Othello/Macbeth - HOME

IT’S a classic case of mission accomplished for HOME, whic set out to place the female characters centre stage in its modern reworking of two of Shakespeare’s undisputed classics.

With the deftest of modern touches, the Library Theatre’s successor brings us two condensed versions of the Bard’s greatest tragedies and, thanks to the skills of director Jude Christian and dramaturg Elayce Ismail, the power of these two equally compelling tales remains well and truly intact.

This production, which transfixed a large party of teenagers at the Thursday matinee, is a joint production between HOME and the Lyric Hammersmith. The prospect of these two companies working together is a mouth watering one.

For those Shakespeare virgins, this production is an ideal introduction to the works of the greatest playwright this country has ever produced. It should whet your appetite to see more even if Othello, in terms of its dialogue, isn’t the easiest of his plays to fall in love with.

By far the most sympathetic of the female leads is Desdemona, trying to make sense of her husband Othello’s sudden and dramatic change in character. Kirsten Foster is so convincing in this role, making her character’s transition for doting wife to a woman living in fear thanks to a plot hatched by Shakespeare’s slipperiest of baddies Iago, played by a perfectly cast Samuel Collings. I also liked Melissa Johns as Emilia, delivering her lines in a Manchester accent and once again proving you don’t have to sound like the speaking clock to perform the works of William Shakespeare.

Dressed like someone you’d meet at one of Margot and Jerry’s dinner parties, Caroline Faber is quietly menacing as Lady Macbeth and alongside Sandy Grierson (Macbeth) they make a fabulous double act.

A hit, a very palpable hit, as Will Shakespeare might say. It was even worth a soaking on the way home.

• Until September 29. The box office is on 0161 200 1500. Star rating - ****

Verdict - Altrincham Garrick

When we first meet her, it’s tempting to dismiss Helen Rollander as a spoilt little rich girl who doesn’t have much between her ears.

But rest assured, this young woman knows exactly what she wants and exactly how to get it. The same can’t be said of the object of her affections, whose dithering nearly ends in the woman he secretly loves ending up in prison.

Why his young students, male and female, are so drawn to Professor Karl Hendryk (Richard Sails) remained a mystery to me. But this ageing academic has the magnetism usually reserved for rock stars in what is for me, the best Agatha Christie play I’ve seen to date.

It would be an understatement to describe act one as a bit of a slow burner and while the pace can never be described as electrifying, it improves considerably after the interval break.

This is also the first time I’ve actually cared about characters in a Christie play, but I did find myself sharing the emotional anguish of the Prof’s wheelchair using wife Anya - a outstanding Ros Greenwood - in act one.- and later for the plight of her niece Lisa Koletzky in act two. Maya Szlachetko is making her debut on the Garrick’s main stage and judging by the strength and conviction in her performance she’s sure to be asked to tread these well trodden boards again, many times.

Janet Slade, for me one of the Garrick’s finest characters, has much fun with Mrs Roper, the Hendryk’s shrill cockney housekeeper.

I have to say I’m not a fan of Christie’s usual offerings, crammed so often with vacuous, cardboard cut out characters. That said, Parissa Zamanpour’s has made me look watchable production has made me look at the queen of suspense in a different light.

Parissa has also worked as its designer, creating an effective and absorbing backdrop for a play that’s very close to bus pass age. Highly recommended.

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

Playhouse Creatures - Lauriston Studio

BARRY Purves, Altrincham Garrick's serial creative, has yet another hit on his hands, thanks in no small part to a tight and hugely talented all female cast who enjoy every second they spend on stage.

In this theatrical history lesson we're back in the 17th century and women are still finding their feet in the acting profession.

Despite breaking down the barriers, these ladies are still subject to abuse, the most vitriolic coming from hard of thinking men in audiences whose brains are still very much in their breeches.

April de Angelis's beautifully crafted play is a gift for Barry who has coaxed fine and flawless performances from his cast and created an equally engaging set full of theatrical clutter. A set that's very pleasing on the eye.

Leaving the Lauriston I was wondering why this piece isn't performed more often, with de Angelis serving up an engrossing tale full of humour and heartache, the latter largely restricted to the second half and a particularly distressing scene which I'm not going to divulge here.

In terms of performances, I really enjoyed Tabitha Rose Hughes and the way she develops her character, Nell Gwyn, and the way she makes her "grow up" before our very eyes. But it seems just plain wrong to single out individuals, with Lindsey Barker (Mrs Betterton), Meg Sally Royle (Mrs Marshall), Claire Cummins (Mrs Farley) and Ruth Metcalfe (Doll Common) more than rising to the challenges posed by their respective roles.

The actors making light of the demands posed by their verbally taxing roles, each of them not wasting a word o a script so good it's certainly left me wanting to see more by a dramatist who makes you care about these characters without seeming to try.

Every seat was taken in this fabulous little venue on opening night. It would be a travesty if that's not repeated throughout the run of a production that is, quite simply, outstanding.

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

Dusty - The Dusty Springfield Musical - The Lowry

WHILE my own musical education began in the late 70's, there's no getting away from the fact there's a certain mystique about the pop stars of the Sixties.

Then there's the music, of course, which, somehow, has remained timeless. Like the plays of Shakespeare, many of the songs that came out of this phenomenal decade will never stop being performed.

So it is with the string of classics produced by one Dusty Springfield. Privately crippled by stage fright, she brought down many a house around the world when she stepped on to it.

Here was an artist who paid a hefty price for fame. Battling at first against pre performance nerves and a mother who made Mrs Danvers appear positively cuddly by comparison. Then there was the struggle with her sexuality, a sexuality a still intolerant society forced her to hide, and her addiction to drugs and booze.

Jonathan Harvey, one of the best writers around for me, paints a frank portrait of a star forced to battle more than her fair share of demons. But Harvey tackles his subject with all his characteristic warmth, wit and intelligence. He certainly makes you care about this tortured soul.

Then there's Katherine Kingsley who is simply sensational as our Dusty. While her singing voice doesn't have the sultry soulfulness of the original artist, what Ms Kingsley does have is a vocal range and purity that simply beggars belief. Voices like this simply must be experienced and similarly, Joanna Francis, who plays Dusty's love interest Lois, also has a voice to die for.

With some vibrant and colourful dance routines and a cast on a mission to entertain all, this has to be one of the best musicals to grace Greater Manchester in years. So, book quickly. Once word gets out just how good Dusty is the box office phone line is sure to be white hot.

* Until July 28. The box office is on 0843 208 6000. Star rating - ****

Queens of the Coal Age - Royal Exchange Theatre

MAXINE Peake, not content with being one of this country's finest stage and screen actresses, is, quite rightly, forging a reputation as one of our leading playwrights too.

Queens of the Coal Age tells the truly inspirational tale of a group of miners wives, who occupied the Parkside Colliery in 1993, as a once proud industry was in its death throes, thanks to the Tories brutal pit closure programme, a project driven by spite rather than economics.

But Peake, to her credit, never preaches to the audience and most of the first act is full of humour as the ladies, as tough as the rock their men hack through, get used to their new surroundings.

Also, considerable praise must be afforded the production's design team, who effectively re-create what it must have been like to venture hundreds of feet below ground. So, take a bow designer Georgia Lowe and lighting man Elliot Griggs, for giving us an atmosphere that does verge on the claustrophobic at times.

Put characters with very different personalities into a confined space and you have the recipe for fun and friction, both of which are brought to the surface with equal effect by director Bryony Shanahan and a strong largely all woman cast who were born to play these roles.

There's a strong chemistry between these miners' lasses, bound together by a common cause. Kate Anthony is simply brilliant as Annie Scargill, wife of the NUM leader Arthur while Jane Hazlegrove of Casualty fame is simply perfect as the straight talking Dot. Kate's recounting of Annie's appalling and degrading treatment at the hands of the authorities was so moving you could see the shameful scene being replayed before your vry eyes.

You simply must see this, the RET's production of the season for me.

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

Minding Frankie - The Lowry

YET another absorbing, touching and humorous tale from the home of the natural born storyteller - Ireland.

Based on Maeve Binchy's novel, this is sure to have you rooting for Noel, battling the booze in a bid to prove he's fit to take on fatherhood, and all the responsibilities that go with it.

Aside from the sleepless nights and nappy changing to contend  with, poor Noel also has social worker Moira on his case, as she tries to prove he isn't up to the job. Moira becomes Noel's nemesis and is so for most of the play, cold and judgemental.

