Based on the Ian Fleming novel and remodelled after the 1968 film, Chitty Chitty Bang Bang  the live musical has been stripped almost beyond recognition. We follow the Potts family of four whose aim to restore a broken racing car sees them bumping into royalty, avoiding a Child Catcher and flying off to the land of Vulgaria. Understandably, much of the colour and magic you remember from the original film cannot be replicated on stage but director, Thom Southerland has given Chitty Bang  the complete pantomime treatment, where the new production now lacks the basic scenery for a show this hugely popular. Caractacus Potts (Ore Oduba) and his children Jemima (Lara Simon) and Jeremy (Charlie Banks) hold down the first act with sweetly sung hits, including Toot Sweets  and Hushabye Mountain , until the show slowly begins to be taken over by its Vulgarian baddies. The characters Boris and Goran’s campy, old-school comedy appears to be put in place to kill time between songs, allowing for some scene changes. However, it was quickly discovered that the show has next to no scenery to change and many of the hit songs were shortened to fit more comedy of errors. Distilled to its bare bones, Chitty Bang  has been scaled down for a younger audience, adding in miniature models and bulking out the surroundings of the fair, sweet factory and castle with the ensemble doubling as the props. The show is an easy ride for kids who are bound to enjoy the puppetry and ultimate reveal of the classic car. But Chitty Bang may become a bit of a slog for the adults in the room as the lacklustre production is held together with three storage boxes that are Ikea assembled into every scene. Forming the tables, beds, the Scrumptious factory and used as hiding spots, it looks like Caractacus sold the entire set to pay for the car. Even the infamous Child Catcher doesn’t hold any sweets despite having an entirely new song dedicated to the cause. Despite the Sherman Brothers packing the two-hour 25-minute film full of classic songs including Doll on a Music Box , Me Ol’ Bamboo , Truly Scrumptious , The Roses of Success  and the Academy Award-nominated title song, many of the second act performances feel rushed and are actually cut short to focus on the adorable Chu-Chu faces running Vulgaria. The lesser-known Bombie Samba  and forgettable Child Catcher’s solo do make great use of the enjoyable cast, but the show chooses not to give its classic moments their best treatment with so little care given to anything other than the car. Fortunately, the cast carries the second act of the show with their personalities alone, allowing Martin Callahan (Baron) and Jenny Gayner (Baroness) time to shine as the leaders of their childless nation and the talented Eastenders alumni Charlie Brooks (The Child Catcher) moments to relish in her villainous role.   Chitty Chitty Bang Bang is a straightforward children’s story made memorable for its unforgettably catchy score and fantastic visuals. Unfortunately, this bare-bones production overpacked with secondary characters feels empty and lacks the simple nostalgia trip demanded of the classic. #ChittyChittyBangBang # PalaceTheatre #Manchester

The legendary Flying Dutchman drops anchor at the Lowry theatre, offering a haunting reimagining of Richard Wagner’s 1843 opera. After a rash remark results in lifelong purgatory, The Dutchman (Robert Hayward) and his wistful crew are cursed to drift the sea until Judgement Day. Only a seven-yearly ultimatum remains in place to relieve them of their torture, allowing the crew to set foot on land while The Dutchman is given the opportunity to save his soul by finding a woman who will be faithful to him. Set and costume designer Joanna Parker’s multi-disciplinary set is an impressive feat, reflecting an outpouring of rain using layered chains and elegant lighting effects. As the characters grapple with this new, unnatural force that has entered their lives, Wagner’s brooding score plunges the Lowry audience into their dark and foreshadowing world that manifests the characters desires. In a world already full of drama and curses, director Annabelle Arden’s production fuses themes of asylum and boat crossings into the mix. The voices of refugees are heard off stage, opening each act and projections of floating boats and people are set in the background. As The Dutchman’s crew’s everlasting limbo is given a modern take, Arden takes the opportunity to highlight themes of self-serving politicians and capitalism. Opera North’s shadowy staging places the weathered Dutchman as an overpowering force, appearing through ghostly projected visions and towering above his admirer and adversaries on and off the stage. Wagner’s sweeping motif guides The Dutchman’s appearances and references with a creeping score that builds on the unsettling nature of the doomed captain. Here Hayward’s commanding performance dominates the immense stage and his spirit lingers through the use of Opera North’s phenomenal orchestration. Bartering for his life, The Dutchman sets out to marry Home Secretary, Daland’s (Clive Bailey) daughter. In exchange for a bribe Daland’s daughter, Senta (Layla Claire) is introduced to the captain, and fortunately for everyone involved, she is a hopeless romantic who falls deeply in love from his story alone. Unfortunately, her ex-Erik (Edgaras Montvidas) is the right-hand man to Daland and has every intention of breaking their union.  