Breath of Spring - Altrincham Little Theatre

DOES anyone fancy an evening of good, clean fun?

Breath of Spring is an unashamedly old-fashioned play, free from bad language and without a mobile phone in sight.

We spend an enjoyable and absorbing evening in the company of an unlikely band of philanthropic thieves, led by Arthur Hulse who looks and sounds every inch the military man as Brigadier Albert Raine.

He and his charges start pinching fur coats with a view to not lining their own pockets with the proceeds of their sales but with the intention of sharing out the crooked cash with those less fortunate than themselves.

Think Robin Hood and his Merry Women, and you get the gist.

Under Gary Woodhall’s direction the cast of Cherill Wyche, Arthur Hulse, Georgina Daglish, Christine Perry, Barbara Steel, Janet Reidsma and John Jones play their parts with a comic timing that can only be described as exemplary.

This tight knit company are on a mission to enjoy themselves and the audience responded in kind when I saw this on Tuesday night.

But will they get away with their crimes? There’s something irresistible about a thief with a heart and I’m sure I wasn’t the only one willing them to succeed.

You warm to these characters to such an extent it’s impossible not to do so.

Breath of Spring works well on ALT’s compact little stage, with the set, designed by Polina Sparks and Alan Reidsma, just as appealing as the play itseLF.

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

Fatal Attraction - Altrincham Garrick

FIRST things first.

This is nothing to do with the steamy thriller starring Michael Douglas but rest assured dear theatregoer, it is just as compelling and just as captivating.

We meet one of the most fascinating female characters I’ve seen on any stage, amateur or professional, in the shape of actress Blair Griffin, who apparently witnesses the murder of her ex husband at her hilltop retreat.

But all is not what it seems in Bernard Slade’s cleverly crafted and darkly funny thriller as we see another side of the enigmatic fading film star, brought so engagingly to life here by Garrick debutante Antonia Whitehead.

Even I felt spooked as she played the victim - Blair just never stops acting and can turn on emotions as easily as most of us would turn on a tap.

Whitehead’s performance is so convincing I’m certain her first performance on this stage won’t be her last.

But has Blair met her match in seasoned and cynical cop Gus Braden - an outstanding Nick Sample - in a play that’s sure to get the audience’s tongues wagging afterwards?

Beverley Stuart Cole gives her bet acting performance to date as Blair’s lush of an agent, Maggie Stratton.

Fatal Attraction is a major triumph for Director Bill Platt and his creative team and it would be a crime - pun intended - if theatre as good a his failed to play to packed houses.

You really have no idea what’s coming next in a piece that’s perfect for dark, winer nights.. A real tale of the unexpected, this one. Highly recommended.

Until January 25. The box office is on 0161 928 1677. Star rating - ****

Gypsy - Royal Exchange Theatre

CHRISTMAS has come early for fans of musical theatre, with the RET’s jaw dropping and brilliant revival of this classic show, inspired by the memoirs of one of the most fascinating and charismatic characters ever to set foot on a stage, Gypsy Rose Lee.

This really is a slice of musical heaven, with a sumptuous score by Jule Styne and Stephen Sondheim complimented by some of the most memorable dance routines you’re ever likely to see on any stage - anywhere.

It feels like Louis Gaunt dances on air to my favourite number, All I Need Is The Girl, as Tulsa, a young performer aching for love.

Gypsy Rose started her career in a kids double act as Louise with her sister, June, touring America’s vaudeville circuit in the 1920’s and spurred on by Rose, a woman who takes the phrase “pushy stage mother” to a whole new level. You would cross this character, who simply won’t take no for an answer, at your peril.

Ria Jones - pictured - is perfect for the role, bulldozing any obstacle that lies in the way of her daughter’s path to success. She has a real presence and Jones delivers her character’s barbed with devastating effect.

As Louise/Gypsy Melissa James has a voice of purity and power and I really liked the way she matures before our very eyes and finally stands up to the dictator in a dress, Rose. By now she’s a big name on the striptease circuit, all a far cry from the fresh faced, all American innocence of the double act she once performed in with her kid sister, June.

Director Jo Davies’ production is sure to leave audiences on a natural high and the same is true of Andrew Wright’s choreography, which makes use of every inch of the RET’s compact stage.

The show brought a large section of the audience to its feet on press night. Rest assured, that won’t be the last time.

