Like many, many people I loved Yes Minister and the follow up Yes Prime Minister. So I was understandably excited to see this new stage play based on those beloved characters; I’m Sorry Prime Minister.
The show is a compact one – a one room set with (at most) 4 characters on stage – most of the time just 3. There’s not much in the way of action (well, the characters are rather old by the time we get to this iteration) so that’s not surprising. Speaking of which…
The story follows ex-PM Jim Hacker’s attempts not to be evicted from his rather cushy position as fellow at a University, with all the perks that includes (like a free house). Trouble is, he’s been rather loose and free with his speech so the students are revolting (he’s sure of that much). After a rather tricky ultimatum he does the sensible thing for a change and calls in the cavalry – Sir Humphrey, his old sparring partner.
Robert Kitson gives us a very different feeling Hacker to the original. I suppose it’s some years down the line so it’s understandable. Even so, it was a rather different approach that was fun but didn’t seem 100% in keeping. I did thoroughly enjoy the depiction of the inevitable health problems that plague persons of a certain age. And Robert did imbue the titular character with much charm and warmth.
Clive Francis brought Sir Humphrey to life with a marvelously impish quality. More playful than I remember but there were enough of the mannerisms to spark that fuzzy place in the heart. Especially wonderful was Clive’s delivery of the trademark long, meandering sentences that only one who has swallowed a dictionary for breakfast can muster. And some glorious slapstick with some errant underpants.
Princess Donnough was in many ways the pivotal character of the whole affair – being the thoroughly modern young lady in Hacker’s life who begins to teach him some harsh but long overdue life lessons. Very nicely played with just the right amount of subtlety to glue events together. An enjoyable performance.
William Chubb was mistaken early on as the Grim Reaper and I’m not sure they were far wrong. As the baddie of the piece Sir David was a fine adversary played with aplomb in this tale of the generational clashes of culture…
…which is at the heart of this play – explorations of the near history of British politics (yes, Brexit looms large), freedom of speech, woke-ness and the difficulties the older generations have with the demands of the younger generation (nicely harking back to other such TV classics as Bless This House). If it sounds rather dry and dull then please be totally reassured – it’s anything but! It was riveting throughout and I was hanging on every word of a witty and thought provoking script from writer and Director Jonathan Lynn.
So, it wasn’t perfect – although with such an iconic original to live up to it was never likely to be – but it was thoroughly engaging and enjoyable. It also had an ending that provided the feel good factor that nostalgic revisiting of past classics does best. Frankly, it gets my vote – and there’s not many ex-PM’s that can say that.
Garrick Theatre, London – until 30th August 2026 (mornings and afternoons)
Reviewed by Phil Brown
3***
Brainiac Live is a hugely popular and literally explosive live family science show inspired by the cult classic British TV series Brainiac: Science Abuse (on Sky One from 2003 to 2008). It’s been entertaining and educating audiences worldwide since launching in London in 2008, and in 2025, won an Olivier Award for Best Family Show.
The emphasis is definitely on fun and family – you are very unlikely to see lone adults at this show unless, perhaps struggling teachers desperately looking for inspiration on how to jazz up their science classes. In fact, if your child is old enough to attend the show on their own, they are likely a bit too old for the content which involves a fair amount of flame, bangs and smoke (but no mirrors – yet). it has stood the test of time remarkably well, but then, like fart jokes, apparently sensible grown-ups flirting dangerously with scary activities never really goes out of fashion.
Originally the brainchild of Dan Colman (producer), this version of Brainiac Live has been co-written by lead Brainiac maniac Andy Joyce (aka Brainiac Ned). He is joined on stage by the excellent backroom boffin lookalike Rik Warren (aka Brainiac Ed) and Tracy Rahi (aka Brainiac Raz). A fourth member – Brainiac Dave (played by Holly Glenn) makes cameo, laboratory technician like, appearances from time to time. Together, they put on a brisk, well designed and rehearsed entertainment that packs in scientific content with considerable humour, and combines managed mayhem on stage, with continuous audience engagement. As the opening page of the excellent programme says – it’s the show that laughs in the face of science or more colloquially by Brainiac Ned – the show that farts in the sleeping bag of science.
It’s certainly a well judged fumes cabinet of fun especially for an audience largely composed of kids probably between 5 and 11 years of age. (It’s no coincidence that the best time to present a live family science show is during school holidays). There are hints of pantomime and slapstick to this one hour show which runs through 10 or 11 energetic “experiments” in that time, ranging from humans running through things like plasterboard (why should superheroes have all the fun), through blowing up a hot water bottle by overinflation, to the airzooka challenge involving firing massive smoke rings yards into the audience – a particular favourite and an effective climax with a lot of audience participation.
Other well received segments include liquid nitrogen (LN) producing cumulus clouds of gas on stage, and then turning Brainiac Ed’s breath in a balloon into a liquid, as well as the use of calcium carbide plus fire to launch Brainiac Ed’s old socks plus a Brainiac T-shirt from a phalanx of rocket tubes into the audience. Apparently 10 litres of LN are used every show.
I particularly enjoyed the absolutely hilarious Misheard Lyrics sketch and the Audience Hearing test where the sound started at a frequency of 8000Hz (I failed even that) and went up to 20000Hz. And I’m sure plenty of keyboard warriors in the room will get a kick out of how fast it’s possible to spin an office chair – 23 times in 15 seconds since you ask (using CO₂ and rockets for propulsion).
And the solution to any dead time during equipment take-down and set-up moments between sketches is neat and clever – screen based “brain burners” or what the rest of us call puzzles – so no loss of momentum. The programme contains a number of these as well as experiments to try at home and fun facts about the show.
On this evidence, the 2025 Olivier award looks well deserved.
Overall, Brainiac Live is a fun filled and stimulating event where the performers seem to be having as good a time as the audience – and why wouldn’t they – exploring “what if” and “what about” to the limit, whilst messing around with fire, smoke and explosions. The Brainiacs are particularly good at making everyday science seem much more playful than daunting and really just an extension of natural curiosity. Whilst relentlessly engaging the audience for a reaction, a common Brainiac exhortation is “come on, you can do better than that”. In a grander way that’s precisely what we need from future generations. I hope it’s a message that sticks in the mind of anyone who is inspired by the show to try and make sense of how the world works.
The Director Paul Jepson wants to remind us; it all started with a protest. Based on the original film, this production plays homage to 9to5, the organisation formed over 50 years ago in Boston. The members, mainly women clerical workers, formed the voice protesting against the inequalities and harassment in the workplace. Their aim was to improve the lot for working women.
The caustic humour drives home the reality for office based women of the era. The big characters of Violet, Doralee and Judy give you different perspectives and experiences of the misogynistic power play within every big company at that time. The passion comes through in her voice as Jade Marvin (Violet) delivers a strong performance, expressing the frustration of being overlooked for promotion through songs like Around Here. Kayla Carter (Judy) brilliantly transforms from a happy innocent to this independent woman who can see clearly now what is rightfully hers. Carter grows Judy’s character through the music coming into her own with Get Out Stay Out. The misunderstood Doralee (Karla Tracey), always smiling, explodes with anger when she discovers the truth about the office rumour mill. Backwoods Barbie is a perfect song for Tracey’s (Doralee) lyrical country music voice.
The humour running throughout the show is the perfect tool to convey the message. Mainly male characters are the stooge for punchlines, creating caricatures out of their exaggerated behaviour. Tim Rogers (Franklin Hart, Jr) is particularly good at this, spending quite a lot of time without any trousers on! The ensemble gives it weight with an outstanding performance from Jessica Martin (Roz), singing Heart to Hart, a woman besotted with her boss.
Much credit goes to musical director Andrew Hilton, who does Dolly Parton’s original score justice. You can feel Dolly’s presence running throughout. Add the brilliant choreography of Lisa Steven’s and you have a well put together production. The Creative Team have managed to fit a big production onto a local stage, which is no mean feat. In keeping with Landmark Theatre’s philosophy of bringing big theatre to small places, making it accessible for all.
Written in 1960 by Micheál Mac Liammóir, The Importance of Being Oscar is a thoughtful and affectionate tribute to Oscar Wilde and his work. Performed by Alastair Whatley, the one man play blends biography, performance, and works by Wilde, charting his rise to aesthete and playwright, his devastating fall and the enduring legacy that followed his tragic death. An extraordinary life told in an engaging way through extracts of his poetry and letters, and reflections from those close to him.
As Oscar Wilde and a colourful assortment of characters, Alastair Whatley delivers a compelling and accomplished performance. He sparkles with a lightfootedness as he performs scenes from The Importance of Being Earnest, The Picture of Dorian Gray and Wilde’s early poetry. The second half of the play is much darker as we relive his trial and imprisonment, and he heartbreak he suffered. Whatley’s reading of the poems De Profundis and The Ballad of Reading Gaol are heavy with emotion and his eyes glisten in the spotlight. Michael Fentiman’s direction keeps the production simple and uncluttered yet pacy, allowing Wilde’s words (and the words of his nearest and dearest) to take centre stage.
Madeleine Girling and Ben Jacob’s stage and LX design are simple and elegant, and work together to put the person Wilde in the spotlight rather than the dramatist, dandy, and wit that he was so often caricatured as.
At nearly 2 hours long with an interval, The Importance of Being Oscar never quite escapes the feeling of being an enjoyable illustrated lecture but maybe that is what Micheál Mac Liammóir intended when he wrote it – to engage an audience with the man rather than the myth. It is an intelligent and respectful celebration of Oscar Wilde and will surely delight everyone from Wilde enthusiasts to those who can just about reference “a handbaaaaaag”.
