Global smash hit musical MAMMA MIA! will extend its booking period to Saturday 28 March 2026 at London’s Novello Theatre, a Delfont Mackintosh Theatre, with tickets on sale from Friday 4 April.
MAMMA MIA! celebrated its 25th birthday on 6 April 2024 and is now the third longest running West End musical of all time.
Since premiering in London’s West End in 1999, the exhilarating smash-hit has become a global phenomenon, with a staggering 70 million people having seen it worldwide.
The sunny, funny tale of a mother, a daughter and three possible dads on a Greek island idyll, all unfolding to the magic of ABBA’s timeless pop masterpieces, has been seen in over 50 productions in 16 different languages grossing more than £4.5 billion at the box office and turned into two record-breaking movies – MAMMA MIA! The Movie and MAMMA MIA! Here We Go Again.
The London cast stars Mazz Murray as Donna, Kate Graham as Tanya, Nicola-Dawn Brook as Rosie, Luke Jasztal as Sam, Christopher Dickins as Harry, Stephen Beckett as Bill, Izi Maxwell as Sophie, Ben Irish as Sky, Harriet Samuels as Ali, Zaynah Ahmed as Lisa, Jamie Landmann as Eddie and Thomas Walton as Pepper, with Natalie Langston playing Donna at certain performances. Also in the cast are Mia Anthony Coffield, Franky Attard, Matthew Barrow, Jack Bromage, Maddy Cameron, Dennis Cousins, Timmy Driscoll, Andrew Gallo, Lawrence Guntert, Lauren Hall, Samantha Ivey, Genevieve Jameson, Flyn Mullins, Hayley-Jo Murphy, Emma Odell, Tom Parsons, Adam Scotland, Jonah Sercombe, Ella Tweed and Maisie Waller.
MAMMA MIA! originally opened in London at the Prince Edward Theatre on 6 April 1999, before transferring to the Prince of Wales Theatre in 2004, and then to the Novello Theatre in 2012. The London production of MAMMA MIA! has been seen by over 10 million people, played over 9,500 performances and has broken box office records in all three of its London homes and in February 2024 set a new record for the highest ever weekly gross in the musical’s London history. As part of MAMMA MIA!’s 25th year celebrations, Judy Craymer was Executive Producer of ITV’s MAMMA MIA! I Have a Dream, which searched for new young talent to join the stage musical.
MAMMA MIA! continues to have great success around the world and recently announced its return to Broadway, with performances beginning at the Winter Garden Theatre on 2 August 2025 for a six-month limited engagement. A new UK Tour will begin on 24 October 2025 at Southampton’s Mayflower Theatre.
Produced by Judy Craymer, MAMMA MIA! The Movie became the highest grossing live action musical film of all time upon its release in 2008. A second film, MAMMA MIA! Here We Go Again, opened in July 2018 and is the most successful live musical movie sequel of all time. Both films starred Meryl Streep, Christine Baranski, Julie Walters, Pierce Brosnan, Colin Firth, Stellan Skarsgård, Amanda Seyfried and Dominic Cooper, with Lily James, Andy Garcia and Cher joining them in the second film.
MAMMA MIA !
London Cast 2024/2025
With music & lyrics by Benny Andersson & Björn Ulvaeus, MAMMA MIA! is written by Catherine Johnson, directed by Phyllida Lloyd and choreographed by Anthony Van Laast. The production is designed by Mark Thompson, with lighting design by Howard Harrison, sound design by Andrew Bruce & Bobby Aitken, and musical supervision, additional material & arrangements by Martin Koch.
MAMMA MIA! is produced by Judy Craymer, Richard East & Björn Ulvaeus for Littlestar in association with Universal Music Group.
LISTINGS INFORMATION
Novello Theatre
Aldwych
London WC2B 4LD
Ticket Prices: from £17.75*
*All prices include a £2.75 per ticket booking fee and £1.50 restoration levy
Early Bird Pricing – anyone booking 16 weeks or more in advance of the performance they are attending (Monday to Thursday performances only) will save £20 on Band B, Band A and Premium tickets, but only through Delfont Mackintosh Theatres, either online or by calling the Novello Theatre Box Office.
Family Ticket Rate – £199 for a group of four on Band B or Band A tickets (up to a saving of £151), OR £99 for a group of four on Band D and Band C tickets (up to a saving of £111), for Monday to Thursday performances, excluding peak performances, but only through Delfont Mackintosh Theatres, either online or by calling the Novello Theatre Box Office.
Performance Times:
Monday – Saturday 7.30pm
Matinees – Thursdays & Saturdays 3.00pm*
*Extra 3.00pm matinee on Tuesday 15 April, Tuesday 8 July, Tuesday 5 August, Tuesday 19 August and Tuesday 28 October 2025 and Tuesday 17 February 2026
Captioned performance: Saturday 17 January 2026 at 3.00pm
Audio described performance: Saturday 31 January 2026 at 3.00pm
Christmas 2025/26 Performance Schedule
Monday 22 December 3.00pm and 7.30pm
Tuesday 23 December 3.00pm and 7.30pm
Wednesday 24 December NO PERFORMANCE
Thursday 25 December NO PERFORMANCE
Friday 26 December 7.30pm
Saturday 27 December 3.00pm and 7.30pm
Sunday 28 December 2.30pm
Monday 29 December 3.00pm and 7.30pm
Tuesday 30 December 3.00pm and 7.30pm
Wednesday 31 December NO PERFORMANCE
Thursday 1 January 2026 7.30pm
Friday 2 January 3.00pm and 7.30pm
Saturday 3 January 3.00pm and 7.30pm
Sunday 4 January NO PERFORMANCE
Booking to 28 March 2026
The performance lasts 2 hours and 35 minutes (including a 15-minute interval)
Everyman Theatre, Cheltenham – until 5th April 2025
Reviewed by Jacqui Radford
4****
Inspired by the iconic album, Jim Steinman’s Bat Out of Hell the Musical is a perfect excuse for Meatloaf fans to rock and roll to their heart’s content. At Cheltenham this explosive production unapologetically fills the stage.
The production has a storyline, but it is secondary to the music and the vast majority of the audience are definitely there for the music. Central to the production are Strat, Raven, Falco and Sloane, all entwined by Strat’s fascination with Raven who is fiercely protected by her father (Falco). Strat is an eternally youthful member of an underground gang ‘The Lost’, smitten by the idea of rebellion, passion and power.
On this tour, Sharon Sexton and Rob Fowler return to the roles of Raven’s parents, Falco and Sloane that they brought to the stage in 2017. They each bring a mature depth to the storyline, add a nostalgic edge to the music and abounding energy to the choreography.
Strat and Raven, played by Glenn Adamson and Katie Tonkinson are almost a younger version of Falco and Sloane’s love story. Glenn certainly doesn’t hold back on the rock and roll vibes (think swinging microphone, huge leaps and adrenaline fuelled manoeuvres).
The stage production for this show adds an edge that elevates the importance of excellent camera work and lighting. The camerawork is projected on screens that add another dimension to your focus on the stage choreography. The lighting and confetti cannons add to the mood of each musical piece.
As you’d expect from anything linked with Meatloaf the band are centre stage at Cheltenham, resulting in a concert feel that nobody can complain about. At the end of the performance, the entire audience was on its feet. It is a fully immersive experience that anyone familiar with Meatloaf will appreciate and maybe even get the urge to pull the album out of their archive.
The producers of the award-winning global smash hit SIX are thrilled to announce the release of a brand-new track, My Girls, from writers Toby Marlow and Lucy Moss, and recorded by the by the original West End cast of SIX – Jarnéia Richard-Noel, Millie O’Connell, Natalie Paris, Alexia McIntosh, Aimie Atkinson and Maiya Quansah-Breed, alongside original Alternate Grace Mouat.
The track will be released on Thursday 3 April under the 6 Music label – the in-house imprint behind both of the show’s chart-topping albums – and will be available to stream and download across all major platforms.
A shimmering, empowering female friendship anthem, My Girls celebrates the bond forged between the Queens through their years of shared history – from rehearsal rooms and fringe stages to Olivier nominations, cast recordings, Broadway and beyond.
SIX the Musical Live!, filmed at the Vaudeville Theatre with the original cast reprising their roles, opens in cinemas nationwide on Sunday 6 April.
My Girls had its first public listen at the premiere of SIX the Musical Live! at London’s Ham Yard Hotel yesterday, ahead of the film’s release.
Creators Toby Marlow and Lucy Moss said: “When the seven queens asked us to write a song that celebrated their incredible bond, we had never been more excited about anything in our lives. We adore this group of performers so much and we have been on such an amazing journey with them, so the chance to write a song that celebrated their friendship was truly an honour. When we listen to ‘My Girls,’ we think you can hear how much we love and admire these seven brilliant artists. We just can’t wait for everyone to hear this song!”
Producer Andy Barnes said, “It’s always a joy to work with Toby and Lucy, and My Girls is a particularly special moment – a track that celebrates everything these seven extraordinary women have shared together on and off stage. The original cast have a unique chemistry that helped launch SIX into the world, and it’s wonderful to bring them back together for something new. We’re thrilled to be releasing it under our 6 Music label and can’t wait for fans to hear it.”
Think you know the six Wives of Henry VIII? Think again…
Prepare to lose your head and experience the Tudor Wives’ lives as they turn back the clock and take to the stage to reclaim their crowns and retell their stories of love, loss and the infamous ex they all have in common.
Join Aragon, Boleyn, Seymour, Cleves, Howard and Parr, backed by their fierce on-stage band, the Ladies in Waiting, and Get Down to a royal retelling of the sassiest story in British Her-story.
SIX is written by Toby Marlow and Lucy Moss, with direction by Lucy Moss and Jamie Armitage. Choreography is by Carrie-Anne Ingrouille, with set design by Emma Bailey, costume design by Gabriella Slade, lighting design by Tim Deiling, sound design by Paul Gatehouse, musical orchestration by Tom Curran, and musical supervision by Joe Beighton, and casting by Pearson Casting.
SIX is produced by Kenny Wax, Wendy & Andy Barnes and George Stiles.
Six the Musical Live! was directed for film by Liz Clare, and produced by Kenny Wax, Wendy & Andy Barnes, George Stiles. It was Executively Produced bv Kevin McCollum and Produced for film by Dione Orrom.
Winner of over 35 international awards, including two 2022 Tony Awards, four WhatsOnStage awards, and nominated for five Oliviers, SIX can also be seen live on stage worldwide: as well as London’s West End, SIX continues to tour the UK (with new 2025 dates just announced), and throughout Europe and internationally. An Australian tour launched in August 2024, whilst dates in Manila, Singapore, Japan and South Korea have recently been completed, with forthcoming dates in China.
SIX is currently playing at Broadway’s Lena Horne Theatre, the tour continues to play cities throughout the US. In 2024, the show both achieved 1.5million followers globally – across YouTube, Instagram, X, TikTok and Facebook in the UK, US, Australia, Korea and beyond – and hit another milestone achievement, with SIX the Musical (UK Studio Cast Recording) and the Grammy Award®-nominated SIX: LIVE ON OPENING NIGHT (the first Original Broadway Cast Recording ever recorded live on opening night) songs having been streamed in excess of one billion times.
