Trumpeting community and compassion, Come From Away  is a layered, people-powered production that morphs the tragedy of September 11 into a remarkably uplifting musical.  Immediately after the 2001 September 11 attacks, 38 planes were abruptly forced to land in the small town of Gander in Canada. With 7,000 stranded passengers floating through the town, the residents took it upon themselves to open their doors to their unexpected visitors to showcase true hospitality.   Placed between the folksy music and lyrics of Irene Sankoff and David Hein, Come From Away  crisscrosses between multiple characters played by a 12-strong cast of exceedingly talented performers. The razor-sharp ensemble pivots between multiple accents and roles as they celebrate real heroes, including the town's mayor, a journalist and a police officer who worked to support the stranded plane people of Newfoundland.   Contained on the Lowry stage with a hands-off approach that lets the performances sing, wooden chairs and tables sit along the wooded staging used to morph the set into a plane and bar. As the story conveys the different cultures and backgrounds from around the world, the show's minimalist approach, placed alongside director Christopher Ashley’s grounded group choreography beautifully and modestly reflects on community. With its cast fluidly weaving back and forth to showcase its festive characters, the dramedies interconnected themes of unity and resilience shine through.   Despite the story being in the midst of a tragedy, the focal point of Come From Away  is on community, putting the spotlight on people's similarities with a moving production that represents the best of us. Bonding over new friendships as opposed to a retelling of the events of 9/11, this intimate production is a rich character study that holds detailed and joyous performances.  Sara Poyzer’s wholesome solo of Me and the Sky tells the story of the first female captain to fly for American Airlines, offering a triumphant and personal ode to reflect on the history of one of the grounded pilots. However, the soundtrack favours ensemble performances and platforms them at the heart of the show. With its live musicians entertaining from the sideline allowing its unified soundtrack to place more value in the company regardless of its long line-up of talented performers.  Come From Away  is committed to comforting audiences with a real-life miracle performed for the Lowry audience just in time for the holidays. The Lowry’s feel-good festive treat is a magnetic production that allows you to be wowed by its cast and their cathartic performances.   Sankoff and Hein’s   Celtic   soundtrack is a touching reminder of the importance of real connections in times of tragedy and joy.   ComeFromAway TheLowry #Manchester Tickets are available via the Lowry link

A Christmas Carol the Musical  takes a trip down memory lane, highlighting the good, the bad and the ugly of one of the nation's favourite curmudgeons.  The unscrupulous Scrooge is hitting the Quays stage with the help of Hope Mill Theatre and writer, Mike Ockrent and Lynn Ahrens's musical reworking of Charles Dickens’ 1843 novella. Allowing Claire Moore (Evelina Scrooge) to don the top hat and mumble a “bah humbug” to the delight of the Lowry audience, this faithful reimagining is a charming and timeless hit.   Directors, Joseph Houston and William Whelton’s production is guaranteed to get audiences into the Christmas spirit as the beloved story of greed and transformation has been inventively recreated for the stage. Otherworldly Victorian aesthetics are showcased alongside smoke-filled sets, eye-watering performances and enviable costumes. Tailoring Moore under shimmering paper-filled sets and striking projected   surroundings.   Scrooge’s journey of redemption has been infused with a contemporary score, using lyrics that morph her bitter words into haunting songs. Performed alongside an under-stage band, composer Alan Menken, who has scored the best Disney musical to date ( Beauty And The Beast ) has teamed up with songwriter Lynn Ahrens ( Ragtime and Seussical ) to carry lush orchestrations alongside a catchy soundtrack. The songs range from the heart-warming addition of  God Bless Us Everyone  to the hilarious two-part performance of Nothing To Do With Me  sung by the talented Moore ( The Phantom of the Opera and Les Misérables ).   Allowing Moore to take on the comically grumpy moniker in a production that offers the perfect blend of nostalgia with a modern twist, this Christmas classic remains a traditional retelling whilst playfully subverting some character expectations. With no intermission to slow down the pace of the show, the soundtrack bounces between the eerie Link By Link  sung by the ghost of Jacob Marley (Barry Keenan), to the permanently uplifting ensembles,  Jolly Good Time.  While the poised ensemble counters Moore’s humbugging with jolly and heartfelt songs, the stage is consumed by her flair, as Moore clearly enjoys grumping it up on stage.   Hoping to correct all of Scrooge's wrongs in one night, the ghosts of Christmas Past (Mari McGinlay), Present (James Hume) and Future (Josie Benson) appear to show her the error of her selfish ways. Transforming the strikingly shadowy contracts that surround the set with gorgeous lighting that spotlights the sinful Scrooge and offers some heart-pounding reveals. The apparitions also arrive with their own unmistakable style and 5-minute choreographed routines.  Full of festive cheer,  A Christmas Carol The Musical  encapsulates all the joy required for the holiday. The seasonal favourite confronts the consequences of greed with a timeless reflection of community and giving. Despite being set in the cold, dark streets of Victorian London, Hope Mill Theatre’s cast shine brightly with tremendous musical performances. Alongside a host of colourful characters, Moore is masterful as Evelina Scrooge with a performance that leaves a haunting reminder of how wonderful this reworked classic really is.  AChristmasCarolTheMusical TheLowry HopeMillTheatre #Manchester Tickets are available via the TheLowry

Beauty and the Beast is the perfect Disney production, awash with dreamy set pieces, fabulous frocks and passionate performances. This big-budget show brings the spirit of its 1991 Oscar-winning animation to the Palace theatre stage, with its live incarnation encapsulating the best of what musical theatre has to offer. We follow our nameless prince (Shaq Taylor) who quickly comes under fire for turning away a homeless witch (in the rain no less), causing a unique curse to be placed on him and his staff. Having repurposed his hired hands into beautiful household objects, the socially conscious witch chooses to transform the prince into a beast who must find true love in order to break the spell. Of course, the witch has added a rose clock time constraint for finding true love and the prince's castle is surrounded by wolves, making his mission extremely difficult. However, with Taylor and Courtney Stapleton (Belle) at the helm of the enigmatic ensemble, the classic is once again unearthed on stage for a magnificent reincarnation. Matt West’s direction moves the beloved hand-drawn characters into an immersive live production that involves several spinning (and dancing) plates. Alongside its irresistible soundtrack, the enormous sets swiftly drop on and off the stage to recreate the towering castle and project the surrounding woods. With a painted backdrop of Belle’s French fields alongside the multi-coloured costumed villagers and playful singing appliances, the production is a monumental musical triumph. The light-hearted story by Linda Woolverton offers a surreal and sparkling tale with plenty to love. While its updated visuals are reassuringly full of old-school magic, the beast’s technical aspects and the show's sets are a marvel to behold. Taylor is given makeup subtle enough to allow you to read his expressions from your seat but detailed enough for you to appreciate the sacrifice of him performing 90% of the show through prosthetics and a mask of hair. The character's costumes have no expense spared with Belle’s unforgettable golden ballgown recreated by many of the younger, enthusiastic audience members. Unlike its 2017 live-action Emma Watson led retelling, this stage adaption incorporates additional songs for its ensemble cast. The song, Human Again offers an unexpected space for the talented team of servants to deliver an understated performance of their vocal talent within the Disney fairy tale. Whilst brimming with energy and excitement, the show offers a wealth of classic tracks, backed by its live orchestra. The lyrics by Howard Ashman and Tim Rice build on the electrifying direction that drives the dramady with creative flair and an animated sense of humour and style. The enchanted evening offers triumphant performances of the title’s song, Gaston and the irresistibly catchy Be Our Guest led by the marvellous Gavin Lee (Lumiere). Building on the fan favourites, the production adds moments for the audience to appreciate the live orchestra and fabulous choreography. Making use of the Palace Theatre stage, West places a camera above the action, angled to view the ensemble deliver synchronised choreography on the floor. With the spellbinding spectacle of 4D figures flying around the Palace stage, Beauty and the Beast is an embarrassment of riches. Disney’s masterful musical is rooted by its unforgettable soundtrack, and this flamboyant production definitely meets the high expectations of its animated features visuals. Any Disney fan will be thrilled to relive the magic of this musical. #Disney BeautyandtheBeast #PalaceTheatre #Manchester Tickets are available via the ATG link

This live-actioned reimagining of The Little Mermaid  from Ursula’s perspective is stuffed full of jokes, pop tracks and neat effects. But when it comes to the message, the disco diva is clear, what happened under the sea to the self-indulgent Arial, was not the whole story.     Writers Robyn Grant and Daniel Foxx fuse their talents to raise this shiny, contemporary musical into a memorable, rewatchable treat that plunders the depths of Ursula’s character to uncover the real motivations and the makings of the notorious villain. The snarky storytelling is boosted by its upbeat score, with songs including, Nasty, Sucking On You , and Unfortunate that play into Ursula's inner desires and a lack of recognition for her talents.     Ursulla’s tell-all tale strikes a balance between giving fans of the 1989 film Disney easter eggs alongside layers of its lovable characters, but the production's darker humour allows the parody to forge its own path. Shawna Hamic’s ( Orange is the New Black)  frank delivery of Ursula's cutting one-liners and home truths ensures her redemption story is built on a sinful foundation and Hamic’s commanding performance is a joy to watch.     This show is placed in the Lowry’s Quays theatre where Grant, who also directs, takes advantage of the intimate space by centring the audience in the bowels of a ship. Complete with neon lighting, an immense disco ball and a backing band, the bedazzled underwater world stays ready for a party. As Hamic pushes power ballads and parody tracks with her love interest and alleged nemesis, the world around her is brought together by Abby Clarke. The designer brings Ursula's iconic image to life using some creative magic and smartly used sunken treasures that keep the large ensemble cast sparkling throughout the show. This is very much an ensemble piece, keeping Triton (Thomas Lowe), Arial and Sebastian (Allie Dart) front and centre for the ride, in which many of Dart’s scene-stealing moments push the story along when Ursula narrates from the sidelines.     This is a meaty production, as its smart set design layers in extra jokes, hidden reveals and allows you to appreciate the band's performance alongside the show. There is a merger of high-tech underwater puppets, manky sock puppet soul designs and organza quilted costumes that are delightfully crafty, making many of the campy musical numbers pop as cabaret performances. Arial’s (River Medway Ru Paul’s Drag Race UK ) solo is hysterical and underscores Unfortunate’s loving tease of the Disney original.     Despite the soundtrack stating, We Didn’t Make It To Disney , the original Ursula was partly inspired by the drag queen Divine (known for playing Tracy’s mum in Hairspray 1988 and Pink Flamingos ) but The Untold Story of Ursula  amends its villains grand, spinsters' image. Hamic plays Ursula as a hardened and straight-talking outcast, playing against Lowe’s naive and beloved Triton. Combined, their duets are powerfully funny, making their chemistry and their life choices a lot easier to understand throughout the under-the-sea adventure.    Unfortunate: The Untold Story of Ursula the Sea Witch  melds a potent elixir that will draw audiences into its spell. The glamour, witty lines, catchy soundtrack and wondrously villainous style are lacking in current Disney villains but fortunately, this musical parody has the cure.   Unfortunate TheLowry #Manchester Tickets are available via the Lowry link

The macabre becomes musical as the Olivia Award-winning team behind Fleabag immerses the HOME audience in a charming true crime case. We follow Kathy (Bronté Barbé) and Stella (Rebekah Hinds) as the flailing podcasters venture outside of their garage to tackle the gruesome murder of their favourite murder mystery podcaster. Like students turning to SparkNotes in the final hours of their dissertation, these amateur detectives waste no time tripping over clues and plundering Wikipedia to figure out the facts of their favourite whodunits. Writer, Jon Brittain has penned this timely tale that crafts a seamless fusion of music with the nation's obsession with murder and a unique DIY approach. Librarian Kathy and between jobs Stella are longtime school friends which helps musical director Matthew Floyd Jones pull the mystery genre into a vibrant musical realm, adding original songs that team the pair with multiple duets about friendship. Accompanied by an onstage two-piece band and a concoction of sketchy suspects, the show takes several lyrical plot twists as surgical interventions and twin sisters pop up to support the grippingly silly narrative with a constant flow of fun. Barbé’s warm vocals and Hinds’s gruff tone pair perfectly as the friends resolve to solve the case with a variety of belting tracks. The ensemble makes this musical shine as the multitalented Jodie Jacobs and TJ LLoyd take on the roles of numerous suspicious suspects and the hilarious Imedla Warren-Green emerges as an intensely funny superfan. Alongside an intricate board of clues that form the main backdrop of the show, each new character infuses the soundtrack with humour or unburdens their guilty conscience through song. Kathy And Stella Solve a Murder is a brilliantly written production that covers the bonds of friendship but wraps it all up in an intriguing mystery that overspills with passion. The tightly-packed comedy is headed by a duo with palpable chemistry and backed by a fantastic ensemble cast. While murder takes centre stage, the show's witty sense of humour and sharp stealth staging expands on what is expected in the all too familiar true crime genre. Without plunging into the serious nature of reliving a psychopath's footsteps, lyrics touch on the shameful nature of profiting and relishing in others torment. However, this is mainly ironically stated in the opening number as the show immediately drops the guilt trip and sets off running with an endearing murder mystery that audiences will cruise through. #Kathy&StellaSolveAMurder Tickets are available via the #HOMEmcr link

The Bridgewater Hall is offering audiences a new Christmas tradition, breaking out the carols, Christmas jumpers and a live orchestra for some communal festive cheer.    With the Bridgewater’s second sold-out show decked with a movie theatre projector and surrounded by twinkly Christmas trees, the 2006 romcom,  The Holiday  is getting a glow-up as the Novello orchestra breathes new life into Christmas favourite. Academy and Golden Globe-winning composer Hans Zimmer radiates a warm, spirited soundtrack to writer and director Nancy Meyers’s ( Parent Trap  and Father of the Bride ) house-swapping storyline.    The story follows Californian native Cameron Diaz (Amanda) and country mouse Kate Winslet (Iris) as the two gift each other the opportunity to house swap over the Christmas holiday. With both women suffering from terminal breakups the pair are more than happy to leave behind their disastrous relationships for each other’s parallel picturesque lives. Unfolding on the big screening, this cosy switch-up cues the scenic English cottage and dreamy LA mansion above the live orchestra who add an extra sparkle of magic to the exchange. Amanda has access to the best of British, finding comfort with Jude Law (Graham) and after separating from her leeching office romance, Iris finds a sweet-talking Jack Black (Miles) to settle her holiday blues.     While the seats in the circle of the Bridgewater Hall offer a full view of the orchestra and the screen, the stall seating is stella and there isn’t a bad seat in the house that obstructs your view of the film. With the Novello orchestra amplifying the soundtrack to spellbinding results, the beautiful production brings an accessible experience for the whole family. It’s an effortless way to watch a Christmas classic and helps capture the magic of the season.  The Holiday’s  charismatic cast and chemistry make its subdued storyline pop as its sentimental tale unfolds to mend the broken-hearted or audiences in need of a heart-warming soundtrack.     The Holiday in Concert is a welcoming, immersive cinema experience for theatregoers who wish to be enchanted by charming live orchestration while enjoying a festive flick. However, live film concerts aren’t just around for everyone's favourite holiday, these events appear throughout the calendar year but tend to sell out quickly. Offering a spectacular shared experience that bridges the gap between theatre and new audiences, these shows are a comforting way to engage with live music and classical orchestras.    Live concert performances take place at The Bridgewater Hall, Co-Op and Arena accessible via the websites the links below.  TheHolidayLive MusicalsInCinema #SenblaLiveEvents Tickets available through Ticketmaster and The Bridgewater Hall

