Robyn Myszor added: “We are appealing for anyone who has seen someone with this particular holdall within the area around that time. Mike Shepherd's production delights on many levels, but primarily succeeds because Charles Hazlewood's score provides a superior form of jukebox. Hazlewood has the ability to create through-composed sequences of genuine thematic development, but also an ear wide enough to suggest that bawdy 18th-century airs and catches share a direct bloodline with ska, grime and dubstep.

The ever-inventive Kneehigh return with their blazing new show. Fasten your seat belts; it’s going to be one hell of a night! An investigation has been launched after children found a dead dog stuffed in a suitcase in Airdrie. When Carl announced the title was to be ‘Dead Dog in a Suitcase (and other love songs)’ there were raised eyebrows and pleas for us to change it to something more “accessible” but we held out. It seemed an important statement of intent that he wasn’t simply adapting John Gay’s original but radically re-writing it. Having been fired up we now wanted to leap far away from the comfort zone. As Carl wrote at the time: “….the story of a dead dog in a suitcase is a famous urban myth (google it) It’s a modern folklore and that feels like what our Beggar’s Opera is too. If John Gay’s was highwaymen, prostitutes and street thieves then ours is about the mythic underbelly of NOW-corporate conspiracy, hit men, weirdowarped Robin Hood types, the end of civilisation, dead dogs in suitcases…I mean what the HELL is the world coming to?” For instance, you certainly don’t believe that Macheath could be as bad as everyone says he is, despite watching him murder someone in the opening scenes. Dominic Marsh is sexy and alluring throughout and we are won over by his charm, just the same as poor Polly and Lucy and all the other girls he’s deceived. The Peachums follow a Macbeth style tragic trajectory as their corruption and greed gets the better of them and they sink further into depravity and anarchy, which is delicious to watch. Rina Fatania as Mrs Peachum is sinister and silly in equal measure – an incredibly disturbed and disturbing portrayal of a power-hungry manipulator. Stand out performance goes to Georgia Frost as the put-upon Filch, who acquires a series of increasingly severe injuries throughout Act One as the Peachum’s dogsbody. Frost also multi-roles a range of distinctly different characters that are integral to the plot, and provides some stunning vocals in her solo song. Mayor Goodman has been assassinated. Contract killer Macheath has just married Pretty Polly Peachum and Mr and Mrs Peachum aren’t happy. Not one bit.Get all the news from your area – as well as features, entertainment, sport and the latest on Lanarkshire’s recovery from the coronavirus pandemic – straight to your fingertips, 24/7.

We would always urge the public to take extra care to dispose of their rubbish responsibly so animals aren’t hurt. We’re grateful to the firefighters for their help - it’s a great example of what we can achieve together for animal welfare."Dominic Marsh's Macheath has sufficient reserves of baby-faced charm to get away with murder. Carly Bawden's peerless Polly Peachum is the prim heir to a pilchard fortune, and there's a fine turn from Rina Fatania as her vulgarian mother, who turns out to be the real criminal mastermind of the operation. The macabre concluding tableau is either a thrilling alternative to Gay's slightly pat ending, or a grotesque over-compensation. But true to form, Kneehigh have come up with a piece that is not the Beggar's Opera so much as an opera which beggars belief. This brilliant musical satire delivers a forceful and hefty theatrical punch… One of the best ensembles I have seen for some time.”– North West End The RSPCA receives around 91,500 calls to its cruelty line every month and investigates 5,300 reports of deliberate cruelty.