Tickets to all international productions of SIX are available via sixthemusical.com
John Donnelly’s new play set in a contemporary London complete with all the anxieties of the day follows Mia (Sophie Melville) as she is at breaking point with a crying newborn, a tween son, and an absent husband who does a mysterious job for the police. Her noisy neighbours are driving her mad, she hasn’t slept in months, and her son Alfie (played by Callum Knowelden for this performance) is showing some troubling signs at school. Luckily, his lovely teacher Ana (Laura Whitmore) is here to help with some extra tutoring and a shoulder to cry on (amongst other things). However, it turns out that Ana has an ulterior, centuries old motive.
Mutilated bodies are washing up on the banks of the Thames and it soon becomes apparent that the murders are not dissimilar to that of vampire killings of old. The vampire forums on the dark web are abuzz with chatter of how to get a passport if you are hundreds of years old and speculation about who is committing the crimes. Mia’s husband Joe (Bryan Dick) works in surveillance and is part of the team trying to track down the killer which doesn’t help with Mia’s sleeplessness induced paranoia and fears.
Whilst out having a drink with a loud banker (one of many victims played hilariously by Leander Deeny), Ana reveals that she is in fact a vampire and that she can solve all of Mia’s problems, plus those of society. Blanche McIntyre’s production puts many of the anxieties that exist today front and centre with violence towards women and girls, climate change, and gender dynamics being brought to the fore.
The claustrophobic nature of Tom Piper’s clever ever changing set puts Mia’s postpartum depression into sharp focus, and the forboding scaffolding towering over the stage creates a sense of constant construction and change. Sound design by Christopher Shutt is jarring and loud, and the atmospheric lighting from Jack Knowles creates tension and some fun jump scares.
The plot is pacey and peppered with humour, and Sophie Melville is fantastic as Mia, all rage, fear, and love. Laura Whitmore is great as the smooth talking vampire, and really seemed to settle into the role in the second half.
Apex Predator is an enjoyable watch and it’s a clever way to explore postpartum depression and psychosis. The acting is superb and even though it did at times seem a bit rushed plot wise and the interval seemed a bit pointless, the commentary is current and the anxieties are real despite it being a story about vampires. But hey, I wouldn’t be surprised if they turned out to be real too.
This afternoon, I attended the ENCORE Festival at the beautiful Crewe Lyceum Theatre. The whole day was filled with captivating performances, puppet-making workshops, and storytelling, culminating in an outdoor screening of The BFG! A highlight of the afternoon was the performance of The Tale of Nobody Nose, presented by Goofus Theatre and produced by Jane Williams, with direction by Paul Barnhill. This enchanting tale follows three clowns: Boz, portrayed by Paul Barnhill, Yolo, played by Gemma Bond, and Flo, enacted by Katy-Anne Bellis. With the assistance of their magical map of dreams, they guide the audience through a series of enchanting landscapes across land, sea, and sky, all in an effort to help a lonely puppet discover his very own red nose.
This charming, non-verbal show was filled with moments that elicited laughter, such as when the puppet, with the assistance of the artists, ventured into the audience and performed a dance on the bald head of a gentleman in the front row. There were instances of pure delight, particularly when the puppet soared through the air with its umbrella, gliding over the audience’s heads. A moment of astonishment ensued when a puppet, twice the size of an adult, made her grand entrance onto the stage.
The show utilised a smoke machine and gently swirling lights to transform the stunning theatre space. Even before it began, the children in the audience could be heard expressing their amazement at the surroundings. The music played throughout not only complemented but also enhanced the storytelling. A white backdrop adorned with draped fabric and a tippee tent provided a creative set that effectively projected images and cast intriguing shadows.
Last year, and more recently, I had the wonderful opportunity to attend another performance by Goofus Theatre titled “Where Do the Noses Grow.” This enchanting non-verbal puppetry show is designed for young audiences and follows Lucy on a fantastical journey. With music woven throughout, the central theme revolves around the intriguing question of where noses actually grow. Julia Frost, the performer and puppeteer, delivers an extraordinary performance, complemented by the talented Rachel Priest. Both puppeteers demonstrate remarkable versatility as they adapt the same captivating story for different aged audiences they encounter. This production is part of Goofus Theatre’s ‘Reach Work’ initiative, which brings theatre to communities and audiences that might not typically have access to live performances. I also participated in a ‘Creative Learning’ session, where we crafted child-sized puppets using brown paper and tape.
I have witnessed firsthand the profound impact these talented artists have on audiences of all ages, from the very young to the elderly. Since most of their performances are non-verbal, the stories unfold through their exceptional skills, drawing from diverse backgrounds such as street theatre, circus arts, clowning, puppetry, and mask work.
BASED ON THE BOOK ‘RIGHT FROM WRONG’ BY JACOB DUNNE
WILL TRANSFER TO LONDON’S WEST END FOR A STRICTLY LIMITED 10-WEEK RUN
OPENING AT THE APOLLO THEATRE FROM 22 SEPTEMBER 2025
KPPL Productions, Mark Gordon Pictures and Eilene Davidson Productions in association with the Young Vic and Nica Burns today announce the West End transfer of the critically-acclaimed Nottingham Playhouse production of Punch by Olivier Award-winning playwright, James Graham, based on the book ‘Right From Wrong’ by Jacob Dunne, following sold-out runs at Nottingham Playhouse and the Young Vic.
The ‘powerful’ (Mail on Sunday) production, for which David Shields won the 2024 UK Theatre Award for Best Performance, brings Jacob Dunne’s real-life story to the stage, directed by Nottingham Playhouse Artistic Director, Adam Penford. It will open at the Apollo Theatre for a strictly limited 10-week run playing from Monday 22 September to Saturday 29 November 2025, with an Opening Night charity performance on Friday 26 September.
Jacob, a teenager from Nottingham, spends his Saturday nights seeking thrills with his friends. One fateful evening, an impulsive punch leads to fatal consequences. After serving prison time, Jacob finds himself lost and directionless. Searching for answers, Joan and David – the parents of his victim James – ask to meet, sparking a profound transformation in Jacob’s life. A powerful true story of hope, humanity, and the possibility of change.
The original cast comprising of Alec Boaden (Masters of the Air) as Raf/DS Villers/Sam, Julie Hesmondhalgh (Mr Bates vs the Post Office) as Joan/Nan, Tony Hirst (Boiling Point) as David/Derek/Tony/Raf’s Dad, Shalisha James-Davis (I May Destroy You) as Clare/Nicola, Emma Pallant (Queenie)as Wendy/Sandra/Jacob’s Mum, and David Shields (Black Mirror) as Jacob will reprise their roles in the West End.
James Graham, Playwright, said today, “The honour and responsibility of telling Jacob, Joan and David’s story, and witnessing the impact their real-life journey has on audiences night on night – in Nottingham, and at the Young Vic – I can honestly say it makes Punch one of the most moving and meaningful plays I’ve ever had the privilege to create. Having a further opportunity to see this Nottingham story on a national and now global stage is also, on a personal level, a deeply moving and surprising turn of events.
We want Punch to grab audiences and entertain them, but we’re also pleased to see it contributing to wider conversations about justice and masculinity. In the last week alone we visited Parliament to introduce the issues of Punch to lawmakers, and led a screening and Q&A at HMP YOI Isis as part of a Taking Part project from the Young Vic Theatre, KPPL Productions and Untold Creative Training. I’m grateful to our producers for their wider advocacy, to Adam Penford, and to our incredible cast.”
Adam Penford, Director and Artistic Director of Nottingham Playhouse, said “It’s been an honour developing this play over the last few years with the incredibly talented James Graham. We’re both proudly from Nottingham and it’s a credit to the team at Nottingham Playhouse that this homegrown production continues to gather pace. The story of redemption and hope moves audiences in a way that only theatre can. To witness an audience collectively holding their breath, laugh and cry together, is an unforgettable experience. I’m so pleased that more people will get the opportunity to see the outstanding original cast. I want to thank the West End producers for their support, particularly their dedication to ensuring the community and charitable work offstage remains just as important as the work onstage. I also wanted to acknowledge a debt of gratitude to Joan, David and Jacob, and all the real-life people who appear in the play, for their generosity and trust.”
Kate Pakenham, Producer,also commented, “Phyllida, Mark, Eilene and I feel hugely privileged to be bringing James Graham’s extraordinary play, Punch, to the Apollo Theatre this Autumn. Audiences have shown their need for this story being told in the theatre with standing ovations every performance in Nottingham and now at the Young Vic.
Great storytelling – Mr Bates vs The Post Office and Adolescenceas examples – can change the national, and even international, conversation around urgent issues of the moment. Punch does the same, asking profound questions about who we are to one another and offering a story of immense hope about our capacity for kindness. It is thrilling to be able to bring the production to the West End as it opens simultaneously on Broadway. This will be a trans-Atlantic theatre event of an important and hugely relevant play.
In recognition of the very special nature of this play and production, the West End producers have committed that any producer profit will be used to provide future access to Punch for young people.
We present the play in honour of the incredible people at the centre of the story, with our deepest respect for them all, and in memory of James Hodgkinson.”
Opening on Broadway simultaneously, Punch will also be playing at the Samuel J Friedman Theatre this autumn, produced by Manhattan Theatre Club. Performances at the Young Vic continue through until 26 April 2025.
The West End production will build on the significant education and partnership work around the production at Nottingham Playhouse and at the Young Vic.
This will include post-show conversations with special guests every Tuesday night of the run, performances for school and special interest groups curated by charity partner Go Live Theatre, and the creation of a free learning pack available to all offering insights into the themes of the play and the making of the production. Further detail around these and other initiatives will be announced in due course.
This production is dedicated to James Hodgkinson and all victims of one-punch.
Tickets are on sale now, with Group and Education rates available, via www.PunchThePlay.com.
To register interest for the special performances for school and special interest groups, please contact: [email protected].
KPPL Productions, Mark Gordon Pictures and Eilene Davidson Productions present
The Nottingham Playhouse production of
PUNCH
in association with the Young Vic and Nica Burns
Written by James Graham
Based on the book Right From Wrong by Jacob Dunne
Directed by Adam Penford
Production Design by Anna Fleischle
Lighting Design by Robbie Butler
Sound Design and Composition by Alexandra Faye Braithwaite
Television credits include:Masters of the Air (Apple TV), Random Acts (Channel 4) and Jamie Johnson (CBBC).
Alec attended The Television Workshop from 2008-2020 and was a part of Nottingham Playhouse’s Homegrown programme in 2019.
Julie Hesmondhalgh | Joan / Nan
Theatre credits include: An Oak Tree (Young Vic), Punch (Nottingham Playhouse and Young Vic), White Rabbit Red Rabbit (Soho Place),Blue Now (Factory International), The Jungle (St Ann’s Warehouse New York); The Greatest Play in the History of the World (Trafalgar Studios and National Tour); The Report with Lemn Sissay (Royal Court); Mother Courage and Her Children, The Almighty Sometimes, Black Roses: The Killing of Sophie Lancaster, Blindsided (Manchester Royal Exchange); Wit (Manchester Royal Exchange – winner of Best Female Performer 2017 MTAs); There Are No Beginnings (Leeds Playhouse); God Bless the Child (Royal Court).
Television credits include:Alma’s Not Normal; Mr Bates vs the Post Office; You & Me; The Pact; The A Word; The Trouble with Maggie Cole; Dr Who; Catastrophe; Broadchurch (BAFTA nomination for Best Supporting Actress); Happy Valley; Black Roses (BBC4 – Royal Television Society Best Actress 2014); Moving On; Inside No 9; Cucumber; Hayley Cropper in Coronation Street 1998-2014 (National TV Award 2014, Royal Television Society Award 2013).
Writing: An Actor’s Alphabet (NHB); A Working Diary (Methuen); These I Love, a one woman show.
