Ending Opera North’s three-show season at the Lowry, Street Scene turns up the heat with a powerfully cinematic take on Kurt Weill’s, 1946 opera. Capturing the vibrant world of an apartment complex, the production plays out the sordid tales and diverse voices of New York’s 1940’s melting pot, over two scalding summer days. Mathew Ebertardt’s revival is an inviting production that shines a light on an amplified microcosm of New Yorkers. Audiences join the tenants on their stoop, as the design establishes the apartment within a cascading staircase that flows from both sides of the Lowry. With the innovative set sprouting characters from all corners of the stage, the scene resembles Escher’s Relativity, continuously framing the ensemble at its centre. The shared space brings a terrific sense of community, piling in a large cast and allowing the pacy action to unveil multiple soapy stories. Within the bright brownstone, we hear the whisperings of nosey neighbours speaking on tenants’ evictions, cheating spouses and ragamuffins running wild in the neighbourhood. Additionally, just like a captivating soap opera, we are happy to witness their turbulent lives play out before us. Despite being laced with plenty of tragedy, Ebertardt’s direction ensures Street Scenes Tony Award-winning Best Original Score buzzes above the drama. Catchy songs, including We’ll Go Away Together and I Got a Marble and a Star paper over the issues of drunken, heartbroken and homeless tenants, let alone housewife Anna (Giselle Allen) making whoopie with the milkman. Over its two-tiered staging, Opera North embraces the multiplicity of its eighteen membered cast, switching musical styles to present a litany of arias and duets. Within their beautifully presented production, Gary Clarke serves up lengthy song-and-dance sequences including, Wouldn't You Like To Be On Broadway? that highlights the shows peculiar mix of Broadway tracks within its opera framework. Conducted by James Holmes, the irresistibly jazzy score layers a Broadway-style over its working-class storyline of clashes and conflicts. Plenty of memorable moments are on offer, with impressive numbers like Moon Faced and Starry Eyed woven into the fabric of the plot. A jitterbug performance between Mae Jones (Michelle Andrews) and Rodney Vubya (Dick McGann) syncs the soap with entertaining choreography and keeps the sombre drama upbeat. Even the soon to be evicted Hildebrand family have their youngest daughter, Jennie (Laura Kelly-McInroy) perform the delightfully optimistic, Wrapped in a Ribbon and Tied in a Bow as a strange dichotomy to the real action unfolding on stage. Opera North's Street Scene is one of the most relaxed, relatable and high-energy operas touring with the company. Filled with scandal and joy, it is an easy-going venture for newbies of the genre, bringing with them a terrific live orchestra, a passionate ensemble and a stunning set design. OperaNorth #StreetScene TheLowry #Manchester #ONStreetScene

Blurring the lines of its surreal world with a smoke-filled vision that veils the Lowry audience besides Odette’s moonlit lake, Birmingham Royal Ballet’s (BRB) enchanting production will leave onlookers spellbound by the classic retelling of the fable. Awaiting her true love to rescue her from a wizard’s spell, Odette roams the Earth as a swan, captivating observers with her ethereal beauty. Wandering with her large ensemble, BRB’s boundless staging of the princess’s lair engulfs the audience in the midst of the dark moonlit lake she is fated to live upon. An impassioned performance from Momoko Hirata as Odette/Odile brings the gentle swan queen to life, but BRB’s retelling of Tchaikovsky's timeless fairy tale is an overall, glamorously dreamy production. Orchestrated by the Royal Ballet Sinfonia, the impactful score beats between flights of fancy, festivities and fight sequences, to capture the ambience, together with the show’s spectacular costumes and set. Peter Wright’s production brings a richness to the classic, enter all into the shimmering, haunting environment of enchanted creatures and ritualistic displays. Tchaikovsky’s 1876 model is preserved with a touch of new technology implemented to enact the echo of Odette in Act 3, which is projected onto the stage. Layering the story with rich scenery, divine costumes and balancing the beauty with the darkness of the enchanted wood, Wright pulls the full force of the company to carry the habitually individualistic show. Odette is suspended in time accompanied by her bevy of swans, developing the intrigue of Prince Siegfried (César Moralesis) from across the lake. But before being illuminated by Odette’s soulful, lakeside performance, Moralesis takes centre stage, rousing his guests with dramatic jetés for the first act of the production. Highlighting his wooing skills with a dizzying array of leaps and technical detail, the Prince performs for the audience with the