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: 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: