In a campaign to keep the Parkside Colliery pit, four members of the Women Against Pit Closures have side-lined their husbands, children and jobs to fight for their communities and futures. Anne, Elaine, Dot and Lesley pose as teachers who wish to tour the mines but plan to protest the closure by staging a sit in. The Royal Exchange highlights the pits confined space, making room for a suspended cage that carries the women into the mine while lifting its floor to reveal its gravelly centre. Equipped with hard hats and flashlights, the show does its best to balance the humour and anger surrounding the closures, heard through the voices of the forgotten. Originated as a radio play by Maxine Peake, the adaption to the stage downplays the action of the movement, opting to talk through all problems without offering any solutions. For mining villages, prospects appear to be bleak as no plan or investment have been implemented to offset the impact of an industry removed. Nevertheless, stories drift between the dispute of the coal war, humour in the mundane, personal relationships, lack of relationships and higher education. It becomes a waiting game where the strategy behind the provoked coal strikes aren’t clarified and the women begin to bicker among themselves. The group includes a member labelled too highbrow for listening to Radio 4, a randy mixed raced character, a middle-aged white woman and a middle-aged white woman who still uses the term “coloured”. The point being, can’t we all just get along? Yet, with clashes that demonised while destroying working class communities, their stories fail to depict the real consequences behind pit closures. The arguments against closures range from letting men be men, to women doing it for themselves, but primarily focuses on the struggle to survive after the pits have closed. It's 1993, only 31 pits remain and despite the relentless violence and poverty ravishing mining villages, the conversations between the women serve to highlight their differences. With a Us vs Them mentality that places many on shallow ground, it becomes frustrating to listen to serious issues being suspended for jokes. When a young miner named Michael enters the space to deliver supplies, he shares his father’s experiences of the lack of support, security and diversity within his mining community. It is an experience that has sent him back to Jamaica, and a conversation ends there. Despite its diverse cast, the discussions surrounding cultural understanding and a legacy of loss aren’t spoken on in-dept. Institutional racism and police brutality are intertwined as Anne explains to Michael that she used to believe there was “no smoke without fire” when black people were arrested without cause. However, after her arrests she realised the police could unjustly detain people. Unfortunately, there simply isn’t enough time to delve into casual racism further as the rest of the ladies have returned from the loo. Instead, Michael is asked about his future, one in which he’d love to become a DJ and is told he shouldn’t give up on his dreams. Labelled weak for not fighting against his boss and the mine closure, Michael asks for the point of fighting a losing battle? It is a question that lingers throughout the production as the legacy left for its youth is never up for debate. This production does highlight how the miner strikes fashioned fighter and artists out of housewives. Opening a new birth of leadership for working-class women not deemed politically charged or mentally capable. However, the humour here often buries the real acts of heroism that these women uncovered. QueensoftheCoalAge #TheRoyalExchange #Manchester

“I’ve never seen such a change in a man.” With all the tropes of a classic thriller, the real shock of Christie’s 1924 Love From A Stranger, is how this established mystery continues to hypnotise its crowds. Creating genuine gasps and noooooos from audience members throughout its suspenseful, character-driven narrative, this adaptation by Lucy Bailey brings out the Miss Marple in every spectator. The story follows recent Sweepstake winner Cecily Harrington (Helen Bradbury) as she uncovers a new-found need for spontaneity and travel. It goes without saying that mo money means mo problems, but Cecily’s winnings also come with opportunities. With plans to rent her apartment, travel and revaluate her relationship to longstanding fiancé Ronald, nothing is holding her back. Though friend Mavis (Alice Haig) and only living relative, aunty Ethel (Molly Logan) do believe Cecily’s sudden need for an escapade is a little extreme. Unexpectedly, Nigel Lawrence (Justin Avoth) steps into the picture, entering in the hopes of renting Cecily’s space and leaving her with the promise