RENT composer Jonathan Larson’s sister 

celebrates her birthday in London 

on opening night of THE JONATHAN LARSON PROJECT

The Jonathan Larson Project is a show about a young man following his heart in New York City trying to change the world. The show offers a rare and exhilarating window into Larson’s creative world, featuring previously unheard songs from the late composer’s archives. They illuminate the artistry, activism, and restless imagination of one of musical theatre’s most influential voices.

The 2026 London production holds special significance, marking 30 years since Jonathan Larson’s death in January 1996 from an aortic dissection just one day before Rent’s first performance in New York.

Cast:

Max Harwood (breakout star as Jamie New in the film Everybody’s Talking About Jamie), Marcus Collins (original West End cast of Kinky Boots), Natalie Kassanga (Satine in Moulin Rouge the Musical, Irene Roth in Crazy For You, Deena Jones in Dreamgirls), Michael Mather (Smoggie Queens on BBC3 and Fiyero on the international tour of Wicked), Imelda Warren-Green (Kathy and Stella Solve a Murder in the West End), plus Georgie Butler and Edward Flynn Haddon, who were chosen over 600 performers in an open search led by Emmy-nominated casting director Rob Kelly, making their professional debuts as covers.

Creative team:

Director John Simpkins

Musical Director Livi Van Warmelo

Movement Director Taylor Walker

Set Designer Nate Bertone

Lighting Designer  Sam Biondolillo

Costume Designer Jean Gray

Video Designer Alex Basco Koch

Casting: Rob Kelly

Production Manager Esme Driscoll

Producers: Thomas Hopkins  SAMS Entertainment

Co-Producer: Cason Cane

Executive Producer: Julie Larson

LISTINGS INFO

Thomas Hopkins  SAMS Entertainment

&

Julie Larson

proudly present

The Jonathan Larson Project

Music and Lyrics by Jonathan Larson

Conceived by Jennifer Ashley Tepper

By arrangement with

Music Theatre International

Directed by John Simpkins

Southwark Playhouse Borough

77-85 Newington Causeway

London SE1 6BD

Thursday 9 July – Saturday 22 August, 2026

7pm Monday  Saturday

2.30pm Matinee Tuesday & Saturday

How To Get There: The nearest stations are

Borough and Elephant & Castle

Tickets are available from: www.jonathanlarson.co.uk

Instagram: @jonathanlarsonproject

Ticket Prices: £10 – £35

Age Guidance: 12+

Running time:90 mins (no interval)

STEPHEN MANGAN 

WILL JOIN THE PREVIOUSLY ANNOUNCED 

KRISTIN SCOTT THOMAS IN

THE CHERRY ORCHARD

PRESENTED BY SONIA FRIEDMAN PRODUCTIONS
 BY ANTON CHEKHOV
IN A NEW ADAPTATION BY CONOR McPHERSON

DIRECTED BY IAN RICKSON

PLAYING AT THE HAROLD PINTER THEATRE 
FROM 3 OCTOBER 2026 – 9 JANUARY 2027

Stephen Mangan (The Split, Episodes, The Birthday Party) joins the previously announced BAFTA and Olivier Award-winning Kristin Scott Thomas (Electra, Slow Horses, Four Weddings and a Funeral) in The Cherry Orchard as Lopakhin, opposite Scott Thomas’ Lyubov Ranevskaya.

They will both be joined by further cast members; Ruby Bentall (Industry) as Sharlotta, Megan Cusack (Playboy of the Western World) as Dunyasha, Karl Johnson (King Lear) as Firs, Noof Ousellam (Macbeth)as Yasha, Nadia Parkes (Kidnapped) as Anya, Jack Riddiford (Stereophonic) as Trofimov, Vinette Robinson (Emilia) as Varya, Shubham Saraf (An Enemy of the People) as Yepikhodov and Peter Wight (Three Sisters) as Gaev. Complete casting will be announced in due course.

The production will run at the Harold Pinter Theatre from 3 October 2026 until 9 January 2027, with press night on 13 October. 

The Cherry Orchard will see Stephen Mangan reunite with Ian Rickson having previously worked with him on Pinter’s The Birthday Party in 2018. 

Ian Rickson (Uncle Vanya, Jerusalem) and Kristin Scott Thomas also reunite to bring another Chekhov classic to the stage, Scott Thomas having previously played Arkadina in Rickson’s acclaimed production of The Seagull which ran both in London and on Broadway; a role for which Kristin won the Olivier Award for Best Actress. 

The Cherry Orchard also sees Rickson and Conor McPherson (The Weir, Girl from the North Country, Uncle Vanya) working together again having had previous success on the 1997 production of McPherson’s critically acclaimed The Weir and Uncle Vanya in 2020. 

The Cherry Orchard,Chekhov’s final masterpiece, captures a world in delicate and inevitable transition, and remains as timeless and resonant as ever.

“Without the cherry orchard, life has no meaning to me”

When Lyubov Ranevskaya returns to her childhood estate after years abroad, she finds her family home and beloved cherry orchard under threat.

As old loyalties falter and new ambitions rise, a world of privilege begins to crumble. Can Lyubov embrace the future, or will the pull of memory prove impossible to escape?

The creative team for The Cherry Orchard includes: Director: Ian Rickson; Set Designer: Chloe Lamford; Costume Designer: Sussie Juhlin-Wallén; Lighting Designer: Bruno Poet; Sound Designer: Tom Gibbons; Composer: Stephen Warbeck; Movement Director: Shelley Maxwell and Casting Director: Amy Ball CDG.The Cherry Orchard will be produced in the West End by Sonia Friedman Productions and Winkler & Smalberg.

Chichester Festival Theatre – until Saturday 5th September 2026

Reviewed by Sally Lumley

5*****

My Fair Lady has opened at Chichester Festival Theatre, and my goodness what a production! Based on George Bernard Shaw’s Pygmalion, this classic musical from Alan Jay Lerner and Frederick Loewe tells the story of cockney flower girl Eliza Doolittle (Keziah Ibe) and her transformation into a lady under the tutelage of opinionated professor of phonetics Henry Higgins (Hadley Fraser). Packed with classic songs, clever staging and a top-notch cast, this production is wonderful from beginning to end.

Returning to Chichester for a fourth time, Hadley Fraser is absolutely at home as the cantankerous Henry Higgins. Higgins is condescending, rude and full of class prejudice, making his behaviour feel uncomfortable through modern eyes. However, Fraser finds every scrap of humour, while showing us glimpses of the insecurity and vulnerability that creeps out as he meets his match in Eliza.

The real revelation however, is Keziah Ibe, making an astonishing professional debut as Eliza Doolittle. Her Eliza is spirited and funny, capturing the flower girl’s rough-edged charm before beautifully conveying the inner conflict that comes with her transformation.

My Fair Lady has one of musical theatre’s greatest scores, including songs such as “Wouldn’t It Be Loverly?”, “I Could Have Danced All Night” and “On The Street Where You Live”. The ensemble numbers were absolute highlights for me, especially the big cockney knees-up “Get Me To The Church On Time” led by Gary Milner as Eliza’s ne’er-do-well father Alfred. This is simply joyous, with the stage full of energy and character that absolutely bought the house down.

Peter McKintosh’s elegant set makes superb use of the revolving stage, sweeping between Higgins’ wonderfully cluttered study and the lamplit street outside. His costume designs are also wonderful, with the Ascot and Embassy Ball sequences absolutely exquisite. The contrast between Eliza’s humble beginnings and her final transformation is wonderfully illustrated.

Chichester Festival Theatre has delivered another first-class production, making My Fair Lady the perfect treat for a summer’s evening. Highly recommended for a ‘loverly’ night at the theatre.

PETER POLYCARPOU PLAYS HERCULE POIROT

In the UK & Ireland Tour of Agatha Christie’s The Hollow

Lowry, Salford

TUESDAY 20^TH TO SATURDAY 24^TH APRIL 2027

Two-time Olivier Award nominee Peter Polycarpou will play Agatha Christie’s legendary Belgian detective Hercule Poirot in the UK & Ireland tour of The Hollow, which comes to the Lowry in Salford next Spring.

