Mathew Spangler, from the novel by Khaled Hosseini Nottingham Playhouse and Liverpool Everyman Production, presented by Martin Dodd for UK Productions and Stuart Galbraigh for Kilimanjaro Productions The Lowry, Salford May 7-11, 2024. Touring until July 2024; 2hr 30 min On the tenth anniversary of his best-selling novel (first published in 2003), Khaled Hosseini wrote that he was honoured when readers told him the book had helped make Afghanistan a real place for them. No longer "just" the caves of Tora Bora, poppy fields and Bin Laden, but a place of individuals with often heartbreaking stories. The narrative starts in that country, in the relatively peaceful mid-1970s, but over the following decades covers war and turmoil, crosses continents, and contrasts class and cultures. Can such an epic be translated successfully to the stage? The answer is that Afghanistan and its troubles are reflected in a powerful story, showing human nature and relationships at their best and at their worst, that resonates with theatre audiences and beyond. Young Amir and Hassan grow up together. Amir is the son of an affluent and influential Pashtun man. Hassan and his father Ali are servants and of the minority Hazara Shias. The boys are very close. Yet although Hassan would - and does - do anything for Amir, his "friend' is jealous of his father's admiration for the underprivileged but loyal and courageous boy. The turning point comes at a kite-running festival. Kite running at that time was an integral part of Afghan culture (subsequently banned by the Taliban) involving cutting down rivals' kites with razor-sharp string until only one is left. Just as prestigious is the reclamation of the fallen kites. So when Amir wins the contest, Hassan, the runner, sets off to retrieve the losing kite. What happens next changes both of their lives for ever. For many years Amir fails to face up to what his actions - or lack of actions - have done. The play has a simple but effective set - a backdrop screen changing between Kabul and Pakistan's towers, minarets or ruins, and the skyscrapers of San Francisco. At times these are overlaid with huge kite shaped screens, sometimes used for shadow play. The music is a vital part of this production. In particular the live tabla playing of Hanif Khan punctuates the drama throughout, enhancing the feeling of place and underlining the action. In terms of the plot and characterisation, some aspects are missing. The beginning does not fully engage us in the love-hate relationship between the two boys, nor in Amir's great need to be number one with his father. But it would hardly be possible for a play - even one running around two hours - to portray the complexities, subtleties and details of a book such as this. Nonetheless, under the direction of Giles Croft, it does more than just distil its essence. Stuart Vincent as Amir carries the weight of the story, acting as boy and man and also as narrator. He does so very well. He is supported by Yazdan Qafouri as Hassan and later as Sohrab, Hassan's son. Special mentions for Bhavin Bhatt, menacing as a young bully, frightening as an adult tyrant, and for Daphne Kouma, who plays Amir's wife, Soraya. She brings a freshness to the play that features nearly all men. Whilst this is a story of terrible events, it doesn't overwhelm with gloom for it is also one of redemption, as Amir seeks to right his wrongs. Fittingly, it ends with the flying of a kite - a symbol of hope. More info and tickets here

Keith Khan, Xie Xin, Terence Lewis & Mahrukh Dumasia Xiexin Dance Theatre, Terence Lewis Contemporary Dance Company Aviva Studios, Manchester May 7-11, 2024: 1 hr 30 mins “A dance phenomenon…” – Factory International pre-publicity for The Accountants. “It’s not a dance show…” director of The Accountants Keith Khan, in the show’s programme booklet. Oddly enough, both statements are right. The first part of the production is so dominated by ever-changing big-screen projected images and recorded voices that the 12 dancers can hardly compete to be noticed; in the second that is transformed, and we see some lyrical and eloquent choreography that speaks powerfully for itself. The other most notable thing about the show is that, in that second half, the breathtaking depth of view that Aviva Studios’ theatre (aka The Hall) can furnish, by stretching the stage right back to the far wall of the Warehouse space behind it, is revealed – for the first time, I think, in a major performance. It was one of the exciting potentialities of the building we were told of when it was under construction, and the sight of it in use is quite something. (If English National Opera ever get to put on a really big production in this space, it could be spectacular.) But this is not an opera: it is, as Khan puts it, a collusion of sound, dance and video. It’s the kind of hugely ambitious, internationally conceived, genre-bending creative work that the Manchester International Festival has become known for, with two troupes of dancers, six from India and six from China, combining and even fusing their styles in support of a concept that attempts to encompass vast questions about the world we live in. At the heart of it is a story: young Josh, with Chinese heritage, and his “not-real aunty”, whose parentage is Indian, are in touch by voice messages on their phones as he tries to make sense of what it means to be Asian and north west British, too. He goes to Asia on his quest for identity – but has to return after bereavement and finds he’s “coming back exactly the same”. The voices are those of Josh Hart and Shobna Gulati – she, in particular, investing her recorded role with all the characterfulness we’ve known from her TV and theatre work. At the same time, the projections (created by Manc outfit idontloveyouanymore) bombard the audience with facts and statistics: data about China and India from their earliest history to the present, deliberately overwhelming in its detail and intensity. There’s a point to that (though it does overwhelm the contribution of the dancers), which is that we live in a world of big data, in which everything is priced and quantified – hence The Accountants. The pounding soundtrack (by Somatic) is equally mechanical and heartless. Then, after the interval, with the vast perspective of the back-to-the-rear-wall stage, humanity is rehabilitated. Josh wonders whether we should get rid of texting and do all our communication in pictures, and the language of dance comes into its own. The sound becomes musical: lyrical and expressive (with recorded bamboo flutes and sitar music by Daniel Tsz-Shing Lei and Tommy Khosla), and the choreography opens into moving patterns and intimate relationships (with follow spots and much more of brilliance from lighting designer Simon Corder). Background material tells us how the whole spectacle was created mainly by rehearsing two companies on two continents, communicating by Zoom, and it is remarkable how the performers, as well as the styles of the Indian (Terence Lewis and Mahrukh Dumasia) and Chinese (Xie Xin) company choreographers, have been integrated and eventually combine. It all offers a genuinely uplifting and optimistic ending. If the title puts you off, forget it and go see. More info and tickets here

Manchester-based collaborative Red Brick Theatre's latest is a rare production of Caryl Churchill's A Number, the award-winning mediation on human cloning and the nature v nurture debate. It's at Manchester's 53two venue from May 22-24. Bernard thought he was an only child but one day learns he is just one of several clones. He and his father confront epic questions and family dishonesty to uncover a shocking reality. Red Brick Theatre was founded in 2021 by Matilda Philipson and award-winning director Oliver Hurst. Their recent work includes Pornography by Simon Stephens, Sour Milk by Jonathan Mitchell and BRICKS - Six Short New Plays, at 53two. The Evening Standard award-winning A Number will be directed by Jess Gough, who said: "The play is just as relevant now as it was in 2001. Every day we curate in detail who we are and what we show the world, so naturally we begin to question identity and what intrinsically makes us who we are. "A Number explores these themes under radical circumstances. What strikes me is how other-worldly but also chillingly realistic the plot feels; you can’t help question the real world capabilities." The cast includes Joe Simpson (Happy Valley, Coronation Street, Blindspot) and Tom Ryder (The Bay; The Tremors; Pool (No Water), Royal Court). Red Brick Theatre artistic director, Oliver Hurst, said: "It's great to be bringing Caryl Churchill's work to Manchester. She's one of the country's greatest playwrights but criminally under-programmed in Manchester, I find it incredibly hard to believe that so little of her work has been produced here. We've got a stellar cast, and Jess is a really ambitious and exciting captain to be steering the ship." More info and tickets here