The Flying Dutchman’s myth is reimagined with suited high-flyers hustling around Daland, focused on profits and surrounded by computer coding. Unfortunately, the ideas surrounding the office setting and the stranded sailors are a bit confusing as the tale doesn’t amplify the crew's voices and the visuals don’t imagine anything for them beyond background status. Darlan’s redesign homes in on his motivation and greed, as he is placed in a jarring suit next to the ancient Dutchman. However, unlike Senta, Darlan’s refreshed image and the matter of the crew are given little time for reflection and have to wrestle against the aged visuals and tone of the original story that eventually settle on The Dutchman, his lover and his redemption. Despite the production’s new blend to the classic, Claire’s soulful ballad and Hayward’s intensely powerful performance will Casper  haunt audiences into submission. While Opera North’s beautiful live orchestrations of Wagner’s work carry the heartfelt three-act production. # TheFlyingDutchman #TheLowry #Manchester #OperaNorth Tickets are available via the Lowry link

The sensational Birmingham Royal Ballet  (BRB) walk audiences through a whimsical wonderland at The Lowry. Offering the invitation you’ve been waiting for, Cinderella  dazzles with scrumptious costumes, stunning set pieces and a soaring Sergei Prokofiev score.   With Sir David Bintley at the helm of the timeless classic, the rags to riches fairytale splits its melancholy core into a celebratory second act that takes a darker stance on the traditional tale. As choreographer and director, Sir Bintley brings Cinderella out of the shadows, he conjures a production full of dreamy backdrops and builds humour from the sizeable ensemble of flamboyant characters. Magnified set pieces place the overlooked and orphaned Cinderella (Beatrice Parma) onto a dominating and overbearing stage as she is destined to serve her abusive stepmother and stepsisters. We follow along as the family's invitation to the Prince’s ball gives Cinderella a night off from cleaning and the chance to transform her life.   With only mice, lizards and frogs to keep Cinderella company her quirky stepsisters, the vein (Ellis Small) and the rotund (Olivia Chang Clarke), along with her fairy godmothers   help pack the show with personality and magic. The squabbling stepsisters duets showcases their sibling rivalry, building their bad habits into their solo performances as the spoiled and excessive nuisances to Cinderella’s modest-mannered role. BRB’s  floor-to-ceiling breakaway scenic sets transports Cinderella from her dusty house surrounded by pots to a mist-filled scenes of ethereal fairies. The production makes use of its lavish cast of characters by injecting four godmothers representing the seasons, whose presence brings supernatural support, including Cinderella’s magnificent carriage and her mother’s silver ballet slippers.   Parma offers an endearing performance as Cinderella, portraying her bumpy journey from a humble, shoeless housemaid into a glistening princess with effortless stylistic flair. John Macfarlane’s painstaking attention to detail leads to awe-inspiring costumes with intricate bedazzled designs alongside the opulent second and third act staging. With the help of the resourceful godmothers, Cinderella travels by pumpkin-turned carriage, dramatically crafted to appear out of ice and partnered with the Prince (Enrique Bejarano Vidal) to layer some impressive lifts and a smooth waltz into the romantic production.   Accompanied by the Royal Ballet Sinfonia , the orchestra beneath the stage meld to the BRB  ensemble to immerse the Lowry audience in Prokofiev’s sentimental score, the vibrant characters and meticulous choreography. The established story offers a revival that is an easy entry for newbies to the ballet world and BRB  delivers all the magic before the clock strikes midnight.   With wide-reaching appeal, it is easy to see why BRB’s   Cinderella  stands as one of the company’s most popular ballets. Going all out with its extravagant moonlit production, expressive ensemble and celebration of perseverance, it is easy to fall in love with Cinderella . #Bir minghamRoyalBallet #Cinderella # TheLowry #Manchester Tickets are available via the Lowry link This review was originally written for

