After its nationally acclaimed debut in 2016, Cathy Marston’s ballet adaptation of Charlotte Brontë’s masterpiece, Jane Eyre, returned this week in an expanded form to The Lowry.

In Samuel Beckett’s Happy Days, a woman is buried up to her waist in a hole and then later up to her neck.

Watching interviews with Ruban Nielson, you’d be forgiven for expecting a chilled and pleasant live performance from a somewhat withdrawn artist that would simply be enjoyable to listen to.

A theatre production can only dream of a smooth sailing run – but it’s ultimately the public who will decide whether it sinks or swims when on the stage.

Kindertransport has returned to the stage in Manchester 25 years after writer Diane Samuels’ first showing – and it’s now presented to the world in a time where its themes of identity politics, immigration and anti-Semitism are perhaps more topical than ever.

It’s no surprise that the Kamaal Williams ensemble has been hailed as the most seismic jazz to come of out Britain in the past two decades.

Playing at the Lowry’s Quays Theatre, Carlos Pons Guerra choreographed this Spanish reading of Beauty and the Beast, which worked well in the intimate setting.

Manchester was brought back to the swinging sixties as hit West End and Broadway musical Hairspray arrived at the Opera House.

A show better be worth the hype if it’s to run for two consecutive months in Manchester.

Vancouver-based dance company British Ballet Columbia, on their first UK tour, left a lasting impression during a sparsely-packed show at The Lowry.

An ITV drama turned touring musical doesn’t exactly have ‘classic’ written all over it.