Softy Caesar (Nigel Barrett) isn’t fit to rule as his bouts of man flu, love of superstition and swooning at compliments are cause for concern to even his closest allies. Despite his wartime bravery and popularity amongst the citizens, insiders plot to fight back his threat to democracy with a murderous revolution, and an intense cast of characters form the goal of killing the people’s favourite before their city descends into chaos. Focused on the power struggles and divisions that shape today's politics, The Royal Shakespeare Company is pulling this 424-year-old play squarely into the present with director Atri Banerjee’s unforgiving and unspecified placement of the once ancient Rome. Replaced with a rotating stage design, flowery visuals and out-of-the-box casting, the RSC’s contemporary revision of the 1599 classic spins an abstract world that expands on the plays characters with a modern twist. The youthful ensemble cast are pushed by Cassius’s (Annabel Baldwin) unshakeable confidence and a subtle performance from the gender swapped Brutus (Thalissa Teixeira). Yet the shows more moving speeches are complicated by the production's stylistic choices. The play's themes taps into ambition, hypocrisy and questionable political principles, but the brutal tale of betrayal is backed up with obscure visuals. A countdown clock of death, a tracksuit wearing official and a solar eclipse help to take you out of the story as you are forced to dissect additions that are implemented to no end. In this black-and-white world where speeches by conspirator Marc Anthony (William Robbinson) are used to sway the crowds into a choreographed mob and black paint replaces blood, which is also weaved alongside projected images of clouds, the production design and the physicality of the performances remove much of the tension from a scene. Downplaying a traitorous group murder plot by miming the violence is visually interesting, but also too calm, too subtle and anticlimactic for a scene in which a multimember murder is taking place. While the productions live musicians and menacing chorus heighten the sinister world, the sweeping fights and dancing mobs feel disconnected from a Shakespeare production and the famous lines, “Friends, Romans, countrymen, lend me your ears”. Rosanna Vize’s minimalist and modern set forms the streamlined backdrop that is built upon with projections and choreography, taking the story out of Rome and keeping the Lowry audience in the precarious present of power-hungry politicians and mob mentality. While RSC’s Julius Caesar serves visually striking imagery and passionate performances, the distracting direction is done at the expense of the narrative and its desire to modernise the text often overshadows the relevance of this classic. JuliusCesar TheLowry #Manchester Tickets are available via the Lowry link

A multitude of golden tickets have been dispatched, offering Palace Theatre audiences the chance to watch the live reincarnation of Roald Dahl’s 1964 children's classic. The Candyman’s hypnotic soundtrack and enthralling factory setting are embedded in every adult's memory thanks to the 1971 Gene Wilder-led film. But here Marc Shaiman and Scott Wittman’s ( Hairspray ) original soundtrack pulls on the heartstrings to remind audiences why the love for Charlie has not fizzled despite the book's multiple reincarnations. Building on the strength of Dahl’s story, William Blakes's illustrations and its most notable musical moments of the film adaptation, director James Brining centres much of the playful tale on the Bucket family and their lack of fortune, sliding the four to a bed family around the stage for a first act of painfully grounded realism before conjuring up an enticing show that uplifts the story into a second act full of Pure Imagination . While the talented Charlie (Harmony Raine Riley) is left to patch up the family's leaky roof, the show picks up the four other ticket winners from around the globe. Utilising a handful of props and hard to translate song lyrics devoted to them. Veruca’s (Kazmin Borrer) stands out as a formidable character with a memorable theme song, When Veruca Says, however, the rest of the cast are given some questionable tracks to work with, especially Mike Teavee's, It's Teavee Time! which becomes completely undecipherable. Its imposing abstract set pieces are designed to pull in the luring crowds who desperately want a glimpse of the previously unseen Chocolate factory. But once inside the show's use of projections makes the innovation of the factory and its fantastical ideas fall flat, with placements too far off centre or ideas projected onto the floor, making it impossible for front row and far left audiences to