Michael Harrison and Jonathan Church’s production wheels out the crème de la crème of jukebox musicals that showcase gorgeous costumes, double-layered sets and water sports live on the Opera House stage. Singin’ In The Rain is a top tier musical that demands attention to detail and director, Jonathan Church does not disappoint. Offering versatile set pieces that propel the show forward with transitions from its fake Monumental Pictures indoor film studio to its famously sumptuous outdoor choreography. The stunningly crafted production stays as true to the 1952 classic as it can, weaving strenuous performances from its incredibly talented cast. With the characters swiftly moving from play-fake-acting to singing and tap dancing within its intricate storyline, it is exhausting to watch. Alongside plot devices that include drop-down screens and dream sequences, the sharp show does well to keep up with its timeless film. But while a few of the film's memorable dance routines have been forfeited, the heart-pounding choreography of Andrew Wright ensures that Adam Cooper (Don), Charlotte Gooch (Kathy) and Ross McLaren (Cosmo) run rings around each other in an attempt to keep up with the legacy of memories that Gene Kelly has left behind. Yet, despite such a sizeable shadow, the show adapts comfortably to its fresh, live format with a captivating revival that will continue to Make Em Laugh . The narrative follows four blindsided actors who struggle to adapt from silent pictures to performing in the emerging talkies. Set in the 1920s, the show takes songs famous from the era, such as The Fit as a Fiddle , Good Morning and of course Singin‘ In the Rain , before adapting them with spellbinding choreography. With a reincarnation of its title song overspilling into the audience, it is advised that the stalls first four rows purchase a souvenir umbrella or raincoat before the show begins. The charming recreation of Don, played wonderfully by Cooper, lifts the show's rich plot and is merely one of the numerous standout cast performances. The exaggerated comedy stylings of Jenny Gayner (Lina Lamont) truly help to sell the studio's struggle to adapt as the shrill screen icon's voice threatens to leave her behind in the silent era. Played against her fresh-faced rival Kathy, who carries Jenny’s beautiful backup vocals, the whole cast band together to keep the story relevant. Church also smartly used the ensemble cast to fill in for what would be a solo moment, replacing one wall flipping talent for a multiplayer of moves. Full of humour, lovable characters, impressive sets and awe-inspiring routines, Singin‘ In The Rain is the greatest movie musical of all time and holds a firm space live on stage. The old-school romantic comedy brings lavish costumes and choreography that encapsulate the period and feels true to the original, but the tremendous showmanship of its entire production makes this live show a thrill to watch. SinginInTheRain OperaHouse #Manchester Tickets are available via the ATG link

The look of love is descending onto the Opera House audience as Roger and Hammerstein’s impactful soundtrack crafted around World War II continues to hit home 73 years after its premiere. The distinctive classic’s candid look at love and race splits its story between nurse Nellie (Gina Beck) and Lieutenant Cable (Rob Houchen), both stationed by the army on a beautiful island in the Pacific. While the younger naïve Nellie falls head over heels with a worldly French planter, Cable finds his love at first sight with a local on the mystical neighbouring islands of Bali Ha'I. Bali Ha'I is so dreamy it gets its own song sung by the island's entrepreneur Bloody Mary (Joanna Ampik) who reminds audiences of South Pacific’s magic and its personal issues surrounding race. Roger and Hammerstein's catchy Tony award-winning songs are never going out of style. However, the 1949 progressive and compassionate take on racism is a road paved with good intent and distorted Polynesian representation. Here, Bloody Mary’s broken English and daughter pimping role has been improved to give both women space to speak for themselves, with Ann Yee’s choreography transcending any language barrier. But the Pulitzer Prize winning musicals longevity is a testament to its overall memorable melodies and the storytellings uncompromising look at racism in which the song, You’ve Got To Be Carefully Taught hammers home the musicals overall intent to recognise and fix our own intolerant attitudes. Director Daniel Evans heartfelt production sings through despite the harsh environment. The shows choreography alongside the classic hits feel natural, with the song I’m Gonna Wash That Man Right Out Of My Hair bringing contagious joy as the