The Shark is Broken  is a jaw-dropping 90-minute comedy that takes audiences behind the scenes of Steven Spielberg’s man-killer shark thriller, Jaws . With a production fraught with challenges, including a malfunctioning mechanical shark known as Bruce, this witty retrospective draws from the real-life drama that took place off-camera. Sailing aboard the confined quarters of the Orca, the show exposes the cracks in the delicate relationship between seasoned theatre actor Robert Shaw, the young and ambitious Richard Dreyfuss and their peacekeeper Roy Scheider. As they potter around onset, dishing out home truths during their downtime, the deeply personal narrative delves into the trio's clashing personalities. With co-writers Ian Shaw (son of Robert Shaw) and Joseph Nixon offering a blend of Hollywood humour based on the actors' alcohol fuelled introspections, the show provides a hilarious peep behind a piece of cinematic history. Touching on the impacts of fame and grappling with personal grievances, the show sheds light on the film industry, lets the audience in on their inside jokes and adds a layer of meta-commentary for film enthusiasts. Duncan Henderson’s restrained design lets you sit in the actors’ oppressive production but the actors' loose lips and unflinching performances keeps the pace of the show sharp and snappy. Nina Dunn’s video design features scenes of a clear ocean backdrop loaded onto a film reel as the slow boil show is carried by its three compelling crew members. Dan Fredenburgh as Roy Schindler, Ashley Margolis as Richard Dreyfuss and Ian Shaw as Robert all bring stellar, exaggerated performances of the real men. Ian’s portrayal of his father is a lovely nostalgic tribute and filled with the charisma expected of the salty actor. Margolis’s entertaining and animated delivery bends between the dopey and neurotic as the set-up to most jokes and the punchline to many more. While Fredenburgh’s calming presence helps balance out the group’s sparring conversations in what often feels like natural, improvisational performances. Martha Geelan’s direction sees the gang   trod back and forth between their overcrowded, rinky-dink boat whilst grounding the trio in an intensely honest and seamless show. With no intermission placed between the chats, it is easy for the Lowry audience to get swept away in the drama of the group's deft storytelling. While some familiarity with Jaws  and its lore is helpful going into the show, the blockbuster is currently celebrating its 50th anniversary and is hardly short on fans.   The Shark is Broken  is an entertaining side quest from the Jaws  franchise, retelling the myth in a lighthearted and intoxicating production that any fan (with the exception of Richard Dreyfuss) is guaranteed to love. TheSharkIsBroken Lowry #Manchester Tickets are available via the Lowry link

Far from a fairy-tale, Noel Coward’s 1945 British romantic drama is credited as a piece of realist cinema, where a whirlwind romance is exposed through its female leads inner monologue and lingering looks. Here, Kneehigh’s stage production uplifts the grounded relationship, taking elements of its nostalgic past and reigniting it with suspenseful scenes of fantasy. In a railway station café, housewife Laura Jesson (Isabel Pollen) is assisted by doctor Alec Harvey (Jim Sturgeon) allowing a casual friendship to develop into an emotionally fulfilling relationship. Tempted by an affair, the pair struggle to cling to their respectable married lives, fearing the loss of their morals and partners in their new-found freedom. In keeping with post WW1 culture, this commonplace encounter incorporates steam-age railways, black and white film and a mood to maintain the status quo. Director, Emma Rice absorbs a classical approach to the pairs new friendship, but the action is elevated as desires begin to outweigh their concerns. Alongside the evolving relationship, the production develops in colourful, captivating moments that makes the mundane appear larger than life. Seven of its musically inclined cast members play instruments live on stage and sing us into the production mimicking the opening of a feature film. The Lowry has even removed all but two of its front row seats, allowing the new lovers to flitter on and off the stage. Despite its melancholy leads personal lives and their fated to fail romance, this production casts a light-hearted and unexpected spin on the original. The staging is impressively compact, morphing into Laura’s living room, lowering the train platform and transforming into a cinema screen. With an emphasis on the detail, the production's