Theatre Royal. Nottingham – until 19th September 2026

Reviewed by Lauren Fordham

4****

‘The Silence of the Lambs’ is a book written by Thomas Harris in 1988 but it imprinted itself permanently on the public consciousness in the multi-award-winning 1991 film. Directed by Jonathan Demme, it starred Anthony Hopkins, as imprisoned brilliant psychiatrist and also cannibalistic serial killer Dr Hannibal Lecter, and Jodie Foster as Clarice Starling, a trainee FBI agent who has been tasked with eliciting information from Lecter about a serial killer, ‘Buffalo Bill’ that the FBI are trying to catch. However, Lecter will only give information about ‘Buffalo Bill’ on a quid pro quo basis, the condition being that Starling first shares her childhood traumas with him.

 Now, for the first time, writer Gina Gionfriddo has adapted the story for the stage.

John Partridge plays Lecter, and he does so with a seductive suavity in both voice and manner that is evocative of an abusive husband, drawing Starling in with silky-voiced sophistry, until she angers him and he snaps, with the sudden violence of a camouflaged saltwater crocodile. This approach is a shrewd strategy since the distance of the audience means that he cannot rely, and sensibly does not seek to replicate, Hopkins’ captivating, clear-eyed close-ups.

Mollie Gallagher handles her professional theatre debut as deftly Starling does her weapon in the shooting range, neither missing a single mark throughout the show. Her Starling is sensitive and maternal as well as a shrewd sharpshooter, illustrated by the way she promises the man who finds Frederica Bimmel’s body that she will treat her with dignity.  Here I must pay tribute to Carolyn Downing’s sound design, because the muted wailing effects when Bimmel’s body is turned both evoke a bloodcurdling echo of the way she was killed and also imply a trapped spirit still suffering, an idea which is positively spine-chilling. 

Sam Jackson’s murderer Jame Gumb (nicknamed ‘Buffalo Bill’  by the press because he flays his victims, using their skin to make clothing intended for his dead mother) is almost pitiful as he watches his mother’s beauty pageant videos (projections powerfully designed by George Reeve). He also deliberately evokes pity outside the nightclub when he puts his arm in a sling and asks women to help him get home, a scarily successful deception in life as well as art by real serial killers like Ted Bundy.

I’m sure he would have been petrifying as he paced the floor above the pit where he incarcerated his victims, but unfortunately due to the overhang of the stage where I was seated, the upper level was impossible to see, and this greatly reduced the impact he had on me. Likewise, Jo Mousley’s attempt as Senator Ruth Martin to implore Gumb to release her daughter, the feisty Catherine (Lottie Amor) sounded statesmanlike but it was a shame that I couldn’t see her. 

This is an unfortunate, unavoidable clash of production design with accident – the lift providing access to the ideal seats for full-time wheelchair users is currently broken, so our view is currently restricted by the overhang. I don’t seek to attribute blame as these things often cannot be helped and I would not discourage full-time wheelchair users from seeing the show in any way, and thank staff for keeping me informed, but other venues might offer unrestricted views.

Michael Taylor’s set design is both naturalistic, effective and evocative – the prison catwalk and staircase does double duty representing both Starling’s path to interview Lecter and also Jame Gumb/Buffalo Bill’s house. Lecter’s cell is suitably claustrophobic and transparent, reflecting his total lack of privacy and the ability of prison staff to surveillance him 24/7, but also seemed over-cluttered, with paintings constructed with items like pens which he isn’t allowed to have. Taylor made an inspired decision to have Lecter’s cell rotate to reveal Jame Gumb/Buffalo Bill’s house, subtly reminding the audience that although Lecter is helping Clarice in Gumb’s case, neither she nor the audience should be lulled into a false sense of security, Lecter is still just as dangerous a killer as Gumb is, and that Lecter is always working on his own escape plan, even when he is not visible onstage. 

Howard Hudson’s lighting design is captivating and adds much to the drama of the piece, particularly during Lecter’s escape. I also appreciated the arresting sounds and lights of Starling’s photography during the autopsy scenes. I did think that the dialogue around the moth in the corpse’s throat could have been enhanced with a projection allowing the audience to see it, but I appreciate that this may have been a deliberate (and commendable) choice so as not to be seen to be copying the iconic imagery of the 1991 film.

This unique and trailblazing stage production is just as captivating and chilling as the iconic film, in different ways. Grab a glass of Chianti, and enjoy an interpretation that will stay with you long after the applause (and maybe the lambs, Clarice?) has gone silent.

Windsor Theatre Royal – until 19th September 2026

Reviewed by Andrew and Kate Lawrence

4****

We had arranged to go and see the performance of ‘Jane Eyre’ at the Windsor Royal Theatre last night, and since our son was heading back to Uni later this week, we decided to bring him along too. Early in the afternoon, though, I did wonder whether it would really be his kind of ‘thing’ — perhaps a little more cultured or literary than he might usually go for. I have to admit that since I hadn’t read the book either, I wasn’t entirely sure what to expect! Suffice to say, I needn’t have worried.

The play takes Charlotte Bronte’s book “Jane Eyre”, adapted for the stage by Nick Young and Ross Muir (the latter also appearing in the play), using just a simple stage set and the five remarkable actors, playing the parts of 14 characters from the book.

The book, as I understand from Wikipedia (other online encyclopaedias are available), tells the story of Jane Eyre, and her life experiences from an abused orphaned child up until her marriage to Mr Rochester. It’s quite a long book, but the play sufficiently summarises the story to remain meaningful whilst avoiding being laborious (I have seen some plays which I can only describe as an endurance rather than an enjoyment).

Whilst the scenery is rather simple, the costumes on the other hand are sublime. It did take me a few minutes to get accustomed to the use of 19th century language and prose, which the actors deliver so naturally, interspersed with an occasional musical interlude performed by the same actors equipped with guitar, cello and an accordion. These little dittys throughout the play only add to the 19th century feel of the performance making it so much more genuine. At least that’s what I assume a mid-19th century play was like?

Evie Depledge plays the part of Jane Eyre from start to finish, Ross Muir plays the part of Edward Rochester, but he also adapted the play (with Nick), produced it and wrote the music. And the remaining three, Janna Fox, Erin Maria Walther and Edward Smith perform the remaining 12 characters. They all sang beautifully and most of them played the instruments too.

I have no idea if the play respects the original story, I’m no scholar of that particular book, but if the book portrayed the story of an orphaned and abused young girl and her life experiences up to and including her marriage to the love of her life, flowered with the occasional laugh-out-loud joke and entertaining little musical interludes – then it does a great job of that. And if it doesn’t, well it’s still pretty good entertainment all the same.

My son enjoyed, we enjoyed it, and ultimately, that’s all that matters really.

The play finishes in Windsor on the 19th September so there’s still time to immerse yourself in this great classic.

Aylesbury Waterside Theatre – until Sunday 20th September 2026

Reviewed by Rachel Clark

5*****

The show starts, the introduction is very Las Vegas Vibe – Las Vegas has come to Aylesbury, but saying that Aylesbury Waterside has top shows, no need to go to London – or tonight Las Vegas.

The show has new choreography and costumes, but I am none the wiser as I have never seen it before.

I can see why the show has been running since 1996, it is mesmerising the foot work is unbelievable, but to me the men were totally outstanding, so in time and spellbinding. I did joke to my daughter who joined me, who needs Magic Mike and then they must have heard me as the shirts came off!

They say the show contained 150,000 taps; there was no way I was going to count but I can definitely confirm there were a lot. You also have a soloist – Cleo Griffin who had a wonderful voice and fiddle players – Iona Ritchie and Helena Gullan, both totally amazing.

Evis Hayter played the spirt, and Erin McPolin was Morrigan and Saoirse by Katie Coates.

The Dark Lord – Sean Scally was totally amazing his eyes and make-up I just loved and then his army of men in black and orange, to me they were my favourite bits I looked forward to them coming on stage, again the footwork was magical.

For me yes Lord of the Dance was very good I’m not disputing that, his part was played by Cathal Douglan – the footwork was incredible, but to me no better than all the others, but he did seem to gloat – and want the appreciate from the audience, but all were amazing and to me they all got the standing ovation and very well deserved, for me no dancer, singer, Fiddle player was better than any another they were all phenomenal, another must go and see show

Leeds Grand Theatre – until Saturday 19th September 2026

Reviewed by Adam Craddock 

4****

Last night I had the privilege of being invited down to the always wonderful Leeds Grand Theatre to review the latest leg of the UK & Ireland tour of “The Ballad of Johnny & June”, a new musical from the director of Jersey Boys.

The show follows the infamous “Man in Black” Mr Johnny Cash throughout his life from the loss of his brother as a young boy to his struggles with addictions as an international star. We also see the ways his life crosses over with his future wife June Carter from his earliest of musical experiences. The play is narrated by their son together John Carter Cash and he walks us through the story, with tales from both individuals involved and then also guiding us back to somewhere near the truth.    

Christopher Ryan Grant wows in the starring role as the legendary man in black. Grant has a sublime aura around his portrayal, he just oozes cool and charisma and by god does he sound just like the legend himself! His southern drawl is just perfect and if you closed your eyes I swear you could believe Johnny Cash was there himself! Christina Bianco co stars as June Carter Cash. Bianco plays a brilliantly bubbly June, with some great comedic moments but also really holding her own in some of the more serious scenes. Ryan O’Donnell finishes off the named roles as their son together, John Carter Cash. O’Donnell was great in this guiding role, allowing the action to pass him by whilst always being switched on and engaged whilst watching. The way he portrayed young John in particular I really enjoyed, especially with the use of the ghostly spotlight to physically portray the child. The wider cast were all absolutely fabulous as well, with a strong ensemble definitely being a major win for this production.    

In terms of productions aspects it was a mixed bag for me. I love the set, with a real industrial feel to it with its metallic and wooden lines and levels. The use of the chairs and benches throughout was also effective. The lighting and video effects were all strong and crisp, but most importantly appropriate to the show. The sound however was an issue for me. There were multiple times throughout this performance where mics would drop out mid line, not turn on until someone was half way through their first line or just completely miss instruments being played on stage, especially in the song “Jackson”. Whilst this didn’t ruin the show by any means it did keep dragging me away from the immersion in a disappointing manner.    

Overall I would highly recommend seeing The Ballad of Johnny and June. This show is a brilliant one to experience especially with someone you love, and I for one can’t wait to see it again! 

Yvonne Arnaud – until 19th September 2026

Reviewed by Heather Chalkley

5*****

The successful duo writer Torben Betts and director Philip Franks have done it again, creating the final part of an epic murder trilogy. Autonomous in their own right each play has a common thread of farcical, murderous tension. Full of belly laughs, gasps and seat jumpers The Other Side does not disappoint.

No spoilers here, I can tell you Rufus Hound (Peter) gives an awesome performance as the tormented soul of a totally deluded has been. It’s not just the audience that has the rug pulled from beneath them!

Carla Mendonca (Susannah), his wife, smoothly delivers lines creating twists and turns you will not expect!

Throw in the quirky mother-in-law, Miriam (Susie Blake) and the storyline really gets outlandish! Blake (Miriam) expertly casts a well placed glance whilst bursting into Gilbert & Sullivan songs from the operettas she so loves, twisting the knife a little harder into her son-in-laws tortured psyche.

Aisha Jawando (Laura) brings suppressed rage into every line, whether it’s playful banter, extortion or pure unadulterated anger – a performance not to be missed.

The creative team presents a versatile set, cleverly constructed to increase both the farcical and murderous tension. No mean feat!

If you love a murder mystery I highly recommend. This is a farce with a uniqueness you will be mad to miss! 

Alhambra Theatre Bradford – until 12th September 2026

Reviewed by Lauren Fordham

5*****

Diva Productions’ innovative interpretation of ‘Sunset Boulevard’ the musical by Andrew Lloyd Webber is inspired by Billy Wilder’s 1950 film of the same name. It chronicles screenwriter Joe Gillis’ (James Banks) unsuccessful attempt to get his script actioned by Paramount Studios and his car loan paid off – while evading repo men he ends up at the isolated mansion of old silent-movie star, Norma Desmond (Alison George.) 

Discovering that Gillis is a writer, she pays him to edit her substandard script based on ‘Salome’, which she insists Paramount Pictures are calling to make into a movie.  Gillis moves into Desmond’s mansion and becomes her kept man, with whom she quickly falls in love. When Gillis tries to extricate himself to liaise with people he met at Paramount, including his love interest, script reader Betty Schaefer (played by Meg Riley) he gets reports of Desmond’s suicide attempts. Although drawn back to her side several times, Gillis becomes increasingly frustrated with Desmond’s delusions and controlling behaviour, and prepares to leave her, once and for all. Learning of his relationship with Schaefer, in a jealous, possessive rage Norma shoots Gillis, and when the police arrive, she goes willingly, believing that they are representatives of Paramount who have finally come to make her movie.

Diva Productions’ founders Andrew Ashley and Andy Fretwell both have backgrounds in video design and always seek to produce innovative, original versions of popular musicals, so they chose to produce ‘Sunset Boulevard’ as if it were a movie musical, adopting film conventions on a screen in the background by crediting the stars by name and announcing location/scenes using stage directions to give a clear sense of place and time. Ashley and Fretwell have also made the unique, ambitious and inspired  decision to present Sunset Boulevard as a film-within-a-film, where a camera operator, Joanne Edwards, follows the cast around and their faces are shown on an enlarged black and white video screen in the background. The video screen was extremely effective in highlighting characters’ emotions and underscoring Don Black and Christopher Hampton’s lyrics like ‘no words can tell what my eyes can tell’ – credit here must also go to Iona Wilson for the dramatic, gothic style makeup she has George wear.  

Tribute must also be paid to Andy Fretwell’s costume design and the way in which that furthers the monochrome theme and dichotomy of light and innocence, exemplified by Meg Riley’s Schaefer wearing white, and darkness and stagnation, represented by the long, dark, Miss Havisham-esque gown that Desmond wears throughout. 

The video screens effectively evoke location, for example when Gillis and Schaefer are running through Paramount Studios, and this was more effective at sustaining drama than physical set pieces, which might have distracted the audience’s attention from the characters – and, as prior ‘Sunset Boulevard’ fans will know, Norma Desmond would certainly not have countenanced any distractions from her audience, so neither should ‘Diva.’

I last saw video screen projection and onstage cameras used (equally effectively) in Diva’s sister company, Powerhouse’s teen production of Les Miserables in 2025, but they were used more sparingly and I think ‘Sunset Boulevard’ could have benefited from a similar approach to make the intense moments where they were used, such as Joe Gillis capturing his own shooting, more impactful. At some points, the action on the video screens wasn’t quite in sync with the actors’ live singing and that took me out of the story somewhat. By contrast, I adored the scene where ensemble dancers Grace Wassell and Cayden Carter are visible on the screen silently mirroring Gillis and Desmond’s dance on stage. I feel that was truest to Desmond being a silent movie star, turning the focus to her face and having, as the lyrics go, literally ‘no words.’ 

Lighting was also effectively used in this scene to denote Desmond and Gillis’ footsteps in the dark ballroom, in a way that reminded me of Disney’s ‘Frozen’s’ Elsa shooting ice with her every footstep, it’s as though Gillis dancing romantically with Desmond is allowing light to break through her darkness.

Andrew Ashley and Nathan Purcell  have designed elaborate, movie-style lighting at Paramount Studios and frequently cast on Desmond. I particularly liked the lighting  on Desmond’s mansion gate because it resembled a star, as if Gillis had been led there by it like the wise men were led to Jesus. That’s definitely an interpretation Desmond would appreciate, anyway, such is her own impression of her self-importance, she does think she is messianic in the movie world, at least.

This lighting is dazzlingly effective at emphasising Desmond’s belief that she is still revered – the literal brightness of the light also functions figuratively  as a metaphor for Desmond’s failed relationships and perceived reasons for her abandonment  – you cannot look at such a light for long without harm.

Another innovation brought to Diva’s ‘Sunset Boulevard’, this time by choreographer Charlotte Wallis, is adding dancers to many scenes. In the early scenes at Paramount Studios, the black-clad ensemble’s choreography serves to crowd out the room and add tension because if you fall in show business, there are always any number of faceless strangers  waiting to pounce and take your place.

Choreography is used to evoke pace, such as the car chase by the repo men who are after Joe, and also place, such as the scenes in Desmond’s swimming pool where the ensemble duck and weave to evoke undulating water. In the number ‘Sunset Boulevard’, this choreography also synchronised in a synergistic way with Russ McArthur’s almost premonitory percussion, as if Gillis would drown beneath the crashing waves. 

Alison George, who plays Norma Desmond, is the brightest star in Diva’s dazzling firmament of a show, which is the perfect metaphor for the way Andrew Ashley physically lights up her show-stopping number, ‘As If We Never Said Goodbye.’ She is as captivating as Glenn Close, her vocals soar higher than Nicole Scherzinger’s, and she is destined for superstar success.

James Banks’ Gillis and Meg Riley’s Betty Schaefer have a sweet chemistry and Riley an innocent yet soaring vocal that would make her a great fit for ‘Phantom of the Opera’s Meg Giry.  Banks is also a great actor whose portrayal of Gillis’ shooting suggests he’d be quite at home in the horror sector.

The commitment to the show’s monochrome, literal and figurative light and darkness themes extend from every aspect of the show onstage even into Andrew Ashley’s programme design. Though I appreciated the extra-textual consistency, the small, pale white/grey font made much of the programme content difficult to read.

Although ‘Sunset Boulevard’ is a show dominated by powerful leads, Andrew Ashley and Andy Fretwell’s perfectly-cast production has once again illuminated a whole galaxy of talent. This is a company whose innovation lights the way for other groups, a metaphorical guiding star that shows a clear and well-worn path to theatrical triumph. 

The Mill at Sonning – until 31 October 2026

Reviewed by Marcia Spiers

3***

A clever script, effective humor and strong production values, though some performances may develop further during the run.

This well-known Miss Marple story by Agatha Christie has been adapted for the stage. Having seen another production a couple of years ago, I found comparisons inevitable. The action is set in a small English village, where Marina Gregg, a fading Hollywood star, lives with her younger and attentive husband, Jason Rudd. The mystery unfolds during a party at their new home, recently purchased from a local widow.

The set and lighting are cleverly designed to allow scenes to be replayed as the plot develops, revealing details the audience may not have noticed before. At times, however, the repeated action appeared to differ slightly from the original version; this may have been a deliberate way of reflecting changing perspectives. The scene transitions were flawless, with the movement of furniture, props and performers managed almost invisibly, allowing the audience to concentrate on Christie’s excellent story. The costumes evoked the period, although some were more convincing than others, and a couple of the wigs looked less natural.

The script makes effective use of humor despite the seriousness of the situation. Although the pace felt a little slow at first, it gathered momentum, and I found the second half more engaging.

Liza Goddard offers a more glamorous interpretation of Miss Marple than the television portrayals I remember, while retaining the character’s familiar watchfulness, particularly in her scenes with the recently widowed Dolly Bantry, played with warmth and assurance by Annie Wensak.

Other notable performances came from Jane Quinn as the starstruck and effusive Heather Leigh, James Mack as the slightly hapless Chief Inspector Dermot Craddock, Elysia Showan as the lively young Cherry Baker and Martin Razpopov as butler, Giuseppe Renzo. Lydia Kirton as Ella Zielinsky, Paul Kemble as Cyril Leigh, Saskia Strallen as Lola Brewster and Jason Taffe-Watson as Jason Rudd contributed effectively in supporting roles, with scope for the ensemble’s characterisations to deepen as the run continues.

As Marina Gregg, Sara Crowe presents a more restrained figure than the volatile Hollywood diva I had expected. The reactions of Marina’s husband and staff suggest that she can be difficult and unpredictable, but I did not always feel that volatility in the performance, even during her encounter with her two long-lost daughters, her shock on discovering what happened to her son or her emotional instability. A little more contrast between Marina’s public glamour and private emotional intensity might have made those moments more powerful; however, the restraint may also be an intentional interpretation of a woman whose composure conceals deeper turmoil.

Overall, this is an entertaining production, carried by a strong script, assured staging and a few engaging performances. The pace and characterisation were not always fully convincing on the night I attended, but these are elements that may strengthen as the run progresses. Agatha Christie enthusiasts should still find plenty to enjoy in this production.

York Theatre Royal – until 12th September 2026

Reviewed by Lauren Fordham

5*****

Wilko, Love and Death and Rock ‘n’ Roll is a biographical play about the life, career and death of 80s’ band Dr Feelgood guitarist, Wilko Johnson, written by Jonathan Maitland. 

Fortunately the songs featured in the show are covers, like Route 66, so pre-existing knowledge of the band or the era isn’t necessary to enjoy the play – for which I am grateful, being of the generation that thinks – when Wilko’s is mentioned – of the departed homeware, hardware and pick ‘n’ mix store, having never come across the singer before I was invited to review the show.

Played by Johnson Willis, Wilko himself was adamant the show not be seen as a ‘jukebox’ musical but rather a play with music. He would be disappointed in this reviewer, then, because the opening bars of Simon Slater’s powerful music, coupled with James Stokes’ lighting the auditorium like an ethereal Milky Way and Wilko musing on his love of astronomy, instantly recalled the opening of ‘We Will Rock You’, with the words, ‘is this the real life or is this just fantasy?’

As portrayed in this play, Wilko’s real life straddled both of those realms – he defied an abusive father (played by David John) and a snobbish school teacher belittling his enunciation of words (John House) – to gain an English Literature degree. This English graduate reviewer was as entranced as his girlfriend-turned wife  Irene (Lara Lemon) from the moment Wilko/Johnson quoted Wordsworth’s ‘Daffodils’ to his students lying in the grass, Dead Poet’s Society style. 

Wilko enjoyed fantasy-level fame and female attention with Doctor Feelgood, enjoying lots of sex and drugs with his rock ‘n’ roll. This is exemplified in a spliff-taking scene with Irene, who is both beloved and beleaguered by his extra-marital sex with fans), and also after his cancer diagnosis, when he asked his doctor to give him morphine at the end of his life but to ensure he could enjoy its effects. Willis’ and Lemon’s chemistry is as sweet as it is heartbreaking when Irene dies of cancer, particularly at her funeral when he repeats the lines he said when they met.  

James Stokes’ sound design gives a powerful sense of both space and place, whether through the waves and seagull calls surrounding Wilko’s beloved Canvey Island, or the meditative sounds of singing bowls during his visit to Japan. 

Nicolai Hart-Hansen’s costumes underscore Wilko’s underlying vulnerability when he himself gets (pancreatic) cancer, with him in a flimsy hospital gown and in the ensemble in gloves and masks. Wilko has lovely fantasy reconnections with Irene and bandmate Lee Brilleaux when the latter have also died, but both costumes are subtle and their interactions tender, so they don’t feel like tacky ‘ghosts’.

But just as Jon House’s Lee Brilleaux says when he kicks Johnson out of ‘Dr Feelgood’, this isn’t just the Wilko Johnson or the Johnson Willis show. This is truly an ensemble show, and every single member is multi-talented – Georgina Field who plays Sparko, strums bass guitar, David John rocks out on the drums and John House is handy with a harmonica as well as singing.

But one vital person in Wilko’s story plays a life-changing role, as himself, yet isn’t credited in the programme at all. Charlie Chan is a surgeon and a rock photographer, who took pictures of Wilko at what he thought was his farewell tour in Camden in 2013 and was puzzled by how well he looked, for a man with terminal cancer. Chan contacted Wilko’s manager, encouraging him to get a second opinion, resulting in major surgery that extended Wilko’s life by a further nine years! Not to mention, Chan disclosed that, after taking audience questions in the post-show discussion last night, he was driving to Cheltenham to perform surgery at 9am the next morning! That kind of intuition and skill deserves a standing ovation of his own.

This is a fantastic, funny, heartfelt show that will make you contemplate and appreciate health, life, the universe and those you love, and the unifying, poetic and eternal power of words and music.

Hull Truck Theatre – until 12th September 2026

Reviewed by Dawn Bennett

5*****

Hessle Theatre Company has a real knack for staging brilliant shows, and last night’s performance at Hull Truck Theatre was no exception. Although this was an amateur cast, the level of professionalism was outstanding.

Dear Evan Hansen is not always an easy watch. The production explores suicide early on and follows the consequences of a tragedy that allows one lie to spiral out of control. It also shows how social media can distort a story, amplify emotion and blur the line between truth and perception.

Liam Hatt gives a brilliant performance as Evan Hansen. He brings real presence to the stage and captures the complexity of the character with confidence and sensitivity. He is undoubtedly a talent to watch.

The supporting cast were outstanding throughout. Joseph Walker gave a compelling performance as Connor Murphy, capturing the character’s snarling indifference and aggression with just the right balance of intensity and restraint. Jamie Wilks and Sarah North brought real compassion to their roles as Connor’s parents, Larry and Cynthia. Their performances conveyed the pain, confusion, and heartbreak of trying to understand what had happened to their son. Hannah Bedworth was equally strong as Connor’s sister, Zoe, bringing skill, and sensitivity to the role. Emma Burgess gave a moving performance as Heidi Hansen, Evan’s mother. She captured the determination of a mother trying to do her best for her son, while her solos and duets with Liam were particularly emotional and heartfelt George Immanuel’s portrayal of Evan’s “family friend,” Jared Kleinman, brought welcome humour to the show. Alexia Ho, as Alana Beck, complemented this with excellent comic timing, adding energy and lightness to the production.

The ensemble also delivered an excellent performance. Sarah Brodie’s choreography was sharp and engaging, while the strong group vocals helped bring the production to life.

The staging was simple but highly effective. Social media comments rolled across the screens, while the sound of people’s voices grew louder and louder before cutting suddenly to silence.

The music in Dear Evan Hansen was performed by an excellent band under the musical direction of Rebecca Barques. The cast matched this with beautifully sung performances throughout.

I have been fortunate to see several Hessle Theatre Company productions over the years, and they consistently deliver excellent shows. If you have the chance to see Dear Evan Hansen, go. If not, look out for their forthcoming productions; you will not be disappointed.

Leeds Grand Theatre – until 12 September 2026

★★★★★

Regular readers of Fairypowered Productions may be aware that I have been quite unwell recently. As a result, I sadly missed several productions I had been eagerly anticipating. One of those was Operation Mincemeat, which I was due to see on the very day I was admitted to hospital. Needless to say, I was delighted to finally catch up with this award-winning musical during its stop at Leeds Grand Theatre this week.

Written by Spitlip (David Cumming, Felix Hagen, Natasha Hodgson and Zoe Roberts) – winners of the fairypowered Aurora Award in 2023, it is clear why Operation Mincemeat has become such a phenomenon. This is an extraordinarily clever musical, packed with razor-sharp wit, brilliantly crafted lyrics and an astonishing number of words. The sheer volume of lyrics is staggering, delivered at breakneck speed with precision and clarity by a cast who barely seem to stop moving for a second. It is a show that demands complete concentration from its audience because if you are still laughing at one joke, there are already three more racing towards you.

What makes Operation Mincemeat feel uniquely British is its comedic style. Rather than relying on traditional set-up and punchline structures, the humour comes thick and fast, infused with a wonderfully absurd, almost Monty Python-esque energy. The real-life historical figures are transformed into gloriously exaggerated caricatures, creating a style that is delightfully silly yet perfectly suited to the story being told.

The cast is nothing short of phenomenal. The demands placed upon them are extraordinary. Multiple roles, lightning-fast costume changes, intricate choreography, endless props and a script packed with tongue-twisting lyrics would be enough to challenge any company, yet this ensemble handles it all with apparent ease.

Jamie-Rose Monk is simply sensational, she commands the stage whenever she appears. Her performance is beautifully judged, balancing comedy and sincerity with remarkable skill. In a cast full of exceptional talent, Monk somehow manages to stand out, delivering a performance that is both hilarious and deeply affecting..

Alongside Monk, the entire company – Sean Carey, Charlotte Hanna-Williams and Holly Sumpter – deserves enormous praise. Each performer demonstrates incredible versatility, switching effortlessly between characters while maintaining impeccable comic timing. The chemistry between the cast is electric, and their collective energy drives the show forward at a relentless pace.

However special praise must go to Jordan Pearson, stepping for Christian Andrews, and his rendition of “Dear Bill” which was utterly spellbinding, silencing the audience before earning one of the loudest and most heartfelt rounds of applause of the evening. It is the kind of performance that lingers long after the curtain falls

The set design (Ben Stones) is another triumph. Initially appearing deceptively simple, it gradually reveals itself to be far more inventive than first impressions suggest. Just when you think you’ve seen every trick it has to offer, another ingenious surprise emerges.

Musically, the show is packed with memorable numbers. I left the theatre with several songs firmly lodged in my head and a strong desire to hear them all again. The score is clever, catchy and emotionally resonant, with “Dear Bill” standing out as a future classic that audiences will undoubtedly be singing, performing and auditioning with for years to come.

What makes Operation Mincemeat so special is its ability to balance outrageous comedy with genuine heart. Amid the laughter are moments of real emotion that remind us of the human stories behind the historical events. It is this balance that elevates the production from being merely funny to being truly exceptional.

This was a fabulous evening at the theatre shared with an audience who clearly adored every moment. Packed with laughs, filled with surprises and delivered with extraordinary skill, Operation Mincemeat is one of the most entertaining and inventive musicals currently touring the UK. An extra bonus at the performance we attended was to watch the show being signed. it was mesmorising and I’m sorry I didn’t get the signers name

History has never been this hilarious – Operation Mincemeat turns wartime deception into five-star musical theatre. Brava to the cast, crew, writers, composers and everyone involved. This is British musical theatre at its absolute best.