The OG’s of slapstick theatre are bringing the longest-running comedy of the West End back to Manchester. Returning with the original cast from their 2012 run, the Mischief Theatre troupe are falling over themselves to remind audiences why their joyous debut show is a classic creation worthy of multiple viewings. The precarious storyline follows the Cornley Polytechnic Drama Society as they attempt to showcase their latest 1920s mystery, The Murder at Haversham Manor . The show's light-hearted take on Agatha Christie’s The Mousetrap recalibrates the plot with the team’s own chaotic comedy stylings that play out two hours of punchlines and pain. However, so much layered detail goes into this delightfully exaggerated production to keep the show moving swiftly along its tumultuous path. Alongside its classic period costumes, the phenomenal set design of Nigel Hook brings the surreal comedy to life with its collapsable set that wields its own comedy power among the Opera House audience. The energy from the whip-smart Mischief group brings together this infectious comedy with charming performances choreographed to perfection. As the production combines tributes to the greats like Chaplin, Keaton and the underrated Mr. Bean, the troupe’s modern spin brings about perilous stunts and pratfalls that are clearly dangerous for members of its cast to perform. Every member of the group is given plenty of opportunities to be harmed in Haversham Manor, but Jonathan Harris’s Spiderman agility and pratfalls bring the drama between the terrific and terrifying action. Obviously, there is a great chemistry between the eight players of the Mischief group who have a long record of success with live productions including Peter Pan Goes Wrong and The Comedy About a Bank Robbery , that are helping to revitalise live physical comedy alongside their BBC The Goes Wrong Show . The humour and fun of Mischief Theatre’s shows is in their absurdity and much like The Mousetrap , The Play That Goes Wrong’s bag of comedy tricks should be kept a secret for their live audiences to enjoy. It might not be a smooth sailing production for the Cornley Polytechnic Drama Society, but Mischief Theatre definitely knows how to make a satisfying comedy spoof. The writers/actors Henry Lewis, Jonathan Sayer and Henry Shields pull together an unruly storyline with hilarious results. Performing to a packed-out Opera House audience, the show offers an inviting and positive atmosphere that is an effortless reminder of the necessity of live theatre. Through an explosion of well-timed chaos, the original Mischief Theatre’s cast are back to charge up the audience in Manchester. They are here for only one week and this is not a show to be missed. ThePlayThatGoesWrong #MischiefTheatre #OperaHouse #Manchester Tickets are available via the ATG link

All the creature comforts are aboard the S.S.America, allowing audiences to be whisked away by P.G. Woodhouse and Guy Bolton’s whimsical musical at sea. The wholesome 1934 comedy is back with a brand-new production that brings a gold standard of musical performances and swoon-worthy choreography to the Palace Theatre stage. We follow stockbroker and ladies’ man Billy (Samuel Edwards) as he ditches work to board a top tier cruise in the hopes of rekindling his relationship with debutante and soon be married Hope (Nicole-Lily Baisden). Between his friend, the love-struck nightclub singer Reno (Kerry Ellis) and his unsuspecting boss, played by Simon Calkow, Billy has enough storylines to keep track of. However, this quick-witted tale also follows a boatload of celebrities, freeloaders, gangsters, ministers and sailors. The production sheds light into each cabin as Kathleen Marshall’s direction swiftly moves its compartments and crew on and off the stage whilst unravelling each tangled storyline. It’s a technical achievement that doesn’t hold back and brings in an alluring parade of backing dancers to command the stage alongside Reno’s musical performances. The updated production offers a bubbly comedy with a daisy chain of obligations and an incredibly large cast that overflow the show with fantastic one-liners and visual gags. Cole Porter’s soothing selection of classic songs flow through the easy-going musical but Marshall’s stunning choreography makes this production a firecracker of a show. The colourful expanse of its enormous ensemble resonates visually to the entire Palace Theatre audience, with its two-tier deck and magnetic cast putting you in a five minute, tap-dancing trance during a performance of the title song. The deluxe cruise also allows Sweeney to unleash all of her glamour whilst highlighting the power of the wonderful live orchestra with a nightclub performance and jazzy rendition of Blow, Gabriel, Blow . Sweeney is clearly doing the devil's work as the temptation to get up and dance throughout this carefully constructed musical is overpowering. Its shimmering suited cast and tap-dancing talent include