Witness for the Prosecution - Altrincham Little Theatre

WHEN I was training to be a reporter, I spent a day in Sheffield Crown Court, watching the wheels of justice in motion.

It was a completely absorbing experience and I was transfixed by what was going on before me. So it is with Altrincham Little Theatre's latest production, from the queen of suspense, Agatha Christie.

It certainly keeps you guessing right to the end. Did Leonard Vole (Anthony Morris) murder a wealthy spinster as a stepping stone to the good life? The play also contains a very clever twist at the end which you won't see coming. Ideal theatrical fare for ALT's intimate auditorium which so often feels like an emotional pressure cooker.

What also struck me was how fresh the play feels, which must be a by product of John Chidgey's skill as a director. I never felt like I was watching a group of actors blowing the dust off some sort of theatrical relic.

Performances are exemplary, particularly from Morris as the beleaguered man in the dock. He does a very nice line in desperation and I also really liked Vicky Siddle as Vole's mysterious and enigmatic partner, Romaine. Aside from being an accomplished actress, no mean feat for a relative newcomer to the amateur stage, she also has quite a stage presence. David Reynolds as Vole's barrister Sir Wilfred Robarts, completes the "roll call" of noteworthy performances.

Nobody writes this sort of stuff quite like Christie and it will be a long time before it goes out of fashion. Her influence on writers of today, writers of a similar ilk, is profound. Enjoy.

* Until March 25. The box office is on 0161 928 1113. Star rating - ****

The Suppliant Women - Royal Exchange Theatre

THIS, I have to say, struck me as a strange choice by the RET, which marketed this ancient play as being very relevant to the world in which we live today.

Surely not? How can a piece, a 2,500 year old piece, have something to say to a 21st century audience living in a super fast, digital world?

But David Greig's vibrant adaptation of a work by one of the giants of ancient Greek drama feels very modern and in the band of exiled women we can so easily see the refugees and migrants, call them what you will, of today.

They experience the suspicion, hostility and vulnerability of the refugees searching for a better life and the play pricks our consciences with a plea for tolerance towards the so-called outsider.

A great deal of the story is told in song and the cast contains a gifted and dynamic group of young women who, vocally, give their all to provide what was forme, an unexpected and stunning theatrical spectacle.

The ladies in question work alongside a small group of actors. I'm not going to single out individual performances as this is a major triumph for the whole ensemble who tore up my preconceptions to create a theatre event that gives a whole new meaning to the phrase "in your face." Strongly recommended, as this production is anything but dry and boring.

* Until April 1. The box office is on 0161 833 9833. Star rating - ****

The Secret Garden - Altrincham Garrick

THE Secret Garden is a vocal and visual treat, a production that doesn't tear at the heart strings. It plucks them out completely. Prepare to be moved, deeply moved.

It also reminds us that this theatre is more than capable of matching the artistic output of Manchester's professional venues. You wouldn't expect anything less really, when you look at the creative team behind it. Director Joe Meighan, designer Barry Purves and musical director Mark Goggins. All three are incapable of putting a theatrical foot wrong.

And what about little Alice Cross, a bright, engaging bundle of energy as the orphaned Mary Lennox, sent to live in her uncle's rambling old house after the untimely death of her parents. The house is a monument to decay and her uncle Archie, consumed by grief, has stopped living. He simply exists, and Joshua Lloyd is outstanding in the role. He has a terrific stage presence, a quality shared by Alice who has a professional career ahead of her should she wish to follow that particular path.

While roaming the corridors of her bleak new home Alice meets and strikes up an unlikely friendship with Colin (Theo Hill), seemingly a sickly child too weak to go out and play. There are some memorable verbal spats between the two.

For me the best songs are in act one, some of the numbers so emotionally intense I felt both emotionally drained and yet strangely uplifted by the time the interval came. Brace yourselves for a memorable ending, full of colour and spectacle. Do not miss this.

* Until March 11. The box office is on 0161 928 1677. Star rating - *****

Death and the Maiden - Lauriston Studio at Altrincham Garrick

DEATH and the Maiden offers us the two sides of humanity, reminding us of the horrific things we do to each other and the resilience of the human spirit.

