The very likable Womack played Nellie Forbush, a nurse stationed out on a South Pacific island during World War II. The show opens not with a bang, but a whimper really, with a sober and serious scene that is supposed to demonstrate the burgeoning romance between her and French plantation owner Emile De Beque (Matthew Camelle). Dialogue-heavy and with a distinct lack of any convincing chemistry between these two leads, it meant things were flawed from the get-go.

Would Emile's secret past tear the two of them apart? And what about the other couple who get together on the island, all-American Joe Cable (Daniel Koek) and island girl Liat (Elizabeth Chong), who doesn't speak a word of English? Erm... There was just something so mechanical about this production, and seriously very little in the way of dramatic tension to be had. While the performances were of a very high standard and technically faultless, they generally came without warmth, any sense of personality, or hint of the passion that supposedly drives the characters.

The classic romantic numbers were belted out largely as characters stayed rooted to the spot, or staring at the floor -- there was just no sense that these people really had anything they were really bursting to sing about. For a musical, that's pretty depressing.

Although the famous Nothing Like A Dame is given a bit of a saucy makeover and former EastEnders bad boy Alex Ferns hammed it up as loveable rogue Luther Billis, the big numbers that arguably should have been filled with exciting, generous song and dance routines, just all seemed a bit too understated, both for the size of the venue and in terms of projection to the back of the theatre.

The production boasts a wonderful score and some truly lovely singing voices from the cast, Womack, Camelle and Koek especially. But Loretta Ables Sayre more or less stole the show as Bloody Mary, the only character with any real perceivable joie de vivre at all -- and that's only because she's supposed to be a bit bonkers.

A highlight would be Thanksgiving show number Honey Bun, that saw Nellie take the part of a butch sailor while Billis became a coconut bra-wearing blonde bombshell to entertain the troops. In the second act, Trevor Ferns really got to make the most of his character.

Director Bartlett Sher possibly wanted to put a different slant on things; but the choice to perform Happy Talk against a dreary brown backdrop as our romantic hero Joe Cable repeatedly collapsed in a fit of malaria just seemed like a waste of a huge jolly number.

Perhaps this is unfair, and perhaps it's a matter of timing as South Pacific suffered in the wake of a rapturously recieved press night for A Streetcar Named Desire at the Playhouse last night, a work that brimmed over with passion and complex emotions, and that could arguably leave anything else paling in comparison.

Saying that, South Pacific was probably far too long for such an essentially formulaic show -- extra long in tonight's case thanks to a technical fault that nearly deafened the audience and halted the show for ten minutes. Apart from this, so many things were perfect about this production, perhaps too perfect; it's a shame that it was somehow missing the spark to set it off.

South Pacific is on at the Empire until Saturday March 3.

Picture by Simon Annand

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Streetcar! Playhouse! Bodinetz! It all seems like such an obvious, natural fit it's strange to imagine it hasn't been done before.

It's some 30 years since this Tennessee Williams classic has been performed on the Playhouse stage, and with the theatre's own artistic director on hand to run the show, for anyone familiar with all three, on paper it seemed like a match made in heaven.

And it was. Considering the last in-house production here was the feelgood mania of the rock 'n' roll panto, a big slice of melodrama such as A Streetcar Named Desire was a bit of a shock to the system of a theatre scene more used to chorus lines in recent times than full-on domestic drama.

Streetcar tells the tale of Southern belle Blanche DuBois, who turns up at her sister Stella's dingy New Orleans apartment having fallen on hard times, not banking on her new surroundings -- and new brother-in-law -- to be quite so down-to-earth.

Gideon Davey's set was as simple as it needed to be, yet was a vital part of the production, with almost all action taking part inside Stella and Stanley's flat, or with a quick turn, on the stairwell outside. A lot depended on the lighting of Fergus O'Hare, which set the scene from dark nights to sweltering afternoons, from lighthearted gatherings to trouble brewing.

Although the cast was peppered with familiar local actors, Stephen Fletcher, Alan Stocks and Matthew Flynn among them, all eyes were, undeniably, on that trio of Blanche, Stella and Stanley. Rightfully so.