of love and adventure. Within the story, there are enough stranded characters and pockets of information to have the detective within you develop your conclusions before the intermission. Long-standing private eyes may have already cracked the case, or quite possibly anyone who has watched an episode of Scooby Doo. However, within the scope of two hours, the joy of Agatha Christie’s narrative remains in the chase, rather than its reveal. At the Lowry, Mike Britton’s pure and understated set design offers a house that extends past both sides of the stage. Its transparent walls can reveal the hidden spaces surrounding the characters while also obstructing the movement of others. Its eerie flashes of white and red surround Nigel, combined with a naturalistic soundtrack of clocks, heartbeats and buzzing. The perfectly paced thriller offers a wonderfully eccentric cast whose wity, believable dialogue can be over analysed by the audience in an effort to unravel the mystery before its final scenes. Even if you aren’t a fan of the genre, it is easy to appreciate the humour, performances and design that is lovingly lavished into this production. The traditions of Agatha have been slightly updated with this feisty remake. Originally adapted by Frank Vosper for the stage in 1936, the characters here are far more suggestive and tactless. Yet, the queen of crime’s short story follows the familiar footprint of her other masterful thrillers and it is the direction and actors that hold the suspense. In a production that proves you needn’t mess with the classics, Love From A Stranger continues to stand the test of time. #AgathaChristie LoveFromAStranger TheLowry #Manchester

For its 30th anniversary tour, the students of New York’s High School for The Performing Arts are placed in a slow cooker of relentless pressure. Following the talented teens through their four-year academic journey, FAME exposes the industries prying antics and the pitfalls set for the wannabe celebrities. Sitting between its 1980 original, a six-season TV series and a cartoonish 2009 remake, FAME continues to remain relevant by relating to audiences through its message of inclusion. The storylines play into the sensitivities of the day, with a mixture of performance and pain that continues to connect. Sexuality, race and privilege are explored through the relationships within the drama, dance and music departments. The show reveals a shocking level of awareness from its 80s teens and attempts to keep the substance of its original by juggling difficult themes. Within its original class, the film mixed an illiterate black dancer, a closeted actor and a failing student as they pushed for recognition within their industry. Although its recent high-school musical reboot, wrapped the downsides of fame in cheesy clichés, FAME the Musical walks a tightrope between the two. Not quite offering the gritty realism of its predecessor, the live production by SellADoor company restores the archetypal characters. Between the rapper, the quiet one and the joker, it balances a likeable refresh of the familiar. Highlighting the harsh realities of life for the students is Miss Sherman (Mica Paris). Her focus on their academic studies is a constant reminder that the majority of the talented troupe will not make a living in the arts. The, I Wanna Hold On to You singer lends her soulful vocals to the production, bringing the assertive performance of a staple star. At the Palace Theatre the high-flying kicks were hitting audience members in the gallery seats. Director/choreographer Morgan Large offers a party atmosphere throughout the shows 2 hours 35 minutes production. The impressive cast boasts a combination of theatre, musicians and TV performers, including Tyrone Huntley (Sister Act and The Book of Mormon), former Hollyoaks actress Jorgie Porter (Iris) and Keith Jack (Joseph and the Amazing Technicolor Dreamcoat). Using group choreography, stage singers and live musicians, it performers delivered spirited routines in every scene. The personality of the production was not only left to the cast as the charming set design offered far more than a simple school stage. The student bodies yearbook pictures adorned the walls while the productions songs elevated the pacing of the story. These Are My Children, Think of Meryl Streep and the duet Let’s Play a Love Song help form relationships and tie up loose ends within its large cast. Wrapped around its Oscar-winning song, the final farewell for the class of 84 offers a feel-good anthem for all the aspiring stars in the audience and despite its 80s flavour, FAME continues to offer a strong stage presence. FAME PalaceTheatre #Manchester