music stays simplistic, only a few characters break into song and nothing distracts from the scenes that capture the reality/fantasy world of its lead characters. But as maintaining family life is side-lined for new adventures, everyday life for Laura and Alec becomes more whimsical. During a dinner scene, high off love, the pair rise out of their seats and swing towards each other, suspended by matching chandeliers. The two irrational lovers’ relationship blossoms into a frenzied passion where secret exchanges build an ever-tightening web of lies and fear. Isabel Pollen (Laura) and Jim Sturgeon (Alec) build a slowly consuming love affair, but Rice delays audience expectations and allows reality to catch up to the pair. While the couple are painted as every day, middle-class common folk, the actors are anything but old-fashioned and forgettable. Considering the amount of comedy that was distracting the seriousness of the love affair, Pollen and Sturgeon were able to drive the narrative with suspenseful and believable performances. Brief Encounter balances British traditions with a classic Hollywood approach. The original quiet and straightforward storyline is somewhat weighted down by this prop heavy production, but the sentiment remains the same. Rice offers a vision that refreshes a dated and oppressive narrative. One that would surely fail as a flat-out reboot. Instead, Brief Encounter presents a scandalous musical fusion that is sure to cause a stir. #BriefEncounter TheLowry #Manchester

By invitation only the Bridgewater is transforming its hall for the purpose of witchcraft and wizardry. Taking on the epic catalogue of Harry Potter’s eight feature films, conductor Stephen Bell has rummaged through the files to capture the mystifying music that built J.K Rowling’s cinematic world. Boosting the narrative with personalised themes for characters and dramatic wand swishes, the production brings attention to the beautiful orchestral score that accompanies the Hollywood blockbusters. The soundtrack to Harry Potter and the Philosophers Stone, composed by John William’s has the benefit of being shaped by the mastermind behind the Star Wars, Jaws, Indiana Jones and Jurassic Park film scores. As the Halle orchestra pays tribute to the unsung heroes behind the scenes, the time capsule concert of its eight-film soundtracks offers the mythical melodies of all four composers. With twelve Oscar nods (but no wins), including one for Best Original Score, Bell takes the multi-billion franchise by the instrumentals and leads audiences on an action-packed evening of adventure. Including, A Window to the Past and Double Trouble from The Prisoner of Azkaban, Williams first captured the imaginations of Potter fans through Harry’s first film, the Philosopher’s Stone. The illuminating tracks seized the alluring new world presented, and the wistful nature of William’s style steered the bright, young characters through the first few films. As Hedwig's Theme was the only theme to carry itself throughout the entire film series, the shift in tones from new directors and composers brought more ominous tracks and fewer repurposed themes. Composers of the later films, including Patrick Doyle, Nicholas Hooper, and Alexandre Desplat re-established Harry’s world in their own vision. The mixing may have brought continuity issues to the series as a whole, but as the pendulum swung from one director and composer to the next, audiences re-entered the world of Hogwarts with enthralling new battle cries and melodies. Despite your totem pole of preferred films and composers, the Halle concert is enriched by the numerous voices that explored and convey Harry’s themes of hope, love and mischief. Taking audiences on a journey to Hogwarts and beyond with a beautiful departure from their classical repertoire. The incredibly thoughtful production of love includes dreamlike performances from the Halle Youth Training Choir and the Youth Choir, who layer the airy soundtrack of Double Trouble and My Love is Always Here with sharp vocals. Presented by Sarah Day-Smith, the show focuses on the glorious music that runs between its films while discussing the melee of magic behind personal tracks. Bringing in Dobby’s and the Weasley’s theme songs to highlight the playful relationships that countered the threatening tracks surrounding He-Who-Shall-Not-Be-Named. The long-running series brings recognisable instrumentals that have captured the action on screen. Helping to build the complex world and soundscape of Harry Potter, the Halle hits all the right notes for anyone with a love of live music. With the entire orchestra playing in costume and Manchester Metropolitan drama students taking over the foyer in live cosplay, this is an adventurous performance that should not be missed. TheMusicofHarryPotter TheHallé #Manchester BridgewaterHall

