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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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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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 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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Having taught herself to read as an infant, Matilda (Madison Davis) is leagues apart from the rest of her television-obsessed family. Mr Wormwood (Adam Stafford) is an engine-stuffing, motor meddling, Vinny Gambino-esque secondhand car dealer, and his wife Mrs Wormwood (Rebecca Thornhill) is just as eyebrow raising, if you don’t buy that she really is ‘just practising’ with her World Amateur Flamenco Competition partner Rudolpho (Ryan Lay) in the living room. Matilda’s brother Michael (Samuel Leon) is the supposed brains of the family – yes, he’s apparently got one. Somewhere.  

Life for Matilda goes impossibly further south after her parents enrol her in her new primary school, Crunchem Hall. A concrete jungle ruled over by an ex-Olympic hammer throwing champion, Agatha Trunchbull’s (Richard Hurst) reign of terror is defined by her motto BAMBINATUM EST MAGGITUM: children are maggots. Her hatred of children puts her at odds with reception teacher Miss Honey (Tessa Kadler), a woman forever trembling with her own self-doubt, whose insecurity belies a deep fascination with her strange new student. Miss Honey and Matilda have a lot to learn from each other – they may also have far more in common than they realise.  

‘Matilda: The Musical’ is indescribably brilliant. At just shy of two-and-a-half hours long, this performance would be a mean feat for any seasoned actor – let alone a cast dominated by children under 12, who share roles between shows. Sharp, assured, and yet deeply, shyly vulnerable, Madison Davis as this particular Matilda is everything every child imagines when growing up reading the original book. Bruce Bogtrotter (Brodie Robson) is a standout act for his lead in ‘Revolting Children’, and Sana Lennon as Lavender is a delight to watch skittering across the stage – an especially incredible debut for the only cast member without any formal theatre training.  

Miss Trunchbull is cocky, cruel, and hilariously, brilliantly camp from beginning to end, and Miss Honey quietly sneaks the audience’s hearts as she is forced to confront her own demons. Esther Niles as Mrs Phelps plays a much bigger role than in the original story, and is for a long time Matilda’s only support – a heartwarming watch, and comforting anchor in a story so chaotic from scene to scene.  

‘Matilda: The Musical’ makes interesting strays from the original book’s story, perhaps explained by Dennis Kelly’s screenwriting background in gritty dramas and surreal comedy. The biggest change is the decision to cut back on Matilda’s telekinetic powers, which she originally develops as a toddler because her brain is so large, it pushes the extra energy out of her eyes. Instead, much of the play is driven by Matilda’s dogged sense of justice, and her frustration at the state of her life – “Nobody but me is going to change my story,” after all. For a change so drastic, it is a shift that only sharpens the show’s edge: this is a Matilda that is entirely self-driven, and far more relatable than her aloof, superpowered inspiration. To see this tiny girl abused is a vastly more disturbing watch.  

However, with so much of the plot hinging on Matilda’s telekinesis, powers eventually do play a role in the second act – I only wish they had been introduced slightly earlier than the infamous newt scene. Shockingly for a performance already eclipsing the average theatre runtime, the show could benefit from an extra scene or two to fully flesh out this part of its story. Time may be well spent in the way it introduces characters, settings, and songs, but the introduction of her powers felt slightly out of left field: ‘Oh, so she does have powers in the end – wait, the show’s nearly over!’  

In all, ‘Matilda: The Musical’ is nothing short of out-of-this-world entertainment. This show embellishes an intergenerational classic with a surreal, dreamlike retelling, and is a fantastic showcase of the brilliance of the UK’s youngest theatrical talent. Brilliantly staged, beautifully scored, and with a blindingly talented cast both big and small, if you’re on the fence about tickets, treat yourself – sometimes you have to be a little bit naughty.  

Matilda the Musical is at The Palace Theatre Manchester from 26 March until 25 April 2026 before continuing on tour.

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“There’s a script?”

“Not tonight there’s not!”

Ladies and gentlemen, we hope you’re having a lovely evening – and if you’re not sharing a bed with your appropriately-aged best friend, how could you be? In celebration of the comedians’ 100th birthdays, the UK’s leading Morecambe and Wise tribute act has returned after a sellout tour in 2022. Now at Lowry, Salford for a limited-edition run, ‘Eric & Ern’ guarantees a night of love, sunshine and laughter for fans old and new alike.

After a sparkling debut at the Edinburgh Fringe (or technically, their five-minute skit at the Stage Golfing Society’s ‘70s Night in 2002), Jonty Stephens (Eric Morecambe) and Ian Ashpitel (Ernie Wise) have brought the UK’s greatest variety show back from the grave – and even brought in their own Eddie Braben-inspired jokes as a bonus. In a glittering new remaster, the 2026 tour spills over with treasures from the ice cream van, to Mr Memory (‘Arsenal!’), and more, all delivered with a fondness palpable from beginning to end.

“The diehard Morecambe and Wise fans, who grew up with Morecambe and Wise, all bring their children and grandchildren now,” Stephens remarked in a Quays Life interview earlier this month – and reader, include your reviewer in the latter category. At 22, I’m just past the vintage of the dynamic duo, but that doesn’t mean the joy of watching Morecambe play the ‘right keys in the wrong order’ was in any way diminished. Charming, innocent, with the odd poke at pettiness, my first impression of this Morecambe and Wise was somewhere near Bert and Ernie after a sherry too many – and I couldn’t have asked for a better introduction.

Stephens and Ashpitel are a delight to watch as they skip onto the stage, and are brilliant in their rosy revival of a bygone era of comedy. Childish, twitching, and unwavering in his commitment to jumping to the wrong conclusion, Stephens’ Morecambe is forever fizzing with nervous energy. Ashpitel’s Wise, meanwhile, remains the proud peacock of the pair, swanning under the spotlights with an unshakeable charm – which quickly goes down the pan at the slightest breath of wind towards his hairline. The new dynamic duo know their inspirations back-to-front and inside-out, and are uncanny in their apparent ability to read each other’s minds; no wonder an audience member asked if they were about to propose!

And like every great Morecambe and Wise act, there is – as ever – an unfortunate stooge to be used, abused, and bemused, and West End performer Olivia Fines fits the bill perfectly. Having performed “across the world, and in Stockport”, Fines’ brilliant vocals make her a class act on stage, as does her willingness to join in the fun of her hapless hosts. Her rendition of ‘Where are the Clowns’ is beautifully soulful – oh Olivia, if only you would just look behind you!

Stephens and Ashpitel’s ‘Eric & Ern’ is what you get when you put the souls of two old men inside two little boys inside two middle aged men with a dream. The jokes stack, the personalities rival, and the delightful charm of golden age comedy is beautifully revived.

‘Eric & Ern’ is a sprawling banquet of jokes both old and new, and leaves no stone unturned in its tribute to Britain’s greatest dynamic duo. “If you liked this show, we’ve been Morecambe and Wise – and if you haven’t, we’ve been Mike and Bernie Winters!”

We loved it!

Eric & Ern is at Lowry, Salford fro 22-28 March 2026.

Read our interview with stars Ian Ashpitel and Jonty Stephens.

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This two-hander from Jim Cartwright (whose Road is currently paying to rave reviews at the Royal Exchange in Manchester) is the perfect vehicle for Starke and White, who play not only landlord and landlady of the Shakespeare pub (what else, this is Shakespeare North) but an assortment of downbeat characters who stray in and out of the establishment. It takes more than simple actorly versatility to switch from character to character in a heartbeat, one minute you’re dusting down the bar and the next playing a Scouse Romeo eyeing the room for potential dates in his trackie. There is an intimacy that clearly comes from these two actors having worked together for years which elevates the show and gives it added warmth.

Starke and White begin and end the play on their own, starting out a bickering couple who can’t stand the sight of each other to a final, emotional reckoning in which they reveal it was once more than just the two of them. Theirs is an old-style pub whose time has come and gone but which serves to remind us that such places acted as repositories of human nature, for better or worse. There are plenty of laugh-out loud moments in the play, most notably when Starke appears in his ‘Scouse tuxedo’ and 80s mullet to woo the women in the audience with his wily ways, all the while being carefully watched over by his gullible girlfriend. But this is a play with serious intent and director Lisa Allen elicits a remarkable performance from Starke and White as a couple in an abusive relationship, which is very hard to watch. Starkie, throughout the night more often than not playing affable characters, delivers the role with unexpected menace.

Cartwright stuffs a lot into his little play: abandoned children, mental health patients lost in the community, lonely widowers living off memories and mild, a wife caring for her dementia-struck husband. His talent, and more particularly that of Starke and White, is in bringing them alive with such compassion and wit.

Two is at Shakespeare North Playhouse from 10 to 28 March 2026.

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Now a West End and Broadway hit with numerous awards, it is hard to imagine the musical’s humble beginnings in front of an audience of 80 in Lowry’s Aldridge Studio space.

SpitLip the talented company behind this inventive show rose up through Lowry’s Artist Development programme over a 10-year funding and mentorship scheme that included supporting other projects and co-commissioning Operation Mincemeat.

Before that, the four creatives behind the company – David Cumming, Felix Hagan, Natasha Hodgson and Zoë Roberts – cut their teeth performing sketch shows at the Edinburgh Fringe. And there is evidence of that background in the tight timing, high energy and carefully orchestrated chaos of Mincemeat.

The result is an exciting reinvention of the genre that will both delight musical lovers and win over those sceptics who say musicals are not for them.

Set in 1943, it is based on the bizarre true story of an MI5 mission to use a corpse as a decoy to fool Hitler and give allied troops a clear run into Sicily. It is one of those stories so strange you couldn’t make it up, and audiences will likely be familiar with it from the 2021 war drama starring Colin Firth.

Here the tale is told as a fast-paced, quick-witted comedy with five actors – Christian Andrews, Seán Carey, Charlotte Hanna-Williams, Holly Sumpton, Jamie-Rose Monk – taking on numerous gender-switching roles with lightening precision and clarity.  All the cast, except Monk, are reprising their roles performed in the West End and it is an exceptionally polished production with consistent high energy from the opening line to the curtain call.

It’s war time in a secret bunker, so the set is naturally pared back. However, Ben Stones seemingly simple set design, like the show itself, has more than a few surprises, with tongue-in-cheek nods to glitzier musicals, slick reveals and effective integration of Mark Henderson’s lighting design to evoke atmosphere without blinding.

There are some lovely harmonies in the music and some genuinely emotional moments that leave the audience spellbound. This fresh, clever, and funny musical is probably the best show you will see this year. It is certainly the best I’ve seen for a long time. Don’t miss it.

Operation Mincemeat is at Lowry, Salford from 16 to 28 February 2026. Age recommendation 5+

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