Since its world premiere in 2017 the show, by The Old Vic’s Artistic Director Matthew Warchus, has been seen by almost a million people in London, America and Australia, and across the globe as part of OLD VIC: IN CAMERA in 2020. But this is the first time UK audiences will have had a chance to see it outside London, where it will also run for its tenth consecutive year at The Old Vic.

“To now be able to share the joy of this production with the Lowry and its audiences makes this year a truly special one,” says director Matthew  Warchus. “I am immensely proud of the impact it continues to have on audiences – whether it be their first time seeing the show or one visit of many”.

This production sees Charles Dickens’ famous tale of Ebenezeer Scrooge, adapted for the stage by Jack Thorne (His Dark Materials, Harry Potter and The Cursed Child), and audiences can expect a big-hearted show full of music and festive cheer.

“We know North West audiences are in for something very special this festive season and everyone at the Lowry is delighted to be welcoming the show to Salford and presenting it on our Lyric stage,” says Lowry’s Chief Executive, Julia Fawcett.  “It’s the first time the show will have been presented in the UK outside of London – a real landmark moment for theatre in the region. We’re absolutely thrilled to be working with The Old Vic – one of the UK’s leading theatres – to present their landmark production of A Christmas Carol – one of the most exciting, joyous and moving Christmas productions you’ll ever see”.

Matthew Warchus’ ‘A Christmas Carol’ comes to Lowry, Salford from 11 December 2026 to 10 January 2027.

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Taking on the iconic role of the titular crime-solver in ‘Inspector Morse: House of Ghosts’, Tom Chambers admits to being daunted at the prospect of following in the footsteps of John Thaw from the much-loved TV series. “But it’s a thrilling challenge,” he smiles, “and it’s a delicious treat for anyone who is a fan of Morse, like I was and indeed have been throughout the decades.”

For most theatregoers ‘House of Ghosts’will be a brand-new story full of surprising twists and turns. It was written in 2010 by Alma Cullen, who (along with Anthony Minghella and Danny Boyle) was one of the original writers on the ‘Inspector Morse’ TV show when it premiered in 1987. Cullen’s play enjoyed a small tour and a Radio 4 broadcast, but the UK tour marks the first major production of the first-ever Morse story on stage.

Reunited with director Anthony Banks after ‘Dial M for Murder’, Chambers says: “Morse is such a fantastic brand and we’re both really excited about the fact that the audience is going to see something that the vast majority of them won’t have seen before. And given that Alma was one of the original writers, he’s very much the Inspector Morse that we know and love.”

The ITV show has been hailed by Radio Times as the greatest British crime series of all time and it inspired the equally beloved spin-offs ‘Lewis’ and ‘Endeavour’. In ‘House of Ghosts’ a chilling mystery unfolds when a young actress suddenly dies on stage during a performance and Detective Chief Inspector Morse and his sidekick DS Lewis are called in to investigate, as what begins as a suspicious death inquiry takes a darker turn when they uncover a connection to sinister events in Morse’s own past at Oxford 25 years earlier.      

As for why he’s both thrilled and daunted about heading the cast for the tour, Tom says: “The thrill for me is in the dialogue and the writing, the camaraderie between Morse and Lewis and their relationship – where you have that classic thing of him putting Lewis down but with a sense of irony or jest and sometimes despair.

“So it’s great fun but daunting too, because you know that an audience is going to want to see something in the style of what they’ve seen before. They don’t want to see something that’s completely, shockingly unexpected, although there’s a different kind of energy to the setting because we’re back in 1987 where there are no mobile phones and it’s all analogue.”

Born in Derbyshire, the actor attended the National Youth Music Theatre, studied at the Guildford School of Acting and came to fame as Sam Strachan on ‘Holby City’. His theatre credits include the musicals ‘Top Hat’ and ‘Crazy for You’, as well as the thrillers ‘Murder in the Dark’ and the aforementioned ‘Dial M for Murder’.

Asked why he feels murder mysteries are so popular, especially on stage, Tom muses: “We are curious creatures, aren’t we? We like a puzzle, we like a challenge and the stimulation that goes with it. And in the theatre, of course, everyone is in the same space, in the dark, watching the mystery unfold on stage.”

Now 48, Tom adds with a smile: “I’m not necessarily someone who’s really modern and really cool, and I think Morse is like that too. He’s not necessarily chivalrous, because he can be quite hard at times; he can harsh, very black and white and very honest. He says it how it is, but he does have a sort of gentlemanly manner about him. I like playing that and exploring it.”

Tachia Newall plays Detective Sergeant Lewis and says of the character: “He’s pretty down-to-earth and hard-working. He loves his family and he’s usually thinking about getting home to his wife and kids, but he also wants to get to the bottom of the mystery.”

Is Tachia anything like that? He laughs: “I’m probably quite different because I wouldn’t say that I’m relatively chill. I’m down-to-earth, but I’m a little bit nutty. People will tell you that I’m very excitable.”

The banter between the characters is fun to play. “Lewis is really loyal to Morse and Morse in turn respects his views, even if he gets exasperated by him at times. Morse is from quite an educated background, while Lewis’s accent leads people to believe he’s not that well-educated by comparison.”

Born in Manchester, Tachia grew up watching ‘Inspector Morse’ on TV but is avoiding rewatching episodes now. “With most acting jobs that I do, if there’s been a previous iteration then I tend to stay clear of it until the job’s finished, just because I don’t want to try and emulate anything that’s been done before.”

Best known as Bolton Smilie from ‘Waterloo Road’, Newall is pleased to be reunited with Tom. Their paths crossed when Chambers did a stint on the show in 2009. “I hadn’t seen him since, so it’s good to be back in the room with him. He’s a cracking lad and he’s not changed at all. He’s still got that playful bounce about him.”

Tachia’s theatre credits include ‘Macbeth,’ so is ‘House of Ghosts’ a doddle compared to doing Shakespeare? He laughs. “I wouldn’t say it’s a doddle! This is a complex show, with complex timelines. It’s maybe easier emotionally for me, but it’s still challenging. And I just love being on the stage. With theatre, it changes every night. Just having a live audience in front of you, it brings you to life because anything can go wrong and you’ve got to be on your toes. You’ve got to be able to bring it back around.”

Murder mysteries are popular, he feels, because: “They’re such an escape from everyday life and you get to unpick things. You get to go on this journey with the protagonists, and you get to go ‘So they did it? Amazing!’.”

As for whether he’s make a good DS in real life, Tachia reckons: “Probably not. I think frustration might get the better of me. If I hit a brick wall, I might find it difficult to jump outside the box and view things from a different angle.”

Having helmed ‘Dial M for Murder’ as well as ‘The Girl on the Train’, ‘Gaslight’ and ‘Strangers on a Train’, director Anthony Banks is well-versed in stage thrillers. Summing up the appeal of Morse and Lewis in ‘House of Ghosts’, he says: “They are ordinary people who, by chance or by accident, have found themselves in these jobs as policemen working for Thames Valley police. They’re told to follow the rules, but people love them because they are messy, accident-prone individuals who are just doing a job. They’re not superheroes.

“There are various little asides where they kind of go ‘You know, we could be doing something else’ but I think that’s why people like them so much – because they recognise their faults and they are modest, and they don’t seek approval in the way that some heroes in fiction do.”

When Anthony read Cullen’s play his first thought was that, having worked with Tom on ‘Dial M for Murder’, he’d be the perfect actor to play Morse. “John Thaw is from Manchester and Tom is from the North, so there was that connection, plus he’s around the same age that John was when he started the TV series. Tom has a presence on stage that the audience warms to.”