Julie co-runs Take Back theatre company in Manchester and the fundraising group, 500 Acts of Kindness. She is a supporter of Arts Emergency.
Tony Hirst | David / Derek / Tony / Raf’s Dad
Theatre credits include: Maryland (Take Back Theatre); My White Best Friend North, Hobson’s Choice, Bruntwood Prize Ceremony (The Royal Exchange, Manchester); Hangmen (Wyndam’s Theatre, West End & The Royal Court); I Know Where The Dead Are Buried (Second City Productions) and Strangeways: The Inside Account (Contact Theatre, Manchester).
Television credits include: Riot Women, Boiling Point, Better, Everything I Know About Love, Red Rose, Broken (BBC); Brassic (SKY); Pistol (FX/Disney+); Stephen, Coronation Street, Law & Order: UK (ITV) and Glue, Shameless (Channel 4).
Film credits include:Old Guy (Paramount Movies)
Shalisha James-Davis | Clare / Nicola
Theatre credits include: Romeo and Juliet (Royal Exchange – Nominated, Ian Charleson Awards 2024); The Lion The Witch and The Wardrobe (London Theatre Company); Romeo and Juliet (Shakespeare’s Globe); Alfred Fagan Award (National Theatre Studio); If We Were Older (Royal National Theatre); The Wolves (Stratford East); Our Country’s Good, Notre Dame (National Theatre).
Television credits include: Casualty, Silent Witness (BBC); Crossfire, Vera (ITV); I May Destroy You (HBO); The Split 2 (Sister Pictures); Alex Rider (Eleventh Hour Films); Next of Kin (Mammoth/ITV) and Class (BBC America).
Film credits include: Mary Queen of Scots (Working Title); Bay of Silence (Silent Bay Films) and Night Out (Unit 9 Films).
Emma Pallant | Jacob’s Mum / Wendy / Sandra
Theatre credits include: Cowbois (RSC/Royal Court); Faustus: That Damned Woman (Storyhouse); A Christmas Carol, Tamar’s Revenge, As You Like It, Henry IV Parts 1 & 2, Laughter in the Dark (RSC); The Dog in the Manger, House of Desires, Pedro, the Great Pretender (RSC/West End); Celebrated Virgins (Theatr Clwyd); Ravens: Spassky Vs Fischer (Hampstead Theatre); An Enemy of the People, LAVA (Nottingham Playhouse); Intra Muros (Park Theatre); William Wordsworth (ETT); The Wind in the Willows (Rose Theatre); Much Ado About Nothing, Romeo and Juliet, As You Like It, A Midsummer Night’s Dream, The Comedy of Errors, Macbeth (Shakespeare’s Globe); It Just Stopped, Alison’s House (Orange Tree Theatre); Bell, Book and Candle, Bleak House, Great Expectations, Romeo and Juliet (New Vic Theatre); The Cherry Orchard, His Dark Materials, Katherine Desouza (Birmingham Rep); An Ideal Husband (Theatre of Frankfurt); The House of Bernada Alba (Belgrade Theatre); Top Girls (Watford Palace); Cymbeline (Regent’s Park) and Precious Bane (Pentabus).
Television credits include: Queenie; Responsible Child; Casualty; Holby City; Father Brown and Doctors.
Film credits include: All This Time; Heavenly Village Hall and Our Life Together.
David Shields | Jacob
Theatre credits include:Hush (The Gate Theatre); Monster Party (Arcola Theatre) and Arcadia (Oxford Playhouse).
Television credits include: Masters of the Air (Apple TV); Black Mirror (Netflix); Van Der Valk (ITV); The Liberator, Treadstone, The Crown (Netflix); and Doctor Who (BBC).
Film credits include: Freud’s Last Session, Judy and The Bad Education Movie.
CREATIVES
James Graham | Writer
James Graham is a playwright and screenwriter.
Theatre includes: Olivier award winning play Dear England (National Theatre 2023, West End and NT Live. An updated version is currently running at the National Theatre this year, before a national tour, and it is being adapted for TV with the BBC); Tammy Faye (Almeida Theatre 2022, Broadway 2024); Boys from the Blackstuff (adapted from Alan Bleasdale’s seminal TV drama, Liverpool Royal Court 2023, The National Theatre 2024); This House (National Theatre, West End 2017, Olivier-nominated and chosen by popular vote as the best play of the 2010’s for the major theatre publisher Methuen).
Television credits include: Sherwood (BBC, won the Royal Television Society Award for Best Drama and 2 BAFTAS); Quiz (ITV and AMC); Brexit: An Uncivil War (Channel 4 and HBO, nominated for an Emmy and a BAFTA).
Adam Penford | Director
Adam Penford is Artistic Director at Nottingham Playhouse. He trained at Liverpool Institute for Performing Arts (LIPA).
For Nottingham Playhouse credits include:Dear Evan Hansen (& UK Tour), The Clothes They Stood Up In, A Christmas Carol (& Alexandra Palace & Birmingham Rep & worldwide cinema release), Piaf, Bubble, Holes (& UK Tour), An Enemy of the People, Coram Boy, The Madness of George III (& NT Live), Dick Whittington, Jack and the Beanstalk, Cinderella, and Wonderland.
For the National Theatre credits include:A Small Family Business (Olivier); Dorfman Opening Gala (Dorfman); Island (Cottlesloe); One Man Two Guvnors, Revival Director (West End/Broadway/UK and International Tour); and NT 50 Years on Stage, Associate Director (Olivier and BBC2).
Other Directing credits include:The Sound of Music (Chichester Festival Theatre); Committee (Donmar Warehouse); The Boys in The Band (Vaudeville/Park Theatre); Platinum (Hampstead Theatre); Unfaithful (Found 111); Watership Down (The Watermill Theatre); Deathtrap (Salisbury Playhouse/UK Tour); Ghost the Musical (The English Theatre, Frankfurt); Stepping Out (Salisbury Playhouse); The Machine Gunners and Run! (Polka Theatre).