THE RETURN OF THE ORIGINAL KNEEHIGH / EMMA RICE PRODUCTION OF TRISTAN & YSEULT
With their production of Alfred Hitchcock’s North by Northwest currently on tour in the United States, the Emma Rice Company today announces full casting for Rice’s adaptation of Tristan & Yseult. The landmark production was originally produced in 2003 and last seen on stage in 2017.
John Leader and Nandi Bhebhe lead the cast as Tristan and Yseult. They are joined by Matthew Churcher (Frocin), Tom Fox (Morholt and Brangian), Jack Heydon (Love Spotter), Stephanie Hockley (Whitehands), Edward Rowe (King Mark) and Nigel Sudarkasa (Love Spotter). In the band are Pat Moran, Stu Barker, Harry Miller, Philippa Hogg and, as alternate for the New York run, Mary Johnson.
Co-produced with York Theatre Royal and Nottingham Playhouse, the show embarks on a UK tour, with previews at Theatre Royal Bath from 11 September 2026, as part of the company’s three-year partnership with the venue, entitled The Director’s Cut. The show will also run at St Ann’s Warehouse in New York from 1-22 November.
Originally produced by Kneehigh and Emma Rice, Tristan & Yseult opened in the open air at Restormel Castle in Cornwall and Rufford Abbey in Nottinghamshire. In 2004, it played the Minack Theatre, Porthcurno, before being reimagined as an indoor production for the Cottesloe at the National Theatre in 2005. This UK tour marks the first time Tristan & Yseult has been performed to audiences since 2017.
Written by Anna Maria Murphy and Carl Grose and adapted and directed by Rice, the creative team is completed by Stu Barker (Composer), Simon Baker (Sound Designer), Malcolm Rippeth (Lighting Designer), Etta Murfitt (Choreographer & Intimacy Coordinator), with the original set and costume design by Bill Mitchell, refreshed by Vicki Mortimer.
An Emma Rice Company, York Theatre Royal and Nottingham Playhouse co-production
TRISTAN & YSEULT
Written by Anna Maria Murphy and Carl Grose
Adapted and directed by Emma Rice
Cast: Nandi Bhebhe (Yseult), Matthew Churcher (Frocin), Tom Fox (Morholt and Brangian), Jack Heydon (Love Spotter), Stephanie Hockley (Whitehands), John Leader (Tristan), Edward Rowe (King Mark), Nigel Sudarkasa (Love Spotter)
The Band: Stu Barker, Philippa Hogg, Mary Johnson (alternate for New York City run), Harry Miller, Pat Moran
Composer: Stu Barker, Original Set and Costume Design: Bill Mitchell, refreshed by Vicki Mortimer, Sound Design: Simon Baker, Lighting Design: Malcolm Rippeth, Choreography & Intimacy Coordination: Etta Murfitt.
11 September 2026 – 17 April 2027
“A poem to love and its madness”
Experience the original, critically acclaimed production of Tristan & Yseult – one of the most influential theatre productions of the 21st century. Adapted and directed by Emma Rice, this iconic show returns to the UK for the first time in ten years, offering a rare chance to encounter a modern masterpiece fresh and live on stage.
First created in 2003, Tristan & Yseult took the theatrical world by storm. Visceral, playful, and heartbreakingly beautiful, this internationally celebrated production blends myth, music, movement, and storytelling into an unforgettable theatrical night out. This landmark show, that has inspired a global generation of artists and audiences, is now re made, re mastered – and truly unmissable.
Nandi Bhebhe plays Yseult. Her work for the company includes Wuthering Heights and Bagdad Café. Her other theatre credits include Les Liaisons Dangereuses (National Theatre), The Little Mermaid (Bristol Old Vic), Twine (Yard Theatre), Robin Hood: The Legend Re-Written (Regent’s Park Open Air Theatre), Europeana (Royal Shakespeare Company), Faultline (Gate Theatre), Ubu! A Singalong Satire (UK tour), A Monster Calls (The Old Vic), Twelfth Night, A Midsummer Night’s Dream (Shakespeare’s Globe) and 946 (UK tour). Her television credits include The Dream Lands, Emmerdale and The Jetty; and for film, Your Fault: London, The Thing with Feathers and Cyrano.
Matthew Churcher plays Frocin. His work for the company includes Wuthering Heights, Little Match Girl. His other theatre credits include Hamlet, The BFG, The Bear & The Piano (Royal Shakespeare Company), Gypsy, Brief Encounter,The Secret Garden, A Streetcar Named Desire (Pitlochry Festival Theatre), Animal Farm, All Or Nothing (UK tours), Wolves In The Walls (Little Angel Theatre), Pippi Longstocking (Royal and Derngate, Northampton), Peter Pan, Jane Eyre (National Theatre/Bristol Old Vic), War Horse (National Theatre), and White Teeth (Kiln Theatre).