Then we come to the difficult issue of forgiving our tormentors, as Paulina Escobar comes face to face with the doctor she believes, oversaw her torture while in prison. We're in an unnamed country, a fledgling democracy emerging from the dark days of dictatorship.

Paulina (a suitably vengeful Tracy Burns) is a mess, psychologically scared by what happened to her while in prison at the hands of vividly described but never seen state thugs. Her beleaguered husband Gerardo (John Keen) isfacing an uphill struggle to keep his wife under control. She wants Dr Roberto Miranda, cultured, refined and oh so middle class, to pay forwhat he did. Paul Wilson, who has consistently impressed me on the Garrick stage, delivers once again here.

All three do have a fantastic script to work with, however, thanks to the intelligent and perceptive writing of Ariel Dorfman.

Venues like the Lauriton are vital, providing a welcome alternative to the largely mainstream productions that grace Altrincham Garrick's main stage.  These are important plays that set us thinking, important stories that must be told. Director Steve Williamson ensures his production packs a powerful punch, there are no laughs here. Highly recommended.

* Until March 4. The box office is on 0161 928 1677. Star rating - ****

The House of Bernarda Alba - Royal Exchange Theatre

I PROFOUNDLY disagree with translator Jo Clifford, who says in the programme notes, Benarda Alba deserves our sympathy an respect.

She rules her daughters, who are full of life and aching for romance, with a ro of iron, imposing an eight year period of mourning on thehousehold after her second husband dies.

Even the most feminine of pursuits, the wearing of lipstick, suddenly becomes a crime and incurs the old woman's merciless wrath. The play was born out of the decade that saw the rise ofFascism in writer Lorca's native Spain and Bernarda'sbrutally repressive behaviour feels like a foretaste of the repression living under a dictatorship brings with it.

That may sound very heavy, but this is an accessible play ad not remotely elitist. And it does enough to make you want Bernarda's downtrodden daughters to break way and defy the old dragon. There are rumblings of rebellion when Adela, the youngest of the brood, breaks her mother's cane.

A joint production between the RET ad Graeae Theatre Company, a company made up of actors with disabilities, this is an invigorating and evocative if at times cheerless evening of theatre. The fact that Graeae - pronounced grey eye - is made up of disabled people is irrelevant. Here we have a company with a formidable artistic reputation that deserves to be judged solely on that.

Jenny Sealey's production has both atmosphere and feeling and there are some fine performances, particularly from Kathryn Hunter as Bernarda.

* Until February 25. The box office is on 0161 833 9833. Star rating - ***

Handbagged - Altrincham Garrick

MARGARET Thatcher, like numerous prime ministers before her, had regular, private audiences with the Queen.

What was said remained a closely guarded secret of course, however, I can recall rumblings in the media at the time, suggesting they didn't always see eye to eye on certain issues.

But what did these two powerful women really talk about? Award-winning writer Moira Buffini takes that idea and runs with it in this classy comedy set inside the corridors of power. This really is clever stuff, without being dry or self indulgent and Buffini certainly doesn't gloss over the fact Mrs T was, politically, something of a "Marmite" figure.

In this production, expertly directed by Carole Carr, you get two actresses playing Maggie and both Caroline Knight and Fiona Primrose sound remarkably like the real thing. Close your eyes and you could be in the presence of the so-called Iron Lady. We also get a double dose of He Majesty, with Dawn Flint and Rachel Horobin sharing the crown.

Now, if you're an actor looking to test your versatility look no further than Handbagged. Mark Edgar and Jamie Sloan take on a variety of roles from Denis Thatcher to Nancy Reagan snd te end result is much hilarity. Sloan's portrayal of the stick like former First Lady is a show stealing performance from a man who was born to be funny.

This is the Garrick's production of the season for me - do not miss it.

* Until February 4. The box office is on 0161 928 1677. Star rating - *****

Woman In A Dressing Gown - Altrincham Little Theatr

AMY Preston is a saint, married to a man who acts like a big kid most of the time and has an infuriating and hugely inflated sense of self importance.

