Originally published in two volumes in 1868 and 1869, Louisa May Alcott’s ‘Little Women’ has been enchanting and captivating readers and audiences of both stage and screen for many years (the first film adaptation came in silent form in 1917, five short years after it first came to the stage on Broadway). It is a story of four sisters, Meg, Jo, Beth and Amy March, and their journey from childhood to adulthood, balancing poverty, love, loss and personal growth as they each try

The Orient Express, the train described as ‘Poetry on Wheels’ is stuck in a snow drift, trapping its passengers in a cold, dark claustrophobic warren of narrow corridors and sliding doors. The conductor is trying to contact a rescue team, the train company manager is trying to keep spirits high, and a world-famous detective is trying his best to keep his head down and get to London in a hurried response to an emergency telegram. But when a passenger is found brutally murdered

Heartbreak, grief, treacherous journeys, loss, war, mental health and the process of seeking asylum, a hard-hitting combination that may be difficult to convey in a way which people would be able to understand and relate too, but these are all topics that are bravely and sensitively covered in the stage adaptation of Christy Lefteri’s number one best seller ‘The Beekeeper of Aleppo’. Driven from their home by war and threats upon their lives, married couple Nuri (Alfred Clay)

Okay, hands up in the air, time for some honesty. I did not know anything about ‘The Ocean At The End Of The Lane’ before I was kindly invited to the press night of the stage adaptation at Theatre Royal Plymouth. Beyond the knowledge of it being based on a novel by Neil Gaiman (Good Omens, Stardust, Coraline), I knew nothing of the plot, and made the decision not to look it up before going to see the show. Because, after all, sometimes going into something blind can be worth