Until January 25. The box office is on 0161 833 9833. Star rating - ***** Photo by Johan Persson.

Cleo Camping Emmanuelle and Dick - Altrincham Garrick

IT takes a great deal of courage for any actor, amateur or professional, to play three much loved icons of British comedy.

They also need the talent and believe me, Mark Butt, Steven Finney and Dawn Flint certainly have it. In spades.

Finney is as scream as Kenneth Williams, the master of the double entendre in Terry Johnson’s heartfelt and heart warming love letter to that most British of institutions, the Carry On films.

This, for me, is the complete comic package, from the demeanour to that unmistakable nasal twang. Steven gets it just right.

Dawn Flint also delivers a fine performance as Barbara Windsor, complete with her cheeky, cockney giggle. Then there’s Mark Butt as Sid James, who really comes into his own when he’s highlighting the star’s loneliness and deep seated love for Babs.

The humour of the Carry On generation may be dated and unashamedly not PC but the stars of these sometimes saucy flicks had a mystique about them shared by very few of today’s so-called celebrities.

It’s brilliantly directed by Charlie Tomlinson, one of the Garrick’s leading talents both on and off the stage and designed with his trademark creativity by Barry Purves, whose clever set is dominated by Sid James’ caravan/passion wagon.

So, what’’s not to like?

If the early Christmas shopping and the impending election are starting to get you down, I have the perfect cure.

Highly recommended - a must see.

Until November 30. The box office is on 0161 928 1677. Star rating - *****

Love From A Stranger - ALtrincham Little Theatre

MARRY in haste, repent at leisure.

That old saying certainly rings true for the hopelessly naive Cecily, who finds herself hopelessly seduced by the silver tongued Bruce Lovell in this captivating and witty play, inspired by a short story by the queen of suspense, Agatha Christie.

Let’s face it, Bruce doesn’t have much in the way of competition when it comes to winning her affections. His only “competition” comes in the shape of the disarmingly decent but dull as dishwater Nigel, who she’s destined to marry.

While the tale has Christie’s fingerprints all over it, it was brought to the stage by Frank Vosper, a new writer to me, who would surely have gone on to achieve great things had he not died far too soon aged just 36.

Garth Jones stepped in late to direct this piece, perfectly suited to ALT’s compact little sage, which provides an ideal backdrop for the encroaching tension, which builds beautifully.

Garth also coaxes some credible and watchable performances from the likes of Sarah Reilly as Cecily and Harry Chalmers-Morris as the darkly debonair Bruce. Then there’s Georgina Dalgliesh to enjoy as the couple’s housemaid, Ethel.

As lovable as Ethel is, she wasn’t even in the building when they were handing out people skills.

If I have a criticism I thought the play was 10 minutes too long, but take it from me, the twist at the end is well worth the wait.

Love From A Stranger is the perfect choice for a theatre of this size and for these long, dark and seemingly endless autumn nights.

Criminally good.

Until November 23, The box office is on 0161 928 1113. Star rating - ****

When We Are Married - Altrincham Garrick

CAROLE Carr’s perfectly paced production, performed by a gifted cast who gel beautifully together, is period comedy at its very best.

While the subject matter of Priestley’s classic wouldn’t raise an eyebrow today - three self-proclaimed pillars of their community may not be officially married after all - you have to view the piece through nostalgic eyes in order to appreciate it.

The piece takes us back to a north of England that’s long been consigned to the history books, to a time when if you came from another part of the country you may as well have come from another planet.

Some of the dialogue sounds silly to 21st century ears but the majority of it is sublime.

It seems unfair to single out individual performances for the simple reason there aren’t any weak ones in a production that is amateur only in name.

Geoff Holman is great fun as the local newspaper photographer Henry Ormonroyd and I equally enjoyed Hugh Everett as the downtrodden Herbert Soppitt. Then there was Alison Davis, an actress who is always a pleasure to watch as the formidable housekeeper Mrs Northrop and a performer who is new to me, Georgia Geupel, as Ruby Birtle, the housemaid struggling to make sense of the chaos that unfolds in the Heliwell household.

Lindsey Barker also caught my attention as the oh so worldly Lottie Grady, so convincing as a woman who has been around the block on many, many occasions.

Personally I can’t think of a better antidote to these dark, dank November nights. Highly recommended. A must see for anyone with a sense of humour.

