Maxine Peake, Sarah Frankcom, Imogen Knight, with Daisy Johnson MAAT, Factory International production Aviva Studios, Manchester May 17-26, 2024; 1 hr 10 mins Spare a thought for members of the audience at Robin/Red/Breast who go home to a pretty cottage in the country. My house is in a town and it’s new enough not to have (many) cavities for scrabbling mice or wasps’ and birds’ nests, but I still tiptoed in, wondering what was going to creep out of the walls and invade my body. The pervasive anxiety at the heart of this powerful horror story starts to rise, of course, before you arrive at your seat. Will you find a car park, how do you pay, whereabouts in this busy cultural complex is the theatre? And why am I being given headphones? Maxine Peake, who plays Norah, the city dweller “escaping” to the country, is no stranger to horror. Along with co-creators Sarah Frankcom and Imogen Knight she has a fine track record when it comes to spooky and weird. Robin/Red/Breast has been taking shape for about five years, since they first came across the original John Bowen play that was part of the renowned BBC TV drama strand Play for Today. During that period they also collaborated on a part-reading, part-recital of Kay Dick’s novel They, the very definition of Dystopian, which chilled our bones at the cathedral-like John Rylands Library in Manchester. The Warehouse space at Aviva Studios is well suited to horror (and no, no cheap gags here about building costs or bench seats.) The theatre-in-the-round staging that has been carved out for this production manages to be both intimate and unsettling, with the cavernous black hole that is the roof disappearing into space, allowing composer Gazelle Twin’s music to drift eerily away into the ether. The constraint of our dark, featureless surroundings was heightened by the ambient sound – the gentle twittering of birds – a stark contrast, recalling sunlit uplands but in fact confirming the surrounding impenetrable woodlands. The central themes of the play were all there in the opening few minutes. A ten-strong female coven of a village brass band (frankly, scary all by itself) marches implacably to surround the bones of the cottage – a clever design (Lizzy Clachan) whose sparse wooden frame both imprisons and provides windows. Then Norah awakes to bloodied sheets, her uncontrollable body asserting its power and forcing her to signal her fertility to the world as the bedding dries on the line. The village has - of course - been raising a sperm bank for this very moment. Tyler Cameron, in his first professional stage role, plays Robin, who skips on to the set wielding an axe, the ripped male equivalent of a vestal virgin wafting ribbons. Tricky to be provocative with an axe, and the imagery is a tad heavy-handed, but we get the message... The fact that that message arrives in part via headphones may seem like a gimmick, but they fulfil their purpose – a further restraint that adds strangeness, but more importantly puts the audience inside Norah’s head. The control they exercise is starkly epitomised when, like a well-drilled troupe, we removed them simultaneously. The time-shift that brings this perpetual female dilemma into the 21st Century works less well; perhaps because unwanted pregnancy – self or friend or family – is in every woman’s life and really doesn't suit this kind of therapy group exposition. Afterwards we emerged blinking into the sunshine, wondering where we had put the car keys, whether we would find the car park and... what would be waiting for us when we got home. More info and tickets here

Blackpool's Grand Theatre has been awarded £450,000 by the Arts Council for repairs to the stonework if the Grade 2* listed building. The work will also include replacing and pointing damaged brickwork, restoration of the Victorian iron rainwater goods, and replacement of large areas of slate and lead on the two acres of roof. The work will ensure the safety of the building and allow audiences and visitors to gain access to parts of the theatre that have been inaccessible for some years. The grant marks the first phase of funding towards a £15 million capital development plan that will futureproof the theatre. Chief executive Adam Knight said: “We are hugely grateful to the Arts Council for this significant and very timely investment in our heritage building, which has been struggling to cope with the impact of climate change and recent Irish Sea storms. “This funding will also return the theatre’s famous dome and iconic pineapple finial to their former glory and enable us to use funds generously donated by the community. This is just the beginning of the journey to restore Frank Matcham’s masterpiece." More info here

Pravesh Kumar, Niraj Chag and Tasha Taylor Johnson Rifco Theatre Company, HOME and Watford Palace Theatre co-production HOME Manchester May 15-25, 2024; 2hrs 35 mins (also Bradford Alhambra, June 18-22) HOME Manchester has branched out into Bollywood. Frankie Goes to Bollywood is a small-scale take on standard Bollywood entertainment, with an updated style encompassing the perils of stardom and the role it affords to women. Along with the modern, verging on "me too" elements, there is plenty of recognisable Bollywood left to enjoy. Songs, vibrant, energetic dancing and a thread of romance, longing and resolution run through the show, enhanced by amazing costumes and committed performances. Frankie [Laila Zaidi], from Milton Keynes, takes her name and style from her mixed Anglo-Indian heritage – her love of Bollywood from her mother, and her underlying, funky can-do attitude from facing up to local racists and being supported by her sister/cousin Goldi [Katie Stasi]. Initially insecure and lonely, her latent acting, singing and dancing skills are discovered by visiting director Prem [Navin Kundra] and she is transported to the land of her dreams – Bollywood, Mumbai. Is it everything she has wished for? Well, it’s mixed, of course. Frankie storms the Bollywood world and rapidly ascends the dizzy heights to become one of its biggest stars. But, cuddled by luxury and support and undermined by rivalry and male exploitation, she begins to question whether this life is for her. The performances of the six lead characters are strong, while the remaining cast of dancers double up in the small rolls to considerable effect. Helen K Wint as Frankies’s main rival, Malika, sings beautifully and traverses the turns of her character with ease. Navin Kundra, as Prem, confidently conveys the young director trying to change the path of his industry. Shakil Hussain shines as the over-confident star Raju King (RK). Drag artist Gigi Zahir is outstanding as the choreographer who can do anything else required of him, and his repeated entrances in yet another costume bring a guaranteed lift to proceedings that I don’t think I’ve seen since the days of the great pantomime dames at Oldham Coliseum. Katie Stasi’s strongly-voiced Goldi is another character who successfully punctuates the show with strength and presence. But the star is undoubtedly Laila Zaidi as Frankie. She’s beautiful. She can act. She can sing. Her dancing is graceful yet sassy. The show benefits from superb design, largely based on Indian arches, by Rebecca Brower. The dancing is energetic, powerful and varied, and the costumes are all you would expect and more. HOME has never seen so many jewels... There are times when the show flags, particularly during the second act when you think you know how it’s all going to turn out. But there’s a twist, and it all comes back to lively life with a look to the future. Watford-based Rifco Theatre Company celebrates and reflects contemporary British Asian experiences, culture and society, and claims its success lies in understanding its audience. Certainly on press night, which opened in the foyer with an exciting dance display, a number of Bollywood fans were present and the audience was more diverse than I’ve previously seen at HOME. Rifco does an excellent job in straddling the ground as both lover and critic of Bollywood. At times I was reminded of Hollywood’s gentle self-criticism, as seen for example in Singin’ in the Rain. Of course Bollywood doesn’t have to come to England to change with the times; far from it. But when it does, it will be good to see more. More info and tickets here

A new partnership between Keswick's Theatre By The Lake and the National Trust, with financial support from Keswick Lions, has allowed the theatre to offer a new all-terrain mobility scooter - a "Tramper" - for hire. Three accessible walks have been mapped out, led by a National Trust ranger, starting and finishing at the theatre. The scooter allows those with limited mobility to join the walks and explore the scenery. An Outdoor Mobility spokesperson said: “The Tramper is proving extremely popular, which is fantastic! There have been 19 bookings in the past 30 days – it's our most popular site. The scooter is bringing a lot of joy to lots of people, so thanks to Theatre by the Lake and the Keswick Lions for their support. Guided walks will take place on May 28, June 29 and August 8. Book a place at the National Trust Borrowdale and Derwent Water page here, and get more information about, or book, a Tramper here. Note that use of the Tramper is subject to membership of Outdoor Mobility (single use membership is £3), and to availability.

Written and directed by emerging playwright Sam Bates, Sessions (King's Arms, Salford, June 5-7; Buxton Fringe, July 9-12) is Sam's first show under the umbrella of Working Progress Collective, the Midlands-based company he recently founded. When troublesome youth George Boucher narrowly misses serving time in prison for a violent offence, he is placed with a eanages to slowly peel back George's defences, allowing him the space and freedom to grow. "Sessions is about toxic masculinity and trauma, which grapples with how trauma lives in the body – and how, when it goes unaddressed, it manifests into our behaviours and habits," Sam explained. Sam is a writer and actor from Nuneaton, who since 2014 has performed extensively across community theatre, at Buxton Fringe Festival, Edinburgh Festival Fringe and beyond. He graduated from the Manchester School of Theatre last year with a BA (Hons) in Acting. Company co-founder Beth Pollard is an actor-musician and writer who trained in Applied Theatre at LIPA and graduated with a Masters in International Development Law and Human Rights at the University of Warwick. She has worked on theatre projects across primary schools, secondary schools, non-mainstream educational facilities, pupil referral units, community choirs and youth theatres and on collaborations with Fabula Arts and the Challenge. More info and tickets here

Books from Dame Judi Dench, director Bill Alexander and the late Richard Pilbrow are among the six shortlisted today for the Society for Theatre Research's 26th Theatre Book Prize. Judged by theatre critic Clive Davis, lecturer Dr Kate Dorney and PR rep Kevin Wilson on a panel chaired by STR committee member Howard Loxton, the shortlist has subjects ranging from a history of the National Theatre to recollections of musical triumphs and flops and a celebration of Shakespeare by Dame Judi Dench, of the UK’s most beloved actresses. The books are: A Sense of Theatre by Richard Pilbrow (Unicorn), who died in January; Different Aspects by Michael Ball (Blink Publishing); Exploring Shakespeare by Bill Alexander (Nick Hern Books); Out for Blood by Chris Adams (Methuen Drama); Searching for Juliet by Sophie Duncan (Sceptre), and Shakespeare: The Man Who Pays the Rent by Judi Dench (Michael Joseph). The Prize was was established in 1998 to celebrate the Society’s Golden Jubilee. The aim is to encourage the writing and publication of books on British-related theatre history and practice. Recent winners include An Actor's Life in 12 Productions by Oliver Ford Davies; Stirring Up Sheffield by Colin and Tedd George; Black British Women's Theatre by Nicola Abram, and Year of the Mad King: The King Lear Diaries by Antony Sher. Previous members of the judging panel include actors Cleo Sylvestre and Corin Redgrave, producer Thelma Holt, actress-director Yvonne Brewster and critics Michael Billington and Cindy Marcolina. The winner of this year’s prize will be announced on June 11 at the Sadler’s Wells Theatre. More info here

TV medic and presenter Dr Ranj Singh makes his musical theatre debut when the new UK tour of hit musical & Juliet opens at the Manchester Opera House this summer (July 8-20). His journey into music and dance started in 2018 when he swapped his scrubs for sequins as a Strictly Come Dancing contestant. Then his performance on ITV's All Star Musicals received high praise from the judges and led to him starring in his own West End show, Scrubs to Sparkles. Now he's in his first musical, playing Lance, the bossy father of one of Juliet's former boy friends. He said: "It’s a bit of a change from my usual work, but not many people will know how hard I've been working behind the scenes to make this happen and it's an absolute dream come true. I can't wait to have the time of my life this year, showing the UK what I'm made of alongside an exceptionally talented and diverse cast.” Ranj joins the previously-announced Matt Cardle as Shakespeare, Gerardine Sacdalan as Juliet, Lara Denning as Anne, Sandra Marvin as Angelique, Jack Danson as Romeo, Kyle Cox as Francois and Jordan Broatch as May. Juliet ditches her famous ending for a fresh beginning and a second chance at life and love as the show flips the script on the greatest love story ever told and asks: what would have happenee next, if Juliet hadn't ended it all over Romeo? & Juliet has become a global success, performed on four continents since its world premiere at the Manchester Opera House in 2019. The story is told with a playlist of pop anthems, including Baby One More Time, Roar, Since U Been Gone, It’s My Life, I Want It That Way, and Can’t Stop the Feeling!, all from songwriter/producer Max Martin. Other northern dates on the tour are: Blackpool Opera House (July 23-27); Liverpool Empire (October 28-November 2); Leeds Grand (November 18-30) and Bradford Alhambra (March 24-20, 2025). More info and tickets here

Nathan Powell is the new creative director for the Liverpool Everyman and Playhouse theatres, moving up from his previous role as artistic advisor to the theatres. Nathan has contributed to innovative and ambitious projects, from programming productions to fostering community events like Everyman Connects. He also directed Love, Liverpool at the Playhouse, a live version of the theatres’ podcast series, created during the pandemic. Nathan said: "I'm honoured to join Liverpool Everyman and Playhouse as creative director. Liverpool is my home and I am passionate about showcasing its vibrant artistic community, locally and nationally. I’m thrilled to have the opportunity to build on both theatres’ great legacies and work alongside this incredible team." Currently artistic director of the National Student Drama Festival, Powell has championed emerging talent and forged groundbreaking partnerships. He is the creative producer and associate artist for 20 Stories High (an associate company of the theatres) and co-founder of New Step Theatre with writer Joe Ward Munrow. Their production of DOGS was a sellout in the Playhouse Studio in 2022. As a writer and adapter, his credits include Pleasant Land and Homegirl (Derby Theatre). As a director his recent credits include Sucker Punch (Queens Theatre, Hornchurch) and A Play for the Living in the Time of Extinction (Headlong and The Barbican with Shakespeare North). He is about to direct The Mountaintop for Leicester Curve, which will tour nationally this autumn, and Alice In Wonderland for Shakespeare North at Christmas. Chair of Liverpool and Merseyside Theatres Trust Andrea Nixon, said: "Nathan's proven track record, combined with his strong ties to Liverpool, make him the ideal choice to lead us creatively into the future. We are confident his vision and leadership will further enhance our reputation." More info here

Internationally-acclaimed, Denbigh-raised chef Bryn Williams is to open a landmark restaurant at Theatr Clwyd. The North Wales theatre is currently undergoing a major rebuilding project, but when it reopens next year will boast some of the finest food and drink in any UK theatre. Williams, a Michelin award-winning chef and restaurauteur, is regarded as one of the UK’s best chefs. His restaurants have included the acclaimed Odette’s in London; Colwyn Bay’s Porth Eirias, a beach-front restaurant, cafe and bar on the North Wales Coast; The Cambrian in the Swiss Alps, and The Touring Club in Penarth. Bryn Williams said: “I'm thrilled to be returning home to my native Wales to work in partnership with Theatr Clwyd, an organisation I have known and loved since being a child.” Liam Evans-Ford, Theatr Clwyd’s executive director said: “We're deeply excited to be working with Bryn on our restaurants, bars and in all our event and retail spaces. "We always aim to work with people who are world class at what they do. We look forward to working with Bryn.” More info here

Daphna Attias, James Baldwin and Terry O’Donovan Dante or Die Hallé St Peters May 10-12, 2024; 1hr 30mins Site-specific theatre company Dante or Die describes its work as "new performances in unexpected places". They’ve created shows for leisure centres, hotel rooms and self-storage buildings. This time they’ve chosen places where people get married. Kiss Marry Kill reimagines the first same-sex wedding in a UK prison. For the Manchester stop on the tour, the location is the stunning deconsecrated church Hallé St Peters in Ancoats. Unsurprisingly, given the company’s specialism, the performance area is perfectly integrated into the venue. Metal beds and frames cage the audience and actors into a prison space. A gymnasium floor is marked out with coloured tape on vinyl.  And yet the set doesn’t mask or hide the chapel. The building, its history and what it is used for, are a character in the story. And it isn’t an easy-going story. Jay (Dauda Ladejobi) enters a bathroom and his life changes forever. After perpetrating a violent homophobic murder, he is jailed, leaving behind a pregnant fiancee about to give birth. Adjustment to life inside is tough. He crosses the wrong person in flirty prison power-player Paul (Graham Mackay-Bruce) and is also haunted by confusing nightmares dominated by self-hate. Inspired by a desire to read to his newborn son and to write to his victim’s husband, Jay reaches out to Paul for help. A decision borne of the need to stop causing trouble ends up creating all sorts of complications, of a different kind. Kiss Marry Kill is complicated. This is a love story, but one that is challenging, uncomfortable at times, dangerous even. The three writers have spent years engaging with both prison and LGBTQ+ communities and it shows. The complexities are never shied away from. That’s not to say it is perfect. While the dialogue is sometimes painfully realistic, there are moments when lines feel untrue in the mouths of the characters speaking them. Daphna Attias and Terry O’Donovan have deftly directed a pacey show. The energy and unsettling atmosphere never drop, but it means some plot developments feel like crunchy gear changes. What’s outstanding is Yaniv Fridel and Ofer Shabi’s sound design. A bustling football pub, a claustrophobic toilet, the beeps and bangs and din of a prison, the hushed but panicked breath of forced solitude. All perfectly realised. Those sounds are complemented by the songs and spoken word performances of Lady Lykez, who also takes on various acting roles in the ensemble brilliantly. Mackay-Bruce and Ladejobi are both outstanding as the leads. Their parts are full of depth and nuance. Special mention too for Frank Skully, who plays the prison governor and several, less sympathetic characters. The talented ensemble is aided by some fantastic movement direction from Ayse Tashkiran, sequences are both touching and disturbing; as complex as the subject matter. It must be said that potential audience members should take note, but not be scared away, by the trigger warnings for both language and subject matter. People who do choose to see Kiss Marry Kill may well have it on their minds, and be unsure what to think about it, for quite some time. They will absolutely be wowed, though, by the marriage of story and space. More info and tickets here.

Backed by stars with past links to the Liverpool Everyman, the theatre has launched Everyone Starts Somewhere, its 60th anniversary fund raiser aimed at highlighting the importance of regional theatres. Supporter alumni include Stephanie Beacham, Leanne Best, Kevin Harvey, David Morrissey, Willy Russell, Josie Sedgwick-Davies, Darci Shaw, Alison Steadman, Cathy Tyson and Julie Walters. Cathy Tyson said: “I am indebted to the Everyman for giving me a start in my creative life... without them, I don't think I'd be where I am today.” Julie Walters said: “Happy Birthday Everyman! Forever in my heart.” Everyone Starts Somewhere is to highlight the importance of regional theatres such as the Everyman in the overall arts ecosystem, not just for theatre but also the film and tv industry around the world. The aim is to raise £60,000 across the next 12 months towards talent development, supporting the award-winning Young Everyman Playhouse and bringing new diverse voices to the stages. The 60th celebrations highlight this on-going commitment, beginning with the current premiere of The Legend of Ned Ludd by Joe Ward Munrow (until May 11) - a graduate of the theatre’s writers programme and featuring actor Shaun Mason, a graduate of the youth theatre - finishing in March 2025 with a revival of Willy Russell’s Shirley Valentine, originally commissioned and staged by the Everyman. There will also be a series of events with many for whom the Everyman was an important part of their creative lives. The first is An Evening with Alison Steadman on May 21. She said: "I'm thrilled to be returning to the Everyman to support their 60th Birthday campaign. It's a theatre that means so much to me, giving me such a wonderful experience as a young actor to learn, gain confidence and take my first steps in the profession. That support of young talent continues to this day and I hope long into its next 60 years." Further events will be announced, including with David Morrissey, Cathy Tyson and more recent graduates of Young Everyman Playhouse, with Liverpool John Moores University Archive presenting exhibitions and activities over the months ahead. The Everyman was founded in 1964 by Terry Hands, Peter James and Martin Jenkins. Now-familiar names associated with it over the years since include Bernard Hill, Matthew Kelly, Bill Nighy, Roger Phillips, Pete Postlethwaite, Jonathan Pryce, Antony Sher, Alison Steadman, Julie Walters, Alan Bleasdale, Chris Bond, John McGrath, Willy Russell, Leanne Best, Stephen Graham, Ian Hart, Kevin Harvey, Gillian Kearney, David Morrissey, Con O’Neill, Eddie Redmayne, Cathy Tyson, Maurice Bessman, Helen Blakeman, Jonathan Harvey and Michael Wynne. Mark Da Vanzo, CEO said: “The Everyman has always been a beacon of artistic innovation, offering a stage for playwrights, actors, and directors to experiment and create. That spirit of experimentation and creativity has been a driving force ever since, shaping the identity of Liverpool's theatre scene, inspiring generations of artists and reaching far beyond the city. "This year feels like a unique opportunity to celebrate our past, while looking to the future. We’re grateful for anyone who feels they can support, either by making a donation, buying a ticket, or sharing on their social media what the Everyman means to them.” More info here

First time theatregoers and communities who otherwise might not be able to afford theatre tickets will benefit from a new partnership between Prescot-based Shakespeare North Playhouse, Warrington theatre company Not Too Tame, and Warrington Borough Council. SNP and Not Too Tame’s production of Twelfth Night (June 7-29) - with Les Dennis headlining alongside a lineup that includes multiple Warrington-born artists and musicians - promises a fresh approach to Shakespeare's classic. Les Dennis follows his hero Ken Dodd when he plays puritanical and pompous servant Malvolio in the Shakespeare North Playhouse production of Shakespeare's Twelfth Night (June 7-29). He said: “Ever since I went to Stratford with the school and saw it, I have always wanted to do it. The great Sir Ken Dodd famously played the part and the fact that Shakespeare North has a Doddy garden through the support of Lady Dodd and the Sir Ken Dodd Foundation is an additional bonus. How tickled I am to be following in his footsteps.” Liverpudlian Les boasts a 50-year showbiz career, having risen as a comedian in the 1970s and dominated Saturday night TV in the 80s and 90s. He recently returned to Saturday night TV with a turn on Strictly Come Dancing, and as an actor has performed with the Royal Shakespeare Company, English National Opera and many more, in hit plays and musicals. He's also been a regular on Coronation Street. In advance of Twelfth Night, Warrington will be the location for events, performances and workshops for residents to get a taste of the show throughout this month Spoken word events and workshops will take place in venues across the town, including Warrington Museum and Art Gallery and Pyramid Arts Centre. A highlight of the taster activities will be special pop-up performances of the play itself at Warrington Market (May 24) and the Irish Club (May 30). The production aims to achieve significant social impact, with a possible 10,000 attendees overall, with 1,000 Pay What You Decide tickets for residents of priority Warrington postcodes. Claire Will, director of marketing at SNP, said "We are delighted to team up with Warrington Council to bring this production to fruition. We are not only reimagining Shakespeare for contemporary audiences but also empowering diverse voices and communities." Eleanor Blackburn, Warrington council’s head of inclusive economy, leisure and culture, said: “It will be a unique production, celebrating diverse voices and helping make theatre accessible for a broad audience. It’s also great news that, in the run-up to June, people in Warrington will be able to enjoy a range of performances, events and workshops. It’s a great way of connecting with people of all ages.” More info and tickets here

Written by Harvey Fierstein, music by Cyndi Lauper, based on the film written by Geoff Deane and Tim Firth Storyhouse, Chester May 8th-18, 2024; 2 hrs 10 mins The film of Kinky Boots is approaching its 20th birthday and is widely seen as a funny, challenging and charming story of self discovery. The story is based on fact: 90 per cent of Northampton's shoe industry had disappeared under the challenge of cheaper imports and high labour costs, and one struggling shoe company had to diversify to survive. How would the impressionable new owner who inherited the business ensure its survival? A chance encounter with a drag queen he tried to save from an assault but ended up needing medical attention gave him an idea for a niche promotion in a competitive market. Why not make shoes sturdy enough for a man, but in female styles? This was the start of a collaboration and friendship that caused each to examine who they were and why they were doing what they did. Storyhouse’s production is brimming with energy and enthusiasm, a fast-paced and at times glitzy production. The characterisations are great: Danny Becher as Charlie and Duane-Lamonte O’Garro as Lola/Simon develop a chemistry that carries the plot. Lola’s complex character is developed well - at times brash and sexually-charged, at others insecure and vulnerable. The supporting cast members also portray their characters well, in particular Seren Sandham-Davies as Nicola, upwardly-mobile and manipulative at times; Leah Vassal as Lauren - working class, awkward but passionate, and Roddy Lynch as Don - prejudiced and aggressive at first, but eventyually brought round. The distinctive aspect of the production is the finale, labelled as "immersive" theatre: the foyer is transformed into a Milanese catwalk and the audience is invited to view the fashion show as its audience. While this innovation is a welcome one, imaginative and interesting, the movement of audience members from theatre to foyer was awkward, and the production lost momentum that was hard to recapture. This doesn't detract from a polished, well-choreographed production that remains true to the original story and its underlying themes. The show speaks oceans about accepting yourself and those who are "different". More than that, we also see a young entrepreneur act with consideration for his workers instead of pure profit, and the history of the factory being taken in a new direction to find a market for a changing society. Congratulations to Storyhouse for producing a fresh, energetic performance that makes a point of encouraging young talent. The audience showed their appreciation with a well-deserved standing ovation. More info and tickets here

If creativity runs right through you like Blackpool rock, you might want to enter the seaside town's Power Play playwriting competition. The contest is part of the Old Electric Theatre's innovative festival, which supports new writing for the stage and is running until July at Blackpool’s newest theatre. This literary competition officially launches on May 17 and invites writers to submit original scripts that showcase themes with resonance to Blackpool. The winning writer will see their script workshopped and cast for a fully-rehearsed production, which will be performed to the public and invited industry professionals on July 27. The runner-up plays will be workshopped in front of the public and invited industry professionals in July (dates to be confirmed). All submitted plays should be original pieces not previously been performed, and thematically linked to Blackpool and the current experience of living in, growing up in, or regularly visiting, Blackpool. Each piece must be between 45-75 minutes long and suitable for performance by four or fewer actors . Old Electric artistic director Melanie Whitehead, said: “The Power Plays title is intended to act as provocation for thinking about the power dynamics of Blackpoo, with a view to enacting positive change. We want to hear your stories!” The four-month festival also includes visiting artist Q&As, new live productions, a pioneering primary schools programme, peer to peer projects and keynote masterclass sessions with top literary names. More info about the writing competition here