Thanks to a fine and very natural performance by Steve Blount as Noel we crave a happy ending, even more so because the character's news he's destined to be a dad comes completely out of the blue and the far from faultless Noel is determined to use this life changing event to turn his own life around.

Clare Barrett effortlessly develops Moira as the play goes on, making her believable throughout a piece that, at just under two hours including an interval, is perfect, feel good fare for a summer night. She's also a study in versatility, playing a number of roles including the tragic mum of baby Frankie, who Noel takes in and raises as his own.

Director Peter Sheridan ensures both actors more than rise to the challenges posed when performing a two hander and Shay Linehan's adaptation is of Binchy's novel is certainly an engaging one.

Watching Minding Frankie was like watching a paperback being performed on stage and while the second act has more substance to it, the whole evening is hugely enjoyable. 

* Until June 23. The box office is on 0843 208 6000. Star rating - ***

Happy Days - Royal Exchange Theatre

EVEN when she had her back to me, I find Maxine Peake utterly mesmerising.

As Winnie she finds herself buried in an imposing grassy mound, which revolves at a snail's pace in the middle of the stage.

What a privilege it was to watch an actress at the top of her craft, infusing every asprct of the script, from the playful to the poignant, with so much emotion.

If ever a performer deserves a post show drink, it's this disarmingly down to earth Lancashire lass. An ordinary girl blessed with an extraordinary talent.

This brings me on to what the play's about. Being a Samuel Beckett piece you're invited to bring your own interpretation to the table. Happy Days for me, is about a couple who have grown apart, whose relationship has gone stale. 

Willie, played by an excellent if largely silent David Crellin, shares her unlikely prison. But he's there largely in body rather than in spirit, needing to be coaxed, like you would coax a child at times, simply to talk to her. Winnie, on the other hand, revels in a good old verbal flourish, often aching for happier times.

But maybe I'm writing this as someone conditioned into taking away 'a meaning' from a play when there are occasions, this one included, where 'the meaning' of the piece, the true meaning, will remain forever elusive. 

Director Sarah Frankcom, designer Naomi Dawson, along with Peake and Crellin serve up an evening's theatre that is deeply affecting, not a word of Beckett's at times beautifully evocative dialogue gets wasted.

Highly recommended - just don't expect a piece of theatre that plays by the rules.

* Until June 23. The box office is on 0161 833 9833. Star rating - ****

Ladies in Lavender - Altrincham Little Theatre

WHEN a dashing and charismatic young man enters her life, Ursula, living the quiet life with her widow sister Janet, becomes a lovesick teenager again, to the point that it becomes embarrassing for her sibling who is, emotionally, something of a closed book.

This play is sure to strike a chord with anyone who has been a victim of unrequited love. Sadly, this is a club with many, many members. 

The duo's mysterious guest has been involved in a shipwreck and is, shock horror, a foreigner. Remember, we're in the picture postcard England of the 1930's, Cornwall to be precise, where someone from another country was treated like they came from another planet.

The doting Ursula and Janet even try to teach him our native tongue using the "speak slowly and shout" method, as they tenderly nurse Andrea, who comes from Poland, so it transpires, back to health.

But Andrea is a man with a talent and I'm not just referring to his ability to steal the heart of a lonely old lady. Enter Olga Daniloff, another visitor who turns up unexpectedly to give Andrea his big break after captivating the piece's other lonely heart, Dr Mead.

Director Lisa Barker has coaxed some fine performances from a cast who evidently share her deep seated affection for this gentle, humorous and quietly touching tale.

Arthur Hulse certainly gets the sympathy vote as the dependable doctor, when he's treated with disdain by the aloof Olga, an exceptional Paula Keen.

For me though, the performances of the evening come from Barbara Steel and Cherrill Wyche as Ursula and Janet, so convincing as the sisters whose lives are turned upside down by Andrea, played by impressive ALT newcomer Thomas Christopher. His talents are sure to be much sought after, after a performance as assured and accomplished as this.

* Until May 26. The box office is on 0161 928 1113. Star rating - ****

Priscilla Queen of the Desert The Musical - Altrincham Garrick

DYNAMIC young director Joseph Meighan makes a welcome return to the stage with his and this theatre's best production to date.

You simply must not miss this vocal and visual treat, packed full of outrageous humour and costumes so unashamedly camp your eyes could easily pop out when you see them.

Inspired by a movie that I would certainly rank as a modern day classic it's the tale of two drag queens and a transgender woman who journey across Australia to perform their unique brand of cabaret.

As you can imagine they encounter prejudice along the way - small town means small minds in too many places - and one of them faces the daunting prospect of being re-united with his young son.

Beneath the laughter are serious messages about the need to look beyond our differences and live together in harmony. But no point in the evening do you feel preached to, thanks Stephen Elliott and Allan Scott's first class script. Some of the dialogue, the put downs in particular, are both priceless and brilliant.

This brings me on to the performance of the three leads, Todd Bennett (Tick/Mitzi), Rhys Nuttall (Adam/Felicia) and Mark Butt, who is a revelation as the transsexual Bernadette. I really liked the way he played the scenes with Bob, the trio's unlikely knight in shining armour, a perfectly cast Ivor Farley.

Todd Bennett also treats us to an inspired rendition of the timeless classic MacArthur Park, which came mighty close to bringing the house down.

With a score that's sure to have Victor Meldrew tapping his feet and a musical director in the shape of none other than Mark Goggins, Altrincham Garrick has a huge hit on its hands. You simply must see this - at least twice. What a way to end a season.

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

Stags & Hens - Altrincham Garrick

DESIGNER Lesley McKie skilfully transforms the Garrick's main stage into nightclub toilets for Willy Russell's reworked comedy Stags & Hens.

This is the scene of much booze fuelled drama and while the play has a serious theme, about the need to sometimes break away from the familiar when "the familiar" is holding you back, most people will I imagine, go to see this to watch a group of young people letting their hair down and the inevitable carnage that follows such drinking sprees.

While the repetitive strong language becomes boring, it does add authenticity to the piece and so do the lively and energetic performances of a cast who really convinced me there in party mood. Although most of the high jinks take place among Linda and her curious collection of mates, from the weepy Maureen to Bernie, a woman who has, to coin the phrase, been round the block a few times. Fiona Primrose is outstanding in this role and Francesca Heraghty-Smith equally impressive as Linda.

Her evening takes a very complicated turn when an old flame turns up on her hen night.

Josh Leach is very intimidating as Eddy, a frightening, thuggish control freak who thinks he can bully Linda into going down the aisle when she starts to have her doubts.

Stags & Hens may not be Shakespeare but it's a play with no pretensions that's sure to strike a chord with anyone whose been on a stag or a hen do.

While Russell over does the swearing - and I am definitely no prude - there are some brilliant comic lines to enjoy. Lines that offer us a reminder of just why this Scouse playwright is one of our greatest.

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

The Cherry Orchard - Royal Exchange Theatre

THIS is a curious play, a mixture of deep and trivial dialogue and featuring characters we largely don't give two hoots about, with the Lyubov being the only exception.

She is forever haunted by the death of her son and Kirsty Bushell makes sure there's no escaping the outbursts of her inner torment, tanks to a very fine piece of acting.

The scene in which Anya (Verity Blyth) tries to comfort her mother is particularly powerful and touching, as she tries to console her mother racked by grief.

Watching this play you get rumblings of a Russia on the verge of change, a mood epitomised by the most interesting male character, the eternal student, Yasha. Yasha rejects everything the old order throws at him to persuade him to tow the social line and the excellent Haydn McLean brings a calm charisma to the role.

But while there's an appetite for social change - Chekhov's play was premiered a year before the 1905 revolution - there's an impotence as to how best to bring about such change. Likewise, the characters also seem stuck in a romantic limbo, desperately in need of some lessons in how to love.

While Chekhov has a reputation for producing some miserable work Rory Mullarkey's translation has a healthy portion of humour for the audience to savour.

The greatest play ever written? No, for me that honour goes to Shakespeare's Hamlet. But this version does pay a fitting tribute to Chekhov's undoubted genius.

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

Goodnight Mister Tom - Altrincham Garrick

ONLY the heartless would fail to be touched by this one, a heart-warming tale faithfully adapted for the stage by David Wood.

An elderly widower re-discovers his appetite for life after a young and vulnerable evacuee is senl to live with him in his idyllic Devon village.

William, the little lad in question, is nursing the physical and psychological scars of abuse at the hands of a mentally ill mother fixated on religion. 

Gradually, an unlikely bond builds between William and Tom Oakley, his new carer who actually cares for him, and this is expertly played out by Bryan Higgins (Tom) and Benoit Normand (William). Higgins has a deep seated affection for this delight of a role and it's plain for all to see.

I also challenge anyone not to warm to Henry Thorman's Zach, a character as loud as the jumper he wears. At the other end of the spectrum we have Caroline Knight, positively hateful as William's crackpot of a parent, a woman who'd make most puritans seem like party animals.

This is the ideal opportunity for parents to introduce older children to the theatre. While Goodnight Mister Tom doesn't gloss over the human tragedy of war, we are reminded that even in this chocolate box Devon village the residents aren't immune from it, this play touches on the subject in such a way that won't give the kids nightmares.

So, I heartily recommend parents buy tickets for this as an Easter holiday treat for their youngsters. 

Director Andrew Close serves up a production that tugs the heart strings without seeming to try.

* Until April 14. The box office is on 0161 928 1677. Star rating - ***

Frankenstein - Royal Exchange Theatre

TWO centuries on, this Mary Shelley classic still has the power to leave audiences and readers alike genuinely spooked.

A monster created by a scientist in a lab goes on a murderous rampage after being shunned by his creator and his peers, who recoil in revulsion whenever they see him.

You can sit unsafe in the knowledge if the opening of Matthew Xia's stark and creepy production doesn't disturb you, there's plenty more shocks to come.

Xia transported me to a nightmarish, black and white world, a world in which anyone trapped in craves an escape from. Shane Zaza lays bare Frankenstein's mental torment in a totally compelling way as he reflects on the exploits of his ghastly creation.

Zaza totally convinces as a man who has been to hell and back as he pours out his tale to an attentive sea captain. But I have to say it is a hell of his own making.

Harry Attwell cuts an imposing figure as Frankenstein's monster, prowling the stage with the perfect amount of menace. My stomach genuinely turned over whenever he appeared. 

I also really liked Gerard McDermott as Frankenstein Senior, so desperate for his son to return to spend some time in the bosom of his family, while his son remains shut away from the world, immersed in the bizarre and grisly experiments that ultimately lead to his downfall.

April De Angelis' adaptation is perfectly paced and the RET has a hit on its hands with this macabre masterpiece. Be afraid, be very afraid.

* Until April 14. The box office is on 0161 833 9833. Star rating - ****

Blackadder II - Sale and Altrincham Musical Theatre

WITH its classic lines, unforgettable moments and equally memorable characters, from a shrill and spoilt Queen Elizabeth to the gloriously dim man servant Baldrick, this for me, was the best of Blackadder's many TV outings.

In his programme notes, director Ross Douglas says bringing the much loved sitcom to the stage has been a challenge and it's a challenge both he and a highly engaging cast have risen to and conquered in spectacular fashion.

The company give you a flavour of the originals without making the foolish mistake of trying to impersonate them. David Moreton looks and sounds right at home in Edmund Blackadder's breeches, bringing a hint of Rowan Atkinson's clipped delivery and never missing an opportunity to verbally and physically chastise his clueless servant, Baldrick. What a great comedy vehicle this is for Stuart Sephton, for me one of SAMT's best comedy performers who delivers yet again.

We get four episodes of the sitcom here, including the one in which Blackadder inadvertently falls for his man servant. Angela Kate Cooke is particularly impressive as Kate/Bob, displaying a flawless comic timing that can only be admired.

It probably helps if you are a fan of the TV series but this production is sure to win over new fans and Jenny Hollibshead is a scream as Queen Elizabeth I, gobbling up compliments from Lord Melchett, played by an impressive Paul Rendel.

I think SAMT has another big hit on its hands, the script in particular is first class. Enjoy - I loved every minute.

* At Altrincham Little Theatre until April 7. The box office is on 0161 928 1113. Star rating - ****

The Dinner Party - Altrincham Little Theatre

THE setting may be unfamiliar, but make no mistake, this is Neil Simon at his witty and incisive best.