see. While the focus on the memorable music also pulls away from the original tale, the lyrics become a blur of gibberish, sung too fast to understand, and only enjoyable due to the live orchestration. There are a few larger set pieces left to impress the crowd as Wonka picks off his collection of kids. But without the framing of an immersive factory, the use of transitions relies on projections and the small ensemble casts choreography to move the visuals alongside the familiar story. Splitting between a classic first act and its candy-coated backdrop, to a more modernised second act with robot Oompa-Loompas and an adorable squirrel worker. The moralistic storyline and fantastic soundtrack feel muddled as the live show is developed into a down-to-earth production that attempts to reconnect to the heart of Dahl’s tale but fails to showcase the creativity of the factory. The attention-seeking ensemble is led by the fantastic Harmony Raine Riley as Charlie, who carries the story with heart and holds the crowd's interest for the entire first half of the story. Unfortunately, the rest of the cast of child performers aren’t given much to do before they each drop off the tour of Wonka’s alluring rooms of wonder. While the sets don’t hit as hard as its music, Charlie and the Chocolate Factory the Musical doesn’t aim to recapture your childhood memories of it on stage, and it doesn’t step on the toes of the much-loved previous adaptation. It walks a fine line between a modern classic where robots have taken the Oompa-Loompas job and its production's memorable casting offers a heartfelt rendition for the next generation. #CharlieAndTheChocolateFactory #PalaceTheatre #Manchester

Weaving a simply mesmerising production of humour and lightness around liberation and the HIV/Aids crisis. Cruise tells the story of Michael Spencer as he continuously flirts with death after being diagnosed with HIV and told he has only four years to live. In an attempt to have a truly fulfilling finally to his life, Michael (Jack Holden) and his partner, Dave sell their house and all their belongings before spiralling into of world of parties and drugs that accumulates in Michael’s final long night of farewells. The Olivier Award nominated production was inspired by a true story that writer and performer, Holden was told while volunteering for Switchboard and the tour deforce performance sees Holden switching between the friends, family and foes that Michael meets along the way. Accepting the reality of his new diagnosis, Michael decides to fashion his own future with the help of moving music and sympathetic friends. Freely drifting into sobering funerals and vibrant LGBTQ+ spaces as the story showcases the precarious lens of living with HIV/AIDS at the beginning of the epidemic. Holden has created a fantastically fatalistic production that blinds the audience with personality and LED lighting. Dominating the HOME stage with a shimmering and intimate performance along with director Bronagh Lagan’s simple two-tiered design that gels together the immensely honest story with a constant glow of optimism. Presenting a bittersweet portrait of life and the fervour of the 80’s club scene with a live electronic soundtrack performed by John Patrick Elliott, the production underscores the party and more haunting moments with the omnipresent musician hovering above Michael throughout the show. Cruise offers a vibrant, adrenaline filled production that is wrapped in Holden’s absorbing performance. Helping to spin the heavy subject matter of AIDS into a heartfelt and vulnerability storyline that doesn’t become jaded due to the barrage of easy flowing characters he conjures up. While partying ferociously throughout this tragicomedy and sharing the chaos of living with a death sentence, Cruise is a punchy production that definitely leaves a lasting impression after the party has ended. CruiseTheMusical #HOMEmcr #Manchester Tickets are available via the HOMEmcr link

You don’t need a magic mirror to predict the delight that Shrek the Musical’s live adaptation will bring to younger audiences, but its humdrum soundtrack may dim its shine for the big kids amongst them. Pushing back on the familiar fairy-tale tropes and romanticised themes around true love, Shrek the Musical brings the 2001 animation to life with an honest take on the Disney mythology we have all been indoctrinated by. Despite faithfully breaking away from the cult, writer David Lindsay-Abaire takes the DreamWorks tale on a predictable path that enhances its cartoonish stylings for the stage but doesn’t always deliver the memorable melodies of your heart’s desire. Shrek (Antony Lawrence) takes us all the way back to his childhood to give the