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

My Mother Said I Never Should - Altrincham Garrick

BRACE yourselves for what is, in parts, a highly charged and emotional play.

I use the word ‘emotional’ but writer Charlotte Keetley doesn’t explicitly play on the audience’s emotions in what is my most memorable outing with director John Chidgey to date.

Of all the productions I’ve seen of his, this is his best to date. It’s evidently been nurtured with tender loving care, helped by a superb script that surely makes the piece, which premiered in Manchester in 1987, a modern day classic.

This is a play about life, love, sacrifice, guilt and of young women finding their feet and shaking off the shackles of tradition.

Chidgey must have thought Christmas had come early when he held the first rehearsal for this cast who give their all in their roles.

As Doris, Margaret, Jackie and Rosie, Margaret Leslie, Sarat Broughton, Kathryn Worthington and Meg Brassington are outstanding and I particularly enjoyed the convincing way in which Meg as Rosie “grows up” before our very eyes, making a very convincing transition from crabby teen to young woman with a burgeoning interest in social activism.

The play really gets going for me when Margaret comes to the rescue of her struggling daughter, Jackie, making a life changing decision so Jackie, in the pit of despair, can have a life.

My Mother Said takes place over 50 years, making it a truly epic and ambitious piece of theatre.

What I will say about this play is be prepared to listen, otherwise you’ll fail to get the full effect of what is for me, one of the most memorable theatrical experiences I’ve had for a long time.

Moving and warmly funny, this is a must see production. Outstanding.

Until October 19. The box office is on 0161 928 1677. Star rating - ****

Corrie - Altrincham Garrick

IT must have been soul destroying for director Bill Platt and his cast for this ambitious play, receiving its amateur premiere at the Garrick, to open to a theatre which was less than half full.

All your favourite soap characters are here in Jonathan Harvey’s love letter to Weaterfield, as are some of the story lines that helped turn the show into a much loved TV institution.

While I’ve not watched the programme on a regular basis since I was a student - more years ago than I can remember - I really loved spending time with its lovable clown figures like Jack and Vera Duckworth (pictured being played here).

It is fair to say that none of today’s characters have the same mystique as Elsie Tanner, who always looked so out of place on those world famous cobbles. It’s as if she’s just stepped out of one of those old black and white films they used to show on soggy Saturday afternoons when I was a kid.

Harvey takes a largely lighthearted look at the famous plot lines but managed to add a dash of poignancy too, such as the scene in which we find Hilda Ogden mourning her late husband, Stan. Oh yes, the mural provides the backdrop of course.

We also see Rita’s dodgy beau Alan Bradley meet his end when he’s hit by a tram in Blackpool.

Guiding us through proceedings is Martin Oldfield.

All of this begs the question - why did so many people decide to stay away? While some of the actors are more successful than others when it comes to capturing the mannerisms and look of the Coronation Street characters, I’m sure I’ve not the only one who relished an opportunity to escape the long running farce that is British politics at the moment.

By ‘eck, this is great fun.

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

Early Doors - The Lowry

THEY say laughter is the best medicine and what better antidote to these scary times than one huge dose of Mancunian humour.

In fact, I can’t remember the last time I laughed so hard as I did during this memorable return to The Grapes pub, a brilliantly observed comedy by Craig Cash and Phil Mealey.

My first visit was when Early Doors began life as a sitcom on the BBC and this is our last chance to see this lovable, motley crew of characters on stage.

Judging by the warmth of the reception - it was impossible not to feel the love for the characters and the actors behind them on a very muggy press night - I find that hard to believe.

Surely Cash and Mealey, a comic dream team in my opinion, will be tempted to bring the regulars and landlord of this old school boozer back to life again? Maybe not on stage, but in a Christmas special.

Ken the world weary landlord, wants to marry Tanya, but his mother, who rules him with a rod of iron and an honours degree in manipulation, works hard to put a spanner in the works, as she’s thinks she’ll be sent packing.

John Henshaw reprises the role of Ken and does so superbly, as do most of your TV favourites including the bobbies on the beat or rather bobbies on the take Phil and Nige, hilariously brought to life by James Quinn and Peter Wright.

But the best cheer of the night came when pals Joe and Duffy, played by Cash and Mealey, sauntered on to the stage, reminding us if we needed reminding they’re just as accomplished when it comes to performing comedy as they are writing it.

Great fun from start to finish. Enjoy - I could certainly see this twice. An absolute classic.

Until August 4. The box office is on 0843 208 6000. Star rating - *****

Hobson's Choice - Royal Exchange Theatre

I MUST confess my heart sank when I heard the RET was wheeling out this theatrical dinosaur, but nothing could prepare me for the sheer, feel good pleasure of Tanika Gupta’s invigorating modern day adaptation.

We’re in the Ancoats of Manchester in the 80’s and the piece is set among the Asian community. Gupta, while retaining the spirit of Brighouse’s northern comedy, has successfully tweaked the original to make it a hilarious play for today.

Henry Hobson, a patriarch in name alone is still trying to keep his daughters on a tight rein. In this version he’s called Hari and the cobblers of the of the 1915 tale has now become a tailor’s shop, where he bullies talented employee Ali Mossop, Will in the original.

Poor Ali does a very good impression of a rabbit caught in headlights - he’s scared of everyone and everything. From his employer’s hot temper to the prospect of making love to his wife Durga on their wedding night.

Esh Alladi steals the show as Ali, treating us to a lesson in comic timing I urge aspiring actors not to miss. The scenes between him and Hari Hobson are pure comedy gold. Tony Jayawardena excels in this role, so funny when he realises that his reputation as a pillar of his community is now firmly in tatters.

Attractive and elegant, Shalini Peiris is perfect for the role of Durga, Maggie in the original play. It’s impossible not to warm to this gifted actress as she, the undisputed heroine of the play, stands up to her domineering dad, a graduate from the school of hard knocks.

In singling out these three performances I’m implying there are weak ones in director Atri Banerjee’s vibrant and tight knit cast which simply isn’t the case.

They give the impression they enjoy every second they’re on stage as I’m sure you will watching them.

Feel good theatre simply doesn’t get any better than this.

Until July 6. The box office is on 0161 833 9833. Star rating - ****

Cats - Altrincham Garrick

THE curtain comes down on an outstanding season at the Garrick, with a magical production that’s sure to live for long in the Memory of audiences who see it.

Sorry, I couldn’t resist that one.

Memory is the best song in the show by a mile and becomes a thing of beauty when sun by singers as gifted as Vicky Clarkson and Neve Finnigan, who play Grizabella and Jemima respectively.

It made me forget the weaknesses in Lloyd Weber’s score which are sporadic but still there.

Based on TS Eliot’s Old Possum’s Book of Practical Cats, it’s a major triumph for choreographer Deborah Kate Norris, who, along with her assistant Val Watkinson, has helped create a feast for the senses, served up by a vibrant and exciting, largely young company.

When it comes to the dance routines, the cast are highly versatile, whether they’re performing slinky, sensual, at times balletic routines or mesmerising tap numbers in this celebration of all things feline.

Judging by the standards achieved in this show, which has the consistently impressive Mark Goggins as its musical director, the future of amateur musical theatre in this area looks very bright indeed. Mark Goggins simply doesn’t have it in his DNA to preside over a bad show.

The magical element of the evening is enhanced by a rooftop set designed by Stephen Bradshaw. It was also pleasing to see children in the audience - I can’t think of a better way to introduce them to an art form that has yet to lose its power over me, 30 years and several hundred reviews later.

When word gets out as to just how breathtakingly brilliant this show is I expect tickets to be snapped up. So book now to avoid disappointment.

Make sure you don’t miss this evening of unforgettable musical escapism.

Until May 25. The box office is on 0161 928 1677. Star rating - ***** Please note - Altrincham Garrick continues to play host to visiting productions. Check its website for details.

Say Who You Are - Altrincham Little Theatre

TAKE a bow Polina Sparks, Alan Reidsma and Steve Smith.

It’s not often I begin a review by praising a production’s design team and sound and lighting man. But between them they’ve worked miracles on ALT’s compact stage, by creating four acting areas that include a working phone box.

Does anyone remember them? We’re in the days before mobiles here, the swinging 60’s in fact.

But it’s not only the creative team who are challenged here, in this intelligent and grown up comedy from Keith Waterhouse and Willis Hall.

When Sarah (Jane Newman) suspects her pompous husband David (Alex Clarke) is having an affair she decides to take her revenge in the most bizarre way imaginable. It involves another couple, Stuart (Mark Edgar) and Valerie (Bev Stuart Cole) and all the actors display a flawless comic timing as the plot becomes increasingly outlandish.

