Richmond Theatre – until Saturday 10th October 2026

Reviewed by Carly Burlinge 

4****

There is a particular kind of dread that only live theatre can deliver — the kind that creeps up your spine in real time, in the same room as you, with no camera cut, no close-up, and no post-production trickery to save you. The Haunting of Hill House, adapted for the stage, understands this instinctively. It doesn’t try to out-scare the Netflix series or to out-write Shirley Jackson’s original novel; instead, it finds a theatrical language all its own — one built from shadow, silence, and suggestion — and for the most part, it works beautifully.

The atmosphere is unquestionably the star of the evening. The production leans hard into everything that theatre does better than film: darkness that is actually dark, sound that you feel in your chest before you consciously hear it, and empty space that the audience’s own imagination fills with far more than any special effect could. The set — a skeletal, subtly tilting version of Hill House itself — shifts and warps between scenes in a way that keeps the audience perpetually off-balance, never quite sure what corner of the house they’re looking at or what might be standing just out of view in it. The lighting design deserves special mention here, because it does something quietly remarkable: it turns ordinary theatre space into a series of corners you’re afraid to investigate. Shadows pool in places they shouldn’t, doorways seem to breathe, and the house itself feels less like a backdrop and more like a character — patient, watchful, and hungry. The soundscape completes the effect, layering whispers beneath the dialogue, creaks that have no obvious source, and low, wrong frequencies that sit just under the level of conscious hearing. You feel the house before you ever see it, and long after you’ve left the building, you keep feeling it.

The performances hold their own against all that atmosphere, which is no small feat. The ensemble is tight and well-drilled, each actor moving through the space with the kind of precision that makes the scares land cleanly rather than clumsily. But the production is smartest when it remembers that the real haunting isn’t the house at all — it’s what the characters carry into it. Grief, guilt, and the stubborn refusal to let go of the dead are the true ghosts here, and the script gives those quieter moments room to breathe between the shocks. The central performance, in particular, grounds the supernatural chaos in something painfully, recognizably human, and it’s in those scenes — two people in a room, saying the things they’ve never been able to say — that the show is at its most unsettling. The house, it turns out, doesn’t need to do very much at all; it just needs to give people permission to tear themselves apart. 

Where the production stumbles is chiefly in its second act, which occasionally over-explains what the first act so beautifully left ambiguous. There is a temptation, common to adaptations of well-loved horror, to spell things out for the audience — to make sure they’ve understood the rules of the haunting, the history of the house, the meaning of every apparition. But Jackson’s genius was in what she withheld, and the show is at its best when it trusts the audience to fill the dark spaces themselves. A few of the scares, too, land with a thud rather than a whisper — loud, sudden, and effective in the moment, but less lingering than the quieter dread that surrounds them. And there is one monologue near the end that tells us, at length, things we had already felt perfectly well on our own. These are not fatal flaws — the production’s strengths far outweigh its missteps — but they do mean that the second half never quite matches the haunting, delicate power of the first.

The verdict, then, is a genuinely unsettling, beautifully crafted piece of gothic theatre that respects its source material while finding a stage language entirely its own. It is a show that understands the difference between a jump scare and a haunting, and that knows the latter is far more powerful — and far harder to shake off. Bring a friend to hold onto during the dark bits, and maybe someone to walk you home after. Just don’t be surprised if, on the way, you find yourself glancing back at the house you’ve just left — and wondering whether it’s really the house you’re still thinking about, or something it left behind in you.

FIVE ACTORS
189 FIVE-STAR REVIEWS
AND NOW, FIVE PRODUCTIONS!
YOU REALLY COULDN’T WRITE IT!

Live from the casts of Operation Mincemeat in London (West End), New York (Broadway), Chicago (North American leg of the world tour) and Norwich (UK leg of the world tour), during curtain call of each of their respective shows last night, it was announced that the Tony^® and Olivier^® Award-winning musical Operation Mincemeat, is officially heading to Australia as the next leg of its World Tour, set to premiere at Comedy Theatre in Melbourne in September 2027, with further cities to be announced. Julia Knitel (Broadway’s Ewen Montagu), Madeleine Jackson–Smith (West End’s, Ewen Montagu), Holly Sumpton (UK Tour’s Ewen Montagu) and Katie Kleiger (North American Tour’s Ewen Montagu) each gave a speech simultaneously announcing the fifth production on its journey across the globe. The search for the cast will commence in early 2027.

Join the Official Tour Waitlist here to be first in line for tickets and get access to exclusive perks.

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?

Jon Thoday, Producer at Avalon, said: “It’s incredibly exciting to be invited to produce Operation Mincemeat in Australia and to be able to bring the show to a whole new audience. From its beginnings in a 77-seat London fringe theatre, the show is now playing simultaneously in the West End and on Broadway, with a world tour underway, so far spanning the UK and North America. Australia will be the fifth production of Operation Mincemeat and the next chapter in its extraordinary journey.”

Operation Mincemeat is currently in performances in the West End, on Broadway and has just launched its world tour, which began with a UK leg, that has recently been extended into 2027, and is now weeks into its journey across North America. 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, nearly 10,000, watched the production in one day. The show’s international journey will continue with Australia as its fifth production, before travelling on to New Zealand, China and Mexico, taking Operation Mincemeat across four continents.

Across over 2,000 performances, Operation Mincemeat has cultivated a fervent fanbase, affectionately dubbed “Mincefluencers.” On Broadway alone, more than 5,000 audience members – roughly one in 25 – have bought tickets for multiple performances, including 205 superfans who have purchased tickets for ten or more shows.

Operation Mincemeat has been nominated for 68 awards since opening at the 77-seat New Diorama Theatre in 2019, winning 24, including Best Musical 4 times from the Olivier Awards^®, WhatsOnStage Awards, BroadwayWorld Theater Fans’ Choice Awards, and off-West End Awards. On Broadway, the show was nominated for 4 Tony Awards^® in 2025, including Best Musical. The production won Best Featured Actor in a Musical for Jak Malone’s portrayal of Hester Leggatt, who previously won the Olivier Award® in the same category. The production has also received nominations for Outstanding Production of a Musical at the Drama League Awards, Outstanding New Broadway Musical at the Outer Critics Circle Awards, Best Musical at the BroadwayWorld Theater Fans’ Choice Awards, and Favourite New Musical at the Broadway.com Audience Choice Awards.

Written by triple Tony Award^® nominees SpitLip (comprised of David Cumming, Felix Hagan, Natasha Hodgson, and Zoë Roberts), and directed by Robert Hastie, Operation Mincemeat is currently on its 19^th extension, running until 29^th May 2027 in London at the Fortune Theatre which takes the production into its 5^th year in the West End, while simultaneously playing on Broadway, and has launched its world tour in the UK and US.

Operation Mincemeat is produced on Broadway and in the West End 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.

FOLLOWING THE HUGE SUCCESS OF

THE THEATRICAL WORLD PREMIERE OF

MIDSOMER MURDERS: THE KILLINGS AT BADGER’S DRIFT

THERE WILL BE A SECOND UK & IRELAND TOUR
FROM APRIL 2027

DANIEL CASEY RETURNS TO THE ROLE OF INSPECTOR TOM BARNABY

The world premiere of Guy Unsworth’s stage adaptation of Midsomer Murders: The Killings at Badger’s Drift broke box office records and was critically acclaimed across its 2025/26 UK & Ireland Tour, so producers Nicholson Green Productions and Colin Ingram Ltd will be taking the show back on the road from April 2027 and are delighted to announce that Daniel Casey will be returning to the role of Inspector Tom Barnaby. Further casting is to be announced. The UK & Ireland Tour is based on the book by Caroline Graham, The Killings at Badger’s Drift, and the television series Midsomer Murders produced by Bentley Productions [for ITV] in association with All3Media International. 

Daniel Casey said of the new tour, “Since returning to the world of Midsomer last October, it has been such a delight to see the incredible reaction of people around the UK and Ireland to our theatre version of The Killings at Badger’s Drift. One of the highlights of last year’s tour was having my lovely friend and mentor John Nettles come and see the show in Truro, getting his seal of approval was hugely important to me. I can’t quite believe it will be the 30th anniversary of the TV pilot and 40th anniversary of Caroline Graham’s novel The Killings at Badger’s Drift in 2027! So, it is wonderful that, after such a successful first tour, we will be touring to even more venues in 2027. Thank you to all those people from all over the UK and around the world who have shown such love for the play, and I can’t wait to bring it to a whole new audience in some wonderful new venues in 2027.” 

When well-loved spinster Emily Simpson is found dead in the picturesque village of Badger’s Drift, her friend Lucy Bellringer refuses to accept it was an accident. DCI Tom Barnaby and Sergeant Gavin Troy are called in to investigate, uncovering a world of hidden passions, long-buried secrets and deadly rivalries.

With eccentric villagers, shocking twists and an unforgettable reveal, The Killings at Badger’s Drift is a classic whodunit that will keep audiences on the edge of their seats. Bringing to life the wit, charm and chilling suspense of the beloved television series and original series of books, this gripping and thrilling new show will entrance theatre audiences.

Spring 2027 marks the 40^th anniversary of Caroline Graham’s novel. The tour opens at The Alexandra, Birmingham on 23 April playing until 24 April 2027 before touring to: Festival Theatre, Edinburgh (28 April – 1 May); Milton Keynes Theatre (5 – 8 May); Orchard Theatre, Dartford (12 – 15 May); Hull New Theatre (19 – 22 May); Theatre Severn, Shrewsbury (25 – 29 May); Belfast Grand Opera House (1-5 June); The Gaiety Theatre, Dublin (8 – 12 June); Aylesbury Waterside Theatre (23 – 26 June); Grand Opera House York (30 June – 3 July); Liverpool Playhouse (6 – 10 July); Wolverhampton Grand Theatre (14 – 17 July); Alhambra Theatre, Bradford (21 – 24 July) and Newcastle Theatre Royal (27 – 31 July).

Midsomer Murders: The Killings at Badger’s Drift is adapted and directed by Guy Unsworth, with design by David Woodhead, lighting design by Matt Haskins, sound design by Ella Wahlström, music by Max Pappenheim and casting by Ginny Schiller CDG.

The stage show is produced by Nicholson Green Productions and Colin Ingram Ltd.

Website: MidsomerOnStage.com

Facebook, Instagram and YouTube: @MidsomerOnStage

Liverpool Philharmonic Hall – Tuesday 6th October 2026

Reviewed by Carla Whittaker & Stuart Sydney

5*****

A fantastic evening of dancing, brilliant vocals and plenty of Vegas glitz and glamour!

On Tuesday evening, we went to Liverpool Philharmonic Hall to see The Legends in Vegas – After Hours, and we had such a brilliant night!

The show brings together five well-known professional dancers from Strictly Come Dancing; Brendan Cole, James Jordan, Pasha Kovalev, Vincent Simone and Ian Waite alongside their female dance partners, for an evening inspired by the bright lights, music and glamour of Las Vegas.

Now I don’t watch Strictly Come Dancing, well I didn’t until recently; but if you are a fan of Strictly, you will recognise the names, but I really think you could enjoy this show even if you’ve never watched an episode of Strictly in your life!

From the start you could see the amount of work that had gone into putting the production together. It was colourful, glitzy and full of that over-the-top Vegas glamour that you’d expect from a show with this theme. There was plenty of sparkle, fabulous costumes, great music and, of course, some absolutely brilliant dancing.

I think when you watch professional dancers on television, it’s easy to forget just how incredibly talented they actually are. Seeing them perform live is a completely different experience. The precision, timing, coordination and sheer amount of energy that goes into every routine is absolutely incredible. It’s something you can never fully appreciate when watching on TV, and seeing it all happen right in front of you really makes you realise just how much skill, hard work and dedication goes into what they do; this was the case for me anyway. They make it look so effortless, but you know there’s nothing easy about it!

What I really liked was the variety. The Vegas theme gives the show plenty of opportunities to explore different styles, music and performances, rather than it simply being one dance routine after another.

The costumes were another highlight. There was no shortage of glitter or glamour! Everything fitted well with the overall theme of the evening, and visually it was a lovely show to watch, and you could see that it captivated the whole audience.

I also loved that the whole production felt like a real occasion. It wasn’t just about going to watch a few familiar faces from Strictly dancing on stage; it was a proper evening of entertainment, with the dancing, music, fabulous costumes and staging all coming together beautifully. There was so much glitz and glamour, and my only regret is that I didn’t take the opportunity to get a bit dressed up and wear some sparkle myself! I missed a trick there!

One thing I really do want to give a special mention to is the singing, because the vocals were absolutely fantastic something I did not necessarily expect! I went along expecting some brilliant dancing, given who was performing, but the quality of the vocals really stood out to me. For me, the music and singing added so much to the overall show. There is something quite different about hearing talented vocalists performing live, and it really helped bring the whole Vegas theme together.

I always think the music can make or break a production like this. You can have fantastic performers and beautiful costumes, but if the sound and vocals aren’t right, it can really affect the overall experience.

Thankfully, that certainly was not the case here. The singing was excellent, and it was one of the things I came away talking about afterwards.

It complemented the dancing well and helped make the whole evening feel like a proper theatrical production rather than simply a dance showcase.

Of course, the main attraction was the five Strictly legends, and they certainly know how to put on a performance.

What struck me was how effortless they can make everything look. Obviously, we all know that an enormous amount of training and practice goes into professional dancing, but watching it live really makes you appreciate the skill involved.

The dancers all bring their own personalities and styles to the stage, which helps keep things interesting throughout.

It was also lovely to see the female dancers performing alongside them. The partnership and coordination involved in some of these routines really was something to admire, and the whole cast deserves recognition for the quality of the performance and you could see the relationship they all have together as everything was so seamless.

I think that’s one of the nicest things about seeing a show like this live. You’re not watching an edited television performance. You’re seeing the talent, movement and timing happening right in front of you. The overall standard was excellent, and the show had plenty of energy and glamour.

If there’s one thing you expect from a show based around Las Vegas, it’s a bit of sparkle, and there was certainly plenty of that! The costumes were gorgeous and really helped create that glamorous Vegas atmosphere. I loved how colourful and glitzy everything was. The lighting and staging also worked well with the style of the performance, helping create that showbiz feel.

I particularly enjoyed the fact that it was visually interesting as well as being musically entertaining. There was always something to look at, whether that was the dancing, the costumes or the overall presentation. Sometimes productions can try a little too hard with a theme, but I thought the Vegas concept worked really well for this type of show. It was glamorous, entertaining and a little bit extravagant, which is exactly what you want from a Vegas-inspired evening!

I also want to give Liverpool Philharmonic Hall a mention, because I think the venue itself is an important part of reviewing any theatre experience. There’s nothing worse than looking forward to a lovely evening out and then finding the venue difficult to access, parking a nightmare or staff who aren’t particularly helpful. Thankfully, my experience at Liverpool Philharmonic Hall was really positive.

Firstly, there was good parking available locally, which made getting to the venue much easier. When you’re travelling to a city centre venue, parking is always something worth considering beforehand, so this was definitely a positive.

I also found the venue accessible, which is particularly important to me. Having accessibility needs can sometimes make planning an evening out a little more complicated, so knowing that a venue is manageable makes a real difference.

The staff were absolutely lovely. Everyone I encountered was friendly, welcoming and helpful, and I do think that deserves recognition.

The venue itself is also a lovely setting for this type of performance. There is something special about visiting a well-established concert hall for an evening of live entertainment.

I was really impressed with the Philharmonic and would certainly be happy to return for another show.

Was It Worth Going? Absolutely! I think with any live show, especially one involving performers who are already well known, there’s always that question of whether it’s going to live up to expectations. For me, this was a thoroughly enjoyable evening. The standard of dancing was excellent, the vocals were a real highlight, the costumes were fabulous, and the overall production had plenty of sparkle and glamour. What I liked most was that it wasn’t just one aspect of the show that stood out. It was the combination of everything. The dancing was obviously a huge part of the evening, but the singing and production really added to the experience.

It was also nice to get out and enjoy something completely different for a couple of hours. Life gets busy, and sometimes we forget how enjoyable it is to go and see a live performance, switch off from everything else and just enjoy ourselves – even my partner enjoyed it!

And that’s exactly what this evening was about.

I really enjoyed The Legends in Vegas – After Hours, and it’s definitely a show I would recommend.

If you’re a Strictly Come Dancing fan, I think you will particularly enjoy seeing some of the familiar professionals performing live. However, I wouldn’t say you need to be a Strictly fan to appreciate it. If you enjoy music, dancing, colourful costumes and a bit of old-fashioned showbiz glamour, then this is certainly worth considering.

A big well done to everyone involved in putting the show together, from the dancers and singers to the people working behind the scenes. A production like this takes an awful lot of hard work, and I think that’s sometimes easily overlooked when you’re sitting in the audience enjoying the finished performance.

I’d also happily recommend Liverpool Philharmonic Hall as a venue. Friendly and helpful staff, good local parking and a positive experience in terms of accessibility all contributed to making it a really enjoyable evening.

ACTORS CHILDREN TRUST AND ROYAL THEATRICAL FUND

ANNOUNCE MERGER TO STRENGTHEN SUPPORT

FOR THE THEATRE COMMUNITY

Actors’ Children’s Trust and the Royal Theatrical Fund today announce their merger, bringing together two charities with a shared commitment to supporting people across all the performing arts. Actors’ Children’s Trust offers support to the children of actors, and The Royal Theatrical Fund supports all theatre, film, television and other associated workers. Actors’ Children’s Trust will merge into the Royal Theatrical Fund, creating a stronger, more sustainable single organisation with the united and combined expertise, resources and experience. Both organisations are members of Acting for Others.

The merger will preserve the values that have defined both charities for generations: community, dignity and a deep understanding of the unique challenges faced by people working in the industry.

Samantha Bond, Chairwoman of The Royal Theatrical Fund, said: “Today, we come together not simply to merge two charities, but to unite behind a shared purpose. While each organisation has its own proud history, we have always been guided by the same values: compassion, service, and a commitment to supporting the theatrical community.

“By joining forces, we will be stronger together. We will combine our expertise, make better use of our resources, and increase the impact of our work. Most importantly, we will be able to reach more people and provide even greater support, helping to ensure that no actor’s child goes without because of the uncertainties of our profession.

“Together, The Royal Theatrical Fund and The Actors’ Children’s Trust have the opportunity to create an organisation that honours the proud legacy of both charities while building something even stronger for future generations.

“As Chairwoman, I am genuinely excited about what lies ahead. This merger marks the beginning of a new chapter – one defined by collaboration, shared purpose, and a renewed commitment to making an even greater difference for everyone in our theatrical family.”

By joining forces, the charities aim to make it easier for people to access support through a more seamless and consistent approach and application process. Their complementary expertise and specialist knowledge will also strengthen both charities ability to respond to changing needs, increase their capacity to innovate and ultimately deliver greater and more lasting impact for the community.

The merger also reflects the strong cultural alignment between the two organisations. Each has a long history of supporting the industry and shared commitment to compassion, inclusion and putting people at the heart of their work.

As one organisation, the charity will be better positioned to respond to changing needs and navigate an increasingly challenging economic environment. Pooling resources and expertise will create greater resilience and enable the enhanced RTF to build on the strengths of both charities ensuring that support remains focused where it is needed most.

Above all, this merger is an investment in the future of the theatre, film, TV and associated community. By combining their strengths, Actors’ Children’s Trust and the Royal Theatrical Fund will be well placed to champion and support the profession for generations to come.

Florian Zeller’s Smash Hit

Comedy The Truth Returns to the West End

Next Summer

Reuniting Stephen Mangan, Ardal O’Hanlon,

Sarah Hadland and Janie Dee

Directed by Lindsay Posner

Translated by Christopher Hampton

Two couples. A tangle of secrets. And a truth nobody is ready to face.

Performances begin at the Theatre Royal Haymarket on

Thursday 29 July, 2027 ahead of UK Tour Dates.

www.TheTruthPlay.com

Having played to packed West End houses this summer, Melting Pot are delighted to announce that the smash hit comedy, The Truth will return to London next year, ahead of UK tour dates. Wickedly funny and elegantly crafted, the star-led comedy begins a strictly limited 12-week run at the Theatre Royal Haymarket from Thursday 29 July, 2027.

Reuniting the critically acclaimed comic forces of Stephen Mangan (BBC 1 The Split; BBC 2 Episodes), Ardal O’Hanlon (Channel 4, Father Ted; Netflix, How To Get To Heaven From Belfast), Sarah Hadland (BBC 1, Miranda; Strictly Come Dancing; ITV, The Job Lot) and double Olivier Award-winner Janie Dee, tickets go on sale at 10am on Thursday 8 October, 2027 at www.TheTruthPlay.com.

Directed by Lindsay Posner and written by Academy Award-winning, two-time Olivier-nominated playwright Florian Zeller, with a translation by Christopher Hampton, The Truth will tour next autumn to Theatre Royal, Brighton; Marlowe Theatre, Canterbury; Alexandra Theatre, Birmingham and Theatre Royal, Glasgow. 

The Truth is a wickedly entertaining comedy where trust is fragile, loyalty is negotiable, and everyone has something to hide. This star-driven revival of the Olivier-nominated play peels back the lies we tell the people we love, and the ones we tell ourselves… Gripping, surprising and laugh-out-loud funny, The Truth is a night at the theatre you won’t want to miss.

Packed with Zeller’s trademark psychological insight and biting humour, and translated by Christopher Hampton, The Truth is a witty exploration of love, deception, and the fragile stories we tell ourselves. Lindsay Posner (A View From The Bridge, Theatre Royal Haymarket; Noises Off, Phoenix Theatre) directs the new staging, with Set and Costume design by Lizzie Clachan, Lighting Design by Richard Howell and Sound Design by Adam Cork.

Four of the UK and Ireland’s most beloved stage and screen performers reunite to bring their formidable comic talents to this sophisticated and fast-paced comedy. Tony Award-nominated Stephen Mangan stars as ‘Michel’alongside Ardal O’Hanlon as ‘Paul’, Sarah Hadland as ‘Alice’and Janie Dee as‘Laurence’.

Producer Simon Friend says: “The Truth was a sell-out sensation over its run at the Apollo Theatre, which finished a few weeks ago, and our magnificent cast had such fun with Florian’s comic masterpiece that they’re reuniting to bring more gales of laughter to the West End. We’re enormously grateful to Len Blavatnik and Danny Cohen for welcoming the show into the Theatre Royal Haymarket for another season next year before heading out across the country.”

At the centre of The Truth is Michel, a man who embarks on an affair with his best friend’s wife while attempting to convince himself—and everyone around him—that honesty is overrated. As the web of deception grows increasingly tangled, the audience is left delightfully off-balance and questioning who is deceiving whom.

Florian Zeller is widely regarded as one of the most exciting contemporary dramatists, with international successes including The Father and The Son. The Truth showcases his gift for blending comedy and psychological tension into an evening of theatre that is as uproariously entertaining as it is thought-provoking.

The Truth is produced by Simon Friend and Hanna Osmolska for Melting Pot, the company behind the sold-out 2016 production of Florian Zeller’s play The Height of the Storm at Wyndham’s Theatre. Melting Pot also produced the West End stage productions of The Father at Wyndham’s Theatre and Duke of York’s Theatre, as well as its double Oscar- and BAFTA-award-winning film adaptation starring Anthony Hopkins and Olivia Colman.

The Truth is produced by Simon Friend and Hanna Osmolska for Melting Pot in association with Len Blavatnik and Danny Cohen for Access Entertainment, Gavin Kalin Productions, Fiery Dragons and Keren Misgav.

YOU GUYS GIVE UP?

OR ARE YOU THIRSTY FOR MORE?

RUNNING AT THE OTHER PALACE STUDIO

FROM 13 NOVEMBER 2026 – 3 JANUARY 2027

HE’S BACK. HE’S CAMPER, AND STILL NOT BEING SUPERVISED! 
MERRY CHRISTMAS YA KINKY ANIMALS!

Remember the sold out hit ‘Homo Alone’ back in 2024? Well good news, Kevin is back for more as he returns to The Other Palace Studio for A Homo Alone 2: Yikes, We Did It Again! 

Kevin will be played by Thomas John Stocks with the multi-rolling Jenny Bede (Prince Andrew: The Musical) as Kevin’s Mum, Bird Woman, and Cedric the Bell Boy, Jermaine Woods (The Producers) as Kevin’s Dad, Harry, and the Hotel Manager, and Charlotte Dixon as Buzz, Marv and…Trump (someone genuinely had to this time…)

After last year’s Lovers Actually, The Other Palace Studio’s best-selling show ever, Jodie Prenger (Coronation Street, I’d Do Anything) and Neil Hurst (Fat Friends The Musical, Casualty) reunite with Kevin McCallister for the highly anticipated sequel parody of the beloved holiday classic AHomo Alone 2: Yikes, We Did It Again! You might be too old for a lot of things, but you’re never too old for a naughty, festive theatre treat at Christmas!

Camp Kevin. Lost in The Big Apple. With Dad’s credit card in hand, bébé Kevin has arrived, lost and unaware, in New York City, the gayest place on Earth! What could possibly go wrong? Throw in a couple of dodgy burglars, a Rocky Horror-esque hotel manager, and a Trump cameo nobody asked for and you’ve got yourself one hell of a Christmas night out.

Jodie Prenger says:

“Did you say KEVIN?! Well, he’s back and this time, in New York City! He’s older, more mischievous and has been left to his own devices one more time (a bit like the writing team!). And don’t worry if you missed the first instalment, you won’t have to have seen Homo Alone to join the party, but be warned that sweet childhood memories may be at risk! Intrigued? If you are, why not tell Santa that instead of presents this year, you just want tickets to see A Homo Alone 2 – even though you may end up on the naughty list.”

Homo Alone 2 is directed by comedian Laura Checkley (Detectorists), with choreography by Philip Michael Thomas (RAGS The Musical); musical direction and arrangement by Tom Noyes (Love Quirks); design by Reuben Speed (Deep Heat Rivalry); lighting design by Matt Hockley (Redcliffe) and sound design by Tom Jervis (Why Would We Care).

His parents might’ve forgotten him again, but you won’t. Not with this upbeat, filthy-fun musical parody kicking off your crimbo.

Wilton’s Music Hall, London – until 8th December 2026

Reviewed by Phil Brown

5*****

Although historical events are not uncommon as themes for stage shows, Incendiary is possibly unique in British theatre by featuring the narration of an important historical artefact – Samuel Pepys’ seventeenth century diary – centre stage.  The motivation for this show seems altogether more Reithian than typical entertainments which mine the past, and includes contemporary songs and tunes played on contemporary instruments.  Whilst richly entertaining, everything about it conveys serious art.  This lends a genteel, cerebral, salon or soiree like feel to the evening enhanced by the period charm of Wilton’s – a gloriously battered survivor of London’s theatrical past

I have to disagree with the otherwise excellent programme notes that Pepys Diary is the most remarkable account we have of ordinary lives in extraordinary times.  Yes the times (1660 – 1669) were indeed extraordinary – the return of Charles II to the throne, war with the Dutch, the plague and the great fire of London – but Pepys was no ordinary man, and the show itself hardly reflects on “ordinary life” outside of these major events.  As the diary, originally written in a form of shorthand, runs to 6 bound volumes, no doubt, a lot of material has been omitted, but the somewhat haughty way Pepys is portrayed, suggests he wouldn’t have been too interested in ordinary life – at least when it’s not of direct benefit to him.  Having said that, his diary does mix in the historically significant with the everyday and big picture stuff with the detail.

Pepys ended his daily journal entries mid 1669 at age 36 for fear the combination of his official work and late-night shorthand writing was ruining his eyes. He did live for another 34 years however, and the show takes us up to his death in 1703.

Deidre Shields, who wrote this work has found a rich seam of inspiration for theatre and is producing something wonderful with it.  Incendiary reminded me very much of something seen earlier in the year at Wilton’s – By A Lady – The Life and Wit of Jane Austen and sure enough, on checking, I find the same creative team at work – Hambletts theatre production company.  

Shields has skilfully adapted Pepys’ words to tell a fascinating and revealing human story with wit, nuance and the occasional ‘punchline’ that resonates with a modern audience.  An example of a clever detail is the programme title with the ‘diary’ part of Incendiary printed in red.  The narration by Edward Bennett playing Pepys is quite superb.  

The two act show consists of segments of narration interspersed regularly with music of the period  – sometimes brief snatches of punctuation but mainly full songs or tunes, nine in each act.  These are ‘broadside ballads’ (a single sheet of cheap paper printed on one side, often with a ballad, rhyme and news) or compositions by John Dowland, Henry Purcell, Thomas Campion and Pepys himself.  (He loved music and learned the guitar in later life).

The Hambletts creative team of Shields (writer), Judy Reaves (director), and David LePage (music director, arranger and violinist) has devised a beautifully constructed piece of theatre from words to music.  In the hands of the superlative performers, this is turned into an evening of pure magic and rapturously received by the audience.

Staging is pared down to utmost simplicity.  Out front is a lectern from which Bennet, dressed like the musicians, in a white linen tunic style shirt vaguely of the period pronounces as Pepys.  Seated either side are David LePage (violin) and Nick Stringfellow (cello).  Tiered behind are two contenders for unofficial star of the show – Grace Davidson (soprano voice) and lutenist extraordinaire Daniel Murphy – both wonderfully gifted musicians performing at their peak.  

The crystalline purity of Grace Davidson’s soprano is breathtaking.  She also takes on the speaking role of Elizabeth Pepys – Samuel’s wife from around age 14 until she died of typhoid aged 29.  Although Pepys commissioned prominent sculptor John Bushnell to erect an elaborate white marble bust to Elizabeth in his local church St Olave’s, and never remarried, Pepys had an occasionally strained relationship with her.  And he was just as energetic in his philandering as he was in other activities (including discourse and wine), and not above using coercion and position to gain sexual favours.  Given Pepys’ behaviour towards women, Shields and Reaves decided to give ‘my wife’ – Elizabeth – a voice in the show to highlight this less savoury aspect of him.  It would bear even more of Elizabeth’s voice.

Incendiary is riveting, epic entertainment – an absolute joy from first to last.  It’s an ingenious concept to start with, artfully moulded into a witty and intoxicating stage show of words and music, and brilliantly performed on the night.  I thoroughly enjoyed absorbing more knowledge of seventeenth century history in 2 hours than in several years of school history classes…    

Cambridge Arts Theatre, Cambridge – Wednesday 7 October 2026

Reviewed by Steph Lott

5*****

London City Ballet‘s mixed bill at Cambridge Arts Theatre offers audiences a compelling bridge between classical heritage and modern contemporary movement. Four very different pieces—ranging from playful classicism to profound meditations on mortality—showcased the breadth of ballet and the extraordinary fragility and strength of these remarkable dancers.

The programme varies depending on which performance you attend, but this is what I saw.

Mephisto Waltz Ashley Page’s “Mephisto Waltz” opened the performance with exactly what I associate with ballet: graceful, playful movement, perfectly complementing Johann Strauss II’s music. The dancers moved with such elegance, and beautiful costumes added to the sense of joy. It was accessible, charming, and a wonderful way to begin the programme.

Soon Tasha Chu’s “Soon” presented a complete emotional shift. This intimate duet between Sahel Flora-Pascual and Siméon Sorange-Félicité felt like witnessing something intensely private. Opening with a sombre couple standing before a figure in a white coat—a doctor? —who promptly leaves the stage, the piece captures the anticipation of grief. Set to Sam Robinson and Gavin Bryars’ haunting “Jesus’ blood never failed me yet,” the couple wrap themselves around each other, as they digest the information just imparted. The strategic lighting and brown, shadowed staging create an atmosphere of introspection. Like the evening’s other contemporary pieces, it profoundly affects the viewer.

Quiet City Jerome Robbins’ “Quiet City” deepened this meditative feeling. Set to Aaron Copland’s melancholic 1940 score, this work—created in 1986 in memory of New York City Ballet dancer Joseph Duell—features a central male figure accompanied by two men (Joseph Taylor, supported by Samuel Barzaghi and Arthur Wille) and watched over by nine mourners. Robbins’ polished classical choreography evokes a stately, reverential farewell. Taylor gracefully moves through searching, yearning sequences while beautiful shapes and poignant moments punctuate this soulful work. Another profoundly affecting piece suggesting a bridge between life and death.

Firebird Glen Tetley’s “Firebird”, set to Stravinsky’s iconic score, was the evening’s showstopper. Tetley created a contemporary twist to this classical work which is perfectly performed by this cast. Ellie Young lights up the stage as the Firebird, dance flowing from her strong and impossibly flexible form. It is impossible to take your eyes off her. Her duets with Ivan (Joseph Taylor) crackle with chemistry and genuine connection. Arthur Henderson is suitably creepy as Kotschei, the threatening patriarch.

Olivier Award-winning designer John MacFarlane’s revived costumes for this piece are stunning: from Kotschei’s skeletal, unsettling form to the Firebird’s vibrant red, yellow, and orange streaks. Behind them, a projected backdrop shifts imperceptibly through bruised blues, greys, and muted autumnal tones. This adds to the unsettled atmosphere of this piece.

Throughout, I was struck by how ballet dancers embody a paradox: simultaneously delicate and extraordinarily strong. This programme brilliantly showcased that duality. Definitely go and see London City Ballet if you get the chance. This is the second time I have seen them at the Cambridge Arts Theatre and I am so pleased for them that their revival is going so brilliantly.

Curve Theatre – Until 10th October 2026

Reviewed by Amarjeet Singh

3***

With a new musical, you generally know what you’re getting. In the case of Heathers the Musical, that means huge songs, teenage angst, dark humour and a story that has built a fiercely loyal fanbase. It’s a blockbuster of a musical, driven by a sharp script and a score packed with memorable numbers.

This production is certainly energetic. From the moment Beautiful explodes onto the stage, Westerberg High is brought to life in a riot of colour, movement and attitude. Andy Fickman’s direction keeps the pace high, while Gary Lloyd’s choreography ensures there is rarely a still moment. Combined with David Shields’ vibrant design, Ben Cracknell’s punchy lighting and Dan Samson’s crisp sound design, the show looks and sounds fantastic.

Kevin Murphy and Laurence O’Keefe’s adaptation remains the show’s greatest strength. Following Veronica Sawyer’s rise through Westerberg High’s pecking order and her increasingly toxic relationship with JD, the story combines biting humour with some surprisingly uncomfortable themes. Bullying, suicide and the need to belong all sit beneath the surface, giving the show more substance than its candy-coloured exterior initially suggests.

The score sounds superb throughout, with Seventeen, Our Love Is God, Dead Girl Walking and Kindergarten Boyfriend all receiving the powerful treatment they deserve.

There is no question this company is talented. Unfortunately, some of the character choices stop the production from reaching the heights this material is capable of.

As Veronica Sawyer, Gerardine Sacdalan possesses an undeniably impressive voice, but the characterisation feels strangely at odds with the role. Veronica repeatedly flits between simpering soprano and overexcited toddler, stripping away much of the sarcasm, intelligence and cynical wit that defines her. The performance often feels affected and, as a result, several important story beats fail to land with the emotional impact they need. Musically elongated, almost operatic phrasing frequently jars against a character who should feel sharp, quick and grounded.

A similar issue extends to Louis Hearsey’s JD. While the vocals are strong, the interpretation feels peculiar. The constant twitching, jerking and pulling at clothing becomes distracting, leaving us with a JD who feels more agitated than dangerous. Missing is the dark charisma and wounded magnetism that makes the character such a compelling presence and makes Veronica’s attraction to him believable.

Elsewhere, the production finds stronger footing with the supporting characters. Liberty Stottor captures Heather Chandler’s confidence and cruelty well, while Lou

Henry brings warmth and vulnerability to Heather McNamara, particularly during Lifeboat. Jessica Ibadin never feels entirely comfortable as Heather Duke. Veronica Carabai wins over the audience as Ms Fleming, particularly through some excellent ad-libbing and a hilarious exchange with an audience member. Sophie Manners is a likeable Martha and brings a sincere emotional quality to Kindergarten Boyfriend without pushing the sentiment too far.

There is still plenty to enjoy here. The cast throw themselves into the material, the ensemble maintain the show’s momentum throughout, and the songs remain among musical theatre’s most entertaining. Yet Heathers lives and dies by its central relationship, and when Veronica and JD fail to fully convince, the show’s emotional core suffers. Visually vibrant, musically strong and overflowing with energy, this is still an enjoyable evening of theatre. However, some baffling performance choices prevent it from becoming the knockout punch that Heathers the Musical can and should be.