JESSE TYLER FERGUSON TO STAR AS TRUMAN CAPOTE

IN JAY PRESSON ALLEN’S TRU

AT THE MENIER CHOCOLATE FACTORY

PRIORITY BOOKING FOR SUPPORTERS OF THE MENIER OPENS ON 13 JULY

PUBLIC BOOKING OPENS ON 20 JULY

With Midnight at the Never Get about to begin performances at the company’s home base, its critically acclaimed production of Equus to open shortly at Theatre Royal Bath, The Producers running in the West End, and Sabrage at Lafayette, the Menier Chocolate Factory, in association with Seaview, OHenry Productions, and Mickey Liddell & Pete Shilaimon,today announces that multi-award-winning Jesse Tyler Ferguson will make his Menier debut playing Truman Capote in Jay Presson Allen’s play Tru. Directed by the award-winning Rob Ashford, Tru opens on 27 September, with previews from 19 September, and runs until 14 November, following the production’scritically acclaimed New York run earlier this year.

Drawn entirely from Capote’s own words, Tru was originally staged in 1989. Ashford and Ferguson collaborated on this new production in March at House of the Redeemer’s Library.

Jesse Tyler Ferguson said today, “I’m thrilled to bring this intimate production of Tru to the Menier following its successful New York run. The audience response to this unique theatrical experience, and the chance to encounter Truman Capote up close, was incredibly rewarding. I’m delighted that Rob Ashford and I now have the opportunity to share what we’ve created with London audiences.”

Rob Ashford added, “I had the great pleasure of directing Jesse in a staged reading of Tru as a one-night-only charity benefit in Tangier, Morocco, in the summer of 2024. He was mesmerizing! He captured the truth of the man, his humour and heartbreak. I’m thrilled that we get the opportunity to further explore this great pairing of actor and character in London.”

Priority booking for supporters of the Menier Chocolate Factory opens on Monday 13 July, with public booking opening on Monday 20 July.


The Menier Chocolate Factory presents

in association with Seaview, OHenry Productions, and Mickey Liddell & Pete Shilaimon

TRU
By Jay Presson Allen

19 September – 14 November 2026

Cast: Jesse Tyler Ferguson as Truman Capote

Director: Rob Ashford; Designer: Paul Farnsworth

It’s December 1975 and Truman Capote is alone in his New York apartment, reeling from a crisis that cost him friendship of the elite social circle he adored. Drawn entirely from Capote’s own words, this funny and heartbreaking play is an unflinching portrait of an artist at his breaking point, confronting the consequences of his most scandalous work.

Jesse Tyler Ferguson is a Tony-Award winning actor, author, producer and host known not only for his creative work but, for his ongoing advocacy in the LGBTQIA+ community. On stage, Ferguson is currently playing King Herod in Jesus Christ Superstar at The London Palladium; and recently made his West End debut starring in Stephen Sondheim’s final work, Here We Are, at the National Theatre. This past summer he helped reopen NYC’s famed Delacorte Theatre in Central Park with a star-studded production of Twelfth Night. For his turn as accountant Mason Marzac in the revival of Richard Greenberg’s Tony-winning play Take Me Out, he earned a Tony Award in the category of Best Performance by an Actor in a Featured Role in a Play. The acclaimed performance also earned him the Outer Critics Circle Award and a Drama League Distinguished Performance Award nomination.

Ferguson currently serves as producer and host of the podcast Dinner’s on Me, now in its third season from Sony Music Entertainment. He was featured in Universal’s Cocaine Bear directed by Elizabeth Banks, and his scripted podcast Gay Pride & Prejudice was released exclusively on Spotify. Ferguson also produced the documentary Broadway Rising which premiered at the Tribeca Film Festival in 2022. In addition, Ferguson served as an executive producer on David France’s BAFTA-winning and Emmy-nominated documentary, Welcome to Chechnya, based on the anti-gay purges in Chechnya of the late 2010s. Ferguson also released his first cookbook in 2021, Food Between Friends.

Ferguson starred as the widely beloved character Mitchell Pritchett on the award-winning ABC comedy Modern Family, which ran for an impressive 11 seasons. The show earned five Emmy Awards for Outstanding Comedy Series, a Golden Globe Award for Outstanding Comedy Series and four Screen Actors Guild Awards for Outstanding Performance by an Ensemble in a Comedy Series. Ferguson has also received five Emmy Award nominations and four People’s Choice Award nominations on behalf of the show.

Ferguson made his Broadway debut at the age of 21 as Chip in George C. Wolfe’s revival of On the Town. He later went on to originate the role of Leaf Coneybear in the Tony Award—winning Broadway musical The 25^th Annual Putnam County Spelling Bee. He has also worked extensively with The New York Public Theatre’s Shakespeare in the Park in various notable productions.

A longstanding advocate for marriage equality and LGBTQIA+ rights, Ferguson co-founded Pronoun, previously known as Tie the Knot, in 2012 with his husband Justin Mikita. The organization has proudly raised over $1.5 million and has supported important and impactful LGBTQIA+ organisations across the nation.

Jay Presson Allen (1922-2006) was a playwright, novelist and screenwriter. Her first novel, Spring Riot, was published in 1948. Her plays include The First Wife which was turned into the 1963 film Wives and Lovers; and for television, Family and Hothouse. Her adaptations include The Prime of Miss Jean Brodie – produced in the West End, on Broadway and on screen with Maggie Smith winning the Oscar for her role; Forty Carats – for which Julie Harris won a Tony Award and was later filmed; Travels With My Aunt directed by George Cukor and starring Maggie Smith; the film version of Cabaret, directed by Bob Fosse for which she received an Academy Award nomination; Marnie directed by Alfred Hitchock.  She also wrote the screenplay for Funny Lady.  She adapted her 1969 novel Just Tell Me What You Want for film director Sidney Lumet.  They also collaborated on her adaptation of Robert Daley’s novel Prince of the City, for which she was nominated for an Oscar, and the screen adaptation of Ira Levin’s play Deathtrap.

Director Rob Ashford is an award-winning director and choreographer. London credits include The Winter’s Tale, Romeo & Juliet, The Entertainer, Harlequinade, Macbeth, A Funny Thing Happened on the Way to the Forum and the Olivier Award-winning productions of Anna Christie, A Streetcar Named Desire and Parade. Broadway credits include Cat on a Hot Tin Roof; Frozen; How To Succeed in Business Without Really Trying; Promises, Promises; Evita; Thoroughly Modern Millie (Tony Award for Best Choreography); Shrek;  Cry-Baby (Drama Desk and Outer Critics Circle Awards for Best Choreography); Curtains and The Wedding Singer. He directed and choreographed NBC’s Sound of Music Live! and Peter Pan Live!. He directed and choreographed Carousel, Carmen, and The Barber of Seville for Chicago Lyric Opera and Houston Grand Opera and choreographed Candide at La Scala, ENO, and the Châtelet in Paris. He choreographed and staged the 2009, 2013, 2014, and 2015 Academy Awards, winning an Emmy for his work on Baz Luhrmann’s 2009 production number featuring Hugh Jackman and Beyoncé. He has staged the Tony Awards for eight years and has also staged tributes at The Kennedy Center Honors for Barbra Streisand, Andrew Lloyd Webber, Jerry Herman, Barbara Cook, Tom Hanks, Shirley MacLaine and Meryl Streep. Films include choreography for Disney’s Cinderella, Beyond the Sea, A Million Ways to Die in the West, Ted 2, Murder on the Orient Express and Death on the Nile.

