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 - *****

Elf The Musical - The Lowry

I CAN exclusively reveal that Father Christmas is a football fan.

He also gives us more than a hint of where his loyalties lie - a brave move when you consider how close the theatre is to their deadly rivals.

Of course none of this matters, as The Lowry invites you to leave your troubles at the door and immerse yourself in this fabulously funny, deeply engaging piece of seasonal escapism. It takes big kids like me back to the time when it was possible to see the world with wide-eyed wonder, rather than more cynical, adult eyes.

Its the uplifting story of Barney, who has been raised by elves after inadvertently crawling into Santa's toy sack. When he discovers he's human after all he embarks on an epic journey to find his dad, a hard boiled corporate type working in New York. As you can imagine its a real culture shock for poor old Buddy, and a even bigger one for the dad he'd long ago lost touch with, Walter.

If Ben Forester (Buddy) is thinking about a career in the movies he certainly has the charisma and the comedy timing to make it to the top. There's little to choose between him and Will Ferrell, who played the part on the big screen. He is so likeable you'll want to take him home with you.

Likewise, Joe Mc Gann is very good value as Walter and Louis Emerick a revelation as Santa and Walter's no nonsense boss, Mr Greenway. Until now he'd always been the luckless Mick from Brookside. Not anymore.

With a score that ticks all the musical boxes and some stunning and spectacular dance routines, The Lowry has a massive festive hit on its hands. Book quickly - for as soon as word gets out as to how good this is, tickets will go like hot mince pies. Magical, magnificent, unmissable.

* Until January 14. The box office is on 0843 208 6000. Star rating - *****

The Actress - Altrincham Little Theatre

AFTER more years than she cares to remember treading the boards, Lydia Martin is about to take her final bow, and disappear from the spotlight, for a life of peace and tranquillity with her husband, Charles.

She's a difficult character who is unashamedly tactless and has a private life as dramatic as some of the roles she's taken on. Things become complicated when her ex-partner Paul turns up to witness her final performance.

We also meet her dresser Katherine, who dutifully goes about her business and Margaret, her long suffering agent who she uses and whose opinions she brushes aside without giving it a second thought.

Despite her faults, I found myself warming to Lydia and found her frankness rather refreshing, thanks to a terrific performance by Jane Newman, for me one of the best actresses on the amateur stage. But rest assured, this an amateur performance only in name.

Malcolm Cooper is funny and engaging as Paul and I really enjoyed the character's sharp and witty wisecracks at the expense of the coffin dodging Charles, a very believable David Garner. Barbara Steel impresses again as Katherine.

Peter Quiller's intelligently written piece probably doesn't add anything to the plethora of plays we already have on this subject matter - he touches brilliantly on the fickle nature of fame - but it deserves far bigger audiences than the meagre amount of people who tuned out on Tuesday night. Jane Newman's performance is worth the ticket money alone.

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

Season's Greetings - Altrincham Garrick

EVERYONE knows there are two images of Christmas. There's the fluffy one the advertisers try to sell us, all chunky jumpers and beaming smiles.

Then there's that notorious party pooper called reality. For many, it's the season to be sniping at each other.

But I doubt anyone's Yuletide is as colourful or as memorable as this one, vividly and at times hilariously captured by the prolific playwright Alan Ayckbourn and a cast expertly led by director John Chidgey, who manages to make everyone feel invited to the at times chaotic seasonal celebrations. Let's just say a typical family gathering, a gathering that will be repeated thousands of times up and down the land in a month's time, turns out to be far from typical.

Ayckbourn writes about a world I don't live in. But thanks to  Chidgey and his charges I felt totally immersed in it. This is a major comedy triumph for this theatre, with each performance characterised by impeccable comic timing.

I particularly enjoyed Bill Platt as the hopeless puppeteer and equally clueless medic Bernard, Victoria Evans as the flirty Belinda and Peter Ruddick as the only eligible guest, Clive. Gary Collins ensures you wouldn't want to meet the barking Harvey on a dark night. That said, I  don't like singling out individual performances because there aren't any weak ones, with the company gelling quite brilliantly.

Make sure you don't miss this early Christmas present from the Garrick - with plenty of ho, ho, ho.

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

Uncle Vanya - HOME

UNCLE Vanya manages a rural estate, while his employer, Professor Serebrayakov, enjoys the good life, swanning around and masquerading as an intellectual.

Just to rub salt into Vanya's wounds, the ageing Prof has a much younger wife, who attracts the attentions of both he and the highly eligible Dr Astrov.

Vanya treats us to a master class in discontentment, thanks to an impassioned performance as by Nick Holder who, along with David Fleeshman as his ungrateful employer, treat us to  some memorable confrontations. I simply couldn't take my eyes off them as they tore into each other on the HOME stage.

It's remarkable to think Chekhov's masterpiece was first performed in 1898. The play, in the hands of director Walter Meierjohann, full of simmering passion and exquisite, evocative dialogue, feels so modern, so fresh. There are even references to the need to protect the environment. This theatre company, when it was the much loved Library Theatre, always excelled when it came to the classics and this production further cements that reputation.

Hara Yannas is elegant and engaging as the professor's wife, Yelena, and Jason Merrells cuts a  charismatic figure as Astrov. But for me, the most affecting performance comes  from Katie Wet as the lovely Sonya. Loyal and disarmingly decent, she finds herself nursing the pain of unrequited love.

Live theatre doesn't get any better than this and the music adds to the atmosphere. A production not to be missed.

* Until November 25. The box office is on 0161 200 1500. Star rating - ****

Jubilee - Royal Exchange Theatre

BEING just 12 and with musical tastes I would now happily describe as "uncool", I missed the point of punk, first time around.

It was only in later years that I could appreciate the way it stuck two fingers up at the establishment, its DIY attitude to creativity and the way it paved the way for far better bands.

A real pity then, that the spirit of this very important movement remains in the background of this stage version of Derek Jarman's classic cult film. It's been updated to allow the characters to vent their spleen against the way 21st century society treats those at the bottom of the social ladder, or those who, like the punks it focusses upon, are labelled as outsiders.

Transgender performer Travis Alabanza gives the performance of the night as the sharp tongued and often hilarious Anmyl, one of a group of young people living on the edge of society. Travis also has a terrific rapport with the audience, managing to make the small amount of audience participation a pleasure rather than an ordeal.

In the programme he equates his own treatment with that suffered by the punks by a society unable to understand what they stood for and what they were ranting against. I found reading this quietly moving.

Pop star Toyah Wilcox, who appeared in the original Jarman flick, plays a time travelling Queen Elizabeth I and there's a treat in store for her fans in the second act of the play. But why the monarch is there, watching over the unbridled hedonism of the totally unsympathetic characters. is a mystery.

But I admire the RET for putting this on, even if those on stage largely look like fetishists rather than Johnny Rotten. Just when I thought theatre was too safe, along comes Jubilee to yank me out of my comfort zone. By the hair.

Warning - Jubilee contains explicit nudity and strong language.

* Until November 18. The box office is on 0161 833 9833. Star rating - ***

Wolf Hall - Altrincham Garrick

THE costumes in this production are stunning and richly deserving of the heartfelt applause that greeted their first appearance on Monday night.

Mike Shaw and his wardrobe team have been working their magic at this theatre for decades and their latest creations have to rank among the best I've seen at this theatre, the cast resplendent in their Tudor finery.

But there's plenty more to admire in this very watchable adaptation of Hilary Mantel's novel, skilfully adapted for the stage by Mike Poulton.

Most notably Mark Butt who is never offstage as Thomas Cromwell. I also really enjoyed Geoff Holman as Cardinal Thomas Wolsey, with Geoff putting in the sort of performance tat left me asking one question - why doesn't he do more at the Garrick?

The play is a living, breathing and completely absorbing history lesson with King Henry VIII (Sean Duvall) fighting the Catholic church to get the divorce that will allow him to marry Ann Boleyn played by an at times frighteningly feisty Lara Hancox.

At three hours including an interval this sounds like a marathon but for me the time flew. While Nick Sample's has one or two flaws it a fascinating tale well told. I hope potential audiences aren't put off by the subject matter which is never dry or boring and there's even a dash of humour to keep the audience amused.

A history lesson with jokes? Whatever next. Enjoy.

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

Nightmare - Altrincham Garrick

MARION Bishop is a wealthy romantic novelist and a string of schemers descend upon her house, desperate to get their hands on her money.

By far the most interesting is her quietly intimidating and grudge fuelled nephew Raymond - perfectly played by Peter Brassington. Raymond is completely obnoxious and Brassington, one of the Garrick's most consistently impressive actors, ensures we hate him every second he's on stage.

It sounds like the recipe for an evening of heart thumping tense theatre but there were only two occasions when I felt genuinely spooked by what was unfolding on stage. The play lacks pace and some of the dialogue is downright clumpy.

A real shame, as Pat Williamson delivers a fine performance as Marion, a knowing, wise old bird who has no intention of lying down and playing the victim. I also liked Liam Dodd as Michael, very convincing as a young man with special needs. Although Raymond refers to him in far more disparaging terms.

Nightmare certainly isn't the worst production you'll ever see in the hands of the more than able director Carole Carr. I just feel a cast as good as this, which also includes Hugh Everett as Dr Andrew Thorne, deserves much better material than this eminently forgettable Norman Robbins script.

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

The Kite Runner - The Lowry

THE Kite Runner is, in places, absolutely heart breaking.

And yet despite leaving the theatre feeling I'd gone through the emotional equivalent of being hit by a truck, I also felt strangely elated. I felt like I'd just sat through something very, very special, life affirming in fact.

Also a film of course, this is the story of two boys, growing up together in Afghanistan. They're at opposite ends of the social scale and while they never proclaim it in the play, they might as well be blood brothers. But Amir and Hassan are as well as being united by what seems like an unbreakable bond, also share the hobby of kite flying, a national obsession inthis country, particularly among its boys.

Amir, the privileged one, is selfish and has father issues, while Hassan is a delightful young chap who would do anything for his friend. His selflessness is touching, deeply so. But Hassan, sensitive and vulnerable, strikes you as ill-equipped to survive the streets of Kabul.

David Ahmad ensures you live ever second of Amir's emotional journey with him and there's a wonderful, natural chemistry between himand Jo Ben Ayed who plays Hassan, so perfectly you'll feel like leaping out of your seat to protect him. I also liked Emilio Doorgasingh who plays the dad Amir struggles so much to please.

I really like theatre when it takes the audience out of its cultural bubble while, at the same time, not losing sight of the things that unite us. The Kite Runner, adapted for the stage by Matthew Spangler, is a play about friendship, intolerance and, ultimately, some sort of redemption, But it's also a play you simply must see, even if it could be, at times, the most difficult of watches. Stunning.

* Until October 7. The box office is on 0843 208 6000. Star rating - *****