Madagascar – The Musical Review

Saturday Night Fever Review

Bristol Hippodrome – until 6th October 2018

Reviewed by Lucy Hitchcock


Bee-gee whiz! Saturday Night Fever, adapted by Bill Kenwright, had all the elements of the 1978 film…including the iconic white suit.

The story follows that of Tony Manero, portrayed by Richard Windsor, a young Brooklyn man who is discontent with his current job and living arrangements with his family. He aspires to take his passion for dance further and we follow his quest to do so. Windsor was exceptional on the dance floor, showing the audience moves that had only been seen by Travolta in the original. Windsor did an outstanding job on the stage, leaving for split seconds between scene changes showing the audience his stamina and incredible ability to maintain the upbeat and fast pace of the show.

Manero, whilst practising for the newest dance competition, partners up with Stephanie Mangano portrayed by Kate Parr. Eventually, the couple embark on the classic ‘will they won’t they’ love story leaving the audience waiting for that kiss on the dance floor. Parr, along with her impressive and solid dancing, also had a very nice singing voice. She was one of the few cast members who sung and she treated us to ‘What kind of fool’, leaving the audience wanting more.

All of the cast were brilliant, but the stand out performances were that of The Bee Gees. Edward Handoll, Alistair Hill and Matt Faull were incredible. The casting was outstanding with these three. Their voices blended together perfectly and this truly was the closest to seeing the real deal you will ever get. This trio carried the show and together with the striking dancing made this show a success. There were some points where I forgot I was watching what is essentially a tribute to these great musicians and I was totally immersed in the soaring vocals that delighted the theatre.

The first act of this show fell a little flat and the acting left a lot to be desired, but the second act and fabulous finale picked up the show. There were some really amazing points in this show, but one thing that put a dampener on the fabulous dancing, was the lack of expression shown by Windsor as he took the stage alone. His focus and ability are nothing to be questioned, but he lacked a smile or any hint of enjoyment whilst showing the audience his aptitude. Hopefully, this was just a case of ‘first night in a new venue’ nerves but it still left me wanting some form of engagement with the audience.

Overall, this show was a decent tribute to the original film that thrust Travolta into the public eye, but felt a little unpolished in some areas. The lighting was true to the time, with a garish rainbow of colour that lit up both the stage and the audience’s imaginations. There was a fair amount of swearing in the first act which didn’t add much to the progression of the story line, but this was quickly forgotten when the audience got ‘Night Fever’.

An Inspector Calls Review

New Wimbledon Theatre – until 6 October 2018

Reviewed by Elizabeth Smith


An inspector calls is a haunting story of class divide. Written in 1945 by J B Priestly and set in 1912, it explores the core values of society and are as relevant today as ever.

We watch the Birling”s family celebrating their daughters engagement, congratulating themselves in the love match of two industrial families. Then inspector Goole calls to question the family on the grave matter of a young woman’s suicide earlier that evening. As the inspector interviews each member of the family the unfortunate tale of a young, working class woman emerges and
how each family member played their part in her demise.

Liam Brennan, Inspector Goole, was cool and unfazed by the superior attitude of the family. Seeking justice for a woman with no voice. His emotions running deep on each new revelation the family revealed.

Jeff Harmer, Arthur Birling, played the patriarch, with command and showing how, when the truth is out, it can change everything in an instant.

Chrisitne Kavanagh, Sybil Birling, carried an air of haughtiness, that she was determined to hold on to even when shown how wrong her assumptions were.

Andrew Macklin, Gerald Croft, played the toff with a certain 1940’s attitude that felt a little date and hammy.

Lianne Harvey, Sheila Birling, grew as a character from a silly spoilt brat to a woman who could see how actions have consequences.

Hamish Riddle, Eric Birling, was a believable young public school boy, who drunk to much and played to hard.

Diana Payne- Myers, Edna, bumbled around the stage setting scenes and giving an air of distain of the family.