BlacKkKlansman is based on the true story of Ron Stallworth (played by John David Washington) who severed as the first African-American officer at the Colorado Springs Police Department. The story follows an ensemble cast as the new detective attempts to infiltrate and expose the Ku Klux Klan. Alongside civil rights activist Patrice (Laura Harrier) and detective Zimmerman (Adam Driver), the wide spread rise in right-wing ideology is explored from both sides of the isle. Jordan Peele, the producer and Academy-Award winning writer of Get Out, helped lay the foundation for director Spike Lee in a story that plays to demystify the power of the Klan. The two work to raise the issue of rebranding within the unbelievable narrative that took home the Grand Prix prize at Cannes. The kung fu loving, Soul Train moving, Black Power piece unleashes the fashionable, liberated 70’s against the recent emergence of repressed racism. Taking a critical eye to the impact of imagery and themes in film, Lee includes the classics of American cinema. Opening with a wide shot of Gone with the Wind, inserting KKK footage from Birth of a Nation and referencing Blaxploitation cinema, Lee asks us to confront the representations of blackness on screen. Whether it is remixing the spectacle of blackface in Tropic Thunder or the lone heroic figure in Django Unchained, the distorted cinematic stereotypes are created to garner attention for their shock factor, rather than bring awareness to any social and moral difficulties we face. Instead of erasing or denying this past, Lee asks for accountability. Not only from filmmakers but viewers who have become less critical and more complacent about the representations created for our entertainment. While the trendy Blaxploitation era offered starved black audiences’ images of strong black characters on screen, we are only now witnessing a wider birth of real stories that are more reflective of the true black experience. While black creatives are finally being promoted on a larger platform alongside the usual suspects, we should stay critical of the narratives presented to us. This film needn’t be a flat-out documentary highlight how disturbingly relevant Ron’s story is. With BlacKkKlansman opening worldwide on the one-year anniversary of Charlottesville, jarring fake film of the Klan’s cross burning is cross cut against real footage of 2007's Unite the Right rally, where white supremacists fought over the removal of a Confederate statue. Lee’s work also pushes the past to the present by visually focusing in on black self-love to counter the new wave of conservative thinking. The character, Patrice offers a strong amalgamation of all the women who influenced the Black Power movement. Merging Angela Davis, Ella Baker, and other behind-the-scenes organisers, her presence alone helps redefine a regularly forgotten piece of history that is obscured behind the men of the movement. Strong performers are trusted with the material in a way that also makes the racism palatable. Topher Grace who plays the Grand Wizard of the KKK, David Duke has opted to lose the hood and suit up in public to help change the perception of the Klan. His reframing of racist attitudes, including “America First” has ushered in an acceptable intolerance, with a new wave of momentum behind his ideas. BlacKkKlansman is a fantastic film that reminds audiences of how current administrations have capitalised and captured the particular characteristic that makes America great for some. But, it is also a painful reminder of how effortlessly right-wing ideology has seeped into all of our cultures.

This musical adaptation of Cilla captures flashes of Cilla Blacks unique personality and energy through a snapshot of her rise in the 60’s. Despite a lengthy career covering four decades as an actress and television presenter, Cilla’s later life isn’t pulled into focus. The show, produced in part by her son Robert Willis, instead chooses to hone in on the musician she wanted to be remembered for. During the two-and-a-half-hour production that follows Pricilla White from humble Liverpudlian beginnings, to her rebranded stardom of Cilla Black at the London Palladium, there are plenty of revealing moments about the national treasure. Her down to earth personality and the infectious spirit flow out towards the audience, thanks in most part to Pauline Fleming who captures the magnetic Cilla. While she offers heart-warming vocals, the mix of her recognisable traits, familiar songs and lesser-known personal elements offer a moving and inspiring celebration of the pop singer. For audiences unfamiliar with Cilla’s legacy or the ITV miniseries the musical is based on, this concentrated adaptation merges a collection of memories and incredible songs. With a soundtrack that includes Cilla’s greatest hits, Anyone Who Had a Heart and Alfie, the show remains immensely entertaining without any prior knowledge required. It isn’t a jukebox musical with songs shoehorned in, as all but one of the songs are placed in a concert or recording studio. You can expect performances alongside the Beatles at the Cavern Club, The Mamas and The Papas’ on the Ed Sullivan Show and surprise, surprise performances from Cilla throughout. All the songs included serve a purpose, sitting alongside the dialogue to help draw the atmosphere of the 60’s. Slashed, staggered staging allows scenes to switch with ease as the sets move from solid Liverpool’s rooftops and homes to Abbey Road Studios and draped backdrops. With a large cast of 20 switching out the props, the celebration of Cilla does well to offer a concert atmosphere alongside her personal story. The only trouble with Bill Kenwright’s direction and sitting in the Stalls is its limited view. During the first half of the production, which is primarily set in the Cavern Club, all the dancers surround the artists. While this does offer the casual club vibe setting, they also block your view, and it is frustrating to have to watch actor’s shimmy and twist in front of the musicians you actually want to see. But I suppose it also makes for an authentic concert experience. Cilla’s story feels curtailed as the narrative picks up on her support systems that is split between her relationship with husband, manager and mentor Bobby Willis (played by Carl Au) and the Beatles manager Brian Epstein (played by Andrew Lancel). While this production offers an impressive array of hits and talented singers, the dramatization turns most of the cast into caricatures. With little sense of realism in the stage biography, you learn the basics behind Cilla’s rise to the top, but the show doesn’t allow enough time to let her personality shine. Fleming rightfully steals the show with her vocals. Alongside bedazzled costumes, limited choreography and blinding spotlights there is little-added presence needed at the Lowry. With the sets primarily formed around live performances, the use of an on-stage band keeps the music electric, and the crowd animated. Offering a memorable celebration of the talented musician, Cilla the Musical leaves the melancholy of Cilla’s life on the backburner and tunes into the hits. CillatheMusical TheLowry #Manchester

In a spirited musical tribute, Vika Bull celebrates the life and legacy of the rhythm and blues singer Etta James. Residing outside the typical jazz image, James’ gritty-voiced renditions are credited with helping bridge the gap between blues music and rock and roll. Her raw energy and feisty attitude were reflected in the soulful collection of classics she left behind, carrying a distinctly deep voice that harboured lovesick songs. The Etta James Story focuses on her earlier work, balancing the life of the gusty singer with her timeless tracks. In an honest portrayal of the artist, Bull opts against emulating James’ blonde bob beginnings and theatrical image, choosing to echo her earthy, powerful vocals throughout the concert. It is a sensitive portrayal that revisits James’ turbulent career and troubled life off stage. Younger audiences may be familiar with the commercial successes of At Last and I Just Want to Make Love to You, tied to the memorable Guinness and Coke adverts. However, James’ personal life was far from sweet and included problems with poor management, physical abuse and a heroin addiction that saw her husband Artis Mills serve a 10-year prison sentence for drug possession. Escaping through music, James’ sporadic career comprises 30 studio album credits and an eclectic range of songs that encompassed gospel, country and a Billie Holiday cover album titled Mystery Lady. Bull spends the evening revisiting the successes that catapulted James’ career, within the familiar genre she ultimately fell back into. Together with the Essential R&B Band, Bull belts the staples that fans want to hear. Tell Mama, I’d Rather Go Blind and Don’t Cry Baby are collated with the ultimate love song At Last, to offer audiences a relaxed atmosphere brimming with beautiful music. The show conceived in Melbourne by the Australian singer Vika Bull presents dazzling renditions of classic tracks that have been heavily covered by icons such as Celine Dion and Amy Winehouse. A seasoned performer with penetrating vocals, Bull is recognised for singing back up for Paul Kelly and performing as one half of the duo, Vira and Linda together with her younger sister. While Bull’s life may be the polar opposite to James’, the show doesn’t rely solely on nostalgia to carry out its tribute. Multitalented bandmembers sing duos, perform solos and add to the storybook elements of James’ life. Stressing the influence and impact that James’ music has had on them and the generations that followed, the mature range that Bull brings aids audiences understanding of her experiences. Her decisive debut album, At Last was released in 1960’s at the age of 22. In spite of her struggles, her career garnered six Grammy Awards, an induction into the Rock and Roll Hall of Fame and a star on Hollywood’s Walk of Fame. Protective over her songs and personal image, James was famously frustrated with Beyoncé for performing her hit At Last at Obama’s 2009 inauguration, along with her portrayal in the 2008 melodramatic biopic, Cadillac Records. At the Bridgewater Hall, the commanding icon is presented with an aesthetically simple production that pulls Bulls aching vocals over At Last. Alongside the seven-piece instrumental, Bull’s honest introduction to the life of Etta James offers a moving tribute that recognises the legend as a stand-alone star, with no imitation necessary. This review was originally written for Frankly My Dear TheEttaJamesStory #Manchester BridgewaterHall

The moody Pulitzer Prize winning play by Arthur Miller offers audiences an intimate look into Willy Loman’s life. Despite his fragility, Willy’s archaic beliefs idealise a man's man, with a need to be perceived as a confident, self-made salesman that begins his undoing. With plans to settle his final mortgage payment, plant veggies in his garden and sell on the company floor rather than continue on the road, Willy’s dreams appear reasonable and attainable. Yet his garden is blocked off by the overshadowing apartments surrounding his house, and he works solely on commission with dwindling sales figures. Calving out a piece of the American Dream through a long-standing commitment to a company, Willy hopes to end with a decent retirement package, but his dreams are easily collapsible under the weight of the capitalist system. After selling on the road for decades with little to show for his efforts, Willy travels home to find his sons dissipate his image, merely with their presence. With his worth attached to social status and wealth, director Sarah Frankcom creates a vacant but stirring environment at the Royal Exchange, that orbits around Willy. The shadowy and sunken set allows cast members to sit on the sidelines, judging him from afar amongst the audience. A symbol of the broken American Dream, Willy demonstrations how we can all be seduced by the glitz and glamour of success without questioning the flawed reasons we strive for it. Family and friends demote his missed opportunities and increasingly arrogant attitude as passing blips as Willy clings to the belief that effort is secondary to personality. With romanticised visions that allow him to live in a bubble of the past, his wife and friends facilitate his unwillingness to change. Sanitising his suicidal thoughts as being exhausted and devalued, they become instigators for his old-fashioned mentality that is broken when his son Biff returns home. Don Warrington returns to the Exchange after the success of King Lear with an equally spiralling and destructive character. Alongside Ashley Zhangazha and Buom Tihngang, the straightforward story is cemented with utterly gripping performances. The main cast members do not often leave the stage, but scenes take seamless turns from comedic to heart-breaking moments. Dreams and reality merge with little altered than the lighting and sound, allowing Willy’s warped mind to be enclosed in on the claustrophobic stage. Despite Willy’s foreseeable fate, this production remains an engaging ride to watch. Death of a Salesman challenges the perceptions of poverty, progression and societal values, finding that quality of opportunity is no longer a given within our ruthless system. The play was written in 1949, before Miller was summoned in front of the McCarthy commission and accused of undermining the American way of life. Miller has contested that Willy's story is not about communism or capitalism, instead stating that it is merely about a man robbed of his dream. Yet when sons Biff and Happy look to the future with different outlooks on life, it is difficult to dismiss the rampant greed among the rich that continue to hold countless Loman’s in a sealed fate. #DeathofaSalesman #Manchester TheRoyalExchange

Calendar Girls is based on a true story that follows eleven members of the Yorkshire’s Women’s Institute when the life-affirming leading ladies unify for a charity drive. With plans to break ageist expectations and stigma with the creation of a naked calendar, the middle-aged group set out to raise money for Bloodwise cancer research. Developed into a feel-good film starring Helen Mirren in 2003, the story was once again reworked into an award-winning musical by Gary Barlow and Tim Firth in 2015. The success of the show has it back to the Lowry where its Yorkshire inspired story has sunflowers spilling out into the Lowry foyer. The personal story of Chris (played by Rebecca Storm) who aims to celebrate the life of her husband after his death to cancer, summons the support of her community to keep his memory alive and raise money for research. Rather than follow the downward spiral of terminal cancer with a rollercoaster of emotions drawn out through the scenes, the music preserves . Keeping its audience on a waltzer of emotions, spinning between jokes and emotive songs that push the narrative forward without becoming too disheartening. Alongside the live band, 18 hits penned by Barlow and Firth bring a pop appeal to the well-established story. Its unbusy set keeps the spotlight on its seven main cast members, allowing the powerful story and its themes of female empowerment to remain honest and relatable. An abundance of personality through its disarmingly charming cast split the story into mini side narratives that keep its plot fast-paced and its joke counter high. Each with a solo performance that captures their personal growth and heroism, the mature voices are not clumped together as a matching monolithic group. their connection is clearly one of support, with their individual stories strong and convincing enough to stand on their own. The show includes multiple appealing elements as Barlow talents stand firmly behind some of Britain’s finest long-standing female actresses. Vividly painting scenes through song, Rebecca Storm and Anna-Jane Casey perform numbers as bright as the sunflowers on set. Up-tempo tracks finish on the highest note possible, with the artists stretching out the final word with both fists punching the air. The production has attracted a great collection of stars, including Hi-De-Hi’s Ruth Madoc as Jessie and Loose Women’s Denise Welch as Celia. Helping to promote the very English and extraordinarily inspirational tale, the ensemble cast appear laid-back and likable. Finally, after exposing themselves and the audience to a personality-driven calendar posting with teapots, Bakewell tarts and bouquets, the show ends with an encore from the original Calendar Girls who since their formation have raised over six million for the Bloodwise charity. Talk about doing small things in great ways. CalendarGirls #Manchester TheLowry

Recognised for collaborating with a diverse range of artists and groups, Manchester Camerata are back at the Bridgewater Hall with a fresh take on a sixties sound. Composed by Joe Duddell, the group are reshaping a spectacular assortment of Northern Soul, and Motown hits along with Manchester’s homegrown talents. The Glastonbury opening orchestra is effective in bringing a diverse group of music lovers into the theatre to rediscover and celebrate these classics with the sparkle of the original recordings. The show strikes gold with its charismatic artists who shimmer in sequins and velvet blazers under the disco ball set dazzling above the audience. Merging America’s 60’s soul music and the British mod scene, the show unites four of the original Northern Soul DJ’s to perform before the live show began. Richard Searling, Colin Curtis, Dave Evison, Pete Roberts and Jordan Wilson from The Torch, the Wigan Casino and Manchester’s The Twisted Wheel show their appreciation to Northern Soul’s overlooked tracks that are unearthed to hype up the crowd preconcert. With a legacy of countless hits, the concert showcases Motown’s musical memories from 1960-69, mixing Gloria Jones Tainted Love and the soulful Supremes You Keep Me Hangin' On for a track list that flows between emotional ballads and impactful hits. The sensational sounds of Motown were inspired by gospel music, with founder Berry Gordy producing a line of polished commercial stars through his Detroit empire. Seducing audiences with a blend of timeless sing-along successes, complete with synchronised dancers and shoulder shimmies, the regular chart-toppers were embraced at a time when black artists had few rights off stage. Motown distilled an undeniable talent into the pop sphere, influencing social circumstances where they could, with the independent record company providing a platform to a line of talented artists that inhabited and influenced the UK’s underground sound. Playing with the unique sound that launched the careers of the Jackson 5, Diana Ross and Stevie Wonder, powerhouse vocalist, Wayne Ellington delights audiences with these tracks. Selected from a catalogue of 79 top ten charting hits, Ellington delivers the infectious songs My Girl, I Heard It Through