She deserves a cupboard full of medals, not jut the one, and yet she chooses to stand by her man. Maybe I'm making the mistake of viewing this protracted play through 21st century eyes. It was first performed in 1963 and we now live in more equal if not exactly utopian times.

But Jim Preston is still a pain.

Ted Willis's piece about marital strife shows its age, you feel, while watching it, like you're in another world. Sympathetic character are at a premium with the exception of the delightfully disorganised Amy (Kathryn Fennell) who escapes domestic purgatory by immersing herself in music and dreaming of a big money win. There's a very funny scene involving Amy, her good pal Hilda (Jane Newman), with both actors seizing with both hands the chance to shine.

Ian Butterfield gives a strong and solid performance as Jim, or Jimbo, as Amy calls him. But his character is never totally believable, the fault of the writing, not his.

Woman In A Dressing Gown is a production by Michael Russell, a director whose work has consistently impressed me. Which left mewondering what he and a cast with talent in abundance could have done with a better play, rather than one that lacks both spark and pace.

* Until January 28. The box office is on 0161 928 1113. Star rating - ***

Gaslight - Altrincham Garrick

I'VE seen Patrick Hamilton's Victorian play before and knew what was coming. However, that didn't stop me perching on the edge of my seat more than once, feeling as trapped as poor old Bella Manningham, a woman at her wit's end.

They say you only really know someone when you live with them. But for this tormented individual, her husband Jack, who takes an almost perverted pleasure in humiliating her, has become a closed book. No wonder Bella is going out of her mind, a virtual prisoner in a house which is as cosy as your average crypt. It's not only the house that has a past.

It's always exciting to see newcomers on the Garrick stage and after her performance asBella Parissa Zamanpour should be swamped with offers of future work. Attractive and elegant, hers is as an amateur performance only in name. Supremely convincing, you'll find yourself desperate for her to get one over on the horrendous Jack (Jonathan Black). But this is 1897, when many women still deferred to their husbands.

Mark Butt is a delight as Rough, a character with a very unique outlook on life who is very easy to warm to. His return to this theatre is very welcome, however, I can'treally go into detail about his character's role in the plot. Vicky Siddle impressed me when she appeared in another amateur production and does so again as the flirty maid Nancy, teasing Jack mercilessly.

Director Ros Greenwood ensures the tension bubbles along beautifully and I hope the full house on Monday night is repeated more than once throughout the run. A spooky classic.

* Until January 21. The box office is on 0161 928 1677.  Star rating - ****

Dick Whittington and his Wonderful Cat - Altrincham Garrick

THE foyer was buzzing with excitement before we went in to watch this fun filled family pantomime, the mood heightened by a small army of enthusiastic children, eager to enjoy their festive treat.

And yes, both they and the big kids weren't disappointed, as this perfectly paced production, with its perfect comedy timing, left everyone feeling well and truly entertained.

That's praise indeed from yours truly, who, when it comes to pantos, is usually less than enthusiastic. For me, this is the best panto I've seen at this theatre, with everything falling perfectly into place.

Who can resist the tale of an underdog, as our hero Dick Whittington (a suitably likeable Meg Royle) travelling a long and difficult road determined to achieve his dreams and get his girl.

This theatre has a youth group. However, it must have been a great learning curve, particularly forthe younger actors, to work with Phil Edwards, who plays the show's larger than life Dame, Sarah the Cook. A seasoned panto performer, Phil really makes the role his own, winning everybody over and swanning around the stage in frocks as loud as the children's boos, hisses and singing.

He's ably assisted by his hapless and hopeless son Idle Jack, a Christmas present of a role for Peter Brassington.

If I have a minor quibble I thought the cast were more comfortable acting than they were singing, but that in no way diminishes the enjoyment of the audience who were very appreciative when Isaw the show.

Writer/director Alan Clements shows its perfectly possible to wear with distinction "two hats," which should be paper and coloured at this time of year. If you want to escape the repeats on Christmas TV or just fancy a good night out, Dick Whittington and his Wonderful Cat is for you.

