Shipwrecked and separated from her twin, Viola (a savvy performance from Hannah Ellis Ryan) washes ashore in Ilyria. Disguising herself as the suave Cesario, she enters the service of Count Orsino (Angela Heenan), who pines for the aloof Olivia (Jessica Mannion). But as Viola navigates tangled desires and mistaken identities, love blossoms in unexpected places.   

Hawkins and Crowther are clearly fans of Blackpool. Ilyria might be an island but here it’s one with its share of seaside tat, including vending carts selling oversized sunglasses, and cuddly toys. When Malvolio is imprisoned, it’s not in a dungeon but what appears to be an abandoned theme park. The boozy party atmosphere continues with the choice of music, mostly 90’s dance: Dee-Lite, Venga Boys, SNAP, N-Trance, and Alice Deejay (no Whigfield, sadly). The simple traffic light set up at the rear of the stage adds atmosphere during the musical numbers, expertly performed by Feste (Channique Sterling-Brown, who soap fans may recall as Dee Dee Bailey in Coronation Street). Hannah Bracegirdle’s inventive sound design adds another layer of detail, as does the work of movement director, Lisi Perry. Credit where its due, Act 2 opens with a choreographed, slow motion piece where the cast move through a series of stylized freezes, set to a Kelsey Lu cover of 10cc’s ‘I’m Not In Love.’ Genius.    

After Midsummer Night’s Dream, Twelfth Night is perhaps the bard’s most accessible work. Of course in Shakespeare’s day, all roles were played by men, so an all female cast is no big deal. Why do I even mention this? Those unfamiliar with the story might be confused by the fact some male characters – like Toby Belch – wear dresses. This is a minor quibble, hopefully one which doesn’t detract from the narrative arc. Belch (Beth Vyse) and Aguecheek (Kassie Jay Ellis) are a classic duo, a drunkard and a fop, who appear to care for nothing but their own pleasure. Carrying around her own Vodka optic, Vyse is hilarious, like an entertaining lush, convinced of her genius, and gamely stepping up to perform at a chaotic Wetherspoons’ talent night. These amusing grotesques threaten to hijack the production but are smartly counterbalanced by the calmer energies of Jessica Mannion, and especially Lucie Browne as Sebastian; the latter gives an effortlessly nuanced performance, one that hits every stress of the bard’s famed rhythmic language.

If there’s a flaw in Twelfth Night, it concerns the character of Malvolio, the Count’s steward, and whose only crime is being a pompous dullard. The prank letter sent by Belch, Aguecheek and Maria (Maya Dhokia) seems cruelly disproportionate. But Frankie Gold is so great in the role, we end up rooting for Malvolio rather than the plotters – particularly when she dons a ludicrous line dancing outfit as a love declaration to Olivia. Only a romantic fool would do such a thing, but as Duke Orsino says early on, uttering the play’s most famous line – ‘If music be the food of love, play on.’  Highly recommended.

Twelfth Night is at Hope Mill Theatre from 24 June to 5 July 2026 before touring to Rochdale Heywood Civic on 9 and 1 July and Lawrence Batley Theatre on 14 and 15 July. Age recommendation 14+

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There is a pantomime feel to this riotous new musical comedy, but this is just a nod to the many theatrical genres it both reveres and mocks in equal measure. Indeed, there are so many theatrical references it is hard to keep up – and whatever your tastes there is something in this expert mash-up of a show to keep you entertained. For musical fans, think ‘Schmigadoon!’ but 100 times better.

The bigger question is not why are they staging this show, but what took them so long?

‘Something Rotten’ has already been a runaway hit on Broadway, premiering in 2015 where it received 10 Tony Award nominations, including Best Musical. Yet aside from a concert version in 2023, this new production is the first time it has been staged in the UK.

Conceived by brothers Karey and Wayne Kirkpatrick it tells the story of Nick Bottom (Manford) and his younger brother Nigel (Cassius Hackforth) whose writing partnership is forever in the shadows of the rock star poet of their day, William Shakespeare.

Desperate for a winning idea to keep the debt collectors at bay Nick visits a soothsayer he believes to be Nostradamus to find out what Shakespeare’s next great hit will be so he can steal the idea. Nostradamus, a brilliantly eccentric performance from Cory English, turns out to be the famous astrologer’s nephew who foretells a confused future of musicals and omelette. You can imagine the madcap chaos that follows.

Actress and singer Marisha Wallace who performed in the Broadway production joins the cast as leading lady, Bea, wife of the hapless Nick. It is a powerhouse performance where her American accent becomes just another of the oddities of this version of Elizabethan England.

Hackforth brings a tender vulnerability to Nigel, while Manford is as warm and entertaining as ever.

Richard Fleeshman plays the Bard as a leather clad superstar of his day. Whatever your version of a rock and pop hero might be – Elvis, George Michael or Harry Styles – he channels them with confidence, charisma and a knowing wit. It is a phenomenal performance, putting Fleeshman at the top of his game.

The show runs in Manchester until 19 July. Catch it while you can.

Something Rotten is at the Opera House, Manchester from 16 June -19 July 2026.

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Fasten your seat belts because you’re in for a ride, with no let-up in this roller coaster of a two-hour show.

It opens on a scene reminiscent of ‘Grease’ – a stage full of muscly young men working on cars and girls in swinging circle skirts working the nearby bar. The familiarity of Bizet’s Carmen score, with additional orchestration by Terry Davies, immediately draws us into the life of small-town Harmony. Its vibrancy is matched by the energy of Bourne’s choreography. Everywhere you look there are pairs of dancers, each telling their own story of playful youth, seduction and lust. When in the first five minutes dancers strip off and head for a cold shower Bourne sends the audience a tongue-in-cheek knowing that this show too darn hot for its own good.

As you’ve probably guessed, this isn’t the Carmen opera in a dance form. Rather Bourne has taken the essence of the tale along with the music to create something new, but equally thrilling. Bourne’s new story takes the desire and violence of the original and layers it with the noir fatalism of James M. Cain’s novel ‘The Postman Always Rings Twice’, giving the piece a sticky inevitability.

Here the handsome drifter is Luca, an imposing and mysterious Will Bozier. He crackles with sexual energy attracting both men and women and destroying any chance Harmony had of living up to its name.

His first conquest is the beautiful and feisty Lana (Cordelia Braithwaite), a name that nods to Lana Turner who played Cora in the 1946 film version of Cain’s thriller.

Alan Vincent, who played Luca in the 2000 premiere returns now as garage owner and Lana’s abusive husband, Dino. He is a giant of a man and yet Bozier lifts him as if he weighs no more than a child.

The acting as well as the dancing from this cast is phenomenal as they draw us into their dark and complex world. Leonardo McCorkindale captures this to heartbreaking effect as young Angelo who is also captivated and seduced by this enigmatic stranger.

Betrayal and jealousy fire the story forward to its tragic end. It’s a scorcher of a show made for these hot summer nights.

Matthew Bourne’s The Car Man is at Lowry. Salford from 23-27 June 2026. Age recommendation 12+

Read our interiew with Matthew Bourne.

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In fact, the Foley Sound FX could really be viewed as extra members of the cast, called upon as they are to stand in for a variety of sonic deliveries during the show’s leap from scene to scene. 

The action takes place in a BBC radio in 1959, its cramped interior standing in for a murder mystery set in America’s rural heartland. Commentary of sorts comes from the studio gallery but otherwise Keirl and Babbage are left to follow the madcap plot with the sort of energy that could cut fuel bills instantly for the entire nation. 

Director Caroline Leslie has taken the bold step of seamlessly marrying sound and action so that the aural dimensions of the show are just as important as its visual ones. The move plays off handsomely and makes for memorable comic moments – and more than one audience intervention. 

Keirl has the most onerous task of the show in playing al 13 suspects for the murder of crime novelist Arthur Whitney, which includes his wife, a shrieking harridan channelling the spirit of Katherine Hepburn. Babbage takes the role of local cop Marcus Moscowicz who thinks this is the case which can make his name in the ranks of the police and impress his chief. Other characters include a German psychoanalyst modelling Freud’s persona, members of a boys’ choir, a French ballet dancer who pirouettes effortlessly round the stage, and a masters student whose dissertation is on – you’ve got it – unsolved murder mysteries. 

The musical numbers in the show zip along at a fantastic pace and Babbage and Kierl display amazing virtuosity in handling the piano and switchovers. The pace at which such numbers come along can make it has to keep up, but it’s all part of the fun of the show – it’s probably not meant to make sense, just to be thrillingly funny, which it succeeds in doing in spades. 

The show takes us back to the heydays of radio and studio sound effects and to corny Hollywood detective stories which make Columbo look like Dostoyevsky, and underpins the truism that with a little imagination and a lot of props a whole world can be created for an audience. 

Murder for Two is at Octagon Theatre, Bolton from 5 to 27 June 2026

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Thankfully, my estate was not as harsh and unforgiving as Paradise Heights, the creation of writer, actor, director, Joe O’Byrne. There are currently five episodes of O’Byrne’s series, ‘Tales from Paradise Heights’. One of them, ‘The Bench’, is playing in the studio theatre at Bolton’s Octagon.

On a simple set – a war memorial, a litter bin, and the eponymous bench – O’Byrne and the five other members of his troupe play out a series of scenes (some stand alone, some interlinked) which offer a satisfying range of characters, moods and emotions.

It is night. ‘Little Rabbit’ (Jeni Williams) sits alone on the bench. Underneath her dark raincoat, she wears only stockings and sexy red underwear. She is about to be subjected to a “surprise attack” by Mr Wolf (Peter Slater). Unfortunately, Mr Wolf can’t quite play his part well enough to arouse…well…his part, no matter how willing the spirit might be. Enter the hapless, homeless Eric (Joe O’Byrne). Can he really be Little Rabbit’s secret lover, now confronted by an irate Wolf? Might jealousy (even manufactured jealousy) prove to be the missing ingredient for Wolf and Rabbit?

And so, we’re off on a journey of discovery (or, for loyal followers of ‘Tales from Paradise Heights’, rediscovery) of the characters who populate this deprived locale.

Lennie (Peter Slater) and Archie (Hector Macduff) are two elderly veterans laying a wreath at the war memorial in honour of fallen comrades. They discuss Archie’s world war memorabilia, that he’s planning to sell (no doubt to make ends meet). It’s a low key, sobering tale of how a country can fall short in its duty to those who serve.

Unfortunately, the villainous and menacing Matty (Peter Slater), with assistance from his mouthy toy-boy Jake (Jack Vardy), plans to steal Archie’s treasures and sell them himself.

Meanwhile, the intimidating Matty is underpaying needy shoplifter, Gabrielle (Abbie Richardson) for a designer handbag she’s stolen to order. A talented but untutored artist, Gabrielle needs a champion. Could the doting Eric be hiding shining armour under his shabby overcoat?

Trainee angel, Corny (Hector Macduff) can’t quite let go of the place where he grew up. His mentor, Shirley (Abbie Richardson) seems to promise him a very particular kind of heaven, if only he can refrain from interfering and just be a watcher of the affairs of the living, as he’s meant to be.

Heavenly (though slightly naughty) angels or earthly devils, everybody knows well enough to give the psychotic gangster, Frank Morgan (Joe O’Byrne) a wide berth. Well, almost everybody. Kev (Hector Macduff) might be just out of prison, but seems to be too firmly in the grip of his despicable urges to avoid crossing paths with Frank. He might not live to regret it…

And so it goes; theft and threat, love and laughter. And violence, of course. There’s no lack of that on Paradise Heights.

O’Byrne’s skills in storytelling, dialogue and character offer his ensemble plenty to get their teeth into, and they don’t hold back. The pace is relentless without ever being frenetic. You’re not gripped by this story? Don’t fret. There’ll be another one along in a few minutes.

At two hours plus running time, ‘The Bench’ certainly gives value for money. The moods swing from funny to romantic, to pitiable, to coldhearted and downright terrifying. You will surely have your own favourite scene.

Mine is the first encounter between nervous, chirpy street sweeper, Colin (Peter Slater) and the fragile Janice (still grieving for, and indeed talking to, her late husband, Barry). Colin and Janice flirt via corny/clever jokes about ice cream and brushes. Slater and Williams lap up the dialogue and each plays off the other with relish and skill. Together they create one of the most witty, charming and moving love scenes I have ever seen on stage.

Judging by the closing ovation, I think it’s safe to say a good time was had by all.

The Bench: A Tale from Paradise Heights is at the Octagon Theatre Bolton from 28-30 May 2026

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But don’t let Jenna’s sweet singing, about her mum’s homemade deep-dish pie, fool you into thinking this musical is no more than another saccharine soaked tale.

There is much more to this young waitress from small town USA than meets the eye. And who could be better to take us on this journey for the show’s 10^th anniversary production than Carrie Hope Fletcher.

Fletcher is something of a modern-day phenomenon – a top-quality musical actress; a Grammy nominated singer, an author of both adult and children’s books, and (according to the Sunday Times) one of the UK’s top 100 social media influencers. The love for her in the auditorium is tangible and I’ve never seen so many people waiting outside the stage door for autographs as I did after the show on Tuesday night. Whatever part of her multi-faceted career this following is coming from, her sensational performance as Jenna cements her top billing and guarantees she’ll leave the run with an even bigger fan base.

The other recognisable name on the posters is Les Dennis, taking on the role of Old Joe who owns the diner where Jenna works. Dennis in his one big solo number doesn’t even pretend to be a singer yet still manages to make it a showstopper. What he lacks vocally he more than makes up for with his well-honed comic timing and the ability to draw the audience in to the heart of a character and make us care.

There are other acutely drawn performances from Mark Willshire as Jenna’s abusive and self-absorbed husband, Earl; as well as from Sandra Marvin and Evelyn Hoskins as Jenna’s friends and work mates Becky and Dawn.

Now I’ve already warned the ingredients of this musical aren’t all sweet and there is a pile of inappropriate relationships thrown in that will leave you cringing. But on the whole it is an uplifting mix with a sprinking of spice to give it an unexpected and memorable kick.

Waitress is at the Palace Theatre, Manchester from 26-30 May 2026 before carrying on its UK 10th anniversary tour.

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Rory Mullarkey explores what it means to be a Mancunian past and present in his panoramic survey of who we are, our roots and the 1996 IRA bomb which became the turning point for Manchester to reinvent itself.

The play opens in Angel Meadow on St Michael’s Flags in the 19^th century, with Irishwoman Annie Donovan swearing to revenge death on the person who killed her pig – also called Annie. Played by Elaine Cassidy with bulldozer energy, Annie strides across filth-ridden Angel Meadow and its salubrious characters without so much as a look-back. Everyone in the city is caught up in the grimy swirl of the industrial revolution, none more so than the Irish immigrant population filling up Manchester’s underclass.

Mullarkey then swiftly transposes us to 1996 and a sweltering hot day in June. Market Street is awash with the usual baggage of shoppers and characters flit on and off the stage, some in less than a few seconds. Some roller skate, some push prams, some stroll uncertainly after one too many. But they all make up the fabric of this indomitable city.

We are given vignettes of city centre life on that fateful Saturday: a husband and wife shop for clothes; a young boy undergoes a viola exam at Chethams; people queue to make phone calls from a BT box (remember them?); bored teenagers hang around looking moody.

This tableau of life is narrated by Jenny (Katherine Pearce) as the mood suddenly turns darker: a police cordon is put in place, Corporation Street is inaccessible, no one knows what’s going on as the heat only intensifies. Until, that is, an earth-shattering boom rings out and clouds of dust rain down on everyone. In one unforgettable moment a pregnant woman is lifted 10 feet in the air after taking the full force of the bomb blast. It is a moment of shock and silence in the theatre.

The production is funny and fast-paced. A runner down the centre of the stage ingeniously allows for dining tables and cars to be propelled across it, and at one stage a woman traverses the stage in nothing more than a swimsuit. A huge community cast adds to the authenticity of the production.

The play ends on a sombre note, with Cassidy and Pearce inhabiting two characters who chance upon in each other in Angel Meadow Park in the present day. Anti-Irish sentiment and the conversion of the city from the site of industrial warehouses to plush residential warehouse lettings gradually give way to a moving meditation on the tragedy of loss – and survival.

The production brilliantly captures the madcap spirit of Manchester and its refusal to kowtow to bombs, bigotry or bombast.

The world premiere of Even These Things is at the Royal Exchange Theatre, Manchester from 15 May to 15 June 2026.

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We remember the music too. Joe Esposito’s uplifting ‘You’re the Best Around’ from the original soundtrack and Peter Cetera’s power ballad ‘Glory of Love’ from the sequel.

So, it’s understandable as a huge fan of the movie there is some initial scepticism on it being turned into a stage musical, especially one without its most memorable hits.

The musical premiered in St Louis, USA in 2022 and after success over the Atlantic it is now at The Palace Theatre on its first UK tour. Given my hesitation, the question wasn’t so much is there an audience for it – the 2010 remake starring Jackie Chan, and the more recent Netflix series (2018-2025) ‘Cobra Kai’ has kept interest going. And this was seen immediately in the wide range of ages watching at The Palace Theatre, from little kids to original 80s fans. My worry was more about what were they going to do with this story as a musical?

Well, the good news is, it’s not a comedy spoof. The story is played straight, and its central message of peace, balance and respect is as relevant today as it ever was.

The original music by Drew Gasparini has a ‘High School Musical’ feel and adds to the emotional intensity of the show, while the choreography by Keone and Mari Madrid makes impressive use of the fluidity in martial art katas.

At the centre of the story is Daniel LaRusso, a teenager from New Jersey who finds himself as an easy target for school bullies being the new kid in town. After one such encounter leaves his bicycle all smashed, the kind actions of maintenance man Mr Miyagi to get it back on the road leads to an unlikely friendship and LaRusso’s introduction to the art of karate.

Gino Ochello makes a remarkably confident stage debut as LaRusso bringing the audience with him on this rollercoaster with a carefully played mix of vulnerability, charm and strength. There is a sense of genuine connection in his relationship with Miyagi (Adrian Pang) that brings out the fun of their friendship. Pang’s comedy timing adds energy that keeps the scenes bouncing along. The wax on wax off sequence is just as memorable here as in the film.

There are strong performances all round, particularly from Joe Simmons who brings complexity as well as menace to bully Johnny Lawrence.

Even though we all know the ending, that final crane kick is still stunning. On screen or stage ‘The Karate Kid’ is a real crowd pleaser.

The Karate Kid the Musical is at The Palace Theatre Manchester from 13-23 May 2026, before continuing on tour.

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The Burnley businessman’s quest to open the first high street bank in 150 years has already been told as a book, a documentary and a hit Netflix film starring Rory Kinnear.

So, naturally there is much anticipation for its transfer to the stage as a musical. And the fanfare begins even before curtain-up at Lowry for its world premiere, as the man himself, Dave Fishwick arrives in his trademark white van with a Lancashire brass band.

Lowry is one of the funders and producers of this new musical alongside ROYO, Future Artists Entertainment, and Curve Leicester. There is a sense even before it starts that everyone is rooting for this home-grown musical to succeed. It is the David and Goliath feel-good tale that everyone needs right now. It feels worth the ticket price alone just to soak up these good vibes.

What we love about Fishwick is that he is fun, honest, big-hearted and a bit rough around the edges. This musical embodies that in its authenticity and tongue-in-cheek spoof numbers that see the bankers switch to Broadway slick choreography, flanked by a chorus of dancing pigs.

If you have seen the global hit musical Come From Away, this has the same feel, with a strong ensemble cast doubling roles, soaring chorus melodies and a large open stage that draws focus on the well-drawn characters.

Amy Jane Cook’s expansive set is largely static with towering mill chimneys and a Rover’s Return style local pub. But it feels like it is constantly moving with wrap around projections and director Nickolai Foster’s fast-paced action.

Rob Madge’s book and lyrics are full of wit and cheeky northern humour, brought to life with vigour and warmth by a terrific cast led by Sam Lupton as Fishwick. Lupton captures Fishwick’s determination and it would be hard not to get swept away by the passion of his plight.

There are some extra revelations in the musical too that the film glosses over, which add to the overall gutsy punch of this staging. It’s another triumphant success for this universally uplifting story.

Bank of Dave the Musical is at Lowry, Salford from 6-16 May before moving to Curve Leicester from 20-30 May 2026.

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The pair are stuck in a doom loop of waiting for you-know-who and wile away their time in petty bickering and philosophical musings. The scarred landscape (Beckett modelled it on Roussillon where he holed up during the Nazi occupation of France) is served in the production by the ragged placement of car seats acting as respite against the elements, the ground speckled with dirt. The lighting in particular deserves special mention for the soft hues it throws onto the stage, suggesting hope for when a new day eventually dawns.

Kelly and Costigan are a joy to watch, their dependency on each other as sad and wistful as it is necessary. The finish each other’s sentences, grimace and groan in unison, embrace and withdraw just as sharply, and take delight in each other’s misery. A true friendship then. Costigan gives us a Vladimir to remember, by turns hopeful and disdainful, his Salford accent providing a caustic edge to the character’s ruminations on life and death. Kelly is the more morose of the two, employing lugubrious facial expressions to convey the depths of his despair, the perfect foil to Costigan’s optimism.

But this is not just a two-hander: there are notable performances from Gbolohan Obisesan as slaver driver Pozzo and Michael Hodgson as the unlucky Lucky. Obisesan enters the stage with Lucky on a leash looking like a cross between a warlord and a rapper and delivers what can only be described as masterful portrayal of this enigmatic character. It is Hodgson, however, who deserves – and gets – most credit as the put-upon Lucky. He is bloodied from rope round his neck and infected with pus but retains a vital spark of humanity. When he is told by Pozzo to ‘think, pig’, Hodgson had the audience spellbound with his difficult monologue and was rewarded with a just round of applause.

The play is a treatise on the human condition and the monotony of life – ‘habit is a great deadener’, Valdimir reminds us – but what it shows most clearly is that out of boredom and waiting comes humour (it’s easy sometimes to forget how funny the play is), friendship, and entertaining diversions.  While waiting on the road we never quite know who may turn up, even if it’s not the person we’ve been waiting for all along. Having miserably failed to hang themselves, Kelly and Costigan stand motionless in indecision unsure whether to stay or go, an apt metaphor for the human condition.

A must-see show.

Waiting for Godot is at The Octagon Theatre, Bolton from 15 April to 2 May 2026.

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