and flex stereotypes, with its impactful narrative glowing beneath its superficial glamour, but the trio highlight the tough road behind their eccentric and fanciful lives. Unable to evade prejudice and setbacks, the story carries strong representations of the LGBT+ community, with heart-warming and entertaining performances by McFadden, Haynes and Western. Highlighting that everyone’s experiences are valid, Priscilla Queen of the Desert the Musical sets the Palace stage with a faultless and enriching revival of the timely story that continues to resonate with audiences twenty-five years after its initial release. PriscillaQueenoftheDesert PalaceTheatre #Manchester

This soulful opera surrounding father-daughter relationships, hired hitmen and curses offers a twisted morality tale not to be missed. Opening with a dejected jester at the Duke of Mantua’s glamorous gathering, Rigoletto blends its dark humour with playful visuals to bring its beautifully sculptured story to The Lowry theatre. Opera North have reimagined Giuseppe Verdi’s treasured 1832 piece under Femi Elufowoju jr’s stunning direction. Combining Elufowoju’s contemporary flair with Verdi’s painfully honest and timeless tale, Rigoletto plays out the ill-fated account of a poor servant of the Duke. Traditionally seen as disfigured due to his hunched back, Elufowoju simply chooses to to amplify the consequences of a black man who is seen a social pariah for mocking the elites. With Rigoletto’s sombre character teasingly countering his lighthearted boss, he is forced to play the part of the fool while remaining in Duke’s shadow. Inspired by Victor Hugo’s Le Roi S'amuse (The King Amuses Himself) the show swirls love and revenge within its magnetic performances to offer a relatable tale to audiences. During another one of the Duke’s lavish parties, a gatecrashing statesman places a curse on both the womanising Duke (Roman Arndt) and the unsympathetic Rigoletto (Eric Greene) when his daughter is swiftly seduced and disregarded by the nobleman. Despite initially appearing unperturbed by the action, Rigoletto finds himself tormented working for the jubilant Duke and is forced to hide a heavy secret from the man. The Duke's heartfelt declarations of love to any passing woman offer the catchiest arias of the production, allowing Arndt’s magnetic performance of La Donna È Mobile (loosely translated to Woman is Fickle) to draw the audience closer to his seedy character. On the other hand, Greene’s weighty performances balance the show, packing a weighty, emotional punch. Cloaked in formal, vibrant costumes that are inspired by traditional Nigerian attire, Verdi’s good-humoured lyrics retain the Duke’s merry atmosphere through the majority of this tragic show. Elufowoju’s production pieces together a whimsical, multicoloured and prop heavy creation that delves into Rigoletto’s enigmatic nature and the Duke’s overwhelming personality. After his daughter Gilda (Jasmine Habersham) returns from a convent and back into his care, Rigoletto chooses to lock her away from the lustful Duke to retain her innocence. But as she grows suspicious of her evasive father, who has taken his protection of her to Rumpelstiltskin level, refusing to even give her his real name, his bubble-wrapped possession is popped by the ingenious Duke disguising himself as a pauper. Despite the fact that this 190-year-old production puts women on a platter for their virtue and beauty, Opera North does reshape Gilda's cookie-cutter image, allowing Habersham a more playful performance to flirt with her mysterious midnight visitor and ride a zebra sprinkled in fairy dust. As Opera North’s dark fairytale continues to colour outside of the traditional lines, the cast's emotional outpouring of Rigoletto’s obsessive themes surrounding revenge and relaxed morals will remain an everlasting obsession with its audience in this undeniable classic. #OperaNorth Rigoletto TheLowry #Manchester Tickets are available via the Lowry link

In true Stone/Trey fashion, a musical focusing on the secretive Mormon religion, based within an exploited region of Uganda promises to be a salacious production made to produce shudders of laughter and winces of shame. Audiences walking into the Palace theatre are likely prepared for a jaw-dropping musical poking fun at the Mormon churches dedicated followers, but many will walk out true believers of Elder Cunningham's philosophy. The Book of Mormon is a sweet representation of the intense, two year sacrifice the teenage missionaries embrace as part of their duty to serve God. Glowing with positivity, it makes sure to poke fun of its founder Joseph Smith, who claims an angel descended onto him an unknown language for reading gods golden plated scripture. However, the shows other allure for theatre goers will be its spirited takedown of other popular stage musicals. Its uncomplicated message riddled with bright and bouncy tracks appears to organically emerge from honest moments that take on the oblivious humans who sit on and off the stage. Fashioned around dismantling many inconvenient truths the shows rewritten revivals of questionable classic musicals plots ensures it makes fun of all involved. Written by Trey Parker, Robert Lopez and Matt Stone, the show immerses the bubbly Mormon duo Elder Price (Robert Colvin) and Elder Cunningham (Conner Peirson) in the most taxing image of Africa ever portrayed on stage. Its production directed by Casey Nicholaw and Parker transports the Palace theatre with brown sheeted staging, dilapidated shacks and browbeaten villagers but juxtaposes this with a light history of the Mormon church and a team of missionaries who hope to gather enough baptisms to impress their leader. As the show approaches their challenge with naive optimism and harmonious choreography, the stories purposefully cringeworthy white saviour storyline shapes the tales most unscrupulous scenes and unexpected soundtrack. Mixing traditional 50’s tracks and Gene Kelly choreography with not so traditional African’s tunefully cursing out God, Price and Cunningham take audiences through a relentlessly joyful search for love and purpose. The productions superbly packed and diverse ensemble cast allows the beautiful vocals of Aviva Tulley (Nabulungi) and the hilarious Ewen Cummins (Mafala Hatimbi) to shine at the forefront with songs including Hasa Diga Eebowai (which translates to F**K You God) and Sal Tlay Ka Siti (A.K.A Salt Lake City). Despite the show creator’s history of offensive takes on topics, The Book of Mormon remains a layered and charming production and is crafted out of love. The whole new world presented to the Mormons is influenced by playful moments in classic musicals. From its Lion King send off to the morphed Joseph Smith American Moses Uganda retelling that mirrors The Small House of Uncle Thomas from The King and I . Teaming these moments with songs such as Turn It Off makes the show boundlessly entertaining on multiple levels. Around a circus of choreography that sees the Mormons literally tap dancing around serious issues, the show ensures it serves its mission of keeping its audience engaged with a modern classic that manages to fuse vintage musical appeal with a trigger warning. TheBookOfMormonUK PalaceTheatre #Manchester Tickets are available via the ATG link

The OG’s of slapstick theatre are bringing the longest-running comedy of the West End back to Manchester. Returning with the original cast from their 2012 run, the Mischief Theatre troupe are falling over themselves to remind audiences why their joyous debut show is a classic creation worthy of multiple viewings. The precarious storyline follows the Cornley Polytechnic Drama Society as they attempt to showcase their latest 1920s mystery, The Murder at Haversham Manor . The show's light-hearted take on Agatha Christie’s The Mousetrap recalibrates the plot with the team’s own chaotic comedy stylings that play out two hours of punchlines and pain. However, so much layered detail goes into this delightfully exaggerated production to keep the show moving swiftly along its tumultuous path. Alongside its classic period costumes, the phenomenal set design of Nigel Hook brings the surreal comedy to life with its collapsable set that wields its own comedy power among the Opera House audience. The energy from the whip-smart Mischief group brings together this infectious comedy with charming performances choreographed to perfection. As the production combines tributes to the greats like Chaplin, Keaton and the underrated Mr. Bean, the troupe’s modern spin brings about perilous stunts and pratfalls that are clearly dangerous for members of its cast to perform. Every member of the group is given plenty of opportunities to be harmed in Haversham Manor, but Jonathan Harris’s Spiderman agility and pratfalls bring the drama between the terrific and terrifying action. Obviously, there is a great chemistry between the eight players of the Mischief group who have a long record of success with live productions including Peter Pan Goes Wrong and The Comedy About a Bank Robbery , that are helping to revitalise live physical comedy alongside their BBC The Goes Wrong Show . The humour and fun of Mischief Theatre’s shows is in their absurdity and much like The Mousetrap , The Play That Goes Wrong’s bag of comedy tricks should be kept a secret for their live audiences to enjoy. It might not be a smooth sailing production for the Cornley Polytechnic Drama Society, but Mischief Theatre definitely knows how to make a satisfying comedy spoof. The writers/actors Henry Lewis, Jonathan Sayer and Henry Shields pull together an unruly storyline with hilarious results. Performing to a packed-out Opera House audience, the show offers an inviting and positive atmosphere that is an effortless reminder of the necessity of live theatre. Through an explosion of well-timed chaos, the original Mischief Theatre’s cast are back to charge up the audience in Manchester. They are here for only one week and this is not a show to be missed. ThePlayThatGoesWrong #MischiefTheatre #OperaHouse #Manchester Tickets are available via the ATG link

All the creature comforts are aboard the S.S.America, allowing audiences to be whisked away by P.G. Woodhouse and Guy Bolton’s whimsical musical at sea. The wholesome 1934 comedy is back with a brand-new production that brings a gold standard of musical performances and swoon-worthy choreography to the Palace Theatre stage. We follow stockbroker and ladies’ man Billy (Samuel Edwards) as he ditches work to board a top tier cruise in the hopes of rekindling his relationship with debutante and soon be married Hope (Nicole-Lily Baisden). Between his friend, the love-struck nightclub singer Reno (Kerry Ellis) and his unsuspecting boss, played by Simon Calkow, Billy has enough storylines to keep track of. However, this quick-witted tale also follows a boatload of celebrities, freeloaders, gangsters, ministers and sailors. The production sheds light into each cabin as Kathleen Marshall’s direction swiftly moves its compartments and crew on and off the stage whilst unravelling each tangled storyline. It’s a technical achievement that doesn’t hold back and brings in an alluring parade of backing dancers to command the stage alongside Reno’s musical performances. The updated production offers a bubbly comedy with a daisy chain of obligations and an incredibly large cast that overflow the show with fantastic one-liners and visual gags. Cole Porter’s soothing selection of classic songs flow through the easy-going musical but Marshall’s stunning choreography makes this production a firecracker of a show. The colourful expanse of its enormous ensemble resonates visually to the entire Palace Theatre audience, with its two-tier deck and magnetic cast putting you in a five minute, tap-dancing trance during a performance of the title song. The deluxe cruise also allows Sweeney to unleash all of her glamour whilst highlighting the power of the wonderful live orchestra with a nightclub performance and jazzy rendition of Blow, Gabriel, Blow . Sweeney is clearly doing the devil's work as the temptation to get up and dance throughout this carefully constructed musical is overpowering. Its shimmering suited cast and tap-dancing talent include plenty of recognisable names, featuring Bonnie Langford and Denis Lawson, who brings boundless optimism to the role of killer Moonface Martin. The exuberant cast also help to capture the latent joy aboard a vessel full of disguises, tricks and lies. Allowing audiences to take an abrupt trip from New York to London, Anything Goes is a show of real theatrics, but despite its over-the-top production value, the show still tells a down to earth story of love and the true madness it causes. The musical also adds many a meta-moment to solidify the classic with tongue-in-cheek fun. Offering a great escape with old-school comedy charm, Anything Goes is pure musical therapy. Its immense and glorious choreography takes centre stage and makes this production truly unforgettable. AnythingGoes #PalaceTheatre #Manchester Tickets are available via the ATGLink

TEDxManchester is back for its third year, offering audiences a full day of distinct and emotive speakers. Hosted by the Bridgewater Hall, the theatres three-tiered, free for all seating system is set up to wean out the late risers and highlight who is the most committed to TED. Getting a closer, longer look at the live speakers on offer, the exhilarating programme features a range of powerful activists from around the globe. Opening with a collection of investigators including retired spy catcher, Joe Navarro. The show launches its assembly addressing the issues of communication and attempting to enhancing our nonverbal skills. Navarro, a former FBI agent uses his 25-years’ experience of interviewing spies, criminals and terrorists to morph the talk on the personal power of communication, with an intriguing lesson on body language and profiling. As the full day of programming is laid out before you arrive, audiences can dip in and out of the event, which roams from 10.30 am to 5.15 pm. With only a lunch and dinner break splitting its thirteen speakers, the experience moves swiftly to ensure it is jam-packed with informative speakers, including Wall Street Journal writer Parmy Olson. Reporting on technology and the overselling of Big Tech that has been hijacked by companies, she speaks on the rise of businesses ability to collect your data, with more overall concerning aspects forgotten inside the big wide web. Giving space to some of Manchester’s lesser-heard voices, the stage is set for Stacey Copeland (@scopelandboxer), a Mancunian Boxer who became the first British woman to win the Commonwealth title. Speaking on gender equality in sport and the barriers to human potential, Copeland delivers an inspiring speech on the power of storytelling, which she uses to reach out to schools, businesses and communities in order to pavetheway for future generations. The events diverse speakers calve out a captivating show, accentuating their message during the live event. For audiences in front of these engaging speakers, TEDxManchester will definitely shine a light on new voices with a fantastically full day of uplifting and enlightening speeches. Moving from a Climate Scientist and of Professor of Astrophysics to an Insect Evangelist and Barber Humanitarian, the lessons assimilated guarantee there is something relevant and appealing for all listeners to debate on the ride home. Fortunately, TEDTalks are also available online to review so the conversations can be shared with an even larger audience. TEDx Talks are available to watch on Ted.com and YouTube TEDxManchester TheBridgewaterHall #Manchester

Elaborate pranks and child-swapping antics are all a part of The Parent Trap inspired adaptation that adds musical musings into its meddling mix. The Identical musical premiere plays out the rejoining story of twins Lisa (Kyla Fox) and Lotte (Nicole Fox). After the sisters were separated at birth by their divorced parents, Lisalotte (Emile Tierney) and Johan (James Darch), the ex’s decide to take one child a piece and move to a different part of the globe. Yet despite solving the custody issue, the unbeknownst sisters are given a surprise reunion at a summer camp, ten years later, when their two worlds are finally patched back together. As the twins switch outfits (and hairstyles), it is clear that the live show's new musical overhaul has embraced the eccentric, romanticised and old-school comedy stylings of its original tale. Allowing the Lowry audience to follow the twins as they devise a plan to get their parents back together and rebuild their bond. However, unlike Disney’s 60s and 90s live-action covers, the musical doesn’t need a split screen to convince its audience their seeing double. Its cast of talented real-life twins effortlessly takes on this classic whilst adding singing talent to enhance the familiar storyline. While this production has been updated, once again for the next generation, the material from which it was sourced, a 1949 German novel called Lottie and Lisa, has come a long way. The live production offers a playful story that has been modernised with original music and lyrics from George Stiles and Anthony Drewe of Mary Poppins live, who keep the tale’s childish premise and fun-loving tone throughout. With Lisa being raised in Vienna and Lottie in Munich, the real-life siblings retell Erich Kästner’s narrative as a sharp revamp that adds tongue-in-cheek lyrics and pokes fun at children being told of their parent's divorce via mail. But as the show is set during the 1950s, anything goes and regardless of the rare circumstances and obstacles we find these separated twins to be in, the family-friendly show continues to be tremendous fun offering nothing but a cheerful good time for all audiences. Kyla and Nicole have launched a charm offensive campaign, as they find out the mystery behind their parent’s divorce and questionable separation. Amazingly this is done without judgement using songs like You’re My Sister and We Were Young to play out the simple story whilst continuing to give audiences what they initially loved about the original tale. The twins are fantastic as they carry the fast-paced dialogue, land snappy one-liners and sing duets whilst calculating their plan. Trevor Nunn’s projected scenery drops and slides along the Lowry stage to create a fairy-tale vision of the twin’s world. Moments that frame a mini theatre show within the show and spring to life nightmares help to shape the storybook magic that the book demands. It has been decades since the original Disney films wowed audiences with their technical ability, but Identical the Musical has the same ability to suck you in with its catchy songs, tremendous child talent and light-hearted spirit. This latest debuting musical is a short and sweet affair, sure to bring you joy as the youthful cast lead audiences through another classic revamped. IdenticalTheMusical TheLowry #Manchester Tickets are available via the Lowry link

The bittersweet comedy is back as a sparkling new musical production, offering a colourful spectacle shaped around the 1993 hit film. A children’s comedy that normalises divorce, touches on the toll it takes on the children and highlights the story from a father’s perspective was a shocking rarity for the 90s, but Mrs Doubtfire was able to thread that needle.  Flash forward 29 years and now Gabriel Vick (Daniel Hillard / Mrs. Euphegenia Doubtfire) is back as the beloved nanny, adding layers of prosthetics and hoping to add new layers to the beloved tale, with a cosy musical revival. Built for sentimental audiences eager to relive the Robin Williams dramedy, Mrs Doubtfire follows the intimate story of divorce from the perspective of an ambitious but inappropriate father. We follow Daniel as he is rocked by his recent divorce and a court ruling that states he requires full-time employment and stable housing before being given part-time custody of his three children. While Daniel scrambles to find a job suitable enough for his high standards, he does manage to find a surprising side hustle as his children’s nanny. Putting to work his qualifications as a voice-over actor, disguised by his makeup artist and brother Frank (Cameron Blakely), and clearing the low childminder bar by actually liking children. Mrs Doubtfire is a dazzling production that infuses its impractical storyline with marvellous choreography, an everchanging set and plenty of insane situations that require Vick to slip in and out of his new face. The prosthetics used are awesomely distracting as Mrs Doubtfire face resembles a Bo’Selecta or Spitting Image character . However, Vick’s performance within the mask and his ability to sell his emotions to the live Opera House audience is what carries the production through its over-the-top storyline. I have personally always identified more with the hard-done ex-wife and mother, Miranda (Laura Tebbutt). The relatable Miranda’s love of labels and plan to keep her children out of prison on a school night seemed far more admirable and relatable than her freewheeling ex-husband who appears to be a completely uncompromising adult. This production gives Tebbutt the space to voice her frustrations with a fantastic solo of Let Go and focuses more on her perspective, rather than the film’s reliance on the audience's love of Robin Williams that helped carry the emotional weight of the movie's difficult material. Despite Daniel’s initial resistance to change, he seems emboldened by his new wig and prosthetics that allow him to look inwardly at his own actions and work to become a better father and partner. The live production appears to be aware that many of the deceptive messages of its original film have fallen out of fashion as Daniel is basically a victim of his own circumstances. The updated Mrs Doutfire musical is now spread with an assortment of slapstick and upbeat tracks such as Make Me A Woman and Easy Peasy, which alongside director, Jerry Zaks rainbow-coloured settings remove any edge from the dramady. Vick brings his own mesmerising performance to the unique role, weaving together some Mary Poppin’s sincerity amongst the overzealous comedy and Zaks’s production offers audiences plenty of antics, distractions and light-hearted moments with few concerns about updating the original story. Packed with a collection of upbeat original tracks, Mrs Doubtfire is a surprising visual feast and its rollercoaster of a storyline remains comfortably familiar to those looking to reignite their love of the film. MrsDoubtfire #OperaHouse #Manchester Tickets are available via the ATG link

