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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Quays Life chats to director Nikolai Foster ahead of the show’s world premiere at Lowry Salford.

Some might think this is an unlikely story to be put on stage – how has ‘Bank of Dave the Musical’ come about?

Nikolai: “Several years ago Matt Williams, CEO of Future Artists Entertainment (the company who produced ‘Bank of Dave’ on Netflix) felt this David versus Goliath tale of a man from Burnley taking on the big city bankers could become a great musical. Matt met with our collaborators at ROYO and soon after, Rob Madge and Pippa Cleary were brought on board as writers and Curve and Lowry joined the project as co-producers.

“At the heart of ‘Bank of Dave’ we have what all musicals need: a larger-than-life character who can drive the piece forward. For me, Dave is the real-life ‘Barnum of Burnley’, so it felt perfectly natural to imagine this story staged as a musical. After a number of years in workshops, we’re now here in rehearsals, ready to share the show with the world!”

You’ve directed a wide variety of productions in your career – from huge shows like ‘Billy Elliot’, ‘A Chorus Line’, ‘Kinky Boots’ and ‘Annie’ to dramas like ‘A Streetcar Named Desire’ and ‘My Beautiful Laundrette’. How are you approaching directing ‘Bank of Dave the Musical’ compared to your previous work?

Nikolai: “From my point of view, no matter what show you’re working on as a director, you’re a shapeshifter, responding to the writing and what best serves the piece. I always think of it like a triangle between the artists – in this case, the writers Rob and Pippa – the actors who bring the piece to life on stage and the audience who respond to it.

“The humour and the wit of this piece is so exhilarating. In rehearsals, we’ve been working with the actors in the most dynamic and imaginative ways to serve Rob and Pippa’s writing, hopefully to share a musical with audiences that is as fun and exciting as the book and music they’ve provided us with”.

How important was it to launch the show in the ‘north’? It feels like this adds authenticity to bringing Dave’s incredible story to life on stage?

Nikolai: “Dave himself was really keen we should open the show as close to Burnley as possible and that makes perfect sense. We’re thrilled the world-premiere of the production will be held at the terrific Lowry theatre in Salford, close to the Pennines and Dave’s place of birth, where he stills lives to this day.

“‘Bank of Dave the Musical’ reflects the experiences and lives of many real people in the community of Burnley but like all great plays and musicals, it transcends that location and reflects experiences of modern working-class life and post-industrial life all up and down the country”.

Why should audiences be excited to experience new productions like this?

Nikolai: “Supporting new work is so important and really, anybody who cares about the future of theatre should be interested in new work because it’s the lifeblood of our industry. Once upon a time ‘My Fair Lady’ was new, ‘The Sound of Music’ was new, ‘A Streetcar Named Desire’ was new, ‘West Side Story’ was new – it was those audiences who took a punt and were excited to celebrate that new work that helped ensure those musicals and plays lived long and have remained part of the repertoire.

“This is such a funny, brilliant piece of writing and I think it’s really going to blow people’s minds with how hilarious, how moving and how original it is. You get the tone and grit of ‘Billy Elliot’ with the subversive, naughty, northern humour of Victoria Wood and Alan Bennett. It really is brilliant”.

Dave Fishwick is a real, larger-than-life figure – what can you tell us about Sam Lupton’s interpretation of Dave in the show?

Nikolai: “Sam is obviously being true to the essence of who Dave is but it’s not about an impersonation of Dave, it’s about creating a character within the world of the musical. Sam is an incredibly gifted star, a real triple threat.

“It took us a long time to find our Dave because we were so determined to find the right person. When Sam came into the room it was clear he had the star quality and charisma to really ignite the musical and embody the essence of Dave Fishwick through the medium of song and dance”.

How are things going in the rehearsal room? The photographs look like everyone is having a lot of fun?

Nikolai: “I think sometimes we’re having too much fun! There’s a lot of hilarity and literal tears of laughter – I honestly haven’t laughed so much in a long time. The writing is hilarious and the actors have really bonded. Everything has come together in the best possible way to create a really fun and beautifully chaotic rehearsal process and I know the audience will feel that energy and anarchy. I think we’ll need to see if Dave’s minibus company has a supply of extra seatbelts because audiences will be bursting out of their seats with laughter, I’m sure!”

What can audiences expect when they come to ‘Bank of Dave the Musical’?

Nikolai: “You are guaranteed a night of side-splitting hilarity and incredible songs, all performed with joy, love and enthusiasm by our phenomenal company. In these very uncertain times, we want to give people the chance to come to the theatre and see a show which says something hopeful about the world and how we can make a difference for our communities”.

Bank of Dave the Musical premieres at Lowry, Salford from 6-16 May 2026 with a further run at Leicester Curve from 20-30 May.

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What do you love about playing Joe?

Les: “I played the father Wilbur in Hairspray who was devoted to his wife and daughter, and I love this show just as much. Joe is a surrogate dad to the main character Jenna. He’s described as curmudgeonly, but with a buttercream centre. He doesn’t give much away, he’s a bit snappy but he really cares about Jenna”.

Why is the show Waitress like it’s famous pies?

Les: “It is a really lovely show, with so many layers. It seems more to me like a play with music than a full-on musical. It deals with so many issues, with domestic violence, with love, lost dreams and the power of female friendship. Audiences will both laugh and cry and see incredible singers. I mean, our cast is amazing”.