Navy’s ladies jubilantly bubble up the Opera House stage. Comforting the effervescent Nellie as she gets over her heartbreak with her girlfriends help, this shows intelligent staging is powered by fantastic choreography. Projections layered over sheet metal and a rotating stage move this production away from the warm and colourful collage of love that its film projects. The show also slows and alters the orchestrations of Happy Talk to focus its tone on the war, layering the danger as a constant in the characters lives. The show's dismantled set design does allow Evans to pack the stage with a huge ensemble and in spots, nods to the vibrant, colour-blocking that covered the screen of its 1958 film. But as the live show focuses in on realism, it’s second act opens to a variety performance including the song Honey Bun that plays alongside the cancan-canning nurses and the grass skirt wearing officer. Officer Luther Douggie McMeekin is the show's comic relief, filling one-liners in between the declarations of love. The love struck show admits to playing with cliches but subverts many of them as Nellie is asked to spy on her boyfriend Julian for Navy purposes. Delving into his life she soon discovers a few, new couple secrets including the classics, I killed a man and I have two mixed-race children. South Pacific delivers a positive message wrapped in beautiful performances that highlights everyday prejudice that continues to prevail in our society. Its story is crafted around tackling the rigid ideas of racism, that doesn’t just come from a man in a white hood, but instead forces its enthusiastic and likeable characters to admit their own hypocrisy whilst challenging the idea of love being truly colour blind. SouthPacific OperaHouse #Manchester Tickets are available via the ATG link

Playwright Conor McPherson’s sweet and honest journey through a guest house in Duluth follows a group of solo travellers sheltering from a storm. With the backing of Bob Dylan’s catalogue bringing warmth to the shadowy characters, Girl From The North explores community and hope in times of deepest hardship. Set in 1934 with a stage shrouded in darkness, the Lowry audience is introduced to a 19-strong cast. This beautiful production follows owner Nick Laine (Colin Connor), his wife Elizabeth (Frances McNamee) and their two children who include a son and an adopted daughter. While much of the family float through life, struggling with dementia, an unwed teenage pregnancy and alcoholism, their spiral of despair is interrupted by the introduction of two newcomers staying at their residency. Despite being set during the Great Depression and narrated by a doctor, McPherson’s production voices an optimistic tale that allows audiences to wander through Laine’s house of music which revisits Dylan’s lyrics through the eyes of a community living on a knife edge. With an open house setting, transparent walls and an onstage band, most of the cast unite to perform each track, allowing the characters and the music to merge into its rustic scenery. After ex-boxer Jungle Joe Scott (Joshua C Jackson) and an opportunistic Reverent/Bible salesman named Marlowe (Eli James) decide to stay, the group’s personal stories begin to unfold, while new relationships develop. As three of the cast members also double as musicians on the minimalist stage, the assortment of tracks offered are a wonderful acoustic reworking of Dylan’s songs. The soundtrack offers memorable remixes that shift throughout the show, with Joshua and Frances offering standout, passionate performances that pull on the heartstrings. Several of Dylan's songs have been made famous by other artists including Jimi Hendrix ( All Along The Watchtower ) and Adele ( Make You Feel My Love ), but Girl From The North continues that tradition, bringing a folksy and soulful catalogue of Dylan’s music that helps elicit the sorrow and emotions of its huge cast of characters. Including the song Slow Train and Licence to Kill, the injection of music and McPherson’s dark humour resonates a compulsive message of community and an obligation to serve it, despite his guarded and worn characterisations. While the story pokes fun at the land of the free, with the realities of ill health, malice and pure bad luck, the performances gradually move into group sequences that allow director McPherson to keep the pace and the mood moving in a positive momentum despite the dark journey. Girl From The North offers gripping storytelling through its music and messaging, underlined by Dylan’s powerful and impactful lyrics and Macpherson’s vision to offer light in the bleakest of tunnels. It is a fantastic show and a reminder that there should always be a space for shelter and recovery. GirlFromTheNorthCountry TheLowry #Manchester Tickets are available via the Lowry link