From the playwright that brought you Educating Rita , comes a dramady musical that plays with class expectations, friendship and love. Splitting a self-imposed and societal self-fulfilling prophecy, Blood Brothers ends as it begins, opening the show with a dramatic murder. Blood Brothers is burdened by fate, offering audiences a narrative that follows both superstition and systematic discrimination. As the musical plays back the story of twins Eddie (Joel Benedic) and Micky (Josh Capper) the play highlights the harsh realities of working-class life with the brothers seen divided at birth and raised in separate social circles. Eddie is brought up as an only child of a wealthy family, while Mickey’s childhood is swiftly formed through a hard-hitting environment with a single, working-class mother raising eight children. Despite growing up apart, the twins naturally gravitate towards each other, forming a bond that cannot be broken. The Palace Theatre hosts both households, where directors Bob Tomson and Bill Kenwright bring a drab, sombre backdrop to counter the musical’s childlike optimism and joyous lyrics. Educating Rita plays with the concept of working-class mobility through education, opportunity and self-resilience. Here writer Willy Russell seals the fate of his lead characters by highlighting the continued shortcomings of the class divide and the institutions designed to provide freedom and opportunity to all who seek it. It is a story filtered through large personalities that allow its class division to place blame on the rich and poor alike through the use of warm and believable performances. Former X-factor contestant, Niki Evans uses her powerful portrayal and fantastic vocals to carry a mobility message that is difficult to shake. Her Marylin Monroe montage relates the dreams of a working mother, Mrs Johnstone treading water financially with little support from her community who see her as a sponge on the system. Backed up by the live narrator, Robbie Scotcher who keeps the direction of the musical seamless and smooth, while ensuring that there is no static ahead of the anticipated ending. Even during solo performances, the shadowy narrator figure lurks in the alley or on the first floor of the estate setting, looking down from the tower blocks and judging the events. His presence is a constant reminder of how archaic ideals, rites of passage and fate play a role in this modern fable. Despite the disconcerting opening, the shows gritty realism allows Benedic to show working-class charm to its full advantage. Carrying much of the humour throughout this dark comedy, it is successful in moving the happy go lucky Mickey to a place of despair through a lack of opportunity. Ending with a standing ovation, the intense finale that is foreshadowed throughout the production, still came as a shock having followed the twin’s personal growth through the 2-hour 45-minute production. Blood Brothers shepherds its audience through the trappings of poverty with moving performances, poignant direction and fantastic lyrics. With a story that continues to resonate, Blood Brothers is as relevant now as it was when it was first released in 1985. BloodBrothers #PalaceTheatre #Manchester Tickets are available via the ATG link

The cards are in your favour as Carmen waltzes into the Lowry theatre for Opera North’s new, sensual production. The French treasure, written by Georges Bizet in 1875 is infused with a Spanish flair and blends it extensive, lavish love story with a compelling score. We follow gypsy girl Carmen (Chrystal E. Williams) who falls in love with runaway soldier Don José (Erin Caves). After escaping a small-town scuffle, José flees, leaving his mother and joining the army as an undistinguished officer hoping to escape his past. Opera North’s production has updated portions of this piece, setting its cast in a captivating brothel dip dyed in red whilst rotating women on and off its stage. The cast is held hostage by its dizzying neon lighting prop in which director Edward Dick traps its lonely officers in a chilly climate of silhouetted figures, a