HOME’s theatre bodes well with crowd interaction, as its deep stage and intimate seating brings an informal energy to its audience. With Blak Whyte Grey, ZooNation and Boy Blue Entertainment bring an immersive experience of hip-hop in a platform that is constantly evolving. Their strong messaging and imposing moves have made ZooNation’s , Into the Hoods the longest running dance show in the West End. While Boy Blue received an Olivier for their show, Pied Piper . Blak Whyte Gray does not carry a direct story but rather projects compelling themes surrounding identity, inclusion and independence. The performance begins with Whyte, where three restrained dancers are forcibly constricted with straps. Their movement and their institution are immersed by a small white spotlight beaming onto the stage and their pop locking forms freeze in time. Although the dancers stay bound, they have no social connection as they look vacant, as if sedated. During Gray the dancers bond and expand their movements, shifting from slow horizontal floor slides to krumping in an intense, frantic style. In the group, there is a sense of bonding and support but one fuelled by survival and fear. Creator’s Kenrick Sandy and Michael Asante end on Blak as an uplifting transformation or restoration takes place. A sense of belonging, protection and support are fully formed through the group. African masks descend from the ceiling as the dancers return to their roots. Connotations of slavery and colonialism emerge as the performance blurs a linear timeline. The final movements are spontaneous and uninhibited as strength is restored and the cast radiate in the dark. The performers appear in neon body paint as warrior ready survivors. The eight-strong cast all take pride in their final performance, revelling in the synergy of music and dance while conscious of their power and freedom. It is difficult to review a show that powers a feeling of control and offers its audience therapeutic energy rather than a traditional narrative but dance has a spiritual nature that can heal you through movement. Blak Whyte Gray will leave you with a sense of unabashed empowerment as its connecting themes of identity and independence radiate out into the audience. BlakWhyteGray #BoyBlueEntertainment ZooNation #Manchester #HOMEmcr

“That’s how power works.” No puns, wordplay or poetry are embraced in this curious take on a grown-up Alice in Wonderland . Lewis Carroll’s adventures centre on themes of identity, innocence and death.Toying with boundaries and conventions as Alice struggles to make sense of the new world around her. Jack Murphy and Gregory Boyd's modern remixing of Alice’s adventures are set on an estate where wannabe writer, Alice and daughter Ellie have started on the “Worst Day”. It is clear from the song that Alice has been reworked with a status and sense of self that has hit an all-time low. Having had her car stolen, been fired and left Ellie to find food, Alice proceeds to ignore her helpful neighbour, Jack (Stephen Webb) and question why her ex-husband divorced her. It is a relief when White Rabbit (David Willetts) pops through the family’s desk and shows the women (and Jack) the way to Wonderland via a broken lift. The problem with Wonderland is the added weight it carries. Three members travel to the “bonkers” world, presenting Wonderland as a real place. While the original text has the luxury of one character questioning life through meaningless puzzles, a loss of innocence and a looming fear of death. Wonderland has been seized by three superficial characters, replacing any real threats with a cartoonish vision that makes Disney’s animated world look far more menacing. A story of self-discovery through the Looking Glass split between four characters feels rushed and makes little sense in terms of plot. Wonderlands nonsensical rules are pushed to breaking point as the characters explain that having your head cut off for the first time is a rite of passage, allowing you to remain in Wonderland forever. Superb singers Kerry Ellis, Natalie McQueen and Wendy Peters belt out performances of Hail the Queen, I Will Prevail and This is Who I Am . Unfortunately, this only draws attention to the material, most of which could have been lifted from any musical. The pop ballads quickly become monotonous as smoke fills the stage, engulfing the audience in another blanket pseudo-inspirational track. Familiar characters appear stating “I’m a cat”, “I’m late” and “life is like a caterpillar” but their simplistic roles fail to fill a void in the plot. Little development is made and many characters become irrelevant as the story struggles to move. Lewis Carroll’s world was a false Eden, forcing Alice to question her life and expectations. Wonderland is a shallow reflection on life and a painful waste of great source material. #Wonderland #Manchester PalaceTheatre