LISTINGS INFORMATION 

MENIER CHOCOLATE FACTORY

MIDNIGHT AT THE NEVER GET

11 July – 12 September

TRU

19 September – 14 November

MENIER ELSEWHERE

EQUUS

Theatre Royal Bath

14 – 25 July

THE PRODUCERS

Garrick Theatre

Booking until 19 September

SABRAGE

Lafayette London

Currently booking until 6 September

Box Office: 020 7378 1713 (£2.50 transaction fee per booking)

Website: www.menierchocolatefactory.com (£1.50 transaction fee per booking)

www.menierchocolatefactory.com

Instagram: @menierchocolatefactory

ROYAL SHAKESPEARE COMPANY’S

MULTI-AWARD WINNING MUSICAL

ANNOUNCES NEW

YOUNG PERFORMERS JOINING

ITS UK & IRELAND TOUR OF

NEW YOUNG CAST MEMBERS JOIN SHOW

AT BIRMINGHAM HIPPODROME

NEW PHOTOGRAPHS OF THE YOUNG PERFORMERS

RELEASED TODAY

Friday 10  July  2026 –  New casting of the young performers for the hugely successful UK and Ireland tour of the Royal Shakespeare Company’s production of Matilda The Musical was announced today.  The production, which has now been seen by 13 million people in over 100 cities world-wide, last week opened at Birmingham Hippodrome where it will run until 2 August.  The next stop, from 6 August, is Norwich Theatre Royal.

Felicity Brown, Petra Hutchings and Caroline Ravansari join current company members Mollie Hutton, and Sanna Kurihara to share the title role of Matilda.

The other young performers joining the company today are:  Sophia Aina, Dalia Al Nagar, Jett Austin-Richards, Rio Chigwedere, Beatrice Clark, Isaac Cruickshank, Rupert Dunne, Polly Florence, Rahsaan Higgins, Kobi Lau, George Montgomery, Jacob Nolan, Thomas Rankin, Kaiheim Ricketts, Zienna-Rose Sterling, Cory Trimble, Martha Tutill and Aaron Zicman.  They join current company member John Johnson.

The new cast members, many of whom live in and around the West Midlands, made a special visit to Touchwood Mall in Solihull to pose alongside Miss Trunchbull’s chair.

For the adult cast:  Richard Hurst continues to play Miss Trunchbull, with Tessa Kadler as Miss Honey, Adam Stafford as Mr Wormwood and Rebecca Thornhill as Mrs Wormwood.

They are joined by Scotty Armstrong, Sam Holden, Portia Jefferies, Caoimhe Judd, Brooke Kelly, Ryan Lay, Cassandra Lee, Samuel Leon, Jordan Maisuria-Wake, Nicole Manumbre, Lizzie Nance, Esther Niles, Jordan Ricketts, Josh Singleton, Bradley Trevethan, Ella Tweed, Ben Tyler and Karen Walker.

Matilda The Musical continues its run at Birmingham Hippodrome until 2 August 2026, then plays at  Norwich Theatre Royal from 6 August until 6 September, Bord Gais Energy Theatre in Dublin from 15 September to 18 October, Milton Keynes Theatre from 28 October to 14 November, Glasgow Theatre Royal from 18 November to 5 December and completes its tour at Wales Millennium Centre in Cardiff for a festive run from 9 December to 17 January 2027.

The internationally renowned musical, which celebrates its 15^th Anniversary this year,  continues to play to packed houses in the West End at the Cambridge Theatre.

For all tour booking and further casting information visit www.matildathemusical.com.

This anarchic production, about a strong and determined heroine with a vivid imagination, has won over 100 global awards, including 25 for Best Musical.  A film adaptation made by the core creative team received its World Premiere at the London Film Festival in October 2022 and can now be watched on Netflix and BBC IPlayer.

Written by Dennis Kelly, with music and lyrics by Tim Minchin and developed and directed by Matthew Warchus, the production is designed by Rob Howell, with choreography by Peter Darling, orchestrations, additional music and musical supervision by Christopher Nightingale, lighting by Hugh Vanstone, sound by Simon Baker and special effects and illusions by Paul Kieve.