disco ball and plumes of smoke. It’s unsurprising that Carmen’s introduction to the opera is a showstopping salute to her charismatic character and a warning signal to any man who falls in love with her. With the incredible classic, Love Is a Rebellious Bird ( L'amour est un oiseau rebelle ) Carmen wields a red rose to hurl at her next unsuspected lover. Williams’s stand out performance captures the timeless temptress as a devious and overwhelming force who leaves José deliriously in love after their first encounter. After leaving a trail of suitors in her wake the hot-headed temptress pursues José due to his initial resistance to be with her. Rojas’s performance is passionate and offers a palpably pained charm. With acts that scope him as a desperate, weak-willed man, the story is driven by his believable desire and William’s lauded talents. While the unapologetically empowered Carmen pushes José further into the deep end, the first two acts of this opera mix its bright and alluring aesthetics with light arias encompassing love and affection. Opera North’s renewed production portrays the shows 1845 themes surrounding an idealistic and independent woman as an inspiring and self-assured soul. José however cannot take ownership of his own actions and as the third and fourth acts develop, the rotating set piece turns to highlight a bleak peek behind the curtain of their tumultuous love affair. As the explosive story offers more anguished performances by its cast that highlight the consequences of demanding men who cannot deal with a free woman. As the introduction of new suitors enters the mix Bizet’s powerful score lavishes rockstar matador, Escamillo with the familiar melody of the Toreadro aria for an irresistibly entertaining performance packed with pleasure. Rival Escamillo’s (Phillip Rhodes) live for the moment attitude aligns perfectly with Carmen’s, presenting an absorbing routine of seduction with a presentation that is as smooth as butter. On the other hand, José’s other love interest Micaëla (Camila Titinger) plays out a soulful aria brimming with grit and heartache as the losing proposition of love is extended out to all parties. The classic Carmen continues to unravel its daisy chain narrative of she loves me nots to its phenomenal conclusion. As the compelling tug of war between fate vs. free will plays out Opera North ensure that this beautiful epic remains an attractive and intense production. With subtly direction and irresistible costumes and sets, almost three-hour opera builds tremendous tension through its remarkable cast, who ensure that this timeless tale continues to be superbly represented for new audiences and those acquainted with the classic. #OperaNorth Carmen #TheLowry #Manchester Tickets are available through the Lowry link

Taking the journey farther than it has ever been before, the live orchestra are ready to refresh the Star Wars universe, expanding out to a new audience with their fleet of orchestral talent. The blockbuster is reborn with a live backing of the classic soundtrack, performed alongside a cinema screen projection of the film. Only Sith’s deal in absolutes but you’ll have to forgive me for stating that Return of the Jedi is truly one of the best Star Wars sequels to be made. Holding its place within one of the most replicated sci-fi series of the genre. The live orchestral production will be performed two days in a row to ensure everyone has a chance to unearth this classic. Tonight, George Lucas’ space opera is a packed event, with such an overwhelming support for the force that has shaped and influenced generations of cinema-goers. On another crusade to crack the Rebel Alliance, Darth Vader plots to construct another Death Star with the hope of attacking anyone who stands in the way of the dark side. While Jedi Knight, Luke Skywalker (Mark Hamill) attempts to take down the Empire with the help of Princess Leia (Carrie Fisher), Han Solo (Harrison Ford) and some ghostly apparitions. Released in 1983 and boasting an unforgettable score by John Williams, Return of the Jedi is the highest-grossing film of its year's release within a franchise that continues to dominate the charts. As the packed-out Bridgewater Hall performs a live rendition of the action-packed finale, its familiar story of love and responsibility is recaptured in a fantastically cinematic way. With a moving delivery from the Novello Orchestra given underneath the projected screening, this memorable live concert is unparalleled in its presentation. The stunning live production extends the reach of its films out to young and old alike as the lengthy saga continues to capture the imaginations of fans ranging from older follows of the Machette Order, to the younger “baby Yoda” fanatics. Disney’s continuous retelling and revisiting has lengthened the Star Wars universe out to a vast audience of supporters, unleashing them into the Bridgewater crowd with costumes taking us all the way to Tatooine. This legendary franchise still has legs, offering new spin-offs, Logo remakes and prequels. However, the live concerts orchestration restores the Star Wars equilibrium, offering the original saga recreated for a nostalgia trip like no other. #Disney #StarWars ReturnOfTheJedi #LiveConcert TheBridgewaterHall #Manchester Tickets are available through the Bridgewater Hall link

The Nutcracker is the original Toy Story narrative, bringing toys to life on Christmas Eve as their younger owner, Clara journeys through a winter wonderland of two acts. Displaying challenging choreography, an iconic score and the stunning costumes of its multiple fairies and their foes, the show has the ability to bring childlike wonderment through the magic of Tchaikovsky's music. The Nutcracker is a simple, pure and sweet ballet classic that has been a staple in companies catalogues for over 60 years. As a result, this family-friendly classic was begging for a Bourne reboot. Dropping its cute and wholesome arura without dropping the ball, Bourne’s production builds on Tchaikovsky’s vision with a sensual and witty reimagining that places Clara in a depleted orphanage. The Lowry theatre swiftly turns from a ghoulish nightmare to a glittery dream, with Anthony Ward’s digitised set and fabulous costumes placing the first half of its production in an extravagant but reformed 1930’s recreation. However, by the shows second half, you will not be disappointed by what has been left under the Christmas tree as the staging of a grandiose wedding cake adorned with Allsorts is positioned within the centre, inviting audiences to revel in an orgy of pure joy. Bourne’s contemporary choreography welcomes newcomers to the Kingdom of Sweetieland, bringing out the classic humbug, knickerbocker glory and bon-bon for this festive treat. The New Adventure production fills the room with spirited direction and plush costumes to reconfigure the familiar Nutcracker toys with the magician’s latest tricks of creepy vintage dolls and ventriloquist dummies. Sparkling with detail, the sumptuous production has a distorted but meticulous take on the classic, visually hypnotising its audience with wondrously rosy surroundings. As Clara (Katrina Lyndon) and her crush (Ben Brown) voyage through Sweetieland accompanied by The Cupids, the already open world of its original tale is enhanced by Bourne and his sinister handling to spread surprising and stunning twists. Nutcracker! is a crowd-pleasing alternative Christmas offering, indulging the audience in an eccentric world that takes the Sugar Plum fairies candy-coated feast with a pinch of salt. Expanded by its Royal Philharmonic orchestral soundtrack and tremendous cast, the show is enriched by its litany of characters and marvellous scenes that keep the momentum expanding throughout its 120-minute runtime. #MatthewBourne Nutcracker TheLowry #Manchester Tickets are available through the Lowry link

The Bridgewater Hall’s yuletide festivities are kicking off with the classic holiday fable, A Christmas Carol , seen through the prism of puppets. Complementing Charles Dickens heart-warming and humbling novel, the 1943 tale has been updated by The Jim Henson Company in spectacular fashion and is now accompanied by the Novello orchestra for a live and unbeatably attractive repackaging of the tale. With a cinema size projection hanging overhead of the Novello, the score sores through the audience to encapsulate the best of both a live concert and a film screening. With the story narrated by Gonzo and Rizzo, alongside Kermit as Bob Cratchit and Miss Piggy as Mrs Cratchit, all your favourite Muppets are on screen to mend your holiday blues. The backdrop of gritty London streets is lit up by the colourful cast members for a wickedly fun take that puts our only live-action cast member on screen at the helm of the story. Bringing Michael Caine as the crotchety Ebenezer who pledges to demean any lazy bum unwilling to work on Christmas day, the story follows his intervention of three spirits who drudge up some unhappy memories he would rather forget. The familiar story guides the audience through a journey of transformation in which Scrooge’s surprise visitors deliver their dire warnings of his past, present and future self. While the Muppets movie completely compensates for a remixing of this recognisable and annually reshaped story, the film’s musical interludes truncate the dialogue allowing the orchestra to sprinkle the film with additional momentum. The vivacious production bombastic score is amplified by the Novella and refreshes the feature in a live reincarnation that reintroduces the 1992 original soundtrack. The score on its own is wonderfully entertaining with tracks including Scrooge and the light-hearted instrumental Fooziwig’s Party . Diving into the Disney archive and watching live music performed at the Bridgewater Hall is a wonderful experience and the show offers a gratifying Christmas treat. The production presents an exciting concoction that stunningly displays the orchestra's skill in an approachable style. But don’t worry if you missed the Muppets, you can take a glance at your own future on the Bridgewater website as a string of concerts are yet to come, including Love Actually and Toy Story later this year and early 2022. TheMuppetChristmasCarol #LiveInConcert TheBridgewaterHall #Manchester Tickets are available through t he Bridgewater Hall link

Serving up a culinary story based on the 2007 film, lyricist Sara Bareilles has revamped the indulgent romcom about pie genius Jenna as she remains trapped in a small town and a loveless marriage. The family-friendly show is adapted perfectly for its live audience as the Opera House's scented set brings a homely feel to its warm diner setting. Primarily set at Joe’s Pie Diner, the production cooks up a fresh helping of quirky characters, despite its story having a much colder premise. We follow Jenna (Lucie Jones), whose only escape from her abusive husband and accidental pregnancy is a job that allows her to zen out crafting 27 different varieties of pie alongside a brand-new creation every day. Despite being armed with a small sisterhood of supportive staff members, distracting herself with new recipes and a flirtatious doctor (Busted’s Matt Willis) who enjoys her experimental pastries, Jenna hopes to escape her life. Unfortunately, her only real chance of leaving appears to be winning a pie competition which would give her enough seed money to leave her unaffectionate husband and buy her own pie palace. Considering the shows themes and easy-going plot, the Waitress musical may not be to everybody’s taste. However, the fan fuelled musical with A-star cast is a humble pick me up that brings a needed extra layer to its simple 2007 film. The original films writer, director and star, Adrienne Shelley was tragically killed in 2006, leaving the indie flick as her bittersweet finale farewell. Its heart-warming narrative is a straightforward affair, and its musical offers an entirely new score to accompany the charming tale. Bareille’s songs support the show's dry humour and tracks like She Used To Be Mine offer sincere moments in the adaption that showcase Jenna’s aspirations and Jones’ beautiful vocal range. Jones’ is also extremely likeable and believable as the depleted and browbeaten wife who has to sustain this gentle musical with intense solo performances. One of the musicals biggest strengths lies in its entire ensemble cast, who are utilised as an extension of Jenna’s thoughts or offer light comedic relief. In spite of Jenna’s loveless life, Diane Paulus’ inventive direction ensures that the audience feel engulfed in the affection of its three female leads, offering a bright but realistic set, wrapped in exaggerated choreography and backed by a folksy backup band live on stage. The song A Soft Place To Land performed by the three waitresses, talks of their mothers and tradition as the identically dressed friends Dawn (Evelyn Hoskins) and Becky (Sandra Marvin) move in sync like an RnB group whilst lovingly backing up their friend. The women in the show are all open and supportive, but their old school beliefs and values leave little space for character growth and ultimately, the story does gloss over some of the bigger issues. Although with the added offering of powerhouse performances by Jones (which was a popular casting pick for the Opera House audience) Waitress the Musical hides a few surprise cherries in its fruity filling, skilfully adapting its hopeful story from its old-fashioned film. Waitress OperaHouse #Manchester Tickets are available through ATG link