the Grapevine and Reach Out (I'll Be There). Founder of the choir Manchester Inspirational Voices, Ellington delivers crowd-pleasing performances alongside the gifted Sharlene Hector, Paul Stuart Davies, Dominic Wilson and Beth Macar. The five closed the show with What Becomes of the Broken Hearted to a standing ovation. The dynamic Manchester Camerata apply a loving touch to the endlessly sampled classics, expanding their power to familiar favourites to the delight of their audience. Despite the Bridgewater Halls all seated venue, Out on the Floor is determined to get you up on your feet and dancing into the weekend. This review was originally written for Northern Soul ManchesterCamerata OutontheFloor #Manchester #BridgewaterHall

Ms Hill is back at Manchester’s Arena for an epic revival of the classic, The Miseducation of Lauryn Hill. Audiences are given a second chance to look back over Hill’s first album, two decades after its original release. The boundary-pushing debut that captivated a devoted following sees the arena abuzz in anticipation for the long-awaited return of the R&B artist. Before killing us softly with her transfixing tracks, three special guests take to the stage to hype up the audience before officially dropping the house lights. 90s hip-hop artists Digable Planets played it cool as the opening act, followed by gospel musicians Cory Henry and the Funk Apostles. With Hill running late to her own party, DJ Reborn spun a masterful mix of tracks to get the crowd on their feet before the five-time Grammy award winner finally took to the stage. Thankfully, the antidote to leaving audiences waiting 45 minutes is inspirational music, and the spirited songstress did not disappoint with her personal take on the struggles of life and love through music. New remixes of seasoned favourites play out alongside the beautifully subtle backing of her small band and three backing singers. With an album that has stood the test of time, the subversive artist switches between rapping and singing on the tracks Everything is Everything and Doo Wop with little modernising for the statement-making collection. After breaking off from the Fugees in 1992, Hill continued to create socially conscious music breaking through as a celebrated solo artist in 1998. Reinterpreting her definitive work 20 years after its release, Hill brings the solo classics to the stage with a moving medley that everyone has been waiting to hear. By skipping the duets, the set runs through the album seamlessly, replacing I Used to Love Him and Nothing Even Matters with an extra Ex-Factor / Nice For What remix and Killing Me Softly with His Song finales. Due to the concert overrunning the arena lights were switched on to encourage a faster exit, but Hill stayed to give the people the whole bill with some added commentary. It was a special session from the relatable artist who brought two of her children on stage to enjoy a historic moment during her world tour. Prioritising love, respect and progress, Hill’s moving contribution to music has survived the fast-paced, ever-changing music industry and the changing political climate. As stripped, simple and honest as ever, Forgive Them Father is played alongside the images of police brutality and street protests. For an album that chronicles her younger life experiences Hill understands how relevant she remains and the impact her music has had on so many who continue to struggle. The resilient artist has sustained an oversaturated market and turbulent career due to her instantly recognisable vocals and inspiring tracks, sampled by a multitude of artists. From Kanye West to Method Man, Drake and Jay-Z, her soulful voice continues to uplift and shape the genre. The thrilling concert offered a clean and authentic retelling of the 20-year classic that her long awaiting audiences were happy to wait a little longer for. TheMiseducationofLaurynHill #Manchester ManchesterArena

This Christmas a glimmering invitation to the world of Oz is transporting audiences to the Emerald City. The juggernaut of musicals is back for its second Christmas in Manchester’s Palace theatre, absorbing audiences into its high-end production set somewhere over the rainbow. These witches need no introduction thanks to their 1939 Academy award-winning film, The Wizard of Oz. Despite appearing as a spellcasting prequel to the film, Wicked the musical has only enjoyed 15 years on stage after its original 2003 opening in San Francisco. The enchanting production and the women who carry the story feel far more familiar as the show reimagines the accounts staged around L. Frank Baum’s original, The Wonderful Wizard of Oz. We follow the boundary-pushing witch, Elphaba as she begins her journey of self-discovery at Shiz University. While juggling to support her disabled sister, her leading peers and her strange new powers, Elphaba is paired with the popular Glinda as her in-house roommate. Before we are blindsided by the enigma of Oz, the show sets the scenes for the not yet named, Glinda the Good and the Wicked Witch of the West in a down-to-earth plot surrounding the girl’s friendship. With themes relating to boy troubles, acceptance and animal rights the show is deceptively sweetened, bringing in a sizeable and diverse crowd to the theatre. All probably have high expectations for the fanciful thinking of Oz, and undoubtedly, they will not be disappointed by the sideroads it takes to get there. With songs written by Academy Award winner Stephen Schwartz, the beautiful music merges with the slick direction of Jo Martello to offer a big budget production that can be appreciated on every level of the theatre. A giant robotic dragon hovers above the stage for only its higher-tiered viewers to enjoy while its deep-set makes use of its large cast of backing dancers where stall seats can admire them in full swing. The show gloriously balances the sickly sweet and wickedly smart women to tell the backstories of the witches in an energetic production with an act break that cannot be beaten. There’s a patchwork of popular elements including the magic, music and talented cast that will keep the familiar fanbase dedicated to Oz for years to come. The inexhaustible artists, Amy Ross (Elphaba) and Hellen Woolf (Glinda) bring powerful performances to the songs What is this Feeling?, Popular and I’m Not That Girl. But Defying Gravity is given extra gravitas by the talented Londoner who sees out act one with the unforgettable track. In a story dedicated to all those who challenge authority and dare to be different, Wicked is a bonafide hit that has created its own space alongside the film. So, let’s all thank Oz for this musical and hope that something wicked will come back next year. Wicked #Manchester PalaceTheatre

There is plenty to smile about this festive season as The Royal Exchange’s annual musical is guaranteed to leave your heart-warmed by its Neo-Nazi musical within a musical. This cheerful Christmas show offers the crème de la crème of comedy stockings, stuffed to the brim with the tackiest and glitteriest fillers production could buy. Mel Brooks’ and Thomas Meehan’s 1968 Academy Award-winning film is goose-stepping back to the stage after being adapted into a Broadway musical in 2001. The farcical comedy has won its fair share of Tony’s and had its musical remake turned back into a film of the same name in 2005. Now Brooks’ unique style and quirky characters are being reshaped for the Exchange’s smaller stage by director Raz Shaw. Following the cardboard belt wearing Max (Julius D'Silva) and the cowardly Leo (Stuart Neal) as the two theatrical producers’ scheme to get rich quick by overselling investment in their Broadway flop. With dreams of wine and women with their stolen financiers’ money, their deliberately controversial show, Springtime for Hitler is a guaranteed fail that will soon see the two closing shop and moving to Rio. The love letter to the Führer, written by Franz Liebkind (played by Dale Meeks) is a musical formed to repair Hitler’s broken public image and reveal his lighter side. Finding humour in the darkest of places, The Producers is carried by Brooks’ lyrics and Shaw’s ingenious direction. The fantastical, multifaceted ensemble switch between puppetry and geriatric dance moves to faithfully re-enact its fast-paced original. With a few additional jokes sprinkled into the already bona fide joke-filled script, this light-hearted love affair with the theatre breezes through songs and sets to leave its audiences in inexplicable joy over tap dancing Nazi’s. The shows quick moving pace is aided by the dazzling set pieces falling from the sky, the lights surrounding the circular stage from every level and the cast rotating its larger props on/off the stage seamlessly. The upbeat and striking soundtrack is sandwiched between a fantastic cast, including Emily-Mae (Ulla) who brings When You Got It Flaunt It and Charles Brunton (Roger De Bris) with Hammed Animashaun (Carmen Ghai) singing Keep It Gay. While the story is cemented through these smart, energetic performances, D'Silva and Neal add their layer of slapstick comedy to the ridiculousness of this rousing production. With audience members sat so close to the actors that they become props in the scenes, the show forces you to be a part of the pageantry. It is impressive to see how the many moving parts to the mayhem has kept the 50-year old Producers fresh and offensive in 2018. #TheProducers #Manchester TheRoyalExchange