Know your theatre: Wales’ largest producing theatre opened in 1976 next to County Hall, in a complex opened by the Queen. The theatre has a proud history of major productions with star international names. Theatr Clwyd productions are seen throughout the year both in Wales and on UK tours. Appointed as artistic director in 2023 Kate Wasserberg, formerly artistic director of new-writing company Stockroom and Cardiff's The Other Room, is overseeing an ambitious, £35m redevelopment project to create a large extension at the front, including a new three-storey foyer and restaurant, bar and cafe. The building has three performing spaces and a multi-purpose function room, and though the redevelopment will massively upgrade facilities, the theatre spaces won't be changed. The main Anthony Hopkins Theatre is a single-raked tier seating up to 569, with five wheelchair spaces. The Emlyn Williams Theatre is a flexible studio space for 147-250. Studio 2, built to TV broadcast standards, can hold up to 120 for performance events and is used as a second rehearsal space. The theatre also has a small cinema (capacity 113) and a large function room used for gigs (capacity 240). Theatr Clwyd Address: Raikes Lane, Mold, Wales CH7 1YA Phone: General inquiries and box office: 01352 344101 (line open 10am-6pm) Facilities: The theatre complex is large, containing theatre spaces and other events and refreshment facilities. The theatre website is here . Disabled visitors are well catered for with wheelchair access to all floors, disabled parking spaces, an induction loop for hearing aid users, some "relaxed" performances when audience movement and noise are acceptable, and facilities for visual impairment. See here for details. Parking: Once in the Mold area prominent signage points you to the theatre complex. Currently, an underground car park is closed but parking is available on a tiered open air car park. Avoid parking immediately in front of the building. Online box office: Go here if you haven't booked online at Theatr Clwyd before, or find the show on the website and follow the bookings link. Email box.office@theatrclwyd.com with queries.

Know your theatre: Clonter Opera Theatre, Congleton Clonter, sometimes called ‘the Glyndebourne of the North’, is on a working farm in the Cheshire countryside, not far from the Jodrell Bank radio telescope. Clonter began as informal gatherings in a barn, with seating on bales of straw. Today the venue has a 400-seat theatre (though a former hen house is still part of the backstage facilities), and a well-established programme of events. Clonter notably showcases young operatic talent, but also jazz and folk. Front of house now offers sufficient accommodation for the entire audience to enjoy a meal under one roof, either before or part-way through the performance (ordered from the house caterer or your own picnic), which is something even Glyndebourne cannot offer. Expect to meet the Cheshire set in full cry (especially after imbibing during a long interval) as your fellow opera-buffs, but this stage frequently offers future international stars in the making, so it can be worth it... Address: Swettenham Heath, Trap Rd, Congleton CW12 2LR Phone: General inquiries and box office: 01260 224514 (10am-4pm Mon-Fri and performance days). The theatre is large, the building boasting separate rooms of various sizes, allowing it to function as a theatre and for corporate hires and schools use throughout the year. The theatre website offers a range of accommodation choices for long-distance visitors. Disabled visitors are well catered for Facilities: Parking: There is a drop-off point outside the theatre entrance, and free parking. Eight bays close to the main entrance can be reserved for those with reduced mobility. Online box office: Go here if you haven't booked online at Clonter before, or here if you have. You need to open an account for online booking.

Know your theatre: Opened in 1887, the Coliseum was one of the oldest British theatres still operating, and was much loved by its loyal supporters – perhaps more so since its demise in March 2023. Once a circus, in the 1930s it was briefly a cinema before becoming the members-only Oldham Repertory Theatre. It was said to be one of the most haunted theatres in Britain, and a famous stage death occurred there in the 1940s. By the 1950s-60s the resident company helped to form the careers of Coronation Street stars Jean Alexander, Pat Phoenix, Roy Barra-clough, William Roache and local girls Barbara Knox and Anne Kirkbride. In 1978 it became the Arts Council and local authority-supported Oldham Coliseum, offering a mix of professional productions of its own and other touring shows, It was famous for its massively-popular annual pantomime. Plans for a new building were scrapped in late 2018 and the withdrawal of an Arts Council "NPO" grant in late 2022 led to the theatre's closure in March 2023. Plans are supposedly in place for a smaller replacement within three or so years, which might not retain the name. Coliseum Theatre, Oldham (closed Mar '23) Address: Oldham Coliseum Theatre, Fairbottom Street, Oldham OL1 3SW Phone: Facilities: Parking: Some on-street metered parking. Bradshaw Street car park is nearby, with a concessionary rate after 6pm. More information here Online box office: