The Girl on a Train’s character-focused narrative brings an eerily silent production to the Lowry stage. Mixing a void black background, swooping set pieces and involving the use of projectors, audiences follow antihero, Rachel Watson as she retraces and reimagines her steps through a missing person case. The shows driving force is an unlikely and unreliable observer who appears to be the last eyewitness to a possible abduction. The story is fleshed out through the eyes of Rachel, an alcoholic commuter who catches daily glimpses of a picture-perfect couple from the window of her train. Rachel begins her own investigation after discovering the vicarious couple she spies on require her help. The alcoholics unlikely adventure combines detective skills more questionable than Scrappy-Doo as scattered clues into her own life and revelations surrounding the case are eventually revealed through Rachel’s hazy, intoxicated memories. Fresh delights are brought into the new theatre adaptation as director Anthony Banks concentrates on the emotional and gripping performances from the fantastic cast. Its bare bones staging with minimal music cues deepens Rachel’s surroundings and keeps the atmosphere tense throughout the production. EastEnders alumni, Samantha Womack (Rachel Watson) barely has a moment off stage throughout the entire performance, but as the production has removed the novels drawn out and judgemental monologues the audience is offered an insecure and slimline representation of Rachel’s behaviour. Highlighting her temperamental and warped mindset, the production plays with digital projections of faces within her mirror, unravelling black holes on her walls and drop-down set pieces to manipulate her whereabouts. Effective in its slow and steady reveals, the slimline designs allow the story to focus on character flaws as the ghostly Rachel floats in and out of scenes with questionable motives. Twenty million copies of Paula Hawkins’ The Girl on a Train have already been sold alongside the popular adapted film starring Emily Blunt, so its ending is not likely to be a mystery to many. However, the stage production is a standalone story that offers a bumper pack of whodunnit fun for fans. Taking on themes of Hawkins’ novel in interesting and unexpected ways, fans and the unfamiliar of the narrative will be kept engaged in this slow-moving and suspenseful thriller. GirlonaTrain #Manchester #TheLowry

Sex, drugs and rock and roll take centre stage this week at the Palace theatre as American Idiot’s spirited rock opera is back in Manchester to celebrate its 10th anniversary. Merging the dingiest Crayola coloured set pieces, confetti canons and a compelling soundtrack, American Idiot expands on Green Day’s 2004 concept album to form a two-hour theatrical rock concert. The show weaves together three disillusioned friends, Johnny (Tom Milner) Will (Samuel Pope) and Tunny (Joshua Dowen), who are looking to flee their suburban lives the day after 9/11. All three have dreams to carve out their own space away from their parents’ basements but find their plans are all swiftly side-lined for babies, drugs or the military. The Grammy Award-winning album captures the disaffected youths of the post 9/11 world with a production fuelled around the bands rallying hits. Audiences will appreciate hearing the chants of Holiday / Boulevard of Broken Dreams and Are We the Waiting by the multitalented performers who switch between moshing, singing and strumming their guitars live. With honest lyrics written by the band leader Billy Joe Armstrong confronting the painful reality of a lost generation, the production chooses to add only a handful of spoken lines between the tracks, developing the entire plot through Green Days songs. Plastering a giant television in the centre of the stage as a direct line of communication to the youths and its audience, the drama-filled production is full of memorable moments and playful staging. Using a mesh screen to hide a solo violinist and a destructible papier-mâché set, the familiar songs are given a raw and fresh revival. Comprised of the entire American Idiot album, tracks from 21st Century Breakdown (2009) and a previously unrecorded song, When its Time, the show looks at the perils of war, love, censorship and misplaced anger through an ambivalent lens that is difficult to pin down. The first act of the production stays in full concert mode with experimental dancers throwing everything at the audience from blinding stage lights to simply throwing water at people in the front row. But the chaotic lives of the three young men are driven to shoehorn songs into its second act as the show balances the boys attempt to grow up through the remaining Green Day tracks. For diehard fans of Green Day, the new arrangements of songs and the shows charismatic and enduring cast carry the production. It is an attention-grabbing and entertaining concert from its American Idiot opening to its Good Riddance (Time Of Your Life) finale, with its driving lead Milner barely taking a moment to breathe between performances. While the album follows Milner’s characters rebellious discoveries in and out of suburbia, the remaining members are often left to couch tour throughout his story. Despite its abrupt ending, this is a show that focuses on the music audiences want to hear, and the casts infectious energy during the gripping production of its live concert makes it worth the journey. This review was originally written for Frankly My Dear AmericanIdiotTheMusical #Manchester PalaceTheatre

Shaped around a peaceful gang of misfits, Hair the Musical stretches its love out into the audience and recruits new members into its tribe from the comfort of their theatre seats. Living in New York within the Age of Aquarius, the unique members of the compound centre their laidback musical around loving oneself, loving your neighbours and sticking it to the man. Celebrating its 50th anniversary, the hippies have pitched their tent at the Palace theatre and surrounded themselves with multi-coloured, makeshift paper strings, a tepee to house their live band and a burning drum of fire. Mixing audiences into their melting pot of free love and pot, the group throw flowers, confetti, leaflets and smoke to draw you in to their movement. In a mishmash of stories, we follow Cassie (Natalie Green), Donnie (Aiesha Pease), Berger (Jake Quickenden) and Claude (Paul Wilkins) amongst other members, as each sing their troubles away. The group explore issues of unrequited love, their purpose in life and their frustration with The Man until the threat of Claude being drafted into the Vietnam war leads them to come together to convince their friend to rebel against the fight. You may finally have the chance to forget your troubles and join that cult you’ve been day dreaming about as these hippies are happy to jump off the stage, thrust in your direction, pull on your tresses and invite you back to their tee-pee for an onstage Be-In. Focusing on the energy, comedy and communal celebration around what it means to live in the 60s as a free-thinking radical, the productions swift shift in tone keeps the songs upbeat and its childish jokes running throughout the show. Controversial for its diverse cast, images of sexuality portrayed on stage and for baring their naked truth, the shows more daring moments are bombarded with forgotten classics like, I Got Life, Age of Aquarius and Good Morning Starshine. There is no lowly singer amongst the tribe, as the groups powerful voices keep the performances fast-paced with revivals of hits that deserved their own cast recording. The shows finale group revival of Let the Sunshine In was a particularly beautiful and memorable rendition that cut the music to showcase the powerful voices the cast. However, with long hair, free love and drugs aplenty, the only downside appears to be its underlying subject matter that has somewhat dated moments from its original 1967 debut and is here to remind you that it is far better to relive the 60s onstage than live through the time period. The levitating love of these hippies will not distract you from the donning of questionable oriental accents (all be it from dream sequences) or the fact that timid audience members may want to buy a ticket from the 3rd row onwards. Hair remains an empowering and rebellious production that is an entertaining experience due to its lively and fantastic cast. It may have a short run at the Palace theatre for its 50th anniversary, but the 60s style is bound to come back around. HairtheMusical #Manchester #PalaceTheatre

The Lowry, Quays theatre is housing a journey into Europe, taking audiences across an impenetrable forest and into the heart of darkness. Imitating the dog’s new adaption voyages back in time to Joseph Conrad’s 1899 novella and centres around one man’s search for an ivory trader named Mr Kurtz’s. Narrated by Charles Marlow, and inspired by Conrad’s own experiences in the Congo, Marlow’s tale to the dark continent plays a journey out of the eyes of civilisation, that shakes his beliefs and values. As Marlow finds his trip deliberately sabotaged as a way to protect the reputation of the teams powerful but increasingly unhinged and corrupted leader Mr Kurtz’s, hidden evils are also revealed. While Conrad’s original narrative highlights the control and exploitation within the Congo, the novels foundation obscures the stripped identities of the black bodies within its narrative. Marlow’s place within a corporation named The Company show the natives in need of guidance and control as they serve as slaves for the corporation’s pillaging. The hypocritical and barbaric acts of its western characters shine a light on the changes that take place within their own minds when they continue to go unchecked, and their increasingly unsound methods are carried out in the pursuit of profit. Over a century after its original release, Conrad’s ambiguous novel continues to leave a controversial tinge with its readers, and its important themes are mixed with abhorrent representations that co-writers and directors, Andrew Quick and Pete Brooks push to update. Through the use of a greenscreen that allows doctored footage to be presented live above the cast on stage, the production questions the polarising views of its narrative by deconstructing the story in layers. The show aims to focus on our current, broken landscape and destructive thirst for power by reworking the narrative around capitalism with themes of gender and race brought to the forefront by its small cast of five actors. With the mythical Kurtz’s (played by Matt Prendergast) described in the novel as “taking a high seat upon the devils of the land”, imitating the dog’s narrative recasts Conrad as a black woman (played by Keicha Greenidge) who takes the role of a private detective. Modernising the narrative by travelling into the heart of Europe, the show brings three levels of overlapping accounts. Questioning the desire to retell Heart of Darkness the show mixes documentary footage from director Francis Coppola’s Apocalypse Now and critique from the author, Chinua Achebe's explaining how the lack of humanity given to its black characters makes Conrad’s novella an insulting triumph. Interweaving modern troubles, the productions cast often break from acting out the story to study the text and explore how they will tell the piece on stage. In a scene dissecting the narrative around Europe and Brexit, the cast stop to sing The Land of Hope and Glory over clips of Nigel Farage, Boris Johnson and Margaret Thatcher. While the production offers an impressive multi-layered reimagining of Conrad’s classic, it’s second half falls back into telling audiences the original story. Its overdone monologue by Kurtz’s is left to finish the piece, but audience members who have not read Conrad’s original novella may find the show challenging to follow. Similarly, audiences familiar with the story may want to hear more of the factual atrocities surrounding the original tale that are hinted upon from the first act. However, stretching to rework, uncover and explain the narrative, imitating the dog bring an ambitious retelling of Conrad’s classic with a message that is far from ambiguous. Its cinematic approach brings the few characters involved, up close and personal to its audience in its effective revival. HeartofDarkness #Manchester TheLowry

Royal Exchange audiences are kept in the middle of old rivalries as the Sharks and Jets fight over their turf. In a classic love story that reimagines Romeo and Juliet's houses as rival street gangs, the Montagues and Capulets are given light and jazzy choreography in a contemporary adaption that pins American/Jets and Puerto Ricans/Sharks on the rough streets of New York. The original 1957 Broadway production, directed and choreographed by the Tony award-winning Jerome Robbins, stunned audiences with its mixture of operatic love songs and striking dance routines. After being transformed for the screen in 1961, West Side Story took (and continues to hold) the record for the highest number of Academy Awards for a musical. It’s ten Oscar stronghold has built a fanbase who continue to fall for the bright and youthful interpretation of Shakespeare’s tale of woe. However, at the Royal Exchange, director Sarah Frankcom has stripped back the gritty street scenery to offer audiences a sharp adaptation that focuses on the lovers haunting story and powerful vocals. Within the Exchanges circular set, actors are placed on opposing towers that house the clashing gangs. Overlooking the audience on either side, with a third tower lowered for the lovers to meet, the modern take streamlines the scenes and leans on the whimsical music that encompasses more fanciful choreography. As the company bounce off their conflicting towers into the faces of the audience, the ten-person orchestra hidden outside the theatre walls draws on the cast’s energy, passion and charm that carries the production. The minimal set warmed by its believable cast bring stirring performances that immerse the audience with their personality. Stunning arrangements and moving vocals of the young lovers, played by Gabriela Garcia (Maria) and Any Cocon (Tony) of Somewhere and One Hand, One Heart, enlivening the gentler love songs. But where this production shines is in the reinterpretation of its classic hits that make space for unfamiliar characters. Typically, the stand out moments of West Side Story are played out by its male characters, but here classic song like America, that debates Puerto Rican living against the American lifestyle is rebelliously performed by one woman who challenges her three female friends. As Rosalia (Bree Smith) brings more ammunition for argument, the show unites its male cast members to build on the dispute, but many lines have been reworked throughout the production to expand on the women’s role within the story. While its 1940’s “buddy boy” and “daddy-o” slang remains, the stripped back nature of this modern production offers shining moments for its cast to twinkle individually. Alongside the impressive choreography and memorable medley of songs, The Royal Exchange’s West Side Story is a back to basics classic that allows its audience to read between the lines. WestSideStory #Manchester #TheRoyalExchange

Fresh off the boat with her son in tow, British widow and governess Anna arrives in Siam prepared to teach the wives and children of its increasingly progressive king. Seeking help in advancing Siam into the ever-growing Western world, Anna is on hand to bring her questionable balance of facts and opinions to its old-fashioned leader, whose nation is built on tradition, religion and order. With fire and freshness, we witness Anna (played by Annalene Beechey) share in the king’s ambitions to enhance Siam while revealing her history of lost love to his wives. Despite being donned a “very difficult woman” for demanding to live outside the king’s palace and question him over his unsocialised manners, the story ceremoniously brings the two cultures together. Lapping the narrative with tuneful, slow-burning songs by the famous writing duo Rodgers and Hammerstein, the gentle musical isn’t lacking in memorable hits. As Anna is drawn into her new family, she learns of the wives devotions (or lack thereof) to their king, which dramatically builds in the second act, following the two embedded worlds that turn to showcase a theatrical production written by the kings newest wife, Lady Tuptim. Tuptim’s play enables a revised telling of Uncle Tom's Cabin, renamed here as The Small House of Uncle Thomas. Although the book is given to Tuptin by Anna, the story is reshaped by Asian influences, creating a mini production rich in inventive choreography, alongside the sharp live orchestra. Yet, as the women of Siam play out the anti-slavery narrative, the story draws attention to both the beauty of The King and I’s stunning spectacle, and its ever-present problems with dated stereotypes. The Opera House drops anchor into a mesmerising Siam, awash with sumptuous sets and period costumes, but the multiple love stories that lay the foundations of this classic are shaped around cringe-worthy culture clashes. Audiences may relish in the model soundtrack including Getting to Know You, but its harmful regurgitations of Shall I Tell You What I Think of You centring around Anna as the moral compass of Siam, highlights a few of the social ideals that have moved on since its 1951 release. While the sweet and warm Anna whistles away the worry of the immoral men she is forced to address, the heartless ruler, who takes women as gifts and beats them into submission is finally broken by his resistance to change. Its aspirational narrative attempts to reject the superficial offers that Anna brings, with songs that poke fun of the grand gowns Anna adorns. But it embraces the kings 90 plus wives and almost as many children speaking in simplistic pidgin English who dote on him silently. The balance is not tipped with the addition of Western People Funny, sung by the King's chief wife, Lady Thiang (played by Cexarah Bonner). The song that allows her and the collection of wives to sing about the pinching shoes, puffy skirts and sentimentality of the Western world is no match for its leading lady referring to the people of Siam as playing “the part of a toad” by grovelling at the king's feet. Beyond its opulent settings and catchy tunes, The King and I has become too dated to enjoy wholeheartedly. By its second act, after the theatrics of The Small House of Uncle Thomas have reminded audiences of Siam’s torturous king who wishes to whip his women into line, it's difficult to see this king as anything but a prop. With pantomime villainy that causes an audience member to cry out “barbarian” to its staged actor, the stories problems are glaring to anyone willing to look beyond its music. While the show maintains it is a love story at its core, its overall message is heart-breaking in more ways than one. TheKingandI #Manchester #TheOperaHouse

Fusing an amalgamation of science and dance, Autobiography dips into the DNA of resident Royal Ballet choreographer Wayne McGregor to generate a unique anthology of performances. In a production that centres around McGregor’s DNA analysis, Autobiography is shaped by the Genetics Clinic of the Future in the Netherlands who sequenced McGregor’s entire genome. The matchless and inventive choreography built around his whole genome sequencing allows the show to continuously transform the makeup of the production. Before each performance, a random algorithm creates the rules in which the structure of the show will take place, forcing the dancers, live musicians and designers to arrange the show in a new order for every performance. The performances are constructed around McGregor’s genetic code, childhood, career and memories, with the sequencing centred around 23 sections of choreography that are fashioned by McGregor and his ten accompanying dancers. Knowing, Nature and Death all live within the world of Autobiography, but audiences may be surprised to find that a show shaped on the DNA of a dancer has little structure holding it together. Tethered by its titles, each performance name is placed on a screen above the stage, and the silent storytelling takes audiences on a spirited journey that moves its splintered performances at a crackling pace. Set designer and projectionist, Ben Cullen Williams pins McGregor’s company against a pristine backdrop and floodlit stage, with a striking design that converts the Lowry set into a clinical open space. The structured chaos of its distinctive routines is playfully paired against the triangular white lights that lower onto its performers and sculpt new spaces alongside slashes of piercing projections that head outward into the crowd. Venturing beyond the technology, the collated collection is rich in dramatic musical flair due to its boosted soundtrack by electronic musician and producer Jlin. The live score performed alongside the performances move the jarring sequences with an equally animated soundtrack that help the show push the boundaries of science and dance. McGregor’ 80 minutes performance piece brings an advanced and technically exciting set that plays a collection of memorable visceral moments within its 23 sequences. As the show explores McGregor’s vulnerability, performances such as (Dis)equilibrium and Sleep offer captivating flashes of the companies stylish set and talented performers. Autobiography is a notably challenging production for its cast of dancers, and the distinctive show promises to offer audiences something new every time. However, its broken sequencing and harsher soundtrack will prove divisive to audiences looking for a firmer grasp of McGregor’s character. CompanyWayneMcGregorAutobiography #Manchester TheLowry

Shakespeare’s timeless and traditional story of romantic love has been revitalised by Northern Broadsides vivid production. With the duplicated and adored classical comedy reimagining at the end of World War II, the returning men are pitted against a strong cast of independent women who playfully protest their lovers’ advances or simply demand more from their men. Blending Shakespeare’s fast-paced and fanciful language with a spirited cast, Northern Broadsides production, directed by Conrad Nelson, brings audiences a faithful retelling infused with the witty retorts and double-crossings that power the narrative. The simple and effective vintage set dressed in bunting, plastered with WW2 posters and donning a printed sheeted backdrop, allows audiences to focus on the flowery language that is fused with an original twist of live music. Adding to the Shakespearian model, the musical accompaniments performed by the actors’ slot naturally into the parties and humour that plays out between the masked balls and wedding ceremonies of the swing period. Playing with the striking Shakespearian language in the intimate Lowry Quays theatre, the productions easy-going atmosphere produces fresh moments that add to the theatrics of the show. Melding a minute of audience participation, slapstick and enjoyable one-liners that draws audiences into the stories soap opera treachery, the comedy surges with energy due to its fantastic cast. The story follows two pairs of two lovers, the love haters Benedick (played by Robin Simpson) and Beatrice (Isobel Middleton) whose quick-tongued banter is reflected against the love sick Claudio (Linford Johnson) and Hero’s (Sarah Kameerla Impey) happy union. As the story explores a prophetic presence of love at first sight, the charismatic Middleton and Simpson shine the audience with their endless retorts about their disdain for love. The salacious emotional appeals of its male characters are a joy to witness, continuing Shakespeare’s 1612 original narrative with a moving and charming production. Northern Broadsides’ Much Ado About Nothing offers audiences a relaxed revival for love-weary audiences. Its forceful cast creates a compelling production, bringing a renewal of the classic that is hard not to love. MuchAdoAboutNothing #Shakespeare #Manchester TheLowry

The Hallé’s epic collection of fantasy music hosted by the bell ringing, “shame” chanting, Game of Thrones actress, Hannah Waddingham offers audiences a trip to the unknown. With a vibrant wave of music hitting the Bridgewater Hall, the intense collection of gripping tracks performed by the Hallé’s conductor Stephen Bell, surfs the audiences through a wave of memorable modern classics including themes from the Hunger Games, Spiderman and Star Wars. With the orchestra kitted out in full cosplay costumes, performing as Captain Jack Sparrow from Pirates of the Caribbean, Dr Who and the Men In Black, the Hallé are fully committed to the cause of entertaining their audience. These bright and accessible collaborations within the Hallé’s classic repertoire offer entirely entertaining evenings that continue to push their transfixing performances onto all round family favourite themes. Video game soundtracks including the inexplicably addictive Final Fantasy, Angry Birds and Call of Duty were included in the fantasy collection to help refresh the audience’s memory of playing against falling debris. With a plethora of inviting and inventive shows developed and performed by the Hallé heavyweights, audiences should investigate the countless themed evening that their upcoming 2019-20 catalogue has rolled out. We can expect more stunning performances from their future shows including A Night at the Oscars and Elton John - 50 Years of Your Song. Be sure to check the Hallé’s upcoming collections through the link below. TheHallé BridgewaterHall #Manchester

The dysfunctional Hoover family are taking the Lowry Quays audience on a road trip from New Mexico to California while sharing their broken, idealistic and waylaid dreams along the way. We follow parents Richard (Gabriel Vick) and Sheryl (Laura Pitt-Pulford), their teenage son Dwayne (Sev Keoshgerian) and their grandfather (Mark Moraghan), as they rally around their daughter Olive’s (Eve Gibson) dream to win the Little Miss Sunshine child beauty pageant. With the recent addition of Sheryl’s suicidal brother Frank (Paul Keating), together with grandpa’s cocaine addiction and their son's vow of silence, the detached family is forced to stay together opting to drive to California to get Olive to the pageant on time. Audiences can soak up the summery glow of the intimate Quays theatre as the set dons a fresh floor to ceiling yellow alongside a map of the families routed journey. There are plenty of moving parts added to this musical production, allowing audiences to follow the live band on the second tier of the stage, besides crafty reveals and more theatrical characters. As the Hoovers take off on their coerced trip in a hollowed out, busted minivan, Selladoor Productions transports them in a basic tiered chair set up, exposing the families limited space. Director Mehmet Ergen perfectly plays out the close living quarters of the Hoovers, with pass through walls that allow the audience to feel their claustrophobic life and the palpable tension played out between the unharmonious characters. Despite initially being bought to the screen in the dry dramedy starring Steve Carell, its stage adaptation is a challenging revamp that flows the melancholy narrative through a supportive soundtrack. The 2006 film offered a handful of memorable musical moments, but the notable gap in pop music makes the films unique ending shine. While illuminating the story for new audiences, this musical adaptation is forced to remove the familiar flashy and sentimental songs associated with the genre. The dreary lives of the Hoovers are naturally uplifted through its tricky adaptation, but the musical accomplishes a new strength and movement through its songs. The mostly seated stage production uses its soundtrack to build on the strength of its beaten-down characters and songs, such as How Have I been? and The Happiest Guy In The Van written by William Finn are enjoyable add ons to the shows painful humour. Thirteen years after the original release, the simple stories loose themes surrounding sex, suicide, drugs, and the American Dream plays out within the fractured Hoover family and continue to be carried by its engaging ensemble cast. Here, with Gibson at the centre, the cast brings the candid story in an honest musical form as its characters look for reasons to keep chugging along. The musical remains faithful to the tone of its film, centred around finding your place in the ever-growing exclusive world; Little Miss Sunshine is an inspiring journey that should leave the most pessimistic audience member feeling uplifted. LittleMissSunshineTheMusical #SelladoorProductions #Manchester TheLowry

