Liverpool’s Royal Court theatre has smashed its box office record for opening day sales of a Christmas show, having sold 12,000 tickets for Scouse Red Riding Hood in its first 24 hours. The show is written by Kevin Fearon and directed by Mark Chatterton, with musical direction from Howard Gray – the team that brought Liverpool The Scouse Cinderella, The Scouse Snow White and The Scouse Jack & The Beanstalk. Christmas is coming and Nan is laid up as her sciatica is giving her gyp. It’s down to Little Red and her mate Big Blue to get out to her cottage in Spinney Woods with a proper scran. There are strange creatures that lurk in Spinney Woods but they meet a lad with a big chopper who makes them feel safe... Kevin said: “The Christmas Show regularly sells out but to see such enthusiasm at Easter does give you a boost! 'Last year’s show came on the back of a record-breaking year at the Royal Court, but we’re always very aware that this is a two-way street. We are passionate about our audience and giving them a brilliant night out, and we’re lucky our audience is just as determined to have a great time.” Scouse Red Riding Hood (November 8-January 18, 2025) is in the main house while in the Studio is It’s A Wonderful Life (November 19-30), adapted from the classic film, and Stocking Fillers (December 13-29), seven new ten-minute festive plays by members of the Royal Court’s writing groups. More info and tickets here

Spreading mirth across the town centre, from intimate bars to the mighty Winter Gardens, Blackpool's week-long Comedy Festival runs from July 8-14. The Winter Gardens' new showbiz museum founders, Showtown and Comedy Station, are at the helm for a full programme of 33 afternoon and evening shows, talks about legendary comedy stars, question and answer sessions, photographic exhibitions, story sessions and family workshops. Variety legend Freddie "Parrot Face" Davies, whose comedy and acting career has spanned 50 years, will be involved, alongside many other award-winning comedians, for a programme of short shows at the Old Electric theatre. More acts are still to be announced. Anthony Williams, who is head of marketing at the Winter Gardens, said: “We are dedicated to making the festival a landmark event that both showcases world-class talent and supports new and emerging comedians.” Kerry Vasiliou, learning and engagement manager for Showtown, said: “Blackpool is built on having a laugh; professional comedy lies at the heart of the town’s unique culture. It makes sense that Blackpool celebrates this and introduces a new generation to comedy.” Showtown’s programme for the festival is funded by the government through the UK Shared Prosperity Fund, which is partly about giving residents more opportunities to experience culture on their doorstep. For more and updated information, go here

Chester's Storyhouse arts centre is holding open auditions for a promenade production of The Wonderful Wizard Of Oz. Auditions are April 19-20, and the show runs at Grosvenor Park Open Air Theatre from July 27-August 22. The producers  are looking for two female actors and a male actor to join a company of five. Roles up for grabs include witch Glinda, Dorothy and the Cowardly Lion. Applicants must be comfortable performing outdoors in all weather conditions, should possess robust acapella singing abilities and exude high energy levels. A talent for captivating storytelling tailored for young audiences and genuine enjoyment of interacting with children are essential . With up to four 45-minute shows per day, stamina is key and applicants must live within 20 miles of Chester to ensure accessibility to rehearsals and performances. Helen Redcliffe, head of producing at Storyhouse, said: "We've introduced open auditions to engage with a wider pool of local actors. We want to offer opportunities to talented actors in our community who may lack representation. By offering open auditions, we create a platform on which local talent can shine." Auditions will take place at Studio by Storyhouse on Northgate Street, where each participant will have a 15-minute slot. Interested actors must submit an email application, with a completed application form, by April 10. More info here

Leading playwrights, writers and theatre makers will light a creative spark for new playwriting across the region with an innovative Power Plays Festival at Blackpool’s newest theatre from this month. The Old Electric opened last summer in a refurbished (with the help of the National Lottery funding) former nightclub in Springfield Road in the heart of the town. Until the summer, internationally-acclaimed playwright Simon Stephens (The Curious Incident of the Dog in The Night Time); renowned theatre maker and academic Dr Andy Smith; award-winning playwright Nick Wood (Warrior Square, A Girl With a Book); literary manager, critic and dramaturg Dr Frank Peschier; National Theatre dramaturg Stewart Pringle, top screenwriter and performance artist Krishna Isthna (Sex Education) and others will hold workshops and talks at the community theatre space. The festival - which features almost 50 separate events - will support new writing for the stage, explore original perspectives on the region, and establish the Old Electric as Blackpool’s home of new writing. Multi-award-winning playwright Simon Stephens said: “I'm excited to be part of a project so committed to supporting playwrights in Blackpool. It’s a place that has meant a lot to me, and a place that has inspired me to write and if, even for a brief time, I can inspire writers, well that only seems right and proper.” Fellow masterclass host and playwright Nick Wood added: “The theatre, playwrights, and the arts in general, are going through a tough time at the moment and I think it’s great this festival will give new, fresh, vital, regional voices a chance to be heard.” Dr Frank Peschier - from internationally acclaimed theatre company Headlong - is also a freelance dramaturg, critic and lecturer who is passionate about new writing. She said of her involvement with the festival: “I am so excited and honoured to be asked to be part of Power Plays. The Old Electric is a creative hub and home for artists in the North West.” The multi-layered programme includes a supported visit to Blastfest at the Dukes in Lancaster; a practical Wild Writing session exploring ways to start writing without being limited by expectations of form or needing to finish; a Reimagining Gothic Horror workshop; opportunities for neurodivergent writers who want different techniques to create material; artist question and answer sessions; an interactive spoken word event; pre and post-show talks, plus a National Theatre-supported primary schools programme, in which local year five pupils will see their words brought to life by professional actors. The festival also features a playwriting competition, to be launched in May, which will invite scripts showcasing themes important to Blackpool people, building to a performance of the winning script in July and a tour of the production in 2025. The Old Electric's artistic director, Melanie Whitehead, said: “Power Plays is our next stage in encouraging and supporting new talent. To have rock stars of the literary world like Simon Stephens and Andy Smith appearing, along with local creatives, is truly inspiring. "Power Plays is also about changing the narrative so often associated with Blackpool, and looking at positive change and regeneration through new creative works. We hope to encourage and mentor a new generation of writers.” The programme has also meant the theatre has been able to appoint an assistant festival producer, Abi Hellam, and a writer-in-residence, Martha Pailing. Blackpool-born Martha is a writer, spoken word and performance artist whose work often blends personal material with fictional characters. She will be hosting a Conversation Drop In during the festival and inviting artists and the community to chat. Full infomation, listings and tickets here

The premiere of The Legend of Ned Ludd (April 20-May11) - the first of three homegrown productions celebrating Liverpool Everyman's 60th year - takes audiences on a whirlwind global commute, exploring scenes from different moments in history and locations worldwide. From the Luddites' protest in the nineteenth century to contemporary stories in London, Liverpool, Lagos, and beyond, the play looks at the impact of capitalism and globalisation on working people. The show's "Machine" will randomly select 15 scenes - from a possible prepared 256 scenes - to be performed live each night, offering an unpredictable experience every time, something the Everyman has been known for in its proud 60-year history. Writer Joe Ward Munrow explains: “It’s a play about people, work and automation. It explores what happens when machines make decisions rather than humans. As we wrestle with the impact of AI and algorithms on our lives, I wanted to look at how this has been a timeless question. I’m hoping it will be an entertaining reflection on the history of work, class, and the impact of technology on our lives.” An award-winning playwright based in Liverpool,  Munrow is a graduate of the Everyman's playwrights programme. Previous works include Blue (Gate Theatre, London), The Busker (BBC Radio 4), Hercules and Phoebe (National Theatre) and Live News (Royal Court, London), and he currently lectures in scriptwriting at Manchester Metropolitan University. The cast includes Reuben Johnson an award-winning writer and spoken word artist, Menyee Lai, who has many stage and TV credits, and Liverpool actor Shaun Mason, a graduate of the Everyman’s youth theatre Directed by Jude Christian, The Legend of Ned Ludd is the first of three home-grown productions (the others are Tasha Dowd's Tell Me How it Ends in June and Martin McDonagh's black comedy The Lieutenent of Inishmore in September) marking the Everyman’s 60th year, with a special £60 deal to see all three shows. More info and tickets here

Goldilocks and the Three Bears St Helens Theatre Royal Regal Entertainments April 1-14, 2024 Roll up, roll up - the circus is in town (sort of) as St Helens Theatre Royal & Regal Entertainments revive their 2021 panto hit Goldilocks and the Three Bears for Easter. This production was the venue’s first show after the easing of Covid restrictions, and it's nice to see it join the roster of pantos performed here throughout the year. The story centres around the battle for circus audiences between the warm-hearted and larger-than-life Dame Gertie (a welcome return for Richard Aucott, complete with some fabulous frocks for this Easter run and a brilliant Barbie-inspired outfit) and Conor Barrie’s sinister Baron Von Vippemall (think The Childcatcher from Chitty Chitty Bang Bang crossed with PT Barnum’s evil teutonic twin!) The eponymous three bears (Warren Donnelly, Hannah Riley and Ionica Adriana) are set to become the star attraction - but at whose Big Top? And will Goldilocks (a charming Katy McKenna) and the Ringmaster (a dashing Benjamin Keith) manage to confess their love for each other before the curtain falls? The circus setting gives the welcome excuse for some nice variety performances, including canine performers Doggy Delights and a lovely silks aerial display from Callum Fairfield. Returning in the comic role of Silly Billy is Regal regular and genuine audience favourite Lewis Devine. The pairing of Devine and Barrie is a hoot, in particular the genuinely hilarious scene that sees Barrie’s Von Vippemall dressed as a Bee (long story). The stagecraft and corpsing goes down a storm with the audience and even this seasoned panto-goer couldn’t tell if some of the pratfalls were staged or genuine. The show is packed with colour and sparkles and director Chantelle Nolan keeps things zipping along at a pace. The song choices could perhaps reflect current hits a little better (the show is crying out for a Greatest Showman number to close Act 1) given the reception for current social media faves Texas Hold ‘Em and I’m Just Ken from the youngsters. A few more numbers from musicals might have been nice too, given the strength of the voices on display. Minor quibbles, both. As ever, Regal and the Theatre Royal deserve praise for their commitment to reasonably-priced pantos that help families enjoy live theatre throughout the year. They will be back in October half-term with Sleeping Beauty followed by Snow White at Christmas. More info and tickets here

Original Theatre is currently streaming to over 50 countries, including America, India, Canada and Australia – and is on stage in Leeds from tomorrow (April 2-6). The company completely ignores the space-time paradox to stream a recording of its 2023 production of H G Wells' The Time Machine at the same time it is touring its current cast to Leeds Playhouse and other venues. The comedy version of the famous - and not at all funny - original was nominated for an Olivier award (though admittedly only for Outstanding Achievement in Affiliate Theatre, one of the top awards probably), and shares a style in common with The Goes Wrong Show - indeed, Time Machine cast member Dave Hearn was in last year's Goes Wrong Show. He appears here alongside Michael Dylan, George Kemp and Amy Revelle. Good fun, and not a scrap of real science anywhere in the script... More info and tickets (and streaming rentals) here

Years and Years and Doctor Who actress Ruth Madeley has joined Manchester theatre and arts venue 53two as its latest patron. Ruth - born with spina bifida - joins as a series of renovations and upgrades get underway that will allow 53two to offer visitors a better experience. Ruth said: “53two has always been very special to me, so to be a patron is a huge honour. 53two has always nurtured and supported under-represented talent, particularly disabled artists, and I am delighted to be playing a bigger part in its future." Located in one of Manchester’s historic Grade II-listed railway arches, the building is getting get new ventilation and drainage systems. Plans include an improved backstage changing area and new retractable auditorium seating. The work has been funded by Backstage Trust and the Baker Family Charitable Trust, with support from Closomat, and will be completed in time for the venue’s third birthday in May. The latest phase of work is part of 53two’s mission to make theatre accessible to all. It follows the installation of a Changing Places toilet in December 2023, which is providing increased independence to anyone who may have limited mobility. Simon Naylor, creative director at 53two, said: ‘‘The support and funding we’ve received have been incredible and have enabled us to progress the next phase of our plans. May 2024 marks our third birthday here and it feels like the perfect time to unveil a new and improved space. We are thrilled to have Ruth with us on the journey.’’ More info here

Though starting out at the Octagon in Bolton (June 11-29), the show that takes the lid off the Dracula myth is a co-production with Scarborough's Stephen Joseph Theatre (July 3-27), just down the coast from the ghastly goings on in Whitby. Dracula: The Bloody Truth, based, very loosely, on the book by Bram Stoker, is newly rewritten by leading physical comedy theatre company La Navet Bete and John Nicholson, one of the co-writers of previous Octagon productions The Hound of the Baskervilles and The Time Machine. And it’s from the creative team behind last year’s SJT hits The 39 Steps and the UK Theatre Award-nominated The Comedy of Errors (more or less). It’s 1900. Dracula, the best-selling novel by Bram Stoker, was released three years ago and Professor Abraham Van Helsing is not happy. He was there. He knows the Truth. The bloody truth. And the Truth must out... Chris Hannon (Now Is Good, Chester Storyhouse, The Ladykillers, Oldham Coliseum), makes his Octagon debut, joining Annie Kirkman (Ladies Day, Octagon and New Vic, Ladies Down Under, New Vic); Killian Macardle (Animal Farm, Octagon, Mind Mangler: Member of the Tragic Circle, Mischief Theatre) and Amy Revelle (The Time Machine: A Comedy, Park Theatre and UK tour, The Possibility of Colour, Manchester tour). SJT artistic director Paul Robinson is at the helm: “Our first summer show of last year was The 39 Steps, which was so successful we knew it would be a hard act to follow. We have found a worthy successor in Dracula: The Bloody Truth – a show we could really sink our teeth into! As an added bonus it’s got a lovely local connection – in the original story, Count Dracula makes landfall at Whitby, so we think of him as a local boy.” Lotte Wakeham, artistic director at the Octagon, added: “We are excited to once again be teaming up with our friends at Scarborough, this time to present this hilarious knockabout comedy. Forget everything you think you know about Dracula...” More info and tickets here (Bolton) or here (Stephen Joseph Theatre)

Robert Wilson and CocoRosie (music); adapted from Rudyard Kipling; Factory International and Theatre de la Ville-Paris Aviva Studios, Manchester March 27-31,2024; 1hr 15 mins (no interval) For many of us, the Jungle Book conjures up Disney's cute man-cub, Mowgli, and cuddly big bear Baloo. Or maybe, if you were a cub scout, you might think of your leaders, Akela; leader of the wolf pack, and Bagheera, the protective black panther. This is a very different adaptation of Rudyard Kipling's stories. Kipling was born in British India and his stories were clearly influenced by the culture and folklore of that country. They were written for his daughter Josephine and first appeared in magazines in 1893 – fables using animals to demonstrate human behaviour and themes. The main story concerns Mowgli, adopted by wolves and learning the law of the jungle, only to doubt whether he really belongs with the animals or with mankind. This version is directed by Robert Wilson and is the UK premiere, following performances in Paris, Florence and Antwerp. It has a somewhat artificial visual style and uses a blend of speech, dance and music, including live contributions that go down well. The set is spare – it has some symbolic green to depict the jungle – but works well with the boldly lit backdrop, which is used to greatest effect when showing the characters in silhouette. Some elements are less successful. The inclusion of another of Kipling's tales, The White Seal, while thematically linked to Mowgli's story, seems something of an add-on. There are also times when it was difficult to understand the words from members of the international cast. Notable exceptions, though were Aurore Deon as the narrator, Hathi the elephant, Aline Belibi as Bagheera, and Dora Sugani as Mowgli. It was good to hear poetic lines lifted from Kipling. Wilson has said this Jungle Book is intended to be an "ode to otherness", celebrating how tolerance and understanding are vital to the world. This is most clearly stated in the catchy closing song "Law of the Jungle", which the audience really appreciated. This production is suitable for ages six and up, and while it might not be everyone's cup of chai, it certainly seemed to be enjoyed by youngsters as well as adults. More info and tickets here

Stick Man branches out to The Lowry in Salford this Christmas (December 10-January 5). Based on the book by Julia Donaldson and illustrator Axel Scheffler, the stage adaptation is from Freckle Productions, the team behind Zog, and Zog and the Flying Doctors. Casting has still to be announced. Stick Man lives in the family tree, with his Stick Lady-love and their three stick children. On this particular day, what starts off as a morning jog becomes quite the misadventure for Stick Man: a dog wants to play fetch, a swan builds a nest with him and he even ends up on a fire! How will Stick Man get back to the family tree in time for Christmas? Stick Man is a perennial bestseller and has been translated into 23 languages. In 2015 the animated film was the fourth most-viewed 2015 Christmas Day TV programme in the UK and the book went to number one in the children’s chart. Executive producer Jennifer Sutherland said, “We're working with a brilliant team to add even more sparkle and beauty to the show; we're eager to share it with North West audiences.” More info and tickets here

Chester's Storyhouse arts centre has transformed the former Boots store in the nearby Forum shopping centre into Studio by Storyhouse, a multi-purpose space for creative activities and rehearsals. Until now members have met in locations inside Storyhouse, but the service has outgrown the building. The two-storey space will give the Young Storyhouse team its own bespoke base for work and special programmes, events and performances, which will then be seen in the main Storyhouse venue. It means Storyhouse can establish a broader programme for young people, including drop-in activities such as spoken word workshops. The cente will also be used as a rehearsal space for the main house. Storyhouse’s work with young people has expanded since it opened its doors in the city centre in 2017. Young Storyhouse programmes create opportunities for young people, including working with professionals, developing skills, building confidence and working creatively. Along with three theatre companies – a youth theatre for 5 to-13-year-olds and 13 to 17-year-olds, and Storyhouse Young Company for 17 to 25-year-olds – Young Storyhouse also includes programmes for Young Leaders (skill development), Young Catalysts, Young Programmers, Young Readers and The Agency. Many participants are referred to Storyhouse by local social services. The programme reaches some of most of the disadvantaged and under-served young people in the city. Creative director Suzie Henderson said: “Having too many members is a fantastic problem to have, but our young people’s activities and projects have grown and grown since we opened six years ago and we just don’t have enough room any more. “The new Studio by Storyhouse is two storeys and has very large, light and airy spaces that are totally flexible, so we can use them however we want and for whatever activity." More info here

Henry Lewis, Jonathan Sayer, Henry Shields Mischief Theatre Opera House, Manchester March 26-31, 2024; 2 hrs A yell of “It’s not even Christmas!” from Jack Michael Stacy’s irate director Chris was nowhere near enough to stop the audience at Manchester’s Opera House from claiming this “Not A Pantomime” as their own. Determined to respond to every “He’s behind you!” and “Oh yes it is!” opportunity, they booed and hissed and cheered and Oohed and Aahed and roared with laughter as Peter Pan Goes Wrong went very wrong. Which is, of course, exactly what Mischief Theatre wants. The …Goes Wrong brand is nothing if not a full-on audience participation experience and this touring production – Pan’s 10th anniversary – was absolutely on message. It was hard to tell when it actually started; with the house lights still up we found ourselves searching underneath seats for something or other (a toffee apple was mentioned), and helping with some highly dodgy electrics involving the ice cream kiosk. Then we were off, with the familiar raft of non-functioning scenery, lost props, missed cues, lightning costume changes and all round daftness. At the risk of exposing my inner curmudgeon, I am not normally a fan of the Charlie Chaplin/Laurel and Hardy/Benny Hill style of slapstick with a dash of mild smut on the side. But this, well... the speed, the precision, the risk, the pin-prick accuracy of it all just blows you away. Cornley Polytechnic Drama Society, following a string of low-budget productions – most notably Jack and the Bean – presents for our pleasure its own interpretation of JM Barrie’s Peter Pan. It comes (thanks to a large parental donation to secure a part for a wannabe actor student) complete with revolving stage, a drunkenly bucking pirate ship, flatpacking bunkbeds, heart-in-the-mouth flying experiences, and a leading lady (Ciara Morris as Wendy) who is the official face of Superdrug’s own-brand lip-gloss (this last gem from the programme, a rare occasion when I would say buy one, it’s an excellent read.) To say the cast is energetic and acrobatic is to say Usain Bolt is a bit quick. Designer Simon Scullion’s set, which has a life of its own and collapses at the drop of a hat (often with less provocation than that) is a thing of wonder. Hard to single out individual performances, but Matthew Howell’s turn as Peter’s sex bomb shadow is a joy, while Jean-Luke Worrell as the narrator gives a masterclass in comic timing as he freezes, waiting for a mechanical exit that never comes. There are of course the odd sections that don’t quite work, even when they aren’t meant to be working; the mermaids and the lagoon don’t really come together, and John's headset backstage prompter gag wears a bit thin. But that is to be nit-picky; the show is helter-skelter fast, the script is clever (with nods to Andy Burnham and the Arndale) and the laughter is constant. Director Adam Meggido has worked a blinder and the stage crew, who all take a well-deserved curtain call, must be one of the hardest working in the business. Peter Pan may have gone wrong, but all’s very right with this terrific performance. Info and tickets here

Alleyne Dance Kristina and Sade Alleyne The Lowry, Salford March 26-27, 2024; 1 hr 20 mins Alleyne Dance has a clear and probably unique selling point: its creators, leading performers and choreographers (and marketing managers) are identical twins Kristina and Sade Alleyne. That offers both opportunity and limitation. In this one-act piece Far From Home, they wisely avoid gimmicky features based upon their similarity, and yet it’s obvious that there are two figures on the stage who – apart from the different colours they wear – look as if they could be the same person. How to use that precious characteristic must have been one of the creative stimuli for the whole enterprise. It's about migration: that much you’re told in the briefing sheet. It’s “abstract narrative dance”, so there’s some kind of story but a lot left to observers to work out for themselves. The official description speaks of the emotional and mental stresses of migrant families, the meaning of tolerance, the practice of integration and the impact of migrants settling in host communities, so it’s timely and thoughtful. There are three groups of performers: the six company members - Kristina and Safe, Bryan Doisy, Giorgia Gasparetto, Juan Jesus Guiraldi and Iro Konti; five company interns (all girls); and a larger “community cast”, mainly drawn from The Lowry’s CAT (Centre for Advanced Training) programme . The first 30 minutes or so are presented purely by the company six alone; after that the extras are used sparingly, mainly to amplify the movement of the core group, in the case of the interns, and seemingly to represent the idea of host community in the case of the larger gang, who have their biggest function towards the end as the stage becomes fully peopled. The house style of the company is striking and well drilled: full of fast, jagged movement and kinetic energy, with a frequent device of bodies piled atop each other to make a kind of pyramid shape, like flotsam and jetsam on a beach. In almost universally dim light, at first individuals are separated, striving, grabbing on to what they can hold, then we see relationships emerge (trust and distrust, welcome and conflict), both between the arrivals and the people they meet. That’s where the twins’ similarity is cleverly used: are they two faces of the same person? Symbolising the recognition that a stranger is just like myself but for the grace of God? Highlighting the risk of alienation for some who start out with the same hopes and dreams as everyone else – the unlucky ones? The music (Giuliano Modarelli and Nicki Wells) is a sequence of tracks, with silences between, most made up of repeated cells establishing moods. There’s a kind of hinge point around half way, when it seems peace and harmony are breaking out, only for the stresses and agonies of the opening to return and be repeated on a bigger scale. On reflection, that is a factor that suggests that the graphic and energetic intensity of the piece could possibly be better preserved in a shorter format, perhaps as one part of a double bill rather than a single show. Info and tickets here