Tom Fox plays Brangian. His work for the company includes A Child’s Christmas in Wales, Wuthering Heights, The Little Match Girl and Happier Tales.His other theatre credits include Pride and Prejudice…But Funny, Journey to the Centre of the Earth (UK tours), Aesop’s Fables (Theatre Royal Norwich), A Midsummer Night’s Dream (Westacre Theatre), Frankenstein (On a Budget), and Alice in Winterland, War of the Worlds (On a Budget), Suitcase Shakespeare: Macbeth, Suitcase Shakespeare: Romeo and Juliet and A Christmas Carol (Lamphouse Theatre).
Jack Heydon plays Love Spotter. His theatre credits include The Flying Bath, The Everywhere Bear (Little Angel Theatre), Treasure Island (Bristol Old Vic), Billy Budd (Wilton’s Music Hall), A Matter of Life and Death (New Vic Theatre), Pinocchio, A Midsummer Night’s Dream, The Tale of Mr Tod (Red Rose Chain Theatre), Waiting for Anya (The Barn Theatre), and A Christmas Carol (Middle Temple Hall, London).
Stephanie Hockley plays Whitehands. Her work for the company includes Wuthering Heights, Blue Beard, and Malory Towers. Her other theatre credits include Miracle on 34th Street (HOME Manchester), Vernon Girls (Liverpool Royal Court), A Christmas Carol, Julius Caesar, A Midsummer Night’s Dream (Storyhouse), Robin Hood (Watermill Theatre), Return to the Forbidden Planet (Upstairs at the Gatehouse), The Little Mermaid, Beauty and the Beast, Rapunzel (Liverpool Everyman) and The Witch of Edmonton (Sam Wanamaker Festival).
John Leader plays Tristan. His work for the company includes Wuthering Heights. His other theatre credits include The BFG (RSC), The Little Mermaid (Bristol Old Vic), A Monster Calls (The Old Vic), The Lion, the Witch and the Wardrobe (Bridge Theatre), Henry IV Parts 1 and 2, Henry V, Doctor Faustus, Vivaldi’s The FourSeasons: A Reimagining (Shakespeare’s Globe), Peter Pan, War Horse (National Theatre), Chigger Foot Boys (Tara Arts Theatre), Running Wild (Regent’s Park Open Air Theatre), Romeo and Juliet (Orange Tree Theatre), Beasty Baby (Theatre Rites/ Polka Theatre) and Alice’s Adventures Underground (Les Enfants Terribles). His television credits include The Sandman, Britannia and The GirlfriendExperience; and for film, Femme and The Runner.
Edward Rowe plays King Mark. His theatre credits include Aladdin, Jack and the Beanstalk, Peter Pan, Treasure Island, Sleeping Beauty, Dick Whittington (Hall for Cornwall), White Horse (Regal Theatre, Redruth) and Fisherman’s Friends the Musical (UK tour). His television credits include The Witcher, Shakespeare and Hathaway, Beyond Paradise, Strike, House of the Dragon, Alex Ryder and Delicious. His film credits include Rose of Nevada, Edge of Summer, Enys Men and Bait. Edward was born and raised in Cornwall, and he regularly performs standup comedy as his character Kernow King (The King of Cornwall).
Nigel Sudarkasa plays Love Spotter. A recent graduate of LAMDA, his theatre credits include A Midsummer Night’s Dream (Orange Tree Theatre).
Anna Maria Murphy is a writer and performer, former member of Kneehigh Theatre Company, and Artistic Director of the Story Republic. She has written for BBC Radio 4, Rogue Theatre, o-region, Cscape Dance and Bagas Degol. For Kneehigh she adapted Tristan & Yseult with Carl Grose, The Red Shoes and The Very Old Man with Enormous Wings. For Kneehigh she was lead artist on their Rambles programme and Coastal Communities project, Random Acts of Art.
Carl Grose’s plays include The Grinning Man (Bristol Old Vic), Grand Guignol, Superstition Mountain, Gargantua, Horse Piss For Blood, The Kneebone Cadillac and 49 Donkeys Hanged. He worked for over twenty years with Kneehigh Theatre as actor, writer, and co-artistic director. Writing for Kneehigh includes Tristan & Yseult, The Bacchae, Blast!,Cymbeline, Hansel & Gretel, The Wild Bride,Dead Dog In A Suitcase (and other love songs), The Tin Drum, based on the novel by Gunter Grass and Ubu! a singalong satire. Other writing includes The Dark Philosophers, Never Try This At Home (Told By An Idiot), Oedipussy (Spymonkey), Wormy Close (Soho Theatre), Faust (Vesturport/Young Vic), The 13 Midnight Challenges of Angelus Diablo (RSC at Latitude) and The Hartlepool Monkey (Gyre and Gimble).