promise of being married off and crowned King. Act 1 allows the male ensemble to show off their fancy footwork as they perform as the women’s entourage and friends of the Prince. Later, seduced by various suitresses and their entourages, the productions ensemble scenes flourish beside the lead’s elegant solos. Taking the audience from inside the eccentric parties of the Prince’s castle to the wide open and whimsical realm of the swan princess. The intricate choreography carries the BRB’s production of Swan Lake, presenting the pas de quatre under a shadowy forest , where the four swans sync their intricate, mirrored sequence of steps. While BRB entwines precision and poise with sumptuous sets and costumes, the audience are given a first-class rendition of the beloved and renowned classic. Hirata strong presence and detailed performance allows her to sore as the Swan Princess, switching between the fierce and passionate Odette and Odile. On the edge of evil and elegance, Hirata’s feathered tutu and grace offer a punishing display of fouettés spins to capture the full magic of Swan Lake’s animal-like creation. The immense and enthralling show is the perfect foray into classical ballet, filled with wonder and momentum. Swan Lake is always a joy to watch but BRB’s production will leave you captivated until its final, heart-breaking moments. BirminghamRoyalBallet #SwanLake TheLowry #Manchester

The Marriage of Figaro follows a fierce set of complicated characters whose class, desires and pride fuel the fast-paced farce. Wolfgang Amadeus Mozart’s tale, originally written in 1786, set against the French Revolution has been updated to pre-revolutionary Russia, allowing Opera North to confront a collapsing aristocratic rule in a new location. Money and status are set to ruin the ceremony of Figaro (Phillip Rhodes) and Susanna (Fflur Wyn) before the vows have even been exchanged. With audiences sitting in as guests on the pairs chaotic wedding day, the looming Lowry sets the scene in a decaying manor where the once stunning house is being aired in preparation for the couple's wedding. The fading estate owned by Count Almaviva (Quirijn de Lang) and Countess Rosine (Máire Flavin) stands as a grandiose reminder of the world Figaro and Susanna reside, where their possessive bosses’ stranglehold over their lives is starting to form cracks. The lover’s, hindered by the Counts wandering eye towards Susanna and the Countess’s desire to catch her cheating husband, takes the light-hearted romance into a comedy of entrapment and tricks. Overlapping verses, repetition and tomfoolery play a significant role in the production, as page boy, Cherubino (Heather Lowe) disguises himself as a woman to lure in the Count and Figaro deals with his agreement with Marcellina (Gaynor Keeble) to take her as his wife. The cynical love story layers its darker instincts and the debt of success with peeling scenery, playful characters and memorable melodies. Spun around its contemptuous and amiable cast, The Marriage of Figaro is a hilarious romp of an opera, offering charming performances that bring plenty of standout moments. Built with passion and love, the comings and goings of the guests and the dilemmas they bring are offset by the busy, melodic lines of the live orchestra who perform Mozart’s unashamedly romantic score. Conducted by James Hendry, the spirited music, which is continuously shifting due to the confusion within the drama, layers the atmosphere with a range of confrontational lines. Driving the wonderful complexity of the story by interweaving the ensembles voices, the animated production presents a cast of characters you are happy to spend an evening spying on. Director, Jo Davies celebratory scenes offer onlookers a perfect reimagining of the imperfect love story, with the smart production pointing the finger at the upper class that is propped up by the efforts of its working-class ensemble. Combining stories of mistaken identity, strayed love and debt, the ever-increasingly outlandish tale remains reflective and entertaining throughout. Doting and fury filled arias offer the sweetest tones between its amusing moments of guests jumping out of the closet and from behind chairs. The shows extensive cast were superb, with captivating performances from Rhodes, Wyn, and Lowe, the humour and convoluted story gives the three-hour production momentum. Opera North’s lively production is a passionate affair with memorable melodies that will allure newcomers to the genre. Audiences should raise a toast to the witty tale and catchy orchestral classic that finds joy in the simple things in life. #OperaNorth TheMarriageOfFigaro TheLowry #Manchester

The six adult-sized six-year-olds of Bloomfield school already know what they want to be when they grow up. Presenting to the audience as part of their end of term presentation, Mischief Theatre’s latest offering is a warm and cosy comedy that runs through three stages of life. We follow the small friendship group as they showcase their critical changes, progressing from age six, to fourteen and finally, to their fading thirties. This layered comedy celebrates the young and optimistic lives of its baby-faced cast with a relatable story about self-acceptance and perseverance. Mischief Theatre has produced a gentil, reflective piece to join their slapstick repertoire, filling the stage with a cheerful tale that primarily highlights the casts wonderful chemistry. Laying down the groundwork with archetypal characters, we are quickly introduced to the overzealous Spencer (Dharmesh Patel), rich girl Moon (Yolanda Ovide), smarty-pants Katie (Lauren Samuels), alongside nerdy Simon (Matt Cavendish) and new kid Archie (Daniel Abbott). Despite stressing the highs and the lows of adulthood, this new story path remains consistent with Mischief’s aesthetic, with director Kirsty Patrick Ward and set designer Fly Davis producing interactive, eye-catching set pieces used for perfectly timed stunts. Playing with a tot’s perspective, the Lowry stage is filled with overwhelmingly oversized furniture for the adult-sized, child versions of themselves. The attention-grabbing sets are phased out as the group finally fumble into their careers/career-less lives and meet up at their high school reunion. However, the focus remains on the shows simple request to give yourself a break and appreciate your trudging journey into adulthood. Judging by the family-friendly audience that the Mischief group attract, their shows are always going to rekindle your inner child as they are joyously packed with a cast of free-range adults who are perfect at setting an audience at ease with their light-hearted humour. Mischief Theatre has slowly decided to sidestep away from their niche visual gags and slapstick comedy to construct a real drama full of hilarious visual gags and slapstick comedy. However, the group still holds the same level of high energy humour at the forefront of this production. While breaking some dogmas and misleading myths about what it means to be a grown-up, this feel-good social comedy will hit home as an honest commentary on how difficult adulting really is. #GroanUps MischiefTheatre #TheLowry #Manchester Tickets are available via t he Lowry link

Rock of Ages is a flatpack musical bolstered by its 80s pop-rock soundtrack and riff-heavy performances. The scenery-chewing ensemble ensures that audiences are engrossed by their Energiser bunny enthusiasm as the cast carry the seedy satire with friendly audience participation and charismatic performances. Health and safety procedures have been put aside for scaffold set pieces, a cacophony of lights and mini mosh pits, all to indulge the audience’s curiosity in the sex, drugs and rock and roll taking place in the Bourbon Room. The familiar storyline welcomes new town girl, Sherrie (Rhiannon Chesterman), whose dreams of becoming an actress are drop-kicked into the reality of working as a waitress for the washed-up bar and its owner Dennis (Ross Dawes). Fortunately, after befriending a young songwriter, Drew, Sherrie becomes his muse, generating some joyous soft rock ballads while also moonlighting as a waiter. You may be left with a sense of déjà vu as all your favourite guilty pleasures come pouring out of the bouffant haired, leather pant wearing cast. Rock anthems, I Wanna Rock, Final Countdown and Wanted Dead Or Alive come complete with a live band and become part of the hypnotic collection sporadically performed by the offbeat characters. With its musicians on stage throughout the show, director/choreographer Nick Winston helps to emulate the audiences feeling of being a part of a live, relentless concert. Despite being branded a jukebox musical the majority of the songs sung in Rock of Ages are not detached from the actual narrative, helping to fuel its fantasy sequences and tongue in cheek humour. The productions best tricks are its larger ensemble numbers that showcase the variety of compelling voices within its capable cast. As the Bourbon Room bar is forced to grapple with big money interests intruding in on their world, flower child city planner Regina (Gabriella Williams), attempts to keep the strip in its authentic form. Deciding to vocally bemoan with a medley of We Built This City/ We’re Not Gonna Take , the majority of the cast show out with exhaustive choreography and animated vocals for this fabulous remix of the hits. Additionally, Joe Gash commands the room with a standout performance as Lonny. Gash is a smooth-talking jester, narrating throughout the show and willing to riff with any woman lucky enough to be sat at the front of the Opera House theatre. Despite premiering in 2005 the show's story feels overly dated but a few evocative moments place it out of a family-friendly standing. Some concentration surrounding groupies, strippers and drugs is an enjoyable distraction, but its glam rock cast and vigorous choreography amplifies the humour and joy of rock, rather than leaning too heavily into the realities of the murky Sunset Strip it presents. Rock of Ages’ levity and light also means that it is not a show made to be scrutinised for its plot as its multiple story threads are admittedly disorientating and flaky. However, the audiences love of nostalgia has fuelled its 2012 film and guarantees that this jukebox musical is bound to endure as the 80s goes through yet another resurgence. RockOfAges OperaHouse #Manchester Tickets are available via ATG link

Bringing a feel-good frenzy of rearranged tracks, catsuits and cars, Grease the Musical returns for a restrained renovation of its 1978 film. The California teen musical sees Australian Sandy Dee attempt to rekindle a lost summer fling after relocating to Rydell High School in which her American summer love, Danny Zuko happens to reside. With a capable cast donning the Pink Ladies cardigan and the timeless leather jackets taken up by Dan Patridge (Danny) and Paul French (Kenickie), the live show packs its own memorable punch. Director Nikolai Foster prioritises the energy of the movie with a lovingly remodelled production that turns up the heat and volume on all of your favourite filmed scenes. However, the live shows new formation of the classics will shock die-hard fans of the feature film as Foster chooses an unfaithful retelling that ties in unfamiliar songs like the Tattoo Song and Mooning for its large cast of characters to seize. Illustrated with dazzling set pieces and props, this lyrical look at the lives of the untamed youth plays out a multitude of stories surrounding friendship, love and a fear of the future. Magnified by the musically gifted cast led by Patridge and Ellie Kingdon (Sandy), the show keeps the iconic movie characters at the forefront, with Partridge giving an amusing John Travolta impression. This production has been dramatically edited for the overly familiar crowd, including additional dialogue and scenes that tamper with the old faithful story formula, almost beyond recognition. As the show removes some of the expected visuals, it draws its strength from the company who do an admirable job peddling the unfamiliar stage material to the Opera House audience. Patridge brings an energetic and impressive performance, with the moves to match his solid vocals, but the shows countless bops means that the majority of the ensemble have their own time to shine without him in the picture. A memorable solo performance by Tendai Rinomhota (Rizzo) for the song, There Are Worse Things I Could Do was only upstaged by the cheers of the crowd, who were determined to join the live production. Packed with intense dance routines and absurd dream sequences, the musicals strong arrangements include layered backstories for its enormous cast and merges colourful fantasy sequences to deliver contagious fun. Classmate and aspiring beautician, Frenchy (Marianna Neofitou) is determined to find her footing outside of the school, but her lack of effort summons a personalised guardian angel in the form of Peter Andre. Brightening the stage with a heavenly and smoke-filled performance of Beauty School Drop Out , the mysterious maestro's double appearance as presenter Vince Fontaine and Teen Angel ensure that he takes centre stage throughout the show. Shifting its scenery from the Burger Palace to the back alley, the musical moves rapidly with its flashy and striking performances choreographed by Arlene Phillips, coming in thick and fast. Anyone married to the original film will be frustrated with this enthusiastically constructed, heart-filled remix that boasts a high-quality cast and completely distorted production. The live shows unique reimaginings are also its shortcomings as brand-new songs performed are difficult to decipher over the powerful live band and cannot be sung along to by the audience. Also, despite Grease initially opening as a stage show in 1971, audiences are primarily only acquainted with its 1978 film, making the numerous deviations from its live plot a puzzling choice. Nevertheless, this show is so slick, that you will want to be a part of it, and despite Grease’s unforgiving portrayal of teen life, you are bound to enjoy heading back to high school for this sugar-coated slice of American pie. The jukebox collection of 70’s throwbacks are given a handful of karaoke revivals, including renditions of Greased Lightnin’ and We Go Together that necessitate audience participation when performed live. Combined with the titled classic courtesy of Frankie Valli, Grease the Musical will have you believing you were Born To Hand Jive . #GreaseTheMusical # OperaHouse #Manchester Tickets are available through ATG link