The set was magical, like looking into a real life dolls house and like a house of cards can come tumbling down.

I didn’t get the presence of the ensemble, were they there to suggest the conscience of society?

Even if your not studying this tale for your GCSE’s I would recommend seeing it. Having no interval just heightens the tension of the play and it passes in a flash. You are left wondering if we have come very far in the last century, and will society ever change?

Comedian and TV star Tom Allen to host this year’s West End Bares: Top Off The Pops








The Make A Difference Trust is delighted to announce that following his hugely popular WEST END BARES debut in 2017, comedian and TV star TOM ALLEN will host this year’s WEST END BARES: TOP OFF THE POPS at The Shaftesbury Theatre on Sunday 28 October at 7.00pm and 9.30pm.

Tom said today, “I’m thrilled to be returning to West End Bares to kick off proceedings at TOP OFF THE POPS with the most incredible cast yet.  It’s an amazing night that’s really not to be missed and I hope to see you all there.”

Currently on a sell-out UK Tour and on tv screens as co-host of Channel 4’s “Bake Off: An Extra Slice”, Tom Allen is an award-winning comedian, writer and actor having won both So You Think You’re Funny in Edinburgh and the BBC New Comedy Awards. He has appeared on BBC One’s “Live at the Apollo”, BBC Two’s “Mock The Week”, Channel 4’s, “8 Out of 10 Cats Does Countdown”, “Channel 4’s Comedy Gala” and hosted “Bake Off: The Professionals”. His radio credits include BBC Radio 4’s “Just A Minute” and the Sony Award winning “Bleak Expectations”. He also records a popular weekly podcast “Like Minded Friends” with Suzi Ruffell. Tom Allen is playing at the world-famous London Palladium on 23rd November.

Tom will be joined by an almighty line up of incredible singers from the biggest West End shows. These include Moya Angela (Dreamgirls, America’s Got Talent); Michelle Antrobus (Chicago); Natasha Barnes (Funny Girl); Luke Baker (Everybody’s Talking About Jamie, Footloose); Laura Baldwin (Eugenius!); Matt Croke (Aladdin); Laura Emmitt (Wicked);  Michelle Francis (School of Rock); Jordan Fox (Kinky Boots); Candace Furbert (Tina); Brennyn Lark (Dreamgirls); John McCrea (Everybody’s Talking About Jamie); Christina Modestou (Little Shop of Horrors);  Cedric Neal (Motown The Musical); Jay Perry (Motown The Musical); Jon Robyns (Hamilton, Legally Blonde); Danielle Steers (Bat Out Of Hell); Anna Van Ruiten (Motown The Musical); Lucie Shorthouse (Everybody’s Talking About Jamie) and Anna Woodside (Carousel) with more to be announced in the coming weeks.

TOP OFF THE POPS is also excited to welcome some of the West End’s most loved personalities who will join Tom Allen, alongside some of theatre’s current leading ladies and gentlemen, as guest hosts.  Head over to MAD Trust’s social media channels as we reveal all in the build-up to the big night.

They will join the previously announced Eva Noblezada (Miss Saigon, Les Misérables), who will open the show singing a brand-new song written for the occasion by returning favourites Mark Anderson and Luke Di Somma.

WEST END BARES: TOP OFF THE POPS celebrates the sexiest tracks from some of the world’s most iconic music artists. For the first time the show will feature an incredible live band and sensational singers alongside all the flesh audiences have come to expect with over 100 performers from the West End and beyond. All monies raised will go to The Make A Difference Trust to fund HIV and AIDS projects that raise awareness, educate and provide care and support in the UK and Sub-Saharan Africa.

For the fourth year in a row, WEST END BARES will be directed by David Grewcock with choreography from Tommy Wade-Smith (Book of Mormon, We Will Rock You), Racky Plews (American Idiot, Footloose, Knights of the Rose), Chris Whittaker (Seussical, Judy!, Top Hat), Matt Overfield (Motown the Musical, Chitty Chitty Bang Bang, Tommy), Callum Aylott  (Dreamgirls, The Illusionists, West Side Story), Matt Krazn (Chicago, Cats), Will Lucas (Wicked, Cats) and Joanna Goodwin (Sunset Boulevard, Chitty Chitty Bang Bang, Barnum) Josh Baker(Little Shop of Horrors) and Aston Hannington (Bat Out Of Hell).

WEST END BARES benefits the Make A Difference Trust, a UK based charity with a vision of a world free from HIV and AIDS.  Since its first scintillating show in 2010 WEST END BARES has raised over £250,000. Building on the legacy of 25 years of fundraising by the Theatre industry, they continue to make the vision a reality having distributed over £1.6 million in grants to support individuals experiencing hardship across the UK as well as over £1million to support projects with their UK and international partners.  WEST END BARES is based on the original concept BROADWAY BARES by Tony Award winning Broadway and West End director and choreographer Jerry Mitchell. For further information about the Make A Difference Trust please visit

Tickets for WEST END BARES are now on sale and are priced at £25 – £80. They are available or the Shaftesbury Theatre booking line 020 7379 5399 or in person at The Shaftesbury Theatre Box Office. Booking fees apply plus your phone company’s access charge. There are limited Stalls tickets available for both shows, so book now to avoid disappointment!

VIP Tickets are available directly from MAD Trust by calling 020 7231 9719 and include access to the pre-show drinks reception, VIP entrance to the theatre with a drink on arrival, £10 of MAD money, the best seats in the house for the legendary Rotation and access to the exclusive after party. Booking fees apply.

WEST END BARES are proud to be partnering with 100 Wardour St for this year’s exclusive After Party where you can continue to celebrate with the cast of the show. Tickets cost £10 and are only available when you buy a ticket for the 7pm or 9.30pm show.  Once again, there is limited availability for the After Party and when the tickets are gone, they’re gone – so don’t miss out!


Please note: All artists appear subject to availability.

Cilla the Musical Review

Sheffield Lyceum – until 6 October 2018

Reviewed by Lottie Davis-Browne


Growing up as a child in the 1980’s I have fond memories of Saturday nights sat round the television as a family watching Cilla on “Surprise Surprise” and later in “Blind Date” blissfully unaware that long before asking our Graham for that quick recap, Cilla (born Priscilla White), had a successful career in music, working alongside icons such as The Beatles and The Mama’s and Papa’s.

The idea for musical itself came from the critically acclaimed ITV mini-series which was based on the early life of Cilla Black, by BAFTA award winner Jeff Pope.

The story starts in wanna-be singer Cilla’s bedroom where she gives a speech as she imagines herself accepting an award and then starts singing into her hairbrush – only to be interrupted by her dad’s bellows that he is on nights and that she is making too much noise!

It’s the swinging-Sixties Liverpool, where Priscilla White and her friends Pat and Paula love to hang out inside the famous “The Cavern Club” which features up and coming bands and singers. On a night out with her two friends, band “Big Three” perform “Some Other Guy”.

It isn’t long until Pat and Paula encourage Cilla to get up and sing with the band “Zip-a-Dee Doo Dah” and soon Cilla is a regular performer at the Cavern Club, capturing not only the eye of future husband Bobby Willis but her future Manager Brian Epstein.

At first Cilla’s parents are unsure if quitting her office job (after being deemed “suitable” for office work as a teen) to pursue a music career is the best choice for their daughter, especially when her first record “Love of The Loved” only reaches number 35 in the charts (October 1963), but her second single “Anyone Who Had a Heart” reached number 1 in February 1964, launching her successful music career.

Given that my only memories of Cilla Black are that of a 40+ year old television presenter, it was very easy to believe Kara Lily Hayworth as a young Cilla – the looks and the voice – both spoken and in song were utterly convincing – not just the Scouse accent but her mannerisms made Hayworth mesmerising to watch. If it wasn’t for the fact that Hayworth’s perfect portrayal of the iconic legend were only discovered through an open audition, I’d have thought she had been practising her impersonation of Cilla for years knowing that this stage role was destined to be hers. She is simply sensational! The chemistry between Cilla (Kara) and husband Bobby Willis or “Our Bobby” as Cilla often fondly referred to him as (Alexander Patmore) was believable and I particularly loved how the story highlighted how Bobby sacrificed a singing career to be devoted to Cilla’s success, later becoming her Manager following the sudden death of Brian Epstein.

Andrew Lancel’s portrayal as the camp, doting well suited and booted Manager Brian Epstein, was another highlight of tonight’s performance. Whilst launching the careers of the Beatles and Cilla, Epstein was battling his own demons, from his sexuality to loneliness and finding comfort in drink and drugs.

The musical is the most perfect tribute to such an iconic legend who left a great big hole in the world following her death in August 2015. I am sure if there is a heaven Cilla will be looking down with pride at such a fitting tribute. Kara Lily Hayworth was born to play the role of Cilla and whilst the world will mourn the death of the singer/TV presenter for years to come, we can at least celebrate her legacy through the voice of Hayworth in this fitting tribute. Cilla The Musical is simply sensational.


Calendar Girls the Musical Review

Edinburgh Festival Theatre – until 13 October 2018


I doubt the ladies of Rylstone and District WI had any idea just what a phenomenon they and their calendar would become.  But what started out as an idea to fund raise enough to buy a sofa, at the last count was a total of just under £5 million.

Tim Firth, author of the film and original play, as reworked Calendar Girls as a musical with helping hand from friend Gary Barlow.  And though this is billed as a musical it feels more like a play with strategically and cleverly placed songs. The lyrics are witty and poignant and carry the show along in a much more subtle way that a normal musical does.

Setting up all the characters in the first song, the glorious celebratory Yorkshire, the first act deals with John’s diagnosis and treatment for cancer, mixing wonderful comedy set pieces with Annie’s growing realisation that she will lose her husband, as he keeps joking and telling her that everything will be alright. Anna Jane Casey breaks your heart as she sings Scarborough and Kilimanjaro, both about the challenges of dealing with life alone.

The calendar is the brainchild of Annie’s best friend Chris (Rebecca Storm), who simply wants to provide a settee for the hospital.  But, while Chris is eager to strip for charity, her friends take a lot of persuading. The second act builds up to the big shoot becoming a means of overcoming issues such as grief, age or physical self-consciousness.  The shoot and the nudity are handled with warmth and charm, with a joy that brings huge cheers from the audience at every flash (from the camera!). The women bare their bodies in a hugely empowering way proving whatever size, shape or age – everyone is beautiful

Ruth Madoc as Jessie is hilarious, delivering her lines with a ferocious bluntness – when considering her decision to pose nude she says: “Ok… but no front bottoms!”  And there’s good work from Sara Crowe as the lonely Ruth who sings My Russian Friend and I; Karen Dunbar as a musical single mum and Vicar’s daughter Cora and Denise Welch as ex air-hostess and golf club misfit Celia who reveals I’ve Had a Bit of Work Done.  Fern Britton also shines as WI Chairwoman Marie who opposes the calendar idea.  

The males in the cast are important too Phil Corbitt plays John with dignity and his death is so simple it makes it all the more emotional.  With Derek Elroy as Lawrence, the hospital porter who ends up taking the photos and Ian Mercer as Chris’ husband Rod, who goes along with all her mad cap ideas.