Emma Rice is the Artistic Director of Emma Rice Company (previously Wise Children) and is an internationally respected theatre-maker and director. For Emma Rice Company she has adapted and directed A Child’s Christmas in Wales, The Buddha of Suburbia, Blue Beard, The Little Matchgirl and Happier Tales,Wuthering Heights, Bagdad Café, Angela Carter’s Wise Children, Enid Blyton’s Malory Towers and Romantics Anonymous. As Artistic Director of Shakespeare’s Globe: Twelfth Night, A Midsummer Night’s Dream and The Little Matchgirl (and Other Happier Tales). Rice worked for Kneehigh as an actor, director and Artistic Director, creating critically acclaimed productions including: The Flying Lovers of Vitebsk, 946: The Amazing Story of Adolphus Tips, The Wild Bride, The Red Shoes, Cymbeline (in association with RSC), A Matter of Life and Death (in association with National Theatre), Brief Encounter (in association with David Pugh and Dafydd Rogers Productions), Don John (in association with the RSC and Bristol Old Vic), Wah! Wah! Girls (in association with Sadler’s Wells and Theatre Royal Stratford East for World Stages), and Steptoe and Son. She received the Outstanding Contribution to British Theatre award at the 2019 UK Theatre Awards.
Theatrical charity Acting for Others today announces that over £134,000 has been raised at this year’s West End Flea Market held on Saturday 25th July at St Paul’s Church in Covent Garden. Now in its sixth year, this record-breaking amount marks the event’s most successful year to date.
Bonnie Britain
Billy Differ, Co-Chair and Trustee of Acting for Others, said: “We are so thrilled to have raised a record-breaking amount for Acting for Others, an exceptional charity supporting people across the industry, at this year’s West End Flea Market. It was a joyful event celebrating the very best West End shows, and we were pleased to welcome hundreds of theatre fans, as well as some of the biggest names in theatre.”
Bonnie Britain
Top West End shows set up uniquely designed stalls with show-themed merchandise, special limited-edition collectables, theatrical memorabilia, signed posters and special items for auction. Each stall was tailored by the company to celebrate their productions, including Avenue Q, Beetlejuice,
Dark of the Moon, Hadestown, Hamilton, Heathers, Hot Mess, Les Misérables, MAMMA MIA!,
Moulin Rouge!, Oliver!, Oh, Mary!, Paddington: The Musical, Phantom of the Opera, SIX, The Book of Mormon, The Devil Wears Prada, The Mousetrap, The Play That Goes Wrong, The Producers, and Wicked.
Bonnie Britain
In the annual tradition of Best Dressed Stall, Les Misérables was crowned the winner, with judging by Tom Read Wilson and Harriet Thorpe.
Bonnie Britain
Also on the day, there were famous stars signing autographs including Luke Bayer, Tracie Bennett, Charlie Burn, Georgina Castle, Janie Dee, Alice Fearn, Sarah Hadland, Cassidy Janson, Leslie Joseph, Debbie Kurup, Bonnie Langford, Simon Lipkin, Stephen Mangan, Jodie Steele, Harriet Thorpe, Indira Varma and Michael Xavier.
Bonnie Britain
Other highlights of the sixth annual market included the return of Su Pollard’s psychic stall, Peter Hannah Art selling handmade drawings of West End theatres, Jamie’s Bakery supplying themed baked goods for attendees, as well as surprise personalised cakes for Su Pollard and Harriet Thorpe presented by Keith Scovell of Kakes by Keith.
Bonnie Britain
There was also an online silent auction, featuring items including an Evita signed poster by Rachel Zegler and an Operation Mincemeat signed Monty Prop Briefcase that took place on the day to raise funds for Acting for Others.
With thanks to Shaftesbury Capital PLC.
West End Flea Market is organised in aid of Acting for Others, a fundraising organisation for a network of 14 UK theatrical and welfare charities supporting all theatre workers.
GROSVENOR PARK OPEN AIR THEATRE, CHESTER – UNTIL 23RD AUGUST 2026
REVIEWED BY MIA BOWEN
5*****
There is something truly special about the Grosvenor Park Open Air Theatre that keeps me coming back year after year. It’s not about elaborate sets or big theatrical spectacle—it’s about the atmosphere, the laughter drifting through the trees, the live music, and that unmistakable feeling of summer. Sitting under the open sky, surrounded by an audience ready to join in the fun, you feel part of something rather than just watching it. And Let the Sun Shine fits perfectly into that joyful, feel-good experience.
Set in the summer of 1969, the story follows Harry, a small-town dreamer caught between family expectations and the lure of freedom, love, and a music festival that quite literally turns his quiet village upside down. I went in knowing nothing about the show—and honestly, that made it even better. Written by Helen Redcliffe, this is easily one of my favourite productions so far this season. From the very first moment, the audience was hooked, and the laughter? Non-stop. Proper, belly-hurting, wipe-a-tear-from-your-eye laughter.
The entire cast was exceptional, and a special mention must go to Owen Ellis and Lauren Lees, who made their professional stage debut as part of Storyhouse Young Company (SYC)—what a moment, and what a brilliant start. Robert Wade as PC Hamer completely stole the show for me. Every time he appeared, desperately trying (and failing) to shut down the festival, the audience dissolved into chaos. One moment in particular—where he sat among the audience, completely zoned out, gently waving a celery stick in the air during a surprisingly serious scene—had me in absolute bits.
