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

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

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

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

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

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

On February 25th 1964, 22-year-old Cassius Clay became the world heavyweight boxing champion after defeating Sonny Liston. Choosing to celebrate his victory quietly, Ali and friends, Malcolm X, Jim Brown and Sam Cooke headed to the Hampton Hotel in Miami to eat ice cream and converse. One Night in Miami centres around these real events and that unforgettable evening, but while we don’t know the genuine actions that took place, the premise was enough for writer Kemp Powers to develop his stage show. With four iconic men on display at the HOME theatre, Powers chooses to showcase their relaxed conversation in the intimate setting, allowing the idols to share their thoughts and disagreements freely. Although closed doors did nothing to stop these men from speaking their truth to power, the show shines a light on their authentic friendship away from the public eye. Reminding audiences that they were more than entertainers, musicians, athletes and activists. It is not only a chance to see four incredible icons, but to see them removed from their threatening labels. It is a freedom rarely accosted to black masculinity on screen or stage, offering each of them moments of vulnerability and strength. As each fought tirelessly to better themselves and establish equality within their respected fields, the production attempts to glimpse at their differences in approach. Matt Henry (Sam Cooke), Christopher Colquhoun (Malcolm), Miles Yekinni (Jim Brown) and Conor Glean (Cassius Clay) embody the spirit of the gang in a convincing and engaging performance despite their static staging. Their passion is on display, including conversations that explain their political message for social change through music, film and sport. As each shares their impactful contributions to the Civil Rights movement, audiences are reminded that merely sharing their talents in the segregated 60s was a dangerous and personal responsibility. As a result, director Matthew Xia ensures that even the stage is unable to contain their personalities. Breaking out of its boxed hotel environment, to engulf the audience in blinding stage lighting and allowing Cooke to jump down into the audience to offer a soulful serenading to a lucky few. The show looks back at that moment in time to highlight the bigger picture these men could envision, with Henry’s performance of A Change Is Going To Come ringing in the audience's ears from the moment he had finished. The song, released after Cooke’s death in 1964, remains as relevant and haunting to hear in 2019. As the fight for equality continues, One Night In Miami offers a beautiful show shaped by friendship and struggle, that forces audiences to question what we are doing with the legacy of these iconic men. The Oscar nominated One Night In Miami is also available to watch on Prime Video OneNightInMiami #Manchester #HOMEmcr

Cirque Du Soleil’s Toruk offers a wild and mystic journey inspired by James Cameron’s Avatar that brings a love letter to nature wrapped in aerial acrobatics to Manchester’s Arena . Toruk has taken the best bits of Cameron’s abstract world, following a simple message surrounding hope and strength, allowing audiences to shadow the Na’vi people who inhabit the jungle moon of Pandora. While the 2009 sci-fi film addressed a war over resources between the humans and Nav’vi people, Cirque’s fantasy world heads back in time to construct a surreal tale set before any humans discover Pandora. Following a trio on a quest to save the Tree of Souls from a Mountain Banshee, Cirque’s pacier production plays out years before the film's premise. Bringing an old world of enchantment, the circus troupe are able to develop a gripping, unique story with a life of its own. 40 video projectors are used to create Pandora, spanning out into the crowd and immersing you in their world. Alongside Cirque’s unnaturally talented performances, the show takes audiences to Olympic heights with spectacular stunts that play out to live music and is narrated by the last of the Anurai Clan. Fusing puppetry, projections and acrobatics, the show ensemble allows for multitasking artists to bring the theatrics of this passionate community, blending for dance performances, parkour and to operate 16 puppet kites. The original Viperwolves and Direhorses from the Avatar have been recreated, but Cirque has added its own fantastical creatures to the repertoire including Turtapedes and Austrapedes that are controlled by the ever-moving cast. While the production aims to create its own small, private world at Manchester’s Arena , it is centred by its Home tree that sits, looming over the centre of the stage. Hiding many of the cinematic effects that travel throughout the performance, it is the most significant element of the show and enables the production to surprise its audience with hidden reveals out of its trunk. Replicating the elements of wind, rain and fire with playful lighting and smoke, the productions simplest moments have a wonderous impact, bringing a beautiful sea of fog for its cast to sail on and a stunning rope act that wows the crowd. The exhausting production keeps the main three cast members on onstage for almost the entire show, with challenging costumes that have its members climbing and flipping over plants with overgrown tails running down their backs. Commanding performances from the contortionists and athletes allow the vigilant group no time off stage to breath with even their rest periods forcing background characters to dance, cartwheel around the room or control the puppet creatures. While Avatar has inspired Toruk, the show is an original production that keeps the familiar, nonsensical Sim language that will occasionally have you question what the hell is happening. Here, Cirque’s repertoire expands to offer a mature and entirely immersive visual spectacle that is distinct but uniquely captivating show from beginning to end. CirqueduSoleil #TORUK #Manchester ManchesterArena #CirqueDuSoleil