Cirque du Soleil has brought its procession of performers with a slew of talents to Manchester, and they are dedicated to constructing a slice of heaven on earth. We follow Mauro the clown as the AO Arena audience gather around his deathbed to look back at his life, experiences and friendships. With a fairy tale feel and childlike Peter Pan wonder, Mauro is ascended on by angels who highlight the magical gift of a life well lived. Offering a balancing act of masterful flying manoeuvres and passionate performances, the world of Corteo remains light enough for all the family to enjoy, as it preserves the energy of a Cirque du Soleil show and the enthusiasm of its sizable ensemble to ensure audiences come back for more. Corteo’s writer/director, Daniele Finzi Pasca allows all the people who knew Mauro to perform around (and on) his death bed as they offer him a light and whimsical send-off that celebrates his life. From the vantage point of the audience, the show spotlights a fulfilling life, which is comforted by Mauro’s incredible array of circus troupe friends. Bringing death-defying stunts and aerial acrobatics surrounded by a dark abyss, the intimate atmosphere within the vast arena, pulls focus by beautifully spotlighting and singling out each performer from the entourage. Under Pasca’s direction, Cirque du Soleil continue to set a high bar from the start, bringing in a floating cyclist and angels poised above the audience that help place you into Mauro’s fantasy. A spinning chandelier sequence offers a dazzling spectacle which sees its acrobatic aerialists performing above the AO crowd in silk nighties that recognise the circus family and tradition within the wistful setting. With Pasca’s enchanting 1890s production, the lavish costumes and glorious set, transform the space with the use of intricate and timeless uniforms. The cast of characters also bring a camaraderie, a sense of community and a competitive spirit to the production as the swinging gymnast display their agility and strength by besting each other on the bars. Corteo is one of Cirque du Soleil’s eeriest storylines, with its darker tone and pitch-black surroundings setting the audience up for a surprisingly elegant, pyjama-clad evening of glitz and glamour. There are plenty of visual gags to appreciate and the production's live backing music, provided by a collection of clowns, sits off stage, timing themselves perfectly to the choreographed performances. The gorgeous staging, which smartly splits itself in half, ensures that there is action taking place from all angles of the circular arena. Nevertheless, this production continues to keep clowning at its core, as a flying Cirque member heads out into the crowd to pull audiences into the act. Reflecting less on the macabre and more on merriment, the two-hour show allows Mauro to take stock of his life and reassuringly reminds audiences to cultivate the life they enjoy. Corteo is a restrained production, presenting a vast array of acrobatic treats inspired by a rediscovery for the richness of life and an appreciation for the adventures we have along the way. CirqueDuSoleil #Corteo #AOArena #CirqueDuSoleil Tickets are available via Ticketmaster link

It is easy to lose yourself in Alice Walker’s 1982 Pulitzer Prize winning novel as she masterfully injects colour, humour and connection into see Celie’s lifeless world. The Lowry Theatre’s towering, wooden cladded set is illuminated by Tinuke Craig’s direction, that smothers Celie in projected images, but also spotlights the farmhouse she grew up on, the farm her husband moved her onto and the barns that surround her. The rural and domestic landscape that Walker places her uneducated, 14-year-old, pregnant black lead as our relatable but unlikely heroine is a desolate and bleak environment. However, Craig’s adaptation is able to transform Celie’s constrained space as her story develops over the decades. Craig has converted Walker’s work into a captivating musical production that lays Celie’s (Me’sha Bryan) tale of faith, isolation and self-worth out onto the Lowry stage. Centred around Celie and her narrated letters to God, The Color Purple follows the stories of three black women during the early 1900’s. After her mother dies, Celie is left in the care of her abusive father Alfonso (Km Drew Boateng), who after impregnating Celie twice, removes her children to God knows where. Additionally, Alfonso encourages widower Mister (Ako Mitchell) into a marriage of convenience, encouraging him to wed Celie in order to care for his four children and farm. Whilst initially pleased to be out of the father’s grip, Celie soon finds she is in the hands of another abuser with a mistress on the side. However, Celie is not left to build on her traumatic life alone, finding