* Until January 2. The box office is on 0161 928 1677. Star rating - ****

Sweet Charity - Royal Exchange Theatre

CHARITY Hope Valentine is a modern woman looking for love, dreaming of meeting a man. A handsome "Prince" who'll sweep her off her feet.

Who can blame her, wanting to escape her dead end job as a dance hall hostess, which is as seedy as it sounds? Even though there's a strong camaraderie between her and her colleagues, who are like a second family to our heroine, looking out for both Charity and each other.

Her prayers just might have been answered when she meets the uptight Oscar, a graduate, it seems of the Woody Allen school of neurotics. The intimate scenes between Oscar (1Daniel Crossley) and Charity (Kasia Hammarlund) are comedy gold, beautifully played by two actors at the very top of their craft.

In my former life as a newspaper reporter I interviewed Elaine Paige and the legend of modern musicals was very generous with her praise of today's stage talent. I don't know if she's aware of Ms Hammarlund but hers is one of the most engaging performances I've seen in 25 plus years of reviewing at the RET. A bundle of energy, she has it all, from the voice to the comedy timing, used to such devastating effect in the scenes with both Oscar and the silver tongued Italian Vintorio Vidal (Bob Harms).

With some stylish and often sexy choreography, choreographer Aletta Collins has done a fabulous job here, it's fair to say the Exchange has a massive musical hit on its hands. The deal pre or post Christmas treat, that's sure to have you leaving theatre walking on air and laughing in the face of your post Christmas credit card bill. Brilliant.

* Until January 28. The box office is on 0161 833 9833. Star rating - *****

Last Of The Summer Wine - Altrincham Garrick

SOME of the jokes in this stage adaptation of the much loved TV comedy are just plain daft.

But in a world that seems suffocated by seriousness, what's wrong with that? The central characters, Foggy, Clegg and the sartorially challenged Compo are old enough to know better. Acting your age can, however, get rather boring.

This production has evidently been lovingly nurtured by director John Chidgey and his right hand woman Rani Jackson, so it captures the wacky warmth of the original. While at the same time not attempting to be a carbon copy.

Aidan Kielty, John Westbrook and Barry Spencer put their own stamp on the roles of Foggy, Clegg and Compo. However, there are times when John's delivery makes him sound remarkably like Peter Sallis, who played Clegg on TV. I always thought of Clegg as the more cerebral, more refined of the three.

Love is in the air for Foggy, who has set his cap at Constance, played by Paula Keen. Foggy obviously likes a challenge, as she's related to the battle axe par excellence, Nora Batty (Christine Perry). You just know his plan is set to backfire when Foggy invites the duo to his house for tea.

For me, the performance of the evening comes from Bryn Thomas as Gifford, the local bobby. This is a great role for Bryn who is especially funny when his character has had far too much of the falling down water.

Last Of The Summer Wine only occasionally tickles my funny bone. That said, I have to take my hat off to all concerned for a job well done. Or should that be my flat cap?

* Until November 26. The box office is on 0161 928 1677. Star rating - ***

Annie - Sale and Altrincham Musical Theatre

IN the programme notes, Natalia Jacques, who plays musical theatre's most famous female orphan, reveals her dream of one day playing on the West End stage.

On the evidence of this bright, engaging and thoroughly entertaining performance, that dream is destined to come true. The voice, the timing, the ability to melt the audience's hearts, it's all here.

The chemistry between her and Peter Birch, who plays the kindly billionaire Oliver "Daddy" Warbucks, a man with more bucks to his name than he knows what to do with, builds beautifully. Despite his billions, there's something missing in his life.

Annie is basically Oliver! with girls and there are some genuinely moving and laugh out loud funny scenes in this establishment, presided over, and I use the word in its loosest possible sense, by the harridan Miss Hannigan. This is a gift of a role for Philippa Shellard, a tyrant in the dormitory one minute and a tottering drunk dreaming of romance the next. The girls who played the orphans were equally outstanding, even the smallest putting in performances that were mature way beyond their years.

A tribute, no doubt, to the production team, led by director Nick Angus who used every inch of the Waterside Arts Centre auditorium to stunning effect. No disrespect intended, but the WAC isn't the biggest venue in the world but on opening night I didn't notice this.

Annie is a great show to take children to if you're on a mission to introduce them to the theatre. On the tram station on the way home a girl was singing the most famous numbers to her mum. I bet she wasn't the only one.

I've been reviewing SAMT shows for the best part of 25 years and this production is the best yet. Top class entertainment, right on your doorstep.

* Until November 12.  The box office is on 0161 912 5616 or visit www.watersideartscentre.co.uk.

Star rating - ****

Breaking The Code - Royal Exchange Theatre

WHEN I first saw this play about the triumphant and tragic tale of the wartime code breaker Alan Turing, it left me so angry I wanted to punch the nearest available door.

It's ultimately a tale of rank injustice, a stain on our nation that a mathematical genius, who helped this country escape the clutches of Nazi tyranny, was treated like a common criminal.

The injustice is there for all to see in this engaging production at the RET. But it is somewhat under stated, in the same way the effects are of the drugs Turing was forced to take to "cure" his homosexuality.

But the story of success against eye popping impossible odds remains as engaging as ever and Daniel Rigby is quietly brilliant as the brilliant Turing. If you saw The Imitation Game, expect a different AT from Rigby, less of the distant eccentric portrayed by Benedict Cumberbatch. Rigby's Turing seems more comfortable in company, except when its female and the female in question Pat (a convincingly doting Natalie Dew) has romance on her mind.

Hugh Whitemore's play has some wordy passages and anyone who claims to understand the mathematical bits, which Rigby delivers brilliantly, is either cut from the same cloth as Turing or a liar. There is however, much humour to be taken from this piece so you're not in for an elongated Maths lesson, the prospect of which brings me out in a cold sweat.

Wherever he is, I hope Alan Turing is taking pleasure from the major strides forward the gay community has made in its battle for equality. However, it's vital this play continues to be performed and the rank injustice he suffered at the hands of the state is never forgotten. A must see.

* Until November 19. The box office is on 0161 833 9833. Star rating - ****

The History Boys - Altrincham Garrick

WHEN I interviewed Alan Bennett he insisted this fabulous play wasn't a critique of the education system and the way it acts as a never ending production line producing academic robots.

Even though, in the avuncular Hector we have a teacher who flies the flag for free thinking, engaging his lively and engaging young charges like no other member of staff.

We all love Hector, a gift of a role for Richard Sails, who certainly doesn't look a gift horse in thee mouth here. This is a fine performance from Sails, who commands the stage even when bouts of unruliness break out in his classroom.

Young teacher Irwin - yet another eye catching performance from the consistently impressive Anthony Morris - is a second rate substitute. He struggles to cope with this challenging bunch of boys, who have begun what they hope will be an academic journey to Oxbridge. Hector, on the other hand, would prefer them to be well rounded individuals with enquiring minds that transcend the textbooks.

Celia Bonner is terrific as Mrs Linott, the only female member of staff. I've harped on for a while about the exciting young stage talent emerging at this theatre and Gabriel Walker and David Beeby, who play students Dakin and Posner, are a classic casein point. Gabriel is very funny as Dakin, with his unique brand of philosophy and I like the way David handles his character's burgeoning homosexuality.

Top marks from me, of a production of a play by an undisputed national treasure. Go and bask in Bennett's brilliance.

* Until November 5. The box office is on 0161 928 1677. Star rating - ****

Wind In The Willows - The Lowry

SOME years ago I watched Matt Lucas play the lovable speed freak Toad on the small screen, and rather foolishly thought that fun soaked performance would never be bettered. Silly me.

Then along came Rufus Hound, an actor head over heels in love with his work and a sense of comedy timing that is totally flawless. Watching this production at The Lowry, a new adaptation by Julian "Mr Downton Abbey" Fellowes, you get the feeling Hound was born to play this part.

As far as shows go, Wind In The Willows, which is as exhilarating as it is enchanting, is probably more suitable for children aged seven and over, rather than tiny tots. On press night the youngsters certainly fell under its spell. Forget the view that kids today are "too sophisticated" for this sort of quintessentially British, old-fashioned and timeless tale. Nonsense - they loved it. For large parts of the evening you could hear a pin drop.