The production will be at the Lowry from Tuesday 20^th to Saturday 24^th April 2027.

Peter Polycarpou’s recent stage credits include Les Misérables: The Arena Concert Spectacular, The Unlikely Pilgrimage of Harold Fry and Hello, Dolly!, while his screen work includes House of the Dragon, Birds of a Feather, The Brutalist and Evita. Hereceived Olivier nominations for his performances in Oslo and The Band’s Visit.

Following sell-out tours of And Then There Were None, Murder on the Orient Express and Death on the Nile, producers Fiery Angel and director Lucy Bailey (director of the hit London show Witness for the Prosecution) partner once again to bring one of Agatha Christie’spsychologically complex mysteries to the stage this autumn in a new version by Tamsin Oglesby.

The Hollow is produced by Fiery Angel in association with Agatha Christie Limited and the Marlowe Theatre, Canterbury. The production is directed by Lucy Bailey, with set and costume design by Joanna Parker, lighting design by Chris Davey, sound design and composition by Nick Powell and casting by Ginny Schiller.

Renowned detective Hercule Poirot expected a quiet break in the country; instead he’s drawn into one of the most unsettling cases of his career.

At The Hollow, an elegant country estate, a glamorous circle of guests gather together one summer evening. But beneath the sunlit charm, something darker coils. Old passions refuse to die. New rivalries ignite. Dangerous infatuations take hold. Then — a shot rings out.

A body is discovered. A smoking revolver in an unsteady hand. The scene appears almost staged; a shockingly straightforward crime…. It is anything but.

James Prichard of Agatha Christie Limited said, “We are thrilled to be working once again with Lucy Bailey and Fiery Angel on this bold new production of The Hollow. A sharply observed and unsettling drama, it showcases a fascinatingly different facet of my great grandmother’s storytelling, and we are excited for audiences across the UK and Ireland to experience it anew.”

Having recently directed four of Christie’s classic thrillers for the stage, this will be Lucy Bailey’s fifth.

She said, “The Hollow is one of Agatha Christie’s most powerful and arresting plays. At first glance it appears to be a classic country-house mystery, but it’s something far richer: a family ruthlessly clinging to the past, failed relationships and illicit love. Christie gathers a circle of brilliantly drawn characters to an English country estate and lets long-buried family tensions simmer until a sudden act of violence shatters the idyll. When the unthinkable happens, it falls to the incomparable Hercule Poirot to unravel the truth.

Equally comic and tragic, it’s a play about people trapped between the lives they have and the lives they longed for. That tension makes The Hollow feel startlingly contemporary.”

LISTING INFO:

Agatha Christie’s The Hollow

Lowry, Salford

Tue 20 Apr 2027- Sat 24 Apr 2027

The Hollow | Lowry

Accessible Performances

Audio Described | Thu 22nd Apr 7.30pm. Touch Tour at 6pm

BSL Interpreted | Sat 24 Apr 2pm

West End Primary Schools Bring Shakespeare to Life in a Spectacular Shared Performance

Royal Shakespeare Company Associate School Programme & Newcastle Theatre Royal

More than 380 year five pupils from across Newcastle’s West End joined forces in a joyful celebration of creativity and performance as they presented a vibrant retelling of A Midsummer Night’s Dream as part of the Royal Shakespeare Company’s Associate Schools Programme, delivered in partnership with Newcastle Theatre Royal.

Through a series of engaging workshops led by Theatre Royal associate artists and embedded in classrooms in all nine Primary Schools across the West End School’s Trust, pupils and teachers explored exciting and accessible ways to bringing Shakespeare to life – making the work of one of the world’s greatest playwrights relevant and enjoyable for a new generation.

Each school developed its own section of the play, culminating in a special performance at Broadwood Primary School on Friday 26 June. Pupils performed for one another in a celebration of collaboration, achievement and collective storytelling.

Helen Milner, Head of Creative Development at Newcastle Theatre Royal, said:

“This playful and inspiring project has been a fantastic opportunity for young people across Newcastle’s West End to explore one of Shakespeare’s most accessible and imaginative plays. Our associate artists have enjoyed spending the last few months working closely in schools, supporting both pupils and teachers to develop their confidence, creativity and passion for drama.

“A Midsummer Night’s Dream is full of mischief and humour, with themes that young people can really relate to – friendship, identity and emotions. It’s been wonderful to see how these schools have embraced the story and made it their own.”

Mrs Mitcheson, Headteacher at Broadwood Primary School, added: “Watching the children perform with such confidence, energy and pride was incredibly rewarding. The project gave pupils the opportunity to work creatively together, try something new and develop skills that extend far beyond the classroom.

“For many children, performing Shakespeare might once have felt intimidating, but this programme made it accessible, exciting and fun. Seeing all nine schools come together to support and celebrate one another was a really special moment for our whole community.”

This project highlights the transformative impact of arts education and the vital role organisations such as Newcastle Theatre Royal play in enriching the lives of young people across the region. By bringing professional artists into schools and supporting teachers to develop new skills, the programme helps to build confidence, communication skills and aspiration among young people throughout the community.

To find out more about Newcastle Theatre Royal’s work with schools, visit https://www.theatreroyal.co.uk/take-part/schools/

Jack Studo Theatre – 11 July 2026

Reviewed by Claire Roderick

4****

Two invitations – one to a wedding, and the other to paint a portrait – are the starting point for Tom Neenan’s whip smart storytelling. Of course, playing on social awkwardness and ingrained English politeness, nothing goes smoothly.

In this hour-long show, themes and threads are interwoven masterfully with wonderful callbacks and clever setups. Neenan’s descriptions of his subject and his idiosyncratic conversation paint a picture in the audience’s mind long before we see the finished portrait, and the request to be painted with medals to represent all he has overcome in his life provides a magnificent one-liner but also leads to a deeper insight to Neenan’s own struggles with confidence and anxiety. There are hilarious but toe-curling anecdotes about teenage self-confidence and disasters and a glorious section about his phone call with the world’s worst Samaritan.

The show tackles important topics like body image and mental health, self-image and how we want the world to view us – in art and in life – but Neenan’s storytelling prowess and his deft comedic touch keep the audience chuckling and he throws in curveballs about chocolate (this should have had a content warning!) and comments about his own writing that keep the audience on their toes.

Neenan’s self-deprecating style is charming and engaging, and the hour whizzes by, coming back full circle to the opening and a smart reminder that this “true” story is a piece of art that has been embellished and carefully honed to display an image of Tom Neenan that delights and entertains – which the show does in spades.

A wonderful hour of clever and creative comedy.

Playing at Underbelly – George’s Square at 3.15 from 5 – 31 August

Darlington Hippodrome – until Thursday 16th July 2026

Reviewed by Adam Craddock

3***

Last night I had the privilege of being invited along to the lovely Darlington Hippodrome to review the latest stop on the 2026 UK Tour of Micheál Mac Liammóir’s play “The Importance of Being Oscar”. The play is a one man show taking you through the life and notable moments of the historic poet and playwright Oscar Wilde. We follow Wilde all the way through his life, from his roots in Dublin, passing through his highs in London and lows in the famous Reading Gaol and ultimately ending up with him in his final days in Paris. I must confess I only knew the vary basics of Oscar Wilde’s story so I was very much looking forward to finding out more about this notable historic figure.