Robert Jones set design manages to resemble a church hall complete with an old school piano and wooden chairs; a hospital waiting room with uncomfortable seating, and a village green all surrounded by the backdrop of Yorkshire’s rolling hills, its simplicity allows you to focus on the most important part of the play – the characters – and to concentrate on the relationships between the women. Barlow’s music is always catchy and the musical arrangements are a joy to listen to

The script and lyrics are unashamedly Northern in their humour, bringing all the high emotions and fears back to everyday things that real people would dwell on. This show is about celebrating the strength and beauty of women, especially in their last phase “their most glorious”.  One of the most beautiful musicals around, this is made especially poignant by being a true story. Make sure you have an endless supply of tissues because by the end there won’t be a dry eye in the house

On tour around the UK – find tour dates at and if you’d like to join the WI find details here

Pack of Lies Review

Menier Chocolate Factory – until 17 November 2018

Reviewed by Adam Craddock


As a young man I cannot speak from personal experience on what the Cold War was like, but from what the history books say and from family stories I hear that it was a time of prolonged suspense, constantly not knowing what tomorrow would bring in terms of world affairs and a time of curtain twitching, of not knowing who was listening in if you had something worth listening to. “Pack of Lies” perfectly embodies this era in a beautiful two act show, shedding light on the true story of a scarily normal family whose life was torn apart by this spy era. With a brilliant book and some fantastic direction, this show has all the tools it needs to succeed at The Menier Chocolate Factory. And by gosh it does!

Alasdair Harvey and Tracy-Ann Oberman play well as the real life super spy couple Helen and Peter Kroger, with a fantastic sense throughout of the dagger behind the smile and some brilliant interplay between the couple. Oberman in particular was extremely strong, with a fabulous sense of cockiness and power over the events of the play. Her character really got under my skin and made me squirm at times when she was questioning Barbara at the end. Macy Nyman was strong as Julie, with a beautiful fragility to her character and a brilliant sense of innocence being played throughout. Jasper Britton performed well as Stewart, the spy chief, with a great feeling of control to his character. Sia Dauda and Natalie Walter also performed well as Sally and Thelma respectively. However, the standout performances of the night have to go to Chris Larking and Finty Williams as Bob and Barbara Jackson. Larkin was fabulous as this shy and timid man, struggling to maintain his role as head of the family in this awful situation, with a beautiful physicality in this role and I have to say, the way he played his relationship with his on stage wife was truly touching. Finty Williams was equally as beautiful as her husband, with a brilliant homely motherly feel to her character and a great slow burn of a performance up to her climactic breakdown at the end. This was a truly beautiful performance and one of the best I’ve seen in a long time.

In terms of the more technical side of things, I think this show has one of the cleverest sets I have seen in a long time, working well with its limited space and cleverly building the entire house. The lighting was good and there was some excellent direction on display in this piece.

It’s not often I get to say this when I am writing a review so this is a big thing for me to say, but this was a truly faultless performance, one of the best dramas I have seen in many years and I expect I won’t see another as good for many more years to come. Well done to all, it was fantastic!

Rain Man Review

King’s Theatre Edinburgh – until 6th October

Reviewed by James Knight


There’s always a danger when adapting something from one medium to another – scenes that are possible in big-budget films cannot be reproduced on stage; an insightful inner monologue in a novel must be translated to a subtle glance onscreen; favourite moments may be dispensed with entirely. With remakes and adaptations all the rage in Hollywood, there should be a purpose to these, to find something new or different to say about the themes, otherwise, what’s the point?

I have not seen the original ‘Rain Man’, the film that won Dustin Hoffman an Oscar, so I was at least able to view the inaugural production of Bill Kenwright’s Classic Screen to Stage Theatre Company without having to compare the two. Despite this, however, I do feel that the production was trying to simply reproduce the 1988 film rather than expand or re-examine key points of it.

Ed Speleers (Downton Abbey, Outlander) plays the entitled Charlie Babbitt, who, while trying to make good on his expensive car imports to rich dealers, discovers that his estranged father has died and left him a classic Buick Roadmaster and some rose bushes, while the rest of his $3 million fortune goes to his savant brother, Raymond (Mathew Horne – Gavin & Stacey, The Pride), a brother that Charlie was unaware even existed. And so, Charlie comes up with a plan to retrieve his share – ‘liberate’ Raymond from the psychiatric institution where he has spent most of his life and force his trustee, Dr. Bruner (Neil Roberts – Emmerdale, Charmed), to hand over the cash.

