Straight from the mind of Australian circus director, Yaron Lifschitz, Shaun the Sheep’s Circus Show sees farmland fun and daring acrobatics collide in a truly un-baaa-lievable family performance.

Thrilled by the arrival of his new television set, The Farmer is all but ready to put his feet up and have a day off from tending to his flock – who unfortunately have other ideas on how best to spend a bright summer’s day on Mossy Bottom Farm. From soaring the skies on paper aeroplanes to tormenting Royal Mail’s most flexible postman, things quickly turn sunny side down for the flock after they snap The Farmer’s satellite cable in two. Armed with nothing but a camera and crossed hooves, it’s up to Shaun, baby Timmy, sheepdog Blitzer, and the rest to put on their own show for The Farmer before he realises his brand-new TV hasn’t even made it through the first act.  

Shaun the Sheep’s Circus Show is based on the hit TV series from Richard Starzak and Aardman, and has no qualms about embracing it, either. The performance integrates a gigantic screen that sweeps on and off the stage, showing anything from TV clips and live camera footage to FaceTime calls with the postman, who perhaps ought to consider life insurance before his next visit to Mossy Bottom. 

The rest of the set comprises of a gigantic, three-tiered astroturf slide topped with a miniature farmhouse, with a built-in window to The Farmer’s living room right in the middle. While recovering from the whiplash of a Shaun the Sheep house remix, it’s a delight to lock eyes with a wayward sheep peeking out of the rooftop or sneaking behind the armchair, causing trouble where they’re not meant to be.  

Hooves down, the highlight of the show was the sheer skill of the performers themselves. Far from the star jumps and roly-polies expected of many family shows, some of the genuinely death-defying stunts had the audience smelling a Sunday roast on a Tuesday as members of the Merrigong Theatre Company and Circa Contemporary Circus swung on silks, hoops, and even each other. Particular praise goes to the performers playing Shaun and Timmy, who both came inches from becoming shepherd’s pie in their displays on the silks and Chinese pole, neither of whom had any obvious safety precautions. Praise too goes to the performer playing Timmy’s Mum, who lifted a fully-grown adult into the air one-handed as though doing a bicep curl in a genuinely impressive feat of strength. Gasps and applause greeted The Farmer’s flock five minutes into their entrance, and their stunts only grew bolder from there.  

It must be said the show came much more intuitively to the younger audience than the adults in the room: it’s easy to feel a sense of whiplash for much of the first act, which launches into a mile-a-minute frenzy which may be a lot to take in for those new to Shaun the Sheep. It’s helpful to know beforehand that the show focuses more on artistry than strict plot, though there is a remarkable effort to introduce the few named characters to the audience from the get-go. Shaun the Sheep’s Circus Show is much better simply enjoyed than made perfect sense of, and this works in its favour – for grown ups and kids alike, sometimes it’s nice to sit back and allow ourselves to be amazed every now and then.   

Shaun the Sheep’s Circus Show is at Aviva Studios from 11 December 2025 to 4 January 2026.

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The Salford-born comedian takes the lead at Manchester Opera House for the fourth consecutive Christmas alongside his popular panto sidekick and Britain’s Got Talent finalist, Ben Nickless.

Both comics get time on stage to showcase their individual talents – Manford his warm, hilarious stand-up and strong musical theatre vocals; and Nickless his dynamic physical comedy and quick-fire impressions, bringing in a whole host of famous faces from Michael McIntyre to Donald Trump.

But it is when they are working together as a double act that the sparks really fly. After four years of pantomime together, Manford and Nickless make a comfortable double act whose joint focus is on making sure the audience, and especially the kids, have a fantastic time. The roving kiss-cam encouraging the young ones in the crowd to pull funny faces is a particular highlight.

This year the action moves to Sherwood Forest as the pair take on the roles of Robin Hood and Little Willie (cue lots of silly innuendo that has the youngsters rolling about). People who haven’t seen Manford recently might be surprised to see his new trim self. The 44-year-old has been chronicling his weight loss on social media. But as he says in the show, “there’s nothing like finding out you’re doing Robin Hood men in tights, to get you into shape.”

The pair are joined by an energetic cast. Landi Oshinowo adds sass to her sparkle as Spirit of Sherwood, her fun-side given free reign as the wig comes off in the fast-paced 12 Days of Christmas routine. Sarah Vaughan brings Maid Marion to the fore of the action with strong vocals and impressive swashbuckling. While the villain of the piece, Adam Strong wins cheers for his solo singing as Sheriff of Nottingham, his strong voice making the audience forget for a moment he is the one there for the boos and hisses.

As always with the Opera House pantomime the staging is spectacular. I don’t want to spoil the surprises, but you might want to take a raincoat if you’re sitting in the first few rows. The only downside is the lighting surrounding the stage – huge LED circles facing the audience. For some scenes I can see it can add atmosphere but for others it is genuinely distracting and feels like a juggernaut on full beam coming towards you. If you are light sensitive, it is something to consider.

That aside, this is a fantastic family show that is sure to delight children and adults alike.

Robin Hood is at the Opera House, Manchester from 6 December 2025 to 4 January 2026.

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If you’ve never been to the Plaza, you may well have spotted the gorgeous art deco style neon sign from the A6 as you head through Stockport town centre.

It’s a hell of a place bursting with history and nostalgia. 

The tall, narrow super cinema and variety theatre was built into the red sandstone of the town back in 1932. Because it was built into the rockface, with the stage area underground, many theatregoers considered it one of the safest places to be during the war. 

We might not be under threat of an air raid these days, but it still feels like we’re in safe hands when we walk through the doors.

And it’s beautiful. Despite being turned into a Bingo and Social club in the late 60s, many of the original features were preserved and restored including the fabulous organ which rises up in front of the stage to keep everyone entertained before the show. 

Add to that the fact that the theatre was saved as a result of a campaign by the local community back in 2000, and is staffed – in part – by a very dedicated band of volunteers, and it’s easy to see why the Plaza means such a lot to so many people.

Given it’s history, it’s the perfect place for a bit of good old fashioned panto fun. This year Extravaganza Productions brings us Sleeping Beauty. I hate a stereotype, but I’ll be honest I was wondering how princess dresses and an old fashioned love story would go down with two footy mad little lads in tow, but they loved it, as did friends we bumped into there too who also had a gaggle of boys with them.

Star of the show for our two was cheeky chappy Jangles the Jester played by Scott Gallagher whose “Alriiiiiiiight Stockport” catchphrase was delivered in an accent which sounded like a cross between Liam Gallagher and Justin Moorhouse. The kids (and grown ups) loved it and gave it back in Stockport spades …. “Alriiiiiiiight Jangles”. 

Scott has a great rapport with the audience weaving in edgy, up-to-the-minute gags for the adults as well as the latest kid-speak for the young ‘uns. The boys were in tucks when he said the princes would be coming to “rizz up”  the princess at the ball.

They also loved the obligatory “he’s behind you,” moments and the visual humour provided by a family of mice living in an oversized comedy cake. 

Josh Dixon is the great panto dame, Queen Hermione, donning a series of gorgeously gaudy hooped frocks and wonderful wigs including a rather fetching set of Princess Leia ear buns.

And for the soap fans, The Wicked Fairy Carabosse is played by Wendi Peters, who is probably best known to telly audiences as the long suffering Cilla Battersby Brown from Coronation Street.

A total glamour puss, decked head to foot in sequins and with a sinister cut glass accent, it is a world away from Wendi’s dour character on the cobbles and a real demonstration of just how versatile she is as an artist.

This panto has it all, the visual gags, Haribo treats pelt into the crowd with a vintage tennis bat, a huge slack-jawed dragon draws gasps as it looms out of the darkness, and there’s even a bit of pyrotechnic action to complete the Christmas sparkle.

It’s on until January 5, so catch it if you can. 

True to its history in variety, the Plaza hosts a really eclectic collection of shows and events. If you fancy a visit in the New Year, I can highly recommend the Banff Mountain Film Festival Tour in March. Shown on the cinema screen, it’s a series of beautiful, breathtaking, inspiring, life affirming and original short documentary films about interesting characters exploring stunning and captivating places across the globe. 

Sleeping Beauty is at Stockport Plaza from 6 December 2024 until 5 January 2025.

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The musical version, although it was first staged on Broadway in 1963, is less familiar. It was penned by Meredith Willson whose 1951 song, ‘It’s Beginning to Look a Lot Like Christmas,’ features in the show. This production at Home takes Willson’s adaptation and gives it a Mancunian twist with the young girl at the heart of the story, Susan starting out in Manchester and entering through a big red door into a world of New York candy canes and popcorn.

Ciarán Bagnall immerses us into this world with a set that transforms from a single door to an eye-popping set that fills the whole stage – you can only imagine the fun it must have been choosing the toys to fill the floor to ceiling shelves of the famous department store. A live four-piece band is on stage too and visible during the whole performance, under an arch that looks like it could have captured them in a child’s snow globe.

Perhaps the biggest challenge in staging a show like this is finding the right child to lead it. It is a big ask for a young actor. They are on stage virtually the whole time, and the script demands they take the audience with them on this magical journey that has them laughing out loud one minute while tugging on their heart strings the next.

For this production it feels like the team at Home has pulled off its own Christmas miracle in finding not one but three young children with already a string of top acting credits behind them. On Wednesday we saw 10-year-old Karis, who some might recognise from her recent role as ‘Young Elphaba’ in the new Wicked film starring Ariana Grande and Cynthia Erivo.

Having a young child take centre stage in this way is a real winner for young audiences because you could almost see their imaginations running to picture themselves in her place.

The adults do a fine job too, particularly Adam Vaughan as Kris Kringle whose rich vocals bring a genuine warmth that gives the show the festive lift everyone is looking for.

Setting up the scene and the characters can often be a bit slow, and the first act suffers a bit for this. However, the pace picks up speed after the interval and the court room scene has enough surprises to keep everyone entertained. There is even a chance your letter to Santa could be read out during the show. It’s a definite festive winner.

Miracle on 34th Street is at Home, Manchester from to 6-31 December 2024. Age 8+

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She is helped on her adventures by a ‘pack’ of four cards and the infamous white rabbit –less so by the inanely grinning Cheshire Cat – to evade the evil clutches of the Queen. Despite being reconfigured into a Christmas panto (one for all ages, it is worth saying), the production has all the trademarks of Caroll’s original tale but with a difference – lots of corny jokes as you would expect from any Christmas production (‘oh, yes there are’), lots of audience participation (as you would expect from Shakespeare North at this time of year), and lots of irreverent and funny Scouse in-jokes.

The actors in this production have a lot of work to do, especially the four cards who change nimbly in and out of character as the plot demands (Martha Godber admirably doubling up as the evil Queen and card eight). Tia Larsen is particularly striking as the White Rabbit with a winsome French accent displaying mock outrage at every suggestion from Alice – a beguiling performance from such a young actor.

A stalwart of the Liverpool acting scene, Helen Garter as Alice reminds us of the special attraction of the madcap tale and why it has enchanted generation after generation. She is by turns bemused and terrified as her potential fate (yes, getting her head chopped off) becomes clear to her.

With a crisp script by Nick Hall and astute direction from Nathan Powell, the production has plenty of rousing new songs which skip along and maintain the frenetic pace we have come to expect of Christmas shows at Shakespeare North. The costumes are worthy of a separate mention themselves – when Milton Lopes graces the stage as the lugubrious Dodo there are howls of laughter form the audience at his ridiculous get-up, perhaps less Dodo and more Dada.

If perhaps not an obvious choice for a Christmas-themed show, but Alice in Wonderland surprises by the way it lends itself to festive silliness. More importantly, the show reminds us of why we want to be at home on Christmas Day with family after all the hectic madness (that word again) of lugging round the shops to buy Christmas presents and festive food for the table.

Alice in Wonderland is at Shakespeare North Playhouse from 22 November 2024 to 11 January 2025.

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We could tell by the amount of elf hats, Christmas sparkles and Elf merch adorning the crowds outside the Palace, that this show has a serious following.

Having not seen the musical before, my nine-year-old and I did wonder how, and if, a stage musical could live up to the blockbuster movie starring Will Ferrell as Buddy the orphan brought up by elves after climbing into Santa’s sack as a baby.

We weren’t disappointed. And judging from the enthusiastic crowd reaction, neither were the Elf aficionados.

The work of producers Steve Sheen, and father and son team Jon and Jordan Conway, it was a luxurious festive feast for the eyes… like the theatrical equivalent of a box of Quality Street.

Framed with giant candy canes, the stage was alive with colour from the uber-cool, beautifully stylish, and often sequin-bejewelled outfits of the non-elf cast, to the giant five foot golden baubles and the gorgeous New York art deco home of Buddy’s grouchy workaholic dad, Walter Hobbs. The sets were also enhanced by CGI and animated backdrops including dancing Santas, a mock TV appearance and the New York skyline, created and developed by Jordan Conway, who – as well as co-producing the show – also takes the leading role as the irrepressible elf-man Buddy.

Bursting with firecracker energy, Jordan brings the effervescent naivety, humour and fun demanded by the role in bucketloads and he’s not shy of a little audience interaction too, so watch out if you’re in the front row, you might find yourself taking on a small, if not rather energetic, cameo role.

Jordan’s supported by a great and very versatile cast who revel in the many word play and visual gags, dance routines and songs which are woven throughout the show.
My personal favourite was Natalie Gray as Debs, Walter Hobbs’ ditzy, flame-haired secretary who had the role down to a tee. Dafydd Lansley, also brought a panto-sized dollop of visual humour with his portrayal of bespectacled geek, Matthews, whose suit gets stuck in the office shredder. I’ll leave the rest to your imagination.

The young uns’ favourite was Joe Speare whose snake hips were on top form in his portrayal of both the toy shop store manager and one of the chorus of neglected New York Santas.

I’m not sure whether it was the singing, dance moves, visual gags about Santa getting “the sack” from his job, or the little giggle explosion Joe had to stifle at one point, which impressed my son the most, but he was clear in his top pick.

The vocals of Kelly Banlaki as Buddy’s love interest Jovie and Charlotte Dalton as Emily Hobbs were accomplished, and the music, by Matthew Sklar ticked all the boxes.

Not just a musical though, the show also managed to incorporate panto elements with a, “he’s behind you” moment for the kids, cheesy gags, and the odd risqué in-joke for the parents. The audience also got to take part in the snowball scene too, giving wriggly bottoms the chance to move – something any parent will tell you is always welcome no matter how engaging the performances are.

And if that wasn’t enough to keep us entertained and engaged on all fronts, there were also some impressive circus elements too, which I suppose shouldn’t have come as too much of a surprise given director/producer Jon Conway was born into the circus. The aerial hoop and roller skate daring of Romy Bauer and Joe Hatton was graceful, exciting and impressive as was the aerial ropework of Buddy and his love interest Jovie, played by Kelly Banlaki – who also comes from a circus family.

All in all this show was a real crowd pleaser. True to the film, but incorporating some fantastic live elements, it was a mixture of musical, CGI, panto and circus, and a great way to get us in the mood for Christmas. In the much loved, often quoted words of elf-man Buddy, “the best way to spread Christmas cheer, is singing loud for all to hear.”

Elf The Musical is at The Palace Theatre, Manchester from 12-17 November 2024.

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We meet him as he joins a new school, shadowed by his imaginary friend, Captain Chatter – a superhero of his own creation. Chatting is his super-power because it is the one thing Sonny wishes he could do. He has become so isolated by his stammer that he would rather go hungry at lunchtime than have to tell a dinner lady what he wants to eat.

He communicates through hitting out, which is how he ends up sitting outside the deputy head’s office where he meets loud-mouth Roshi who has talk enough for the whole school. The pair, both misunderstood in different ways, form a comical and at times touching bond.

Wainwright, the no nonsense deputy head, recognises and reaches out to the misfit in them both through a series of fast-paced and at times emotive conversations. But just when it looks like there could be a breakthough for Sonny, the bombastic head teacher hands him his worst nightmare – a speaking part in the school production of Hamlet.

Will Captain Chatter come to the rescue? Not likely. This isn’t a comic book, even if the staging looks like one. Sonny will need to learn to get through school and life on his own – with a little help from his real friends, of course.

Ross Willis’ comic and sweary script captures the banter of the school yard and the attention of the largely young audience. Katie Sykes staging uses a static two-level set that keeps the action tight while bursting with colour. Director Sally Cookson keeps the pace fast, bringing the story to life in inventive and accessible ways, with live captions on a neon framed screen incorporated into the set.

The five-strong cast fizz with energy. Ciaran O’Breen as Captain Chatter impresses from the start with his dancing eye-brows. Jessica Murrain plays both the bullying, cat-loving head teacher as well as Sonny’s Mum, switching from almost pantomime villain screeching to heart-wrenching tenderness. Eva Scott brings both dry humour and warmth to disillusioned teacher, Wainwright. Hilson Agbangbe as Sonny and Naia Elliott-Spence as Roshi are both making their professional debuts in this production. Their performances are both lively and vulnerable, hitting the perfect note for this story.

There are some great comic moments, such as Roshi’s irreverent synopsis of Hamlet, and sadness too as Sonny reveals more about his life at home. But while this rollercoaster of a play doesn’t shy from some of life’s harsh realities, overall the experience is energising and uplifting. Teenagers and adults alike will love it.

Wonder Boy is at Lowry, Salford from 12-16 November 2024. Age Recommendation 12+

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Dodie Smith’s children’s book is most well-known for its Disney screen adaptations: the classic 1961 animation and 1996 live-action version starring Glenn Close as the most wicked of villains Cruella De Vil.

This musical stage adaptation by Zinnie Harrie takes the basic plot of the story and its colourful characters adding some modern twists and a whole new score by Douglas Hodge.

The show opens with a filthy dalmatian stray being taken into a dog’s home where a chorus of caged dogs of all shapes and sizes sing for someone, anyone to take them home.

Who with a heart could ignore their puppy dog eyes? Well certainly not the lovely dog warden Danielle (Jessie Elland – Emmerdale’s Chloe Harris). The poor dog’s smelly state earns him the name Pongo, but when a soapy bath reveals his beautiful spotted coat, Danielle is smitten.

One good turn deserves another, so Pongo decides it’s time to do some rescuing of kind but lonely Danielle. As luck would have it, he meets Perdi and Tom (Samuel Thomas) in the park. A few orchestrated twirls of the lead later and they are all wrapped up in love with a litter of puppies on the way. What could go wrong?

Enter Kym Marsh, setting out a stall to have pantomime companies fighting to cast her as their next and best villain. As fashionista Cruella De Vil, who will stop at nothing to get her unique coat of dalmatian puppy fur, Marsh strikes the perfect family balance between fearsome and funny. Her comic timing hits every time, making for genuine laugh out loud moments. Most importantly for a musical, Marsh, who started out in Popstars band Hear’say, can belt out an impressive tune. Being a new musical none of the songs are instantly familiar, but the live band and strong vocals makes for an enjoyable musical experience that carries the story along with all the fun of a litter of pups.

Charles Brunton and Danny Hendrix bring light-hearted foolery to Casper and Jasper, Cruella’s nephews and hapless accomplishes in crime. But the reason we care so much is because our hearts have been won by the tremendous puppetry that brings the dalmatian family to life.

Linford Johnson and Emma Thornett act, sing and control the puppet strings for Pongo and Perdi making us believe in their joyous, playful leaps as if we were watching real dogs on stage.

But what about the real dalmatian puppy you’ve seen with Kym Marsh in the pre-publicity images? Well, there may just be another surprise to up the feel-good ante.

Oh, my heart melts – take me home quickly to hug my dog.

Runaway Entertainment’s 101 Dalmatians The Musical is at The Palace Theatre, Manchester from 30 July to 10 August 2024 before continuing on its first UK tour.

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Since premiering at Sheffield Crucible in 2019, Lolita Chakrabarti’s stage adaptation of Yann Martel’s Man Booker prize winning novel has enchanted audiences and critics alike on both sides of the Atlantic, winning 5 Olivier Awards and 3 Tony Awards. How the creative team have achieved this is almost as magical as the story itself.

In a world of ever improving CGI graphics, fans of the book can readily understand the 2012 film version of Pi Patel’s fantastical sea adventure. But transferring this story to the stage feels like a feat that must be seen to be believed.

As improbable as it sounds, the stage version in many ways is more immersive than the film. Martel’s story takes us on a flight of imagination and theatre is the perfect medium to spark transformative thinking.

We first meet Pi Patel (Divesh Subaskaran) in a stark hospital setting, sparsely furnished with a single iron bed and hygiene sink. He is the sole survivor of a shipwreck and officials trying to piece together information about the disaster have arrived to question him.

So begins Pi’s amazing tale which starts at his family’s zoo in India – home to goats, hyenas, zebras, orangutangs and the latest addition, a Bengali Tiger called Richard Parker. It takes us to the bustling marketplace, where he shops for spices and engages in philosophical discussion with family, stall holders and leaders of different faiths. We see the family board a cargo ship, animals in tow, as they escape political unrest at home to set sail for a new life in Canada. We witness the disaster as water spills onto the deck and the animals escape their cages. And then it’s just a lifeboat set adrift under a star-filled sky with Pi and a handful of wild animals for company.

Director Max Webster injects a thrilling pace to the adventure while the creative team draw us in with stunning visual effects that mix physical scenery, film projections, immersive soundscapes and life-sized puppetry.

Subaskaran brings the perfect mix of innocence, wonder and courage to the role of Pi. Centre stage for the whole show his performance carries the emotional weight of the story with an understated narration that paradoxically amplifies the themes of loss and survival.

While Life of Pi is a show for the whole family, there is a reason the show carries an age guidance warning of 8 plus. The circle of life can be beautiful, but it can also be brutal, and the action doesn’t shy away from the darker sides of the story. We are left under no illusion that the tiger who stalks the stage can kill with one swing of his giant paw.

There are edge of the seat moments of great danger, moments of horror, and moments of stillness where, in an allegorical way, Pi wrestles not just with Richard Parker but with the deep philosophical questions of life and existence. He challenges the officials and the audience with his fantastical story. What do you believe? Believe the hype.

Life of Pi UK and Ireland tour is at The Lowry, Salford from 2-6 July 2024. Age guidance 8+ A European tour will follow the tour of the UK and Ireland and there are plans underway for a tour of Australia and Asia.

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The story and music will be familiar to many as it is based on the popular 1992 animated film, which was later adapted as a live-action screen version in 2019 starring Will Smith.

The stage version has been running on Broadway for 20 years and this current tour is the UK’s West End production. In addition to the classic songs from the film there are some new numbers, including the emotional ‘Proud of Your Boy’ with music by Alan Menken and lyrics by Howard Ashman, Tim Rice and Chad Beguelin. As you would expect from an entertainment giant like Disney, no expense has been spared in taking this show on the road. It fills every inch of the Palace’s Theatre stage with sparkling energy from the opening dance number to the glittering finale.

Bob Crowley showcases why he is a seven-time Tony-winning scenic designer with vibrant sets which pop with colour, transporting us to the mythical land of Agrabah with its bustling marketplace, opulent palaces, star-filled skies and magical caves decorated with gold. And to add to the magic, illusion designers, Jim Steinmeyer and Rob Lake have created some spectacular effects, including a quick turning, flying carpet.

While all that glitters isn’t gold, this production certainly is, with a terrific orchestra led by Dave Rose and solid performances all round. And once the genie is out of the bottle there is no turning back – we are all hooked under Yeukayi Ushe’s energetic spell. His big number ‘Friend Like Me’ is raucously joyful and even includes a clever Disney medley from Beauty and the Beast to the Little Mermaid that has everyone cheering at hearing their favourite Disney hits.

Gavin Adams makes an impressive stage debut as Aladdin, our likeable hero whose adventure takes him from street busker to mini-Indiana Jones; from master of the lamp to romantic lead. Adam Strong and his evil laugh is a towering presence as the scheming Jafar who makes for some great pantomime-style tension with his side-kick, Iago (Angelo Paragoso). While Desmonda Cathabel makes a sparky Princess Jasmine, who gives little girls a heroine with independence and attitude they can root for.

The choreography is slick and absorbing, with some comedy swash-buckling alongside the big-scale numbers. It’s a breathtaking ride of pure, family fun, escapism that will leave you singing all the way home.

Disney’s Aladdin is at The Palace Theatre, Manchester from 22 May to 7 July 2024.

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