FURTHER PERFORMANCES ANNOUNCED IN BIRMINGHAM, SALFORD AND PLYMOUTH

“It’s not just the best musical I’ve ever seen; it’s the most rewarding theatrical experience I’ve ever had”Taffy Brodesser-Akner, The New York Times

“A little show with a very big future”
David Benedict, Variety

“One of British theatre’s great success stories… both spiffingly funny, in a Monty Python-esque fashion, and really quite moving”
Hugh Montgomery, Metro

“the perfect mix of ingenious, silly and moving… the Olivier Award-winning musical about the wartime operation is as terrific as ever” ★★★★★
Marianka Swain, The Telegraph

“A miraculous musical that tells the entire story in a kind of accelerated farce that is part Mel Brooks, part SIX, part Hamilton with a side order of One Man, Two Guvnors” ★★★★★
Neil Norman, The Daily Mirror

“The Brits have made the year’s funniest musical…Against the odds, the “Operation Mincemeat” gang has found its way to the big time”
Peter Marks, The Washington Post

189 ★★★★★ reviews and counting

Following over 305,000 tickets sold and over 25 weeks of sold-out shows so far on the current UK leg, the Tony® and double Olivier Award®-winning hit musical Operation Mincemeat announces a further 34,000 tickets to the extension of its UK and Ireland leg of the landmark global tour. The tour began with two sold-out weeks at the 1700-seater Lowry in Salford, playing to its largest audiences yet at the theatre that first encouraged Tony and Olivier Award®-nominated writers SpitLip to create their extraordinary debut musical, and will culminate on the 28^th November after 304 performances across its first leg.

This announcement marks an additional week in Birmingham for what is now a two week run, an additional week in Salford, where the show will now play three weeks at Lowry, and a return to Plymouth. The second leg kicks off in Dartford on the 23^rd February 2027, then travels for 39-weeks including new destinations with Belfast, Dublin, Liverpool, Blackpool, Leicester and more.

Along the way, the tour has welcomed Joseph Kavanaugh, who has now seen the production over 100 times after winning one of five Golden Tickets issued to celebrate Operation Mincemeat selling its one millionth ticket earlier this year, giving him free, unlimited access to the musical anytime, anywhere in the world, for life.

The news comes as the world tour continues its global journey. On 20^th September, the production launched the North American leg of the tour launched with two performances at the Providence Performing Arts Center, Rhode Island, welcoming a combined audience of 5,200 – the production’s biggest audience to date. On 26^th September, across the North American leg, UK leg, Broadway and the West End productions, 9,734 agents watched the production in one day. The show’s international journey will continue with an Australian leg as its fifth production, premiering at Comedy Theatre in Melbourne with further cities to be announced, before travelling on to New Zealand, China and Mexico, taking Operation Mincemeat across four continents. Alongside the world tour, Operation Mincemeat continues its West End run at the Fortune Theatre, with its recently announced 19^th extension taking the production through to 29^th May 2027 and into its fifth year, while the Broadway production at the Golden Theatre, following its 12^th extension announced through to 4^th July 2027, enters its third year.

Tickets for the additional UK leg extension dates go on pre-sale at 10am on Wednesday 18^th November with general sale starting at 10am on Thursday 19^th November. For full details and tickets, visit operationmincemeat.com/tour
Sign up to the mailing list for pre-sale access at www.operationmincemeat.com

The year is 1943 and we’re losing the war. Luckily, we’re about to gamble all our futures on a stolen corpse. Operation Mincemeat is the fast-paced, hilarious and unbelievable true story of the twisted secret mission that won the Allies World War II. The question is, how did a well dressed corpse wrong-foot Hitler?

Operation Mincemeat began as a tiny (and tiny-budgeted) production at the London Fringe New Diorama Theatre in 2019. The show quickly gained a devoted following, spurring sold-out runs at venues including Southwark Playhouse and Riverside Studios. It finally premiered in the West End on 9^th May 2023 at the Fortune Theatre, where it won the Olivier and WhatsOnstage Awards® for ‘Best New Musical’, alongside garnering 181 five-star reviews and counting, and has become the ‘Best reviewed show in West End history’. Operation Mincemeat is written by Triple Tony Award® nominees SpitLip (David Cumming, Felix Hagan, Natasha Hodgson and Zoë Roberts) and directed by Deputy Artistic Director at the National Theatre Olivier Award nominated Robert Hastie (Standing at the Sky’s Edge, National Theatre – 2023 Best New Musical Olivier Award winner).

Since premiering at the 77-seater New Diorama Theatre in London in 2019, Operation Mincemeat has been nominated for 68 awards and won 24, including four for Best Musical from the Olivier Awards®, WhatsOnStage Awards, BroadwayWorld Theater Fans’ Choice Awards, and off-West End Awards. The Broadway production was nominated for four Tony Awards®, including Best Musical, and won Best Featured Actor in a Musical.

Operation Mincemeat is produced in the West End, on tour, and on Broadway by Avalon (in association with SpitLip). The show was commissioned by New Diorama Theatre, co-commissioned by The Lowry, and also supported by the Rhinebeck Writers Retreat.

OPERATION MINCEMEAT WORLD TOUR – UK LEG EXTENSION, TOUR DATES

Dartford, The Orchard Theatre: 23rd – 27^th February

Milton Keynes, Milton Keynes Theatre: 2^nd – 6^th March

Bath, Theatre Royal: 9^th – 20^th March

Cheltenham, Everyman Theatre: 23^rd March – 27^th March

Sunderland, Sunderland Empire Theatre: 6^th – 10^th April

Darlington, Darlington Hippodrome: 20^th – 24^th April

Brighton, Theatre Royal: 27^th April – 1^st May

Plymouth, Theatre Royal: 4^th – 8^th May

Salford, Lowry: 11^th – 29^th May

Truro, Hall for Cornwall: 1^st – 5^th June

Portsmouth, Kings Theatre: 8^th – 12^th June

Blackpool, The Grand Theatre: 15^th – 19^th June

Inverness, Eden Court: 22^nd – 26^th June

Edinburgh, King’s Theatre: 29^th June – 3^rd July

Glasgow, Theatre Royal: 6^th – 10^th July

Oxford, New Theatre: 13^th – 17^th July

Aylesbury, Waterside Theatre: 20^th – 24^th July

Nottingham, Theatre Royal: 27^th – 31^st July

Leeds, Grand Theatre: 3^rd – 7^th August

Belfast, Grand Opera House: 10^th – 14^th August

Dublin, Bord Gáis Energy Theatre: 17^th – 21^st August

Birmingham, The Alexandra: 24^th – 4^th September

Cardiff, New Theatre Cardiff: 14^th – 18^th September

Woking, Woking Theatre: 21^st – 25^th September

York, Grand Opera House: 28^th September – 2^nd October

Liverpool, Liverpool Empire: 5^th – 9^th October

Coventry, Belgrade Theatre: 12^th – 16^th October

Leicester, Curve Theatre: 19^th – 23^rd October

Sheffield, Lyceum Theatre: 26^th – 30^th October

Cambridge, The Arts Theatre Cambridge: 2^nd – 6^th November

Bradford, Alhambra Theatre: 9^th – 13^th November

Southampton, Mayflower Theatre: 16^th – 20^th November

The Old Joint Stock Theatre, Birmingham –  6th November 2026

Reviewed by Emma Millward

5*****

The Allure Games brought an evening of outrageous entertainment to The Old Joint Stock Theatre as part of the inaugural Birmingham Drag and Burlesque Festival. Bringing together performers from across the globe, this competition celebrated the wonderfully diverse worlds of drag and burlesque, with a crown up for grabs. Featuring a varied mix of vintage striptease, comedy burlesque, drag kings and queens, there was something for everyone, with plenty of laughs, larger-than-life characters and wonderfully entertaining performances.

