Heathers was uncovering the unique ecosystem of high school well before high school movies became a genre in their own right. Now its cutting-edge 1989 film has been remodelled as a musical comedy and audiences get to relive all the cult classic lines live on the Palace theatre stage. With a fresh collaboration that returns audiences to Westerburg high, Heathers dark and surreal dramedy has become a compellingly murderous musical. The show's music and lyrics come from Laurence O'Keefe ( Legally Blonde: The Musical ) and Kevin Murphy ( Desperate Housewives ), who mould their cruel and quirky humour into this new laidback production. Including the songs Dead Girl Walking and My Dead Gay Son , you can form a few reasonable assumptions about what to expect from this duo’s creation. We follow Veronica Sawyerthe (Rebecca Wickes) as she moves from English Lit class to calculating the human cost of high school. Having built a shaky friendship with the schools three most popular girls, all named Heather, Veronica suddenly finds herself fending off their threats to destroy her after making too many unfashionable social faux pas. Veronica, looking for vigilante justice with her mysterious new boyfriend, Jason (Simon Gordon), decide to take a page out of the Bonnie & Clyde handbook, making her way through the sorority and anyone else who stands in her way. In a colour-coded world where parents are only a source of food, shelter and allowance, these teens don their best power suits to take on the issues of suicide, sex and violence. The original film is a tightly plotted, darkly funny tale that was apparently awaiting a bright musical resurrection. While this show will remind audiences of Heathers timeless presence and its matchless take on the high school turf, the musical production dons too many colourful layers. Leaning away from the original storyline to add a lighter balance to its cruel female leads, the show injects songs like Our Love Is God, which is a line from the original film but uncharacteristically optimistic when spun into an extensive love ballad. Nevertheless, with vibrant direction from Andy Fickman keeping the primary focus on fun, it is easy to forgive the shows diluted take on the deviant portrayal of the world inhabited by high schoolers. Little damage is also done to its fierce performances and the fabulous lines of dialogue from the Heathers which are encrusted into numerous songs. Wickes’s delicate take on Veronica as a naive nerd is an unexpected edition and Maddison Firth (Red Heather) does a hilarious job hurling insults without a hint of remorse. Cruel indulgences aside, this musical isn’t breaking any new ground, but before there was Clueless (1995) or 13 Reasons Why (2017), there was Heathers , and the live show is an entertaining reincarnation. Sidestepping its most outrageous scenes to focus on the emotional and maddening tole of high school, this production is a shady musical born from some truly evil source material. HeathersTheMusical PalaceTheatre #Manchester Tickets are available via ATG link

Heavy-handed cockney accents, underhanded Nazi’s and an animated misanthropic lion are all a part of the undervalued magic surround Bedknobs and Broomsticks . In a musical that blends the practical visual effects of apprentice witch, Eglantine Price against the backdrop of the Battle of Britain, the lite Mary Poppins production is a charmingly British but cheekier adaption of its overshadowing, Oscar-winning older sister. The musical stage adaption has been somewhat kidified, scrubbing up the original stories loose ends and clarifying its heartfelt, “start believing” theme with bright new songs. But in removing all traces of the word Nazi, soldiers of the old home guard and even the Jamaican, Indian, Scottish, Australian and British remix rendition of Portobello Road that highlight other contributions to the war, the show feels a little hollow. Hoping to assist with the war effort, we follow Eglantine (Dianne Pilkington) in her witchy training under Emelius Browne (Charles Brunton), a grifter who has happened upon a powerful book of spells. Offering the magic needed to upgrade her from bunny transformations to levitating objects Brunton brings the slapstick to Pilkington’s deadpan sense of humour. Unfortunately, due to a few missing pages and the war, Eglantine studies are constantly disrupted as three quick-witted ragamuffins named Charlie, Carrie and Paul are placed under her care due to evacuations from the Blitz. Throw in a little blackmail, an enchanted bed and some chart-topping tracks and you’ve got yourself a classic Disney