But the writing is so good and the cast so accomplished you buy into it. Director Gary Woodhall deserves considerable praise for bringing the best out of a cast who display an effortless comic chemistry.

This is a comedy very much of its time, affairs raise few eyebrows these days, with some couples wearing them as badges of honour.

It also for me had elements of farce, with Sarah’s penchant for jumping to conclusions leading her to take some drastic action involving a pair of scissors and her husband’s wardrobe.

Great fun and who doesn’t need a laugh, in these barmy days of Brexit? Highly reccommended.

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

The Mousetrap - The Lowry

HAVING been a theatre critic for the best part of 30 years - I started very young - there are few plays and shows I’ve yet to see.

But this Agatha Christie classic was one of them and I relished the chance to play detective for the night. Oh and yes, I did work out who the killer is, but, at the end of an enthralling and entertaining evening, we’re invited not to inadvertently reveal the murderer’s identity to anyone who hasn’t seen it yet.

Doubtless Gwyneth Strong, the ex Only Fools and Horses star, was the biggest draw in terms of the actors. But you’ll instantly forget the likeable lass Cassandra, the gormless Rodney’s wife in the classic sitcom, for in this she plays the serial moaner Mrs Boyle and very convincingly, too.

A group of toffs assemble in a large, rambling guest house, all oak panelling and heavy, velvet curtains. There’s a blizzard blowing outside but the bad weather rapidly becomes the least of their worries as several of these strangers are implicated in a rather disturbing case.

Most of the tension comes in act two, with the majority of the first half being light rather than dark. Geoff Arnold excels as the delightfully old school copper, Sgt Trotter. We, the audience, find ourselves becoming very nervous when a character disappears temporarily or a light is dimmed.

A tribute then, to director Gareth Armstrong and a tight knit cast that perfectly captures the spirit of Christie. This is a play, however, that would work just as well on radio, letting the listener’s imagination run riot.

Perfectly paced, The Mousetrap feels surprisingly fresh, even if the “jolly hockey sticks” England in which it is set vanished a long time ago.

Until May 18. The box office is on 0843 208 6000. Star rating - ***

Jekyll and Hyde - Sale and Altrincham Musical Theatre

IAN Curran’s transformation from the mild mannered Dr Henry Jekyll to his snarling, murderous alter ego, armed with the most demented of laughs, is a genuinely scary sight.

Had he ventured into the audience I’m convinced some of the audience would’ve have dropped the drinks they clutched in plastic glasses.

But this is a love story as well as a horror story too and rest assured, this huge talent is as adept at being tender as he is terrifying. He also has a voice to die for - no pun intended - and an effortless chemistry between him and his unsuspecting bride to be Emma Carew, played by Francesca Bowman.

The big ballads are the best numbers in this show, ideal vehicles for Ian, Francesca and Elizabeth Lovelady, who is simply outstanding as Lucy, the object of the creepy Edward Hyde’s affections. All three wouldn’t sound out of place on a professional stage.

Director Martyn Preston must have thought all his birthdays had come at once when these three turned up for auditions and he certainly more than repays the favour, giving us a show that is as captivating as it is enchanting.

For a musical it’s unusual for me to care about the characters and I’m sure I wasn’t the only one aching for a happy ending, not being overly familiar with this creepy and disturbing tale. Will Henry Jekyll manage to shake off Edward Hyde, the dark character he unleashes after some dangerous medical experiments?

The Waterside Arts Centre may not be the biggest performance space but it worked in helping to up the emotional ante in a musical that I’d never seen before but would love to see again.

I tend to give five star ratings sparingly as I feel it renders the rating meaningless but to give a production of this quality anything less would be insulting.

Book tickets - if you dare.

Until May 4. The box office is on 0161 912 5616. Star rating - *****

Things I Know To Be True - Altrincham Garrick

THE words “family strife” take on a whole new meaning in this modern day classic, Altrincham Garrick’s production of the season.

Andrew Bovell writes in a way that’s sure to affect those who see this piece very deply. Bovell’s writing is thoughtful, thought provoking, touching and warmly funny and the cast give performances of a professional standard, thanks to expert direction from Carole Carr.

Poor Rosie (Megan Relph) returns home early from a backpacking trip to Europe after having her heart broken by a Spanish confidence trickster and who would blame here if she packed her bags and did a runner to escape the unfolding turmoil in her family home.