Alastair Whatley takes on the starring role as the performer, narrating us through the story and embodying Wilde to perfection. Whatley is a master of his craft, with the ability to hold an audience in the palm of his hand alone for 45 minutes per act, never once stopping to break or losing the audiences focus. Whatley’s Wilde was a deeply human performance, never descending into over dramatism past what would be expected of someone playing Oscar Wilde and his mannerisms were subtle and true. Whatley was directed by Michael Fentiman and I think this has worked out to be a brilliant pairing of craftsmen. Fentiman’s ideas of how Wilde is built are clear and I loved the staging of “The Ballad of Reading Gaol”. In terms of set and costume they were simple but appropriate, with Whatley wearing a period suit and the set focusing around a ring of light, this telling us when Whatley is himself and when he is Wilde… mostly. I did like this device but the light did not always keep up with the performer, sometimes making this slightly confusing as to what we are meant to be imagining. The show did also suffer from some patchy microphones at first. There was use of an echo effect which worked at times but also seemed to randomly come and go on its own at times. I must also note in terms of audience enjoyment that the light was far too bright for the dark theatre we were in, with my partner and I, as well as several neighbouring theatre goers all noting at the interval that we were slightly pained and had this ring of light burnt into our vision, I think the sharpness of this could do with being turned down slightly.

Overall I had an enjoyable evening, particularly in terms of the performance itself and should the couple of technical issues be sorted I would think that this play is on to a winner. If you are like me and know little of Oscar Wilde then this is a great introduction to his fabulous story.

FULL CASTING ANNOUNCED

FOR SUMMER PERFORMANCES OF THE WEST END PRODUCTION OF

THE OLIVIER AWARD-WINNING SMASH HIT COMEDY

WRITTEN BY TONY^® AWARD-WINNER

COLE ESCOLA

DIRECTED BY TONY^® AWARD-WINNER

SAM PINKLETON

AT THE TRAFALGAR THEATRE FROM

20 JULY – 26 SEPTEMBER 2026

LONDON PERFORMANCES ON 28 JULY 2026

TO BE FILMED

Producers Kevin McCollum & Lucas McMahon and Mike Lavoie & Carlee Briglia are delighted to announce casting for the Olivier and Tony Award-winning smash hit comedy OH, MARY! at the Trafalgar Theatre from 20 July – 26 September 2026.

It was also announced today that the performances on 28 July 2026 at the Trafalgar Theatre will be filmed, with Cole Escola reprising their Tony Award-winning performance as Mary Todd Lincoln for the filming.

Tickets for the filmed performances at the Trafalgar Theatre are £45 and go on sale at 2.00pm today, Wednesday 15 July 2026. ohmaryplay.co.uk

The cast for the filmed performances will also include Giles Terera, returning as Mary’s Husband (in the role that earned him an Oliver Award nomination earlier this year); two-time Emmy Award nominee Michael Urie as Mary’s Teacher, and original Oh, Mary! cast members Bianca Leigh and Tony Macht as Mary’s Chaperone and Mary’s Husband’s Assistant, respectively. The filmed performances will be directed by Sam Pinkleton.

Additional casting for the summer performances includes Scott Karim as Mary’s Husband (17 August – 26 September), Dino Fetscher as Mary’s Teacher (3 August – 26 September), Kate O’Donnell as Mary’s Chaperone (3 August – 26 September) and Oliver Stockley as Mary’s Husband’s Assistant (3 August – 26 September).

Full casting for the Summer dates is detailed below.

20 JULY – 1 AUGUST

Cole Escola as Mary Todd Lincoln, Giles Terera as Mary’s Husband,

Michael Urie as Mary’s Teacher, Bianca Leigh as Mary’s Chaperone and

Tony Macht as Mary’s Husband Assistant

3 – 15 AUGUST

Cole Escola as Mary Todd Lincoln, Giles Terera as Mary’s Husband, 

Dino Fetscher as Mary’s Teacher, Kate O’Donnell as Mary’s Chaperone and

Oliver Stockley as Mary’s Husband’s Assistant

17 AUGUST – 26 SEPTEMBER

Jinkx Monsoon as Mary Todd Lincoln, Scott Karim as Mary’s Husband,

Dino Fetscher as Mary’s Teacher, Kate O’Donnell as Mary’s Chaperone and

Oliver Stockley as Mary’s Husband’s Assistant

The Olivier and Tony Award-winning smash hit comedy OH, MARY! recently extended its West End run and is now booking until 2 January 2027. The showcurrently stars Mason Alexander Park as Mary Todd Lincoln, Kate O’Donnell as Mary’s Chaperone, Oliver Stockley as Mary’s Husband’s Assistant, with Dino Fetscher as Mary’s Teacher, and Scott Karim as Mary’s Husband.

Mason Alexander Park’s final performance as Mary Todd Lincoln will be Saturday 18 July. Kate O’Donnell, Oliver Stockley, Dino Fetscher and Scott Karim’s final performance will be Saturday 26 September. Full casting for the show from 28 September 2026 onwards is to be announced soon.

OH, MARY! is a dark comedy about a miserable, suffocated Mary Todd Lincoln in the weeks leading up to Abraham Lincoln’s assassination. Unrequited yearning, alcoholism, and suppressed desires abound in this 80-minute one-act play that finally examines the forgotten life and dreams of Mrs. Lincoln, through the lens of an idiot (playwright Cole Escola).

Declared “one of the best comedies in years” by The New York Times, OH, MARY! received Tony^® Awards for Best Leading Actor in a Play (Cole Escola) and Best Direction of a Play (Sam Pinkleton), Drama League Awards for Outstanding Play and Outstanding Direction of a Play, as well as a special citation from the New York Drama Critics’ Circle. It was named a finalist for the Pulitzer Prize for Drama.

OH, MARY! premiered off-Broadway at the Lucille Lortel Theatre in January 2024, before a Broadway transfer to the Lyceum Theatre in July 2024, where it broke box office records and continues to play to sold out audiences. It had its West End premiere at Trafalgar Theatre on 3 December 2025 and won Best Entertainment or Comedy Play at this year’s Olivier Awards. This Autumn, OH, MARY! will also launch a US National Tour.

In addition to Cole Escola (Writer) and Sam Pinkleton (Director), the full creative team includes dots (Scenic Designer), Holly Pierson (Costume Designer), Cha See (Lighting Designer), Daniel Kluger (Sound Design and Music), Drew Levy (Sound Designer), Leah J. Loukas (Wig Designer), David Dabbon (Arrangements) with Casting by Stuart Burt CDG.  Associate creatives include Zoë Hurwitz (Scenic), Debo Andrews (Costume), Tom Turner (Lighting), Chris Reid (Sound), Kim Kasim (Wigs), and Caitlin Morgan (Music Direction).

OH, MARY! is produced in the West End by Kevin McCollum & Lucas McMahon and Mike Lavoie & Carlee Briglia with Bob Boyett, The Council, Jean Doumanian Productions, Nicole Eisenberg, Jay Marcus & George Strus, Irony Point, Richard Batchelder/Bradley Reynolds, Tyler Mount/Tommy Doyle, Nelson & Tao, Palomares & Rosenberg, ShowTown Productions, Jamie Wilson Productions and Wessex Grove.

The Executive producers of OH, MARY! at Trafalgar Theatre are Wessex Grove.

Hull New Theatre – until- 18th July 2026

Reviewed by Dawn Bennett

4****

The Ballad of Johnny and June explores the lives of Johnny Cash and June Carter Cash. While I was familiar with many of Johnny Cash’s songs, I knew far less about the turbulent life behind the music.

Narrated by Johnny’s son, John Carter Cash (Ryan O’Donnell), the musical follows Johnny (Christopher Ryan Grant) from his early life through to meeting his first wife, starting a family, and eventually falling in love with June Carter (Christina Bianco).

The production does not shy away from the darker parts of their story, including their struggles with addiction. Johnny’s battles with pills and alcohol, alongside June’s own challenges, add depth and honesty to the show.

Despite these serious themes, the evening is lifted by more than thirty songs from Johnny Cash’s back catalogue. The band, led by musical director Connagh Tonkinson, were superb, bringing real energy to the production. Positioned at the back of the stage, they added atmosphere and helped bring the show to life.