Kate Milner-Evans as Joan was brilliant, portraying a woman breaking free from expectations and finding herself (with just a little help from a suspiciously relaxing cup of “tea”). Abigail Middleton’s Puck was a delight—silent but mischievous, bringing a magical energy reminiscent of Shakespeare’s own trickster, and somehow getting the entire audience humming together. And Perry Moore’s Sonny? Pure hippie joy. You couldn’t help but smile every time he was on stage.
Lucas Button’s Harry, meanwhile, had me instantly thinking of Russell from Up—all wide-eyed optimism and slightly awkward charm—which made his journey even more endearing.
And then, of course, the audience participation. During the first half, some brave souls were invited on stage for a Maypole dance, attempting to weave coloured ribbons into a braid. It was gloriously chaotic and absolutely hilarious to watch.
With a soundtrack packed full of iconic 1960s hits—from Hendrix to Aretha—this show is a feel-good, laugh-out-loud celebration of music, freedom, and finding your place in the world. The second of four shows this summer, Let the Sun Shine is exactly what open-air theatre does best: pure, joyful escapism.
Queen Elizabeth Hall, Southbank Centre– until 25th July 2026
Reviewed by Phil Brown
3***
In The Brain is a remarkably uncompromising, full on work of dance music and dance by Hofesh Shechter, superlatively performed by his Shechter II company of 8 absolutely peerless dancers – four men and four women.
Rarely have I seen such high energy fluency, grace and harmony sustained so well in a continuously fluctuating ensemble routine, let alone one that continues non-stop for an hour. It feels as close to perfect execution as you can get. So hats off to a truly phenomenal group of dancers – Matilde Agostinone, Teige Bisnought, Nagga Baldina, Federica Fantuzi, Woojin Kwon, Armand Lassus, Skiye Nataliah, and Ella Roberts. Whilst there are occasional, brief moments of individual prominence allowing for some improvisation, plus an amount of repetition, the task of memorising such a long routine, and the hours of rehearsal required to perfect it, is hard to contemplate. Moreover, the strength, athleticism and endurance required to perform what appears to be the equivalent of a military grade work-out is staggering. These dancers show exactly why they are the 8 selected from over 1200 international auditionees aged between 18 and 25 for the award-winning Shechter II company, the only paid professional development programme of its kind for emerging contemporary dancers in the UK.
However, as dazzling and breathtaking as the content was, for me it was too relentless, frantic in places and unstructured, yet repetitive, to really enjoy. For me, its entertainment value is limited, and some way short of the virtuosic brilliance of the performance.
Anyway, first things first. I have to confess to not being familiar with Hofesh Shechter’s work. Born in Israel, but relocated to London in 2002, he is a globally acclaimed choreographer, dancer and composer, awarded an OBE for services to dance in 2018. He is known for visceral, rhythm-driven, and emotionally intense works, as well as for composing his own cinematic musical scores. His high energy productions are said to take contemporary dance into the realms of rock concert intensity.
In The Brain was developed from a shorter original work called Cave produced by the Martha Graham Company and Studio Simkin premiered at City Center Dance Festival, New York City in April 2022, and which explored nightlife and human gathering through dance and its transcendental quality. In The Brain aims to build from that, by transforming the theatre into an immersive, high-voltage celebration of movement, music, and pure, unfiltered energy.
The event blurb describes In The Brain as “Part rave. Part ritual. In The Brain is an invitation to let go – to move, to surrender to the music, and to be swept away in rhythm”. In a manner that reflects the repetitive elements of the choreography, it goes on to describe it as “a space to break free. To lose yourself. To surrender to the rush of movement, the weight of bass, and the euphoria of bodies locked in Shechter’s signature groove”.
The dancers certainly unleash. I don’t think they succeed in shattering the barrier between stage and audience, to pull the audience into a “fevered, all-consuming experience that leaves you craving more”, but that’s an issue with the overall concept, not the brilliant performance.
So, apart from the context for its conception, there is no narrative to In The Brain – just music, lighting and dance, and to someone not from the clubbing generation, it’s certainly a whole different experience.
The QEH auditorium is already heavily primed with smoke on entry creating a semi-permanent haze throughout the performance. Tom Visser (lighting) keeps the stage shrouded in a minimalist murky, amber-and-smoky glow with occasional black-outs creating an atmosphere of intimacy, and positively enhancing the mercurial qualities of the choreography. It can also obscure detail on occasion and make things seem slightly out of focus. The music, co-composed by Shechter himself alongside tracks from German techno duo Âme, is an unrelenting engine of bass-heavy pulses, industrial and percussive textures and hypnotic rhythms. I think this is essentially trance music in all its forms and the exceptional marriage of dance and beats renders the whole experience powerfully trancelike. In this respect we haven’t moved too far away from small scale pre-literate societies.
From the opening moments, eight figures emerge from the darkness rippling through space like a single organism. They fragment into individuals and merge back into the tribal organism repeatedly as the music ebbs and flows in intensity. The fluid and frequent rapid changes in movement are reminiscent of the trance inducing wonder of avian murmurations. Frenzied passages of ecstatic release are interrupted by moments of startling tenderness. The dancers combine technical precision with physical abandon in awe-inspiring fashion. There is an opening night hunger about this performance.
The show got a very enthusiastic audience reception and the dance company more than earned it. However, despite fabulous choreography and the bravura performance by the magnificent 8, this is a show to be admired for virtuoso performance rather than enjoyed as compelling entertainment. I thought the whole point about raves was joining in, not watching others do it from a theatre seat. The intended shattering of the barrier between stage and audience didn’t happen for me or my plus one. We were not left wanting more, but as previously mentioned, neither of us are members of the clubbing or rave generation. With a duration of 1 hour, there is inevitably a degree of monotony and I did sense some audience restlessness creeping in around me after 45 minutes suggesting a shorter piece might be preferred.
Overall, the show may be too uncompromising for universal acceptance outside of clubbing/rave aficionados, but it was a distinct pleasure to see the coming generation of world class dance talent showcase both their heart and their art with such flair.
Adapted from Mark Haddon’s multi-million-selling novel by
Playwright Simon Stephens
Directed by Ned Bennett
Melting Pot and Birmingham Rep today announce full casting for their new production of The Curious Incident of the Dog in the Night-Time, inspired by the multi-million-selling, internationally acclaimed novel. This century’s most popular murder, the company of The Curious Incident of the Dog in the Night-Time will be led by Alex Keenan as ‘Chris Boone’, a role alternated by Imi Price.
Keenan and Price become the first women to portray Chris Boone, bringing a fresh perspective to one of contemporary theatre’s most iconic characters. This new interpretation honours the heart of the original story, inviting audiences to experience it through a new lens.
They join EastEnders’ favourite Charlie Brooks (best known for her long-running role as Janine Butcher in the soap) and theatre credits including The Ocean at the End of the Lane (National Theatre,UK Tour) and Joe McFadden (BBC’s The Crow Road and Holby City, ITV’s Heartbeat and 2017 Strictly Come Dancing winner) who play Chris’ parents, ‘Ed’ and ‘Judy’.
Completing the cast are Bridgette Amofah as Siobhan;Alex Murdoch as Mrs Alexander / Posh Woman / Voice One; Matthew Bulgo as Roger (Mr Shears) / Duty Sergeant / Voice Two / Mr Wise / Man Behind Counter / Drunk One;Jerone Marsh Reid as Mr Thompson /Man with Socks / London Policeman / Voice Three;Carla Garratt as Punk Girl / No. 40 / Voice Five / Information; Tom Clegg asRev. Peters / Uncle Terry / Voice Four / Station Policeman / Station Guard and Robert Penny Voice Seven. Sera Mustafa Mrs Gascoyne / Woman on Train / Shopkeeper / Police Officer One / Voice 6 completes the company, who all perform as ‘Ensemble’.
Opening at Birmingham Rep on Saturday 5 September before embarking on a major UK tour, The Curious Incident of the Dog in the Night-Time is adapted from Mark Haddon’s multi-million-selling novel by acclaimed Playwright Simon Stephens and will be directed by Ned Bennett. The production’s Set & Costume Designer is Eleanor Bull; Lighting Designer, Laura Howard; Composer and Sound Designer, Giles Thomas; Video Designer, Hayley Egan; Movement Director, Jenni Jackson; Costume Supervisor, Izzy Pellow; Props Supervisor, Eve Hall; Casting Director, Abby Galvin, and the Associate Director is Anastasia Osei-Kuffour.
Chris Boone is gifted with a brilliant mind for numbers, but is unsettled by the unpredictability of people and everyday life. When a neighbour’s dog is discovered killed, Chris comes under suspicion. Determined to prove her innocence, Chris becomes both detective and suspect, drawn into a mystery that grows darker and more complex with every clue uncovered. What begins as the search for a culprit soon reveals secrets closer to home, forcing Chris to confront truths that will test her courage, family, and understanding of trust, independence, and the wider world.