Then there’s Tachia, about whom the director says: “I met him and immediately thought ‘I’ve found my Lewis’. He’s Mancunian, so he brings a very fresh sound to the character in a slightly working-class and very on-the-nose, straight-down-the-lens kind of way.”

Cullen’s play is interesting, he continues, because: “It’s a feminist piece of writing. Wherever possible she brings into focus what professional life was like for women in Oxford in the 1980s. Very few women held the position of head of department or professor or chair even. These were very changing times and Margaret Thatcher was running the country, but there was a massive amount of work to be done in terms of equality between the sexes. Unfortunately I think there’s still so much work left to be done on that front.”

As to why he feels it’s timely to stage the play now, Banks recalls gifting his father a book about the making of the TV series back in the 80s, in which the author of the Morse books Colin Dexter talked how the world had gone sour, people were going from one crisis to another and the Inspector was just trying to make things a little better.

That memory prompted his decision to revive a play that is set in 1987 and was first performed 15 years ago. “Now here we are, the world has gone a little sour again, we do seem to be moving from one crisis to another, and here’s this guy who wants to make things better. That struck me as a story that audiences would enjoy today.”

Inspector Morse: House of Ghosts is at Lowry, Salford from 7-11 April 2026.

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The curtain rises on his bloated corpse, washed up on the shore, half-clothed and tangled in fishing net. There is no orchestral overture. Instead, the audience sit in silence taking in the brutality of the scene before the music interrupts like a crashing wave. The chorus quickly assembly a courtroom made of driftwood, and we are taken back in time to watch Grimes give witness testimony at the inquest of his young apprentice, lost at sea.

This revival of director Phyllida Lloyd’s 2006 award-winning production has been co-directed by Karolina Sofulak and Tim Claydon, maintaining all the cinematic intensity of Lloyd’s original vision.

Visually there are some impressive elements, including rabble-rousing, flame-wielding crowds and an all-encompassing fishing net that fills Lowry’s lyric stage. However, on the whole Anthony Ward’s set is largely bare, with grey backdrops that appear to go on forever, evoking a sense of the deep vastness of the sea.

This sense of deep and at times violent movement is mirrored by Britten’s atmospheric score, and conductor Garry Walker leads the Opera North orchestra in a terrific upswell of music that leaves us feeling we are caught up in the ebbs and flows of the tide.

There is wonderful characterisation throughout by a talented team of principals, ensemble and chorus, led by tenor John Findon as Grimes. His performance draws us into the complexity of this character, almost a child in a huge man’s body who is obsessed with the sea and liable to uncontrolled outbursts of frustration. Even at his most violent Findon finds the humanity in this outsider who is both vulnerable and abusive. The tenderness of his vocals in the arias is spellbinding.

Grimes is a powerful, triumphant revival. The stunned silence of the audience before the eruption of applause is testament to the depth of emotions this production reaches.

Peter Grimes is at Lowry, Salford on 13 March 2026.

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Even if it is your first time at the opera, The Marriage of Figaro will be familiar from the very start. Mozart’s opening overture, sometimes known as the ‘unofficial wedding march,’ is instantly recognisable. The story is also an easy way in. It is a comedy of the silliest kind; often farcical with people dressing in ridiculous disguises, hiding in cupboards and escaping through windows.

It is based on Beaumarchais 1778 play, scandalous at the time for its mocking of the upper classes and their entitled ways. Fast forward to 2026 and this new production from director Louisa Muller, set in contemporary England, arrives against a background of the Epstein files which are revealing a seedy world of rich and famous men using and abusing young women for their own entertainment.

This opera being a comedy, here the tone is kept light, with the philandering Count Almaviva (James Newby) attempting to seduce young Susanna (Claire Lees), one of his house staff who is soon to be married to Figaro (Liam James Karai) and being foiled at every turn by his staff’s cunning wit.

Susanna makes an allegiance with the Countess (Gabriella Reyes) to play the Count at his own game, until he is forced to see the folly of his ways. Several amusing sub-plots add to the drama, while the chorus enter and exit the stage in various guises such as tourists wandering through the house and wedding guests.

While on the surface this might all sound a bit thin for a 3 hour plus show, there are no dips in this fast-paced, superbly sung production. Madeleine Boyd’s impressive set immerses us in the sprawling spaces of a country mansion that, like it’s owner, is in need of some updating.

There is some wonderful ensemble singing as well as showstopping arias from the two principal sopranos all underpinned by the energy of the Orchestra of Opera North conducted by Valentine Peleggi.

The strong female hands on all elements of this production give us a fun and fresh look at this centuries old tale, adding a teaser at the end where we see the Countess recognising she can stand on her own so another time, if he doesn’t change his ways, the Count might not be so lucky.  

 The Marriage of Figaro is at Lowry Salford on 12 and 14 March 2026.                           

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Four years on, and this revival is firing on all cylinders, giving both the company and the audience the performance it deserves.

In the programme notes Acosta describes Don Quixote as “a ballet for virtuosos”. It is technically challenging as well as requiring strong acting and comic timing from its dancers.

For the audience, however, it is pure escapism, like riding the breeze of a spring morning.

In this sense it is a fantastic entry ballet because it is a straightforward story with terrific classic dance. And this lavish production gives us everything we could ask for – a wonderful live orchestra, colourful sets with some lovely flower arches, dazzling costumes and outstanding dance.

Acosta’s production emphasises the Spanish roots of the story, so we see bustling village scenes, fiery flamenco, caped matadors and live acoustic guitarists on stage among the dancers. Dream sequences provide a space for a wonderful showcase of sparkling tutus from the corp. And, of course, the spectacular solos and pas de deux full of fun, romance and energetic air-splits and high kicks.

Cervantes’ famous knight, Don Quixote, here danced with wit and presence by Dominic Antonucci, may be the title character, but it is the young lovers, Kitri (Beatrice Parma) and Basilio (Enrique Bejarano Vidal) who capture our hearts.

The whole performance feels like a celebration of youth, as we admire not simply the technical skill on display but the stamina to keep this high energy going for a three hour show.

Under Thomas Jung’s baton the Royal Ballet Sinfonia keep Minkus’ score bouncing along with the joy of a child’s skip. It’s an uplifting evening of some of the best classical dance that will no doubt delight seasoned ballet fans and newcomers alike.

Carlos Acosta’s Don Quixote is at Lowry, Salford from 5-7 March 2026.

Read our interview with Carlos Acosta

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Indeed, if we didn’t know the same performers had recently opened a much more lavish, circus-themed staging at London’s Coliseum Theatre it wouldn’t feel like Manchester was getting second best in this dual-centre partnership.

That is something for the company to consider if it wants Manchester audiences to warm to it before ENO sets up a permanent base here in 2029.

That said, if we are going to believe two women don’t recognise their fiancés because they’re wearing different jackets and false moustaches, we don’t need fancy staging to be drawn into this farcical world.

Ruth Knight’s semi-staging puts ENO’s orchestra, so central to the enjoyment of the production, in clear view rather than hidden in the pit. Conductor Alexander Joel leads the orchestra from the same level as the singers, with ENO’s chorus coming in and out of the choir circle above, rather than joining the singers on the stage.

 It is performed in English with surtitles above the stage and the flimsy, comical story makes it easy to follow and accessible for audiences new to the genre.

The title Cosi fan tutte (women are all the same) is problematic if taken seriously. However, this 18^th century satire on love, lust and young romance is so extreme and preposterous that it pricks any bubble of seriousness or pomposity we might feel. There is also a flip at the end with tutte becoming tutti – so the men are equally satarised, if not more so, when they realise they’re not as in control of their childish scheming as they first thought.

Leaving us in no doubt of the tongue-in-cheek mischief in which we are to view this story is Irish soprano, Ailish Tynan, a whirlwind of energy as chambermaid Despina. Singing in a range of accents including her native Irish and broad Texan, her comic timing is impeccable and serves to add light to the darker meddling of Don Alfonso (Wigan-born bass baritone Andrew Foster-Williams).

The two naïve couples are sung by soprano Lucy Crowe and mezzo-soprano Taylor Raven as sisters Fiordiligi and Dorabella, British-American tenor, Joshua Blue as Ferrando and Indian baritone Darwin Prakash as Guglielmo. All singers are outstanding talents, with Crowe especially delighting the audience with the pureness of her vocals performing aria ‘per pieta’ from the choir seats above the orchestra.

In all, it is a world of silly escapism with world class singers and orchestra that doesn’t need to be juggled with circus tricks to keep us entertained.

Cosi Fan Tutte is at the Bridgewater Hall on 27 and 28 February 2026.

Under 21s can get free opera tickets to all ENO performances at the London Coliseum and at partnering venues in Greater Manchester.

Feature image: Lucy Crowe, Ailish Tynan, Taylor Raven, ENO’s Cosi fan tutte 2026, The Bridgewater Hall © Matthew Johnson Photographer

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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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The play is also celebrating an anniversary. It is 40 years since audiences were first introduced to the inhabitants of this road in Lancashire described as ‘at the end of the slag heap’. And that is how life feels for these characters in 1986, living at the hard end of Thatcher’s Britain.

The play is written as a series of vignettes, with the audience getting a glimpse inside the houses and the lives of the people behind each door. Aside from the location the one thread holding it together is Scullery, a part which feels like it could have been written for Johnny Vegas.

Scullery acts as a narrator, linking the stories and sometimes drawing us further in by filming actors’ monologues with a hand-held video camera, whose faces are projected onto a series of old, square TVs strewn from the ceiling. He is an amicable drunk, who swigs spirits straight from the bottle and looks like he hasn’t washed in a very long time.

There are many similarities to his rambling stand-up character as he breaks the third wall and talks to the audience, acknowledging them as visitors to his street for the night.
There is real potential for more energy in the banter here, something Vegas usually excels at. Here he appears constrained, perhaps more by the direction than the dialogue. Whatever it is, it is a shame because this play desperately needs to squeeze out every inch of humour as the core of it is so dark and sadly piercingly relevant today. As we watch two young people on stage literally starved of hope and life it feels a bit too close for comfort, when just this week new figures showed huge increases in Britain’s unemployment, with one in 6 young people unable to find a job and many economically inactive due to poor mental health.

Director Selina Cartmell and designer Leslie Travers clearly want us to make these comparisons by turning the play into an immersive and intense experience that starts from the moment you walk in off the street. For 15 minutes before the show and all throughout the interval the actors mingle among the crowd or act out small scenes, for example you might see Lesley Joseph pushing a rickety supermarket trolley full of old junk as one character or selling chips from a stall as another. There is a lot going on, taking up the whole foyer space, the Studio theatre space and the bar areas.

Once inside the module of the seated theatre the mood feels dystopian. Several TVs hang from the ceiling with a myriad of straggling wires. They are used for flashes of nostalgic 80s TV shows like Dukes of Hazard and 3,2,1, as well as magnifiying the emotions of individual actors, and a pre-recorded scene with Sir Tom Courtenay, who performed in the opening production at the theatre half a century ago. It works most of the time, although for those in the first and second gallery there are moments when the action is completely obscured by this hanging set.

The high-calibre cast is no doubt a big draw for this production. Lucy Beaumont and Shobna Gulati are the other two big name castings, although their roles are no more substantial than the other actors in what is effectively an ensemble piece. There are 13 actors on stage, all apart from Vegas playing multiple roles. Hearing chat afterwards this caused confusion for some audience members. Aside from Gulati, who had very distinct changes, the other characters were not as clearly differentiated, leaving some wondering if they were watching the same character in a different setting.

