THE KIT KAT CLUB

PRESENTS

MATT WILLIS

IN CONVERSATION WITH

BRYONY GORDON

FOR ONE NIGHT ONLY, SUNDAY 4 OCTOBER

TICKETS ON SALE NOW

Join BRIT award winner, actor, presenter and celebrated Emcee in Cabaret, Matt Willis, as he returns to the Kit Kat Club for an intimate one-night-only event at 5.00pm on Sunday 4 October. Matt will be in conversation with award-winning journalist and Sunday Times bestselling author Bryony Gordon, marking the release of his debut memoir, Mending: Busted, Breaking and Getting Better, a personal and universal story of rock bottom, recovery and how to get there.

Tickets are on sale now at: www.atgtickets.com/shows/kit-kat-club-presents-in-conversation-with-matt-willis/kit-kat-club-at-the-playhouse/

Mending: Busted, Breaking and Getting Better is Willis’ debut memoir, sharing his story from a vulnerable start on a Surrey council estate, via stage school and finding his tribe, through relationships (good and bad), parenthood, huge success, rock bottom, to finally finding a way back to who he truly is. But it’s not your typical memoir. It’s also a story of how to recover: a roadmap of resilience and hope that shows that it’s not being fixed that’s the goal, it’s mending.

Join Matt in the Kit Kat Club for an unmissable night of honesty, hope and healing. Be amongst the very first to hear his story first, live and in his own words.

Bryony Gordon is an award-winning journalist, author and mental health campaigner. Currently, Bryony writes a weekly Daily Mail column, having previously written for the Telegraph for 24 years. In May 2025, Bryony was awarded Tabloid Columnist of the Year at the Press Awards. Bryony has penned six Sunday Times Bestselling books, two of which were #1 Sunday Times Bestsellers: “Mad Girl” and “You Got This”. She regularly features as a panellist on ITV’s Lorraine and This Morning. Additionally, Bryony hosted 2 top podcasts, The Life of Bryony and Mad World, which included an interview with Prince Harry. 

In 2017, she won the Mind Making A Difference Award for her work in changing the perception of mental health in the media. In 2019 she was made Mental Health Advocate of the Year at the Stylist Remarkable Women Awards. In 2020 she won the Journalist’s Charity Special Award for her writing about mental health, and in 2023 she was given the President’s Medal by the Royal College of Psychiatrists. For the last decade, Bryony was at the helm of the peer support group she founded, Mental Health Mates. Bryony regularly campaigns for body positivity and has run the London Marathon, three times in her underwear. Most recently, Bryony has enjoyed sharing her fiercely funny and first novel, People Pleaser

The Questors Theatre Ealing – until 26 September 2026

Reviewed by Michael Linane

3***

It is always difficult to review plays by Harold Pinter without giving away too much of the plots. “What plots?” you might ask as it is sometimes difficult to understand exactly what is going on between the characters on stage in front of you – such is the dichotomy of watching a play by Pinter.

The Lover and A Slight Ache is a double bill of plays that might feature the same characters at different points in their lives or it might not. They certainly have different names in each play but could so easily be the same people in the same marriage that is being portrayed before us.

To make matters even more confusing The Lover has two different casts performing on different evenings. One cast is younger than the other and each cast looks at the marriage from different perspectives – one from the point of view of the wife, the other of the husband. This review is of the younger cast.

It was originally written for television but subsequently performed on stage. It’s a play that contrasts bourgeois domesticity with sexual yearning.

Harry Roebuck plays Richard and Catherine Luff is Sarah – who appear to be an ordinary middle-class couple. Their calm discussion about Sarah’s lover initially suggests that their marriage lacks emotional attachment or that they have accepted an unconventional lifestyle. However, a later revelation completely changes this impression. The audience realizes that the couple has created an imaginative arrangement to preserve excitement and passion within their marriage. Pinter suggests that long-term relationships often require creativity and mutual understanding rather than merely following traditional expectations.

The play also examines the contrast between routine and excitement. Everyday married life is presented as orderly, predictable, and stable, while something else in this marriage introduces mystery, desire, and anticipation.

A significant strength of the play lies in its use of dialogue. The conversations appear simple and natural, yet they contain hidden meanings that only become clear as the story progresses. Pinter avoids lengthy explanations, allowing pauses, questions, and seemingly ordinary remarks to build suspense. The audience must pay close attention because every exchange contributes to the gradual revelation of the truth. This understated style encourages active participation and interpretation rather than providing immediate answers. As the dialogue continues, subtle hints suggest that appearances may be misleading.

The play also contains an effective blend of humour and seriousness. The calm conversation about adultery is initially amusing because it defies ordinary expectations. However, beneath this humour lies a serious examination of loneliness, desire, trust, and emotional fulfilment. Pinter balances these contrasting tones skilfully, ensuring that the play remains both entertaining and meaningful.

The setting contributes significantly to the play’s impact. The entire action takes place in the living room of an ordinary suburban house. This familiar domestic environment emphasizes that extraordinary emotional experiences can exist within ordinary lives. The simplicity of the setting keeps the audience focused on the characters and their conversations rather than on external events or elaborate stage effects.

The play’s language reflects Pinter’s distinctive dramatic style. The dialogue is concise, conversational, and often indirect. Important ideas are suggested rather than openly stated, allowing silence and implication to carry as much meaning as spoken words. This economical use of language creates tension and invites the audience to interpret the deeper significance of the characters’ exchanges.

The conclusion is deliberately open-ended yet satisfying.

In conclusion, The Lover is a masterfully constructed one-act play that explores marriage, identity, imagination, and emotional fulfilment through a deceptively simple story. Its realistic setting, carefully crafted dialogue, gradual revelation, and psychologically rich characters make it one of Harold Pinter’s most memorable dramatic works.

A Slight Ache is a one-act play first written for radio. It blends absurdist theatre with Pinter’s trademark “comedy of menace.” On the surface, it tells the story of Edward and Flora, a middle-class couple whose quiet domestic life is disturbed by the presence of a mysterious match seller outside their home. Yet beneath this simple setup, the play explores themes of aging, repression, desire, identity, and mortality.

Edward’s obsession with the old match seller reflects his fear of growing old and dying.

The match seller embodies decay, silence, and mortality—an unavoidable reality that Edward cannot confront. The match seller’s silence contrasts with Edward’s verbosity. Pinter suggests that silence may carry greater power than speech; Edward’s words fail to mask his vulnerability, while the match seller’s silence dominates the space. Edward’s aggressive questioning masks insecurity about his waning virility and authority. Flora’s attraction to the match seller further emasculates Edward, reversing traditional gender roles. Flora’s tenderness toward the match seller reveals her unfulfilled desires and dissatisfaction with Edward. Edward represses his fears and sexuality until they overwhelm him. The match seller is never explained—he may be a real figure, a projection of Edward’s psyche, or even a personification of death itself. His ambiguity is the source of both fear and fascination.

Wendy Megeney as Flora and David Hovatter as Edward give performances of such perfect nuance that they are worthy of gracing any West End stage and Iain Reid as the silent match seller is both menacing and confusing at the same time.

The set by Carla Evans works well for both plays even though they are set twenty years apart.

This is a double bill that will most certainly have you leaving the theatre wondering just what exactly you have just seen. Pinter makes nothing absolutely clear and it is up to the audience to decide exactly what is going on in front of you. If you like to be challenged by what you are watching these plays are most definitely for you. As I heard someone say as I left the theatre, “I haven’t a clue what it was all about but it was very good.”

WICKED WELCOMES 14 MILLIONTH VISITOR TO LONDON’S APOLLO VICTORIA THEATRE

AHEAD OF 20^TH ANNIVERSARY

WEEKEND CELEBRATIONS

Long-running West End Musical Hosted Pablo and Brenda Ernst, Visiting London From Arizona For Pablo’s Birthday

www.WickedTheMusical.co.uk

WICKED, the West End stage musical phenomenon that tells the incredible untold story of the Witches of Oz, this week (Wednesday 23 September 2026), welcomed its 14 millionth visitor to London’s Apollo Victoria Theatre, ahead of celebrations for its 20^th anniversary this weekend. Pablo and Brenda Ernst, visitors from Arizona, are on holiday in London and attended the performance, the production’s 7784th in its West End home, to celebrate an event of their own – Pablo’s birthday. They were delighted by the birthday surprise and opportunity to meet the cast.

The current London company stars Emma Kingston (Elphaba), Zizi Strallen (Glinda), Jordan Litz (Fiyero), Claire Machin (Madame Morrible), Michael Matus (The Wizard), Ross Carpenter (Boq), Yara Fabricante (Nessarose), David McKechnie (Doctor Dillamond), Laura Emmitt (Alternate Elphaba), Lydia Gerrard (Standby for Glinda), Leo Abad, Iroy Abesamis, Elizabeth Armstrong, Steph Asamoah, Meg Astin, Rebecca Bowden, Shaun Chambers, Erin Gisele Chapman, Lauren Chia, Charles Croysdill, Oraine Frater, Emily Goodenough, Katy Hanna, Nat Ingham, Samuel John-Humphreys, Holly Lawrence, Jemima Loddy, Ellie Ann Lowe, Jamel Matthias, Marcus May, Conor O’Hara, Tom Oliver, Abbie Quinnen, Harry Robinson, Jeanie Ryan, Jessica Saisang-Rowe, Jonah Sercombe, Chris Tarsey, Hannah Taylor and Karen Wilkinson.

Wicked celebrates its landmark 20^th Anniversary in its Apollo Victoria Theatre home on Sunday 27 September 2026, and the company will lead celebrations over the anniversary weekend.

SATURDAY 26 SEPTEMBER 2:30PM ‘PINK’ PERFORMANCE

“Let’s have a celebration the Glinda way!”

A celebration of Glinda for Wicked fans, including a Wicked20 commemorative programme and “Pink” gift bag for all ticketholders, with special Glinda costume displays throughout the theatre.

SATURDAY 26 SEPTEMBER 7:30PM ‘GREEN’ PERFORMANCE

“A celebration throughout Oz that’s all to do with me!”

A celebration of Elphaba for Wicked fans including a Wicked20 commemorative programme, and “Green” gift bag for all ticketholders, with special Elphaba costume displays throughout the theatre.

SUNDAY 27 SEPTEMBER GALA PERFORMANCE 2.30pm

“Oh what a celebration we’ll have today!”

All ticket holders will receive a Wicked20 commemorative programme and complimentary gift bag to celebrate Wicked’s 20th Anniversary in London.

Stephen Schwartz and Winnie Holzman’s celebrated stage musical is based on the acclaimed novel by Gregory Maguire and imagines a beguiling backstory and future possibilities to the lives of L. Frank Baum’s beloved characters from The Wonderful Wizard of Oz. Wicked reveals the decisions and events that shape the destinies of two unlikely university friends on their journey to becoming ‘Glinda The Good’ and the ‘Wicked Witch of the West’.

Wicked has music and lyrics by multi-Oscar® and Grammy® Award winner Stephen Schwartz (Godspell, Pippin, The Prince of Egypt, Disney’s Pocahontas, The Hunchback of Notre Dame and Enchanted). It is based on the multimillion-copy best-selling novel Wicked: The Life and Times of the Wicked Witch of the West by Gregory Maguire and written by Emmy® and Tony Award® nominee Winnie Holzman (creator of the landmark American television series ‘My So-Called Life’). Musical staging is by Tony Award® winner Wayne Cilento with direction by three-time Tony Award® winner Joe Mantello.

Stephen Schwartz and Winnie Holzman collaborated on the blockbuster two-part film version of WICKED. WICKED opened on November 22, 2024, and is the highest-grossing film based on a Broadway musical in history. The second film, WICKED: FOR GOOD, opened on November 21, 2025, and is currently the third highest-grossing film based on a Broadway musical. Both films, starring Cynthia Erivo and Ariana Grande, were directed by Jon M. Chu and produced by Marc Platt and David Stone.

The stage musical Wicked is produced by Marc Platt, Universal Stage Productions, The Araca Group, Jon B. Platt, and David Stone.

*Jordan Litz is appearing with the support of UK Equity, incorporating the Variety Artistes’ Federation, pursuant to an exchange program between American Equity and UK Equity.

The Apollo Victoria Theatre, Wilton Road, London, SW1V 1LG

Official UK website: www.WickedTheMusical.co.uk

Education programme: www.WickedActiveLearning.co.uk

TikTok: @WickedUK  |  Facebook: /WickedUK  |  Instagram: @WickedUK | ‘X’ (Twitter): @WickedUK

Arena Theatre, Wolverhampton – Thursday 24th September 2026

Reviewed by Nadia Dodd

4****

For a three-person production, Tell Me Where It Hurts was gripping from start to finish.

I had never heard of PMDD (Premenstrual Dysphoric Disorder) before this evening. After watching the play, I came away with a much greater understanding of what it is and how much it can affect lives.

Written by Tayla Kenyon and presented by Teepee Productions and Joe Brown, Tell Me Where It Hurts is a funny, touching and very human comedy-drama. It explores PMDD, mental health, relationships and, most importantly, what it feels like when nobody seems to be listening.

At the centre of the story is Chrissy, (Stephanie Booth) a dedicated drama teacher trying to keep her work, her relationships and her emotions under control. Alongside her is Annie, (Tayla Kenyon) a talented but troubled student hoping to win a place at a prestigious performing arts school. Chrissy’s husband Nathan (James Scofield), we see how difficult it is for him to watch someone he loves struggle while not always understanding what she is going through.

You can sense the effect Chrissy’s PMDD has on their relationship too. It isn’t easy for either of them. Nathan is trying to understand something that he cannot see or fully experience himself, while Chrissy is trying to cope with something that can completely overwhelm her.

What I found particularly touching was that Nathan’s character shows that PMDD doesn’t just affect the person living with it. It can affect partners, families and the people who are trying their best to help.

As their stories unfold, we see two women who, in very different ways, are struggling to be heard and understood.

What I really liked about this production is that it tackles such a serious subject without becoming a lecture. There is plenty of humour, and often it comes just when you need it.

The funny moments don’t take away from the more difficult parts of the story. Instead, they make the characters feel real. After all, that’s life. You can be having the worst day imaginable and still find yourself laughing at something completely ridiculous.

The three performers bring warmth and vulnerability to their roles. Chrissy’s experiences are particularly affecting. We see her trying to explain that something isn’t right, while struggling to get other people to understand what she is going through.

The play also highlights how easily women’s health problems can be dismissed or misunderstood.

What makes the story even more powerful is that it doesn’t give us perfect characters with easy answers. They are complicated, emotional, sometimes frustrating and occasionally make mistakes — in other words, they are human!

There are moments that hurt, moments that make you laugh and moments that make you sit quietly and think.

By the end, I found myself thinking about how important it is to listen a little more carefully, judge a little less quickly and perhaps ask someone we care about a very simple question:

“Are you actually okay?”

Tell Me Where It Hurts doesn’t promise easy answers. What it does offer is empathy, humour and a reminder that sometimes, simply being heard can be the beginning of feeling better.

A Sheffield Theatres and Evolution Productions co-production

RITA SIMONS JOINS THE CAST OF CINDERELLA
AT THE LYCEUM

Written and directed by Paul Hendy

Saturday 28 November 2026 – Sunday 3 January 2027

Sheffield Theatres and Evolution Productions announce Rita Simons, who completes the cast of Cinderella at the Lyceum Theatre this Christmas. Best known for her award-winning role as Roxy Mitchell in EastEnders, and in recent years as Marie in Hollyoaks, Rita has performed across both the screen and stage, starring in West End musicalsincluding Everybody’s Talking About Jamie and Hairspray.

Rita joins Strictly Champion Ore Oduba, CBeebies superstar Andy Day and the legendary Damian Williams who returns for his nineteenth year as Sheffield Theatres’ beloved, award-winning Dame. Also in the cast is seasoned pantomime actor Matt Daines, returning Yorkshire comic Joey Wilby, and Bibi Simpson in the titular role of Cinderella.

This year’s Lyceum pantomime will be presented by the same team behind smash-hit and award-winning pantos Snow White and Aladdin. Written and directed by Paul Hendy and produced by Evolution Productions, with James Harrison returning as Musical Director (Winner of Best Contribution to Music at the UK Pantomime Awards 2026), Cinderella promises theatrical thrills, fabulous music and hilarious laugh-out-loud jokes.

Cinderella opens on Saturday 28 November 2026 and runs until Sunday 3 January 2027 at the Lyceum. Tickets can be booked through the Box Office in person, over the phone on 0114 249 6000 or at sheffieldtheatres.co.uk.

THE RUNWAY RECRUITMENT PROCESS IS COMPLETE FOR

RUNNING AT THE DOMINION THEATRE 
UNTIL 25 SEPTEMBER 2027

The Runway Office recruitment drive is complete, and the full fashion team are assembled for The Devil Wears Prada The Musical, joining the previously announced Teri Hatcher (Cabaret; The Adam’s Family) and Matt Henry, MBE (Kinky Boots; Drifters Girl) as the formidable Miranda Priestly and her right-hand man, Nigel, respectively.

The first Runway in-house promotion goes to Jenna Bonner (Tina The Musical), who moves from first cover, to THE Miranda girl, Andy Sachs, with the second going to Dean Makowski-Clayton (Marie Curie, A New Musical), who previously played the role of Irv Ravitz and will now swap his baseball cap for a chef’s hat as he steps into the role of Andy’s doting boyfriend Nate.

Taila Halford (Shucked) will continue as the first assistant Emily and Dominic Andersen (Heathers The Musical) will also continue to portray the role of Christian. 

The ensemble are: Jak Allen-Anderson, Georgia Aspinall, Anta Bah, Evonnee Bentley-Holder, Teagan Denham, Russell Dickson, Eve Drysdale, Selina Hamilton, Helen Hill, Kimberley Hoyle, Emma Johnson, Justin-Lee Jones, Mark Lamb, Ethan Le Phong, Zixi Li, Shannon Molloy, Jacob Morrish, Nay-Nay, Eddylia Osborne, David Peter Brown, Theo UK Rose, João Silva, Ellie Stevens, Maisy Stones, Kayleigh Thadani, Hannah Victoria-Bennett andAlex Woodward.

Debbie Kurup (The Body Guard; The Cher Show) will continue as first standby Miranda Priestly and will play the role full time from 21 September – 20 October 2026, until Teri Hatcher steps into the shoes.

The Devil Wears Prada The Musical continues to redefine what audiences can expect from a musical spectacular, with Tony Award-winning costume designer Gregg Barnes at the heart of the Runway world. Having designed some of Broadway’s most iconic costumes for productions such as Aladdin, Kinky Boots and Legally Blonde, Barnes has brought his eye for glamour and storytelling to The Devil Wears Prada, with the fashion in the show is a statement in its own right. 

Along with hundreds of handmade pieces meticulously crafted for the performers, and expertly sourced vintage and second-hand garments, the production also features iconic designer labels including Dior, Vivienne Westwood, Alexander McQueen and Balmain. Renowned British footwear brand Terry de Havilland has supplied more than 80 pairs of shoes for the show, with the designer known for creating shoes for Elton John. Miranda Priestly and Andy Sachs alone undergo an impressive 11 costume changes throughout the performance, helping bring the fashion world of the story vividly to life. During the curtain call, 680 grams of confetti is used in every performance, amounting to 5.4 kilograms each week, and, on average, the Deputy Stage Manager calls a cue every six seconds. 

Opening in the West End in December 2024, The Devil Wears Prada The Musical has become the fastest‑selling show in the Dominion Theatre’s history, selling more than 1.3 million tickets to date. The show celebrated a major milestone on 23 September, when it reached its 800th performance.

The groundbreaking musical continues to take the West End by storm having also released its first original cast recording last year, available HERE, which includes two unheard Elton John original demos and charted as the #1 new release on the compilations chart. 

The Devil Wears Prada The Musical has anaward-winning creative team led by Elton John (Billy Elliot: The Musical, The Lion King), new direction & choreography by Jerry Mitchell (Kinky Boots, Legally Blonde, Pretty Woman, Hairspray), lyrics by singer-songwriter Shaina Taub (Suffs) and Mark Sonnenblick (Theatre Camp), book by Kate Wetherhead (Ever After, Submissions Only), set design by Tim Hatley (Life of Pi, Back to the Future), costume design by Gregg Barnes (Some Like It Hot, Legally Blonde), lighting design by Bruno Poet (The Tina Turner Musical, Frankenstein), sound design by Gareth Owen (Come From Away, & Juliet) and casting by Jill Green CDG. 

The production opened at Theatre Royal Plymouth prior to arriving in the West End from 06 July – 17 August 2024.

Fresh out of college, aspiring journalist Andy scores a job at the prestigious Runway magazine working for fashion’s most powerful and terrifying icon — editor-in-chief Miranda Priestly. Sacrificing her personal life to meet Miranda’s impossible demands, Andy finds herself seduced by the glamorous world she once despised. How far will she go to succeed… and will it be worth selling her soul to get what she’s always wanted?

The musical is based on Lauren Weisberger‘s best-selling 2003 novel and the 2006 blockbuster film from Twentieth Century Studios which went on to gross $326 million worldwide and received two Academy Award nominations. The sequel, The Devil Wears Prada 2 was released on 01 May 2026 with its original leading cast, Meryl Streep, Anne Hathaway, Emily Blunt and Stanley Tucci all reprising their roles. 

Hilariously fun and fabulously stylish, The Devil Wears Prada tells an inspiring story about discovering what kind of person you truly want to be. Choose your outfit carefully and get ready for a musical that’s hautter than hell!

The Devil Wears Prada The Musical is produced by four-time Tony Award winner Kevin McCollum (Mrs. Doubtfire, In the Heights, Avenue Q and Rent), David Furnish (Billy Elliot: The Musical) and Jamie Wilson (Into The Woods, Mrs Doubtfire, Two Strangers)as a co-production with Theatre Royal Plymouth and presented by special arrangement with Buena Vista Theatrical.

EXTENDS BOOKING AT ABBA ARENA

UNTIL 28 JUNE 2027

WITH 170,000 NEW TICKETS RELEASED

ABBA VOYAGE WILL CELEBRATE ITS FIFTH ANNIVERSARY IN MAY 2027

ABBA Voyage is delighted to announce that booking at ABBA Arena, London has been extended until 28 June 2027. 170,000 tickets for the world’s first concert experience of its kind have been released in this new booking period, during which the production will celebrate its fifth anniversary in May 2027. Tickets start from £40.50 and are on sale now at abbavoyage.com 

ABBA Voyage is a unique full-scale concert experience, blurring the lines between physical and digital to bring one of the biggest pop acts of all time back to the stage. The production reunites Agnetha Fältskog, Björn Ulvaeus, Benny Andersson and Anni-Frid Lyngstad as digital versions of themselves as they appeared at their peak, performing all of their iconic hits on stage alongside a live ten-piece band inside the purpose-built ABBA Arena.

Running at approximately 100 minutes with no interval, ABBA Voyage blends state-of-the-art visual technology with a live band for a show unlike anything else in the world. The award-winning production has been seen by over 4 million people since opening in May 2022 at ABBA Arena, a bespoke 3,000-capacity venue in Queen Elizabeth Olympic Park, East London.

ABBA Voyage plays seven concerts a week including weekend matinees. Additional performances continue to be added regularly to meet demand and £35 tickets for 16–25 year olds are added every month.

In May 2025, ABBA Voyage marked its third London anniversary by expanding its setlist for the first time, adding additional songs including ‘Super Trouper’, ‘The Name of the Game’, ‘Money, Money, Money’ and ‘Take a Chance on Me’.

ABBA Voyage is a concert experience created by Agnetha Fältskog, Björn Ulvaeus, Benny Andersson and Anni-Frid Lyngstad. The concert is directed by Baillie Walsh and produced by Svana Gisla and Ludvig Andersson for Goldonder AB, a company founded by Conni Jonsson, Björn Ulvaeus and Benny Andersson.

The Hope Theatre, Islington – until 3rd October 2026

Reviewed by Bobbi Fenton

5*****

GRIEFCASE explores the complicated and often unpredictable nature of grief through the story of G (Ru Lawrence), who returns to his late mother’s flat after her death. What follows is an emotional journey through memories, guilt, anger, love and the difficulty of letting go.

From the very beginning, the production establishes the complicated relationship between G and his mother. We see moments of happiness and affection alongside arguments, frustration and guilt, creating a character who is forced to confront not only the loss of his mother, but also the things left unsaid between them.

One of the most striking aspects of GRIEFCASE is its use of physical theatre. The production’s use of sound and movement is incredibly effective during its more emotional moments. These moments never feel like grief is being reduced to a single emotion. Instead, the audience is shown how messy, contradictory and deeply personal it can be. Rather than relying solely on dialogue to communicate G’s emotions, movement becomes a language of its own. Non-naturalistic movement sequences, exaggerated physicality and moments where G appears controlled by his grief, represented by Jack St Leger with marionette-like movements, effectively demonstrate the ways grief can take control of a person. The physicality of the production gives the audience an insight into emotions that G himself often struggles to express.

The show also refuses to portray grief as a straightforward process. Instead, elements of the five stages of grief appear throughout the story: denial as G attempts to convince those around him that he is coping, anger emerging through reliving conflicts with his mum (Collete Hodson) or his friend Lucy (Poppy Janisch), bargaining appearing through his attempts to relive good memories he had with his mum, depression from feeling guilt and during his eventual breakdown, and finally acceptance during the final scene, his mum’s funeral, which follows a deeply moving conversation between himself and his mum.

There are moments of genuine humour amongst the sadness, which feels particularly important. As G puts it, after well-intentioned but awkward friend Garry (Jack St Leger) makes an inappropriate joke, “If you don’t laugh, you’ll cry,”. A night out with friends, an increasingly chaotic karaoke session and moments of silliness provide some much-needed lightness, while also showing the different ways people attempt to cope with loss.

The relationships surrounding G are equally important. G struggles with the feeling that the people around him are simultaneously holding him together and holding him back. His guilt over not calling or visiting his mother more often becomes another layer of his grief, particularly as he reflects on both the good and difficult aspects of their relationship.

Perhaps what makes GRIEFCASE so effective is that it doesn’t suggest there is a correct way to grieve. G laughs, becomes angry, tries to distract himself, remembers the good times, dwells on the bad ones and eventually begins to accept that his mother is gone. The result is an honest and deeply affecting portrayal of loss.

On a more personal note, I lost my own mum two and a half years ago, and this play is by far the most accurate representation of grief that I have ever had the privilege of seeing. Although my relationship with my mum was somewhat different from G’s relationship with his own mother, the way the play portrayed grief felt incredibly familiar to me. It captured so many of the emotions, thoughts and experiences that I have encountered in my own grief, making it an extraordinarily realistic and powerful depiction.

GRIEFCASE is a thoughtful exploration of what happens when someone loses a person who was simultaneously a source of love, frustration, comfort and pain. Through physical theatre, humour and moments of raw vulnerability, it creates a powerful reminder that grief is rarely as simple as saying goodbye.

Theatre Royal, Nottingham – until Saturday 26 September 2026

Reviewed by Amy C

5*****

I went to see Matthew Bourne’s The Car Man at Nottingham Theatre Royal expecting an entertaining evening of dance, but I came away feeling like I’d experienced something much more dramatic and exciting. I have to admit that one of the things I enjoyed most was just how steamy and sensual the production was. It certainly wasn’t your typical ballet! Classic Bourne!

The Car Man takes inspiration from the story of Carmen but transports it to a small American town in the 1960s. The characters are on stage when you enter the auditorium, there is a real sense that something is about to happen. The atmosphere is gritty, passionate and slightly dangerous, and that tension carries through the whole performance.

The dancing had me sat open-mouthed. I’m not someone who would claim to know anything about dance, but I found it incredibly easy to get caught up in the story. The performers ooze sensuality, and there is so much chemistry between the characters that you sometimes forget you’re watching a dance production.

And yes, it is very steamy. There’s plenty of flirtation, desire and sexual tension, and some of the scenes are seriously sultry. There were definitely moments where I thought, “I’m glad I’m not watching this with Mum!”

Luca, played by local lad Harrison Dowzell and Lana (Ashley Shaw) oozed cool and sex appeal. The whole cast is exceptional and there’s so much movement on stage that I struggled to keep up! I swear I was as exhausted as the dancers when the interval came.

The score is instantly recognisable and deadly serious. Bourne says it was the score that attracted him to the story in the first place, 26 years ago. He wanted to use the music to tell a different story – a ‘dance thriller’, full of plot twists and suspense.

There are moments of humour alongside the darker scenes, which gives the production some much-needed lightness and even the whoops and cheers from the characters provide moments of relief.

I also really enjoyed the set and costumes. They help create that 1960s small-town atmosphere. There is always something happening, whether it’s a passionate encounter, a tense confrontation or a group scene full of energy.

What really impressed me was how accessible it felt. You don’t need to be a ballet expert to enjoy The Car Man. The storytelling is clear, the characters are memorable and the emotions come across incredibly strongly.

Overall, I absolutely loved it. It was dramatic, sexy, energetic and at times quite shocking, with fabulous dancing of course. If you enjoy a story filled with passion, jealousy, desire and a bit of danger, I’d recommend giving The Car Man a try.

Five stars from me — especially for the dancing, the drama and all that deliciously steamy chemistry!

NICA BURNS

Presents

The Sheffield Theatres Production of

FULL CAST ANNOUNCED FOR
10TH ANNIVERSARY UK TOUR OF

EVERYBODY’S TALKING ABOUT JAMIE

WITH KELLE BRYAN AND JOANNE CLIFTON AS MISS HEDGE

 AND DIVINA DE CAMPO AS HUGO/LOCO CHANELLE

TOURING FROM JANUARY 2027

Nica Burns, producer of the smash-hit critically acclaimed musical Everybody’s Talking About Jamie is thrilled to announce the full cast for the 10th Anniversary UK Tour commencing in January 2027.

Joining the previously announced Ashcon Rahmani as Jamie and Rebecca Trehearn as his mum Margaret New, Kelle Bryan will play the role of Miss Hedge from Leeds to Southampton and Joanne Clifton will play Miss Hedge in Cheltenham through until Newcastle, with Divina De Campo playing the role of Hugo/Loco Chanelle.

Also joining the 10th Anniversary UK Tour cast will be Natasha Lewis (Ray), Mariam Pope (Pritti), Matthew Cavan (Tray Sophisticay), Daniel Jacob (Sandra Bollock), Jenson Steele (Laika Virgin), William Hazell (Dad), Kyle Dick (Dean), Ethan Casey-Clothier (Levi), Ellie Eames (Vicki), Uzuazo O’David (Cy), Grace Porter (Bex), Callum Saddler (Young Loco/1st Cover Jamie), Fin Scott (Mickey), Zaynab Shahid (Fatimah), Will Stevenson-Jones (Sayid), Zarina Thompson (Becca), Jáiden Lodge (Swing), Ynez Williams (Swing), and Samantha Ivey (Understudy Margaret / Miss Hedge / Ray).

Nica Burns, Producer, said: “We are delighted to announce our wonderful new stars Kelle Bryan, Joanne Clifton and Divina di Campo who join the brilliant Ashcon Rahmani (Jamie) and Rebecca Trehearn (Mum). Everybody’s Talking About Jamie has been a huge success around the world, playing to audiences from all walks of life.A brilliant, uplifting musical for all.”

Kelle Bryan, Miss Hedge (Leeds – Southampton) said: “I’m so delighted to take on this iconic musical role! Everybody’s Talking About Jamie is so relatable, relevant and heartfelt, but also fun and full of sass. I can’t wait to step into Miss Hedge’s fabulous red shoes and bring some ‘Edge to Hedge!’”

Joanne Clifton, Miss Hedge (Cheltenham – Newcastle) said: “I’m really looking forward to bringing Miss Hedge to life for our brilliant audiences! This role is a casting dream, and I can’t wait to join such a talented team of performers and makers for the show’s tenth anniversary! What an honour! Now CALM DOWN YEAR 11 and book your tickets QUICK!”

Divina De Campo, Hugo/Loco Chanelle said: “This show is so very special. Jamie’s amazing story – and the beautiful characters within – have impacted audiences world-over for a decade now. I’m excited to follow in the footsteps of some amazing past performers, and to bring Loco Chanelle into a new and glittering light.”

Following a record-breaking three-year West End residency, two sold-out UK & Ireland Tours and Amazon Studios award-winning film, the smash-hit critically acclaimed musical Everybody’s Talking About Jamie will also feature a brand-new song from Dan Gillespie Sells and Tom MacRae. The tour will open in Leeds 10 years after the original opening at the Sheffield Crucible prior to the West End, national tours and playing across the world including USA, Korea, Japan and Italy. Jamie is coming home to the UK again for possibly the last time.

The 10th Anniversary tour of Everybody’s Talking About Jamie opens at Leeds Grand Theatre on 15 January 2027 before visiting Chester, Shrewsbury, Sunderland, Edinburgh, Wolverhampton, Wycombe, Sheffield, Manchester, Wimbledon, Liverpool, Truro, Eastbourne, Glasgow, Southampton, Cheltenham, Birmingham, Aylesbury, Cardiff, Nottingham, Leicester, Oxford, Woking, Bradford, Canterbury and Newcastle.

Jamie New is sixteen and lives on a council estate in Sheffield.

Jamie doesn’t quite fit in.

Jamie is terrified about the future.

Jamie is going to be a sensation.

Supported by his brilliant loving mum (Rebecca Trehearn) and surrounded by his friends, Jamie (Ashcon Rahmani) overcomes prejudice, beats the bullies and steps out of the darkness, into the spotlight.

This ‘Funny, outrageous, touching’ (Daily Telegraph), musical sensation is to be experienced by all the family and not to be missed! With an original score of catchy pop tunes that will ‘blow the roof off the Theatre’ (Mail on Sunday) by lead singer-songwriter of The Feeling, Dan Gillespie Sells and writer Tom MacRae (Doctor Who), this ‘Sparkling coming-of-age musical’ (The Times) will have everybody talking about Jamie for years to come. Sixteen: the edge of possibility.  Time to make your dreams come true.

★★★★★
Time Out, The Stage, WhatsOnStage, The Times, Financial Times, The Independent