PLAYHOUSE THEATRE, LIVERPOOL – UNTIL   SATURDAY 7^TH MAY 2026

REVIEWED BY MIA BOWEN

4****

Last night at the Liverpool Playhouse, I encountered a theatrical experience unlike any I have seen before. Imitating the Dog’s brand-new stage adaptation of The War of the Worlds offers a thrilling and inventive retelling of H. G. Wells’s classic science fiction novel, demonstrating that even a story penned in the 19th century can resonate terrifyingly in today’s world. 

Before I entered, I truly had no idea what to expect. My previous experiences with the story had come through various mediums: Steven Spielberg’s spectacular 2005 film, the gripping 2019 BBC series, and the unforgettable musical adaptation by Jeff Wayne, which a school friend had introduced me to on the radio years ago. I recall being captivated by both the music and the narrative, though I also found it deeply unsettling. Alien invasion stories had never seemed so plausible to me before. 

As the production commenced, it took me a moment to grasp precisely what I was observing. On stage stood four actors—three clad in medical scrubs and one in hospital pyjamas—each splattered with blood. It was a striking and enigmatic introduction. However, as the elements began to align, the experience transformed into something utterly captivating. 

The story revolves around William Travers, played by Gareth Cassidy, and is narrated entirely from his viewpoint. This interpretation suggests that the events might be a fever dream triggered by Travers after a traumatic experience. Following a horse collision at an Enoch Powell rally, he suffers a heart attack and awakens in his hospital pyjamas to a world that appears to be crumbling around him. From this moment, he traverses a haunting landscape comprised of scorched corridors, abandoned underground stations, and distressed survivors.

The remaining cast members—Bonnie Baddoo, Morgan Bailey, and Amy Dunn—continuously transform into various characters while simultaneously operating cameras and creating the world around Travers in real time. The cleverness of this staging is truly impressive. 

The high-tech visuals are undoubtedly the highlight of the production. With the use of miniature environments, model landscapes, handheld cameras, and projections, the actors craft a live film that unfolds above them. Small props and meticulously choreographed camera movements combine to create vast, cinematic scenes projected for the audience. This unique blend of theatre and filmmaking occurs simultaneously, resulting in a mesmerising effect. 

What makes this production truly remarkable is its clever storytelling. The technical precision is outstanding, but it never eclipses the human drama at its core. Rather, it amplifies the feelings of confusion, fear, and awe that Travers experiences. 

By the end of the evening, I was utterly captivated. This daring and creative adaptation demonstrates that The War of the Worlds continues to thrill and chill audiences even today. 

Festival Theatre, Malvern – until 7th March 2026

Reviewed by Courie Amado Juneau

5*****

A Kinks musical, from the West End, at the incomparable Malvern Theatres… I’m all in!

As I shuffled in I could see a band on stage and a most interesting set (from Miriam Buether) – a chandelier, three sides of speakers and a drum set bearing the name The Ravens. I didn’t know The Kinks had formed from the ashes of The Ravens, so the first revelation of the night was in place.  

Alongside my first happy moment – the music was played live on stage, with the actors enhanced by musicians, unobtrusively off to one side. Tucked away they may have been, but essential nonetheless (notably Guitarist Alex Ward)!

The cast were fantastic. Bursting with youthful vigour befitting the era – and that included the older cast members too! Go-go dancers, “crowds” of screaming girls and the like all over the place (frequently spilling off the stage in every direction). It really was boisterous stuff. Apart from the Kinks band, everyone else had multiple roles, so deserve much praise! I wish I had the word-count to name everyone personally.

The Davies brothers were particularly movingly portrayed. Both actors caught the historical figures to a tee – with Danny Horn capturing Ray’s poetic angst and struggles to maintain his original voice, plus battling pressure from all sides. Meanwhile Dave (Oliver Hoare) was the perfect embodiment of sex and drugs… Hoare gave us a joyous and empathetic reading. That I genuinely cared for both brothers is a testament to both actors skill and craft. 

There were some delicious one liners involving Lennon & McCartney and their wives; along the “you wouldn’t find… with his wife”. A very knowing and humorous nod there from the writer – a certain Ray Davies, who gifted us a sparkling script!  

The songs appeared out of chronological order so as to enhance the story. So, don’t be surprised to hear Dead End Street early in the play, sooner than You Really Got Me (despite being released over 2 years later).

There’s enough stuff here to keep even the casual fan interested i.e. the tale of how they achieved the guitar fuzz sound, Top of the Pops, other bands like Beatles and The Who mentioned… And some things never change re fame (teeth and pop stars hiding being married), so lots of juicy social commentary just like the best of The Kinks catalogue. 