narrative that lulls its audience with a make do and mend attitude. Despite coming out in 1971, seven years after Mary Poppins, Bedknobs and Broomsticks cannot shake the comparisons. The similarities are enjoyable to spot, and the musical includes the discarded song The Beautiful Briny from the older classic. However, as Bedknobs celebrates its 50th anniversary, directors Jamie Harrison and Candice Edmunds thoroughly underscore the shows originality, mixing its old-fashioned narrative with superfluous antic and distinct illusions that make the live production a thrill to watch. As the original story includes far more colourful characters and a richer sense of Britain’s diversity, more emphasis is placed on a tapestry of entertainment, playing with its casting. Unfortunately, none of these kids don the gift of cockney rhyming slang but the shows focus on grandiose special effects gives this throwback musical a contemporary feel. Revitalising the classic further, Edmunds and Harrison’s direction brings the forgotten, underwater Isle of Nopeople (once known as Naboombu) to the Palace theatre stage, in which its animated cast of animal inhabitants have been impressively puppeteered for the live adaption. Together with Miss Price’s spellbinding magic, a picture-perfect mixture of creepy and impressive levitations appear on stage while its leading lady makes light work of singing whilst levitating with invisible objects. Disney’s distinct collection of songs including Age of Not Believing and Substitutionary Locomotion are wonderfully performed by its energetic cast. Lead by Pilkington, through this blindingly random tale, the stage adaption exchanges the common child actors of its feature film for exceptional vocal performers who do a magnificent job alongside their older colleagues. Despite watering down the character-heavy cocktail of distinctive personalities, removing the classic line “get off my knob” and featuring no Dick Van Dyke’s British accent, Bedknobs and Broomsticks the Musical is a fabulous addition to the Disney repertoire. Including plenty to distract from the fact that the plot is inexplicably convoluted, the stage show transforms its 50-year-old hand-drawn animation and galvanises a journey to fight off what we can assume are still Nazi’s with magic musical spells. Really, what more could you ask for? #BedknobsAndBroomsticks #PalaceTheatre #Manchester Tickets are available through ATG link

Doc and Marty are taking Opera House audiences back to the 50’s to change the course of history. The foundations of the beloved 1985 film starring Michael J. Fox and Christopher Lloyd remain, however, the franchise is preserving its original trilogy by rebooting the famous duo into musical territory, with a vibrant, original score. The tale takes its teenage lead Marty McFly, the quirky professor Emmett “Doc” Brown and their souped-up DeLorean, on a time-travelling adventure to reinstate the lowly life of Marty’s father. But, their playful mission to drop in on Marty’s teenage parents and repair his family's future does generate some unexpected consequences and fantastic musical interludes along the way. Between the Doc’s quantum energy and McFly’s sweet guitar skills, the music practically writes itself, yet original writer Bob Gale has taken the initiative to revamp parts of the familiar screenplay. The epic production brings an overhanging set design to the Opera House theatre, expanding out into the stalls for a stunning light display. With sweeping scenery that effectively moves the fast cuts between Marty’s family life and the musicals fantasy sequences, the show manages to merge 80’s ballads and space uniforms for more than a nostalgic kick. Reminding audiences of the 34-year-old film, the musical pays homage to its beloved characters without feeling quite as sentimental to its storyline. Six-time Grammy Award winner, Glen Ballard and three-time Grammy winner, Alan Silvestri collaborate on the music and inject a spirited soundtrack that offers that new sound we’ve all been lookin' for. Striking a balance that plays with familiar, the show's ensemble gathers to watch Marty perform Johnny B. Goode , alongside the fantastic live band hidden by the pit. But the song, Hello – Is Anybody Home? and Something About That Boy offers plenty of originality. Robert Zemeckis and Gale’s production manages to preserve all the memorable moments, with minor adjustments to keep the revival creative and distinctive from its film. Transformed by a blond wig and a lab coat, Tony award-winner Roger Bart has shapeshifted into the quick-thinking Doc. Performing with all