After the Birmingham Rep’s engagement (Saturday 5 – Saturday 19 September), the tour then visits Woking, Theatre (Tuesday 22 – Saturday 26 September 2026); Brighton, Theatre Royal (Tuesday 29 September – Friday 3 October 2026); Milton Keynes, Milton Keynes Theatre (Tuesday 6 – Saturday 19 October 2026); Nottingham, Theatre Royal (Tuesday 13 – Saturday 17 October 2026); Leicester, Curve Theatre (Tuesday 20 – Saturday 24 October 2026); York, Grand Opera House (Tuesday 27 – Saturday 31 October 2026); Liverpool, Empire Theare (Tuesday 3 – Saturday 7 November 2026), New Wimbledon Theatre, (Tuesday 10 November – Saturday 14 November), Chichester Festival Theatre, (Tuesday 17 November – Saturday 21 November), Bath, Theatre Royal (Tuesday 24 – Saturday 28 November 2026);Edinburgh, Festival Theatre (Tuesday 12 – 16 Saturday January 2027); Cheltenham, Everyman Theatre (Tuesday 19 – Saturday 23 January), Leeds Playhouse, Tuesday 26 January – Saturday 30 January Sunderland, Empire Theatre (Tuesday 2 – Saturday 6 February), Cambridge, Arts Theatre (Tuesday 9 – Saturday 13 February), Richmond, Richmond Theatre (Tuesday 16 – Saturday 20 February); Northampton, Derngate Theatre (Tuesday 22 – Saturday 27 February); Manchester, Opera House (Tuesday 2 – Saturday 10 March); Glasgow, Theatre Royal (Tuesday 9 – Saturday 13 March); Chester, Storyhouse Theatre (Tuesday 16 – Saturday 20 March); Aberdeen, His Majesty’s Theatre (Tuesday 23 – Saturday 27 March); Shrewsbury, Theatre Severn (Tuesday 6 – Saturday 17 April); Sheffield Lyceum, Tuesday 13 April – Saturday 17 April Bradford, Alhambra Theatre (Tuesday 20 – Saturday 24 April); Cardiff, Wales Millennium Centre (Tuesday 27 April – Saturday 1 May); Aylesbury, Waterside Theatre (Tuesday 4 – Saturday 8 May); Southampton, Mayflower Theatre (Tuesday 11 – Saturday 15 May), Malvern, Malvern Theatre (Tuesday 18 – Saturday 22 May) and Darlington, Hippodrome Theatre, (Tuesday 25 – Saturday 28 May 2027).
Inventive, gripping, and moving, The Curious Incident of the Dog in the Night-Timecombines the intrigue of a whodunnit with a powerful coming-of-age story in an unforgettable theatrical event.
The Curious Incident of the Dog in the Night-Time premiered at the National Theatre in 2012 and immediately received widespread acclaim for its groundbreaking theatrical design and emotional storytelling. It remains one of the most successful and acclaimed British plays of the 21st century and has been seen globally by over 5 million people.
The Curious Incident of the Dog in the Night-Time is produced by Melting Pot and Birmingham Rep
– APART FROM THE SWEARING, AND THE NUDITY, AND THE VULGUAR JOKES AND THE VERBAL DIARRHEA –
NO, I LIKE YOU, THE OTHER PALACE CHRISTMAS PARODY VERY MUCH, JUST THE WAY YOU ARE
RUNNING AT THE OTHER PALACE STUDIO
FROM 13 NOVEMBER 2026 – 3 JANUARY 2027
Nothing can distract Jodie Prenger and Neil Hurst from their dedication to the pursuit of the best Christmas production in London. They won’t even pop to the shop quickly for some ciggies.
Following the successful parody Homo Alone in 2024 and last year’s Lovers Actually, which is The Other Palace Studio’s best-selling show in the venue’s history, Jodie Prenger (Coronation Street, I’d Do Anything) is back for a fourth time alongside Neil Hurst (Fat Friends The Musical, Casualty) with a new festive fan favourite, Frigid Jones’s Diary: The Unauthorised Comedy Parody.
One diary. One frigid thirty-something. One outrageously unforgiving large pair of spanks.
The world’s most famous British love triangle is coming to The Other Palace this festive season, so join Frigid Jones and a tremendously talented bunch of performers as she blunders her way through this hysterical musical parody.
Packed with larger-than-life characters and enough awkward social encounters to power Dolly Parton’s hair curlers, this gloriously British Christmas comedy proves that the writers are people who should never be left unsupervised at Christmas. Whether you’re Team Mark Darkly or Daniel Sleever, prepare for a night of belly laughs, questionable life choices, and the tightest spanks in the West End.
Featuring live music, powerhouse vocals and the occasional triangle solo (yes, they really are that talented), Frigid Jones’s Diary: The Unauthorised Comedy Parody is a gloriously silly musical parody packed with larger-than-life characters and the sort of humour you’re unlikely to repeat to Grandma over Christmas dinner.
And just to be clear, we are absolutely not encouraging anyone to turn up dressed as a Playboy Bunny. We’ve all seen how that turns out.
Prenger has said, “Let’s be honest, it was about time Bridget Jones got The Other Palace Christmas parody treatment! This is based on one of the most iconic rom coms of all time and is packed with all of the best bits – Love triangles, reindeer jumpers, blue soup and plenty of vodka. Whether you’re a tragic spinster or a smug married, you don’t want to miss Frigid Jones’s Diary: The Unauthorised Comedy Parody this Christmas.”
Frigid Jones’s Diary: The Unauthorised Comedy Parody is written by Jodie Prenger and Neil Hurst. Cast and creatives to be announced.