The long-running production that premiered in 1972 is as unmovable as a T-Birds D.A quiff. Grease is still the word and the wistful tones radiating from Rydell High’s class of ’58 have been repackaged for today’s youths. Starring Tom Parker from the boy band The Wanted as Danny, Over The Rainbow winner Danielle Hope as Sandy and Darren Day as Teen Angel. The charismatic ensemble keeps this well-known fable of a good girl gone bad distractingly entertaining, despite its dated messaging. Where stage musicals often falter due to pacing and casting, the entire spectacle of Grease allots its time evenly. The collaborative cast is separated for solos or duets and highlight every member of the T-Birds and Pink Ladies gang in their all-encompassing story. As a result, the time flew by as the equally effortless sets seamlessly moved along with every song performed. By the second half, The Palace Theatre’s audience were blaring Hopelessly Devoted alongside Danielle Hope with the productions newest members turning Grease into a live sing-a-long. The unruly teens performed cherished hits, Grease Is The Word , Summer Nights and Greased Lightnin’ as each character had their time to shine on stage with a solo singing or dancing performance complete with backing dancers, costume changes, lavish props and accompanied by a live band. Despite the questionable context, the nostalgic group of ditzy, greased haired, cigarette flicking rebels took their audience back to a simpler time. This old-fashioned, clichéd and endlessly entertaining production is an easy-going winner. You can also watch Grease Live on Amazon Grease #Manchester PalaceTheatre

Cirque du Soleil's , Amaluna set in the Grand Chapiteau sends out mixed messages. It’s performance troupe and Big Top surroundings dazzles and lures its audience who expect an extravagant island ruled by acrobatic women. Before the main performance begins, Cali (a lizard man) impresses the audience by mingling, swishing his oversized tale, juggling and climbing the tent. A massive water glass sits centre stage enticing you with its possibilities for Soleil’s impossible stunts. Rock music blares from the all-female guitar band, staking claim at the back of the island of Amaluna and the first group on stage start by flipping every which way. Unfortunately, with so many elements and gifted solo performances that carry the show, the story itself feels tacked on. Ultimately, it doesn’t flow and when watching Amaluna I felt as if I were witnessing a collection of deleted scenes rather than Cirque de Soleil’s best bits. During the intermission, an usher explained that what little plot there was, loosely linked to Shakespeare’s Romeo and Juliet and The Tempest. The men had washed up on the women’s island after a shipwreck allowing a romance between Romeo and Miranda to begin. What scenes there were between Romeo and Miranda were few and brief but the solo performances were impressive. Miranda emerges from the giant water glass, arranging herself in a range of acrobatic poses while Romeo watches her. Visually interesting and beautifully performed, the mostly female kingdom fails for its lack of real storytelling, butt punishing seats and overpriced tickets. Cirque du Soleil are known for being a dramatic and gripping group but Amaluna relies heavily on cliched circus techniques that lower the tone of the show. When two over-the-top circus clowns appear in the audience speaking unintelligible clown language, serving as cover for costume changes, no one in the audience looked impressed. The ending was also extremely abrupt, going from high flipping acrobatic men to a wedding scene with no final performance from our Romeo and Miranda is purely poor directing. Despite the talented cast and the lavish set design, Amaluna is a slapdash display of performances, unworthy of its high-flying price. #CirqueduSoleil Amaluna #Manchester Tickets are available via the Ticketmaster link

The first time I visited the Bridgewater Hall , the sparklingly modern venue had simply assembled chairs sprinkled across its stage in preparation for university alumni to cross it. But this huge 2,400 seat auditorium toes the line in concerts for operas and orchestras, whilst also housing graduations. I had never viewed a classical concert in their halls so when I returned to the contemporary building to watch a live screening of T he Godfather , I was impressed with the stages transformation. With a cinema size projection screen playing above the heads of its orchestra, the sizable stage was hypnotising. Francis Ford Coppola’s The Godfather (1972) is a three-time Academy award-winning masterpiece with elements that are recaptured and celebrated through multiple genres. Nino Rota's score is timeless, ringing out to the audience through the Bridgewater amazing acoustics and enrapturing the scale of the fast-paced crime drama. The story follows the Corleone’s and their rivalry with New York crime families between 1945 and 1955. Pulling on the themes of loyalty, vengeance and tradition, the almost three-hour long film uses rich storytelling and a star-studded cast to steer audiences through the burdens of heading a crime family. The orchestra is absorbing and it is a surreal experience viewing such a masterfully made film alongside such a gripping live performance. It is a marvellous contemporary, classic mix and an experience that I would love to do regularly. Unfortunately, the Bridgewater Hall only showcase these live film performances once or twice a year. Nevertheless, it is an inclusive and relaxed way to embrace classical performers, allowing audiences to appreciate the arts with familiar storytellers as a backdrop to a films more memorable score. TheGodfathe r BridgewaterHall #Manchester #Film

Birmingham Royal Ballet’s three-pronged approach to Black Sabbath showcases a trifecta of distinct choreography, staging and live orchestration to merge the band’s work into a new genre. Choreographers, Raúl Reinoso, Cassi Abranches and Pontus Lidberg each take on an act, playing into the origins, spectacle and power of the group. Their three salutes to the heavy metal pioneers don’t carry a uniform story thread between them, but the show is shaped to deliver a risk-taking experience. Inspired by Ozzy Osbourne’s stage presence and the group’s unmatched originality, the production is not as piercing as a Sabbath album, but this glossy remodel still results in a bold ballet. The misty aesthetics of Reinoso’s first act, Heavy Metal Ballet  utilise mechanical choreography to sync its cast together as cogs in a machine. Showcasing the bands hometown of Birmingham and its industrial roots, the opening song War Pigs echoes its anti-war theme. Reinos’s  also plays with religious iconography to infuse a cultish undercurrent to the band. But the   story swiftly breaks out of its robotic box to offer a romantic and mythic shift, featuring an impressive kissing duet and smouldering choreography between Yaoqian Shang and Javier Rojas. Black Sabbath’s Tony Iommi acts as music consultant, which sees the show’s orchestral arrangements of Iron Man , Paranoid  and Solitude  blend rage and fury with beautifully lyrical choreography. As a result of the mixed themes, sampled songs and nonexistent story, the production offers more of a ballet concert. Moving from moshing ballerinas and air guitars to sweeping lifts and lovingly connected duets. This is all backed by the reappearing live guitarist Marc Hayward, who makes a riffing appearance in each act and is successfully there to get the crowd pumped. The second act, The Band  utilises voiceover from Sharon Osbourne, interviews from the bat-biting Ozzy and commentary from Iommi to reflect on the group’s resilience and lasting influence. Dramaturg Richard Thomas ( Jerry Springer, The Opera ) helps pieces together an intimate act that explores how the band came from humble beginnings and dealt with fame. Touching on their rifts, drug abuse and personal hurdles outside of the group, which include Iommi losing his fingers to a metal press at work. The final act, Everybody is a Fan  by Lidberg is a demon-adorned performance that makes use of its full ensemble. With stomping stadium-styled choreography, Birmingham Royal  immerse the Lowry audience with the spirit of a rock concert. It takes awhile for the cast to match the set’s backdrop of a flipped vintage car with a demon on top, but they eventually build and stomp their way to an entertaining finale. Offering a streamlined introduction into Black   Sabbath , the show feels like a loving tribute to the band and the original frontman who passed away July of this year. But considering the Ozzy quote “f&@£ flower power” is included in the second act, it is surprising how delicate and gentle much of the choreography is throughout the entire show. New arrangements of the band's hits War   Pigs , Paranoid  and Sabbath Bloody Sabbath are softened, but Hayward’s presence fills the room and radiates energy. Birmingham Royal’s Black Sabbath Ballet  is an irresistible pairing that offers a refreshed Sabbath score with an absorbing production of restrained rock. Metal heads may miss Ozzy’s tortured screams, but Iommi guitar riffs are aplenty and it is clear the band’s fingerprints are all over this sleek and enjoyable reimagining. #BirminghamRoyalBallet #BlackSabbath #TheLowry #Manchester Tickets are available via the Lowry link

