From Cinderella’s lively opening song about the theatre, the scene is firmly set in the city. And being the home of the nation’s favourite soap, we get a trip down the Corrie cobbles, with a sinister twist on the theme tune at the entrance of this year’s pantomime villains.

In Connor McIntyre, as Ugly Sister, Phelina, the Opera House pantomime may have bagged the biggest villain of them all. Known best as Coronation Street’s murdering, Pat Phelan, McIntyre’s towering presence is enough to scare the mums and dads, never mind the little ones. However, when paired with veteran entertainer, Les Dennis, his menace is tempered to pitch perfect. As my six-year-old theatre buddy shouted at the dastardly double act: ‘Boo, double boo (and to McIntyre’s Phelina) triple boo to you!’

Les Dennis, who started his career as a comedian, has a wonderful warmth on stage. As the villainous Michaela, we sense in another life she might be one of life’s good guys and is being reluctantly dragged along by her evil twin. Together the sisters are both hideous and hilarious, channeling Corrie’s Bet Lynch with their big hair and outrageous costumes.

But while the sisters may be the comedy queens of the show, the king’s crown goes to Rochdale comedian, Ben Nickless as Buttons. His dynamism fuels the whole show with laughter for all ages, bringing a host of famous faces to the party with his quick changing impressions.

For little-ones, Cinderella is the true star and Shannon Flynn’s princess builds instant rapport with the youngsters who recognise her from CBBC’s Friday Download and Shout Out Saturday.

Gareth Gates makes a sweet and unassuming Prince Charming, showing unexpected comedy talent in some of the show’s best slapstick moments. A real treat at the ball is hearing him sing the Righteous Brothers, Unchained Melody, with which he had a hit following his runner-up success in Pop Idol 2002.

Soul singer, Hayley-Ria Christian is another fine voice as Fairy Godmother sprinkling her magical fairy dust with every firework entrance, so everyone enjoys the ball.

And what a ball it is – the first act closes with Cinderella’s carriage, pulled by flying white horses, hovering high above the stalls. After that there’s still an hour of spectacle to go and I won’t spoil the surprise in Button’s parcel – enough to say it’s another treasure in this gift of a pantomime.

Cinderella is at The Opera House, Manchester from 8-30 December 2018.

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As if taking stage notes from one of the show’s more well-known numbers, Shaw keeps it happy, snappy and gay – it works a treat. His production grabs the audience by the funny bone and never lets go.

Even gags we’ve heard a million times before are welcomed as fresh, because when it comes to this kind of zany humour, it certainly is the way you tell ’em. And here the delivery comes with a huge dollop of physical silliness, at times so surreal it’s like watching a cartoon.

Max Bialystock and Leo Bloom are the hapless producers at the centre of the story. Well, Bialystock is a sleazy, failing, theatre producer and Bloom is his nervy accountant who, after hitting on a money-making scam, becomes enamoured with the idea of swapping his data-punching day job for the bright-lights of Broadway.

While working on the books, Bloom discovers it could be possible to make more money out of a flop than a hit. The plan is to produce a show so bad it closes after opening night leaving them with $1m of investors’ money to squander in Rio. So, Bialystock turns to his trusty investors – trading sexual favours for old widow’s cheques – and the pair set out to find the worst play ever written.

It’s more than 50 years since Mel Brooks told his story in an Oscar-winning screen play and the idea of a musical about Adolf Hitler is still in the worst possible taste. There is an irresistible edginess to the big number, ‘Springtime for Hitler’ – with all its sequins, tapping Jack boots, and giant swirling Swastika – that leaves you laughing in disbelief.

Julius D’Silva and Stuart Neal (bearing more than a slight resemblance to Matthew Broderick who created the role on Broadway) make a wonderful comedy pairing as Bialystock and Bloom. Despite his greasy comb-over and cardboard belt, D’Silva’s Bialystock is a likeable rogue.

When partnered with Neal’s constantly sweating and slightly slouched Bloom, we never believe they have enough wit between them to outsmart anyone – not even the old nymphomaniacs who Bialystock likes to think he’s charmed. And as for their new Swedish secretary, Ulla (Emily-Mae) she may be tidying-up the drooping roses but we sense she’s no fool. In Mae’s confident portrayal there is no #MeToo casting couch in this office.

While D’Silva and Neal’s manic energy drives the show, there is strong support from the rest of the cast, particularly Charles Brunton as cross-dressing director, Roger De Bris, whose comedy at times is so physically expressive he could be made of rubber. His flamboyant rendition of the narcissistic, ‘Heil Myself’ has the house in uproar.

Choreographer, Alistair David has done wonders to create a big musical feel in the intimate space of the Exchange’s in-the-round theatre. It’s outrageous, hilarious and ultimately harmless. And for Christmas, while it might not be a traditionally festive choice, this musical comedy provides some much needed fizz.

The Producers is at The Royal Exchange Theatre, Manchester from 30 November 2018 to 2 February 2019.

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