West Side Story composer Leonard Bernstein turns his Broadway panache to a short 50-minute gen of an opera that packs a powerful punch. Playing with your expectations of what an opera should be, Bernstein blends musical theatre, movie magic and jazz for a vibrantly crafted depiction of a broken American Dream. The story of married couple Sam and Dinah unfurl alongside three absurdly happy crooners who open the opera with honey vocals and longing lyrics about love and marriage. However, the shows’ jazzy introduction is a deceptive and playful mask for a story mired in melodrama. The story follows Dinah (Sandra Piques Eddy) plagued with insecurities and reservations about her possibly cheating husband as the couple begins at the breakfast table exhaustively arguing over burnt coffee and toast. As the Lowry audience peep over their white picket fence and through the windows of their little white house, their suburban life begins to unravel inside their aesthetically charming 50’s cover as the production balances the couples’ separate lives through silhouetted scenery, animates choreography and vintage costumes. Director Matthew Eberhardt ensures that Opera North’s production has a rich, live orchestration and its signature 50’s stylings stand out amongst the couples’ drab lives. After Sam (Quirijn de Lang) makes a break from his tense breakfast conversation the story disjoints their painful and melancholic tunes with jaunty intervals from the backing jazz singers and a fabulous fantasy moment that will have you wishing that the stories sequel ( A Quiet Place 1983) followed straight after. With catchy tracks including a duet of despair singing “Why did I have to lie”, Bernstein’s experimental opera is equally a subtle and unexpected piece of work. Compared to older operas this 1952 sample has far fewer shenanigans happening within its story. As a result, Trouble in Tahiti remains a relatable tale that manages to offer a retro production that feels contemporary due to its consumerist narrative. Lang and Eddy carry the tale with compelling and soulful performances that parade the themes of grief and resentment within their confined relationship. However, the shows biggest number, Island Magic propels the story into a beautiful fantasy that embraces the Hollywood style and scores it mocks, specifically Rodgers and Hammerstein’s South Pacific . With a gripping performance from Sandra Piques Eddy, the elegant Dinah reimagines herself starring in a nonsensical Hollywood feature with the help of her jazzy trio giving the full splendour of the cinema live on the Lowry stage. Opera North layers the impactful short story with classic 50’s visuals that imprint this dynamic production. It is the perfect quick scat into what Opera has to offer audiences, showcasing oodles of culture, a look at the most up-to-date kitchen and a narrative that reminds audiences that the grass is not always greener. To top off the production, Symphonic Dances end the show with a riveting revival of West Side Story . As the Jets and Sharks dance battle on stage for the respect of the Lowry audience, the abridged edition of Bernstein’s work aids in highlighting his tremendous influence on musical theatre and brings this compelling production to a close. #OperaNorth TroubleInTahiti #SymphonicDances #TheLowry Manchester Tickets are available through the Lowry link

The tried and tested plot from playwright Fredrick Knott is a sinister, preplanned crime thriller served by pensive performers and heightened by its suspenseful dialogue. Psychological games run wild on the Lowry stage as a love triangle between friends Mark and Margot threatens to be revealed through a scandalous letter to her husband Tony. Unknown to the lovers, Tony has been sitting on this information for over a year but after growing financially dependent on his wealthy wife, Tony ( Tom Chambers ) has decided to unceremoniously murder her so he can continue his life of leisure. Knott has written a strangely restful murder mystery in which the audience is immediately aware that the creepily charming husband holds all of the cards before any plan is even played out on stage. However incremental in its reveals, the hypnotic storytelling falls to the shows terrific writing and direction that pushes the narrative forward. Due to its exposition-heavy plot and its almost entirely blackmailed line up of characters, all conversations feel incredibly intense. But the 1952 dialogue of faux British politeness while being blackmailed, threatened and investigated is as convincing and hilarious now as it was in the ’50s. Director Antony Banks holds the set on the couple’s home while the teased-out murder of Margot is layered with multiple misdirection’s and subtle visual ques that are followed by inspector Hubbard , played by Christopher Harper and writer of detective novels/lover Max Halliday (Michael Salami ). Calm and cunning in its delivery, the story initially premiered on the BBC in 1952 and was pushed further into popularity with Hitchcock’s 1954 3D feature film starring