the enthusiasm required to take on the excentric physicist, Bart’s quick-footed choreography for the pseudoscience song It Works helps to showcase the lively, comedic rebirth of the world-renowned scientist. Olly Dobson gives a cool nod to Marty, embracing a believable J. Fox impression and adding his sparkling vocals to the films Oscar-nominated song The Power Of Love and, of course, Back In Time . Surprisingly, even shelved characters injected into the original narrative are given terrific tracks to perform. Cedric Neal (Goldie Wilson) takes us to church with Gotta Start Somewhere , and Courtney-Mae Briggs (Jennifer Parker) smoothly performs a newbie named Pretty Baby . The passionate performances relayed for dedicated Back to the Future fans makes revisiting the past a rose-tinted love affair. Director John Rando uses floor to ceiling projections and digital displays to stretch the audience’s imagination, presenting all the special effects required from its innovative film. The fiery bolt of lightning, flying DeLorean and futuristic hoverboard all make an appearance without provoking the audience to riot. However, the story is largely shaped by its duo's personalities, and they clearly have a bright future ahead of them. BackToTheFutureTheMusical OperaHouse #Manchester

Taking creative licence with Queen’s musical legacy, Ben Elton injects the Killer Queen’s catalogue into a satirical story, set in the year 2302. On iplanet Earth, where rock legends are lost relics of a bygone age and original music is banned, two rebels stand against the soul-crushing system. Gailileo (Ian McIntosh) and Scaramouche (Elena Skye) band together against the GlobalSoft corporation, causing a ruckus in an effort to save individuality. Fighting alongside an underground group of Bohemians, the group take aim at Big Brother, fighting for the rebirth of rock n’ roll. While the jukebox musical doesn’t seem to be a fan of the genre it plays in, the show does keep Freddie’s memory alive with a constant stream of lyrical references and a short tribute to the musical greats, with shout outs to John Lennon, Jimi Hendrix and Britney Spears. Still, I hope nobody planning on watching We Will Rock You is coming for the storyline alone. Mixing The Matrix and Super Mario Galaxy , director Christopher Renshaw projects retro gaming graphic and GlobalSoft heads onto the floor to ceiling screens behind the cast. Keeping its cast in leather and the choreographed ensemble in a multitude of costume changes, the show is carried by its comedy and catalogue of hits. Moulding the futuristic, resistance building tale around 24 of Queen’s tracks, the musical covers all the favourites, including a fantastic group performance of Bohemian Rhapsody . Headed by Oliver Award nominee, Ian McIntosh and Les Miserables’s Elena Skye, the production doesn’t take itself too seriously and often leaves its cast to perform two or three songs in a row before even adding a few lines of dialogue. With an extraordinary collection of hits performed alongside a live band, its talented leads impressively echo the demanding vocals of the idol they honour. The production’s glam rock revival, pinpointing the problems with manufactured pop stars was ahead of its game when it first premiered in 2002. However, Radio Ga Ga isn’t the only thing left playing on repeat, with the show conserving its more dated lines like “I really, really, really wanna zig-a-zig-ah!” for its nostalgic audience. Despite the shows cheesy premise, audiences wanting to hear a live Queen concert will not be disappointed. We Will Rock You is an intense, headshaking affair that does not leave a bad seat in the house. From McIntosh’s passionate opening performance of I Want To Break Free, to the equally passionate Palace theatre audience who were all waiting for the first karaoke break in the set. As it finally came in the form of David-Michael Johnson taking on I Want It All, the momentum built throughout the show, finally, getting the audience on their feet for a standing ovation. We Will Rock You is a live concert that highlights the talents of Queen and the legacy they have left. Despite Ben Elton’s fantasy musical placing Freddie’s talents on another planet , Queen’s genre-bending catalogue proves it can stand strong on its own. WeWillRockYou #ThePalaceTheatre #Manchester Tickets are available via ATG link

Who’s like Christmas, and at the Lowry theatre their gorgeously unique world has been taken straight out of the 1957 picture book and placed on the stage. Writer Timothy Mason has stretched out Dr. Seuss’s 69 pages and immersed audiences in the reanimated world of Whoville to make How the Grinch Stole Christmas the ultimate musical feast. Dr. Seuss’s adored classic has been extended with a stream of new songs, injected with multicoloured costumes and blended with a few famous faces. Edward Baker-Duly takes the cake, whatchamawho’s and Christmas tree as the charismatic Grinch. The One of a Kind performance sees the Grinch skirt between the everchanging set pieces whilst switching disguises and impersonations. Baker-Duly’s fantastically spirited performance is a delight to watch, and the moment he steps onto the stage it is clear he’s enjoying his cranky persona as much as the audience, taking his time to heckle and insult the kids and adults that catches his eye line. The comedic charms of Griff Rhys Jones also bring otherworldly magic to the stage, while helping to remind audiences of the true meaning of Christmas. Narrating the show throughout and adding his own unique touches, Jones is all for getting the audience to singalong to the complex lyrics to You're A Mean One, Mr. Grinch . Turns out “You're a bad banana with a greasy black peel” does not roll off kids tongues, but listening to an audience attempt to sing it in tune is a joy in itself. The countless set changes and frivolous moments that are thrown into the polished production is guaranteed to keep audiences of all ages entertained. Jones as Old Max appears to be added just for the adults, leaving any strenuous physical performances to 2016 X-Factor winner Matt Terry, playing Young Max. The voice of reason, Sindy Lou, (played by Bebe Massey) is the best singer on stage, underscoring the show's themes of compassion and tolerance while taking her moment to shine in the sweetly performed Santa for a Day . The musical is driven by its songs including the popular Welcome Christmas and fun filler tracks This Time of Year and It’s the Thought That Counts by Mel Marvin and Mason. Making its UK premier at the Lowry theatre, the large ensemble merges perfectly with the stages playful, cartoonish landscape as the show, directed by the three-time Tony Award-winning, Jack O’Brien, lovingly recreates Dr. Seuss’s animated world. The frothy soundtrack drives the candy-coloured world of Whoville, transporting audiences with some Grinchy improv, snowfall and flowery language. How the Grinch Stole Christmas! The Musical does not disappoint, delivering audiences the wholehearted fun of Dr. Seuss’s original book. Ensuring that the treasured, decades-old story continues to rally against the commercialisation of Christmas, the reshaped stage production preserves Whoville, the fantastical costumes and one of the worlds most treasured Christmas characters. HowTheGrinchStoleChristmas #TheLowry #Manchester

Kicking off the Christmas season with a pantomime-esque production, Mischief Theatre’s embellished revival of Peter Pan endures to tell the wondrous Scottish classic. The instantly recognisable tale has been engrained into the audience before its cast even have a chance to step foot on stage. However, this gives the company ample time to turn the Lowry theatre into their playground, with the production’s “stagehands” stumbling between the audience, pre-show for a hefty thirty minutes. By turning out balloon animals, fixing set pieces and bantering with members, the cast ensured that audiences are open to the call and response approach that runs throughout the show. Following on from their introduction in The Play That Goes Wrong (2012) , the affable Cornley Polytechnic Drama Society are back to re-enact J.M Barrie’s 1904 fanciful tale of Peter Pan . In a story that has been framed by a fictional theatre group, the production envelops the audience in their sweeping, self-contained world that warps the classic fairy-tale in soap opera realism. Despite being comprised of family members and feuding talent, the Cornley Polytechnic Drama Society have chosen to send the Lowry audience to Neverland with a fruitful production wrapped up in casting disputes, lighting issues and falling set pieces. Securing a loftier budget that makes space for fashionable pyjamas, resourceful sets and astonishing areal summersaults, the atmospheric world-building of Mischief Theatre is sure to give audiences a nostalgic kick to when slapstick reigned supreme. The chaotic and unexpected add-ons to the timeless tale rework this fantasy narrative with full throttle, action-packed sequences. Using an ingenious three-piece, rotating set, the production immerses the audience into their collapsing world. Juggling dance sequences, forgotten lines and blackouts, the show places the comedy front and centre, with the remarkable cast keeping laser-pen focused on their meticulously planned gaffs, within the tightly packed stage. We follow Peter (played by Ciaran Kellgren), Tinker Bell and the three Darling children to the land where dreams are born, as the trio are flown out to help Peter sew on shadows and save Tiger Lily from the notorious pirate Hook (Connor Crawford). This production keeps the traditional double casting of Mr Darling and Hook but ups the ante by quadrupling Phoebe Ellabani’s role as Mrs Darling, Lisa, Tinker Bell and Tiger Lily, forming ferociously quick costume changes and hilarious moments of physical comedy. Going all out with their rival performances, Oliver Senton (Nana the dog/Peter’s Shadow/Starkey) and Crawford perform choreographed mayhem that runs across Hook's pirate ship, the Darling’s bedroom and the Neverland woods. Pulled together by the cast’s incredible physical stunts and the company’s childish sense of humour, Peter Pan Goes Wrong continues to raise the bar for slapstick comedy and will certainly have theatre audiences believing in the magic of Mischief Theatre. PeterPanGoesWrong MischiefTheatre #TheLowry #Manchester

Audiences can’t walk away from the ballad belting music that surrounds The Bodyguard , holding the 1992 romance thriller as the bestselling movie album of all time. It is the vehicle that catapulted Whitney Houston to screen stardom as the enigmatic Rachel Marron and possesses three Grammy’s including Album of the Year and Record of the Year for I Will Always Love You . Fortunately, the stage musical holds onto the charm of its film, with a smooth transfer that brings a wired production to Manchester’s Palace Theatre. Gloriously sensationalising the films anthems, alongside its luxurious costumes and shimmering set pieces, the story follows Rachel, a passionate superstar and mother, who after receiving death threats hires professional Secret Service agent Frank Farmer to protect her. Although the musical does hold its suspenseful moments, this thriller is flooded with high kicks, hair flips and adrenalin-filled choreography. Its pop classics are undoubtedly its hypnotic draw as The Bodyguard is back at the Palace Theatre for a second run, alongside Alexandra Burke reprising the role of Rachel. The chart-topping, Hallelujah singer appears to be a perfect fit for this gorgeously repackaged stage show, and Burke’s fierce performances of Queen of the Night , Greatest Love of All and Run to You are truly mesmerising. The spectacular stage show shoots flames, projections and smoke effects at its audience, bringing a cinematic experience to the stage. Incorporating sliding set pieces that reveal Rachel’s layered world, The Bodyguard musical adds more feathers and sparkles to its heavenly love ballads, boosting the films finest characteristics to deliver audiences a stunning stage spectacle. The production has been beautifully tailored to the stage, with Burke playing the larger than life Rachel against her curmudgeonly guardian, Frank (Ben Lewis). As the scenes flip from salsa shaking dance sequences to conjuring karaoke jokes, it is easy to get sucked into the story. This star-studded show ensures that audiences will be entertained by its frenetic production, directed by Thea Sharrock. Juggling an escalating stalker storyline and exuberant dance sequences between Burke’s and Lewis’s softer moments, the musical calves out its own space with a fantastic ensemble cast elevating this glossy production. Emmy Willow (Nicki), when given her moment to shine, is phenomenal, performing the tear-jerking, Saving All My Love for Frank’s affections. The young Caleb Williams playing Rachel’s son Fletcher also keeps pace, breakdancing alongside the twelve backing dancers. Burke’s faultless musical performances ensures that The Bodyguard’s raw and vulnerable lyrics will continue to resonate with its audience, and the classic love ballads are lifted by the live orchestra backing its award-winning soundtrack. The Bodyguard the Musical is undoubtedly one of the best film to stage transfers, built to last more than a moment in time. TheBodyguardMusical #PalaceTheatre #Manchester