The French marvel, Amélie is bringing her far-flung adventure to the Opera House theatre by building on the fast-paced 2001 romcom that bears her name. With its stage production serving the trademark charm of its predecessor, a wonderfully warm and musically revamped revival reflects on what we all take for granted, along with life’s small pleasures. Like a female Tim Robbins, Amélie inspires people to create their own change using her secret powers of suggestion. Planting clues and offering cues to favourably impact the lives of others, the story mixes Amélie solitude with the chaotic lives of strangers. Director, Michael Fentiman captures the films welcoming feel, aligning the theatre stalls with mini chandeliers and offering creative solutions to flaunt the immersive power of Amélie’s imagination. Fashioned by puppetry, projection and the folksy soundtrack that captures the story, the cinematic techniques utilised pulls the audience into Amélie’s enchanting world. Raised by strict and unsociable parents, the home-schooled Amélie, left to entertain herself, retreated into her imagination and built a bubble that lasted into adulthood. Presented through a circular window in a hovering apartment above the cast on stage, the omnipresent framing of the solitary Parisian positions Amélie as a vicarious do-gooder. Looking into the intimate lives of the French community with binoculars in hand, she eventually chooses to accompany them, playfully performing alongside the multifaceted ensemble cast who don accordions, violins and flutes throughout the performance. While a few accents were modelled on Inspector Clouseau, the smooth production is able to switch its actors into musicians while simultaneously converting the sets around Amélie. Offering a gentler pace to the film, the musical keeps its guided narrator who talks through what would have been shown on screen and explains the mischievously introvert’s imaginative nature. Alongside Amelie’s quiet and charming reflections that are played out through the use of quirky songs, the majority of the tracks are delightfully devoted to love. Nathan Tysen and Daniel Messé lyrics describe the majority of the characters through songs like There's No Place Like Gnome and Sister's Pickle to present a small profile on the multiple mini characters that drive the story. Its result is a collaborative effort that gives all its cast members a chance to shine. Michael Fentiman’s whimsical direction includes secretive reveals and stunning spotlighting that brings the romantic spirit of Paris to the Opera House. The illuminating set matches the shows fantastical storytelling, with a polished production that visually infuses Audrey Brisson’s energy as the innocent and the interfering Amélie. Brisson’s passionate performance shelters a range of songs, from the solemn Times Are Hard for Dreamers to the comical Goodbye, Amélie . Enrapturing the audience in everyone’s strange and unique take on the world, the show will strike a chord with anyone who has ever felt like they didn’t fit in. Amélie the musical does not miss a beat from the film, taking every memorable moment and attempting to recreate it for the stage. Yet, the musicals best moments are in its original take, balancing the romantic brand of its film with its own stunning attention to detail and enchanting music. #Amélie TheOperaHouse #Manchester AmélieTheMusical

The Royal Shakespeare Company’s Pied Piper performers are leading audiences into the forest of Arden for a tall tale that reinstates justice through nature. Following a diverse and charismatic cast of wonderfully playful characters, Shakespeare’s fractured 1599 musical comedy has had its prettiest prose paired with a multifaceted set of performances. Filled of spectacle, sentimentality and festivities, director Kimberley Sykes has chosen to take audiences behind the Lowry curtain and immerse everyone into the act. The show’s most distinctive moments work around Shakespeare’s famous quote, “all the worlds a stage” as Sykes plays straight to the heart of the audience with an infused production that isn’t set in any specific period or place. Lifting the house lights and using audience members as props, the theatricality of the RSC production is enhanced by its exposed elements that strips back the set and servers up a melting pot of ideas. Mixing together some stand-up, improv, and a live on-stage band, the show offers up a versatile reimagining of Shakespeare’s story that gives the production a communal feel. Due to the work of tyrannical leaders, As You Like It centres around a large group of fractured characters who each search for love after being banished by their families. Orlando’s sibling rivalry triggers his brother to plot to kill him and leads him to venture out into the forest for safety. At the same time, Rosalind’s uncle, the Duke is threatened by her power and has her exiled. With her cousin Celia and her jester willing to leave on principle, all flee the court and are drawn to the forest of Arden where their stories become tangled with the random travellers who are picked up along the way. No tepid characters stroll through these woods. There are terrific performances from the lovestruck fool (played by Sandy Grierson) and Charlotte Arrowsmith (Audrey) as their accessible love story unravels on and off the stage. The show is headed by a strong female cast, that sees Lucy Phelps (Rosalind) and Sophie Khan Levy (Celia) enriching the story with countless scenes of witty retorts. Shakespeare’s fanciful reflection of female characters transform Rosalind in a gender-bending performance that wouldn’t have convinced Lois Lane, but Phelps’ verbal sparring, and back and forth is captivating and smooth in this uncluttered production. Syers serves a dark and earthier creation of Arden, bringing blossoming love into unfurnished surroundings by hanging swings, disco lights and an enormous puppet sculpture that commands centre stage through the final act. The crowd-pleasing production throws a lot into the mix, including charming musical interludes (more than any other Shakespeare play), that continue to keep the flow of the show animated despite its barer set. With its band sitting on a second tier above the action and the house lights bright enough for audiences to see the crowd’s reactions, the RSC have moved As You Like It outside the box of the stage in an impactful way, layering the audience into the action and thrusting you firmly into the classic. #Ro yalShakespeareCompany #AsYouLikeIt #Manchester TheLowry #Shakespeare

The diamond dogs are out to capture the attention of the Palace theatre audience, with a musical so splendiferous it doesn’t leave a sequin out of place. Moulin Rouge! The Musical boils Baz Luhrmann’s 2001 fast-cut film to its core and delivers a stage adaptation with fewer innuendoes but just as much heart. Sitting amongst the windmill and elephant structures that nod to Paris’s 1889 cabaret, the red lights of the Moulin Rouge bathe the Palace theatre audience in their seductive lighting and immersive set. Luhrmann’s live singing, swift-moving movie borrows heavily from the Bollywood aesthetic and this opulent, bedazzled stage adaption cannot be faulted for its visuals. However, the show’s tweakments are noticeable despite the changes feeling necessary. Several song choices date the show or stop its momentum, but it also opts to claw back the original Bollywood-esque musical ending for a simplified, straight-shooting finale. The musical is framed within the fantastical world of the Moulin Rouge where owner Harold Zidler (Cameron Blakely) and his bubbly star performer Satine (Verity Thompson) strive to pack the rafters to keep the red lights on. Meanwhile, lovesick composer Christian (Nate Landsteiner) and his bohemian revolutionaries Toulouse-Lautrec (Kurt Kansley) and Santiago (Rodrigo Negrini) scheme to get their work shown at the cabaret. All dreams can be made possible with a sizeable investment from the lustful Duke (James Bryers), who also plans to cash in on the courtesan Satine. The stage show is a faithful recreation of its film and includes incredible costume changes, high-kicking choreography and a talented cast of performers. However, this melodramatic love triangle is let down by its jukebox picks, which result in blending songs to varying degrees of effectiveness. Bryers is a beautiful baddie, strutting across the stage to demand attention, but he is introduced with OutKast’s So Fresh, So Clean , a song that makes sense on paper but just sounds jarring when remixed on stage. Multiple romantic tracks are layered for the Elephant Love Medley,  which keeps you on your toes as you try to remember the original songs, and it is reminiscent of the film, however songs like Katy Perry’s Firework  are used for Satine solo, that don’t add much depth or drama to the musical. The fantastic Thompson is still given plenty of time to shine with The Sparkling Diamond  entrance and during a touching duet with Landsteiner for the films original song, Come What May . The ensemble cast also stun as members of the Moulin Rouge, entertaining before the show and during the El Tango De Roxanne. They   give   the space a family atmosphere with Satine actually having friends to talk to as she finds herself drawn into a deadly love triangle between the Duke and Christian. Moulin Rouge! The Musical  is a worthy adaptation which may have you returning to the Red Mill for the glitz and glamour of the stage. The explosive romance is a simple story, propped up by its intensely talented cast whose sequinned costumes and mesmerising dance numbers are enough to distract from its questionable soundtrack. #MoulinRougeTheMusical #PalaceTheatre #Manchester Tickets are available via the ATG link

