Dear Liar, is a play adapted by Jerome Kilty from the correspondence of Bernard Shaw and Mrs Patrick Cambell. It portrays the communication between the writer George Bernard Shaw and actress Mrs Patrick Campbell. A relationship of expression; love, frustration and conflict between the artists. An affair of the heart, battling egos and a collective passion for performance. Their affair captured in a series of personal letters that survived World War two.

You’ve heard of Hercules, you may have heard of Perseus, but do you know Percy Jackson, the demigod of the new world? A best selling book series, two movie adaptations and, most recently, a multi series Disney television show. And it’s a musical. “The gods are real, and they have kids. And those kids have issues”. Sixteen-year-old Percy Jackson is expelled from yet another school.

The Bodyguard has become a staple of the West End since its debut in 2013. It has resonated with and entertained audiences internationally. This particular production, however, sadly gives pause. There are some impressive design features throughout this show, more so in Tim Hatley’s set design and in particular the thriller aspects are particularly strong and excitingly creative. James-Lee Harris’ character of the stalker, for example, appears in a flash of lightning at a door we have stared at continuously, never once recognising their presence until that jump-scare moment.

Something quite special has been slowly brewing over the last couple of years at the King's Arms pub in Salford — and not just the excellent pint of Guinness. In this side-street boozer, incongruously wedged between Salford Central station and the bustling ring road, the husband-and-wife team of Colin and Lisa Connor have quietly established the tiny theatre nestled in the roof as a prime destination to see challenging and rewarding productions in the city centre.

On the wettest night of February, after battling my way through football traffic and rain-soaked streets, I arrived at the stunning Hope Mill Theatre ready to be transported. What followed was an evening of provocative, challenging and ultimately moving theatre: The Night Larry Kramer Kissed Me, produced by Hive North by special arrangement with Broadway Play Publishing Inc., written by David Drake, directed by Adam Zane, produced by Mike Lee, and performed by Gabriel Clark.

P.T. Barnum was one of the most fascinating and controversial showmen in history; a man who built an empire on spectacle, ambition, and an unshakable belief in the power of entertainment. Barnum brings his extraordinary life vividly to the stage, charting his rise from humble beginnings to global fame, while exploring the personal sacrifices made along the way. It’s a rousing, uplifting musical that celebrates individuality, resilience, and the thrill of chasing impossible dreams.

Tired of watching paint dry? As an alternative, Manipulate Festival offers The Wood Paths at the Traverse Theatre. Beginning with thirty straight minutes of performers and co-creators Rūdolfs Gedinš and c chopping into large wooden logs in silence, this show is certainly off the wall. Produced by Latvian company, Theatre on Gertrude Street (ToGS), The Wood Paths is an abstract and eccentric piece of performance art that is both mysteriously aloof, and affectionately playful.

Watching Saaniya Abbas on stage is like listening to that one friend who has a funny take on just about everything. That’s how well she builds a rapport with the audience. And nothing is too sacred or out of bounds, from politics to religion to personal life. Abbas, we quickly learn, grew up in a conservative Muslim family in New Delhi and studied at a residential school run by Roman Catholic nuns.

Murderous happenings in Midsomer have been entertaining television audiences for almost thirty years. With over 130 episodes and still going strong, Caroline Graham’s iconic countryside drama arrives on stage for the very first time, with Guy Unsworth’s adaptation of 1997’s very first episode, ‘The Killings at Badger’s Drift’. Set in the fictional picturesque village of Badger’s Drift, the story centres around the death of a well-liked elderly villager, Emily Simpson.

Macbeth, aka The Scottish Play, got off to an explosive start on Tuesday evening, as part of its run at the Hull Truck Theatre. An insider informant - who I will call “Jay” for the purpose of this review - revealed to me pre-show that we theatregoers were in for a thrilling time. And, my goodness, “Jay” was absolutely right.

Tonight, I had the pleasure of being invited along to Grand Opera House York to review the UK touring production of “Here and Now”, the brand new musical based on the songs of Steps. I knew pretty much nothing at all about this show going into it, knowing only one or two of Steps’ songs and my only knowledge of the plot being from one production image, so needless to say I was going into this pretty blind and neutral.

Based on their 2017 BBC television special, Mischief Theatre's A Christmas Carol Goes Wrong was directed by Matt DiCarlo, with associate director Sydney Stevenson. Mischief Theatre's bread and butter are the literally named “Goes Wrong” shows (including The Play That Goes Wrong, The Goes Wrong Show, Mind Mangler - Member of the Tragic Circle, Magic Goes Wrong, Mischief Movie Night and Peter Pan Goes Wrong) which was directed by , and in this one, the Cornley Drama Society, a familiar staple of their shows, are casting a production of the seasonal Dickens classic, led by their director Chris/Scrooge (Daniel Fraser) and assistant Annie (Nancy Zamit).

Single White Female at the Opera House Manchester brings a glossy and unsettling slice of 90s psychological thriller into the modern theatrical spotlight. Adapted from the original 1992 film by Rebecca Reid and directed by Gordon Greenberg, this stage version walks a careful line between homage and reinvention. The plot centres on Allie, a recently separated single mother attempting to rebuild her life after the breakdown of her marriage.

After successful runs in New York and Las Vegas, Friends! The Musical Parody has landed in the UK with a tour stop at Buxton's Opera House. Promising a musical celebration of the hugely popular sitcom, the production attempts to compress ten seasons of television into a two-hour stage show — an ambitious idea that ultimately struggles to translate into a consistently entertaining evening.

The richness and creativity of Scottish animation is showcased in this selection of ten short films, shown as part of the Manipulate Festival. Here are some of my favourites: The stop-motion world of Distance to the Moon, by Sacha Kyle and Victoria Watson, is full of texture and graceful movement, as its determined protagonist embarks on an epic journey. There’s peril, beauty and friendship, and plenty of surprises.

At Summerhall, as part of the Manipulate Festival, Julia Taudevin’s Auntie Empire is a show that improves as it decays. Performed solo by Taudevin, who also conceived the work, the production opens in a register of playful provocation, leaning heavily on audience participation. Under the guidance of performance director Tim Licata, these early sections clearly aim to implicate the room, drawing the audience into complicity before pulling the rug, but the results are mixed.

Don Hertzveldt’s animated film, It’s Such a Beautiful Day, uses simple line drawings, stream of consciousness narration, and inventive cinematography as brushstrokes to build the story of Bill, a man with a neurological disorder. In Hertzveldt’s narration, the mundane and the fantastical are woven together: “Bill sat down and put on a big sweater, but it only made him sleepy”.

Of course I don’t need to remind you of the high esteem in which Fawlty Towers is held not only by the international comedy loving public but also by comedic contemporaries and comedians of today. It is the one. The first and the best. Bar none. End of. Its first script was once described by an early producer as “a collection of cliches and stock characters which I can’t see being anything but a disaster.” Unlike John Cleese, Prunella Scales, Andrew Sachs and Connie Booth that producer’s name has been consigned to history.

The Southwark Playhouse (Borough) was heaving and giddy for the Monday press night of Miles, which swaggers into London after dazzling Edinburgh Fringe last year. Two young women were sat next to me. We chatted before the show started. They are both actors, blessed with good looks, quick wit and youthful enthusiasm. They were amused to hear I’m reviewing the show.

Oh my god, twist! And shout. Come on and work it on out. For these virgins, that’s pretty much the entire night’s agenda. Best friends Chloe (Anushka Chakravarti) and Jess (Ella Bruccoleri) are headed out for the night to “pull” for the very first time but find their plans needlessly complicated by the simple fact they have no idea what they actually want.

At the Traverse Theatre, as part of the Manipulate Festival, Dewey Dell’s The Rite of Spring announces itself as a work that expects, and repays, sustained attention. Running a concentrated fifty minutes, this is not a production that courts easy admiration or quick interpretation. It is slow, deliberate, and insistently moody, drawing the audience into a sealed weird world that unfolds according to its own internal logic.

There’s a moment early on in Don Quixote (is a Very Big Book) where the performer suggests the entire show sprang from a serendipitous eBay purchase, a suit of unlikely, clown-footed, articulated armour. It’s a charming idea, but frankly, it’s nonsense. The armour is far too central, too embedded, too perfectly calibrated to the rhythms of the piece for this to be anything other than myth-making.

Inspired by the 90s British sitcom Keeping Up Appearances, this creative horror-comedy play will delight you with macabre hilarity whether or not you’re familiar with the source material. Decades after the sitcom is set, Sheridan is going through a heartbreaking divorce and, through the powers of a magical amulet, accidentally resurrects his dead mother, Hyacinth. Seeing her son’s life isn’t as wonderful as she hoped or expected it would be, Hyacinth takes it upon herself to guide Sheridan and get his life back on track.

It is good to be back in the Filmhouse after the crowdfunded rescue and a beautiful refurbishment. Run by a new charity, Filmhouse (Edinburgh) Ltd, the staff are welcoming, the decor contemporary and warm on this cold winter night. The bus stops right outside and, inside, the bar serves hot food and drink. Seeing the nineteenth Manipulate Festival, which specialises in animation, puppetry and visual theatre from the plush new seating is a treat.

All the way from New York, The Shylock Project bring their Edgar Allan Poe - inspired Gothic musical to London. Collaging elements from a variety of Poe’s stories and poems, from his most famous works such as The Raven or The Fall of the House of Usher to multitudinous deeper cuts, Edgar in the Red Room tells an original story exploring the life, death, and legacy of Edgar Allan Poe.