plenty of recognisable names, featuring Bonnie Langford and Denis Lawson, who brings boundless optimism to the role of killer Moonface Martin. The exuberant cast also help to capture the latent joy aboard a vessel full of disguises, tricks and lies. Allowing audiences to take an abrupt trip from New York to London, Anything Goes is a show of real theatrics, but despite its over-the-top production value, the show still tells a down to earth story of love and the true madness it causes. The musical also adds many a meta-moment to solidify the classic with tongue-in-cheek fun. Offering a great escape with old-school comedy charm, Anything Goes is pure musical therapy. Its immense and glorious choreography takes centre stage and makes this production truly unforgettable. AnythingGoes #PalaceTheatre #Manchester Tickets are available via the ATGLink

TEDxManchester is back for its third year, offering audiences a full day of distinct and emotive speakers. Hosted by the Bridgewater Hall, the theatres three-tiered, free for all seating system is set up to wean out the late risers and highlight who is the most committed to TED. Getting a closer, longer look at the live speakers on offer, the exhilarating programme features a range of powerful activists from around the globe. Opening with a collection of investigators including retired spy catcher, Joe Navarro. The show launches its assembly addressing the issues of communication and attempting to enhancing our nonverbal skills. Navarro, a former FBI agent uses his 25-years’ experience of interviewing spies, criminals and terrorists to morph the talk on the personal power of communication, with an intriguing lesson on body language and profiling. As the full day of programming is laid out before you arrive, audiences can dip in and out of the event, which roams from 10.30 am to 5.15 pm. With only a lunch and dinner break splitting its thirteen speakers, the experience moves swiftly to ensure it is jam-packed with informative speakers, including Wall Street Journal writer Parmy Olson. Reporting on technology and the overselling of Big Tech that has been hijacked by companies, she speaks on the rise of businesses ability to collect your data, with more overall concerning aspects forgotten inside the big wide web. Giving space to some of Manchester’s lesser-heard voices, the stage is set for Stacey Copeland (@scopelandboxer), a Mancunian Boxer who became the first British woman to win the Commonwealth title. Speaking on gender equality in sport and the barriers to human potential, Copeland delivers an inspiring speech on the power of storytelling, which she uses to reach out to schools, businesses and communities in order to pavetheway for future generations. The events diverse speakers calve out a captivating show, accentuating their message during the live event. For audiences in front of these engaging speakers, TEDxManchester will definitely shine a light on new voices with a fantastically full day of uplifting and enlightening speeches. Moving from a Climate Scientist and of Professor of Astrophysics to an Insect Evangelist and Barber Humanitarian, the lessons assimilated guarantee there is something relevant and appealing for all listeners to debate on the ride home. Fortunately, TEDTalks are also available online to review so the conversations can be shared with an even larger audience. TEDx Talks are available to watch on Ted.com and YouTube TEDxManchester TheBridgewaterHall #Manchester

Elaborate pranks and child-swapping antics are all a part of The Parent Trap inspired adaptation that adds musical musings into its meddling mix. The Identical musical premiere plays out the rejoining story of twins Lisa (Kyla Fox) and Lotte (Nicole Fox). After the sisters were separated at birth by their divorced parents, Lisalotte (Emile Tierney) and Johan (James Darch), the ex’s decide to take one child a piece and move to a different part of the globe. Yet despite solving the custody issue, the unbeknownst sisters are given a surprise reunion at a summer camp, ten years later, when their two worlds are finally patched back together. As the twins switch outfits (and hairstyles), it is clear that the live show's new musical overhaul has embraced the eccentric, romanticised and old-school comedy stylings of its original tale. Allowing the Lowry audience to follow the twins as they devise a plan to get their parents back together and rebuild their bond. However, unlike Disney’s 60s and 90s live-action covers, the musical doesn’t need a split screen to convince its audience their seeing double. Its cast of talented real-life twins effortlessly takes on this classic whilst adding singing talent to enhance the familiar storyline. While this production has been updated, once again for the next generation, the material from which it was sourced, a 1949 German novel called Lottie and Lisa, has come a long way. The live production offers a playful story that has been modernised with