Sonali Bhattacharyya, Gurpreet Kaur Bhatti, Ishy Din and Alexandra Wood, based on Partition Voices: Untold British Stories by Kavita Puri Tara Theatre and Donmar Warehouse, with Queen’s Theatre Hornchurch HOME Manchester April 30-May 4, 2024; 2 hrs 20 mins In the aftermath of World War II, Britain was ready to be begin granting independence to its colonies across the world. The argument for independence for the Indian subcontinent had considerable support in the UK, not just within government circles. The subcontinent’s contribution to the war effort, and its powerful  independence campaigns, headed by traditional politicians and as well as striking individual figureheads such as Mahatma Gandhi, drew attention and empathy from large sectors of the British population. Anyone alive in 1947, the year independence was granted, is now in their late 70s so it is important to make sure participant and observer stories are captured and preserved. Silence supports that by taking these stories to the stage. One of the key questions at the time was whether or not India should be partitioned, establishing two countries: in simplistic terms, one dominated by Muslims and one by Hindus. Strong voices, including Gandhi, spoke against this but other strong voices prevailed, and India and Pakistan were established as separate countries. On partition, a mass migration of people, based on religious allegiance, saw old friends and neighbours turn against one another, accompanied by waves of extreme violence. Silence is adapted from Kavita Puri’s acclaimed book Partition Voices: Untold British Stories in which, 70 years after partition, she documented the voices of British Asians. This production, commissioned to mark the 75th anniversary of partition, is by Tara Theatre, originally co-produced with the Donmar Warehouse. The history is not unknown to UK readers, particularly to an older audience – indeed it has been turned into superb TV - Jewel in the Crown; and Richard Attenborough‘s film Gandhi,among others. The images created in those are pretty much unforgetable, but they are largely seen through the eyes of the former rulers, the British Raj. Kavita Puri documented the voices of direct participants and observers – previous residents of India and Pakistan who now live in the UK. The horror of those times is strongly conveyed by a hard-working cast of six. The first act presents the writer’s quest for first-hand accounts as the framing device, but it is not always clear who the different characters are.  An early story highlights the 70-year memory of a young boy, now an old man, who recalls someone who was a good neighbour in the morning but murdered a neighbur by the evening Silence is described as communal storytelling, and there is a problem inherent in translating this to the stage. There is no dramatic arc; no development, no explanation, and barely any opportunity for survival of spirit, understanding or redemption. The first act is a hard watch; when I saw it a few audience members didn't return after the interval. That was disappointing, because the second act is so much stronger. Characters develop the story in greater depth, so while the whole play lacks dramatic structure, each story becomes a minor drama in itself. Bhaskar Patel brings some light to a developing love story, which eventually brings him to England; to remain Indian and become British, happily negotiating the changing landscape immigrants and their families face. Asif Khan’s 30-minute monologue of a young Sikh boy torn away from his long-term Muslim friend Saleem is one of the best performances I have seen. The monologue shows how simple storytelling can captivate a theatre audience. With great drama, we often find ourselves sitting on the edge of our seat, awaiting the outcome, observing the effect characters have on events. We might do this even when we know the outcome: I still sometimes find myself waiting for Cordelia to open her eyes. In this drama there is no option to change the story of violence, hatred and slaughter. Some of the parts seem to be greater than the sum of the whole. Perhaps there is another piece to be written about how the survivors have buried the horrors and moved forwards in new lives? Perhaps the impact of the piece is greater on the many in the audience who knew little if anything of this history, as well as those whose heritage is close to the events. It is essential that this perspective is added to the story of partition, but when the characters on stage are unable to have an impact on events, the story can lose strength. There is some small drama in the story of how these voices have been captured, but clearly it cannot be allowed to outweigh the horrific real events. An attempt to dramatise and disseminate previously lost voices is a key part of British history. The subject matter here could be better served through a clearer focus on what drama can do. More info and tickets here

Direct from its premiere at the Chichester summer festival, a new production of Coram Boy - adapted from Jamila Gavin's prize-winning novel set in 18th Century England - arrives at The Lowry in Salford in June (21-29). Originally seen at the National Theatre in 2005 before transferring to Broadway, Coram Boy was nominated for several Olivier and Tony Awards and won the Time Out Live Award for best play. At Gloucester Cathedral, Alexander Ashbrook, heir to an aristocratic estate, has his heart set on becoming a composer, but his stern father refuses to listen. His and other stories entwine over several years as two orphans find themselves on parallel adventures and the great composer Handel is at work on the score of Messiah, embodying the hope of love and salvation over evil. Angels and abandoned children, glorious music and murder most foul feature in this colourful tale of 18th century England. More info and tickets here

Internationally-acclaimed theatre company Dante Or Die brings Kiss Marry Kill, an "intimate story of love and redemption", to the deconsecrated Grade II-listed St Peter's church in the centre of Ancoats, Manchester, from May 10-12. Inspired by true events, this dramatic recreation from the award-winning, site-sensitive company reimagines the first same-sex marriage that took place in a UK prison, in 2015. Jay and Paul are both serving life sentences for homophobic murders. They fall in love and seek permission to marry. Co-commissioned by The Lowry Theatre in Salford, the production is touring to chapels around the UK. Daphna Attias and Terry O’Donovan co-direct Dauda Ladejobi as Jay and Graham Mackay Bruce as Paul.  Joining them will be Morgan Archer, UK rapper Lady Lykez, Frank Skully and Dean Statham. The event has immersive sound design and the site-specific production will surround the audience in the private spaces and conversations of a world rarely seen. More info here

Know your theatre: Royal Court Theatre, Liverpool The Royal Court is the largest producing theatre in the Liverpool City Region, an historic art deco Grade II listed building, extensively modernised and refreshed. The theatre has developed its own unique style, producing eight plays a year, mostly comedies and musicals with a Liverpool theme, and a largely local cast and crew. Pre-show dining, cabaret-style stalls seating and a range of drinks are served before and after the show – a feature of a night out at the Court. The site has been at the heart of Liverpool culture for nearly 200 years, first as Cookes New Circus in 1826, renamed the Royal Court Theatre in 1881 but destroyed by fire in 1933. Rebuilt as an art deco showpiece, it reopened in 1938, with exemplary acoustics and sightlines and the largest revolve outside London. Astaire, Gielgud, Richardson, Olivier, Yul Brynner, Margot Fonteyn and Ken Dodd all appeared here; Judi Dench made her acting debut here in 1957 and is a patron of the theatre trust, having supported the £12m restoration campaign that over the past decade has created new foyer space, provided lifts to all parts, a 150-seat basement venue and new technical facilities, bars and toilets. Further improvements are still in the works. Address: 1 Roe Street, Liverpool, L1 1HL Phone: General inquiries: 0151 702 5890. Box office: 0151 709 4321 ​ ​ As we suggested above, a main feature of the 1,100-seat Royal Court is its auditorium layout. There are traditional seating rows in the circle and balcony, but cabaret-style seating in the stalls, at which meals are served for many of the shows (arrive an hour early minimum if you have ordered such). The Royal Court prides itself on its friendliness and social atmosphere, and apart from its local approach to theatre runs several groups, including a community choir, a playwriting group and even a gardening group to keep theatre planting tidy. There are extensive youth attractions too, including a youth theatre company. Facilities: Parking: Nearest parking is St Johns Shopping Centre car park which is £5.00 after 6pm for up to six hours. If not travelling by car, the theatre is close to Lime Street station and next to the Queen Square bus station. Timetables can be found here Online box office: Tickets can be bought online by finding the show here and following the links ​

Know your theatre: Contact Theatre, Manchester The most unusual-looking theatre building you’ll ever come across, Contact has undergone more radical changes of direction than your average performing arts organisation. Built as the performance space for Manchester University Drama Department, it was briefly used by the ‘69 Theatre Company before that became the Royal Exchange Theatre Company. In 1972 the building became home to the Manchester Young People’s Theatre, aka Contact, a sadly now little-remembered repertory company under the likes of Richard Williams, that presented many of Alan Bleasdale’s stage successes and gave young actors such as Mark Rylance and Rick Mayall early roles. The set-up later changed again to take Contact back to its young people's theatre roots, and a rebuild in 1999 produced the highly-distinctive current ventilation chimneys. Now fully open again after a £6.5m re-vamp in 2020, the emphasis is even more on young people doing it for themselves. Contact’s aim is to enable young people to change their lives through the arts as well as enabling audiences of all ages to experience new shows. Contact is the leading national theatre and arts venue to place young people at the decision-making heart of everything. Young people aged 13-30 lead the organisation, working alongside staff in deciding the artistic programme, making staff appointments and acting as full board members. Pic: Joel Chester Fildes Address: Contact Theatre, Devas Street, Oxford Road, Manchester M15 6JA Phone: Box office 0161 274 0600 (Mon-Fri 10am-5pm), General inquiries 0161 274 0646. Facilities: This fascinating - not to say quirky - architectural edifice near the university has a main 320-seat auditorium (Space 1) and an 80-seat studio. The redevelopment has produced new performance spaces, a new recording studio, an arts and health development space, new offices for organisations to hire and a new café/bar. The work also contributed to the building's emphasis on sustainable development: Contact is reckoned to be in the top one per cent of the North West's most environmentally-friendly buildings. Parking: Contact doesn't have its own parking, but visitors can use the university car park, which is directly outside and subject to charges. Online box office: Go here and follow the booking route to your show choice

Know your theatre: The most beautifully-located profes-sional theatre in the UK, Theatre by the Lake traces its origin to 1948 and a team of theatre enthusiasts who created a 225-seat mobile theatre to take live performance around post-war Britain. The convoy of trailers arrived in Keswick for the first time in 1961, but by 1975 was unfit to tour, so the company successfully took up residence by Derwentwater. In 1996 the convoy was uprooted one last time, to be replaced by the current permanent structure, the last theatre built in Britain in the 20th Century and the first to be built – at a cost of £6.5m –with the help of the national lottery. The theatre opened in August 1999 with Charley’s Aunt . There are two stages, a 400-seat main house with a central rake that has excellent sight lines, and a 100-seat studio. The main house is large for its seating capacity, high and wide, with a stage capable of holding big shows. In the main house the company presents a busy programme of now mainly wide- appeal co-productions (partnering with theatres including Bolton Octagon and Stephen Joseph Theatre, Scarborough) throughout the year and a wide-ranging series of studio shows. TBTL also hosts a variety of festivals and visiting companies. The theatre has a loyal local audience, alongside the many tourists who enjoy a night of theatre after tramping the fells. Theatre by the Lake, Keswick Address: Theatre by the Lake, Lakeside, Keswick, Cumbria CA12 5DJ Phone: Box Office: 017687 74411 (9.30am-7.30pm/6pm non-performance nights). Admin: 017687 72282 (9am-5pm). Catering: 017687 81102 (9am-9pm). Also available by email . The theatre is currently closed but expects to reopen in autumn 2021. Facilities: A modern theatre with modern sensibilities when it comes to loos and disabled facilities. Avoid the main theatre side seats if you can, despite their lower cost. The adjacent restaurant is open 10am-3pm daily, and a tourist attraction in itself, with views across the lake. When the theatre reopens allow plenty of time to dine as service can be slow – though there is that view to look at... Parking: The theatre is located off Lake Road and is indicated on brown tourist signs throughout the town. Lakeside car park (Allerdale Borough Council, pay and display) is next to the theatre, and in summer gets very busy, so allow plenty of time to park. Charge is £1 from 7pm-7am. Before 7pm charges vary. Go here and follow the booking route to your show choice. Online box office: