German performer Natalie Reckert shows us what happens when you combine the art of Hand balancing, spoken word with the electronic sounds of Kraftwerk to create a solo performance filled with pulsing energy and passion for her art. Presenting her piece within the Aldridge Studio, a large, black minimalistic performance space, Reckert walks onto the stage to a welcoming applause from the audience and advises everyone to leave the space and to come back in the next sixty seconds. Confused and curious the audience does as she asked, exiting the space and waited in the auditorium. Counting down the seconds the audience’s excitement began to reveal itself and once we all came back to see Reckert in the middle of the stage, standing on both her hands the audience knew they were for something special.
Being familiar with this play I was really excited to see how certain parts of Macbeth at HOME in Manchester which opened a brief residency tonight would be performed.
The play began with a battle putting it in context, followed by the appearance of the witches. The witches were wearing nude body suits, and performed various movements and actions to deliver their lines. This was amazing, as the movements reflected feelings, and gave the start of the performance an atmosphere, showing the witches to be somewhat supernatural and different to the other characters.
What can anyone say or write about this Musical that hasn't already been said or written about in many different ways before?! If you are a Musicals fan, then you will know this one, and whether you love it or hate it, you'll know it. If you don't know any Musical at all, then you will still surely know what has become one of the most iconic and popular songs to come from the Musical Theatre repertoire ever, being made into cover versions for every conceivable music genre from operatic by Jose Carreras through to Disco (Hi-NRG), and there was even a chart-topping techno version I believe! Of course the song is 'Memory'.
Inspirational, emotional and thought provoking - A Raisin In The Sun is everything theatre should be. This worldwide famous play has now landed in Sheffield ahead of its UK Tour under the direction of the incredible Dawn Walton who shows this piece in all its glory. From the moment I entered the 'in the round' space I was transported to a small 1950's apartment that gives home to the Younger family. The set design was simple yet effective, work done no doubt by Amanda Stoodley (Designer) Aideen Malone (Lighting Designer) and Adrienne Quartly (Sound Designer) each complimenting each other to make a beautiful theatrical experience. The smaller details really make this play believable, from the authentic music from the period to the subtle lighting touches made from scene to scene - a marvel of great live performance.
As Steve Punt’s narrator points out The Rocky Horror Show is 43 years old, yet the show’s still got legs (shapely stocking clad ones at that!) and entertained a packed Liverpool Empire this evening with its camptastic, sci-fi pastiche. The audience were almost as entertaining as the actors, as spangly Magentas mixed with maiden aunts and Frankenfurters of all shapes and sizes daintily ate ice-cream at the interval in their basques and suspenders.
King Charles III is a play written in 2014, by Mike Bartlett, in blank verse style which centres on the accession and reign of King Charles III, the possible regnal name of the real Charles, Prince of Wales, and limiting the freedom of the press after the News international phone hacking scandal. 
Tonight I watched Circus of Horrors at the Plaza in Stockport. Circus of Horrors appeared on Britain’s Got Talent in 2011 performing various tricks, and were the only circus to have ever reached the final. The show is set in 1899, and having never heard of it before I was attending with an open mind.
At first we were greeted by members of the cast selling programmes. As we were shown to our seats eerie music played, and I couldn’t help but notice the large cardboard clown on stage which had the numbers 666 written on its forehead. Whilst waiting for the show to begin, Dracula appeared in the audience and scared many people by staring them down. He then shouted that the show was about to start soon, and began to call upon unfortunate audience members on the front row.
Every once in a while a small miracle happens. And after seeing many plays for children both as mainstream and TIE, which have all been either adequate or good, you get to see one which stands out from the crowd, willing to be counted and proud to be what it is - perfectly formed entertainment (and education) for children. This is a Ronseal production - it does exactly what it says on the advert!
M6 Theatre Company present "a highly visual and energetic play about rivalry, strengths and weaknesses, centred around two superheroes with a very big problem. // A tadpole catching competition challenges the dynamic duo to harness their strengths and overcome their differences. Working as a team, will there be enough time for them to save the world, together?"
In 1996 Andy Reiss and David Fawcett were asked to arrange and perform a series of musical theatre concerts for the MENCAP charity. They were both experienced musical theatre performers and the original concerts were a great success, so in 1999 they took the concert idea on a UK tour taking on the name “Beyond the Barricade”, because that is how they met first met, in the cast of Les Misérables.
Z-Arts Theatre is fast becoming renowned as Manchester's premier theatre for children. Not only do they produce their own original work, invite both UK-based and European children's theatre makers to perform there, but they also hold regular workshops and activities for children from the local community.
With all this in mind, then you would expect only the very best when watching one of their shows.
We’ve all been there - waiting for the clock to strike six on a Friday evening so we can go out and party. ‘Night + Daze’ tells the story of 25 year old Sheffy (Lee Bainbridge) in search of the ‘perfect’ night out.
Entering the theatre, tickets were checked by a man in a red t-shirt. Initially I thought it was a member of staff from the Lowry, but judging by his use of strong language it was clear he was an actor. As we were seated, his co-star; Ella Daley danced on the stage to club music.
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