It’s a home presided over by her doting but suffocating dad Bob, played by the always watchable Charlie Tomlinson and her mum Fran, one of the most fascinating female characters I’ve ever encountered in contemporary theatre, brilliantly portrayed here by Brigid Hemmingway.

Bob is a dethroned patriarch and Fran is a woman who speaks her mind, but nothing can prepare them for the shocks that come courtesy of their other three grown up kids, Pip, Mark and Ben.

This piece , while it shouldn’t be dismissed as an angst fest is hard on the emotions at times but it makes you feel like you’re actually living.

Add a gorgeous set from Juliet Jones, some equally lovely and tender music and you have the complete theatre package.

Hopefully the remaining seats will be snapped up because productions as good as this deserve packed houses.

Go and send the box office phones into meltdown, for this is flawlessly brilliant.

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

West Side Story - Royal Exchange Theatre

WHEN you hear Andy Coxon and Gabriela Garcia sing for the first time you’re totally transfixed and the air fills with magic.

When you hear them together its an incredible, soul stirring experience and the tenderness they display as Tony and Maria is so real you’re sure to believe they’re head over heels in love for real.

Inspired by Shakespeare’s Romeo and Juliet, this initially struck me as a strange choice for the RET as this classic musical has been performed many times over the years. But director Sarah Frankcom, who is about to depart this famous theatre for pastures new, has managed to give the show a modern twist while staying true to the spirit of the original Broadway hit.

I also wondered if the big dance numbers would work on the RET’s compact stage but they do and the choreography of Aletta Collins is vibrant and exciting, rather like the young company who perform it. Another question going through my head going to see this was where do they put the orchestra?

The answer is - in a specially constructed booth in the foyer and the deliver the timeless score to perfection, from the absolutely beautiful ballad Maria to the roof raising showstopper, America and of course Tonight, brimming with excitement and expectation.

Also very impressive is Jocasta Almgill as Maria’s sassy confidante, Anita. With Garcia’s playfully girlish Maria they are the most convincing of friends.

Musical theatre doesn’t get any better than this and I guarantee, as you float your way out of the theatre, you’ll be humming at least one of the timeless numbers.

The best show to hit the Manchester stage for years - do not miss this.

Until May 25. The box office is on 0161 833 9833. Star rating - ***** Photo by Richard Davenport.

Business Affairs - Altrincham Garrick

STANLEY Bigley and Norman Harris are on the verge of selling up and retiring to the sun with their wives.

They run a haulage firm in Huddersfield and find themselves cooped up in a London hotel suite, waiting to seal the deal with two foreign businessmen, Kurt and Sven.

But this being a farce, nothing goes to plan. Their two guests both have raging libidos and ask their hosts to lay on some “female company” to entertain them before they sign on the dotted line.

Farces also work on the tendency for us humans to jump to conclusions and these is what happens when Kurt and Sven meet Stanley and Norman’s wives, Hilda and Rosie. They are o course stereotypes, a trademark of this popular theatrical genre.

I have, in the past, been put off by farces because of the irritating and shallow nature of the dialogue and while some of the humour misses the mark I found myself laughing out loud more than once, thanks to a pacy script and the superb direction of John Chidgey.

John coaxes some wonderfully engaging performances from Jonathan Black and Mike Shaw as Stanley and Norman and I also liked Sarah Reilly and Kim Armston as Hilda and Rose, with both characters undergoing a mini sexual re-awakening after 20 years in marriages that have becoming boring in the bedroom.

As Kurt and Sven, Matthew Foster and Nick Lowe are an absolute hoot, both displaying a sense of comic timing that is second to none.

When it comes to farces, John Chapman and Jeremy Lloyd are masters of their craft. I would really enjoy it if some or all of this cast worked together on a comedy that wasn’t as predictable as a farce as this theatre has the talent, in spades, to meet and conquer the challenge.

Until April 13. The box office is on 0161 928 1677. Star rating - ***

The Girl On The Train - The Lowry

LIFE has become something of an endurance test for Rachel Watson. Divorced and childless, she’s forced to watch as her ex-husband, Tom, flaunts his seemingly idyllic new lifestyle in front of her, complete with new baby he has had with Anna, every inch the model suburban wife.

Rachel, played by former Eastenders star Samantha Womack, seeks solace in the bottle and in a bid to spice up her own dull as dishwater existence starts taking an unhealthy interest in other people’s lives.