The best moments in the play arrive when both brothers are allowed to connect with each other, overcoming their inherent difficulties. Charlie, bereft of a proper family for most of his life, does not fully understand Raymond’s various rituals or the reasons for them. Raymond is frightened of physical contact, recites entire TV schedules from memory and is confused why his new underwear (briefs, not boxer shorts) do not have his name in them (instead they ‘belong’ to some guy named Calvin Klein). In these moments of bonding, Speleers moves between frustration and bemusement as he gets to know his estranged brother, and he takes great care to bring the audience along on Charlie’s journey from self-absorbed yuppie to caring brother. My personal highlight was the dance lesson – Charlie teaching Raymond how to dance, a huge step forward in their relationship, followed by Raymond showing off his skills to Susan (Elizabeth Carter – Between Us, Dreamboats and Petticoats), Charlie’s long-suffering girlfriend.

The performances of the cast were, I feel, hampered by the unimaginativeness of the rest of the production. As with any play depicting a road-trip, it’s usually best to keep things sparse, but with scene changes denoted by dimming the lights and playing some 80s music, I felt more could have been done to show the brothers on their journey to LA. At other points, the stage felt too large for the intimacy of the scenes portrayed, and we arrived in Vegas with some flashing lights, music, and two casino waitresses swapping exits while the audience waited for a costume change to happen. Add to this the fact we never actually saw Raymond counting cards in the casino, simply the two brothers appeared with their chips mounted up on platters. Because of this, their triumph at the tables felt a bit underwhelming.

Overall, Rain Man has strong performances in a production that could afford to take more risks to match the emotional content.


Mother Courage and her Children Review

Albion Electric Warehouse –  until Saturday 20th October 2018

Reviewed By Dawn Smallwood


Red Ladder Theatre Company is celebrating fifty years of radical theatre and they are reputed for its qualitative work to address the issues that matter to the many including social and political injustices. Their production, Mother Courage and her Children is no exception and what Red Ladder Theatre does, and is good at doing, is provoking the audience to think about the story and its themes beyond the stage.

Set to Bertolt Brecht’s play and translated by Lee Hall, Mother Courage, which is considered the anti-war play of all time, challenges the horrors of war and that hard work doesn’t guarantee rewards during such corrupt times. It is set to a 30 year war in the 17th Century (1618-1648) which was happening across Europe. The main character is Mother Courage (known as Canteen Anna from numerous sources) (Pauline McLynn) and her aim is to earn a living despite experiencing horrors including loss of life.

The play is set in the most of unlikely of places, an industrial warehouse basement in an unfamiliar part of the city, however the space is used very well and Sara Perk’s staging of this production is done creatively and with innovation. Each scene and its plot are told intimately at close quarters from its enclosed space, and the audience moves to each space under the guidance of the cast members. It isn’t the most comfortable of theatre experiences as there is a lot of moving about and standing for prolonged periods – however this way the audience can relate to and appreciate the physical journey and struggles which Mother Courage and her family endured when they pulled their cart and belongings from place to place and the hardships they experienced.

McLynn is excellent as Mother Courage and she portrays the role so well with the hardness, irony and wit. Her inner deep strength to survive is projected perfectly in the face of adversary. She is supported by an excellent cast who play the key characters and members of the company’s community chorus. It was an excellent performance in all and well done to Red Ladder Theatre for another successful production.

Brecht writes in a way to discourage many to look at play in a traditional way and from a distance. Instead the audience is encouraged to immerse Mother Courage physically and to an extent uncomfortably in order to get the maximum theatrical experience. This is also what Red Ladder Theatre, under the direction of Rod Dixon, encourages from the very beginning. More so to feel the realities refugees and migrant experience when they are in a new country and the transient lives they involuntary have to live. Mother Courage offers this opportunity from a civilian and humanity perspective.

The play is long, under three hours, but it is packed with entertainment and reflective poignancy with singing and music, set to Boff Whaley’s music, and the sharing of summative text in between scenes. The spirit of Mother Courage is more about the utilisation of senses other than just seeing it.










Following the critically-acclaimed 50th anniversary production of Hair – The Musical at Hope Mill Theatre and sell-out transfer to The Vaults, London, the celebrated production will now embark on a nationwide tour.

This award-winning production (2018 WhatsOnStage Award – Best Off-West End Production) will open at the New Wimbledon Theatre on 22 March 2019, with national press night on 28 March, before visiting CheltenhamManchester, CardiffPlymouthBirmingham, Sunderland, Dartford, Liverpool, Portsmouth, Edinburgh, Oxford, SheffieldBrighton and Milton Keynes, with further dates to be announced in due course.

Welcome to the ‘Age of Aquarius’. It’s 1967 and HAIR’s hippie ‘tribe’ youngsters in the East Village of New York are yearning to change the world, questioning authority and the American flag. Wild, colourful, sexually liberated and free, they are united in protest and song, under the shadow of the Vietnam War.

Hair, which is adored for its Grammy award-winning score featuring iconic hits such as ‘Aquarius’‘Let the Sun Shine In’‘I Got Life’ and ‘Good Morning Starshine’ is written by Gerome Ragni (book and lyrics), James Rado (book and lyrics) and Galt MacDermot (music).

The 50th anniversary production is directed by Jonathan O’Boyle (Pippin, Rain Man, Aspects Of Love), who is reunited with the brilliant creative team from Hope Mill Theatre: Gareth Bretherton (Musical Director), William Whelton (Choreographer), Maeve Black (Designer), Ben M Rogers (Lighting Designer), Calum Robinson (Sound Designer) and producers Katy Lipson for Aria Entertainment, Joseph Houston & William Whelton for Hope Mill Theatre, Ollie Rosenblatt for Senbla, and associate producer Guy James. The production will be cast by the previous BBC Head of Casting Jane Deitch, and will be announced in due course.








Facebook/Twitter/Instagram: @Hair50UK

Suitable for ages 14+. Contains nudity.



Tickets are now on sale*

*Cardiff and Sheffield coming soon.

New Wimbledon Theatre                                                       

Fri 22 March – Sat 30 March                                                                                08448 717 646

Cheltenham Everyman Theatre                                      

Mon 1 April – Sat 6 April                                                                         01242 572 573

Manchester Palace Theatre                                       

Mon 8 April – Sat 13 April                                                                       08448 713 019

Cardiff New Theatre                                                       

Mon 15 April – Sat 21 April                                                                    02920 878 889

Plymouth Theatre Royal                                                          

Mon 22 April – Sat 27 April                                                                     01752 267 222

Birmingham New Alexandra                                   

Mon 29 April – Sat 4 May                                                                        08448 713 011

Sunderland Empire                                                    

Mon 6 May – Sat 11 May                                                                          08448 713 022

Dartford Orchard Theatre                                                   

Mon 13 May – Sat 18 May                                                                        01322 220 000

Liverpool Empire                                                           

Mon 20 May – Sat 25 May                                                                         08448 713 017

Portsmouth King’s Theatre                                               

Mon 10 June – Sat 15 June                                                                     02392 820 557

Edinburgh Playhouse                                                    

Mon 17 June – Sat 22 June                                                                      08448 713 014

Oxford New Theatre                                                        

Mon 24 June – Sat 29 June                                                                     08448 713 020

Sheffield Lyceum                                                                  

Mon 1 July – Sat 6 July                                                                             01142 495 999

Brighton Theatre Royal                                                   

Mon 8 July – Sat 13 July                                                                           08448 717 650

Milton Keynes Theatre                                          

Mon 15 July – Sat 20 July                                                                       08448 717 652