In all it is a difficult watch, but there is much hope to be taken from a full, buzzing audience talking about their experience.

Road is at The Royal Exchange Theatre, Manchester from 13 February to 14 March 2026. Age guidance 14+

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This new tour from Bill Kenwright Ltd brings the Watermill Theatre’s 2024 production to a nationwide audience, with West End star, Lee Mead as 19^th century circus impresario Phineas Taylor (P.T.) Barnum.

The Watermill, of course, is a much smaller venue than Manchester’s Palace Theatre, so the Kenwright company has its work cut out to fill the stage with the same buzz of a bustling circus ring.

In recent years the musical has been superseded by ‘The Greatest Showman’ film starring Hugh Jackman. But since that hasn’t been produced as a live show yet, for fans of the story, there is still plenty to enjoy here, even if you don’t know all the tunes to sing-a-long.

‘Come Follow the Band’, by CY Coleman ad Michael Stewart, is probably the most well-known song from the show. It is perfectly apt for this production that fills the stage with a large ensemble of actor musicians playing 150 instruments.

There are also fabulous puppeteers bringing us a life-sized elephant, awe-inspiring aerial acts, acrobatics, fire eaters and contortionists. At one point a circus performer accurately fires a cross bow with her feet while upside down, which is just one of many impressive feats going on in the background throughout this jam-packed performance.

Mead, as Barnum, is central to the success of this show. He has the voice, the killer smile and has mastered the high wire with a real sense of jeopardy for the audience. Perhaps it is his generosity towards the rest of the cast that is preventing him from really excelling in this role. While this production is a strong ensemble piece, a stage the size of the Palace demands P.T. Barnum is not just the brains behind the greatest show, he is himself the world’s greatest showman. He is the star, and for this production to truly soar he needs the freedom to shine brighter.

Barnum is at The Palace Theatre, Manchester from 10-14 February 2026 before continuing on tour.

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In the programme notes he describes his relationship with ballet as ‘complicated’. He was thrown out of ballet school more than once before finally returning to complete his training. But while this time in his life could be considered a ‘car crash’ to some, it is something for which he is now grateful. For although a ‘square peg in a round hole’ it was here that he began to create work, telling stories without words, and finding a new space that sits as a combination of dance, music and theatre.

He created MÁM in 2019 when it was nominated for an Olivier Award after enjoying sellout performances at Sadler’s Wells and has performed at festivals worldwide. However, this 9-date tour for Dance Consortium is the first time regional UK audiences have had the chance to see it.

The inspiration from the show comes from the landscapes, myths and people of Kerry on the southwest coast of Ireland. It is also infused with the music of the region. Concertina player Cormac Begley takes centre stage throughout and part-way through the piece a curtain falls to reveal Stargaze, a European classical contemporary collective, playing live.

The show opens with Cormac, wearing a ram’s head mask, sat facing a young girl on a huge wooden table. Shortly after there are some disorienting lights and the company’s 12 dancers appear all dressed in black as if at a funeral also wearing frightening masks.

Set in what looks like a community hall, this scene is a strange mix of the otherworldly and the familiar. If science-fiction dance is a thing, this could be it.

It is an intense and sometimes uncomfortable watch as the child is shouted at, or squashed between adults partying, smoking, watching TV – generally dancing to their own beat. Many of the moves give the appearance that the audience could join in, giving an immersive sense that we are watching real people in these dancer’s characters.

Each time we think we know what is happening, Sabine Dargent’s set design strips layers back to reveal something new, leading to the final scene where giant fans blow the audience away in every sense of the word.

The lights go up to huge cheers and a spontaneous standing ovation. It certainly isn’t the easiest of watches but the Lowry audience absolutely loved it.

Dance Consortium presents MÁM is at Lowry, Salford on 3 and 4 February 2026 before continuing on its 9 date tour.

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