Are music theatre performers looked down on compared to straight theatre?

Les: “Absolutely right. And yet they are a triple threat, they have to be able to do everything at the highest level. I mean, the acting is paramount in this. The story really has to be beautifully acted”.

Did you get the same comments as a comic rather than a straight actor?

Les: “Oh yeah. There’s definitely judgement and yet Shakespearean actor Edmund Kean said on his deathbed, ‘Dying is easy. Comedy is hard.’

“I think audiences get lulled into enjoying it so much, thinking, ‘Oh, he’s just having a good time.’ Yeah, we are all loving what we’re doing. But it doesn’t mean that, you know, it’s easy to do it!

“If you sing a song, you get applause. If you time a joke wrong, there’s nothing.
And when we get the chance to play the drama, we can do it because it’s the flip side of the coin. You know, Les Dawson was a very good serious actor when he wanted to be. You had to hold him down if he got bored, though”.

Do you feel you get more respect now for your acting?

Les: “I get a kind of respect. It’s not grudging, it’s confused because I do things they don’t expect me to. Denise Welch and I always used to ring each other after doing a play and say, ‘Were you a revelation?’”

Have you even surprised yourself?

Les: “Oh yeah. I did Anna Karenina last year. I loved that. I did Venice Preserved with my niece Jodie McNee playing my daughter. If my mum had been around to see her son and granddaughter onstage at the RSC she would have been so proud”.

Are you starting your own acting dynasty?

Les: “I’m very supportive that my daughter Eleanor (aged 18) is interested in acting and my son Tom (aged 15) was really great in a recent school production of School of Rock. I offer to run lines with them and they go, ‘No. I’m fine.’ They appreciate what I do and they’ve been in to watch rehearsals for Waitress, but they want to go their own way, which is great”.

What are you looking forward to on tour?

Les: “I’m looking forward to going back to Liverpool, my hometown. People there love their theatre, love their art. I used to go to the Everyman Theatre when I was at school, and I would watch Jonathan Pryce, Bernard Hill, Julie Walters, Pete Postlethwaite. There’s so much great art outside of London, and people really love it. It’s an embrace of community, of the beauty of life”.

What would you say to the government about regional theatre?

Les: “Theatre everywhere has had some knocks but should most definitely be funded outside London. We should appreciate what we’ve got”.

Have you ever had any mishaps on tour?

Les: “I did three years of panto in Liverpool with Cilla Black, Henry Winkler and then Pamela Anderson. She was lovely. She’d go into the local pub for a cider every night. She didn’t arrive until dress rehearsal and on opening night she flew in on a Vivienne Westwood swing and said, ‘Good evening Wimbledon!’ which is where she was the year before”.

Joe’s big number ‘Take It From An Old Man’ tells Jenna how the scars from life made him stronger. What has shaped you?

Les: “I did a double act with a man who I absolutely adored, Dustin Gee (Gerald Harrison). He was my best friend for a very short time. We met on Russ Abbott’s Madhouse in 1982 and I was having the time of my life with one of the funniest men I’ve ever known. His life was cut ridiculously short in 1986 at the age of 43 when we were flying high with our own TV show. We were in panto at the Southport Theatre at the time. We were being likened to the new Two Ronnies and it suddenly all went away.

“I was in a terrible state and actually went on stage the day after Dustin died, with Jim Bowen replacing him. Now I would not do that. I was convinced by promoters and agents that I had to do it.

“So, yeah, those scars are there”.

Attitudes to masculinity and mental health must be so different today from when you grew up?

Les: “When I first talked about being in therapy, it was frowned upon.

“Now people would check that I was okay. But this was 1986 and, and I was just told you’ve got to get on with it. You got to do it. The whole company went to Dustin’s funeral, but we couldn’t stay for the wake, because we had to go back for an evening show. I look back at that and just think that was wrong, and I didn’t get a chance to grieve and that’s why my first marriage (to Lynne Webster) collapsed, because I was just totally lost”.

What do you think of how Waitress presents so many different types of masculinity from Jenna’s toxic husband Earl to the very sweet Ogie?

Les: “There’s so much depth to this show. There’s a tragedy to Earl, to his destroyed dreams and how he takes it out on his wife.

“I think men are in a difficult phase right now, but we’ve got to support each other.

“My wife, Claire (Nicholson), will say, ‘Hey, hold my hand,’ because I still fear public displays of affection.

“I call her Claire in the community. She’s amazing, looking after us all and looking and looking after everybody, if she can”.

What have learned from her?

Les: “You’ve got to trust and love the people that you love, and you’ve got to show them that.

“I remember I stopped kissing my dad when I was about 13 or 14, because a school friend made fun of it. I really regret that.

“What I really love is that when I talk to Tom on the phone or he’s getting out the car to go to school, he always says, ‘I love you.’ That’s beautiful every single time. Tom kisses me, and, you know, gives me a hug all the time. I love it”.

It sounds like you’re in great place?

Les: “I’ve got a great, lovely family, lovely wife. I’m still here, still doing it. I love being in this business. I love the different things that are thrown my way. I did HMS Pinafore with the English National Opera. I did a season at the Royal Shakespeare Company. If I get a challenge, then I run for it”.

Waitress is at the Palace Theatre, Manchester from 26-30 May 2026.

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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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