Flashdance is another film of the 80's adapted for the stage and bringing back memories of some of the great sounds of that decade. What lacks in story is made up with sheer energy and fabulous dance moves from the lead character, Alex Owens, performed by star of Strictly Come Dancing, Joanne Clifton. Alex is a welder at a steel works who longs to dance and is desperate to be given the chance to audition at a prestigious dance school, given her background and the snooty administrator it seems unlikely she will get that chance.

I really did not know what to expect with this show.  It’s about Liverpool’s sweetheart Cilla Black who sang a few songs in the 60’s and did Surprise, Surprise and Blind Date in the 80’s and 90’s.  What else is there to know? Right?  Wrong.  This truly was a magical experience from start to finish.  The theatre itself, the magnificent Blackpool Opera House had me awestruck.  I have been to Blackpool many times but never seen such beauty as this theatre.  One of the largest in the UK with a capacity of nearly 3000, most recently renovated in 1938, the Opera House has some wonderful features which make it feel homely and intimate.

Our House is a fast paced, Olivier Award winning jukebox musical that first hit the UK in 2002 and showcases the music of the band ‘Madness’ with a coming-of-age, romantic comedy story line. This is the fourth countrywide tour of this show since leaving the West End, this time brought to us by an Immersion Theatre Company and Damien Tracey Productions partnership and featuring some well-known celebrity faces.

I am not a particular fan of murder mysteries on television so I was probably not the ideal reviewer for the stage adaptation of Ruth Rendell's 'A Judgement In Stone' this evening and in all honesty not particularly looking forward to this production by The Classic Theatre Company. Obviously, I was in a minority as the theatre at Blackpool's Grand Theatre had a good attendance of amateur sleuths.

Can a classic of the gothic romance genre be reinvented successfully as a piece of musical theatre? If the answer is ‘yes’, then sadly this production is not it.

As we took our seats in the stalls, the two young women next to us were staring at the stage and looking puzzled. A giant WILL KOM MEN stood proudly, the sections of the word stacked one on top of the other. And to two Will Young fans, it was a mystery only solved when we explained the world meant 'welcome' in German and that the show is set in Berlin, in the early 1930s, as the force of Nazism was gathering momentum.

These days, there's quite the trend for stage musicals inspired by hit movies, and the Opera House at Blackpool Winter Gardens is proving a popular stopping off place for them as they tour the country. Why, only last month I was at the venue seeing Sister Act, and now it's the turn of Hairspray, with a 2007 film version famously starring an unrecognisable John Travolta in the role of Edna Turnblad.

I have always been a big fan of Willy Russell. He is an expert at writing great roles for women, roles that are empowering and funny and have the story and script to last the test of time. This can be seen in Rita from Educating Rita, Mrs Johnstone in Blood Brothers and of course, Shirley Valentine which celebrates its 30th birthday next year.

Of all the weird and bizarre shows I've seen in my life, nothing truly has been as surreal to what I just saw at Blackpool Winter Gardens; Spamalot really takes the crown for that.

If you didn’t already know ‘Dirty Dancing: The Classic Story on Stage’ is not a musical. In fact, it’s an epic scene-by-scene recreation of the movie which has been made for the stage, written by Eleanor Bergstein and Directed by Federico Bellone. Sure, all the scenes are there (with some others thrown in for artistic/theatrical licence) and the soundtrack accompanies the story throughout (with some added vocals).

It's the day after Alexandra Burke was announced as a contestant in the upcoming series of Strictly Come Dancing and she's performing in a theatre that's a mere paso doble away from the Tower Ballroom, in a musical directed by Craig Revel Horwood, no less. Do we need a crystal ball to see a glitter ball in her future?