Social Media:

Facebook: @MatildaTheMusical
Instagram: @MatildaTheMusical

TikTok: @thersc

#TimeToBeRevolting

Theatre Royal Windsor – until Saturday 11th July 2026

Reviewed by Andrew and Kate Lawrence

5*****

“A funny story, made so much funnier”

Whilst we’re not about to complain about the inhuman, unbearable heat of these barmy summer evenings, the thought of spending a Wednesday night inside a historic Grade II-listed theatre with no air conditioning did fill us with some trepidation. Fortunately, by the time we arrived at the Theatre Royal Windsor for Our Man in Havana, our Hawaiian shirts, chino shorts and open-toe sandals felt entirely appropriate for an evening in 1950s Cuba.

Originally a novel by Graham Greene and adapted for the stage by Clive Francis, Our Man in Havana transports us to pre-revolutionary Havana. James Wormold (Jack Ashton) is a struggling vacuum cleaner salesman who is unexpectedly recruited by the British Secret Service. Reluctant by nature and keen to avoid conflict—even with his own daughter—Wormold is tempted by the generous salary on offer. Rather than become a genuine spy, he decides to fabricate intelligence reports, inventing a network of fictional agents and passing off imaginary stories as fact. What begins as a harmless deception soon spirals beyond his control, as his inventions start to take on a dangerously real life of their own.

The production makes excellent use of a deceptively simple set, cleverly transformed into a variety of locations through the seamless movement of rolling panels and furniture. In much the same way, the story features more than thirty characters, but the entire production is performed by just four exceptional actors: Jack Ashton, Bob Barrett, Leon Ockenden and Jodie Steele.

There is a brief initial period of adjustment as the actors repeatedly reappear in different costumes, accents and personalities, but it quickly becomes part of the fun. Before long, you find yourself admiring not only the versatility of the performances but also the astonishing speed of the costume changes—Jodie Steele manages one such transformation in around three seconds, which felt nothing short of miraculous.

The original book by Green is a funny story, made so much funnier by the adaption to the stage by Clive Francis using just the four actors and maximised by the superb comedy acting quartet.

We left the theatre elated, grinning from ear to ear, and maybe just a little sweaty from an evening spent in Havana. Another must-see play in Windsor, it closes on Sat 11th July, go see it.

York Theatre Royal – until 11 July 2026

Reviewed by Sal E Marino

5***** 

If you’ve ever thought Shakespeare was intimidating, overly serious or simply not for you, The Complete Works of William Shakespeare (abridged) is here to prove you spectacularly wrong. The Reduced Shakespeare Company’s iconic comedy, written by the immensely talented Adam Long, Daniel Singer and Jess Winfield, transforms the Bard’s entire canon into a whirlwind of outrageous comedy, quick-fire wit and infectious fun. Under the brilliant direction of Adam Long, this production at York Theatre Royal is an absolute triumph from start to finish.

Performed by the extraordinary trio of Woogie Jung, Tom Pavey and Kiran Raywilliams, this is Shakespeare presented in a completely new light. Bursting onto the stage with boundless energy, impeccable comic timing and seemingly limitless enthusiasm, the three performers take on the impossible challenge of presenting all 37 plays and the sonnets in just over ninety minutes. The result is nothing short of theatrical magic.

There are no rules here and certainly no limits to the imagination. Shakespeare’s greatest works are hilariously reimagined through songs, poems, sketches, lightning-fast costume changes, improvised moments, audience participation and plenty of wonderfully absurd theatrical invention. Every scene brings another surprise, and just when you think they’ve reached peak silliness, the company somehow raises the stakes again.

Jung, Pavey and Raywilliams have truly set the bar high when it comes to delivering dynamic, intelligent and side-splittingly funny performances. Their chemistry is exceptional, feeding effortlessly off one another whilst maintaining the show’s relentless pace. The physical comedy is superb, the wordplay razor sharp, and every member of the audience is swept along by their infectious enthusiasm. Their willingness to embrace every ridiculous idea with complete commitment is what makes this production such a joy to watch.

The audience becomes as much a part of the performance as the cast themselves, creating the atmosphere of one giant celebration rather than a traditional theatre production. Whether you’re a lifelong Shakespeare enthusiast or someone encountering his work for the very first time, the show has something for everyone. The cleverness lies in the fact that beneath all the chaos and comedy, there remains a genuine affection and respect for Shakespeare’s extraordinary writing.

The show’s unforgettable finale, an utterly bonkers retelling of Hamlet, is undoubtedly one of its greatest highlights. Involving the audience in increasingly ridiculous ways, it somehow manages the impossible: making one of Shakespeare’s most complex tragedies not only hilarious but surprisingly enlightening. As daft as the concept sounds, you genuinely come away with a deeper appreciation and understanding of the play, all while laughing harder than you thought possible.

The production is brought to the stage by producers John Terry and Rachel Jermy for Theatre Chipping Norton, alongside Sarah Crompton-Howes, Joe Brown and Kat Lepik for Selladoor Worldwide, who have assembled a first-class creative team and cast that deliver entertainment of the highest calibre.

Fast-paced, fearless and gloriously chaotic, The Complete Works of William Shakespeare (abridged) is a masterclass in comic theatre. It celebrates the genius of Shakespeare while never taking itself too seriously, reminding us that theatre should, above all else, be entertaining. It is zany, clever, brilliantly performed and packed with laugh-out-loud moments from beginning to end. Whether you’re a Shakespeare scholar or someone who’s never opened one of his plays, this production is guaranteed to leave you smiling.

Quite simply, this is one of the funniest nights at the theatre you’ll have all year. Don’t miss it.

Lyceum Theatre, Sheffield – until 11 July 2026

Reviewed by Alison Beaumont

5*****

The Karate Kid The Musical is based on the iconic 1984 film, adapting it for the stage. It focuses on the mentorship between teenager Daniel LaRusso and the master of martial arts Mr Miyagi.

Daniel is the new kid in town and develops a romance with Ali much to the annoyance and jealousy of Ali’s ex boyfriend Johnny. Johnny targets Daniel and beats him up trying to warn him off Ali. Daniel is entered into a Karate tournament where Johnny and Daniel will compete for victory. Mr Miyagi teaches Daniel that Karate is about resilience, balance and inner strength rather than physical aggression.

Tonight Daniel LaRusso played in the original film by the famous Ralph Macchio was played by Isaac J Lewis. He fitted into the part really well. I would have liked his vocals to have been a little bit more powerful but this is my only slight criticism. He had a connection with Abigail Amin who took on the role of Ali Mills.

Bad boy Johnny Lawrence (Joe Simmons) shows confidence and brings the role to life.

The star of the show for me was Adrian Pang who was the eccentric Mr Miyagi, he was without a doubt amazing. He was funny and very much like My Miyagi in the movie and was the perfect fit for the role. There were many one liners which had the audience laughing. The scene when Mr Miyagi was drunk was very emotional and touched with sadness. Ria Tanaka made an entrance as Mr Miyagi’s deceased wife Kiyoko and sang an emotional ballad.

The lighting for the Cobra Kai scenes was low and dark to provide the perfect setting and the fight choreography is genuinely impressive. It had speed, precision and was so believable. The moves looked like they were making physical contact. It really was captivating.

The ensemble were all very talented dancers and were in sync with each other. Throughout all the choreography was fitting for the scenes mixing karate moves with dance (choreographed by Keone and Mari Madrid).

The scenes were simple but effective, moving seamlessly from one scene to another.

There are a few swear words during the show which I don’t think are necessarily needed to be used especially as the show is not just for an adult audience.

This is one of the best shows I have recently seen and is definitely one not to be missed.

All I can say to end is “Wax on Wax off”, “Breath in Breath Out”.

Hull New Theatre – until 11th July 2026

Reviewed by Dawn Bennett

5*****

Having seen and reviewed many musicals over the past few years, I can confidently say that Operation Mincemeat is the best I have had the pleasure to watch.

The cast (Christian Andrews, Charlotte Hanna-Williams, Seán Carey, Jamie-Rose Monk and Holly Sumpton) were outstanding, with each performer taking on multiple characters with remarkable skill. Their quick changes were impeccable, whether signalled by a hat, a skirt, or simply a subtle shift in stance.

What impressed me most was how convincingly they managed to change character with ease bringing energy, and precision to each role they played.

Operation Mincemeat tells the true story of “the man who never was.” Set in 1943, it follows MI5 as they are tasked with creating an extraordinary deception plan during the Second World War.

The operation involved using the body of Glyndwr Michael, a homeless man, and disguising him as a Royal Marine officer named Major William Martin. To make the identity convincing, MI5 created a detailed backstory, complete with theatre receipts, love letters, and “Top Secret” correspondence between Allied generals.

After being released from a submarine, the body was found off the coast of Spain. The aim was to mislead the Germans into believing that Sardinia and Greece were the intended Allied invasion targets, rather than Sicily. The plan worked—and helped save many lives.

Operation Mincemeat is a hilarious and, at times, poignant musical, brilliantly performed by a very talented cast.

The songs are a real highlight, and the band brought them to life with energy and skill. Ella Ingram, Dan Wild, and James Smyth, led by Musical Director Sam Sommerfield, delivered a vibrant and polished performance.

This is a musical not to be missed. The production thoroughly deserved the standing ovation it received last night. It has quickly become my favourite musical—so much so that I am going back to watch it again on Saturday afternoon!

EVERYMAN THEATRE, LIVERPOOL – UNTIL SATURDAY 4TH JULY 2026

REVIEWED BY MIA BOWEN

5*****

The Young Everyman Playhouse (YEP) production of Jekyll & Hyde, led by Evan Placey’s radical reimagining, presented a bold and unsettling interpretation that transformed the gothic classic for the digital era. This press performance shattered Victorian respectability, revealing a world defined by danger, temptation, and fragmented identities, and providing a strikingly modern perspective on a well-known tale.

From the very beginning, the production established a haunting and immersive atmosphere. The characters, costumes, and initial moments were exquisitely crafted, effectively establishing the mood for the evening. Special recognition should be given to Cate Mackie and her team for the stunning costumes, which contributed to a world that felt vibrant and entirely credible. The use of lighting and sound was especially impactful, creating a sense of unease that persisted throughout. The minimalist set allowed the actors to take centre stage, with smooth transitions that maintained a fast-paced and engaging narrative.

At its core, this reimagining of Jekyll & Hyde delved into ambition, addiction, and the monsters we conceal in both digital and real worlds. Jenna Al Nasir’s portrayal of Jekyll/Hyde was a standout, delivering a performance marked by impressive control and emotional range. Jekyll’s internal conflict was rendered with real clarity, while Hyde’s unsettling physicality—sharp, erratic, and unpredictable—created a palpable sense of threat that lingered on stage.

What distinguished this production was its emphasis on voice, especially that of women. Placey’s adaptation highlighted the implications of silencing women, raising critical questions about power and representation. When these voices eventually rose to the forefront, the impact was profound, infusing the narrative with emotional depth and modern significance. This thematic element was addressed with clarity and intention, enhancing the production beyond mere retelling.

The ensemble collaborated effectively to create this world, showcasing strong teamwork and dedication. Each performer played a role in shaping the atmosphere, whether in lead roles or as part of the larger cast, maintaining the energy and intensity of the piece throughout. The direction was confident and purposeful, adeptly guiding the ensemble through complex material with maturity.

Ultimately, YEP’s rendition of Jekyll & Hyde was an ambitious and thought-provoking production. It not only highlighted the impressive talent of its young cast but also reinterpreted a classic tale in a manner that felt both urgent and relevant. The performance challenged its audience, prompting reflections on identity, power, and the repercussions of the voices we choose to silence.

The Mill at Sonning – until 15 August 2026

Reviewed by Marcia Spiers

4****

Brilliantly Bonkers!

Written by Paul Portner and directed by Sally Hughes, Shear Madness is a wonderfully distinctive play that has more than stood the test of time. First written in Germany in 1963 as an experiment in audience participation, it has since become a long-running international success, with a Boston production opening in 1980 and continuing for decades. Its enduring appeal lies in the fact that no two performances are quite the same: the show continually evolves, weaving in local references, current events, music and topical jokes so that each audience feels part of something fresh and immediate.

All the action takes place in a hairdressing salon, a setting that works brilliantly on The Mill’s intimate stage. The funky pink-and-green set, complete with matching aprons, gives the production a bright, modern feel. At heart, this is a comedy with a murder-mystery twist: someone is killed, everyone is a suspect, and the audience is invited to question the characters, remember the clues and ultimately decide who is responsible. It means we must pay attention — I could have done better on that front! — while the cast must stay razor-sharp, thinking on their feet while never losing sight of the plot.

Daniel Cane gives an excellent performance as salon owner Tony Whitcomb, creating mischief and mayhem with effortless comic energy. The production is packed with sharp jokes, innuendo and physical comedy, all landing to plenty of laughter. Rosaleen Burton shines as Tony’s glamorous, flirtatious assistant Barbara McMarley, who has her eye on one of the clients, the suave Edward Lawrence, played by Jonathan Markwood. Natalie Ogle is on fine form as regular client Mrs Shubert, desperate to get her hair done and head off on holiday. Then there are the undercover stooges, Gwithian Evans (Mike Thomas) and Paul O’Neill (Nick O’Brien), who take charge once the body is discovered. Both give strong performances, with O’Brien particularly adept at steering the investigation and keeping the audience interaction lively.

As you can imagine, there is a great deal happening all at once. The pacey dialogue and energetic physical comedy demand excellent timing, while the whodunnit section relies on the cast’s ability to improvise, adapt and respond to wherever the audience takes them. The best news is that I cannot tell you who did it — because next time, it may be someone else entirely. That is exactly why Shear Madness remains so successful: it is inventive, playful and great fun. If you fancy an evening of intrigue, chaos and laugh-out-loud comedy, this is one mystery well worth booking before the trail goes cold.

Friargate Theatre – until Saturday 4th July 2026

Reviewed by Michelle Richardson

4****

The York Mystery Plays, have returned once again to the beautiful city of York, for two weeks only. As part of the festival, Friargate Theatre is currently showing Riding Lights Theatre Company’s adaptation of Dario Fo’s Mistero Buffo, under the direction of Paul Birch, and Ollie Brown as production designer and composer. A satire, written and performed in the 1960’s, it attracted a lot attention and controversy, from the Vatican especially, declaring it blasphemous.

Mistero Buffo was written as a solo piece of work, but this is a two-hander, with Cathy Sara as a cleaner and storyteller, and Thomas Frere as a drunk, and Jongleur. It’s follows Biblical stories, but often with a modern twist, with references to Donald Trump, Elon Musk and Russell Brand, to name a few, as examples of how we aren’t all equal, and how power can corrupt.

On entering the studio there’s a cleaning lady frantically mopping the black shiny floor. She is muttering to herself, and huffs and puffs at everyone walking over it to get to their seats, then starts all over again. During the mumblings she takes on the role of Adam, complaining to God of being overworked. God then creates the Villeyn from a donkey, a symbolism of the downtrodden, to ease Adam’s burden. Frere stumbles onto centre stage, interrupting, he’s drunk and just want to tell everyone about the great time he’s had. The water has been turned into wine and created the most magical drink, and party, ever.

At this stage it is very comical, but things become more serious. Frere explains how he became a Jongleur. The Villeyn’s land is desired by the local Lord, using his privilege to pillage his way through, until the Villeyn can only see one way out, death. The appearance of Christ saves him, empowering him to become a Jongleur.

The Resurrection of Lazarus. Sara is truly magnificent here, switching roles with a blink of an eye. I lost count of the different characters she portrayed here, all with a change of accent and demeanour, it was fabulous to watch and stunning to witness. Finally it is The Crucifixion, a ladder taking centre stage, a mother pleading to stop her sons suffering, to no avail.

Although Sara and Frere share the stage, their interactions are limited, with their stories unfolding alongside one another. When they do connect, they work well together. Both performers take on several characters, shifting facial expression, voice and, at times, adding or removing a jacket. Frere adds live music, playing a couple of instruments and singing. I’m always impressed by performers who deliver such wordy monologues with such eloquence, and both excelled here.