Scottish ogre a bit more backstory than the film. Raised as an outcast and out on his own by the age of seven, the song Big Bright Beautiful World sets the tone for the light and self-deprecating musical numbers that run throughout the show. Similarly, with Princess Fiona (Joanne Clifton) there is an opportunity to tease where her pursuit for love began, with a charming performance by Clifton and her two mini-mes singing Know It’s Today . While the show fluidly crisscrosses between the fairy-tale characters takeover of Shrek’s swamp and his journey to rescue the princess. The Opera House audience are immersed in the perfect town of Duloc and its surroundings, complete with life-size singing dolls, a soulful gingerbread man and the sharp James Gillan playing its ruler, Lord Farquaad. Performing some killer dance choreography with the extensive ensemble, Gillan’s bejewelled costumes, dazzling performance and snappier lines help him steal the show. Alongside the live orchestration and visually impressive projections and props, the sweet and familiar tale reshapes itself into a reliable and loveable live production. You can’t help but admire the entire cast for offering such committed performances to their characters, in spite of the clear difficulties their costumes bring. Despite being wrapped in heavy facial prosthetics, Lawrence is able to help the audience see past his mask and appreciate his fantastic vocals. While Brandon Lee Sears’s (Donkey) full fur jumpsuit doesn’t even hamper his choreographed splits or Barry White impersonation. The visual jokes are also on overdrive as Samuel Holmes and Nick Winston’s direction is set to ensure that the show moves swiftly for the kids in the audience. However, by the second act that does include quite arbitrary lyrics as the show is forced to deal with the side-lined fairy-tale characters who have mobilised into a curious union. Yet, there is definitely enough to keep adults engaged throughout the family-friendly story, with a plethora of references to other musicals, a terrific performance from Cherece Richards as the imposing puppet dragon and Fiona breaking into a tidy tap-dancing number. It is also a relief to know that you do not have to have a child in tow to sit through this musical, in fact, a childless adult sitting through the song Freak Flag may be more reassured by their choice. While the show is not the sing-along musical you would hope from the long-established Shrek franchise, its extensive cast of familiar characters and terrific performances redeems this affectionate live adaption. Barely deviating from the classic and leaving audiences on the feel-good finale, I’m a Believer by Smash Mouth, Shrek the Musical has the same rewatchable quality as its films, holding out as a laudable, good time. Shrek OperaHouse #Manchester Tickets are available via the ATG link This review was originally written for

Extending his joy to the Lowry audience and promising to send all the feel-good vibes you can handle, Everybody’s Talking About Jamie is a teen bop musical that injects a fusion of self-reflection and self-confidence into its storyline. Originally resonating with audiences as a 2011 BBC 3 documentary titled Jamie: Drag Queen at 16, the story follows the journey of Jamie Campbell, growing up in an ex-mining village in County Durham, having been banned for dressing in drag to his high school prom. The documentary blossomed into a stage musical in 2017 and the story has since reemerged with a film adaptation in 2021 . There is a lot to love about the optimistic tale, as Jamie is comfortable in his truth from the very beginning of the show, opening to the daydreamy track, And You Don’t Even Know It as his classmates get the results of their aptitude tests back. Breaking out of the barriers of the classroom, Anna Fleischle’s sharp, static school staging of grey blocks fractures into a rainbow-coloured production as the show bridges the gap between Jamie’s school life and his realising his drag fantasies. Despite revolving around Jamie (Ivano Turco), the show delicately touches on the complex relationships he has when trying to live life on his own terms. With a set that envelops its flurry of relatable characters, the immersive musical has pushed far beyond its humble inception to rally around the power of community and draw in new fans along the way. Alongside collisions with classmates, his teacher and his father, Jamie is surrounded by charmingly authentic people and rooted by his female support group, including his thankless mother (Rebecca McKinnis) and schoolmate, Pritti (Talia Palamathanan). Jamie’s drag mother, John Partridge (Hugo/Loco Chanelle) and the lovable McKinnis keep this show incredibly grounded considering its musical adaptation, and it is a testament to writer and lyricist Tom MacRae that the heart of the original story shines through. Dazzling with empathy and personal solos about sacrifice and heartache, Partridge’s rendition of The Legend of Loco Chanel (And The Blood Red Dress) help make this show a validating collaboration and an engrossing, rewatchable musical. Director Matt Ryan’s stages the majority of Jamie’s upbeat songs as fantasies, with many of his musical moments reminiscent of watching 90’s/2000’s MTV pop videos. Light-up school desks and surrounding split screens back up Jamie’s performances, amplified by costumes that fill the show with nostalgic and joyful nods to the noughties. But with the sleek square set coming complete with a live band placed atop the two-tiered stage, the production delights with Turco’s spotlit solos. Everybody’s Talking About Jamie is an honest take on the rejection that self-liberation can bring. It interweaves a story about extended family, a celebration of the LGBTQ+ community and the necessity in being yourself through an affectionate pop soundtrack that everyone can get behind. EverybodysTalkingAboutJamie TheLowry #Manchester Tickets are available via the Lowry link You can also watch Everybody's Talking About Jamie the Musical on PrimeVideo

Opera North is turning the tables on the Lowry audience with an outwitting opera filled with frivolity, passion and cheek. Based on the Shakespeare comedy The Merry Wives of Windsor’s larger-than-life character Falstaff, this charming production infuses the timeless tale of misadventures into Opera North’s Green Season, which packages the production as sustainably as possible.    Falstaff’s (Henry Waddington) immense appetite for food and love sees him spending much of his days withering away his money and chasing swarms of women who can bolster his depleted bank account. After sending out identical love letters to friends Alice (Kate Royal) and Meg (Helen Évora), the two girlfriends compare notes and realise that their suitor is a stone-cold player. Deciding that the best revenge is revenge, the ladies plot to get their own back on the Lothario.     Despite Verdi’s nearly sixty-year career and extensive catalogue of work, Falstaff is his most successful comedy and his final opera. Due to the eccentric Shakespearian character that grounds the vivid farce, the show's complex storytelling gives audiences a detailed variety of dramatic musical moods and styles. Unexpected riffs punctuated by the live orchestration keep the Lowry audience in a playful frame of mind and immediately draws you into the world of Falstaff . The music layers the story around the braggadocios main character and is enhanced by Waddington’s expressive performance and impeccable comedic timing that help build a character you can't help but root for, despite his numerous flaws.    Whilst Falstaff  believes the world revolves around him, his enemies plan to expose him quickly hooks in Alice's suspicious husband Ford (Richard Burkhard) who is concerned by the rumours of his wife having an affair with the overweight pauper. On the other side of the comedy is Fenton and Nannetta’s love story that balances the humour and heart of the comedy. The commanding ensemble cast helps escalate the plot twists throughout the three acts, with Opera North’s impeccable vocalists powering the fast-paced production. You can expect rapid-fire lyrics, entertaining dialogue and memorable scenes from the women who run rings around Falstaff in powerful duets and shady gossip sessions.     Opera North’s production brings passion and tradition as Falstaff’s irresistible blend of rom-com, tricks and imposing music tangles the Lowry audience in a tale of one-upmanship. The pacing of the show makes it one of the easiest operas for newbie goers to follow as its descriptive lyrics and over-the-top characters are hilariously shallow. Whilst Falstaff lives in a dilapidated trailer wearing an ill-fitting dirty vest, every other character gives the appearance that money pours from their immaculately styled pores. Alongside Olivia Fuchs direction, which brings a grand atmosphere and colour to the stage, Falstaff's humiliating get back is contrasted by Gabrielle Dalton’s strikingly lavish costume design that frames all the ladies as meticulous Material Girls .     Full of personality and pep, audiences are guaranteed to be drawn into the emotion and lightness of Opera North’s loveable, reworked classic.  #Falstaff #TheLowry #Manchester Tickets are available via the Lowry link