Showing that beauty blossoms from tragedy, Dear England’s  pithy production follows Gareth Southgate’s scrappy career, from heading the Three Lions into the 2018 FIFA World Cup to his final tournament as England manager in 2024. The National Theatre’s passion-driven piece is an Olivier Award-winning production that offers more than just a lens into Southgate’s history as a player and manager. Writer James Graham ( Sherwood ) shapes the story around his journey of building a young squad and drawing disillusioned fans back to the team, with players rising to a boiling point with every win and loss felt on and off the pitch. Helping to take the team into 2 world cups and 2 European championships, the story highlights the resilience and talents of his players, showcasing a raw Marcus Rashford (Jude Carmihel), Harry Kane (Ryan Whitle) and Raheem Sterling (Gamba Cole), all hoping to win some silverware. Drawing on both their accounts and fictionalised versions of events, from locker room talks to the public abuse of fans, the show is able to blend politics, mental health, masculinity, racism and the beautiful game into a story of knock-backs and devotion. Director Rupert Goold’s ( Patriots ) slick and subtle staging centres Southgate, played by Gwilym Lee’s ( SAS Rogue Heroes ), into a cocooned set held in by the players shirts. Shimmering projections of locations, claustrophobic locker rooms and press conferences capture glints of the team's mood before, during and after a game. With their framed memories and snapshots of events on stage, the Lowry audience are placed directly into the crowds of the games and allowed to infiltrate the team's private thoughts after the whistle blows. As Southgate implements a new philosophy of championing mental health, psychologist Pippa Grange (Liz White) helps put losses into perspective and assists in conquering and controlling their fears. The ensemble cast is incredibly strong, taking on multiple hats to give a sense of the politics and pundits surrounding each game. Gunnar Cauthery as Gary Lineker and Felix Forde as Theresa May are perfect caricatures, but Carmichael and Tane Siah are given space to speak on the racism faced by Rashford, Saka and Sancho during the Euro 2020 final. The thoughtful cast humanise the players as they tackle everything from the fear of failure to the Covid pandemic. Lee’s portrayal of Southgate has an introspective, quiet confidence, offering an empathetic take on the longstanding manager. Lee anchors the production with his honest and personal narrative which serves as the moral compass throughout the show. Despite knowing where the story leads, Lee’s believability intensifies the hurdles and clashes surrounding the team as you witness how shifts in society affect his players and how they ripple into the game. Dear England’s sharp and witty script pulls together a passionate tribute to the man who shaped the England team for eight years. Football fans aside, the show is also about vulnerability and real leadership, reminding audiences that football is not a matter of life and death but something far more important. #DearEngland TheLowry #Manchester Tickets are available via the Lowry link

The vespa-driving, party-hopping counterculture of the 60s is back to seduce the Lowry audience with a soundtrack from The Who  made to lift any apathetic spirit. Mods and rockers can unite over Sadler Wells’s presentation of Pete Townshend’s Quadrophenia,  with a show that transforms the 1979 film into a swinging 60s dance experience. We follow cynical and disillusioned mod Jimmy (Paris Fitzpatrick) as he navigates through the frustrations of adulting. With only a love for the suits, Jimmy’s plan to bunk off work, do drugs and meet women takes the playful ballet through a colourful and personal journey of identity and belonging. Jimmy’s melancholic tale is fervently uplifted with Rob Ashford’s direction, drowning Jimmy in seductive and overwhelming waves of blues as he rebels and parties. While Ashford shades the remains of Jimmy’s muted life, the projection of multilayered smooth video and lighting design brings colour-drenched scenes of work life, brawls and romance. Offering a touch of fantasy in Jimmy’s drugged and dreamy states, the show flows from adult responsibilities to shirking them, delivering a thoughtful showcase of the loss of freedom and a lack of direction. Underscored by instrumentals of the Who’s tracks including My Generation, Love, Regn o’er Me and  I Can’t Explain , Jimmy and his multicoloured mods are placed as the catalyst for action and change. The Who’s original album, orchestrated by Rachel Fuller was   performed by the Royal Philharmonic Orchestra and the score drives forward Fitzpatrick’s raw and emotionally powered performance that emphasises the arduous task of growing up and not fitting in. The youthful and talented Fitzpatrick’s intensity packs the show with bursts of enthusiastic choreography that pours through Jimmy’s sedated life. Choreographer, Paul Roberts utilises the skilful ensemble with a mix of contemporary and classical dance that unites Jimmy’s community and is used as an extension of Jimmy’s frame of mind. Jimmy’s instability is echoed beautifully by the cast when he reaches breaking point, leaning into an alienation that continues to mirror his fellow mods or sync when their rebellious spirits connect. The film’s cheeky banter and conflict are exchanged for Ashford’s stronger visuals, moving the Brighton-born Jimmy from a small seaside town of pixie cuts to a grittier London of uniformed suits and rival rockers. Slick suits from designer Paul Smith and associate costume designers Natalie Pryce bring a sharp reminder of Britain’s modern, stylish and classic flair, ensuring the entire cast and members of the audience come dressed to impress. The perfectly cast Seirian Griffiths as The Romantic embodies both the attitude and the look to highlight his place in the pecking order as soon as he walks into a room. Quadrophenia: A Mod Ballet’s  collaboration is a tight and impressive blending of Sadler Wells and Townshend’s storytelling. The stripped-back retelling offers an effortless throwback full of vibrant, memorable music and passionate choreography that feels completely at ease in the world of ballet. The nostalgia-driven story is given a fresh perspective that doesn’t just offer a time capsule for fans of The Who  but instead updates a timeless story of feeling lost in an ever-isolating and ageing world. # Quadrophenia #TheLowry #Manchester Tickets are available via the Lowry link

A Knight’s Tale  has been given a karaoke rewrite, moulding together your favourite pop tracks to cram the musical with sugary hits, but the show’s outstanding set and choreography more than make up for its familiar jukebox soundtrack. Jokes and lances fly across the Opera House theatre as the 14th-Century tale based on the 2001 film has been stylishly adapted for the stage. We follow peasant William (Andrew Coshan) as he hopes to change his stars by posing and training as a knight for the chance to win love and money at a jousting tournament. With the help of friends Roland (Emile Ruddock), What (Eva Scott) and writer Chaucer (Max Bennet), the group set out as William's trainers and wingmen/woman against shoo-in, Count Adhemar (Oliver Tompsett). Former queen, Meesha Turner’s ( Six ) belting vocals are a welcome treat as William’s romantic interest, with the cast dressed by Six  costume designer Gabriella Slade for their reformed medieval threads. The fabulous cast are plucked from all corners of the theatre world, with Bennet performing as Macbeth  at The Globe, Tompsett previously working on &Juliet and Ruddock in Hamilton. Taking inspiration from all your favourite musicals, writer Brona C Tilley also syphons from Rock of Ages , Rocky Horror and Six to stitch together the cheeky, high in spectacle musical. Some songs selected have already been used in other musicals, tracks like We Will Rock You , Holding Out For a Hero  and a Whitney Houston classic play alongside Adele, S Club and A-ha for an altogether entertaining soundtrack. The songs picked help make A Knight’s Tale one of the better-made jukebox musicals out there, even if it does suffer from an over-stuffing of songs. Placed into every scene, the comedy comes from the lyrics and their questionable placement, which don’t always fit the bill, but are all enjoyable to hear played out. The light comedy is lifted by Matt Cole’s intense choreography, impressive props that range from mounted horses to fireproof orchestra pits and the ever-changing set pieces that keep this high-energy comedy in motion. Director Rachel Kavanaugh and set designer Tom Rogers ensure the show is worth the price of admission alone with a live band playing above the two-tiered stage to ensure there is always something new to grab your eye. Although its script feels a little dated, A Knight’s Tale the Musical throws everything and the kitchen sink into its production just to see what lands a laugh. Promising a good time, the cast’s infectious enthusiasm goes a long way to making the jokes feel fresh, but the show’s production is top tier, injecting duels and jousts that are genuinely impressive and original stunts made for the stage. #AK nightsTaleMusical OperaHouse #Manchester