Anyone wishing for an 80s revival should head to the Opera House theatre for a trip back to an era where Pac-Man was the latest craze and mobile phones cost mere thousands. Embracing audiences with an interactive live show, resident entertainment manager, Joe McElderry and his troupe are heading up the Club Tropicana hotel as a familiar Butlins style resort. Offering free drinks, fun and sunshine, the spirited 80s jukebox musical set the audience up with the banter, singalongs and a pantomime- esque night out. With matching Crayola coloured costumes and glimmering sets to lift their customer's spirits, the hotel immerses you in the novelty of 80s style. Immediately thrusting you into its world, the production pitches a light, frothy comedy that grips onto old-fashioned slapstick and inuendoes, alongside its fantastic live band and extensive soundtrack. With such a large and recognisable ensemble cast including Kate Robbins (Spitting Image, Dinnerladies) and former Sugababe, Amelle Berrabah performing the hits, the show moves swiftly, including impressive musical performances by the entire team. The story centres around Robert and Lorraine’s failed wedding ceremony, which sees both bride and groom flee with their friends from the altar, only to escape separately to the same hotel. Wrapped up in shoulder pads and feathered wigs, the animated musical tales an abundance of inspiration from bubbly 80s tracks like Take on Me, Girls Just Wanna, and The Look of Love, complete with choreography and clothing to match. Although the show was unable to reserve the rights to George Michaels Wham! hit from which it takes its title, it doesn’t fail to bring audiences a wealth of accessible songs they can sing and dance along to. Did someone say Macarena? With the audience up on their feet, its enlivening dance numbers and memorable melodies are driven by its energising and talented group of performers, who don’t take themselves too seriously. Club Tropicana The Musical by Michael Gyngell comprises producers attached to the UK production of Hairspray, and there are similar themes that run through both multicoloured productions. Notably replacing its live Corny Collins Show for Garry the holiday park entertainment manager which allows its lead, Joe McElderry (2009 X-Factor winner) to talk directly to the audience alongside Consuela (Kate Robbins) assisting as the versatile cleaner. The joyful production keeps a relaxed flow, pacing its comedy between a medley of over twenty 80’s tracks. The surprisingly intense choreography and its rotating cast of colourful characters keeps the show buoyant as the simple storyline is propped up by their personalities. Club Tropicana’s musical fusion forms a production that draws on the Butlins mantra, remaining relentlessly happy with its Hi-de-Hi image. As the show’s soundscape serves up familiar classics and bright variety performances, the family audience it is affectionately aimed at are sure to be entertained. ClubTropicana #Manchester #TheOperaHouse

Harold Brighouse’s 1916 play based in Salford, follows a conservative shopkeeper named Hobson as he attempts to raise his three independent daughters alone. With sound advice like “it’s a man’s world” echoing off his shop walls, you may be surprised that Hobson’s outdated views have been revitalised in an adaption that infuses the original story with an inventive twist. Writer Tankia Gupta brings the 1880’s cobbler shop to the 1980s, transforming the shop grounds with sarees and suits. Alongside the initial facelift of its dated narrative, Gupta embraces the stories universal themes surrounding parenthood, feminism and immigration. Converting the tale with customs surrounding the Hindu community, the pressure is raised by the generation gap that sees his three daughters fighting to pick and choose their own husbands. Hobson remains at the heart of his community, having immigrated to Manchester as a Ugandan-Asian with his wife to better his family’s circumstances. Fifteen years after Idi Amin expelled 70,000 Asians from Uganda, the toiling middle-class maker has established a name for himself in the UK. Unknown circumstances have left Hobson widowed, but we follow him years later in an ambivalent and apathetic mood. More often in the pub and leaving his daughters to carry the weight of the shop unpaid, the booze-driven manager's treatment is becoming a cause for concern for his daughters. As each of the women look for a means to escape their fate as voluntary contributors to the shop, the simple story chiefly follows his eldest daughter, Durga who plans to plan to break away and shape a life for herself. Labelled as the least desirable due to her age (30), the two youngest daughters pin their hopes on their partners rescuing them from their tyrannical father before he chooses a husband for them. The honest cast brings heart filled performances to the Royal Exchange, lowering a framed picture of prime minister Edward Heath from the sky and surrounding him with the rag traders’ colourful materials. Thankful to Heath for welcoming Uganda’s Asians into the UK, the rich production brings an entertaining and revealing reimagining of the local tale. Involving the audience in this community, director Arei Baberjee ensures the cast can reach out to the audience on the round stage, allowing for quietly side-lined celebrations with the daughters. As the show offers a hopeful account of independence, it is difficult not to be seduced by this smartly reconstructed classic. HobsonsChoice #Manchester #TheRoyalExchange