But the excitement she ends up finally getting is far more than what she bargained for in this tense and engrossing stage adaptation of the best-selling book and film. Most of the tension is confined to act two. The mysterious disappearance of Megan Hipwell, a woman Rachel becomes inextricably linked to, has finally reached a conclusion.

While Ms Womack is bound to be a big draw for audiences and her as her character she’s both strong and credible, for me the performance of the night crown must go to Adam Jackson-Smith as Tom, a controlling character with a skeleton in his cupboard.

The scene towards the end of the play, in which Rachel confronts her former hubby, was edge of the seat stuff and you could hear a pin drop in a packed Lyric Theatre.

Oliver Farnworth is also very watchable as Scott Hipwell, partner of the missing Megan. But is he involved in her disappearance? Who can resist a chance to play detective? I know I can’t.

Never having seen the film or read the book I came to this unsettling story with no preconceptions. Having seen Anthony Banks’ perfectly paced production i now have the urge to do both.

A classy, intelligent thriller for grown ups. Enjoy.

Until April 6. The box office is on 0843 208 6000. Star rating - **** Photo by Manuel Harlan.

The Crucible - Altrincham Garrick

WHEN this play is well done, you should feel well and truly out of your comfort zone and desperate for the voice of reason to win the day.

As captivating as Miller’s masterpiece is, I always feel like I’m trapped on a fairground ride, screaming to get off and my screams are falling on deaf ears.

For this play, inspired by the notorious Salem witch hunts, has lost none of its power to shock. Of course it’s well done, as the director is none other than Joseph Meighan and this is the latest production by Meighan Youth Theatre Productions.

Joseph also took the brave decision to transport the piece to a modern setting and after a period of readjustment, I found myself buying into this. After all, this could be the ridiculously reactionary Bible Belt in the States. Nobody is accused of being a witch these days.

What I did find more baffling though is to replace John Proctor, who remains the voice of sanity and a beacon of decency, with a completely different character. None of these character traits are lost of course, for he is a pivotal character in this devastating drama.

The future of amateur theatre in Trafford looks very bright on the evidence of the powerful and heartfelt performances you can enjoy here.

Particularly impressive are Chris Wagstaff as a snarling grand inquisitor, Deputy Governor Danforth, David Beeby as Reverend John Hale and Eve Rowan, who remains convincingly hateful as the scheming, self-serving Abigail Williams.

John Proctor has been replaced by a character called Proctor - an outstanding Lara Hancox - who along with Tabitha Hughes (Elizabeth Proctor) make you care deeply about what happens to them.

Another hit for this dynamic young director and a company steeped in talent. If you think you knew youth theatre, you’ve never seen an MYT production.

Until March 30. The box office is on 0161 928 1677. Star rating - ****

The Anastasia File - Altrincham Little Theatre

IT’S a mystery that can’t fail to capture your imagination - an enigmatic young woman turns up i1920’s Berlin claiming to be the daughter of Tsar Nicholas II.

She says she survived the bloodbath that claimed the lives of most of the Romanov family, their servants and their cohorts.

Then there was her daring escape, as the Russian revolution swept aside the old order that had ruled Russia for three centuries.

You simply couldn’t make it up, could you? Or could you? Is this lady really Anastasia Romanov, or a brilliant confidence trickster or simply suffering from delusions of grandeur. No pun intended.

Kathryn Fennell is at her captivating best as the character in question and I simply hung on her every word while she was on stage in Royce Ryton’s superbly crafted and thought-provoking and deeply engrossing play.

Malcolm Cooper is absolutely perfect for the role of the nice police inspector who takes this seemingly lost soul under his wing as the authorities probe every corner of her being in a bid to prove whether she’s a genuine Duchess or not.

This production is a major triumph for director Lisa Barker whose also made sure the rest of the cast, Stephen Moss, Christine Perry and Cherrill Wyche who treats us to a masterclass in versatility, playing somewhere in the region of 40 different parts, from well-meaning but baffled medical staff to an old school reporter.

At two hours and forty minutes it may sound like a long night. But in the company of a cast as gifted as this one I left the theatre feeling I’d only been in there for a matter of minutes.

I do hope this production cleans up at the next amateur theatre awards night. Prepare to be enthralled - and mightily impressed.

A must see.

Until March 23. The box office is on 0161 928 1113. Star rating - *****