After a hiatus that lasted almost 15 years, David Baddiel returned in 2013 with the stage show FAME: Not The Musical, in which he discussed the perks of celebrity and the pitfalls of his fame. His latest show, MY Family: Not The Sitcom touches on the taboos surrounding mental illness, death and infidelity. Despite the range of tougher material, My Family is not a major departure from Baddiel’s previous work. This intimate Olivier-nominated one-man show is an awareness raising experience wrapped in a stand-up routine and follows the straight-talking performer’s private life. Crafting a compelling show around his mother, Sarah who throughout her marriage carried out an affair with a golf memorabilia salesman and passed away late 2014. His father, Colin who previously worked as a research chemist at Unilever and currently suffers from Pick's disease (a rare form of dementia) and includes stories of his two brothers (one older, one younger). Embracing our rough edges, rather than plastering over them, Baddiel focuses on memory and particularly how we choose to be remembered. It may sound like an overshare of a show when hearing Baddiel read aloud one of the (many) romantic emails his mother sent to her manstress or showing footage of his family without their full consent. However, this is a show that deals with truth and memories. As his fathers’ illness and mothers’ death threatens to erase the fragments that made them unique, Baddiel chooses to share his stories of them honestly, and that means letting go of decorum. Adding a real stage to the grieving process, this non-judgemental letter of love processes grief through comedy. As Baddiel’s Twitter @Baddiel will prove, he has always worked to keep conversations open, whether that be with fake news fanatics, racists or holocaust deniers. He appears to embrace the trolls and bat away offense using comedy. Here he continues to ‘make fun of these bullies as they take us down’ and in a series of stories he captures the colourful nature of family for the audience. Talking about his mother, who became a golf memorabilia salesperson after starting an affair with a golf memorabilia salesman. He explains she then went on to write five books on the topic and brought a rivalry to the relationship. We don’t all respond to grief in the same way, but who wouldn’t rather laugh through the pain. Baddiel’s storytelling brings a brutally personal perspective on mental illness and ageing. One that is brilliantly relatable and highlights that without this type of honest commentary, there would be no conversation at all. DavidBaddiel #Manchester TheLowry

First performed in 1890, The Birmingham Royal Ballet have stepped back in time to sample a classic steeped in history. Refreshed in a darkly atmospheric production, Peter Wright’s reimagining of Sleeping Beauty incorporates familiar elements of the fable with thriftless new features. The Lowry’s Theatre appears polished from all angles as multi-layered sets turn a regal hall into a mystical forest. Despite its familiar story, there is a sense of awe that comes from this flamboyant production, aided by its large cast and lavish costumes. Opening at Princess Aurara’s christening, fairy godmother and guests gather round the beauty and her parents in celebration. Suddenly, in a brilliant haze enters the wicked witch Carabasse, gate-crashing with a posy of six ghoulish dancers. Tapping into beauty and terror, Nao Sakuma (Carabasse) performance brings the surreal aspects to this retelling, keeping audiences out of a sickly-sweet fantasy world. In sleek formations, large entourages shape the productions scenes with only a few central performances carrying the plot. After Aurora falls under the spell of Carabasse’s curse, it is left to the Lilac Fairy to guide audiences through all three acts. The production switches between group performances and solos which allows the dancers to carry a lightness and energy throughout the difficult choreography. Teamed with Philip Prowse’s decorative scenery and elaborate costumes, the group dynamic is powerful. However, solo scenes in which Momoko Hirata’s (Aurora) endlessly jumps, spins and sores across the stage in a couture tutu offers moments of pure dance and perfection. Wright’s production does offer more than the technical steps. The story is told partly through mine acting using the Lilac Fairy (Jenna Roberts) and is set during the Baroque period. Striking costume designs layer silk, satins and sequences over restrictive corsets and cloaks. With such lux attention to detail there is always something to pull your focus back to the world they have created. Live music from The Royal Sinfonia is also masterfully composed from Tchaikovsky’s score and shaped to guide audiences through the narrative. There are even music changes that signify whether a character onstage is good or evil. Wright clearly has the Midas touch and with a tale that has lost none of its sparkle, this rigorous retelling of Sleeping Beauty will enchant a wide audience for years to come. This review was originally written for Northern Soul #SleepingBeauty #BirminghamRoyalBallet Manchester TheLowry