Fat Sam’s speakeasy has plenty to entertain the Opera House audience as the gangster spoof full of showgirls, hoodlums and slapstick offers a feel-good evening of childish fun. Placing audiences in the 1929 New York prohibition era, writer Alan Parker’s youthful musical plays out a rivalry between Fat Sam (Abbie Snelson) and Dandy Dan (Desmond Cole), as Dan attempts to bring down Sam’s organisation. While its child cast set this 1976 comedy film apart, audiences will relish in name’s production that boasts live musical performances, tireless choreography and a glamorous set. Director Sean Holmes faithfully transfers the film to the stage as the show begins, narrated by shrewd, mobster girlfriend, Tallulah and stunningly staged inside Fat Sam’s Grand Slam club. Bringing its 20s flair to the lavish costumes of its dancers and performers, the production is bolstered by its boisterous cast whose one-liners and shenanigans keep the laughs flowing throughout the entire evening. Between the charming Gabriel Payne, playing happy-go-lucky Bugsy and the industry ladies, Blousey (Delilah Bennet-Cardy) and Tallulah (Faith Ifil) struggling to find their showbiz spot and keep their place, the scenes offer a mixture of music, drama and violent pie-throwing for a guaranteed crowd-pleasing production. With Dan’s ongoing quest to take over Sam’s turf, it doesn’t take long for the gangster’s goons to mob the Opera House audience as they compete at being the very best Bad Guys . Holmes’s striking production brings boundless creative energy to the musical as the multitalented ensemble cast give their all to the comedy, throwing double-crossing tricks, pratfalls and a pedal car into the mix. The set's levitating props, rippable set pieces and impressive choreography all add to the short but sweet show. After Sam discovers his rival's advantage is an impressive, automatic pie gun, the show gears up for an all-out war with scenes bouncing straight off the screen and onto the Opera House stage. Organised crime has never tasted so good, and anyone in the first row of the audience should consider themselves lucky that they aren’t considered to be in enemy territory. This is a live re-enactment that relishes crossing the line and it ensures that audiences get a taste of the action. Bugsy Malone is the perfect film to stage musical, thanks to its fantastic cast, tap dancing choreography and instantly recognisable soundtrack. It is a must-see musical comedy that doesn’t disappoint its film fans as its story remains a riot of fun, whilst bringing its own level of giddy joy to its live audience. BugsyMalone #OperaHouse #Manchester Tickets are available via the ATG link

The Lowry audience should come prepared to lose themselves to a new love. La traviata may be the most performed opera to date, but Opera North’s passionate production ensures you will fall for the heartbreaking and tender tale all over again. Adapted from The Count of Monte Cristo and The Three Musketeers writer, Alexandre Dumas’s original play Violeta . The Parisian setting and scandalous storyline of forbidden love and devastating sacrifice offer up a familiar Dumas staple. With a history of fanciful, stoic tales surrounding a character's fight for justice, you can expect La traviata to be a well-packed paradox of hypocritical and moralistic moves. Giuseppe Verdi’s soulful opera layers the tale of true love with a memorable soundtrack, in which the character's secrets and mistrust have made it a rewatchable classic. La traviata is a simple story that follows the independent and charismatic courtesan, Violetta’s (Máire Flavin) experiences. As she playfully opens the production at a lavish, self-celebratory party to revel in her recent recovery from a debilitating illness. The impulsive and empowered woman suddenly finds herself gripped by Alfredo’s (Oliver Johnston) quiet flair as he drifts through the crowd to uplift the Lowry audience with the enchanting performance of Brindisi (aka The Drinking Song) . After giving in to her impulses, Violetta chooses to follow her heart and leave behind her wealth and status for a humble life in the country with her true love. Alessandro Talevi’s direction and Madeleine Boyd’s eye-catching set and costume design keep the focus and colour on Violetta and the immense ensemble cast. The Lowry stage is flooded with astoundingly vibrant characters who pop against the bleaker backdrop that consumes the cast. As Violetta and Alfredo’s relationship fades away from the glamour, the heartfelt music shines and offers an intimate world, where alongside the live orchestrations the spotlight remains on the painfully honest performances. The