 The score ticks all the boxes, while not being good enough to render the musical an instant classic. 

David Birrell is a likeable Badger and Neil McDermott is the perfect choice for the ringleader of those dastardly weasels,  a sort of cross between a wartime London spiv and an old school gangster.

With some exciting and spectacular scenes and sets sprinkled with fairy tale magic, its fair to say The Lowry has a huge hit on its hands. Fabulous, family fun.

* Until November6. Thebox office is on 0843 208 6000. Star rating - ****

Sweeney Todd - Altrincham Garrick

THE two leads in this fabulous musical certainly come up with a business plan with a difference and as distasteful as it is, the audience can't help laughing, albeit uncomfortably at times.

It's impossible not to have a giggle, to be seduced by the show's jet black humour. How sad then, that a production of this quality played to a half empty theatre on Monday night. Frustrating for all concerned, particularly for former executive producer Paul Kerrryson who makes a welcome return to direct with distinction Sondheim's macabre masterpiece. They should re-christen Kerryson Mr Musicals, for it's a theatrical genre in which he consistently excels.

Musicals live or die by their leads and in Wayne Holt and Laura Chandler, who play Todd and pie shop owner Mrs Loveitt respectively, the Garrick have a dream duo. Wayne gives the audience the creeps even when exchanging pleasantries with his customers and the "demon barber" is a truly imposing and intimidating figure. The scene I particularly enjoyed is the one in which Mrs L tries to bring out the romantic in the vengeful Todd. Holt and Chandler play this to perfection and for me, this is Laura's finest hour on the Garrick stage. She's a real credit to her late dad Terry, whose acting gave me decades of pleasure at this particular playhouse.

If you aren't a convert, it may take time to warm to Sondheim's genius, as the music can be difficult, the lyrical wordplay intricate. Once converted, there's no going back and singers like Chris Wagstaff, who plays the lovesick Anthony, and Sara Grace Nelson, who plays the apple of his eye, Joanna, are sure to boost the legion of Sondheim fans. On stage they are mesmerising, and Sara Grace has a voice so pure it's sure to set many a bottom lip quivering. It did mine.

A major musical triumph, that simply must not be missed. Magnificent.

* Until October 15. The box office is on 0161 928 1677. Star rating - *****

Snake In The Grass - Altrincham Little Theatre

IT takes a special writer to paint a picture of a character so vivid you feel you know him, you feel he or she is there on stage.

Of course that's impossible in this play, as Anabel and Miriam's father, by all accounts a horrible piece of work, is pushing up the daisies. But both his daughters, now grown up, are still nursing the psychological scars of a difficult upbringing.

Hats off to Alan Ayckbourn then, a writer whose brand of theatre, generally too middle class for me, usually leaves me cold.

Anabel, who managed to escape her despotic dad, returns from Australia to help Miriam, forever the victim, sort out his estate. Things get tricky when they are visited by his former nurse, Alice, who seems to be on a gold digging mission.

I say 'seems' as nothing is quite what it seems in this masterpiece of a play, which has elements of Ayckbourn's trademark and very clever humour and a dash or two of the supernatural. The twists at the end are certain to floor you and, unless you're blessed with ESP, you won't see them coming.

A three strong all female cast gels beautifully under the astute direction of Carla Stokes, with Cheryll Wyche (Anabel), Lisa Barker (Alice) and Victoria Johnson (Miriam) ensuring that you're completely transfixed by the increasingly strange events unfolding on stage. You never really know what's going to happen next and that's as tense as it is exciting.

* Until October 8. The box office is on 0161 928 1113. Star rating - ****

Romeo and Juliet - Altrincham Garrick

DYNAMIC young director Joseph Meighan returns tothe Trafford stage with a Romeo and Juliet for the Internet generation.

But despair not - oldies like me certainly didn't feel excluded from a production with a soundtrack of pop songs.

If I have a criticism I think the opening fight scene was a little over done, descending into comedy by the end. This is, after all, a play about two rival. feuding families who hate the bones of each other.

JM is a very promising talent and the fact that Romeo and Juliet are close to the age they're meant to be gives the classic teen love story added authenticity.  The two leads struggle to keep a lid on their emotions when Cupid's arrow strikes.

Haroun Al Jeddal's Romeo is very much "one of the boys" and his performance is sure to strike a chord with the teenagers in the theatre - there were nearly 100 in the auditorium on Monday night - and those of us who can just about remember what it felt like to be young. With Rebecca Myers (Juliet) there are some memorable scenes to enjoy and the duo perfectly capture the awkwardness and emotional highs of young love.

After seeing this production I really hope we see more of Geoff Holman on the Garrick stage for, as Juliet's tyrant of a father Lord Capulet, he is outstanding. The scene in which he rips into his daughter is quite frightening, as she dares to go against his marital decree. Don't be a stranger Geoff - you have a very strong stage presence.

Any production that features Barry Purves as its designer is always something to write home about and he delivers yet again with a set that's a positive visual treat. What the purists will make of this I don't know and don't really care as live theatre is forever evolving.

It's also a welcome return to Mark Butt whose Friar Laurence seems to have converted to Buddhism. Looking like he's dropped off a 60s album cover, Mark gives a very credible performance as a character full of eloquent authority/

* Until September 24. The box office is on 0161 928 1677. Star rating - ***

Charley's Aunt - Altrincham Garrick

AS a comedic concept, it's as old as the hills and yet the sight of a man in a dress still gets laughs, especially when the masculine mannerisms show through his disguise.

Cross dressing isn't just for Christmas and pantomimes, as those who see this clever if not side-splitting comedy will verify. Plays like these require a cast with exemplary timing and take it fromme, these Garrick actors don't disappoint.

Jack Chesney and Charley Wykeham are two likeable if unashamedly vacuous young toffs who have set their caps at two very eligible young ladies,  Amy Spettigueand Kitty Verdun. Lunch is in the offing, but thetwo chaps have no chance of getting their girls without the presence of a chaperone. That's where Charley's aunt, Donna Lucia D'Alvadorez comes in. But the course of true love never runs smooth, as they say, and very drastic, 11th hour action is required

Jamie Sloan and Callum Anderson are an engaging double act as Jack and Charley, convincing going into emotional meltdown when their best laid plans go horribly wrong. Paul Antony is jolly good fun - to pinch the parlance of the upper crust circle we find ourselves in - as their unlikely saviour Lord Fancourt Babberley. Some of these character names are just plain ridiculous. Carole Carr, an actress with quite a stage presence, brings a perfect sense of poise and elegance to the role of Donna Lucia.

As the nights draw in, a dose of frothy fun is just what lovers of summer like me need. But I would really like to see the Garrick turn its hand to say, a Neil Simon comedy. If any theatre has the talent in depth to do it, Altrincham Garrick does.

* Until September 10. The box office is on 0161 928 1677. Star rating - ***

Bird - Royal Exchange Studio

YOUR heart bleeds for Ava, as she craves a stable family life and some maternal love.

A wild child she may be, but she's also very vulnerable, on the cusp of adulthood and about to leave care. She re-unites with her mum, who is reluctant to wipe the slate clean.

The classics have their place and so do the star studded, big budget musicals. However, for me, livetheatre is at its best when it gives a voice to those who are struggling, those left tofend for themselves, at the mercy of characters like the predatory Lee.

Katherine Chandler's play won the 2013 Bruntwoodplaywriting prize and it doesn't take a genius to see why. Chandler has written a sensitive, at times painfully realistic script that makes us care profoundly about what happens to Ava and her friend and soul mate, Tash. Yes, it is an uncomfortable watch at times but theatre should never lose that ability to shock and make you appreciate the life you've got. It's vital live theatre gives a voice to the dispossessed.

Georgina Henshaw and Rosie Sheehy are oh so believable as teens Ava and Tash and the scenes between Ava and her estranged mum Claire areexpertly played by Henshaw and Siwan Morris.

At one hour and five minutes there's plenty of time to talk about this play over a post performance drink and take it from me, you will be. Highly recommended.

* Until June 20. The box office is on 0161 833 9833. Star rating - ****