Having first captured the audience’s appetite for daring moves in 2009 after their Britain’s Got Talent (BGT) win, Diversity has continued to spin a fantastic web of new routines. Celebrating a decade’s worth of dance with their Born Ready tour at the Palace Theatre, the troupe are igniting the crowd by moulding a medley of their greatest hits and modern classics for their latest tour. Covering their journey since their victory whilst looking forward to their future, the group have collated their riskiest moves, including flame-throwing jumps, an underwater excursion and a manmade disco ball dance, to bring the Manchester crowd an audacious spectacle of a show. Stopping to thank fans along the way and introduce the entire team, Born Ready offers a perfect mix of the groups dazzling choreography and personal growth. Encompassing the street crew’s versatility with behind the scenes footage, the individual performances allow the group's dramatic moves, entertaining acts and distinct personalities to shine through. Opening the show with a look back at the groups BGT win, when the thrill-seeking, little flipper Perry Kiely was thrown around the stage for fun, the show promises to offer more than just a look back at their greatest hits. Nodding to the unique bank of choreography that has made them a household name, Diversity’s newest tour offers an evolved collection of their work that has been developed throughout the years. Rapidly exploding onto the Palace stage, the motley crew pop out with a powerhouse of flips and tricks that now sees Perry big enough to multi-flip (should be a word as I saw it happen) himself around effortlessly. The original taskmaster Ashely Banjo, who leads as the group’s choreographer, has branched out as a judge on the series Got to Dance and Dancing on Ice , while coaching Diversity Juniors and preserving Diversity with three live tours. Continuing to turn his lifelong passion into an entrancing event, audiences have come together for the ringmaster’s joyful mix of magic, hip-hop music and dance. Alongside the original ten members, the group has recruited new representatives to their team. Opening a space for women, disabilities and the LGBT community, the inclusive and inspiring collection of irrefutably talented dancers makes Diversity an all-embracing, true coalition of diverse dancers. With new illusions and stunts, the innovative choreography carries the show with no lulls. Between jumping through fire, escape acts and somersaults, the challenging routines push the group to their limits, with an array of standout thrills. One of the countless standout moments sees the original line up boost each other up in a transformer move that stacks the boys on top of each other. With the group sporting named combat costumes as they feverishly ping-ponging into place, their powerful force and focus ensures a consistent live show that leaves the audience stunned. The street dance groups three-day stay at the Palace theatre reveals the companies unrelenting reputation as a force to be reckoned. Bringing solidarity to the Palace theatres audience, Diversity continues to rep for the dreamers with their fantastic new show focusing on empowerment and celebrating community. Diversity PalaceTheatre #Manchester

All your favourite horror tropes are hitting the Opera House theatre as audiences call on Damien to resurrect the Oscar-winning thriller. The live rendition of the supernatural tale continues the battle between good and evil, following 12-year-old Regan (Susannah Egdley) after she becomes possessed by a demon. Inspired by real events, the head-turning narrative has been assisted by director Sean Mathias and writer John Pielmeier, who have lovingly translated the classic film to the stage. Recreating the intricately controlled dummies and strings that were used in the cult film, Mathias has seamlessly choreographed his own collection of haunting sequences that tackle Regan’s slow-moving demonic possession without the use of high-tech gadgets. Ensuring that they include Ouija boards, bed levitation and projectile vomit, The Exorcist Live filters the films blistering narrative into its most memorable moments to offer its diehard fans a familiar experience. Centred around Regan’s encounter, The Exorcist leans on a handful of characters who can decipher and narrate what is happening. Rooted in discussions surrounding religion and science, the show shadows Regan’s mother, Chris (Sophie Ward) as she attempts to rationalise the situation with doctors before finally calling on ghostbusters, Father Merrin (Paul Nicholas) and Father Joe (Joseph Wilkins) to combat the paranormal takeover. Within its dollhouse set design, its cast are encased in moonlit scenes for the entirety of the production, blinding the audience with strobes lights or carrying dim, eerie shades to test the audience’s faith in jump scares. Trapping its cast into the four corners of the two-tiered Opera House stage, the production is forced to strip back characters backstories and place scenes of exposition that