show’s second and third acts break any dream of a simple country life as tension rise between Alfredo's father, Giorgio (Damiano Salerno) and Violetta. Shattering her tranquil union with a stunning duet that reveals Violetta’s shameful secret and the threat of a ruined reputation. Salerno gives a gripping performance that breaks the peace and forces Violetta to sacrifice her love to protect her lover. Opera North’s La traviata is a slick and darkly glamorous production that keeps the tension high and allows audiences to step straight into Violetta’s dizzying world. Its merry-go-sorry storyline, stunning arias and emotionally charged production are full of confrontation and heartbreak, welcoming new and familiar opera-goers alike. OperaNorth #LaTraviata #TheLowry #Manchester Tickets are available via the Lowry link

Now in its 70th anniversary year, Agatha Christie’s timeless tale is back at the Opera House to play out a satisfying whodunnit, full of eccentric characters, witty dialogue and outrageous plot twists. Audiences are snowed in at the Monkswell Manor alongside the guesthouses two owners and five guests. As we are drip-fed facts surrounding the suspicious death of Maureen Lyon through radio broadcasts, audiences are asked to don their monocle and twirl their Poirot moustache as we all play detective to the crime afoot. After serving a short sentence in prison for mistreating her three foster children, Maureen was subsequently strangled on the day of her release. Audiences are asked to decipher who and why this crime was committed as the queen of murder mysteries welcomes you to solve the caper alongside the detective Sgt. Trotter. But once you have, be sure to keep it to yourself as this deceptively simple story has been misdirecting audiences since it first opened in the West End in 1952. The world record-breaking play was originally commissioned by the BBC as a radio short story and its staging remains a strangely stalled production that builds its tension through rapid-fire conversations and its sublime production design. Framing the stage in the lobby of the manor, Ian Talbot and Denise Silvey’s direction plays with a staircase and multiple mysterious doors that blind the audience with numerous unknown obscurities taking place off stage. Subverting expectations, Christie’s skilful writing ensures that this conventional show retains its influence despite multiple viewings. Alongside the anticipation of solving a bona fide whodunnit, the live production is a powerful piece of eye candy, from its rich costumes and props to its statuesque cast who often sit in scenes set out like a charming family portrait. However, behind the glamour of each guest is a guarded, darker past and each cast member offers a memorable and absorbing performance. The show’s distinct and eccentric characters give the production serious dimensions, changing the tone through suspenseful, hilarious and quieter members amongst the group of strangers. The diverse personalities range from the quintessentially English Mrs Boyle (Gwyneth Strong) to the thick Italian accented foreigner Mr Paravicini (John Altman). But all the ensemble cast deliver the goods, with wonderful performances that swiftly shift your perspective with their surprising delivery and subtle glances. The Mousetrap is the show that keeps on giving, with each new ensemble cast offering the classic an additional boost of energy. Regaling the audience with their sordid tale of murder most foul, the show's combination of opulence and comedy, alongside its voyeuristic murder mystery makes it easy to see how Agatha Christie’s tale continues to last the test of time. TheMousetrap AgathaChristie #TheOperaHouse #Manchester Tickets are available via ATG link

Celebrating The Matrix’s revolutionary visual effects, mind-blowing storyline and iconic action sequences, Free Your Mind is a sprawling adaptation with its own iconic imagery that flows through the three-room Aviva Studios space. Offering a new perspective to the classic tale of technological takeover, director Danny Boyle (2012 Olympics Opening Ceremony and Trainspotting ) reframes the story with an award-winning blend of hip-hop dance, sculptural art and imposing costume design for a wholly unexpected piece of theatre. The 1999 concept of a computer-generated dream world designed to keep humans enslaved has been integrated into a stunning live production with a tremendous sense of community. Tapping into the Wachowski’s fantasy with captivating group choreography that mirrors breaking out of the all-consuming world of technology, the show utilises an ensemble of 50 dancers in a brutal commodity of movement. Kenrick ‘H20’ Sandy’s choreography intricately tells the story of our ever-changing relationship with technology as the cast grasps together for sharp and connected scenes that replicate the flips, fights and realisation that you are living in the Matrix. Due to the vast labyrinth of space at Aviva Studios, the production is aesthetically able to reframe The Matrix’s themes and its multi-layered story with unsettling and impactful references that uniquely capture the mood of the film. But the experience is wholly communal as Act Two allows you to see your fellow theatregoers on the opposite side of the humongous Warehouse stage. Alongside staring up at the oppressive, faceless costumes of designer Gareth Pugh that wander the crowd in a room drained of colour, the intermission sees you guided by a man-size bunny through the theatre and into a room full of interactive living art. Characters appear handicapped by technology with even fluid freestyle dance defined by a sea of ensemble faces lit up by their handheld screens. Drones and AI also make an appearance however, the show's use of technology elevates the space. Sandy’s choreography combines hip-hop, martial arts, wirework and balletic movements to create a stunning visual spectacle, while writer Sabrina Mahfouz arranges the story only loosely around Neo, Trinity and the agents as the show is more focused on the dreamlike spaces it creates. The living simulation reflected back at the audience above the stage on a digital screen the width of a runway. You can’t view the whole screen without cranking your neck, it is colossus. But the impressive set is an enormous reminder of the influence that technology has over us and the elegant contradictions that come with it. Free Your Mind presents the iconic imagery and themes of The Matrix in a staggering production that is sparked the moment you walk through the Aviva Studio doors. Decades after the film's initial release, Aviva Studio’s first live production echoes the same dangers of convenience, our inherent reliance on technology and our lack of human connection as a result. It is a timeless tale but Free Your Mind ushers a new audience to take the red pill with a painfully relevant and pulsating production that is not to be missed. #FreeYourMind #FactoryInternational #Manchester Tickets are available via the Factory International link

A Chorus Line  follows seventeen desperate auditionees as they dance battle it out for a shot at taking one of eight slots available in a new Broadway musical.   Giving the audience a glimpse into the lives of these performers and their choreographer, a stripped theatre set pulls all focus onto its phenomenal cast as each member showcases their passion with insight into how dance shaped their lives. Using real-life testimonials from professional dancers, the show gives each starving artist their moment in the spotlight and bridges a connection between the competitors. Through its use of relentless, unifying choreography and uniquely aspiring performances, A Chorus Line  lays out the personal sacrifices that make your favourite live productions possible.  Elevating the unnamed, everyday dreamers who keep the industry afloat, Nikolai Foster’s charmingly simplistic direction wraps around the intense and exposing audition process that offers no intermission to the Lowry audience. Under the watchful eye of their omnipotent choreographer Zack (Adam Cooper), the slick production lures you in with stunning ensemble numbers. Including the artfully synchronised One and the beautifully rendered opening number, I Hope You Get It, which showcases the power of the ensemble cast. Ellen Kane’s choreography leaves no room for error and expands the stark mirrored stage by capturing the raw emotion and originality of the immense chorus.   A Chorus Line was an instant classic when it first premiered in 1975 and remains beloved almost five decades later due to its emotive monologues, stellar choreography and enduring score. The Pulitzer Prize and Tony award-winning story sweeps its audience into the fantasy and drama of its characters as you sit and connect with the lives and dreams of the talented auditionees. Manuel Pacific’s (Paul) revealing monologue is a powerhouse performance placed alongside countless standout moments. As A Chorus Line’s  ability to showcase gay, straight, old, young, Black and Latino stories within its characters ensures the show feels universal. The magnificent casts desperate, unyielding love for their craft is tangible and the sheer number of dancers keeps the pace of the show spinning.  Jocasta Almgill and the ensembles radiant rendition of What I Did for Love  is touching and poignant, allowing the dancers to truly shine in the emotional piece. Cassie’s (Carly Mercedes Dyer) solo, The Music and the Mirror echoes the universal themes of ambition and sacrifice that the show intensely hits on, and the up-tempo finale is a classic you wish you could watch on repeat. Performing alongside live musicians, Marvin Hamlisch score and Edward Kleban’s lyrics remain timeless and blends the humour, heartache and passion of its well-rehearsed hopefuls.  Putting fame and fortune aside, A Chorus Line  is a truly innovative production and an exhilarating tribute to the unsung heroes who make theatre possible. It is a must-see for lovers of art and a reminder of how fortunate we are that Manchester is a hub for live theatre.  AChorusLine TheLowry #Manchester Tickets are available via the Lowry link

With immense sets, intense choreography and a solid cast, Bat Out of Hell explodes onto the stage, dialling up the rock to eleven. We follow a rebellious gang called the Lost who were left frozen in time in an underground cave filled with noxious gasses that altered the gangs DNA to no longer age. The 2017 jukebox musical layers its dystopian prison plot against 70/80s hits from Jim Steinman and Meat Loaf, and while this story is exactly what you would expect from a musical pegged as a futuristic rock version of Peter Pan , it is spectacularly fun. Having first opened in Manchester, the time capsule show is back with a tour dedicated to its writer Steinman who passed away in April of this year. His long-wished-for passion project is a ball of energy and strobe lighting as its underground party production plays out hits including Two Out Of Three Ain’t Bad , I’d Do Anything For Love (But I Won’t Do That) and Dead Ringer For Love . Considering the average Meat Loaf single spans 7-8 minutes long, this production moves swiftly as it edits its popular tracks to place alongside its Peter Pan plotline. Although it is not your run of the mill, futuristic rock opera, this show falls in a similar vein to We Will Rock You (2002), scooping up lovers of rock and dystopian futures. However, Bat Out of Hell is drenched in audacious performances that embellish the familiar songs with passionate choreography and impressive visuals. The actual production gets straight to the meat and potatoes of the plot, bypassing much of the vampiresque understanding of its nightmarish new world to focus on its lead, Strat’s childlike whimsy and Glenn Adamson’s dramatic performance of the eccentric and boisterous leader of the Lost (boys). Without laying down much of the developed story, the plot is relayed almost entirely through its assortment of songs and projections which portray its leads two worlds apart. The shows direction and choreography overshadow its tale but audiences requesting a live concert of Steinman and Meat Loaf’s greatest hits will not be disappointed. When Strat falls in love with straight-talking Raven (Martha Kirby), daughter of a tyrannical ruler living in Falco towers, all rock breaks loose as he is determined to claim his love and freedom at any price. Director Jay Scheib stages the Opera House with a busy two-tiered set, placing cameras, projections and dancers on both levels to ensure that you will be entertained in any seat in the house. The show makes fantastic use of its technology, sprawling its huge cast against evolving screened images to give depth to their underground world. The musical also places a lone cameraperson to zoom in on Raven in her bedroom for an intimate, 80s style MTV performance. It's an elegiac future, but this gritty, underground gang know how to dance, high kick and mosh in heels. As invaluable lessons in life and love are performed by the Lost, the entertaining performances of its cast are combined with some kick-ass choreography and bootyful costumes. With bedazzled dresses and bralettes, leather shorts and shirtless, or very soon to be shirtless gang members that wrap up this tribute to rock with vigour. Bat Out of Hell is a full-on guilty pleasure but if you are a fan of its tracks, it is a show you do not want to see pass by in the rear-view of your Harley. BatOutOfHell OperaHouse #Manchester Tickets are available via ATG link

Priscilla Queen of the Desert the Musical has translated the 1994 film dramady to the stage, with added glitz and glamour, by paying lip-sync service to a soundtrack of timeless disco classics, while driving a positive message centred around individuality. Having first opened its stage production in 2006 in Australia, the worldwide hit has made its way to the Manchester Palace Theatre, inserting singer and Neighbours alumni Jason Donovan to revamp its newest tour as the show’s producer. The story following friends, Tick/Mitzi played by Joe McFadden ( Holby City and Casualty ), Felica/Adam (Nick Haynes) and Bernadette (Miles Western) as they aboard their rickety tour bus with a plan to take their drag show on the road. Travelling across the Australian Outback, their misadventure picks up steam with witty, back and forth banter between the bickering trio that takes the show outside the realms of a PG 13. Alongside the introduction of some memorable characters discovered along the route, the group find a few obsticles in their path. Repurposing the skills learnt from his time on Strictly Come Dancing , McFadden’s charming song and dance routines are abruptly detoured after Tick confesses, he has a wife he wishes to reconnect with on the road. Tick/Mitzi’s personal journey allows the audience to follow alongside as the story grapples with themes of identity and plays with otherness in a guideless, pigeonholing world. Accompanied by the hilarious Bernedette and the extravagant Felicia, the show replaces the beautiful Australian landscape with eye-wateringly impressive props and surrealist costumes that promise to transform the ordinary into the ultra glamourous and exceptionally glittery. Despite having won an Academy Award for the films costume design, the stage production has taken an Anything You Can Do , live theatre can do better approach; placing the majority of its budget on driving the production with ham and cheese musical performances that bring over twenty recognisable dancefloor classics and just as many incredible costume changes. The imaginative direction of Ian Talbot brings spectacular scenes of solid, pacing performances. Placing spectacle after spectacle, the talented ensemble assists in belting out the disco hits with the backing of a live band and a trio of divas. Alongside cupcakes and colossal flower crowns, the remarkable costumes rotate on and off the stage with the support of the spirited ensemble team who fuel the energetic and uplifting story. Vibrant from start to finish, the show including songs Go West , I Will Survive and Hot Stuff , staged in lavish music video formation. With a rich bounty of classic disco numbers wrapping the campy cult musical in bubbly, joyous delight, Priscilla’s light narrative travels far and fast. Its story is ultimately used to break and flex stereotypes, with its impactful narrative glowing beneath its superficial glamour, but the trio highlight the tough road behind their eccentric and fanciful lives. Unable to evade prejudice and setbacks, the story carries strong representations of the LGBT+ community, with heart-warming and entertaining performances by McFadden, Haynes and Western. Highlighting that everyone’s experiences are valid, Priscilla Queen of the Desert the Musical sets the Palace stage with a faultless and enriching revival of the timely story that continues to resonate with audiences twenty-five years after its initial release. PriscillaQueenoftheDesert PalaceTheatre #Manchester

This soulful opera surrounding father-daughter relationships, hired hitmen and curses offers a twisted morality tale not to be missed. Opening with a dejected jester at the Duke of Mantua’s glamorous gathering, Rigoletto blends its dark humour with playful visuals to bring its beautifully sculptured story to The Lowry theatre. Opera North have reimagined Giuseppe Verdi’s treasured 1832 piece under Femi Elufowoju jr’s stunning direction. Combining Elufowoju’s contemporary flair with Verdi’s painfully honest and timeless tale, Rigoletto plays out the ill-fated account of a poor servant of the Duke. Traditionally seen as disfigured due to his hunched back, Elufowoju simply chooses to to amplify the consequences of a black man who is seen a social pariah for mocking the elites. With Rigoletto’s sombre character teasingly countering his lighthearted boss, he is forced to play the part of the fool while remaining in Duke’s shadow. Inspired by Victor Hugo’s Le Roi S'amuse (The King Amuses Himself) the show swirls love and revenge within its magnetic performances to offer a relatable tale to audiences. During another one of the Duke’s lavish parties, a gatecrashing statesman places a curse on both the womanising Duke (Roman Arndt) and the unsympathetic Rigoletto (Eric Greene) when his daughter is swiftly seduced and disregarded by the nobleman. Despite initially appearing unperturbed by the action, Rigoletto finds himself tormented working for the jubilant Duke and is forced to hide a heavy secret from the man. The Duke's heartfelt declarations of love to any passing woman offer the catchiest arias of the production, allowing Arndt’s magnetic performance of La Donna È Mobile (loosely translated to Woman is Fickle) to draw the audience closer to his seedy character. On the other hand, Greene’s weighty performances balance the show, packing a weighty, emotional punch. Cloaked in formal, vibrant