original music and lyrics from George Stiles and Anthony Drewe of Mary Poppins live, who keep the tale’s childish premise and fun-loving tone throughout. With Lisa being raised in Vienna and Lottie in Munich, the real-life siblings retell Erich Kästner’s narrative as a sharp revamp that adds tongue-in-cheek lyrics and pokes fun at children being told of their parent's divorce via mail. But as the show is set during the 1950s, anything goes and regardless of the rare circumstances and obstacles we find these separated twins to be in, the family-friendly show continues to be tremendous fun offering nothing but a cheerful good time for all audiences. Kyla and Nicole have launched a charm offensive campaign, as they find out the mystery behind their parent’s divorce and questionable separation. Amazingly this is done without judgement using songs like You’re My Sister and We Were Young to play out the simple story whilst continuing to give audiences what they initially loved about the original tale. The twins are fantastic as they carry the fast-paced dialogue, land snappy one-liners and sing duets whilst calculating their plan. Trevor Nunn’s projected scenery drops and slides along the Lowry stage to create a fairy-tale vision of the twin’s world. Moments that frame a mini theatre show within the show and spring to life nightmares help to shape the storybook magic that the book demands. It has been decades since the original Disney films wowed audiences with their technical ability, but Identical the Musical has the same ability to suck you in with its catchy songs, tremendous child talent and light-hearted spirit. This latest debuting musical is a short and sweet affair, sure to bring you joy as the youthful cast lead audiences through another classic revamped. IdenticalTheMusical TheLowry #Manchester Tickets are available via the Lowry link

The bittersweet comedy is back as a sparkling new musical production, offering a colourful spectacle shaped around the 1993 hit film. A children’s comedy that normalises divorce, touches on the toll it takes on the children and highlights the story from a father’s perspective was a shocking rarity for the 90s, but Mrs Doubtfire was able to thread that needle.  Flash forward 29 years and now Gabriel Vick (Daniel Hillard / Mrs. Euphegenia Doubtfire) is back as the beloved nanny, adding layers of prosthetics and hoping to add new layers to the beloved tale, with a cosy musical revival. Built for sentimental audiences eager to relive the Robin Williams dramedy, Mrs Doubtfire follows the intimate story of divorce from the perspective of an ambitious but inappropriate father. We follow Daniel as he is rocked by his recent divorce and a court ruling that states he requires full-time employment and stable housing before being given part-time custody of his three children. While Daniel scrambles to find a job suitable enough for his high standards, he does manage to find a surprising side hustle as his children’s nanny. Putting to work his qualifications as a voice-over actor, disguised by his makeup artist and brother Frank (Cameron Blakely), and clearing the low childminder bar by actually liking children. Mrs Doubtfire is a dazzling production that infuses its impractical storyline with marvellous choreography, an everchanging set and plenty of insane situations that require Vick to slip in and out of his new face. The prosthetics used are awesomely distracting as Mrs Doubtfire face resembles a Bo’Selecta or Spitting Image character . However, Vick’s performance within the mask and his ability to sell his emotions to the live Opera House audience is what carries the production through its over-the-top storyline. I have personally always identified more with the hard-done ex-wife and mother, Miranda (Laura Tebbutt). The relatable Miranda’s love of labels and plan to keep her children out of prison on a school night seemed far more admirable and relatable than her freewheeling ex-husband who appears to be a completely uncompromising adult. This production gives Tebbutt the space to voice her frustrations with a fantastic solo of Let Go and focuses more on her perspective, rather than the film’s reliance on the audience's love of Robin Williams that helped carry the emotional weight of the movie's difficult material. Despite Daniel’s initial resistance to change, he seems emboldened by his new wig and prosthetics that allow him to look inwardly at his own actions and work to become a better father and partner. The live production appears to be aware that many of the deceptive messages of its original film have fallen out of fashion as Daniel is basically a victim of his own circumstances. The updated Mrs Doutfire musical is now spread with an assortment of slapstick and upbeat tracks such as Make Me A Woman and Easy Peasy, which alongside director, Jerry Zaks rainbow-coloured settings remove any edge from the dramady. Vick brings his own mesmerising performance to the unique role, weaving together some Mary Poppin’s sincerity amongst the overzealous comedy and Zaks’s production offers audiences plenty of antics, distractions and light-hearted moments with few concerns about updating the original story. Packed with a collection of upbeat original tracks, Mrs Doubtfire is a surprising visual feast and its rollercoaster of a storyline remains comfortably familiar to those looking to reignite their love of the film. MrsDoubtfire #OperaHouse #Manchester Tickets are available via the ATG link

Cirque du Soleil has brought its procession of performers with a slew of talents to Manchester, and they are dedicated to constructing a slice of heaven on earth. We follow Mauro the clown as the AO Arena audience gather around his deathbed to look back at his life, experiences and friendships. With a fairy tale feel and childlike Peter Pan wonder, Mauro is ascended on by angels who highlight the magical gift of a life well lived. Offering a balancing act of masterful flying manoeuvres and passionate performances, the world of Corteo remains light enough for all the family to enjoy, as it preserves the energy of a Cirque du Soleil show and the enthusiasm of its sizable ensemble to ensure audiences come back for more. Corteo’s writer/director, Daniele Finzi Pasca allows all the people who knew Mauro to perform around (and on) his death bed as they offer him a light and whimsical send-off that celebrates his life. From the vantage point of the audience, the show spotlights a fulfilling life, which is comforted by Mauro’s incredible array of circus troupe friends. Bringing death-defying stunts and aerial acrobatics surrounded by a dark abyss, the intimate atmosphere within the vast arena, pulls focus by beautifully spotlighting and singling out each performer from the entourage. Under Pasca’s direction, Cirque du Soleil continue to set a high bar from the start, bringing in a floating cyclist and angels poised above the audience that help place you into Mauro’s fantasy. A spinning chandelier sequence offers a dazzling spectacle which sees its acrobatic aerialists performing above the AO crowd in silk nighties that recognise the circus family and tradition within the wistful setting. With Pasca’s enchanting 1890s production, the lavish costumes and glorious set, transform the space with the use of intricate and timeless uniforms. The cast of characters also bring a camaraderie, a sense of community and a competitive spirit to the production as the swinging gymnast display their agility and strength by besting each other on the bars. Corteo is one of Cirque du Soleil’s eeriest storylines, with its darker tone and pitch-black surroundings setting the audience up for a surprisingly elegant, pyjama-clad evening of glitz and glamour. There are plenty of visual gags to appreciate and the production's live backing music, provided by a collection of clowns, sits off stage, timing themselves perfectly to the choreographed performances. The gorgeous staging, which smartly splits itself in half, ensures that there is action taking place from all angles of the circular arena. Nevertheless, this production continues to keep clowning at its core, as a flying Cirque member heads out into the crowd to pull audiences into the act. Reflecting less on the macabre and more on merriment, the two-hour show allows Mauro to take stock of his life and reassuringly reminds audiences to cultivate the life they enjoy. Corteo is a restrained production, presenting a vast array of acrobatic treats inspired by a rediscovery for the richness of life and an appreciation for the adventures we have along the way. CirqueDuSoleil #Corteo #AOArena #CirqueDuSoleil Tickets are available via Ticketmaster link

It is easy to lose yourself in Alice Walker’s 1982 Pulitzer Prize winning novel as she masterfully injects colour, humour and connection into see Celie’s lifeless world. The Lowry Theatre’s towering, wooden cladded set is illuminated by Tinuke Craig’s direction, that smothers Celie in projected images, but also spotlights the farmhouse she grew up on, the farm her husband moved her onto and the barns that surround her. The rural and domestic landscape that Walker places her uneducated, 14-year-old, pregnant black lead as our relatable but unlikely heroine is a desolate and bleak environment. However, Craig’s adaptation is able to transform Celie’s constrained space as her story develops over the decades. Craig has converted Walker’s work into a captivating musical production that lays Celie’s (Me’sha Bryan) tale of faith, isolation and self-worth out onto the Lowry stage. Centred around Celie and her narrated letters to God, The Color Purple follows the stories of three black women during the early 1900’s. After her mother dies, Celie is left in the care of her abusive father Alfonso (Km Drew Boateng), who after impregnating Celie twice, removes her children to God knows where. Additionally, Alfonso encourages widower Mister (Ako