While the first act is as light and frothy as the champagne quaffed by the guests, the master playwright delves deeper into human relationships after the break, sharing with us some priceless lines and pearls of wisdom. In fact, some of the dialogue is so brilliant it prompted gasps of disbelief from this lifelong Neil Simon fan. If such a thing as reincarnation exists, what a pleasure it would have been to have come back as this man's typewriter.

The setting is a rather posh French restaurant and six well to do diners with a connection to one another have all been invited to dine together by a mysterious host, whose identity is only revealed later in the play. 

Director John Chidgey has coaxed some fine and convincing performances from a strong cast which gels together without seeming to try. I challenge anyone not to warm to John Westbrook's Albert, a study in social awkwardness. The initial interaction between him and Claude (Steve Cunio) is comedy gold, with Westbrook displaying flawless comic timing.

Emily Duffy impresses as the elegant Mariette but for me, the female performance of the evening comes from Kathryn Fennell as the knowing Gabriellle, a character you would cross at your peril. 

The Dinner Party maybe laugh out loud funny and one of the funniest episodes comes when Claude shares one of his sexual fantasies with the captivated group, but this is a quietly touching piece in so many ways. Not to be missed.

* Until March 24. The box office is on 0161 928 1113. Star rating - ****

Jerusalem - Altrincham Garrick

I HAVE been reviewing at this theatre for more than 20 years and in that time I've had the privilege of seeing some truly great performances.

But I can't remember the last time a performance actually brought me to my feet. That said, actors of the calibre of Scott Ransome don't come along very often, do they?

He plays Johnny "Rooster" Byron, a charmless, amoral waster who refuses to live by society's rules quite brilliantly. He expertly tackles the sort of character who'd sell his own grandmother if e thought he'd gain from the transaction but, despite his many faults its hard not to be captivated by this larger than life low life.

For the local young people, for "local young people" read waifs and strays, he's like the Pied Piper, his shabby caravan a Mecca for drug using party animals. But his drug and booze fuelled existence is under threat, by developers desperate to get their hands on the land he lives on.

Byron is one of the most fascinating characters in contemporary drama for me and Ransome gives him the five star treatment when it comes to bringing Jez Butterworth's classic creation yo life.

However, it would be wrong to refer to John Cunningham's perfectly observed production as the Scott Ransome Show.  A strong ensemble also plays it's part in making this trip to the other side of the social tracks a truly memorable one. I really liked Matthew Banwell as the rule bending landlord Wesley and the always watchable Mark Butt as Ginger, who dreams of being a celebrity DJ one day.

I hope this play, a masterpiece in so many ways, gets the houses it deserves and people are brave enough to see beyond the strong language. Some of Butterworth's dialogue is superb. 

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

Up and Coming - Altrincham Garrick

DAVID Beddy is a highly accomplished actor whose equally at home with both serious and comedic roles, and his portrayal of ambitious politician Philip Conway is a delight from start to finish.

Pip as he's more affectionately known, has one eye on the to job. But he lacks the sort of ruthlessness that keeps the character eminently likeable in Eric Chappell's briliantly observed political comedy/farce. You get the distinct impression Pip's plans could unravel at any moment, which makes it impossible not to warm to an MP who is anything but a natural born orator.

Give Beddy the chance to work alongside Martin Oldfield as Pip's personal bodyguard Higgs, a fully paid up member of the call it as he sees it brigade and Joanne Buxton as the seductive Vicky and you have the recipe for pure comedy gold. When it comes to Oldfield I firmly believe he doesn't have a bad performance in him and Joanne Buxton as Vicky expertly assumes a variety of different personas as she sweeps into Pip's hotel room.

Who can forget Mark Edgar-Clarkson as Lionel Berryman MP, a serial lush with a very dubious sense of morality.

Like me you probably know Eric Chappell more for his brilliant 70's sitcom Rising Damp featuring that giant of British comedy, Leonard Rossitter. But Mark Jephcott's perfectly paced production has certainly whetted my appetite when it comes to seeing more of his plays. Great fun - just what we need on these freezing late winter nights.

* Until March 3. The box office is on 0161 928 1677. Star rating - ****

The Almighty Sometimes - Royal Exchange Theatre

THIS is a play that lulls you into a false sense of security at first. Anna, a funny and engaging teenager, has brought home a lad she met at a party. Her mum walks in on them unexpectedly and cue an outbreak of awkwardness and embarrassment on the part of the two teens.