Leanne Best did a great job as put-upon Stella, caught in the middle between the two people she loves most, and the physicality behind Sam Troughton's performance as Stanley was as scary and alluring --thilling, as Stella would put it -- as could be.

But it was Amanda Drew as Blanche who gave a performance that will remain in the memory for some time to come. Drawing the audience in from the off, as her character unravelled, the intensity of her portrayal was often hard to bear.

Annoyances included the usual problems of wonky American accents, although most bedded in, and the unsubtle scene changes, usually heralded with a blaring soundtrack as stagehands in black came on to move things away. Perhaps some kind of distraction tactic would have come in handy there, although in the end suspension of disbelief won the day.

This production is incredibly watchable, despite a lengthy running time. It wears its heart on its sleeve, boasts a fantastic lead performance from Drew and benefits hugely from Bodinetz's directorial eye. It seemed Blanche didn't leave the stage a broken woman, but as one, with luck, who may not have been finished yet.

A Streetcar Named Desire is on at the Playhouse until March 10.

Picture by Stephen Vaughn

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The production hinged on a confident, big performance from Sean Hutchings as Harry, the bon viveur who leads Dorian on his hedonistic adventures. Luke Seddon, as our eponymous antihero, was suitably beautiful for the part and seemed to enjoy having a good stab at the transformation from angel to monster. Some technical mishaps were handled well by the cast despite giggles from the audience.

Elements of physical theatre used to effectively ‘montage’ Dorian’s excesses were nicely done and helped to build a sensual atmosphere. Yet some of the most dramatic moments seemed a little rushed; Dorian’s big romances did not really have time to develop enough to be all that convincing, given the huge impact they were supposed to have on the plot.

Not being familiar with the book, a little research leads MADEUP to surmise Script in Hand’s adaptation took more from film versions of the classic tale than the book itself – presumably to create more female roles for cast members Zara Marie Brown and Jessica Corcoran.  In the end Dorian, having fallen in love with Harry’s daughter and forced to kill her when she finds out his secret, is murdered by his old friend.

Jack Copper showed promise in multiple roles, including the portrait itself, which interacted with Dorian in a device just convincing enough to work. Joseph Mitchley’s Basil contrasted well with Seddon, as the artist in love with his subject. The seduction scene was certainly not uneasy on the eye, although I could have sworn I heard a pensioner tutting at the “dirty part”.

The tale was thrilling and there were enough interesting touches and watchable performances to make an enjoyable debut for this company.

The production was one that really brought out the best of the Actors Studio as a venue as well. Full to capacity, there was a fun, but not distracting atmosphere. Before the start, there was an apology as supplies for the interval were running quite low – but anyone who wanted to nip to Tesco was welcome. As the audience returned from the shop armed with cans of beer and sandwiches, it was more like a jolly coach trip than a trip to the theatre, but therein lay the charm.

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This week sees the start of a special theatre festival at the Unity, which is collaborating with acclaimed producers Fuel for a season of what they call "immersive, experimental, innovative, exciting shows showcasing some of the best new work produced in the UK".

The festival will run from Friday (February 17) into March, and will feature Ring, a "sound journey" in complete darkness, directed by David Rosenberg; Kursk creators Sound&Fury's immersive Going Dark; unique performances of Uninvited Guests' Make Better Please -- the show is based on the day's news, and is always different; and Fringe First winner Inua Ellam's Black T-Shirt Collection, a new story about two brothers building a global t-shirt brand, on a journey from the markets of Nigeria to the sweatshops of China.

 
Louise Blackwell and Kate McGrath, co-directors of Fuel said: "We’re thrilled to be collaborating to bring an exciting season of new shows.We hope you’ll experience something unique and surprising during the festival. We believe the artists who have made these shows are some of the most imaginative and inspiring in the UK and we’re looking forward to finding out whether you agree. Alongside four shows in the theatres, you can listen to Body Pods, a series of podcasts about thehuman body in the foyer, and watch a film in the bar."

 
Graeme Phillips, artistic director of the Unity said: "Unity has always produced and presented work that pushes the boundaries of theatre and storytelling. With this new collaboration we are bringing cutting edge theatrical innovators to Liverpool in what, we hope, will be the first of many partnerships. We know this work will excite, invigorate but also inspire our audience and friends to reimagine the possibilities theatre can present."

For dates and tickets of all FuelFest events, visit the Unity's website.

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Alan Ayckbourn’s trilogy of comedies The Norman Conquests will open at the Liverpool Playhouse in May. Audiences can enjoy Table Manners, Living Together and Round and Round the Garden individually, although, and of course they'll say this; "the experience is greatly enriched by seeing all three".  

The plays do not need to be viewed in one sitting or in any particular order, but the theatre hopes audience members will enjoy the challenge and excitement of a trilogy, with opportunities to see all three plays in a day on a number of occasions throughout June -- and the Playhouse has come up with a few rather nifty deals to make it as reasonable as possible.

Audiences who choose to see all of plays on a special Trilogy Day will save 15% off  the usual ticket price. The theatres will also be able to offer a packed lunch or a range of deals with local restaurants on those days.

Those not wanting to attend a Trilogy Day but still wanting to see all three plays can still save with the flexible pricing, with 10% off ticket prices if they are viewed across a range of performances, and a saving of 5% off 2 shows.

Director Philip Wilson, the former Artistic Director of Salisbury Playhouse, returns to the Liverpool Playhouse having previously directed Noises Off, a Noel Coward Double Bill and Dr Faustus. This is the first Ayckbourn play at the Playhouse since the Season’s Greetings featuring Philip Bretherton and Samantha Giles in 2005.

For tickets and more information, visit their website.

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Now, I’m not a cynic. Way back in the 1990s, this reviewer dreamed of being the gorgeous Jean Butler. What happened when Riverdance took to the stage as the Eurovision waited for phonelines to close in 1994 made its mark on a generation. I came to praise Flatley, not to bury him. But. … Really?

I should have known things were on the slide when there was no programme to be seen upon arrival, and reviewers were told if we wanted to know who was on stage tonight, go to lordofthedance.com when we got home. Strange. Reviewers are normally given that information as a matter of course. As it happened, there was nobody who needed to be picked out for having any kind of stage presence tonight, although conversely, this meant any guilty parties on the production side got away scot-free as well.

Nothing, simply nothing about this production was good enough for a paying audience.  The stage design was 20 years out of date; the lighting – painful on the eye most of the time -- seemed to exist to completely disguise any moves an audience would like to see on stage; any excuse for plot was simply beyond ludicrous; and the main points for which anyone would even turn up in the first place – the choreography and the musical numbers – were horribly lacking.

If the footwork, the skill had been there any step of the way -- if something, anything, had been there to excite, there would be no problem. But everything was lost in a sea of cheap hair extensions and fake smiles that made Katie Price look like an evening’s better company. To be honest, Jordan’s version of A Whole New World probably had a lot more sincerity to it than anything an audience had to sit through tonight. A Father Ted-esque ‘lovely girl’ would occasionally take to the stage in a glittery dress and butcher Celtic-sounding tracks. Like her, I also wished I was in Carrackfergus.

As for the dancing, they lost me the minute they decided they had to whip off their multi-coloured velour, Bucks Fizz style, to do the ol’ Riverdance in their knickers for no reason at all.

By the time the Flatley-esque lead paraded his WWE-style ‘Lord of the Dance’ belt, I wondered if I’d just simply gone mad. It was like the sort of thing that should have been funny, but really hadn’t been played for laughs at all. And with a lack of dynamism to the routines that was nothing short of shameful, a tippy-tappy sea of ‘meh’ with a big dollop of ‘can’t really see what’s going on’ on the side was not going to cut it.

Yet – in the interest of balance – when all was said and done the audience rose to their feet; and not in a Simpsons-style pitchfork-wielding mob, attempting to track down who was responsible, oddly enough. Because they liked it. Yes, it got a standing ovation.

FLATLEY.

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From 12pm Liverpool Shakespeare Festival artistic director Max Rubin will run a Shakespeare workshop, followed by Script in Hand productions with The Director -- inspired by Luigi Pirandello's Six Characters in Search of an Author, The Director focuses on two characters broken out of their 'scene' by a stage lighting change instigated by the mysterious director running the show.

Later in the day ay 6.40pm, The Rat Pit preview their new show Umbilical. The Rat Pit is a Liverpool based experimental performance company who are currently developing phase two of their "hyper-theatre practice and research". Ooer.  Positioned within the field of multi-media theatre practice, hyper-theatre’s scope is informed by the creation of hyper-real images and "the desire to target the often-missed miniscule visual signals during performance".

On the day tickets are available from Camp & Furnace on Greenland Street, from this link,
http://tinyurl.com/c8w8o9b, or from the ticket line on 07414446997.

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In 1995, Bram Stoker’s Dracula was adapted by playwrights John Godber and Jane Thornton. Godber is a visiting professor at Liverpool Hope University, which is one of the reasons why in house company Rock the Boat productions chose it for their first theatrical performance.

In the pleasant surroundings of the Capstone Theatre, this Dracula’s strongest suit was its bold visuals. A stark white set helped set the scene via a range of projections that transformed the space from the castle’s exterior, to forests, to wallpapered sitting room. It was tasteful and well done.

The colour scheme, reflected in the costumes of the characters, also ensures the production is minimalist and smart (both the AVs and costumes the work of Laura Lomax). Chris Boyle’s Dracula, gothed up like a member of Cradle of Filth, gave a scenery-chewing yet sympathetic performance.

With little information about the playtext available online, it left one wondering whether some noticeable holes as things moved along were points lost in the initial script, or the interpretation.

For example, it didn't really seem to be told what could have really scared Jonathan Harker so much in Dracula’s castle to be struck down with ‘brain fever’ in the first place (he appeared to completely sleep through the part where he's nearly devoured by vamps), yet his fear is the set up for the whole play.

Perhaps it was as written -- the device by which Lucy and Mina set the scene by reading out the other’s letter was confusing, and Jonathan’s rolling narration often wasted time pointing out the blatantly obvious.

Director Andrew Cooper’s decision to avoid the blood and guts one can expect from this classic tale was a good one. Although at some points it seemed a bit of viscera just might have heightened the drama, overall it seemed a much better call to leave some things to the imagination.

Another interesting touch was to make asylum inmate Renfield a woman after being impressed by Hannah Burkhardt’s performance. This worked well. But overall Boyle had his chance to shine made easier by an understated supporting cast who could have done with a little of the Count’s intensity themselves.

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Drawing from the true “Coastal Erosion stories” of Happisburgh, interviews with residents and extensive study into Alzheimer’s disease, the play looks at the metaphorical connections between coastal erosion and memory loss and asks, “what is it like to lose everything - your home and your memories?”

Relentlessly the sea swallows first the road, then the row of bungalows and finally eats its way to the back door of the Bed & Breakfast 1 Beach Road, where the inhabitants, Victoria and Jane, refuse to budge.

RedCape says they are committed to telling true stories that matter, move and entertain, with ordinary people in extraordinary situations. They are acclaimed for their unique visual and physical storytelling, sense of humour and original writing.

In Happisburgh, since 2004, 24 metres of land and 26 homes along Beach Road have vanished. 80 year-old Phyllis lost her retirement bungalow. Diana & Gill's B&B's garden disappeared. One family home was re-valued by their bank. It is now worth £1. Government policy means that it looks likely that they will receive no compensation for their losses. Every night as they sleep in their beds residents listen to the crash of the waves and the slow thumps of land falling into the sea.

During the initial research and development of the show, the company began to explore the metaphorical connection between alzheimers and coastal erosion. As your home and belongings erode away from coastal erosion so your memories fade away from Alzheimer's, so in 1 Beach Road, RedCape explore themes around memory loss and dementia.

For more information, visit the Unity's website.

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This latest touring production – last seen in Liverpool in summer – more than justifies a welcome return. An infectious, addictive, wonderful show, it pulls out all the stops. If you missed it last time, catch it now. Crammed with local talent (see my last post) and bursting with musicality and heart, this is a show that just fizzes with energy. If it didn’t, it wouldn’t work.

The adaptation of the story about a fun-loving blonde who works her way into Harvard Law School to win back an ex is just fantastic; not a musical cliché to be found. Everywhere you think Legally Blonde might go, it throws you a curveball. For a musical, it’s refreshing, tonnes of fun, and it’s completely inspirational theatre. The show is full of energy, to the extent that no minute in its company seems too long.

Faye Brookes has been in the lead role of Elle since July last year, yet still sparkles from start to finish despite being on stage for practically the whole time. As for the ‘Scouse Mafia’ now among the cast, Ray Quinn is the stand out, really given his chance to shine vocally on numbers such as Serious (although his moves were very nifty in Grease last year, a bad mix meant his voice wasn’t really coming across); Claire Sweeney is a charmer as Paulette; and the ever-enthusiastic Les Dennis needs to find his nasty side a little more to make the most of Professor Callahan. Because his character, unlike others, has no on-stage redemption where it all comes good in the end, a little more hammy menace in the time he’s got would go a long way. Our UPS guy (Lewis Griffiths), Brooke Wyndham (Hannah Glover) and bad gal Vivienne (Charlotte Harwood) stood out among an extremely competent supporting cast.

In the end though, it would, really, be more interesting to read a snarky review from someone who hated this show, but you’d surely have a job finding them. If you’ve not seen it, go. You’ve got until Saturday.

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Our own Les Dennis, Claire Sweeney and Ray Quinn along with new pal Sharpie the bulldog have been meeting the press today ahead of curtain up for their city run. Dennis and Quinn only joined the production last week, while Sweeney returns to reprise a role she has previously played.

Dennis, who plays Professor Callaghan, says a Liverpool audience is always great to come back to, especially with friends in tow. He says: "Legally Blonde is a great show, akin somewhat to Hairspray [in which he also starred], that feelgood morality tale about this girl who follows her heart. People can identify with the original film, and when I saw the film myself I saw how it could really have legs as a musical, if they got it right and the music tells a story. And in this case the book and the score really do make it work.

"I'm playing a bad guy and that's nice to do, and it's lovely to be back with my mates. Every time I come back to the Empire I'm reminded of when I was a kid and I came here to watch pantos... it reminds me that I've achieved a dream."

Similarly, Ray Quinn (last seen on the Empire stage last year as Danny in Grease) is also keen to play the bad guy for a change as rich kid Warner, and is excited to test out the new role in front of a home audience.

He said: "I've never seen the film and in a way I don't want to. After I saw the show, it just blew me away. Warner is a great role for me and a chance to do some 'serious' acting again, I'm really excited to be doing it."

Legally Blonde runs at the Liverpool Empire until February 11.

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Script in Hand productions will present The Picture of Dorian Gray at the Seel Street theatre on February 17 and 18.

Set up by gap year students Zara Marie Brown and Joseph Mitchley, the company aims to create innovative and original shows on a shoe string budget as well as providing themselves and other young people with valuable stage experience.

The cast is completed by Luke Seddon, Sean Hutchings, Jack Copper and Jessica Corcoran.

They describe the tale: “Amongst London’s beautiful people, Dorian Gray is fresh-faced and innocent, but slowly becomes corrupted by an increasingly ugly world. With his friend, Lord Henry leading him to a life of increasing debauchery, violence and pleasure, Dorian discovers the destructive power of beauty, the blind pursuit of pleasure and the darkness and corrupting that lie beneath the charming facade of the human soul.

"Dorian, terrified by the idea of losing his beauty and youth makes a deal. A deal that he would soon regret. Dorian’s face would remain untouched by his debaucheries; however his portrait will instead record the corruption and ugliness of his soul."

For tickets and more information, call the Actors Studio at 0151 709 9034  or visit www.theactorsstudio.com.

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This means building work on the site is now underway. The building project -- due for completion in winter 2013 -- has already secured £27m funding, 99% of which has been brought into the city from national or European sources including £16.8m from Arts Council England, £5.9m from the European Regional Development Fund and £2.5m invested by the Northwest Regional Development Agency. 

The first major donation from a Liverpool philanthropist - £200k from the Peter Johnson Foundation - marks the transition to the theatre inviting local people to get involved via the Everyone for the Everyman appeal. 

Everyman and Playhouse executive director Deborah Aydon said: “The beginning of the build is a phenomenally exciting moment.  We have raised 98% of the funds needed to complete the building, and are now asking those who love the Everyman – and we know there are a great many who do, very passionately – to play their part in making the new theatre the best it can be. 

"The new building will be a wonderful thing, but it is not the end of the story: it’s the beginning of the next chapter. So funds raised through the Everyone for the Everyman appeal will also support the writers, actors, directors and designers of the future, so that the new theatre will be an exciting creative hub for many decades to come.”

David Morrissey, who started his acting life in the Everyman Youth Theatre and returned last May to play Macbeth in the last production before redevelopment, agrees that the Everyman is an exceptional environment for young people and new work. He says: “The Everyman provided me and many others with the courage to follow our dreams and pursue a career in the theatre. Now it can do the same for a whole new generation and act as a creative heart in the city.”

Donations large or small can be made as a single or regular gift, and every pound donated up to the first £250,000 will be matched by the Esmée Fairbairn Foundation. Supporters giving £500 or more will have an opportunity to Name a Seat in the new theatre, and everyone who makes a gift, of any size, will be thanked and acknowledged on the theatre’s website and in a special celebratory publication.

For more information on how to get involved in Everyone for the Everyman, call Rowena on 0151 706 9124, email donate@everymanplayhouse.com or go online to www.everymanplayhouse.com where you can find more details of the new theatre, regular progress updates and a live webcam.

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Madcap comedy trio and friends of MADE UP the Legion of Doom are back, back, BACK next week, with a new spin on their regular Comedy Knights at Mello Mello.

The boys -- Rob Bond, Oli Bond and Lee Hithersay -- started out performing sketches at the Comedy Knight alongside other alternative acts, before premiering their own (very funny) full length show last summer. Things have been a bit quiet since then as they concentrated on other things, but from next Monday (February 6) their regular events will be on the go once again.

Rob says: "We're changing the format to include more of our own material and kind of make it like Vic Reeves's Big Night Out, only with us instead of Reeves and Mortimer." If there were three pairs of more capable incapable hands, we'd like to see 'em. Recommended.

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City choir Sense of Sound has announced the brand new Voices Festival, a three day celebration of a cappella singing, set to take place at Liverpool’s Bluecoat and Black-E arts centres in March.

From hip hop to barbershop and contemporary jazz to choral, the Voices Festival will showcase the full (vocal) range of a cappella singing styles, giving plenty of opportunity for everyone to interact, get involved and get singing.

Liverpool is no stranger to the work of Sense of Sound, is one of the most unique and inspirational companies in the UK today. Led by four female directors:Jennifer John, Saphena Aziz, Juliet Russell and Perri Alleyne-Hughes, the organisation aims to create and produce amazing ways to celebrate singing -- and the Voices Festival is set to be no exception.

On Friday March 16, Sense of Sound will open the festival with a National Conference for Singing and Health. Perfect for health educators and researchers, speech therapists, vocal coaches, singers and anyone with an interest in singing or health, the conference will feature presentations from leading speech therapists and vocal training experts.

Saphena Aziz  explains: ‘’A great number of discoveries have occurred in the past few years, showing that singing has a fantastic, positive effect on health. This conference will allow practitioners to come together to share ideas, allowing us all to learn and keep this exciting field of health and wellbeing moving forward."

The Sense of Sound Singers and special guest star Connie Lush will pay homage to Joni Mitchell with an a cappella concert at the Black-E on the evening of Friday March 16, with support from acclaimed group Barbieshop.

On Saturday March 17, Choirs from around the region will have the chance to perform in the Bluecoat Hub. Members of the public are able to come along, enjoy the music and take part. More details on how choirs can get involved in this will be announced shortly.

Beatboxer Shlomo, the Southbank Centre Artist in Residence, is set to play The Black-E on the evening of March 17 too. He has worked with Björk, Martha Wainwright, Damon Albarn and Jarvis Cocker to name a few.

A free day of family fun will take place at the Bluecoat on Sunday, March 18 with interactive activities for all ages taking place throughout the day,  including workshops with an a cappella twist. The festival will end with a massive ‘Big Sing’, which will take place in the Bluecoat Hub.

More information can be found at www.senseofsound.net.

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Hope In Boxes sees two grandchildren sorting through their nan’s letters and photos. The story unfolds as the audience is transported back to life during the Second World War: social pressures spanning generations are exposed, and secrets of hidden sexuality are revealed.

A Light In Every Window catapults the audience into a fast and contemporary drama. The complex relationships of friends and lovers are brought into focus following a tragic event. This emotionally-charged play sees friends reflect on their carefree Manchester party days and their love lives today, touching on the impact of infidelity and the subtlety of sweet revenge.

Both are written by Nicola Schofield, winner of the 2004 Write 2 Bruntwood competition and nominee for best new play at the Manchester Evening News Theatre Awards.

Director Gayle Hare, winner of best production at the Studio Salford Awards 2010 for Organised Chaos and the creator of Elysion Productions, the company behind the double bill, says: “These are two a very strong and exciting plays. The writing is brilliant; Nicola has done a wonderful job in bringing the characters to life in these two captivating stories."

Elysion Productions works to create a diverse and intriguing repertoire, from award-winning production Dev’s Army to short film nights by emerging talent, and epic art installations.

Hope In Boxes and A Light In Every Window at The Lantern Theatre on Friday, February 3. Tickets priced £7 (concessions £5) are available from www.thelanterntheatre.co.uk or 0151 703 0000.

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This year, we get Nutcracker!, entry level fairy-story ballet gone a bit crackers on its own sugar rush. It is marvellous. When Tchaikovsky’s work is given the Bourne treatment, liberties are taken, but with such confidence and flair it is impossible not to fall in love.

It begins by changing the setting from a lavish family Christmas to an orphanage of children clad in grey smocks and boots. Our heroine Clara is reduced to orphan status, terrorised by the bratty rich children of the owners, who tear the arms off the doll she is given as a present. In Act II, which bursts into colour as the cast are morphed into bizarro-world candy characters, Clara must battle it out with her nemesis Princess Sugar, who also desires the (rather hunky) Nutcracker’s affections.

Bourne’s Land of Sweets is the kind of place the Mighty Boosh’s Noel Fielding might feel at home, a glittery psychedelia that is as unsettling as welcoming. As the magical land reveals a series of glorious setpieces, this is when you see the director’s imagination in its most thrilling kind of overdrive.

This is to say nothing of the breath-taking choreography, performed with love and vigour by the impressive cast. As with last year’s Cinderella, the large company is always on the move; each orphan displays strong characteristics, so much so it is hard to know where to look. Rather than fading into the background, there are a wide variety of little actions always taking place.

It’s beautiful, it’s a bit crazy, and it’s a colourful, entertaining spectacle like no other. Truly scrumptious.

Nutcracker! is on at the Empire until Saturday, January 28.

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Touring company Platform 4 brings its latest production of Macbeth to the Unity next week.

Employing sparse staging whilst keeping the play intact, compelling, and fresh, the company creates a “taut electric psychodrama” that is brought alive by sound designer Jules Bushell and composer and guitarist Bic Hayes. Characters appear from the shadows and disappear into the darkness as part of a nightmarish vision.

Platform 4 says it has has developed a reputation for creating stunning visual theatre; “blending text, movement and objects with evocative sound and light, to create unique theatrical gems”.

Founded in 1997, the company has developed a style of work that is quirky, heavily based on the visual arts, physical play and devising.  For the last twelve years Platform 4 have been making performance work that tours nationally and creating participatory cross-art projects and street theatre events that feed off and influence each other.

“We aim to create environments that surround and envelop an audience with sound, light and scene from the moment they walk into the space,” says artistic director Caroline Church.

“The process of creating a Platform 4 show is collaborative and inclusive – all members of the creative team have input into the design, sound, direction, text and narrative – it incorporates the writer, director, designer, lighting designer, sound designer, dramaturg and actors.  Every piece we make is unique in its own way but this spirit of collaboration is an ethos, which is very important to the company.”

You can catch Macbeth at the Unity from Tuesday February 7 to Wednesday February 8.  

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A rarely-performed John Godber adaptation of the story of Dracula is coming to the Liverpool stage.

A new production at Hope University's Capstone theatre, it is a new direction for Rock the Boat, the institute's own in-house performance company. Formed in 2010, it has produced a series of successful concerts at The Capstone Theatre, and now it is venturing into the world of theatre.

True to Stoker's original novel, Dracula is a fast-moving multi-layered masterpiece of fear. As a sudden and mysterious storm whips the coast of England, a young woman sleepwalks along the edge of a cliff. In the teeth of the gale, a ship crashes through the harbour entrance, abandoned except for an immense dog and fifty boxes of grave dust. The Transylvanian Count Dracula has arrived in England....

Immortal only as long as he is able to drink the blood of the living, he pursues his victims with brutally devastating effect. From the remote wilderness of Yorkshire to a vast ruinedcastle near to London whose windows omit no light, the race to end Dracula's lustful power isunderway, if only there is still time...

Rock the Boat Productions was formed to give the students of Liverpool Hope a chance to perform on the biggest stages in Liverpool and to work with professionals in the industry. All the actors and crew are students, graduates or work for the university. Director Andrew Cooper graduated in July 2010 and is now studying his Masters there.

Dracula runs from Thursday February 9 to Saturday February 12.  Tickets are £10 (£8 concession), from the box Office on 0151 709 3789, in person at the Liverpool Philharmonic Hall Box Office, Hope Street, or on-line at www.thecapstonetheatre.com.

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The chorus say they are set to woo audiences and take them on a musical journey through songs old and new, from classic Cole Porter hits to some of Lord Andrew Lloyd Webber’s most famous musical masterpieces.

Songs from Phantom of the Opera, Mamma Mia and Les Miserables, as well as numbers by Rogers and Hammerstein and Sondheim through to Handel and pop classics by Simon and Garfunkel and John Lennon are all in the repertoire.

Audiences will also be treated to excerpts from WKLOS’ forthcoming production of Titanic the Musical, which will take place at the Liverpool Empire from June 5 to 9 as part of the commemorative events marking the centenary year of the ship’s sinking.

Chairman of WKLOS Ray Davies said: ‘We are delighted to be presenting our first Liverpool concert at the glorious St George’s Hall. The program of music is so varied that I’m sure there will be something to suit everyone’s tastes and if you haven’t experienced the West Kirby Sound before then you’re in for a real treat."

WKLOS is now in its 62^nd year and is one of the leading amateur musical theatre societies in the UK.  Since its inception in 1950, it has been committed to offering the best in non-professional theatre, having presented 62 productions including UK premieres of Seusical The Musical and Titanic The Musical in addition to showing old favourites such as Hello Dolly, Oliver and Carousel.

The society most recently produced the UK amateur dramatic premiere of Phil Wilmott’s Once Upon A Time At The Adelphi. Although WKLOS exists to present musicals, its choral sound has become something of a trademark, with their a 50-strong choir bringing a "big-boned sonority" to classic musicals and show tunes.

WKLOS’ From Handel to Hammerstein takes place in St George's Hall's small concert room on March 3 and 4. Tickets are available by calling 0871 424 4444 or click www.wklos.org.uk. Alternatively, call WKLOS’ Ticket Secretary on 0151 342 2143.

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