Assistant/Associate Director credits include:The Winter’s Tale (Propeller at The Watermill Theatre); The Vagina Monologues (National Tour); 50 Ways to Leave Your Lover (Bush Theatre); Imagine This (Theatre Royal, Plymouth); Dying For It (Almeida) and Charley’s Aunt (Oxford Playhouse).
Anna Fleischle | Production Designer
Anna Fleischle is an Olivier award–winning and Tony-nominated production set and costume designer.
Theatre includes: A Face In The Crowd, Nachtland (Young Vic), The Collaboration (Young/Vic/Broadway), Death Of A Salesman (Young Vic/Broadway/West End), What we talk about when we talk about Anne Frank (Marylebone Theatre); Red Speedo (Orange Tree Theatre); A Child Of Science (Bristol Old Vic); Punch (Nottingham Playhouse); The Pillowman (West End); Death Of A Salesman (Broadway/West End); 2:22 A Ghost Story (West End/LA/Tour/Melbourne); Hangmen (Broadway/West End/Royal Court), Tony Award Nominee 2022, Winner of Olivier Award For Best Set Design, Critic’s Circle Award ‘Best Designer’, Evening Standard Award ‘Best Design’); Everybody’s Talking About Jamie (West End/ UK tour/ LA); House of Shades, The Writer, Before the Party (Almeida); The Kid Stays In The Picture (Royal Court & Complicité); A German Life; A Very Very Very Dark Matter, John Gabriel Borkman, Two Ladies (Bridge Theatre); Much Ado About Nothing, Home I’m Darling (National Theatre/ West End/UK Tour – 2019 Olivier Award Nominee For Best Set Design And Best Costume Design); Rosencrantz & Guildenstern Are Dead (Old Vic); Beware Of Pity (Schaubühne, Berlin/Complicité).
Opera includes:L’Orfeo (Vienna Staatsoper); Weimar Nightfall (LA Philharmonic/Complicité).
Dance includes: A Christmas Carol (Finnish National Opera); Message In A Bottle (International Tour); John; Can We Talk About This? (DV8 Physical Theatre/ International tour).
Fellowships include: Trustee Regent’s Park Open Air Theatre, Founding Member of Scene/Change.
Robbie Butler | Lighting Designer
Originally from Ireland and based in the UK, Robbie is one of only a handful of Life Members of the Association for Lighting Production and Design. Having trained at the Royal Conservatoire of Scotland, he won the inaugural Profile Award for Outstanding Achievement in Opera, an Off West End award for Best Lighting Design, and was also the winner of the 2015 ETC Award. More info at www.robbiebutler.com Design credits include:Punch (Broadway, Young Vic, Nottingham Playhouse); Keli (National Theatre of Scotland); Reverberation, How to Win Against History (Bristol Old Vic); Death In Venice (Welsh National Opera); The Makropulos Affair (Scottish Opera). As well as work with The Lyceum Theatre, Edinburgh; The Tron Theatre, Glasgow; The Mercury Theatre, Colchester; Greek National Opera, Polish National Opera; Den Norske Opera and Ballet; Hofesh Schecter Company; and The English Theatre, Frankfurt. Upcoming work includes projects with Malmö Opera and Teatro Real, Madrid.
Alexandra Faye Braithwaite |Sound Designer and Composer
Recent credits include Giant, Sound of the Underground, Purple Snowflakes and Titty Wanks (Royal Court); Underdog: The Other Other Brontë (National Theatre); The Real Thing (Old Vic); A Streetcar Named Desire, Chariots of Fire, Anna Karenina, Operation Crucible, Chicken Soup (Sheffield Theatres); A Taste of Honey, Cat on a Hot Tin Roof, Wuthering Heights, Light Falls (Royal Exchange Theatre); Falkland Sound (Royal Shakespeare Company); The Good Person of Szechwan (Lyric Hammersmith/Sheffield Theatres); Bloody Elle (Lyric Theatre/Traverse Theatre/Royal Exchange); Never Have I Ever, The Narcissist (Chichester Festival Theatre); The Creakers (Southbank Centre/Theatre Royal Plymouth); Abigail’s Party, Shining City, How Not To Drown, The Wonderful World of Dissocia (Theatre Royal Stratford East); Things of Dry Hours (Young Vic); Lost and Found (Factory International); Groan Ups (Mischief Theatre/Vaudeville Theatre/UK Tour); The Cavalcaders (Druid); Good Luck, Studio (Mischief Theatre/Mercury Theatre); Kes (Bolton Octagon); The Climbers, Tom’s Midnight Garden (Theatre By The Lake); A Pretty Shitty Love, A Christmas Carol (Theatr Clwyd); My Name Is Rachel Corrie (Al Madina Theatre, Beirut); Cougar, The Rolling Stone, Dealing with Clair (Orange Tree Theatre); Dublin Carol (Sherman Theatre); Hamlet, Talking Heads, Rudolph (Leeds Playhouse); The Audience, Juicy and Delicious (Nuffield Theatre); The Remains of Maisie Duggan (Abbey Theatre); Toast, Enough (Traverse Theatre); When I Am Queen (Almeida).
Leanne Pinder |Movement Director
Movement Director and Choreographer credits include: Punch (Samuel J Friedman Theatre, NYC/ Young Vic/ Nottingham Playhouse); Charlie and the Chocolate Factory (Aberystwyth); Disruption (Park Theatre); Godspell (Wilkes Academy); Spring Awakening (ArtsEd); Pippin, Our House (Wilkes Academy); She Loves Me, The Wizard of Oz, Bare A Rock Opera (Mountview); Lasagna (Short film directed by Hannah Hill).
Associate Director credits include: CAGES (Riverside Studios).
Associate Choreographer credits include: Bugsy Malone (UK Tour); Waitress (UK Tour) and We Will Rock You (UK Tour).
Assistant Choreographer credits include: Groundhog Day (Broadway, NYC); Women on the Verge of a Nervous Breakdown (Playhouse); American Psycho (Almeida) and Matilda (Broadway, NYC).
Other credits include:Frau Blücher in Young Frankenstein (English Theatre Frankfurt); Mrs Teavee in Charlie and the Chocolate Factory (Aberystwyth); Matilda (Workshop/ Feature Film); Strictly Ballroom the Musical (Piccadilly); Snow White (Palladium); Groundhog Day (Old Vic); Bend it like Beckham (Phoenix); Performance Captain for the 2014 Commonwealth Games Closing Ceremony; Matilda (Cambridge); We Will Rock You (Dominion); Fame (UK Tour); Saturday Night Fever (UK Tour) and Grease (UK Tour).
TICKETS ON SALE AT 12 NOON ON WEDNESDAY 2 APRIL FROM INSIDENO9ONSTAGE.COM
Following a sold out West End season, Steve Pemberton and Reece Shearsmith are taking the critically acclaimed Inside No.9 Stage / Fright, to theatres around the UK this autumn. Tickets for the 12 week tour go on sale at 12 noon on Wednesday, 2 April.
Pemberton and Shearsmith will once again star in the “Dazzlingly Entertaining” (The Sunday Times) stage version of their award-winning television comedy Inside No.9. Receiving rave reviews across the board, with the Mail on Sunday’s five star review lauding the show as “absurdly entertaining. There’s simply nothing like it”, this is the chance for fans outside of London to witness the “wildly clever” (Financial Times) show. “A Bold West End debut… Bravo” (The Daily Telegraph).
Nominated for a prestigious Olivier Award this year in the Best New Entertainment or Comedy Play category, Stage / Fright features comedic, spooky and dramatic moments as fans of the TV show have come to expect, with some familiar characters and stories mixing with brand new material. Further casting will be announced soon.
Steve Pemberton and Reece Shearsmith said: “We have been bowled over by the success of Inside No 9 Stage / Fright at the Wyndham’s Theatre. Selling out every performance before the
run started and being nominated for an Olivier Award was fantastic enough, but the nightly reaction from fans and newcomers alike has been exhilarating and really quite moving.
So we are delighted to be able to bring the show to a wider audience around the country. The phrase ‘swan-song’ refers to a final performance, often associated with the ancient belief that swans sing beautifully just before their death. Which is a load of bollocks of course as all swans do is shit and honk. So come along to the swan-song tour of Inside No 9 and see for yourselves how we bow out. There won’t be a dry seat in the house.”
Each performance will see a different celebrity ‘hostage’ perform with Steve and Reece. The West End run included cameos from Stephen Fry, Lenny Henry, Mel Giedroyc, Matt Lucas, Michael Sheen, Tamsin Greig, Adrian Dunbar, Bob Mortimer, David Walliams, Micky Flanagan, Meera Syal, Mackenzie Crook, Emilia Fox and Rob Brydon, as well as many others. Which famous faces will join them on stage for the regional dates?
Kicking off in Milton Keynes on 9 September, Inside No. 9 Stage / Fright visits 11 theatres across the UK including Sunderland, Canterbury, Birmingham, Manchester, Woking, Hull, Oxford, Stoke and Liverpool, before culminating in Edinburgh on 29 November.
The ninth, and final, season of the critically acclaimed TV series – for which Steve and Reece have been nominated in the upcoming BAFTA Writer Award category – was screened last year and is now available on BBC iPlayer.
Inside No.9 Stage / Fright is presented by Phil McIntyre Live and IN9 Theatre Company.
★ ★ ★ ★ ★
“absurdly entertaining. There’s simply nothing like it”
Mail on Sunday
★ ★ ★ ★ ★
“a thrilling ride that shouldn’t be missed”
Radio Times
★ ★ ★ ★
“Bravo”
Daily Telegraph
★ ★ ★ ★
“madly innovative”
Financial Times
★ ★ ★ ★
“dazzlingly entertaining”
The Sunday Times
★ ★ ★ ★
“this is one play you won’t be checking your watch in”
The independent
Inside No.9 Stage / Fright UK Tour 2025
Tuesday 9 – Saturday 13 September Milton Keynes Theatre
Tuesday 16 – Saturday 20 September Sunderland, Empire Theatre
Tuesday 23 – 27 September Canterbury, Marlowe Theatre
Tuesday 7 – 11 October Birmingham, Alexandra Theatre
Tuesday 14 – 18 October Manchester, Opera House
Tuesday 21 – 25 October Woking, New Victoria Theatre
Tuesday 28 October – Saturday 1 November Hull, New Theatre
Tuesday 4 – Saturday 8 November Oxford, New Theatre
Tuesday 11 – Saturday 15 November Stoke-on-Trent, Regent Theatre
Tuesday 18 – Saturday 22 November Liverpool, Empire Theatre
Theatres Trust funds 10 Theatres at Risk on the road to reopening
Theatres Trust, the national advisory and advocacy body for theatres, has announced the third round of grants to be awarded through its Resilient Theatres: Resilient Communities programme.
The 10 theatres to receive a share of the £74,835 fund are Amulet Theatre in Shepton Mallet, Derby Hippodrome, Doncaster Grand, Margate Theatre Royal, Mechanic’s Institute in Swindon, Morecambe Winter Gardens, Oswaldtwistle Civic Centre and Theatre, Prince of Wales Theatre in Cannock, Salford Victoria and Theatr Ardudwy in Harlech. The theatres are all on the Theatres at Risk Register 2025, published by Theatres Trust in January, and are at various stages in their journey towards restoration and revitalisation.
The grant programme aims to help the restoration, reopening or revitalising process for Theatres at Risk through funding expert support with focuses on increasing organisational resilience, improving skills and engaging more people with community and heritage projects. Work funded in this round includes condition surveys, business planning, fundraising and audience development strategies, a viability study and a governance review
Joshua McTaggart, CEO of Theatres Trust says, All the theatres on our Theatres at Risk Register are special buildings that have real potential to bring joy and opportunities to their communities. We are thrilled to support 10 of these fantastic theatres with essential strategic projects that will lay the foundations for their revival. We look forward to supporting them through this journey and seeing the progress they make.
Funded thanks to a grant from The National Lottery Heritage Fund as well as funding from the Pilgrim Trust and Swire Charitable Trust, Resilient Theatres: Resilient Communities aims to reduce the threat to At Risk theatres and strengthen the theatre sector’s resilience as it deals with the challenges of the cost-of-living crisis and difficult funding landscape.
Stuart McLeod, Director England – London & South at The National Lottery Heritage Fund, says It’s fantastic that the next round of theatres that will benefit from this important project by the Theatres Trust have been announced. Theatres are integral to our communities but have faced unprecedented challenges in recent years, with many at risk.Thanks to money raised by National Lottery players, they will have a chance to adapt and change for a thriving future, with the legacy of this project felt for many years to come.
Sue Bowers, Director of Pilgrim Trust says, We are delighted that this funding partnership continues to provide encouragement and support for these important theatrical buildings at the heart of their communities, helping to chart their way forward to sustainable futures
Darlington Hippodrome – until Saturday 5 April 2025
Reviewed by Adam Craddock
4****
Tonight I took a jump to the left and a step to the Darlington Hippodrome to catch the latest leg of Richard O’Brien’s “The Rocky Horror Show”, starring Adam Strong as the legendary Dr Frank N Furter and Jackie Clune as The Narrator, the first time I have actually seen a woman in the part myself!
Strong was… well, strong as Frank N Furter, with a delicious vocal that blew other Franks I have seen out of the water on this front and a brilliant drag energy to the character, although sometimes slightly lacking some of that sexuality and perviness that we have come to expect from Frank over the years. This was particularly noticeable when Frank created Rocky, with there being no noticeable lust for his new creation. Clune was brilliant as The Narrator, with a dry wit and command of her audience second to none in a particularly rowdy Darlington crowd. Her quote of “Make America gay again… that’s what MAGA stand for right?” Particularly got me!
Lauren Chia was fabulous as Janet. Her non verbal storytelling in scenes like the “birth” of Rocky were brilliant, with this clearly being the start of her turn to the dark side (wink). It was also an absolute pleasure to catch understudy Alex Hetherington as Brad. Hetherington had a brilliant all American air about his Brad, with just the right balance of nerdiness and old fashioned machismo when needed.
Job Greuter was solid as Riff Raff, with a mighty impressive vocal and some brilliant physical comedy skills. Natasha Hoeberigs was strong as Usherette/Magenta, showcasing her range in abilities with two very different characters and a brilliant twangy vocal in the shows opener “Science Fiction Double Feature”. Edward Bullingham was good as Eddie/Dr Scott, as we’re Morgan Jackson and Jayme-Lee Zanoncelli as Rocky and Colombia respectively, with Zanoncelli really showing off her acting chops at the end when she gets gassed, this really got a giggle out of me! The ensemble too were very strong and consistent throughout.
The sound and lighting design for the theatre were both good, with a noticeable improvement in the sound quality from when I last saw The Rocky Horror Show in Sheffield, no longer was I struggling to hear the words to songs!
All in all, I had an absolutely fantastic evening and while there was things that were perhaps more of a personal preference to be done differently at times, I would 100% recommend catching The Rocky Horror Show while you can at Darlington Hippodrome. The Show is in town until Saturday 5th April and is not to be missed at all!
Stiletto is a story of castration, infidelity, racism, and bigotry—topics that might not immediately draw audiences in. Yet, it is also a tale of love, passion, devotion, and justice, making it a deeply compelling theatrical experience.
Set in 18th-century Venice, the musical explores a time when thousands of impoverished young boys were bought and sold to be castrated, preserving their pure, female-like voices for opera performances. Think of modern-day pop stars, but in a world plagued by emotional, physical, and sexual abuse. Stiletto takes this unsavory subject and transforms it into a breathtaking night of enchanting music, stunning costumes, imaginative staging, and outstanding performances.
The cast delivers powerful performances, capturing the story’s sadness, heartbreak, and humor. The opening number is an uplifting start to the show and lingers in the mind long after the final curtain falls.
The comic pairing of Azure (Kelly Hampson) and Pietro (Douglas Hanwell) provides an amusing insight into a loveless marriage, with their anthems “Without Me” and “Without You” humorously encapsulating their strained relationship.
At the heart of the production is Jack Chambers as Marco Borroni. His delivery of the complex score is both passionate and beautifully nuanced, making him the true jewel of this crown.
Greg Barnett, as Maestro Faustino Conti, gives a heartfelt performance, portraying his deep love and devotion for Marco. Jewelle Hutchinson shines as Gioia, a feisty young woman with an extraordinary talent that society refuses to acknowledge. Sam Barret’s Luigi (Lulu) undergoes a transformation from a submissive figure to a justice-seeking advocate. Meanwhile, Alex Anstey brings great humor to the role of Don Ricci.
A standout moment comes from mezzo-soprano Jennie Jacobs, whose powerful voice brings the house to its feet, even overcoming the challenge of the train station rumbling above.
With a strong ensemble, exquisite costumes, imaginative staging, and a wonderfully orchestrated score, a trip to Charing Cross Theatre to see Stiletto is a must. This small venue delivers a grand production, offering everything one seeks in musical theatre: outstanding acting, stellar singing, humour, and melodies that stay with you long after the show ends.