costumes that are inspired by traditional Nigerian attire, Verdi’s good-humoured lyrics retain the Duke’s merry atmosphere through the majority of this tragic show. Elufowoju’s production pieces together a whimsical, multicoloured and prop heavy creation that delves into Rigoletto’s enigmatic nature and the Duke’s overwhelming personality. After his daughter Gilda (Jasmine Habersham) returns from a convent and back into his care, Rigoletto chooses to lock her away from the lustful Duke to retain her innocence. But as she grows suspicious of her evasive father, who has taken his protection of her to Rumpelstiltskin level, refusing to even give her his real name, his bubble-wrapped possession is popped by the ingenious Duke disguising himself as a pauper. Despite the fact that this 190-year-old production puts women on a platter for their virtue and beauty, Opera North does reshape Gilda's cookie-cutter image, allowing Habersham a more playful performance to flirt with her mysterious midnight visitor and ride a zebra sprinkled in fairy dust. As Opera North’s dark fairytale continues to colour outside of the traditional lines, the cast's emotional outpouring of Rigoletto’s obsessive themes surrounding revenge and relaxed morals will remain an everlasting obsession with its audience in this undeniable classic. #OperaNorth Rigoletto TheLowry #Manchester Tickets are available via the Lowry link

In true Stone/Trey fashion, a musical focusing on the secretive Mormon religion, based within an exploited region of Uganda promises to be a salacious production made to produce shudders of laughter and winces of shame. Audiences walking into the Palace theatre are likely prepared for a jaw-dropping musical poking fun at the Mormon churches dedicated followers, but many will walk out true believers of Elder Cunningham's philosophy. The Book of Mormon is a sweet representation of the intense, two year sacrifice the teenage missionaries embrace as part of their duty to serve God. Glowing with positivity, it makes sure to poke fun of its founder Joseph Smith, who claims an angel descended onto him an unknown language for reading gods golden plated scripture. However, the shows other allure for theatre goers will be its spirited takedown of other popular stage musicals. Its uncomplicated message riddled with bright and bouncy tracks appears to organically emerge from honest moments that take on the oblivious humans who sit on and off the stage. Fashioned around dismantling many inconvenient truths the shows rewritten revivals of questionable classic musicals plots ensures it makes fun of all involved. Written by Trey Parker, Robert Lopez and Matt Stone, the show immerses the bubbly Mormon duo Elder Price (Robert Colvin) and Elder Cunningham (Conner Peirson) in the most taxing image of Africa ever portrayed on stage. Its production directed by Casey Nicholaw and Parker transports the Palace theatre with brown sheeted staging, dilapidated shacks and browbeaten villagers but juxtaposes this with a light history of the Mormon church and a team of missionaries who hope to gather enough baptisms to impress their leader. As the show approaches their challenge with naive optimism and harmonious choreography, the stories purposefully cringeworthy white saviour storyline shapes the tales most unscrupulous scenes and unexpected soundtrack. Mixing traditional 50’s tracks and Gene Kelly choreography with not so traditional African’s tunefully cursing out God, Price and Cunningham take audiences through a relentlessly joyful search for love and purpose. The productions superbly packed and diverse ensemble cast allows the beautiful vocals of Aviva Tulley (Nabulungi) and the hilarious Ewen Cummins (Mafala Hatimbi) to shine at the forefront with songs including Hasa Diga Eebowai (which translates to F**K You God) and Sal Tlay Ka Siti (A.K.A Salt Lake City). Despite the show creator’s history of offensive takes on topics, The Book of Mormon remains a layered and charming production and is crafted out of love. The whole new world presented to the Mormons is influenced by playful moments in classic musicals. From its Lion King send off to the morphed Joseph Smith American Moses Uganda retelling that mirrors The Small House of Uncle Thomas from The King and I . Teaming these moments with songs such as Turn It Off makes the show boundlessly entertaining on multiple levels. Around a circus of choreography that sees the Mormons literally tap dancing around serious issues, the show ensures it serves its mission of keeping its audience engaged with a modern classic that manages to fuse vintage musical appeal with a trigger warning. TheBookOfMormonUK PalaceTheatre #Manchester Tickets are available via the ATG link