are only clear to followers of the franchise. Although the production upgrades the rudimental techniques used in the 1973 film, its ability to shock can be more distracting and demystifying than genuinely terrifying. The atmospheric production offers more tricks than Houdini with its unsettling discussions around faith and love that are contrasted by blood-soaked walls and projected deceptions. However, in an attempt to suspend the audience in darkness with subtle scares, the show takes a few detours from its film, offering new surprises to infuse the production in its own originality. Egdley embodies the vulnerable child, with an intense performance that sees her chained to a bed, swearing like a sailor and voraciously lip-syncing to Ian McKellen’s voice as the demon. McKellen’s voice booming out of the child devil is entertaining, but the iconic Lord of the Rings actor is far from sinister. While The Exorcist brought unmeasurable changes to the horror genre, its live production takes on a nostalgic revival of the classic, paying homage to its unique narrative and direction. Mimicking the illusions and lines from the film that has been parodied relentlessly in the 46 years since its release, the copycat stage show suffers for its basic imitation. Although overshadowed by the original, horror fans will still relish in this isolated take that waters down the unmistakably suspenseful story with a glossy production of the supernatural classic. This review was originally written for Frankly My Dear TheExorcistLive #Manchester #TheOperaHouse

Writer Alice Sebold navigates the spirit of teenager Susie Salmon in this down-to-earth story about life after loss. The unexpected tale exploring the in-between of life and death has allowed Sebold’s novel to move to various mediums with distinctively difference results. Despite the core strength coming from the provocative and honest narrative, Melly Still’s stage production allows audiences to step into Susie’s world and memories by reframing scenes in a two-way mirror image that blacks out the majority of the stage. The story follows Susie Salmon (Charlotte Beaumont) having been raped and murdered by her neighbour, George Harvey (Nicholas Khan). After her death, she is able to watch from heaven as her family and friends continue in vain to search for her and struggle to move on with their lives as she herself comes to terms with her own death. A film adaption by Peter Jackson released in 2009, gave an Academy Award nod to Stanley Tucci for his villainous portrayal of Susie’s killer, but its CGI world placed Susie in an unrelatable assortment of fantasy sequences. Susie’s 2018 incarnation is on stage with an adaption by Bryony Lavery, having chosen to move the abstract and untouchable scope of heaven into a tangible and intimate space, Lavery endures to create an uplifting and enchanting experience. Although, not an active protagonist in her own story, Susie is the narrator of her own life, journeying the audiences through the stark and sobering presence of an afterlife in which she is able to follow her parents Jack (Jack Sandle) and Abigail (Catrin Aaron), alongside her younger siblings Buckley (Leigh Lothian) and Lindsey (Fanta Barrie). Respectfully bringing her story back to life, director Melly Still preserves Susie image in a delicate instillation that allows all the characters to reflect on their personal struggles. Delicately flipping the perspectives in a two-way mirror that flickers between the spirit world and earth; the black void of the Lowry stage allows characters to float and vanish while flipping the audience’s lens to construct Susie’s fantasies within heaven. Using the remaining cast members to fill in as pets and props, the shows minimalist approach brings hand-drawn images to life. Approaching the unthinkable, its sincere performances, especially from the glittering Beaumont, will help younger audiences see the strength in accepting a sobering truth that we all must learn to deal with. Within its thoughtful story of recovery, Susie’s parents focus their energies in different directions. Jack attempts to get involves in catching the murder, while Abigail wishes to remove herself from the grief, and without offering all the answers about the afterlife, the show allows them both the opportunity to make sense of their injustice. TheLovelyBones #Manchester #TheLowry

Prior to its premiere in the West End, the Mischief Theatre troupe are bringing their charmed show to The Lowry’s Quays theatre for its opening run. In the latest Goes Wrong series, the tricksters have been aided by the invisible hands of Penn & Teller who have uplifted the jinxed gang of magicians with genuinely astonishing tricks. Serving as co-creators of Magic Goes Wrong , the duo have sprinkled their magic dust to offer the Mischief group a masterclass in misdirection. Calling in favours from other heavyweights in the magical community, the production mixes transfixing performances that embrace the Mischief’s refreshingly old-school comedy stylings. The show, presented as a family-friendly charity event, extends its mismanaged performers out into the audience to raise a questionable fundraising target in honour of those lost in magical disasters. With acts including Sophisticato (Henry Sheilf), The Blade (David Hearn) and double act Spitzmaus (Bryony Corrigan) & Bear (Nancy Zamit), the mischievous group promise to keep everyone sitting in the stalls on their toes, while the rest of the audience can sit restfully entertained. Offering up a superb mashup of everyone’s favourite classics reinvented (or even more astonishing, the original tricks performed) the team rotate acts, switching between danger addict, The Blade and the Mind Mangler (Henry Lewis) in performances that will prompt audiences to question everyone’s credentials. With their creative inspiration guided by the dedicated magicians Penn & Teller, no expense has been spared in this live-action telethon. Despite the smaller Quays theatre staging, the show presents the same high-level prop a minute production, that the team bring to their larger stage shows, together with meddling stagehands. Bringing their distinctive brand of comedy to the Quays and advancing grand illusions that will leave you pledging never to reveal the secrets of the show, this absolute treat of a show is the perfect addition to the Mischief Theatre’s collection. Be sure to check out Peter Pan Goes Wrong as it returns for its second run at the Lowry this Christmas. MagicGoesWrong #TheLowry #Manchester MischiefTheatre

Fry is taking audiences on a brand-new adventure framed around the long-winding folklores of Greek mythology. The colourful collections of Myths , Heroes and Men unravel the mysterious characteristics of the gods and their unforgiving powers over the mortals who serve them. Ensuring audiences are inspired, entertained and mystified by their exploits, Stephen Fry’s uplifting storytelling is infused with his own personal take on their journeys. Distilled across three engrossing volumes, the matchlessly meticulous trilogy continues to sing the praises of the gods following the release of Fry’s 2017 book Mythos and the 2018 sequel Heroes . Helping to hook audiences in the vivid world of the Greeks, the conversational live shows are the perfect addition to amplify the mesmerising tales of jealous rulers, disobedient men and their martyrs. Sitting in as an exclusive addon to the lengthier novels, Fry’s live productions add his addictive interpretations to the myths with humour and nourishing detail. Explaining how the world came to be, the extensive collection of stories weaves together a glittering world that can appear overwhelming for newbies unfamiliar with Greek mythology. However, these sincere and impassioned shows fuse Fry’s absorbing narration with accessible mini flourishes that are easy to dip in and out of. His third show, Man centres around the legend of Troy, following King Agamemnon’s expedition to besiege the city. Shedding a new light on the ten-year Trojan War waged by the Greeks and the abduction of queen Helena, Fry brings the story back to life with a simple yet stunning production. Following on with Homer's Odyssey , a story that revolves around the hopeful and earnest idea that life in all its cruelty and imperfection carries its benefits, Fry delivers a deeply compelling and surprisingly hilarious account of the tale. Directed by Tim Carroll, Fry sits along with a circular screened staging, conjuring up images of the constellations, the gods and a Trivial Pursuit coloured wheel that offer respite from the traditional storytelling. Including an interactive element, renamed Mythical Pursuit , that allows the audience to shout out which questions Fry should answer on stage. Fry’s passion and knowledge of Greek mythology rings throughout the Lowry theatre, offering a personal and relaxed stage show that is enough to stir any mere mortals’ curiosity. With stories that cover everything from the creation of the world to the creation of the echo, it is worth looking into our own giant in history and picking up the Mythos or Heroes collections. StephenFry #Mythos #TheLowry #Manchester Tickets are available via the Lowry link