Christopher Ryan Grant was brilliant as Johnny Cash, combining a powerful vocal performance with a convincing portrayal of the man behind the music. Ryan O’Donnell and Christina Bianco were also excellent as John Carter Cash and June Carter, with performances that helped bring the story together.

A special mention should also go to the ensemble, who took on numerous roles throughout the show and performed each of them with great skill.

Robert Brill’s set captured the feel of a classic country-and-western stage, moving smoothly between Johnny’s family home, a recording studio, a car, and various country venues. Amanda Zieve’s lighting design added atmosphere throughout, helping each setting feel distinct and drawing the audience further into the world of the show.

If you are a Johnny Cash fan — and judging by the audience reaction last night, many people were — this is the musical for you. It is also an excellent choice for anyone who enjoys a well-acted show with brilliant music and the promise of a thoroughly enjoyable night out.

Birmingham Repertory Theatre – until 15th August 2026

Reviewed by Emma Millward

5*****

Stephen Sondheim’s Sweeney Todd: The Demon Barber of Fleet Street has arrived at Birmingham Rep. Under Joe Murphy’s direction, this revival perfectly balances gothic horror, razor-sharp humour and heartbreak. Set in the grim streets of Georgian London, the story follows Benjamin Barker, now known as Sweeney Todd, as he returns to London seeking revenge against those who destroyed his life and sent him to prison. His partnership with pie shop owner Mrs Lovett leads them down an increasingly vengeful path, where justice quickly gives way to obsession.

Ramin Karimloo’s stage presence and powerful vocals make Sweeney Todd both terrifying and deeply tragic. Alongside him, Meow Meow is a revelation as Mrs Lovett. she blends humour and sudden flashes of menace, ensuring the audience is never quite sure whether to laugh or recoil in horror. Her comic timing is impeccable, and she threatens to steal every scene she is in, with her unpredictable energy making her utterly captivating. The chemistry between the two leads is electric, creating a partnership that is as entertaining as it is unsettling.

David Bedella is thoroughly chilling as the corrupt Judge Turpin, while Shem Omari James and Jo Stephenson bring warmth and sincerity to Anthony Hope and Johanna, providing a welcome contrast to the darker moments. Jack Gibson delivers a deeply moving Tobias who gets pulled into Todd’s murderous plan. Florence Andrews is haunting and makes full use of her stage time as the Beggar Woman, and Silas Wyatt-Barke relishes every moment as the flamboyant Adolfo Pirelli. Julius D’Silva completes the principal cast as an imposing Beadle, whose foppish demeanour conceals a more disturbing nature. Emily Ivana Hawkins and Hadrian Delacey add further depth to the production as part of the ensemble, with the entire company bringing the world of Sweeney Todd vividly to life.

Joe Murphy’s direction embraces a more streamlined and stripped-back approach, with a cast of just 11 performers and only the essential set pieces and props required to bring the story to life. Rory Beaton’s atmospheric lighting and Kelsh Buckman-Drage’s immersive sound design combined with Elin Steele’s set design cleverly makes full use of the Rep’s stage. Two imposing stone staircases stand on either side of the stage, while a central movable platform transforms into Mrs Lovett’s pie shop, Sweeney’s barber shop, the bakehouse, Judge Turpin’s house and the asylum. The ingenious trapdoor beneath the barber’s chair, sending unsuspecting victims sliding into the bakehouse below, is a standout design feature. I have to admit, it looked far more fun than it probably should have!

Sondheim’s score and lyrics were delivered with remarkable clarity, ensuring the wit and emotion of the music are never lost. Under the musical direction of Leo Munby, the orchestra provides a rich accompaniment to the spectacle and the emotion unfolding on stage.

Sweeney Todd is gripping, beautifully staged and emotionally devastating, while never forgetting its wicked humour. The audience’s enthusiasm was clear throughout, with cheers erupting after each song and excitement filling the auditorium from the opening number. As the show came to a close, the audience was on their feet almost immediately for a prolonged standing ovation, a fitting response to a production that delivered on every level.

Sinister, mesmerising and sensational.