solace with the help of two strong, opinionated and resourceful women who help her discover her inner strength. The Color Purple is an unflinching story, as Walker’s narrative hits all the isms from every side. As Celie’s journey unravels layers of perpetual poverty, racism, sexism and domestic violence, audiences will appreciate its openness and the overall message of community and confronting trauma whilst navigating a twisted reality. Walkers unique voice resonates through Craig’s gloriously crafted musical reincarnation, which holds on to both the pain and joy that the novel offers. Bryan’s soulful vocals build and propel Celie’s voice with the songs Dear God - Shug and I’m Here , which offer performances as honest and introspective as a diary entry. While scenes are propelled forward by a trio of gossiping church ladies who harmonise and summarise how they feel about a character. It is a huge undertaking to morph Walker’s words into a musical, but the writers here are wise enough to lift direct lines from the novel into the song lyrics. This adaption doesn’t shy away from Celie’s love of black women, with a considerate portrayal of Celie’s relationship to the enigmatically portrayed Shug (Bree Smith). The show presents, not only a portrayal of true sisterhood, but also a view into their sexual relationship that isn’t watered down in the same way as its Steven Spielberg film (1985) adaptation. However, it is still light enough on the topic for family friendly audiences. While The Color Purple opened on Broadway in 2005, it’s Tony award-winning adaptation continues to embrace a black sisterhood rarely seen on screen or stage. Craig’s compelling production showcases the heart-warming connections between these women, who bring the colour and boldness of its narrative with glorious performances. Alongside its gospel soundtrack, The Color Purple Musical remains freeing, moving and rooted in Walker’s remarkable storytelling. TheColorPurple #TheLowry #Manchester Tickets are available via the Lowry link

Matthew Bourne is reintroducing audiences to Sleeping Beauty with a foray into the woods that reemerges as a layered modern gothic. Twisting the classic tale for his New Adventures production, but rooted in Tchaikovsky’s 1890 ballet, we dive into a surprisingly traditional retelling within a decadent Edwardian setting that places the story in the year the original ballet was released. When the childless King (Danny Reubens) and Queen (Kayla Collymore) are helped by the dark fairy Carabosse (Paris Fitzpatrick) to give them a child, it doesn’t take long for the fickle fairy to dance up a storm of trouble as a reaction to their lack of gratitude. After quickly spinning their gift into a curse, the story steers a vengeful course whilst embellished with conveyor belt staging, embroidered fairy costumes and an adorable puppet baby. Alternating between lifting audiences out of a silhouetted world of overpowering darkness and into a bright and loved-up second act. We follow our Prince Charming, Leo (Anrdew Monaghan) as he seduces Princess Aurora (Ashley Shaw) with his natural charms. Yet despite its gothic landscape, Bourne remoulds the story with modern twists that marries dance, humour and live orchestration for a memorable production. There are plenty of intricate details between the finely tuned choreography and familiar storyline to capture the imagination of the Lowry audience. The familiar fairytale is given a superb scale with Lez Brotherston’s scenic sets sitting audience members squarely within the fantasy. Built around the production’s enticing costumes, whose heavy design of its winged ensemble fleshed out the rich visual design of the show's Edwardian styling. The magnificent misty set of the finale acts seemingly blends its large ensemble into the shadow of the forest for a colourless vision that plucks its figures straight out of a Grimm’s fairytale. Bourne’s productions offer a relaxed atmosphere that allows you to sink into a beautifully entertaining show. Amongst a packed-out Lowry audience, his humour eases the grandeur of the genre and has the ability to entice and open new audiences to ballet. Sleeping Beauty is not a new addition to the New Adventures repertoire, having first been released in 2012, and it may be the company's most traditional telling of any narrative. However, Bourne’s modern touches, expensive sets and signature wit are elements that spin this sumptuous production into a rewatchable, visual treat. MatthewBourne #SleepingBeauty TheLowry #Manchester #MatthewBourne Tickets are available via the Lowry link