A live on-stage band, brilliant staging of the Palace of Westminster, and uncanny portrayals of farcical parliament: James Graham’s high-flying ‘70s play is touring the UK at last.

This House is political drama at its wittiest and most perceptive, shattering illusions of Westminster’s traditions and shining light through the holes of our entire democratic system.

I wasn’t sure whether it was actually essential to be a ‘Grumpy old woman’ to watch this show or not. However within 10 minutes or so I realised that I potentially fitted the bill to be a member the Grumpy club. This is a show teeming with accurate, fine-tuned observation about things that are basically just not right about the world.

The dawn of the digital era may mean that hardbacks are no longer flying off the shelves in the number they used. However, the birth of technologies such as the Kindle means that it is now easier than ever before to publish your own novels. Something which Pamela DeMenthe has taken advantage of.

The term ‘Fake News’ immediately conjured up thoughts of the current situation in the worlds media today, alongside imagery of a certain American President who currently resides in the White House. However, this production was so much more and made me realise that although ‘Fake News’ is a global buzz word of today, in reality it has actually been around for decades.

Before taking our seats, we circle the stage single-file. In the centre, two bodies are twisting and reeling within a powdery white circle. The performance that follows is a sensory explosion of music and movement, thrashing together as equal and powerful partners.

Robert Icke's version on this profound historical tragedy by Friedrich Schiller Mary Stuart was magnificent tonight at the Lowry Theatre.

Icke's did not neglect the factual accuracy of this piece of history however he managed to find a sense of freedom through his stylization and portray the complexities of which Juliet Stevenson and Lia Williams convey effortlessly.

This evening I witnessed an extraordinary and unique adaptation of the Little Mermaid from the award-winning Metta Theatre.

It is fair to say that Terence Rattigan is a playwright who has fallen out of fashion in theatrical circles over the last 50 years, with his earnest, delicate portrayals of love and manners seemingly out of step with the demands of a modern theatre audience.

‘Birdsong’ is an adaptation of the novel written by Sebastian Faulks and created for stage by Rachel Wagstaff. The story is set primarily in the trenches of WWI, following the character Stephen Wraysford, and his journey through love, death, and dealing with the mentally damaging effects of war.

Art is something of a theatrical phenomenon. It isn’t often that a play originally in French, and by a virtually unknown author at that, becomes a huge hit on the English stage, and proves to have the staying power to run for eight years in its initial West End production. It’s now well over twenty years since the play was first produced in English, and it shows no signs of running out of steam.

Anyone familiar with the YouTube ‘off camera’ rants of spoof reporter Jonathan Pie (Tom Walker) will also be familiar with both the targets of his rants and the vitriol and rage with which he expresses his despair and disgust at the state of the modern world.