Grace Kelly. The back and forth between chief inspector Hubbard, husband Tony and lover Mark stand out as precision-based set ups for audiences to help join the detectives’ dots for this crowd-pleasing tale. Despite the productions lack of 3D visuals and the forced, almost muted responses of its coerced cast, the shows second act is filled with tension. However, this production of Dial M For Murder leans more towards comedy than drama. Despite the cast convincingly carrying out this technically difficult caper, the show feels uncomfortable with any silence on stage, filling out scenes with visual gags and speeding through lines. Chambers’ expressive performance as Tony saps much of the vile from his meticulous character, making him a misguided and gullible baddie alongside the straight-talking inspector. The show rests on mountains of dialogue being explained at length, keeping audiences focused on the gripping and surprisingly funny conversations that are filled with suspenseful trickery. But here too much is played out for laughs rather than suspense. Knott’s timeless tale surrounding love, blackmail and murder is full of British charm, opulence and the predictable underhanded deception of those who have it. Shrouded in shadows and surrounded by an ominous soundtrack, this 69-year-old tale keeps pace with even the most modern of murder mysteries. DialMForMurder #TheLowry #Manchester Tickets are available through the Lowry link

There’s nothing but blue skies ahead as the holiday classic White Christmas hits the Palace Theatre, adorning the stage with old school glamour, phenomenal costumes and whimsical sets. Offering audiences an early Christmas gift, the story opens with a reserved Bing Crosby rendition of the title’s classic sung by Matthew Jeans (playing Bob Wallace). With a war-torn backdrop alongside its troupe of American soldiers celebrating Christmas Eve in 1944, White Christmas depicts the lives of two ex-sergeants 10 years after the war. Having teamed up to become a musical double act, the comical Phil Davis (Dan Burton) and the cynical Wallace appear practically married as Davis pushes his friend into finding love outside of his work. Fortunately, the pair just so happen to learn of a female duo with an impressive novelty act of their own. So, expect a musical love fest around friendship, misunderstandings and 50’s nostalgia as this holiday production turns one of the most popular songs ever recorded into a skilfully sentimental tribute to the army. Burton and Wallace bring the momentum to this musical with a gymnastic take on its demanding choreography, singing and Christmas cracker joke-telling. The swift-moving performances alongside the shows enormous ensemble cast brings beautiful synchronicity and masses of energy to the musical. While composer Irving Berlin brings his beautiful ballad White Christmas to the forefront, the majority of the jukebox musicals tracks play as a vehicle to showcase Wallace and Davis or sisters Betty (Jessica Daley) and Judy Haynes’ (Emily Langham) variety acts. As a result, the Palace theatres audience are served an assortment of cheesy comedy, feathered fan choreography and tap dance tributes that have nothing to do with Christmas. Director Nikolai Foster scales back the showy sets to deal with the story’s sincere elements with a dose of minimalist realism but its musical acts are spectacular. With stunning props and snatched dialogue, the play punches up its dance numbers with dreamlike environments, dramatic lighting and extravagant routines. Only through the song, The Best Things Happen While You're Dancing, does its coupling cast dissolve out of their conversation to break out into song and dance for a flat out, full-blown musical number about their emotions. It is a sweet and implausible moment that quickly gets back-peddled down to a bickering earth, where the majority of the shows routines are played straight to the Palace Theatre audience. This production premiered in 2000 and like the 1954 film it was adapted from, harks back to an old-fashioned cabaret that at its best presents sharp comical timing and precise dance numbers from its immense supporting cast. While its film, at its worst, will make audiences cringe at the thought of romanticising a good old-fashioned minstrel show, the live adaptation is a class act from start to finish. Injecting additional songs, live orchestration and adjusting the tracks for modern audience members, the minor revisions made ensure that the shows story remains romantically faithful despite a 46-year gap from film to stage. White Christmas has too many positive nostalgia points to make you overlook its vintage flaws so count your blessings and consider yourself a guineapig to the most Christmassy show in town. With a guarantee for Snow in Manchester, the production serves up scenes like a picture-perfect Christmas card with Stephen Mear’s scenic choreography allowing its dancers to pause for effect. Ultimately, alongside its down-to-earth story, the narrative is honestly a sweet-tempered tribute to all the people who served in the military, mixed with a traditional love story. WhiteChristmas PalaceTheatr e #Manchester Tickets are available through ATG link