But Kendall Feaver's Bruntwood prize winning play is about far much more than inter generational conflict. It shines a light on the difficult and painful subject of mental illness and in these times when so many theatres play it safe, I applaud the RET for bringing this piece, a past winner of the RET's Bruntwood Playwriting Competition, to the stage.

Anna has been living with a mental health issues since the age of just 11 and is now on the cusp of adulthood. While she can be seen as manipulative, for me this eye opener of a play is more about  her taking back control of her life. A life that's previously been ruled by her mum Renee - a highly credible performance by former Coronation Street star Julie Hesmondhalgh - and several years of medication and its associated and often debilitating side effects.

While Hesmondhalgh again impresses as a parent at the end of her tether, the performance of the evening comes from Norah Lopez Holden as the often tormented Anna. Her character's pain and inner turmoil is a little too real at times and great things surely await for a phenomenally gifted actress who really does put body and soul into her latest role.

I hope the subject matter doesn't deter people from booking tickets for The Almighty Sometimes. While there's nothing wrong with going to the theatre to be entertained, the medium is, in my view, at its most exciting when it challenges us and drags us out of our comfort zone.

But despair not, this isn't a misery fest and we're treated to a sizeable helping of humour, the best of which comes courtesy the early exchanges between Anna and Oliver (Mike Noble), a simple soul with a difficult home life. A must see.

* Until February 24. The box office is on 0161 833 9833. Star rating - ****

Gates of Gold - Altrincham Little Theatre

GABRIEL, an unashamed old school ac-tor, is dying. He's a man with an ego that would fill your average sized theatre and he's been around the block and bought several t-shirts.

He lives with his long term lover Conrad, stable and loyal and loving. Enter Kassie, a woman charged with caring for the difficult Gabriel as he prepares as best he can to face his final curtain.

Gabriel can, we are told, is the most challenging of charges, prone as he is to bouts of outrageousness. It all sounds like the recipe for a very funny and poignant play. And while there are some moments of inspired humour to enjoy, I felt Frank McGuiness, the writer, fails to make full use of the dramatic potential such a scenario affords.

I've seen many gay characters in drama who have found humour even in the most dire of circumstances. Gabriel doesn't do it often enough here.

As Gabriel and Conrad, Stephen Moss and Malcolm Cooper are engaging, convincing and likeable, without you really caring Gabriel isn't long for this world. I also liked Kathryn Fennell's Cassie, still nursing the guilt she feels after a family tragedy.

But I applaud Altrincham Little Theatre for taking a commercial risk with this play, which contains strong language and some sexual references. It's so refreshing for a theatre to take a risk, when so many, both amateur and professional, have one eye permanently fixed on the box office these days.

* Until January 27. The box office is on 0161 928 1113. Star rating - ***

Orphans - Lauriston Studio at Altrincham Garrick

ORPHANS is, quite simply, a modern classic that's sure to leave a lasting impression on those who see it.

Lyle Kessler's play is funny, thoughtful, touching and quietly compelling, and a five star script gets the five start treatment here. For me, this is one of the best productions the Garrick has ever done.

Treat, a violent pickpocket, is both mum and dad to his younger brother Philip, who he obsessively shields from an outside world he sees as teeming with dangers for him. Treat polices his every move and his every thought.

He then suggests they kidnap a drunken Harold, a wealthy businessman he lures back to their run down house in Philadelphia. But Harold can buy and sell the pair of them. He's clever, quick witted and has a first class degree in subtle manipulation and it soon become clear whose really in charge of the situation.

I really enjoyed the way in which Kessler, with sublime subtlety, develops the relationship between Harold and Philip, the later trapped in an eternal childhood, thanks to the domineering and volatile Treat. Deep down both crave the love and stability of a family life.

Under the direction of Julie Cunningham and Duncan Battman, Peter Brassington as Treat, Aidan Burgess as Philip and Stuart Tipping as the calm and cerebral Harold deliver the sort of performances that make you care deeply about their characters and inwardly ache for a happy ending.

I first saw Orphans around 20 years ago and fell in love with this brilliant play then. If this isn't a sell out it will be a travesty.

* Until December 9. The box office is on 0161 928 1677. Star rating - *****