Yann Martel’s award-winning tale of survival has made its journey onto the Lowry stage in breathtaking fashion. Bringing to life the imaginative classic with awe-inspiring visuals and an exceptional cast, Life of Pi showcases the power of theatrical magic.     Both visually stunning and emotionally resonant, Life of Pi  follows Tanvi Virmani’s formidable performance as Piscine Patel, self-named Pi. After her parents decide to sell their zoo in India the family sail with their remaining animals to Canada, only to be struck by a storm that sinks their ark and leaves Pi as the only human survivor. Stranded on a lifeboat with their untameable Bengal tiger, Richard Parker as her only companion, Pi is forced to float for months on the unforgiving Pacific Ocean, bringing into question her faith and blurring the lines between reality and fiction.   Director Max Webster brings real power to the mystique of Martel’s storytelling as the tale seamlessly transitions from the zoo in India, to Pi’s hospital bed and the lifeboat adrift at sea. Through the use of minimalist staging and projections shimmering scenery onto the entire Lowry stage, the sense of isolation engulfs Pi throughout her journey and creates an immersive experience for the audience to fall into. Reshaping disaster with moving and comedic moments, alongside scenes of unexpected beauty, the narrative unfolds through Pi's reflective monologues and is carried by Virmani’s graceful performance.  The exceptional puppetry of Richard Parker is masterfully designed by Finn Caldwell and Nick Barnes who bring animals to life with captivating realism using puppeteering. The multiple cast members required to masterfully contort Parker infuse him with a lifelike quality that is both awe-inspiring and unsettling alongside Pi in a tiny lifeboat. It adds a layer of magic to the production and allows you to suspend disbelief and fully embrace the fantastical elements of Pi's tale.   As Pi and Parker drift across the vast expanse of the ocean, Pi's faith in God and her determination to live are tested in unimaginable ways. This is a challenging tale to recreate on stage, yet Webster balances the essence of Martel's poetic work while introducing enchanting digital technology and puppetry. Faithfully recapturing the source material and uniquely adapting it to deliver a warm and unforgettable production, Pi leaves you to ponder the themes of faith, survival and the resilience of the human spirit.  Offering an adrenaline-pumping and ambitious piece of theatre, Life of Pi is a poignant reminder of the role storytelling plays in our lives. Whether you're a fan of the 2002 Booker Prize-winning novel or discovering Pi's journey for the first time, this is a phenomenal production that sweeps you into an enigmatic fantasy wrapped in life's unanswerable questions.   LifeOfPi TheLowry #Manchester Tickets are available via the Lowry link

Diversity’s 2024 Supernova show bursts onto the Lowry Lyric stage with a tsunami of energy, sweeping the audience in their wake. Despite its story being a departure from the expected Diversity offering, Supernova holds the heart of an Ashley Banjo project, layering relentless performances within a show about living life to its fullest.   Diversity has continually proven themselves to be more than just a stunting group, bringing carefully choreographed performances that push the limits and possibilities of what can be included in dance productions. Past performances of the Britain’s Got Talent  ( BGT ) winners have showcased the troupe's comedic side including mini-me members, while another focused on the Black Lives Matter protests during the 2020 COVID lockdown. The group has a real focus on driving inventive and inspirational ideas.   Through their latest Supernova theme show, Dujon Thompson (Big Scoop) narrates the audiences through the first half of explosive routines where the poetic storytelling is centred on a comatose pop star who crashes his car and is stuck in his hallucinations. While the premise allows your imagination to run wild with ideas, the show remains focused on its theme of connection and Banjo showcases this expansive world through humour, synchronicity and by spotlighting individual talents.   Banjo has a gift for imparting a shared sense of community through his choreography, easing the audience with doors of opportunities that continue to shock and enlighten through dance. The production moves through a variety of ideas, throwing in a toybox of Powderpuff Girls and Power Ranger  punch-ups, sharing their own Magic Mike moves to Usher’s  U Got It Bad and offering a few throwback stunts for any Michael Jackson fans. While Ashley jumps up and down the two-levelled stage like Mario, the production mounts a plethora of technology, and glow-in-the-dark lighting effects to frame the ever-growing group.  Alongside the show's rapid-fire choreography is the production's fondness for fire, smoke and water   that blanket all the elements around the audience and keep the visuals as stimulating as the movement. Between routines, selections of pre-recorded video are used to mix elements of memory, fears and outer space   that all flow to highlight features that give Diversity  their energy and focus.   Diversity presents Supernova seamlessly blends a variety of dance styles from the concise ensemble and showcases everything from acrobatics and breakdance to contemporary ballet. Despite the London-based group forming in 2007, Diversity continues to push the envelope with mind-boggling stunts that balance the group's humour, effortlessly synchronised routines and personality with each performance. This latest offering is an intense statement piece that pays off and is guaranteed to keep audiences enthralled with the continued spectacle coming from the UK’s finest street dancers.   # D iversity Supernova TheLowry #Manchester

Lynn Nottage’s hard-hitting, Pulitzer Prize-winning play dives into the forgotten lives of factory workers in a poor town in Pennsylvania. Despite spotlighting America’s plights and premiering in 2015, the show's universal themes of friendship, loyalty and the harsh realities of being working class allow audiences to reshape the tale with Manchester’s industrial worker bees in mind.    Recognising how financial uncertainty can quickly test a person's morals, Nottage weaves together the personal lives of seven factory floor workers whose decade-long friendships are tested when job cuts promise to leave some stripped of their identity and self-esteem. Economic uncertainty and social unrest bubble its characters to breaking point, with the distinctive space between the haves and have-nots playing out in a pub where its locals bear all.  Sweats frank dialogue also comes from ex-offenders, Jason (Lewis Gribben) and Chris (Abdul Sessay) as their parole officer Evan (Aaron Cobham) reflects on how stumbling over personal hurdles had the domino effect of knocking their families and community down. With the eight characters stories arranged into bite-size chunks, the snapshots of their lives softly wash over you as the characters openly lay out their struggles and plans to better themselves. However, Nottage’s story is split into two timelines, starting in the 2000 Britney Spears / NCYNC era and ending with the 2008 economic crisis.   Aaron Corban and Abdul Sessay on the set of Sweat. Photograph: Helen Murry Within the round of the Royal Exchange, director Jade Lewis’s metal-framed design sees the cast encircle the audience, drawing you into their personal space. You may not require a crystal ball to predict their futures, but the fast-paced production’s chronicling of each person’s steep decline and the swirling set that walls in its cast will force you to confront their relentlessly rising tensions and dwarfed world.    American Dreamer, Cynthia (Carla Henry) and the disillusioned Tracey (Pooky Quesnel) grapple as their reality and desires are shifted by powers outside of their control. Despite their clashing personalities, Henry and Quesnel bring genuine ease to the sharp and hilarious dialogue that sees one given a raise and the other let go. Both are sincere and sympathetic characters who you can empathise with regardless of whether you buy into their reasoning.   Abdul Sessay and Lewis Gribben on the set of Sweat. Photograph: Helen Murry Audiences are in for a rude awakening as Sweat challenges the nostalgic ideas we hold around our country, our identity and the invisible safety nets we believe are in place when we fall. The show's alcohol-fuelled conversations address issues of racism, addiction, and the decline of homegrown manufacturing to offer a brutal commentary on the real cost of economic inequality.   Sweat is a gritty story, carried by its grounded characters and fantastic ensemble cast. Looking at breaking the self-fulfilling prophecy that poverty and shame bring, Cobham’s compelling performance helps bridge the gap between shame and community support. While Nottage’s timeless tale remains unresolved, the show offers an intense sense of hope.  SweatTheRoyalExchange #Manchester Tickets are available via the TheRoyalExchange Link

Prison breaks, Ford V8s and vigilante justice are spread across the murderous musical retelling of Bonnie and Clyde. Highlighting the couple’s separate stories from their humble beginnings, exploring how the lawless Barrow Gang was formed and spotlighting how the infamous duo pushed their luck too far.   Offering a surprisingly informative musical, director Nick Winston   shapes the story from its 1930s Great Depression setting, holding mostly blacked-out staging that layers dilapidated hideouts and a bullet-ridden backdrop on the outskirts of the Palace Theatre stage. To give more context to the time, images including a tattered American flag, real news clippings and the self-taken and comically incriminating photos of Bonnie and Clyde are projected onto the centre stage throughout the show.  Winston underscores how the charismatic couple were not only in a world of their own during the Dust Bowl era but were promoted in times of foreclosures and famine as the trendy underdogs fighting the system. Bonnie and Clyde’s path follows a story driven by self-righteous revenge, but Winston’s production also plays up their positive perception by including a blend of catchy blues, gospel and rock songs that focus on the relatable criminal's dreams and desires. Katie   Tonkinson as Bonnie has a wonderful, belting voice and her opening   track Picture Show immediately presents her as an independent, poetry-writing daydreamer who is later only matched by the witty, one-liner   slinger Alex James-Hatton   as Clyde .   The vivacity and charm of James-Hatton and Tonkinson power this production, keeping this fast-paced, high-stakes story immensely enjoyable. Despite outgunning the cops and leaving behind candid photos of themselves posing with cigar and guns in hand, the doomed lovers are troublingly easy to sympathise with. Philip Witcomb’s   costume design ensures that the criminals make a life of crime look glamorous and Ivan Menchell’s   story is less about the secret, shady underworld of robbers and instead leans heavily on being a family affair. Shaped around class, the media and the law, Bonnie and Clyde’s rebellious chemistry is seen to have slowly driven them into a life of crime.   Looking to escape poverty and get revenge on the prison that turned him from a petty criminal into a murderous killer, the tale moves into fulfilling Clyde’s revenge fantasy and showcases the unreachable American Dream for most during the Great Depression. Yet violent acts are scarcely seen and the show includes more ballads that slow the pace of the show, than honest scenes that reveal why this couple really became famous. With the help of his brother, Buck (Sam Ferriday) and side characters like The Preacher (Aj Lewis)   helping to deliver the message of righteousness and absolution, the soundtrack does deliver some fantastic hits. Performing the gospel track God’s Arms Are Always Open , Lewis’s striking voice breaks up the folk-heavy playlist of songs like, You’re Goin’ Back To Jail .  Bonnie and Clyde the Musical  opens and closes with a bang. The stellar performances blended with the outrageous drama of this true crime tale offers a guilty pleasure that’s hard to resist and whether you side with or against them, the inseparable outlaws will definitely leave a permanent impression.  #Bonnie&Clyde PalaceTheatre #Manchester Tickets are available via the ATG link This review was originally written for

Bringing the story of protest and sacrifice to the Lowry theatre, Jesus Christ Superstar (JCS)  is back with a fresh revival that turns the story of crucifixion into a sacrilegious reimagining framed around fame, sex and rock and roll.   By opening the biblical tale up to musical lovers, Tim Rice and Andrew Lloyd Webber strike all the right notes as they aim for your heartstrings and ear drums. Whether you’re in it for the unorthodox take on the religious tale or you’re a lover of its pop-rock album, the show stands alone as a timely narrative that focuses on celebrity and its consequences.   Following the final weeks of Jesus’s (Ian McIntosh) life, the show pulls into perspective his disciple, Judas (Shem Omari James), and their tumultuous relationship as he recounts why their friendship soured. In a humanising and grounded reimagining, the tale allows James to shine as a desperate and devoted believer in Jesus’s cause. Opening with the track Heaven On Their Minds , James sympathetically belts out his concerns about Jesus as a messiah and the power of Roman patrols against their lowly status.   After the success of Joseph’s Technicolor Dreamcoat , Rice and Webber followed up their 1968 hit with another religious reimagining. But JCS’s  darker, modern take reflects a more complex look at faith and pulls inspiration from Bob Dylan’s  With God On Our Side  to offer an intimate and personal profile. The show's simplicity allows the musical performances to soar and the cast's emotional pleas resonate through spotlit solos. As a result, the ensemble cast are given weighty moments to make their mark and infuse the score with different styles. The smooth singing Mary Magdalene (Hannah Richardson) adds a vulnerability and warmth with her soulful rendition of I Don’t Know How to Love Him and McIntosh is given countless high-pitched numbers throughout his impressive performance .   Originally crafted as a concept album, the score that carries the story forward is a dramatic, nonstop barrage of catchy hits. Alongside its spirited choreography, guitar riffing Jesus and leather jacket-wearing Judas, the show ensures there is a lot of light pageantry to offset its hard-hitting, religious inspiration. As there is no spoken dialogue, director Timothy Sheader   opts to deliver a divine spectacle that plays like a concert, placing a live band front and centre amongst the action. Its set places towering black structures that depict Jerusalem as its shadowy backdrop, while intense lighting and projections are used to bring depth to the prop-light stage.  JCS  makes a triumphant transition to the stage with a powerful production that is constantly in flux. The show has an infectious energy that delivers countless compelling and uplifting performances with swift pacing that keeps you bouncing between the serious and self-referential moments. Having first opened in 1971 , JCS  continues to evolve. Despite being crafted on faith, audiences will be praising the heavens that this fast and thorny tale of faith, betrayal, and redemption continues to be resurrected.   # J esusChristSuperstar TheLowry #Manchester Tickets are available via the Lowry link

Elena Dee carries Ellen Kent’s pressure filled production of Madama Butterfly  with a charged performance that shoulders every scene of Puccini’s iconic 1904 opera.    Disowned by her family for rejecting her community and religion, Cio-Cio-San also known as Butterfly, envisions a better life as a devoted wife to an American naval officer through an arranged marriage.     The Opera House audience is transported into the 15-year-old, Butterfly’s world as the geisha is swallowed by an elaborate set design and antique kimonos. The accessible opera leads with its visuals and the emotional draw of Puccini’s story resonates through Ellen Kent’s sprawling set that artfully recreates traditional Japanese architecture alongside delicate cherry blossoms as its picturesque backdrop.     Fueled by the fantasy of a life with her American lover, Cio-Cio-San marries and moves in with Lieutenant Pinkerton (Georgi Meladze) and her maid Suzuki, played by the soulful Natalia Matveeva. Walking into their marital home with only a handful of objects, her unabashed husband knows little about his wife's sacrifices as Meladze convincingly showcases his disregard through condescending scenes and forceful performance.     Needless to say, the honeymoon is short-lived lived and Pinkerton heads back to American leaving his Butterfly alone for three years to sing beautiful arias as she defiantly drifts around her house. The Humming Chorus , performed as Cio-Cio-San waits, poised and eager to welcome home her absent husband, is heightened by Ellen Kent’s cinematic production. The parade of cherry blossoms and the captivating water garden build her quiet moments of loneliness in paradise into an endless, haunting dream. The beauty of the staging also helps bring you into her doomed fantasy as Dee balances her innocence and self-assured performance in a heart-wrenching manner.     The immersive live orchestration and the sharp lighting effects used throughout the production merge to symbolise dawn and the idea of a new beginning. However, as the beautifully bedecked set of blossoms are plucked around Cio-Cio-San, it is clear that her self-sacrifice will only take her so far.     120 years after its release, Madama Butterfly  stands as one of the most enduring and vibrant operas ever performed. Due to its powerful soundtrack, melodramatic take and atmospheric visuals the underlying stereotypes of the docile and subservient Asian woman that were reworked into its musical adaptation Miss Saigon , remains open to a larger conversation. The show's themes have all the trappings of American exceptionalism and a healthy dose of salt is needed to view this as a story based on real events as it has all the nuance of  Diana the Musical .     However, Ellen Kent’s production is built to impress and shock, allowing audiences to embrace Cio-Cio-San's journey, from her initial euphoria of falling in love to her devastating betrayal. Any newcomer to the opera will be compelled by Dee’s compassionate performance as she holds the audience’s attention alongside Puccini’s timeless score and that breathtaking score ensures that Madama Butterfly  continues to stand the test of time.  MadamaButterfly OperaHouse #Manchester Tickets are available via the ATG link This review was originally written for