Suspending audiences in a world of fantasy and awe, Leeds Playhouse production has compressed C.S. Lewis’s sprawling novels into a finely tuned, 130-minute, minimalist live creation. The first of the seven novels within The Chronicles of Narnia franchise follows Lucy (Karise Yansen) and her three older siblings as they discover the magical realm through a wardrobe in the spare room of their new home. A rich world awaits them and guided by a lion named Aslan (Chris Jared) and a faun named Mr Tumnus (Jez Unwin) the kids soon realise that Narnia offers a particularly frosty welcome. With the remote land controlled by a prevailing White Witch (played by Samantha Womack) the children find themselves suddenly shifting from making animal acquaintances to making powerful enemies. As we move past the novels 70-year release, director, Michael Fentiman breathes new life into C.S Lewis’ well-worn storyline. Despite audience’s knowledge of the text, the production safeguards that this quintessentially British creation is founded around a superb cast that keeps the audience enthralled in their wonderment. The classic is tethered to the images that make Narnia a much-loved tale, however this production offers a light and fresh perspective without shedding all that is familiar. Romantic sets and floor-sweeping costumes frame the new reality in a delirious surreal and delightfully warped adaption. Zooming into the trippy Turkish delight nightmares of Edmund (Shaka Kalokoh) is enough to melt the coldest of hearts, with the refreshingly rich world of C.S. Lewis heightened to immerse all audiences into their atmospheric realm. It is always winter in Narnia and to preserve that sense of wonder the production clutches tightly to the mantra that, less is more. Evoking the rich land through precariously placed boxes, spot-lit scenes or the inclusion of live musical performances that leaves plenty of space for unexpected surprises to enter the Lowry theatre stage. The show mingles puppetry and bewitching set pieces into its dreamy storytelling to offer a mesmerising concoction of costumes and colourful characters that form the powerful imagery behind the novel. The Lion, The Witch and The Wardrobe Live transports the novel’s poignant religious allegory, its themes around family, friendship and loyalty to offer a wildly entertaining journey on the other side of the Lowry doors. Whether you are a fan of the multiple series or film adaptations, the inquisitive Pevensie children have a way of pulling you back into their world and this adaption will certainly capture a whole new generation. TheLionTheWitchAndTheWardrobe TheLowry #Manchester Tickets are available via the Lowry link

Rock opera aficionado, Andrew Lloyd Webber continues to stick it to The Man with his wildest West End offering that has finally hit Manchester theatres. Playing out an infectious 109-minute tribute to rock, the musical follows hapless teacher, Dewey Finn and his class of rebellious private school students. Expelled from his band for playing too many 20-minute solos and desperate for rent money, wannabe rock star Dewey decides to con his way into a new gig. Fiddling his way into his roommates’ job as a teaching assistant at the prestigious Horace Green school, Dewey soon finds that the kids there could be the perfect stand-ins for his new (yet to be named) band. School of Rock’s laidback storyline is a whimsical treat that is difficult to dislike, however, the live musical that revamps the 2003 film starring Jack Black includes an original score and lyrics by Webber and Glen Slater ( The Little Mermaid / Sister Act ) for added momentum. Providing the lightweight story with additional spirit for the Palace theatre stage, the talented Alex Tomkins as Dewey gets to flaunt his singing chops and scenery-chewing skills. Tending to all the childlike actions that his prep school bandmates lack, including spit takes and a hilarious acapella skilled solo, the show is awash with fantastically nerdy and eccentric characters. After deceiving his way into teaching the shy and geeky group of year 6’s, Dewey soldiers on despite his lack of a degree, forced to convince the students and staff that he is not a sketchy tutor with ulterior motives. Even as he hands out prestigious band titles like groupie. Playing against the straight-faced and reliable Rosaline (Rebecca Lock) whose ritualistic approach to education threatens to burst the bubble of Dewey’s high voltage, experimental teachings. The show benefits from Lock’s lighter, operatic touch against the copious scenes that focus on Dewey’s immaturity, and Lock’s vocals are