Edward Dick’s dazzling production of Puccini’s Tosca takes the winding melodrama to new heights with divine staging and powerful performances.   The Lowry audience are heading off to Rome for an intriguing tale of corruption, murder and love. Showcasing the outrageously high stakes that only an opera can offer, the character driven story circles around the impulsive Tosca (Giselle Allen), a talented opera performer who wears her heart on her sleeve. Despite being an irresistible siren to the men around her, Tosca suffers from inconsolable jealousy and fears of losing her soul mate, painter Mario (Mykhailo Malafii) to a woman he is currently sketching in church. With the decadent space spotlighting the religious iconography, Opera North’s production shines as its positions the cast under the watchful eye of Mario’s mural, blending spirituality and desire into the murderous plot.   As Mario becomes enmeshed in helping his friend, a political prisoner escape without alerting Tosca, and crucially, the villainous head of the secret police, Scarpia (Robert Hayward), he risks execution for his friend's freedom. With the ghoulish Scarpia’s unrequited love for Tosca adding to his venom, Hayward plays the prickly character with vigour. Brimming with menace as his inhumane and disturbing whims threatened to veil Tosca in sorrow. As a result, the soundtrack moves from the alluring duet of Allen and Malafii as their powerful vocals offer a first act confession of love, to a second act solo of Allen’s resistance and defiance. It is an unexpected transition, bringing a second act twist from the deceptively vulnerable Tosca. Performing the song, Vissi d’arte (I live for art) in a brilliantly chilling scene before driving the story into a thorny third act.   Tosca is a fast-paced opera, which leaves little time to catch your breath. Its endless drama and captivating performances make it a perfect steppingstone for first time opera goers, with music that continues to be featured in films and television, from Quantum of Solace to the Peaky Blinders . The beautifully crafted and lyrically dense production continues to resonate as Opera North enrich Puccini’s tale with stunning visuals, worthy of multiple viewings.   Opera North’s lofty drama is encompassed in Tom Scutt’s ornate stage design, where floor to ceiling spotlights act as blinding lens of interrogation, flashes of hope and finality throughout the production. Alongside Fotini Dimou’s more modern costume design, the 1900 opera stitches a thematically rich and vibrant production that allows each act to sweep over the audience in waves. Love and art reach out to every character (and gets everyone into some trouble), but Tosca extends that reach to its audience, determined to leave a lasting impression from its live orchestration, indulgent characters and lavish set design. OperaNorth #Tosca TheLowry #Manchester Tickets are available via the Lowry link

Filling the crime and thriller void in theatre, Peter James’s sixth stage adaptation, Wish You Were Dead , offers audiences a haunting escape alongside the long-suffering detective, Superintendent Roy Grace. The die-hard fans who have ploughed through James’s 18 Dead titled novels will have no problem taking a quick vacation to the Lowry with Grace and family as they travel from Sussex to France on their first holiday. We follow DSI Grace (Casualty’s George Rainsford), his wife Cleo (Giovanna Fletcher) and their three-month-old child as they travel to the Château-l'Évêque with a friend in tow. But after discovering that their friend’s boyfriend, fellow officer Jack, has failed to reach their destination, despite leaving ahead of them, the group are left confused and exposed. Unreachable by phone and losing light due to a storm, we watch as the group are forced to ride it out in an isolated, Wi-Fi free Chateau. The impressively gaudy guest house takes over the Lowry stage with Jonathan O’Boyle’s direction placing the group in a run down and spooky aesthetic. With no other guests in the Chateau, their grumpy hosts Madame L’Eveque (Rebecca McKinnis) and her wheelchair bound partner Vicomte (Vince Mallet) are far from happy to greet their late and constantly complaining guests. As a result, much of the first act is used to explore the house, discover its various faults and question the mysterious hosts. While there is also not enough mystery or crime to solve in this live adaptation, Peter James knows how to entertain an audience. Including plenty of unbelievably silly moments and charmingly British taunts from the owners, the simple drama is amplified by its alluring set design and the infectious energy of its close-knit cast. James’s live production offers a hard entry into the Roy Grace series, taking the DSI who has been around in print since 2004 and placing him out of the office for a family escapade. Even followers of the series are unlikely to see much conflict in an unknown character going missing from a party of four adults. With characters wandering around in various levels of confusion, unable to communicate with the outside world, the production leaves audiences to listen to characters explain car shaped plot holes which the show is unable to play out on stage. The 2021 novella Wish You Were Dead is part of the commendable Quick Reads scheme created to encourage easy reading for adults. However, its stage production takes the same easy-going direction with its translation built for premade fans already familiar with Roy Grace’s backstory. The permanently guarded, off duty officer who is now committed to salvaging a dying family holiday, leaves too few clues to decode on the stage and the stories breathtakingly shaky plot has Scooby-Doo levels of characterisation. James’s reveals will please backseat Columbo’s who enjoy identifying bad guys from their accents and outfits. However, the lack of any tangible backstory or motives leaves this show to rely heavily on the visual flourishes of its unsettling location and its likeable ensemble. For audiences venturing out for a cheeky crime short, accentuated with questionable French accents, dolls and amusing jump scares, Wish You Were Dead will undoubtedly leave you pleasantly entertained. WishYouWereDead TheLowry #Manchester Tickets are available via the Lowry link

Looking back at a resurgence into radical politics, tribes and a disillusioned society, The Merchant of Venice (1936) takes on an old problem with fresh eyes.   With a focus on classism, virtue and cross-dressing, Shakespeare’s 1600 play vilifies the rich Jewish creditor Shylock ( Tracy-Ann Oberman ) for lending funds to the wealthy Christian, Antonio ( Raymond Coulthard ). While it is expected that moneylenders charge higher rates of interest, Shylock’s contract cuts close to the bone, requiring a pound of flesh if Antonio defaults on his payment. Nevertheless, the degrading oath is chosen to belittle the Christian man who demoralises and persecutes the Jewish community while slighting Shylock for creating opportunities outside of her expected position. Now content in painting Shylock as the villain for using the system for her own survival, The Merchant of Venice weaves a tale of bigotry and mercy that throws each character's control, religion and integrity into question.   Inspired by current social tensions, director Brigid Larmour seats four sets of tables on the HOME stage with extra seating provided for audience members. Mingled among the action, the audience can act as a backdrop or opt to be part of a movement on stage. As questionable actions go unpunished and communities begin to fight back, the show walks a fine line between the past and the present as it highlights how working-class people have made their mark on British history.   The foundations of Shakespeare’s story remain in place, but here Shylock becomes a poised but jaded working mother, ready to serve her own vigilante justice. Alongside a committed cast who radiate defiance, the show twists Shakespeare’s brutal characterisations and toxic personalities into a surprisingly hopeful finale.   Reframed in 1936, director Larmour centres the conflict around the rise of Oswald Mosley’s British Union of Fascists (BUF) and how the East End community came together in protest during the Battle of Cable Street on Oct 4th. As a political figure, founder and leader of the BUF, Sir Mosley’s discord helped stoke racial tensions into the mainstream. Xavier Starr’s emotive characterisations meld into many modern, radical figures as the obnoxious Gratiano and police constable. However, this production is almost a straight retelling of Shakespeare’s play, with Mosley projected as the backdrop. There is no need for characters to spew the same superficial mythology of a better Britain that looks to its past for inspiration as the plays brutal treatment of Shylock remains a more poignant and shocking punishment to watch play out.   Larmour and Oberman’s adaption and relationship with Shakespeare’s work reminds audiences why The Merchant of Venice continues to be an arresting and unsettling story. Placed at a point when men had more power and influence, its reimagining forces you to examine your own part in shaping and grappling with current sexism, anti-Semitism and racism. It is a hefty production that continues to challenge the members who interact with Shakespeare’s work but in doing so allows the story to reach new heights and audiences. MerchantOfVenice1936 #HOMEmcr #Manchester Tickets are available via the HOMEmcr link

Burning its own path in ballet, the Rambert experience is not one to be missed. With a knockout soundtrack and a reputation to uphold, the story of Thomas Shelby is accentuated with stunningly subtle visuals and extraordinary performances.   The Peaky Blinders BAFTA award-winning show has been streamlined by its creator, Steven Night to interweave its ambition, menace and energy in equal measure. The much-loved drama opens a new chapter for Tommy (Guillaume Quèau) following his empire at the end of World War I. Having made a name for himself alongside his family, Tommy discoverers the love of his life Grace (Naya Lovell) as the show quickly unveils the creeping consequences of his past and the rivals hidden within his ranks.   Presented as a crisp selection of highlighted moments and narrated by the poet/series street preacher Jeremiah ( Benjamin Zephaniah ), this adaptation compacts three seasons and refreshes its storytelling with a freedom away from the TV show. Picking up new characters and perceptions for the stage, Rambert’s reworking layers its strikingly immersive and post-war aesthetic on shaky terrains and volatile relationships. Despite shining a light on a small personal story, Benoit Swan Pouffer’s choreography expands Tommy’s tale with diverse group performances, loving duets and triumphant solos that illustrate Tommy’s expansively vibrant life. Alongside an emotive ensemble, the production melds into different genres of ballet and contemporary dance to include some unexpected surprises along the way, including the skillful synchronicity of Musa Motha’s performance.   Rambert’s minimalist set allows the Lowry audience to time travel back to 1919, where Shelby’s working-class roots move his flat cap from the margins to the mainstream as he expands his operations, biffs a few locals and roughs up a few members of the audience. Playing with Shelby’s turbulent relationships and the fallout from the war, the sweeping production offers a unique experience with unforgettable sound signatures. Including its classic Nick Cave and the Bad Seeds , Red Right Hand theme tune and a new track written by Laura Mvula , the show’s musical performances play out onstage with a live band of musicians.   Rambert’s moving and bold production revolves around an addictive storyline of community and loyalty that follows Tommy’s hard-fought journey to become a revered and feared household name. Quèau’s strong presence needs few props to balance his fantastic performance, looming out of the shadows to tear up the Lowry stage for a second act of passionate medleys and triumphant solos.   The collaboration between Night and Rambert’s Artistic director, Pouffer weaves a collage of atmospheric staging under the world of Thomas Shelby. The story brings stirring styles that allows his tale to flow freely to fans of the 2013 TV show, however the brilliant performances are wrapped around an open concept that will allow newbies to jump in feet first. Combining poetry, rock and dance to the infamous mobster, Steven Night’s latest Frankenstein creation is another terrifying hit. This review was originally written for Frankly My Dear RambertDance PeakyBlinders #TheLowry #Manchester Tickets are available via the Lowry link

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

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

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

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

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

Drawing inspiration from the UK’s longest-serving Labour politician’s real-life band, TONY! The Tony Blair Rock Opera looks at Blair’s youthful experience as the frontman of Ugly Rumours and reframes his tenure as Prime Minister through the surreal Harry Hill lens. The show's relentless pace touches on Blair's hippier side, his turbulent 10 years in office and his team-up with Bush on the War on Terror, as well as his successor and his marriage. Only neglecting to ruminate on the most depressing facts around Blair’s most troublesome moments in office, the production's surprisingly informative musical is a piece of pure chaotic joy that glitters over realism. Longtime collaborators Hill and composer/lyricist Steve Brown share how Blair made the move from the defunct bandleader to the Houses of Parliament in a hilarious styling of sketch comedy, stand up and singsong. The quick-moving production spews jokes in the same hybrid mash-up as Harry Hill’s TV Burp , with an experimental blend of comedy tinged with truths, but more focused on the spectacle of the events. The show's lively pace races by due to its high-spirited cast of political characters led by the fantastic Jack Whittle as Blair. Whittle’s physical comedy is surprisingly heavy for a prime minister, answering the phone with a Tyra Banks smize and dancing with everyone within his vicinity. The talented ensemble merge into multiple characters, even when only playing one person on stage, Saddam Hussein (Phil Sealey) does a terrific Groucho Marx and the multiverse approach to the show’s timeline ensures that your memory of the events shown will not align with Hill and Brown’s. With Princess Diana (Emma Jay Thomas), Osama bin Laden (Rosie Strobel) and George W. Bush (Martin Johnston) all making an appearance to entertain the Lowry audience through song, Tony! is a satire that everyone can get behind. Few props are required as the caricature-led show and the eccentric cast offer enough of a sensory overload to push this story forward. Director Peter Rowe places Tony! in the Lowry’s Quay’s theatre, with a more intimate and minimalist set lit up by the star's name above the stage. The set places a live backing band throughout the performance and its cast of multitalented singers are able to dance through life. With such a playful dissection of moments many would rather forget, Hill and Brown’s revisionist take on history doesn’t let the truth get in the way of this absurdly funny musical. TONY! The Tony Blair Rock Opera puts spin doctors to shame, creating a thoroughly entertaining night out reminiscing over Blair’s time in office and offering an inspirational and hilarious production. Tony!TheTonyBlairRockOpera is playing at the #Lowry Tickets are available via the Lowry link

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

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