The show doesn’t shy away from the hard hitting (literally) elements of the band’s story, so expect to see some on stage violence either side of the interval. Nothing too bad and the placing of I’m Not Like Everybody Else was a masterstroke there!

Speaking of the music, it was all present, correct and wonderful! Days was the emotional highlight with an acapella version to die for. The encore was a rousing concert performance of a couple of favourites to send us home positively giddy. 

A rousing night with pathos, poignancy, classic tunes re-imagined, classic tunes faithful recreated, love, loss… the whole human experience, as you’d expect from England’s musical poet laureate. What can I say – they really had me!

Birmingham Hippodrome – until 7th March 2026

Reviewed by Emma Millward

5*****

Top Hat The Musical sashayed into Birmingham Hippodrome this week, bringing Hollywood glitz and glamour. Based on the classic 1935 Fred Astaire and Ginger Rogers film and adapted for the stage by Matthew White and Howard Jacques, the show first premiered in 2011 in Milton Keynes. This revival production opened at Chichester Festival Theatre in July 2025 with direction and choreography by Kathleen Marshall.

When a show starts big and bold with ‘Puttin’ on the Ritz’ as its opening number, you know you are in for a treat. We meet Broadway star Jerry Travers (Phillip Attmore), who is about to star in a new show in London. He inadvertently meets Dale Tremont (Amara Okereke) when he wakes her up with his tap dancing. What follows is a whirlwind of comic mishaps, dancing and mistaken identity.

Phillip Attmore’s Jerry is charismatic and suave, while Amara Okereke brings a sassy warmth to Dale. Their natural chemistry is apparent from their first scene together, and their dance sequences are exquisite. The supporting cast adds hilarious energy to the show. Horace Hardwick (James Hume) and his wife Madge (Emma Williams) are central to the increasingly farcical confusion as Dale mistakenly thinks Jerry is actually married to Madge. Both provide many witty, playful exchanges. James Hume showcases his great comedic timing during the scene where he is trying to hide under a bed. Alex Gibson-Giorgio shines as Alberto Beddini, an Italian fashion designer who longs to be with Dale. His over-the-top accent and mannerisms may teeter close to becoming a caricature, but Gibson-Giorgio makes him incredibly likeable. James Clyde as Bates, Horace’s valet, almost steals the whole show with his deadpan delivery of nonsensical metaphors and his many disguises including an ‘ageing but not unattractive dowager duchess’.

The production is brimming with Irving Berlin’s music and lyrics. Classics such as “Cheek to Cheek” and “Let’s Face the Music and Dance” are met with audible sighs of recognition and appreciation from the audience. The dancing throughout the production is a true highlight. Tap routines pulse with precision and energy, while sweeping ballroom sequences allow the couples to glide and spin around the huge Hippodrome stage. Yvonne Milnes and Peter McKintosh’s costume design is lavish and often pays homage to outfits from the film, such as the silver feathered gown that Dale wears. Peter McKintosh’s clever Art-Deco half-moon revolving set allows for seamless scene changes, swiftly transporting the audience from a London hotel to the canals of Venice. Tim Mitchell’s lighting design further enhances each scene, with the skyline lighting being especially beautiful.

From the moment the curtain goes up, the audience is transported back in time to a more sophisticated era full of charm, romance and impeccable style. Top Hat The Musical is a joyous celebration of the golden age of musical theatre, delivering a timeless, unforgettable evening of entertainment.

Aylesbury Waterside Theatre – until Saturday 7th March 2026

Reviewed by Rachel Clark

4****

A powerful very well presented storyline The Beekeeper of Aleppo is a novel from Christy Lefteri and adapted for the stage by Nesrin Alrefaai and Matthew Spangelr. This is a UK Productions Ltd play and a presentation of the Nottingham Playhouse production.

This is the playwrights words is ‘An attempt to tell THE Syrian refugee story’ and in my opinion they achieved it. It was seeing the story in the eye of the refugee’s and it is powerful. It is serious and intense but there is still the odd humour in it when the refugees comment how we like tea with milk and call people ‘geezers’. The NHS couldn’t register the refugees as patients as there was a typo on the paperwork – the computer won’t accept it, I think we have experienced that for ourselves!

It is a story of Nuri played by Adam Sina and Afra played by Farah Saffari and along with their son live in war torn Syria. They spend time with the Cousin – Mustafa played by Joseph Long . Mustafa is a Beekeeper Nuri becomes one. They stay in Syria as along as possible nurturing the bees until the hives are destroyed in the war and they know the bees won’t survive long without hives and it becomes too unsafe to stay there. Eventually Nuri and Farah leave to cross Europe to England and follow Mustafa who eventually ends up in Yorkshire. We follow their journey and along the way Nuri takes under his wing a boy travelling along as he has lost his parents. Afra has lost her sight – I didn’t feel her part was that strong in the play even though one of the main characters, it was more about Nuri and Mustafa as their voices projected better. Nuri was really good, word perfect, clear voice and he held your attention. Mustafa was also superb and brought some lightness to the play with some jokes/comments on how the English are portrayed. Another person that stood out to me was Princess Khumalo – she played Lucy Fisher the case worker in the UK for Nuri and his wife and also played the part as Ageliki. Dona Atallah played Mohammed the boy travelling alone and Sami – Nuri and Afra’s son (she was very good, lively , dashing around the stage).

The scenery definitely needs a mention, simplest and no changes but oh, so effective, it was like screens and they had digital effects, so it changed to be the sea, the house, greenery and at the end the screens dropped for a really effective beach scene, there were also pictures of war-torn Syria.

A great play, powerful, effective and the story they were telling came across very
well.

Mayflower Theatre, Southampton – until 7th March 2026 

Reviewed by Emma Barnes

5*****

Checking into the Mayflower Theatre this week feels like stepping into the mid-1970s. For those old enough to remember huddling around a flickering black-and-white TV set to catch the latest disaster in Torquay, John Cleese’s stage adaptation is a high-energy restoration of a comedy masterpiece.

The production cleverly stitches together three of the most beloved episodes; ‘The Hotel Inspectors’, ‘Communication Problems’, and ‘The Germans’ into a singular, escalating nightmare of farcical proportions. From the moose head falling on Basil to the missing gambling winnings, the chaos never lets up.

Replacing John Cleese as Basil was always going to be a monumental challenge,  expectations were high, yet Danny Bayne manages it with terrifying precision. He doesn’t just mimic Basil; he inhabits the man’s razor-thin patience and elastic physicality. Whether he’s attempting a nervous “lavatorial squat” to appease a guest or breaking into that infamous, goose-stepping trot, Bayne captures the manic essence of Cleese with an energy that felt fresh.

Mia Austen is equally superb as Sybil. Her machine-gun laugh and bossy tones are perfect, providing the necessary steel to Basil’s chaos. The supporting cast are a delight, particularly Hemi Yeroham, whose Manuel is a whirlwind of frantic, well-meaning bewilderment.

Liz Ascroft’s split-level set, complete with the beige-and-floral 1970s “shabby chic” and plenty of slamming doors is a masterclass in period detail that brings the hotel to life. 

To the audience’s obvious delight, every iconic catchphrase is present and the atmosphere is electric with anticipation. From Basil’s hissed “Don’t mention the war!” to Manuel’s “I know nothing,” and Sybil’s signature shrill cry of “Ba-zil!”—it is all unapologetically there. The script even retains the sharper edges that probably wouldn’t survive a modern re-write, much to the appreciation of the crowd who were often laughing in anticipation of the punchlines.

A celebration of British comedy and expertly choreographed chaos, this is a five-star trip down memory lane. 

Yvonne Arnaud – until 7^th March 2026

Reviewed by Heather Chalkley

4****

Adaptor Francis Evelyn has captured the essence of this Dickens short story and cleverly built an authentic two act play. Running for over 10 years, there is no tiredness about its delivery and dulling of suspense. Quite the opposite, the audience reaction is a testament to that with verbal exclamations and physical seat jumping!

I start with the set and special effects, because they are at the heart of building the suspense, with ghostly apparitions and perfectly timed items falling off shelves. The historical attention to detail in the late 19^th century signalman’s box, is remarkable – a home from home where many long hours are spent alone. You can feel and see the steam trains bearing down on you as the smoke-filled tunnel beside the box comes to life, created through sound effects and lighting. Ghosts were a fascination of the era, both scientifically and spiritually. Dicken’s adeptly uses this as a device to tell the tale of a guilt-ridden man, left too long alone with his own thoughts. 

Chris Walker (Signalman) is believable in his presentation as an old man, dedicated to the railway, plagued by ghostly apparitions warning him of dangers to come. Walker (Signalman) takes you with him as he faces down the strange goings on, perfectly timing his own reactions so the audience either jumps with fright or laughs! The biggest surprise is having a late night visitor that isn’t a ghost!

John Burton (Traveller) portrays a logical man that is torn between fascination, concern for the signalman and the certainty that ghosts exist. The Traveller (Burton) gives extra context to the play, both historically and in building a picture of the signalman’s life and times. Together in the signal box Burton (Traveller) presents as a worldly gentleman attempting to keep his composure whilst Walker expresses the Signalman’s impassioned fears and concerns. The signal box is full to the brim with expectation! 

If you love a good ghost story, one that grips you from the start and does not release you until the end, this is the play for you! 

The Kings Theatre, Southsea – until Saturday 7th March 2026

Reviewed by Sally Lumley

5*****

I’m not a fan of scary movies, so it was with some trepidation that I went to the Kings Theatre last night to see 2:22 A Ghost Story.

Curiosity about a show that had had multiple West End seasons and toured extensively finally got the better of me though, and I am very glad that I plucked up the courage. This is a smart, suspenseful thriller that had us gripped right to the end.

2:22 A Ghost Story, by writer Danny Robins, joins couple and new parents Jenny (Shvorne Marks) and Sam (James Bye) in their new home. Sam has just returned from a writing trip away, and Jenny has been hearing strange noises at exactly 2:22am every night in his absence.

They have invited old friend Lauren (Natalie Casey) and her new partner Ben (Grant Kilburn) to dinner and decide to wait up to see whether they can prove that there is, or isn’t, something supernatural in the house.

The dynamics between the characters feel completely authentic. Shvorne Marks is excellent as Jenny, exhausted and terrified, we feel her desperation to be believed and frustration when her word isn’t enough. James Bye is superb as her super-sceptic husband Sam, who is adamant that there is a scientific explanation for all the paranormal activity and is determined to prove it. He is condescending and unlikeable at times, and the conflict between the couple adds to the tension throughout.

Staging, sound and lighting are used to great effect in this production to continuously ramp up the tension, and we never knew whether it would be broken by a scare or a welcome comedy moment (which were well delivered by Natalie Casey and Grant Kilburn as the dinner party guests). The beauty of seeing a show like this in the theatre is the shared experience. The audience laughed, jumped and gasped together. I had my son with me, and we were literally clinging together in parts! The anticipation in the air felt palpable towards the end, as we all waited with the characters on stage for 2:22 to arrive.

I won’t reveal anything, but the ending is superb, and we were talking about it all the way home. In fact, I’d like to see it again knowing how it ends, to spot all the clever plot nuances we missed along the way. 2:22 A Ghost Story is a fabulous way to spend an evening and had us on the edge of our seats from start to finish.

Hull New Theatre – until 7th March 2026

Reviewed by Dawn Bennett

4****

Mark Goucher, Matthew Gale, Óskar Eiricksson present Friends The Musical Parody. Book and lyrics by Bob and Tobly McSmith and composed by Assaf Gleizner.

From the minute the Warm Up Guy (Edward Leigh) walked onto the stage and literally warmed up the audience with lots of jokes and a bit of audience participation we knew we were in for a good night. The show is set as a live recording of the 90’s TV show so we the theatre audience are the live TV studio audience

Friends The Musical Parody was just that, with an original musical score of 22 toe tapping songs and some proper belly laughs it was a really good night out. All the actors played their parts so like the Friends TV characters you always knew who was playing who, they did look them but the voices and mannerisms were spot on.

All the well-loved characters were there, Phoebe Buffay (Amelia Atherton), Monica Geller (Alicia Belgarde), Ross Geller (Jared Thompson), Joey Tribbiani (Ronnie Burden), Rachel Green (Eva Hope), Chandler Bing (Daniel Parkinson) and of course the long-suffering coffee shop manager Gunther (Edward Leigh, who also played Tom Sellek and Paolo). Whether it was the hair (who remembers “The Rachel” cut that was the fashion for a while?!) the clothing to the decoration of the apartment it takes you right back to the 90’s.

The set and lighting (designed by Andrew Exeter) turned the New Theatre stage into the iconic Central Perk coffee shop and inside Monica’s Manhattan apartment.

This show goes through the ten seasons of Friends at lightning speed, it picks out classic moments from the TV show, from how they used to meet in Central Perk, how some of the main characters got together, Phoebes pregnancy (with triplets for her brother), Janice (who we never see on the stage at the same time as Chandler for some reason!) and many more.

For fans of Friends you will really enjoy this snapshot of the iconic TV series, it’s funny, very well acted and will leave you smiling for a long while after you leave the theatre. Well worth a watch!

Theatre Royal Drury Lane, London – Sunday 1st March 2026

Reviewed by Celia Armand Smith

3***

Sea Witch, a new musical by Kristopher Russell and Michael David Glover, takes the baddie from The Little Mermaid and gives her an origin story. Most recognisable as the purple octopus legged Ursula in Disney’s The Little Mermaid, here there are witches vs humans, land vs the sea. This story is inspired by Sarah Henning’s novel which in turn was inspired by Hans Christian Anderson’s original story. The witch, just a vague plot point in the original Little Mermaid, is now given some dimensionality and a sprinkling of west end musical magic.

The plot isn’t straightforward and most of the time it is quite hard to follow, however it comes together slightly more in the second half and it almost doesn’t matter because Segen Fewole’s songs are poppy and fun and there is some great choreography by Dean Lee. It’s a bit like if a cross between The Greatest Showman and Eurovision was performed on the Disney cruise. The audience of mega musical fans was buzzing and bopping in their seats, squealing in delight when their favourite stars came on to the stage. The female cast in particular were superb. Natalie Paris and Amy Di Bartolomeo were a highlight, bringing colour and emotion to their parts as the witches Evie and Annemette. The megawatt Mazz Murray as the scheming Queen Charlotte belted out a fantastic ballad much to the delight of the audience, and a wonderful Michelle Visage as Tante Hansa deserved more stage time and more songs. Natalie Kassanga rounded out the female cast as the devilish Malvina, a proper mean girl.

Before the performance started, a very witchy looking Visage came on to the stage and explained that there might be some hiccups in production as they had not had long to bring it all together in the space. There was no expectation that this would be a perfect performance, but it sure was fun. The Theatre Royal Drury Lane is a huge space that is
currently home to Hercules which is very much an above water production, so the Sea Witch utilises some intense lighting changes and a bit of raised staging to convey changes in place and time.

It was ambitious to put on a production of this scale for one day in an enormous space and the premise is enticing. However this new musical needs a little bit more time in the depths of the ocean figuring out some of the problems with the plot and score before it surfaces again, but it has promise and some of the songs are real bangers.

EVERYMAN THEATRE, LIVERPOOL – UNTIL SATURDAY 14TH MARCH 2026

REVIEWED BY MIA BOWEN

4****

I entered the press night of The Memory of Water on Thursday evening with only a vague sense of what to anticipate. However, in the weeks leading up to the performance, I consistently received glowing reviews, which left me feeling quietly optimistic. I’m thrilled to report that this Olivier Award-winning comedy exceeded all expectations and truly deserved the acclaim.

Set in the winter of 1996, this play tells the story of three distinct sisters who return to their mother’s house for her funeral. From the very beginning, Shelagh Stephenson’s writing beautifully marries sharp humour with heartfelt emotional resonance. What starts as a typical family gathering unfolds into a deeper, more enlightening experience. As the sisters go through their late mother’s possessions, they find that their childhood memories don’t exactly match up, leading to passionate debates that cleverly show how personal and varied memory can be.

Under the caring direction of Lotte Wakeman, the production feels warm, genuine, and vibrantly engaging. Wakeman allows the comedy to shine through while keeping a strong focus on the play’s emotional heart. The outcome is a touching, humorous, and cleverly insightful look at how real families interact when faced with grief, unresolved feelings, and hidden tensions.

The cast truly deserves high praise. Victoria Brazier shines as the eldest sister, Teresa—she portrays her as practical, a bit bossy, and subtly resentful after years of managing the family business and taking care of their mother. Brazier brings a strong but relatable presence to the role, allowing moments of vulnerability to peek through beautifully.

Polly Lister delivers a nuanced and captivating performance as Mary, the middle sister. As a successful doctor managing a complicated personal life, she skillfully portrays both her polished public persona and the emotional turmoil beneath the surface. Her scenes are especially engaging, particularly during her interactions with the ghost of their mother.

Vicky Binns does an exceptional job as Vi, the mother who has recently passed away. Instead of portraying her as soft and nurturing, Binns chooses to depict Vi as a complex and demanding figure — a woman longing to be understood, even after death. This choice adds depth and emotional richness to the story.

Helen Flanagan truly shines as the youngest sister, Catherine. She captures the perfect blend of neurotic energy, insecurity, and a humorous desire for attention. Her comic timing is spot on, bringing many of the evening’s biggest laughs.

What truly enhances this production is the wonderful harmony among the cast. They interact with one another with impressive skill, their timing is sharp, and their emotional exchanges feel completely genuine. The arguments resonate authentically, the humour lands effortlessly, and the quieter moments hold significant depth. This is a brilliant example of how strong writing and outstanding performances can come together to create something deeply moving.

Overall, The Memory of Water is a heartfelt, keenly observed, and highly entertaining piece of theatre that beautifully reflects the complexities of family life. Press night demonstrated that this production is both emotionally impactful and thoroughly enjoyable — a thoughtful comedy that leaves a lasting impression long after the curtain falls.