Mitchell) into a marriage of convenience, encouraging him to wed Celie in order to care for his four children and farm. Whilst initially pleased to be out of the father’s grip, Celie soon finds she is in the hands of another abuser with a mistress on the side. However, Celie is not left to build on her traumatic life alone, finding solace with the help of two strong, opinionated and resourceful women who help her discover her inner strength. The Color Purple is an unflinching story, as Walker’s narrative hits all the isms from every side. As Celie’s journey unravels layers of perpetual poverty, racism, sexism and domestic violence, audiences will appreciate its openness and the overall message of community and confronting trauma whilst navigating a twisted reality. Walkers unique voice resonates through Craig’s gloriously crafted musical reincarnation, which holds on to both the pain and joy that the novel offers. Bryan’s soulful vocals build and propel Celie’s voice with the songs Dear God - Shug and I’m Here , which offer performances as honest and introspective as a diary entry. While scenes are propelled forward by a trio of gossiping church ladies who harmonise and summarise how they feel about a character. It is a huge undertaking to morph Walker’s words into a musical, but the writers here are wise enough to lift direct lines from the novel into the song lyrics. This adaption doesn’t shy away from Celie’s love of black women, with a considerate portrayal of Celie’s relationship to the enigmatically portrayed Shug (Bree Smith). The show presents, not only a portrayal of true sisterhood, but also a view into their sexual relationship that isn’t watered down in the same way as its Steven Spielberg film (1985) adaptation. However, it is still light enough on the topic for family friendly audiences. While The Color Purple opened on Broadway in 2005, it’s Tony award-winning adaptation continues to embrace a black sisterhood rarely seen on screen or stage. Craig’s compelling production showcases the heart-warming connections between these women, who bring the colour and boldness of its narrative with glorious performances. Alongside its gospel soundtrack, The Color Purple Musical remains freeing, moving and rooted in Walker’s remarkable storytelling. TheColorPurple #TheLowry #Manchester Tickets are available via the Lowry link

Matthew Bourne is reintroducing audiences to Sleeping Beauty with a foray into the woods that reemerges as a layered modern gothic. Twisting the classic tale for his New Adventures production, but rooted in Tchaikovsky’s 1890 ballet, we dive into a surprisingly traditional retelling within a decadent Edwardian setting that places the story in the year the original ballet was released. When the childless King (Danny Reubens) and Queen (Kayla Collymore) are helped by the dark fairy Carabosse (Paris Fitzpatrick) to give them a child, it doesn’t take long for the fickle fairy to dance up a storm of trouble as a reaction to their lack of gratitude. After quickly spinning their gift into a curse, the story steers a vengeful course whilst embellished with conveyor belt staging, embroidered fairy costumes and an adorable puppet baby. Alternating between lifting audiences out of a silhouetted world of overpowering darkness and into a bright and loved-up second act. We follow our Prince Charming, Leo (Anrdew Monaghan) as he seduces Princess Aurora (Ashley Shaw) with his natural charms. Yet despite its gothic landscape, Bourne remoulds the story with modern twists that marries dance, humour and live orchestration for a memorable production. There are plenty of intricate details between the finely tuned choreography and familiar storyline to capture the imagination of the Lowry audience. The familiar fairytale is given a superb scale with Lez Brotherston’s scenic sets sitting audience members squarely within the fantasy. Built around the production’s enticing costumes, whose heavy design of its winged ensemble fleshed out the rich visual design of the show's Edwardian styling. The magnificent misty set of the finale acts seemingly blends its large ensemble into the shadow of the forest for a colourless vision that plucks its figures straight out of a Grimm’s fairytale. Bourne’s productions offer a relaxed atmosphere that allows you to sink into a beautifully entertaining show. Amongst a packed-out Lowry audience, his humour eases the grandeur of the genre and has the ability to entice and open new audiences to ballet. Sleeping Beauty is not a new addition to the New Adventures repertoire, having first been released in 2012, and it may be the company's most traditional telling of any narrative. However, Bourne’s modern touches, expensive sets and signature wit are elements that spin this sumptuous production into a rewatchable, visual treat. MatthewBourne #SleepingBeauty TheLowry #Manchester #MatthewBourne Tickets are available via the Lowry link

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