The incarcerated youth of tomorrow are feeling all the feels at the Verona Institute where they have been deserted by their guardians to bubble over with emotion in a facility designed to suppress their personality. At the Lowry theatre Matthew Bourne’s reimagining of Romeo and Juliet plays with corruption and control, pinning its cast in all white uniforms against a milky set drained of colour. The refreshed narrative addressed issues surrounding mental health, set in an ambiguous future that exchanges Shakespeare’s family rivalries for youths trapped by circumstances beyond their control and surrounded by abuse. Living within Shakespeare’s world, Bourne reshapes the story around Prokofiev’s 1935 score, accentuating the overflowing passion of the love-struck couple. Performed live by the New Adventures Orchestra and conducted by Brett Morris, the revised score magnifies the pent-up energy of its ensemble cast while crafting a new identity of the classic narrative. With a set designed by Lex Brotherston, the story plays out a two-tiered gated community which houses men and women in separate spaces. The entire structure of the institute is set up in a way that invites abuse, with an unchecked guard representing Tybalt (Dan Wright) degrading Juliet while controlling every aspect of the teen's life. While the simplistic, multifunctional set mirrors everything from the teen's cells, to a dance floor and fighting arena, the playful nature of its young cast sees the youth rebel in any way they can. Their personalities shine through the clear set, with exhaustive choreography from the abundance of young talent spilling out onto the stage in support of each other. Inventive sequences that flip the limited resources and space extend the impact of the ensemble as the group feed off each other, frequently moving in packs and pairs. The emotive Juliet (Cordelia Braithwaithe) is given more agency over her life, leading the story, at the forefront of the action and defending herself against the advances of Tybolt. Despite being placed against a downtrodden Romeo (Paris Fitzpatrick) who appears riddled with self-doubt after being deserted by his political parents Senator and Mrs Montague, the essence of youth flows through their duets, including intense choreography that reanimates the classic characters with passionate performances. With the men and women kept apart, the moments between the two lovers bring striking duets and solos, where their quiet scenes of unity are reflected in a darkened set. Three years since the release of his last production, Red Shoes , the unexpected remodel of Romeo and Juliet shapes New Adventures back onto the themes of love in a suppressed space. Dripping in similar themes of separation and the perilous consequences of love, Romeo and Juliet’s new dynamic brings one of the most minimal New Adventures productions to the stage. In finding a way to survive the abuse, Romeo and Juliet grasp onto a sense of community, allowing the ensemble cast to shape many of the couple's connections. The production skilfully plucks the classic moments of the story with a fresh perspective that amalgamates significant acts to see the teens as a collection. Fusing what audience know of the story with moments of uncertainty, Bourne’s beautiful reimagining of Romeo and Juliet bursts with passion but strips back details for audiences to build on their own conclusions. MatthewBourne #RomeoandJuliet #Manchester TheLowry #MatthewBourne

Reliving his pressure-filled years as a junior doctor for the NHS, Adam Kay brings his Jekyll and Hyde experience to the Lowry stage. Plunging through his professional diary that followed him from 2004 until 2010, Kay’s animated talk laying out the hard truths of working in the underfunded, pressure driven world of medicine is back by popular demand. Clearly connecting with a vast number of public sector workers, the stage shows disturbingly funny antidotes from his 2017 book, that are enhanced by live musical segments and audience participation. Through his collection of entertaining stories, songs and audience questions, Kay’s overall production emphases his love for the NHS and the increasingly unsustainable pressure on its staff that play out in his personal and professional descriptions. The handpicked stories from his book blur similar themes that all follow the absurd compromises that the job entails. Keeping him overworked, unbalanced, while sacrificing friends, family and his mental health, the feverish testimony on the erosion of the NHS is given a surprisingly sharp and comical stuffing. Through his six years as a junior doctor Kays’ jaw-dropping exposure to mishaps and misshapen objects retrieved from the body offer a mixture of stories that unearth the gratifying, isolating and transformative qualities of the relentless role. Nine years after quitting medicine, having traded in the stethoscope for a microphone, Kay’s show continues to entertain and fight for the doctors who remain in the system. Staff who are still under fire, defying the routinely challenging work handed to them, alongside the mental pressures to constantly perform. Public sector workers are placed on a pedestal as Kay reveals the traumatising experience that made him leave the profession, with a voyeuristic insight for any audience members unaware of the unseen strains on their practitioners. For any public sector worker, simply hearing Kay verbalised the problems is therapeutic, offering an entertaining outpour of sympathy by one ex-doctor who was able to draw an extensive show (and an upcoming sequel to this book) from his own questionable experiences. As Kay’s amusing history unearths our personal responsibility to ensure the NHS does not endure further cuts and staff shortages, Kay's final diary entry ends with a conversation with the audience, explaining how they can help. Presumably this is the only question that must have accompanied any of his previous Q&A's on tour. So, what can we do? To ensure we don’t lose our universally needed and cherished NHS, we can contact our local MP’s, use the power of social media, or even crowdfund legal challenges. But Kay simply asks for audiences to defend the institution and the people who work tirelessly to keep it afloat. Bringing his detailed and hilarious live show to the Lowry, This is Going to Hurt is a passionate performance piece that continues to fight for the fundamental British institution of the NHS. ThisisGoingtoHurt Manchester #TheLowry

Plunging all their money into a rundown 1750s manor in Sussex, the Harcourt family have packed up their city life and relocated for a chance at country living. Freelance web designer, Ollie (Joe McFadden, Heartbeat and Holby City ), his high-powered solicitor wife, Caro (Rita Simons, EastEnders ) and their sixteen-year-old daughter Jade, discover that their passion project needs more than just TLC when balancing family, work and ghosts becomes a daily challenge. From the moment the Harcourt’s set foot inside their new home, they are inundated with mysterious locals reluctant to reveal the bleak history of the houses previous inhabitants. While their new friends tease out the grim death of its original owners and the ghostly grey lady that has occupied the house ever since, hidden secrets surrounding the locals are also unsurfaced. As the down to earth family tries to rationalise aberrations, the slow-burning narrative finds each of the Harcourt’s refusing to share their personal encounters with the ghostly presence of the grey lady that inhabits their homes. With the manor taking over the entire Opera House stage, its two-tiered set places a looming mirror, arched windows and a sky-high interior window within its space to shape the modern ghost story around classic tropes. Audiences will find their eyes darting around Michael Holts impactful designed set as they attempt to catch a projection or glimpse of a supernatural occurrence. The story that has been adapted from the 2015 novel by bestselling British author Peter James’ leaves many questions unanswered and open for his sequel The Secret of Cold Hill . While the House on Cold Hill is loosely based on James’ own experiences, the short narrative places contemporary oddities alongside mediums, disconcerting characters and its creepy location to offer a familiar narrative that guides the audience to piece together the motives for the ghostly goings-on. With a story rooted in myth, history and extremely shaky science, director Ian Talbot shifts the delivery of this psychological thriller by concentrating on its modern take, that includes a tech-savvy ghost hijacking an Amazon Alexa . Shaun McKenna’s stage adaption heavily edits out the suspenseful characters that shape the original ghost story, together with any mysteries for the audience to unravel. Its static staging also hinders its action and pacing, placing many of the encounters off stage and forcing the small cast to explain everything. While this production delivers an entertaining mix of humour and jump scares, the classic ghost story loses its sinister connections with a reworked narrative that removes too many personal layers from its characters. This review was originally written for The Review Hub TheHouseonColdHill PeterJames #Manchester #TheOperaHouse

Fuelled by the colourful narrative of F. Scott Fitzgerald, Northern Ballet accompanied by the Northern Ballet Sinfonia have reinterpreted The Great Gatsby into a live picture book. Mesmerising visuals by director David Nixon bring sweeping sets to the Lowry stage, supporting the young and animated cast of characters throughout the moving production. Helping audiences to escape into the summer of 1922, Nixon’s direction sees the characters through the bustling streets of New York, into intimate gatherings and gas stations. Glistening costumes, smarmy personalities and hidden agendas have been playfully transformed through the ballet, which concentrates on the rich details surrounding the mysterious Gatsby. Although motives and characters have been removed, the production plays through Gatsby’s backstory with duelling Gatsby’s in a simple walkthrough of Fitzgerald’s novel. Guiding audiences through the story, the production offers an absorbing and memorable collection of stand out sequences from its brilliant ensemble cast. Bursts of jazz, striking flapper dresses and the seductive lifestyle of the rich are all embraced on the Lowry stage. The slick production that follows Nick Carraways growing friendship with his secretive and extravagant neighbour, Jay Gatsby has been condensed for audiences unfamiliar with the story, but its narrative feels far from underdeveloped. Cutting out much of Gatsby’s shadowy past, the production focuses on the romantic history between its characters, including beautiful duets and choreography from Ashley Dixon (Gatsby), Antoinette Brooks-Daw (Daisy) and Kevin Poeung (Nick), who playfully throw Daisy between themselves in a scene that strips back its detailed set. The ballet is unable to fully unpack Gatsby’s history and motivations surrounding the American Dream, but instead centres the novel around the glamour, glitz and love of the period. As a result, the show is fuelled with excess and keeps the production energetic through its use of live and recorded music by Sir Richard Rodney Bennett. As the restless characters pace from one beautifully crafted scene to another, the shows decision to offer a romanticised reinterpretation steers the story to a simplified finally that still excites and reclaims the best parts of the novel. Tracing Fitzgerald’s imaginative and mysterious storytelling into colourful choreography seems as out of reach as Gatsby’s green light; however, Northern Ballet brings the roaring twenties to life with this fascinating and elegant production of the classic. NorthernBallet #TheGreatGatsby #Manchester TheLowry