“Act or not act.” The 2500-year-old Greek tragedy, highlighting local talent with a largely amateur cast, is a play of three parts. The audience is informed during the libation to the Gods (a Greek custom where a local community member gives thanks and pours wine around the stage as a sign of respect) that the piece we are about to witness is the only surviving section of Aeschylus’ work. The result is a short but powerful production acknowledging a continual battle for woman’s acceptance and freedom. Directed by Kamin Gray, The Suppliant Women is a simple story presented plainly. The Royal Exchange’s unusual opening sets the scene for ritual and theatrics but its story is frank and its cast sincere. The Suppliant Women board a boat in Egypt and sail to Argos seeking protection against forced marriages to their cousins. The women are played by the community chorus, a powerful alliance, chanting primarily as one unit so their intentions are clear. The chorus is intertwined with professional artists such as Gemma May (the Choragos) but largely holds amateur performers who transform the story into an engaging and authentic presentation. As the women land in Greece, they plead with King Pelasgus for asylum. Pleasgus (Oscar Batterham) is torn between protecting the women and the possibilities of war, deciding to offer his people a vote. The music and movement serve to unite the women and empower their voices. Unfortunately, the style is limited as the entire production has been set on a cold circular breezeblock. The size of the cast also limit the groups movements but emphasises the women's entrapment. However, the infancy of its story and its limited choreography does make the performance slightly repetitive. The pattern does become tiresome even within the productions short, ninety-minute span. Although the plot is simple, interesting techniques are used to keep the audience engaged. Its universal story is carried by the strong amateur actors who highlight a strength in tradition and authentic performances. I felt connected to the cast of women, wandering into the audience, protesting for their freedom. It is a foreseeable, recurring story that resonates with contemporary audiences. In the end, are the women given freedom as promised? Part one ends with a democratic vote that accepts the women into Greece. However, based on current events and Aeschylus’ missing segments, we can assume the women’s protests are far from over. TheSuppliantWomen #Manchester #TheRoyalExchange

The Lowry is the picture-perfect venue for ballet as Philip Ellis’ dreamy orchestra is seated in the pit in front of the stage, viewable from every level of the theatre. This production of Cinderella is a glistening classic reaching out to its full auditorium with a memorable story all audiences can follow. If you know your rond de jambe from your pique turn, you needn’t worry. This rehashing of Cinderella comes with exquisite costumes, superb choreography and all encased in a magical world created by David Bintley. Birmingham Royals large cast bring a fusion of opulent, fanciful sets that briskly rotate in this fresh portrayal of the traditional fairy-tale. Despite the lavish sets, Cinderella includes gritty elements. The show begins with a shot of young Cindy and her father at the grave of her mother before moving onto John MacFarlane’s unfolding kitchen design. The stark, sober scenery of Cindy’s world is used for much of the first half of the production and first soloist, Maureya Lebowitz’s hidden talents are revealed as she pirouettes with her broom. After Lebowitz’s charming performance, elegantly portraying Cinderella, the unfolding set exposes her Fairy Godmother. The solo performances are captivating so it is wonderful to see the Fairy Godmother accompanied by four sparkling and unfamiliar fairies representing the seasons. Cinderella’s enchanted footmen moulded from a lizard, mouse and frog are terrifying creations but the show flows as a seamless spectacle to reveal Cindy’s grand silver carriage. The piece’s second half contains Cinderella’s journey to Prince Charming’s (Mathias Dingman) ball. The forty-five-strong cast accompanied by a few younger dancers complete the spectacular ballroom sequences, including group performances that centre Cinderella illuminated by the spotlight. Carol-Anne Millar and Gaycene Cummerfield entertain as Skinny and Dumpy, the ugly stepsisters. The women also seek to ease the highbrow culture of ballet with their clumsy, heavy-footed demeanour. Millar complete with fat suit and visibly rosy cheeks is particularly charming as one-half of the Uglies. You may not be astounded by the stories ending but the emotive journey transpires through dreamlike sequences that are enriched by the orchestra and set design. From the custom costumes to the dazzling talented performers, David Bintley’s Cinderella will make this well-known tale worth rewatching. #Cinderella BirminghamRoyal #BirminghamRoyalBallet TheLowry #Manchester

“No one is to cry” Kathryn Hunter may be small but she carries a large stick. On the eve of her second husband’s funeral. Bernarda Alba (Hunter) imposes an eight-year mourning for her five adult daughters’. As head of the household, she is determined to keep the daughters’ reputation intact. They may not leave the house, wear anything other than black and men are out of the question. Based on Federico Garcia Lorca’s 1945 Spanish play, The House of Bernarda Alba deals with themes of protection, power and punishment. The creative benefits of Lorca’s simplistic storyline are the liberating choices it frees for its director in casting. The production includes a diverse cast of deaf and disabled performers that add an extra layer of unbridled protection from their dictatorial mother. Nevertheless, both deaf sisters played by Hermon Berhane and Nadia Nadarajah, have equal reign to translate their hopes and desires alongside their entrapped, silenced sisters. Director Jenny Sealey uses various methods to capture Bernarda’s mourning children and engage its audience in this single set performance. The women repress their secrets but their desires are captioned on screens around the Exchange, highlighted through audio description and featured in creative sign language. The daughters’ need for attention is constantly translated to the audience in the intimate space and emphasises a lack of freedom or peace. Although audiences can absorb the sisters suffering, Alba’s intentions and thoughts remain removed as she is often away from her daughters offstage. The House of Bernarda Alba is a boiling pot of emotions, the character-driven world allows the story to be told by unique voices. Tackling the oppression of women and the irrepressible need for freedom that is embodied in us all. TheHouseofBernardaAlba #Manchester #TheRoyalExchange

“If music be the food of love, play on.” The Royal Exchange revels in Shakespeare annually, celebrating his work with directors who modernise his classics with diverse casting and inventive staging. This year, Twelfth Night, directed by Jo Davies encloses a musically driven, dream-like production. A piercing cage looms above the actors as they perform, imitating rain and spotlighting entrapped characters. Although it appeared to be an eerie central prop, the shattered centrepiece restores a sense of displacement and disorder to the comedy. The gender swapping storyline sees Viola (Faith Omole) disguise herself as her brother Cesario after they are both shipwrecked in a storm. Having believed to have lost her twin brother in the process, Cesario becomes a page to Duke Orsino who she begins to fall in love with. The playful cast are what you come to expect from the Royal Exchange. An assorted range of striking talents from television, theatre and cabaret. The Exchange sees productions that are unbiased and unexpected with casting, offering a voice to communities that are often underrepresented. The most recognisable members include Mina Anwar as Maria, Simon Armstrong as Sir Toby and New Tricks actor, Anthony Calf as Malvolio. In this production, Kate O’Donnell a transgender cabaret performer, steals also scenes as Feste, the freelancing fool. While setting up for the second act, O’Donnell banters with the audience and admits that in her position she is “very reliant on tips”. Feste’s role animates the atmosphere of the comedy and O’Donnell’s ties well with the shift in tones as she performs the melancholy The Wind and The Rain to wrap up the play. Faith Omole is charming as Viola balancing her passionate soliloquies of love with comedic timing. The faultless cast all breathe life into this well-known love triangle as the production offers a playful sense of fun. Even the steward played by Anthony Calf amplifies his compulsive characteristics, entwining his long-winded love letter and hand sanitiser. This classic relies on its cast to carry its scenes, as they are left to fend for themselves in a new land with few props to distract from their story. It is a testament to its talented performers that they are able to keep audiences engaged in this well known tale of love and heartbreak. TwelfthNight #Manchester #TheRoyalExchange