incredible. Improving on the limits of the film, the added soundtrack and narrative tweaks offer a few entertaining riffs to the original story. Director Lawrence Connor layers the sets, seamlessly moving from bedroom to classroom while refusing to play out all the musical numbers as a straightforward concert. With only a few performances being delivered with a pitch-black backdrop that focuses on the fantastic acoustics and talent of its young cast, the show offers the same level of spectacle expected of an Andrew Lloyd Webber rock musical. While the production's sets and direction are a clean affair, the real stars of the show are the immensely talented collection of kids on stage. The remarkable vocal performances of Souparnika Nair (Tomika) across from Marikit Akiwumi’s (Katie) bass playing skills are a thrill to watch. The youngsters who form The School of Rock are all brilliant, but the standout, smarty-pants talents of Summer (Florrie May Wilkinson) are worth the live adaption alone. This warm production is full of enthusiastic routines that balance the school’s prim and proper approach. With songs including Here at Horace Green played before Dewy injects some Zeplin into the class and a classic performance of In the End of Time is offered as a winning contender for the Battle of the Bands. Bringing the group together in the hopes of winning the competition, the inspiring kids of Horace Green, harness all the power of rock to layer this familiar story with captivating musical performances. With Webber's signature, the show remains an attractive musical that is high in energy and offers plenty of belly laughs from its slapstick, youthful sense of humour. SchoolOfRock PalaceTheatre #Manchester Tickets are available via the ATG link

Offering a one-night stand to remember, Coronation Street’s Kym Marsh dons the notorious bunny boiler role for a tension-filled evening of revenge. Relishing the role of Alex, the quick-witted villainess who sweeps the Opera House audience along with a tumultuous love triangle. Hoping for a discreet affair, husband Dan Gallagher (Oliver Farnworth) decides to step outside of his marriage to sleep with his Madama Butterfly aficionado, red flag waving work colleague, Alex (Marsh). Unfortunately for Dan, Alex’s side chick status quickly escalates into stalker territory as she attempts to win back his affection. While Dan remains ever fearful of his marriage being destroyed by this near stranger, he is unsympathetic to Alex’s attachment to him and her detachment from reality. With more than one scene involving a butcher knife alongside lines like “I'm not gonna be ignored, Dan”, Alex’s alternative truth points to an unnamed mental disorder, but the show shapes the tragic lead as a vampire out for nothing but love and blood. Adapted from the plot-light 1988 film that saw Glenn Close’s deranged vision of vigilante justice take back her control from the adulterous Dan. The stage show concentrates on Dan’s experience, giving him the chance to narrate his own tale of corruption. The films portrayal of Alex’s chokehold over her lover builds to such a psychotic conclusion that it coined the phrase “bunny boiler”. In which Close’s endeavours sees her character consistently thrown under a bus for the results of the pairs affair. Fortunately, James Dearden’s stage adaption offers the original movies ending in which Alex and Dan share more of the blame between them. As Alex builds her case against Dan through incessant calls, Ingram builds the toxic love story with ominous sound effects and shadowy projected images. With audiences forced to keep their eyes peeled for Alex’s next strike, many storm clouds gather above Dan’s head as the structured grey set lingers above its cast regardless of whether they are stationed at the workplace or at home. Marsh also finds her footing somewhere between enthusiastically shattering marriages and being an over passionate sweetheart, with a decisive performance as the worrisome and misunderstood antihero. While Farnworth’s portrayal of the naïve martyr shows him to be a manipulative and convincing victim throughout. Fatal Attractions’ story remains as subtle as setting an ex’s car on fire, but its wild tale of retribution is a gratifying ride to take. Alex’s characterisation revisited 30 years after its films release offers a belated upgrade for the mistress. Despite remaining a problematic character, her personality is not as anaemic as it is in the film. Marsh is darkly delicious, ratcheting up her energy from troubled lover to a scorching earth ex and building to a biting finale. It is also difficult to resist the allure of the stage adaption and as Fatal Attraction live revamps a different pattern to the one presented on film, audiences will remain drawn to the drama as it offers a far more satisfying ending with its stage revival. #FatalAttraction OperaHouse #Manchester Tickets are available via the ATG link