The first act got things underway with Solana Beach bringing a lip-sync West Side Story drag performance, followed by Honey Schwarz delivering a vintage burlesque routine, complete with feathers and classic boa work. Velma Vogue certainly made an impression with her bold Boss Bitch persona and energy. Randy Karma brought a humorous drag king interpretation of a Public Service Announcement, embracing an exaggerated, small-town American character. Tara Luv injected comedy into Beauty and the Beast, incorporating some amusing books as props. Strawberry Duvall rounded off the first act with a cheeky Ratatouille-themed routine.

The second act continued the variety of styles. Sweets had the audience laughing with hilarious 1960s Spy-themed burlesque, her facial expressions adding just as much to the performance as the routine itself. Cairo Leon brought a Magic Mike-style performance that the hen party in the corner were very grateful for, while Elle Ess Dee delivered a sensual interpretation of Phantom of the Opera, complete with a clever costume change midway through. Ellixia Q Valentine took an amusingly unexpected approach with a The Simpsons-inspired Ned Flanders routine. Daisy Darling turned up the heat with a sexy boa performance to Prince’s Kiss. My highlight in a show of outstanding performances was the final act competing in the games, Ginger Soumise, whose clever take on Defying Gravity was a real highlight. Turning the usual striptease concept on its head, Ginger was putting clothes on rather than taking them off, before deciding that a restrictive corset simply wasn’t necessary. A wonderfully witty routine that embraced body confidence and had me laughing throughout.

The third act allowed the judges to step out from behind the judging panel and take to the stage themselves. Demi Noire delivered I’m Every Woman, combining sexy burlesque with a generous helping of humour. Sigi Moonlight brought a Captain Birdseye-themed routine, which was certainly memorable. I may never look at a fish finger in quite the same way again! Yshee Black brought a Game of Thrones-inspired lip-sync, complete with some fierce dance moves, while the festival’s producer Dominus Von Vexo rounded things off with Legacy, bringing together familiar Priscilla, Queen of the Desert references and a medley of iconic disco hits, including Hot Stuff, Venus, It’s Raining Men and more.

The judging panel brought plenty of humour to the evening, but there was also a serious side to the competition. Sitting close enough to hear their deliberations, it was clear they were taking their responsibilities seriously, carefully considering each performance. Trixie Blue was a fabulous host, keeping the evening moving along while confidently handling a particularly exuberant crowd. After all the performances had been judged, the final three were announced as Strawberry Duvall, Honey Schwarz and Ginger Soumise. It was Ginger who ultimately took home The Allure Games crown,

The Allure Games was a thoroughly entertaining way to celebrate the first festival of its kind in Birmingham.

Bold, cheeky and brilliantly burlesque.

Jack Studio Theatre – until 14th November 2026

Reviewed by Claire Roderick

3***

VandL Productions return to the Jack Studio Theatre with another Dickens adaptation. This time, Liz Love tackles Great Expectations, the story of young Pip and his mysterious benefactor who gifts him money to escape his life in the forge at the edge of the marshes and enter society as a gentleman, giving Pip the vain hope that he will one day be good enough to marry the haughty Estella. Having finally read the book this summer I was intrigued as to how the story could be pared down to 100 minutes.

Love’s choice to set the story a century later than Dickens delivers a striking prologue and epilogue as Pip prepares for a flight as a WWII pilot and the reunion in the ruins of Satis House becomes a secret mission with a classic British war film doomed romance atmosphere, but that’s about it. The choice completely muddies the jeopardy of Magwitch’s storyline and motivation and the rest of the play still appears to be set in the 19th century. The cutting of the characters who are obstacles, enemies, and friends to Pip leaves only the slimeball Drummle and Pip himself to sabotage his great expectations and eliminates most of the physical hardness and roughness of Pip’s existence, making his determination to become a gentleman even more selfish. It is a shame to have a Dickens story without one of his grotesque bullies receiving his comeuppance. Estella’s parentage also becomes a footnote. Without the plots, vengeance, and fisticuffs, a lot more exposition is needed and Pip’s journey to manhood is less layered and less interesting – giving Reece Lewis a lot to do to make Pip sympathetic and ensure the audience care about his eventual realisation of what really matters in life.

The cast all impress, with Reece Lewis holding everything together as an infuriating but charming Pip. Rachael Sparkes is a wonderfully icy Estella and Molly Hockham is a glorious contrast as the warm and loving Biddy (Pip, you fool!) while Aryan Chavda’s Joe is sweet and strong. Caroline Edwards is a little too menacing as Miss Haversham for me but portrays the bitterness well. Vince Mathews steals every scene as Jaggers with his pompous and seemingly heartless declarations delivered archly and lightly.

Love also directs, moving the play along at a steady pace and ensuring the adaptation tells the story as clearly as possible with the choices made. The play is entertaining and earnest, but perhaps increasing the cast and running time could have made this a more emotionally satisfying production.

The Old Joint Stock Theatre, Birmingham – Thursday 5 November 2026

Reviewed by Emma Millward

4****

Birmingham’s first ever Drag and Burlesque Festival has arrived, bringing together artists from all over the globe to celebrate drag, burlesque and cabaret. The festival is the brainchild of multi-award-winning producer and performer Dominus Von Vexo. One of the festival’s events, The Producer Panel, brought together a group of experienced producers for an evening of conversation, audience questions and live entertainment. Hosted by Stage Door Johnny, the panel featured Dominus Von Vexo, Tempest Rose, Sadie Sinner, Will Power and Demi Noir, who stepped in for the absent Lilly Snatchdragon.

There was plenty to talk about, from the creative freedom of producing your own shows to the less glamorous side of making them happen. The panellists were open about the satisfaction they get from bringing ideas to life, but also the financial pressures and occasional loneliness that the job can bring. It was a stark reminder that producing isn’t simply putting performers on a stage. There are budgets, insurance, health and safety, marketing and lots of behind-the-scenes work to consider.

The conversation also included diversity and representation, with an emphasis on creating genuine opportunities for under-represented performers rather than simply filling a quota or resorting to tokenism. They also spoke about taking creative risks and making cabaret fun. While shows can deal with political issues and challenge perceptions, sometimes audiences simply want to dress up, have a laugh and enjoy an entertaining night out. The relationship between drag and burlesque was also discussed, with the panellists comparing their different histories and approaches to performance. The importance of professionalism when working in an industry where clear boundaries and mutual respect are really important was highlighted.

For anyone looking to get into producing or performing, there were many useful pointers. These included doing your research before approaching a producer, being prepared, and remembering that how you behave backstage matters just as much as what happens on stage. Questions from the audience also brought up the realities of finding funding, marketing shows and persuading people to take a chance on something new.

The discussion was followed by four live performances. Lena Love gave a beautifully ethereal performance as she took to the stage wearing enormous white butterfly-like wings. Drag King Manly Mannington brought a playful R&B boy band feel, performing to familiar tracks including Poison by Bell Biv DeVoe and getting the audience involved (and rather excited!). Dominus Von Vexo performed a hilarious dating app-inspired routine, while Me The Drag Queen channelled Sue Sylvester from Glee, mixing the character’s attitude with Meredith Brooks’ song Bitch for a bold, tongue-in-cheek act.

The Producer Panel offered an interesting glimpse into what goes on behind the scenes of the cabaret world. There was plenty to take away from the conversation, although some of the topics were naturally more relevant to those working in the industry or aspiring to. For an audience member, it was an opportunity to hear a different perspective on the shows we enjoy watching. The outstanding live performances were the perfect way to close an enjoyable evening that was a great first taste of Birmingham’s Drag and Burlesque Festival.

Candid, insightful and entertaining.

THEATRE BOOK PRIZE NAMES JOINT WINNERS FOR THE FIRST TIME

Martin Sherman’s On the Boardwalk and Matthew McFrederick’s
Staging Beckett in London share the 2026 award

The Society for Theatre Research has named joint winners of its Theatre Book Prize for the first time in the award’s history.

The 2026 prize, for books with a 2025 copyright, is shared by On the Boardwalk: A Memoir by Martin Sherman, published by Inkandescent, and Staging Beckett in London, by Matthew McFrederick, published by Methuen Drama.

The winners were announced by Michael Burden, Chair of the Society for Theatre Research, at a ceremony at Jermyn Street Theatre in London on Thursday 5 November.
Mr Sherman’s award was collected in his absence by his book editor, Nathan Evans, of publisher Inkandescent.

This year’s judging panel comprised playwright and director Dr John Godber OBE, theatre critic Maryam Philpott and Tony Award-winning theatre producer Thomas Hopkins.

The six shortlisted books were:
Vagabond by Tim Curry (Century)
The Methuen Drama Handbook of Women in Contemporary British Theatre, edited by Marissia Fragkou and Rebecca Benzie (Methuen Drama)
Richard Burbage and the Shakespearean Stage by Siobhan Keenan (The Arden Shakespeare)
Staging Beckett in London by Matthew McFrederick (Methuen Drama)
Modernism after the Ballets Russes: Movement in the British Theatre by Gabriela Minden (Oxford University Press) On the Boardwalk: A Memoir by Martin Sherman (Inkandescent)

Established in 1998 to celebrate the Society for Theatre Research’s Golden Jubilee, the Theatre Book Prize encourages the writing and publication of books on British and British-related theatre history and practice. It recognises work that brings the theatre of the past to life and records contemporary theatre for future generations.

The prize is awarded annually to the book an independent judging panel considers the best published during the previous year. It was first awarded for books published in 1997.
The ceremony also paid tribute to Howard Loxton and his 25-year contribution to the prize. Howard, a much-loved and respected member of the Society for Theatre Research for many years, died on 22 June 2026.

It was also announced that the judging panel for the 2027 prize, covering books published in 2026, comprises Aliya Al-Hassan, Susan Elkin and James Martin Charlton. 

The deadline for submissions of books with a 2026 copyright date is 29 January 2027.

Stage and Screen Star Bonnie Langford Becomes the New Patron of the Richmond Theatre Trust

Bonnie Langford becomes the new Patron of the Richmond Theatre Trust as she takes the role of Mrs Blunderbore in Jack and the Beanstalk at Richmond Theatre this Christmas.

Speaking about her new role as Patron, Bonnie Langford says:

“I am absolutely delighted to become a Patron of Richmond Theatre Trust.

Theatre has been a huge part of my life from a very young age, and I know first-hand the confidence and sense of belonging it can inspire.

I admire the Richmond Theatre Trust for its long-term commitment to opening doors, ensuring that more young people can discover their potential through the arts.

I’m incredibly proud to support the work of the Trust and champion greater access to creative experiences for the next generation.”

Karin Gartzke, Chair of Richmond Theatre Trust says:

“Richmond Theatre Trust warmly welcomes Bonnie Langford as our new patron. Her prolific career on stage and screen is an inspiration to the young people who take part in our programmes.

Bonnie’s support comes at a crucial time for the Trust as we seek to double the number of projects we fund each year, creating even more opportunities for young people to experience the excitement of live theatre and to learn new skills.”

Siobhan Thompson Presents

Denouement 

An Improvised Murder Mystery

Tour from 29^th May – 5^th June 2027

Tickets on sale 4^th September 2026

Following a sold-out run in Los Angeles, British comedian, writer and actor Siobhan Thompson (Dimension 20) is bringing her murder mystery improv show Denouement to the UK for the very first time, touring Glasgow, Newcastle, Bristol, Birmingham, Brighton and London from 29th May to 5th June 2027.

Created through improvisation, each performance sees the cast construct a new murder mystery live on stage, with a new detective, suspects and story that’s never been seen before, and will never be seen again.

