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

The times, they are a-changin’ and the latest instalment to the DC universe is far from the spectacle we have come to expect from the standard superhero movie. Bringing more nuance than deserved to a comic book character whose origins began with a pow, bang and wallop, 2019’s Joker has stripped sentimentality for the Wayne’s, reworking the off-kilter criminals roots to form a budding rivalry assigned by status. The film plays with the Jokers favoured comic book foundation The Killing Joke and revising his “one bad day” blueprint into a lingering and unyielding decline over the years. Despite its director being known for The Hangover trilogy, the tale told by Todd Phillips and Scott Silver removes the cartoonish imagery, raising the vengeful figure as an ordinary but embittered antihero, rather than the standard crazed supervillain. Regardless of four memorable onscreen appearances harkening back to 1966, Joaquin Phoenix’s embodiment of the Joker does plenty to justify the villain’s revival. Inside the Bridgewater Hall, a projection of the film onto a cinema size screen is shown above the live orchestra who play out a rendition of the films score. Forming a powerful and intense live show, the soundtrack that took home an Oscar and saw Hildur Guðnadóttir as the fourth woman to win the Academy Award for Best Score since The Full Monty (1997), is an eerie delight. The experimental and acoustic backing sets up the unnerving world of Gotham, but the film also includes flurries of pop music including Send In The Clowns, White Room and Rock and Roll Part 2 that are amplified by the surround sound. With a focus on independent films revolving around 70’s cinema, the modern-day Joker reflects on a sick society riddled with corrupt capitalism, a heartless health care system and a community seriously lacking in a love thy neighbour policy. An amalgamation of Martin Scorsese’s, The King of Comedy , Taxi Driver and others, director Phillips reimagines the iconic archnemesis to Batman in a world where Bruce is still a child and the Joker is still referred to by his government name, Arthur Fleck. Suffering with mental illness and a laughing disorder, unsettled by alienation and raised in a Gotham that is overrun by super rats, Arthur is shaped into a naïve man caught up in a corrupt and unforgiving system. The result is a thought proving project that threads honest issues surrounding the isolated and the disenfranchised whilst highlighting the lines crossed when the entitled and ambitious seek vigilante justice. The Senbla production is a detailed celebration of filmmaking, with its live Novello orchestration offering a passionate backing to the film and a perfect reason to revisit this modern classic. Joker TheBridgewaterHall #Manchester #Film Tickets are available through the Bridgewater Hall website

John Walters 1988 cult classic Hairspray follows the queen-sized Tracy Turnblad and her bubble gum toting bestie as they seek out a spot on the Corny Collins dance show. Merging multiple musical genres and throwing all of the colours on the wall, Paul Kerryson’s charming direction is a slick and glossy showpiece compared to its rougher original. The 1960s brings a colourful cast of characters and with an open slot on Collins, the cool kids are looking for a dancer that is ahead of the trends. Fortunately for Corny, Tracy (Katie Brace) is looking to audition. Having borrowed a few moves from her black friends in Special Ed class, she hopes to integrate her new-found ethnic flavour into the shows all-white aesthetic. It seems the only thing slowing her progress is the show’s producer, Velma Von Tussle who is fighting for her all-American daughter, Amber to take centre stage. But as she moves towards her dream to dance with her new friends on the show, Tracy finds her body-positive, progressive attitude may set her back. After Walters’ film was transformed into a Tony and Emmy award-winning stage musical in 2002, it was remade into a film musical starring John Travolta, Queen Latifah and Zack Efron. While the original films gritty underdog has been cleaned up for a glittery musical remake, there are only a few alterations that separate the live performance from its film musical adaptation. The most notable difference is the superb casting. With Brenda Edwards as Motormouth Maybelle and Alex Bourne as Edna Turnblad, this remarkable musical keeps the vocals and momentum high throughout. Here, the blonde baddies played by Rebecca Thornhill (Velma) and Jessica Croll (Amber) bring powerful performances and brilliant comedic timing as the double trouble divas. Murray delivers a solo of (The Legend Of) Miss Baltimore Crabs that allows her to show her full range of talent. Murray being lifted, thrown and twirled around the stage by male dancers while hitting all the high notes of the number is one of the best sequences of the production (and this production has too many hits to count). The show boasts a jukebox of memorable tunes, offers back-to-back hits performed by remarkable singers and is accompanied by an eight-piece live band. The fabulous soundtrack is brought to life by Kerryson who brings a deconstructive set that breaks away at the corners of the Palace stage to reveal the teen's apartments and lifts its back to expose the Corny show. The band often remain housed away as there’s already plenty of action on stage, including choreography that allows its multitalented ensemble to flip around like members of Cirque du Soleil . The productions B-movie tone is an entertaining departure from a typical theatre production as puppet rats’ scatter across Tracy’s feet and the hyped-up energy of its company kept a fast joke counter and excellent pace for the comedy. Even the more eye-popping moments of its original production have been positively edited out, removing the phrase “plastic little spastic” from the UK run. Nonetheless, Walters’s tone remains intact for this mesmerising musical adaptation, giving Hairspray the Musical bags of charm as it expands on its original source material perfectly. Tickets are available through ATG link You can also watch Hairspray Live on Amazon #Hairspray #Manchester #PalaceTheatre

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