Siobhan will be joined by a cast of leading names from the US improv and comedy scene, including Very Important People host and Dimension 20 regular Vic Michaelis, and writer, director and improviser Alex Fernie, whose credits include Last Week Tonight, Reno 911! and Key & Peele. The cast also includes Dhruv Uday Singh (Good Trouble, On the Verge), Kimia Behpoornia (Abbott Elementary, Atypical), Dropout regular Grant O’Brien (Dirty Laundry, Breaking News), former Saturday Night Live cast member John Milhiser, Crowd Control host Jacquis Neal, Smosh’s Angela Giarratana, Cathryn Mudon (Broad City, Dollface) and CollegeHumor and Dropout performer Ele Woods.

Denouement is developed by Siobhan Thompson and Alex Fernie and directed by Alex Fernie.

Cast Biographies

Siobhan Thompson is a British comedian, writer and actor best known as a core Dimension 20 player and longtime Dropout/CollegeHumor performer, with writing credits across television and digital comedy. 

Alex Fernie is a writer, director and improviser whose credits include Childrens Hospital, Bajillion Dollar Propertie$, Last Week Tonight, Reno 911! and Key & Peele, with deep roots at UCB. 

Dhruv Uday Singh is an Indian-American actor, writer and improviser known for Good Trouble, On the Verge and the Los Angeles improv scene, including UCB and Asian AF. 

Kimia Behpoornia is an actor, comedian and improviser known for Abbott Elementary, Atypical, Lucifer and numerous Dropout appearances, including Dimension 20. 

Grant O’Brien is a comedian, writer and performer closely associated with Dropout, best known for Dirty Laundry, Breaking News and his many years as a CollegeHumor cast member. 

John Milhiser is an actor and comedian known as a former Saturday Night Live cast member and an experienced sketch and improv performer. 

Jacquis Neal is a Chicago-born comedian, actor and improviser who hosts Dropout’s crowd-work comedy series Crowd Control and created the live game show Comedian Clash. 

Angela Giarratana is an actor, comedian and singer best known as a core Smosh cast member, Team StarKid performer and increasingly frequent Dropout guest, including Very Important People. 

Cathryn Mudon is an actor, improviser and sketch comedian whose credits include Broad City, Dollface, Tales of the City and years performing at UCB. 

Ele Woods is an actor, comedian and writer known for CollegeHumor and Dropout appearances including Game Changer, Dirty Laundry, Breaking News and Nobody Asked.

Listings information. Tickets on sale from 10AM on Friday 4 September at www.livenation.co.uk

Sat 29 May 2027 – SEC Armadillo, Glasgow

Sun 30 May 2027 – Tyne Theatre & Opera House, Newcastle

Tue 1 June 2027 – Bristol Beacon, Bristol

Wed 2 June 2027 – Symphony Hall, Birmingham

Thu 3 June 2027 – Brighton Dome Concert Hall, Brighton

Sat 5 June 2027 – Eventim Apollo, London

Soho Theatre, London – until 21 November 2026

Reviewed by Celia Armand Smith

4****

Fresh off a fantastic run at the Edinburgh Fringe this year, Temi Wilkey brings her funny, bold, and heartwarming show Lover Girl to the Soho Theatre and it could not be a more perfect tonic for the cold and dark November nights. It is a funny exploration of queer identity, modern dating and the ever lasting complicated search for love (self included) seen through the lens of a young bisexual black woman. Wilkey describes herself at the outset as a “Lover Girl” but cannot work out why she is single, and it is this questioning that sets in motion some of the funniest and most poignant conversations with herself and specifically and more importantly her body. The performance is 60 mins but it whistles by with WIlkey’s infectious energy and you can’t help but be carried along.

Wilkey begins the performance with song and dance, flirting with the audience and pondering whether the love of her life might be there, before introducing the concept of the “infinity pussy”. This interaction with WIlkey’s inner monologue (infinity pussy) provides plenty of opportunity for storytelling and physical comedy, and the pink dress which is part of her transformation, looks gloriously sumptuous against the draped red set. Her ability to swiftly move through the narrative, changing character and accent demonstrates Wilkey’s versatility and skill. She uses music to visit various autobiographical scenes, exploring loves lost and found, and in particular her relationship to her own self worth and ultimately leads her to empowerment.

With direction by Ragevan Vasan, Lover Girl is full of interesting ideas and is jam packed with laugh out loud moments, however the comedy does give way to vulnerability. It is in these quieter, more meaningful moments that the message of self-discovery comes through loud and clear. Temi Wilkey’s Lover Girl is a refreshingly honest yet celebratory portrayal of modern life and is a lovely way to spend a November evening.

Festival Theatre, Malvern – until 5th November 2026

Reviewed by Courie Amado Juneau

5*****

The Important of Being Earnest is very familiar – some would say it’s Wilde’s masterpiece. Being so familiar it runs the risk of becoming commonplace. Which is a shame as it’s a wonderful story and deserves to be presented in an exciting way. Tonight gave us just that!

The story revolves around a brace of women who both fall in love with men they believe are called Earnest. Unbeknownst to them, neither are. This causes confusion, mountains of misunderstandings and misdirection all over the town and countryside and, of course, a lot of memorable one liners.

The art deco set testified to the fact this story had been transplanted from the late Victorian era to the 1920’s. Not a million years apart and yet it felt very different, though still surprisingly natural.

The second of the surprises – and first major one – was the live band on stage playing classic pop tunes in a vaguely jazzy style. I’ve not sold how good it was – because I loved it. The tunes really supported the story arc and the performers looked like they were enjoying themselves enormously too.

I’ve never seen Algernon Moncrief played quite so flamboyantly and it was a credit to Charlie Clee for pulling this off so perfectly. A joyous portrayal that made one fall in love with this charming rogue. The other male lead, John Worthing (aka Earnest), was ably overplayed (in the best possible way) by Lyle Fulton. His exasperation overflowed in all directions but he also gave us pathos and a character we could root for.

Their two leading ladies, Gwendolen and Cecily perfectly complimented each other, their partners and each had their moments in the spotlight to shine. Grace Bassett (Gwendolen) was fabulous but Hannah Brownlie as Cecily was the big revelation – she really sparkled! A sensational performance.

Lady Bracknell must be a scream to play and Anna MacLeod Franklin gave us a commanding performance. A perfectly pitched portrayal which stole almost every scene she graced.

Canon Chasuble and Miss Prism made a very likely unlikely couple and Charlotte Ware (as Prism) really made the most of her stage time. I would like to praise the actor who played the Canon but, unfortunately, there was no programme and printed the cast list didn’t include him.

Last, but not least, the butler Lane (brought to technicolour life by Lachlan McCall) was the star comedy turn – with a lovely deadpan, lugubrious way about him. But also the other characters he played – mostly the staff of the country and town house of Mr Worthing. It was like watching a dynasty of familial servitude; each new character sporting a rather familiar face. Hilarious.

The script kept pretty faithfully to the original (apart from the pop songs) and why not? It’s a home run waiting to be hit. And a home run it was as all concerned gave us a fabulous night’s entertainment. The only disappointment was that the run was so short – leaving me longing for their return! When they do, I implore you to catch this marvellous company – I loved it. One of the best Earnest’s I have ever seen.

MaryleboneTheatre – until 17th January 2027

Reviewed by Phil Brown

4****

Another day, another Torben Betts play to review.

And quite a contrast to The Other Side of Murder although untimely death is at the heart of both…

Here we are, over 50 years since the 1960s but the events of that transformative decade still seem to linger large in our collective consciousness.  Possibly because a world experienced in black and white suddenly discovered colour – a mass coming of age of post war youth unleashed a surge of radical change at the same time as the rapid expansion of the media industry.    I grew up in the sixties and remember the events covered in this play well.  They seemed absolutely earth shaking.   Torben Betts is two decades younger but still feels compelled to write about them to produce a thoroughly engrossing slice of historical fiction.

To use its full title – Speculations.…on the Unexpected Deaths of Several American Icons – is Torben Betts’ most recent work which opened at the Marylebone Theatre on 4th November.  It’s hard to see exactly where the playwright’s work finished and the director (Sir Trevor Nunn) started to shape the end product.  The richly informative programme contains an interview with Torben Betts describing the gestation of this work which goes back to 2023 at least, and it seems we should thank lead actor Janie Dee and Trevor Nunn for helping get it over the line and onto the stage.  

There is a distinct and pleasing cinematic, big screen quality to this production which involves switching between three separate two handed scenes through the course of two 1 hour acts, each neatly linked to the preceding one.  There are around 10 or 11 of such scenes in each part.  On occasion, the Act 1 scenes can drag on, but the overall approach certainly imparts an energy and momentum to the narrative and is key in building intrigue. 

Scene 1 (Kilgallen’s New York City apartment) features Pulitzer nominated investigative journalist Dorothy Kilgallen (Janie Dee) welcoming new baby sitter Flo Jackson (Gloria Obianyo) into her home.  Flo is a fictional character who happens to be an aspiring journalist herself.  She’s a keen supporter of Robert Kennedy who she sees as someone working to improve the position of black Americans.  Kilgallen has made a name for herself on What’s My Line and knows Sinatra but is on a mission to investigate perceived disconnects in the glibly official accounts of the deaths of Marilyn Monroe, John F Kennedy and Lee Harvey Oswald.  Kilgallen confides in a still idealistic and sceptical Flo her suspicions and shows her a draft of her book in progress.  The incendiary nature of which means Kilgallen fears for her life but nevertheless convinces Flo to buy into her world view.

Scene 2 (Monroe’s Los Angeles home) features Monroe/Norma Jean Mortenson (Natalie Dunne) “entertaining” Robert Kennedy (Jolyon Coy) at home.  Monroe is a wounded, spiralling but defiant wreck “who doesn’t want to take any more crap from the men who think they own her”.  At a party, drunk, she threatens to expose them all.  At this point Robert is conflicted between his lust for Monroe and his concern for the Kennedy reputation and position.  He desperately wants to get hold of Monroe’s diaries by any means possible.

Scene 3 (Marcello’s New Orleans club) features gang boss Carlos Marcello (Ferdy Roberts) and communist sympathiser and sharp-shooter Lee Harvey Oswald (Joseph Potter) who has just returned from Moscow and allegedly came to Marcello’s attention by working with Dallas night club owner Jack Ruby.  Marcello, previously deported to Guatemala as a result of Robert Kennedy’s crime crusade targets JFK for retribution.  Why JFK?  “Because if you want to kill a dog, you don’t cut off its tail”.  Oswald admires Fidel Castro and dreams of relocating to Cuba.  He desperately wants to be a somebody.  Marcello is sounding out Oswald because he is employed in the high rise Texas School Book Depository.

I think this excellent production flirts with the limits of audience attention span in the context of spoken drama (although the reception at the end was very enthusiastic).  Torben Betts brings in a reasonable amount of contemporary US history which is something of a double edged sword.  It provides useful context and richness, but can also elongate some scenes – mainly those featuring Kilgallen/Flo.  The Monroe/Kennedy scenes are really well done but are a touch repetitive and so could be trimmed.   For me, the Marcello/Oswald scenes are possibly the most effective.  Ferdy Roberts as Carlos Marcello, channelling Tony Soprano (?), is the embodiment of a Sicilian gang boss.  This play is 100% dialogue and there’s no doubt that Torben Betts has a real gift for authentic dialogue which was superbly delivered by the cast.

One of the key elements in the cinematic switching of scenes is the brilliantly effective set (designer Lee Newby), the use of lighting (Johanna Town) and the use of sound (Gregory Clarke).  Two revolving side walls transform Kilgallen’s New York elegant apartment lounge into Monroe’s luxuriously modern LA pad.  Whilst the revolving back wall transforms the set into a New Orleans night club.  I particularly liked the thoughtful selection of music clips played at the switching moments ranging from Sinatra, through Monroe herself, New Orleans style jazz to various moody modern jazz. 

Overall, a very glossy production, superbly performed with seriously intriguing content that will grip you all the way through.  Without doubt, a worthwhile addition to the catalogue of historical fiction drama.