The set is stripped back, props kept to a minimum, but wonderfully utilised, bin bags rustled to create rain, a jacket embellished with feathers to depict Archangel Gabriel.

Mistero Buffo is a series of satirical monologues inspired by medieval mystery plays, biblical stories and popular folklore. This adaptation takes the audience on an emotional rollercoaster, drawing you in with laughter, music and silliness before moving into darkness and heartbreak.

I have never visited this theatre before, it’s a small intimate studio theatre, set back from the River Ouse, with parking a couple of hundred metres away. On entering the stage you could sit wherever you wished.

Playing until Saturday 4th July.

Birmingham Hippodrome – until 2nd August 2026

Reviewed by Emma Millward

5*****

Bringing Roald Dahl’s much-loved story to Birmingham Hippodrome, the Royal Shakespeare Company’s touring production of Matilda The Musical celebrates 15 years of delighting audiences of all ages, combining unforgettable songs with an uplifting message about courage, kindness and believing in yourself. It’s easy to see why the show has won over 100 awards worldwide, including an impressive 25 Best Musical awards.

At the heart of the story is Matilda Wormwood, an extraordinary young girl whose love of books and remarkable intelligence set her apart from her neglectful parents and the fearsome Miss Trunchbull. While many audience members will already know the story, this production still feels fresh and inventive, balancing laugh-out-loud comedy with genuinely touching moments.

The role of Matilda is shared by four talented young performers- Madison Davis, Mollie Hutton, Olivia Ironmonger and Sanna Kurihara. At this performance, Sanna Kurihara took centre stage. She delivered an exceptional performance, capturing Matilda’s intelligence and quiet determination with real maturity. It’s an incredibly demanding role, but she clearly took it all in her stride. The role of Bruce Bogtrotter is shared by Oisin-Luca Pegg, Carter-J Murphy, Brodie Robson and Takunda Khumalo. Bruce was played by Oisin-Luca Pegg for this performance. He stole the show on several occasions, especially during the infamous chocolate cake eating scene, and again as the opening notes of the song Revolting Children rang out, when Bruce suddenly appeared clutching a microphone.

Richard Hurst is deliciously intimidating as Miss Trunchbull. Towering over the cast with commanding presence, he embraces the character’s revolting nature, drawing huge laughs while never losing the menace that makes the role such an unforgettable villain. Tessa Kadler brings a warmth to Miss Honey, creating a compassionate presence that provides the emotional heart of the production. Esther Niles also shines as Mrs Phelps, the kind librarian who revels in listening to Matilda’s stories. 

Adam Stafford and Rebecca Thornhill throw themselves wholeheartedly into the exaggerated comedy as Mr and Mrs Wormwood, delivering brilliantly over-the-top performances that perfectly capture Roald Dahl’s eccentric world. Although his stage time is relatively short, special mention must go to Ryan Lay as Mrs Wormwood’s flamboyant dance partner Rudolpho. His high-kicking, flashy dance routine with Mrs Wormwood showcased the pair’s impeccable comic timing, providing some of the evening’s biggest laughs. The ensemble are equally impressive, maintaining boundless energy throughout while moving seamlessly between lively musical numbers and slick scene changes with remarkable precision.

Tim Minchin’s catchy score, under the musical direction of Andrew Corcoran, is undoubtedly one of the musical’s greatest strengths. From the empowering spirit of Naughty to the gloriously chaotic The Smell of Rebellion, every song blends infectious humour with genuine emotion. Peter Darling’s inventive choreography keeps the production constantly moving, while Rob Howell’s imaginative set design transforms the stage into a vibrant playground of letters, books and school desks. Every element works together to create a visually inventive world that captures the wonder of childhood while allowing the story itself to remain the clear focus. Dennis Kelly’s witty and heartfelt book and direction by Matthew Warchus ensures the production maintains a brisk pace, keeping the audience captivated throughout. What makes Matilda The Musical so enduring is its ability to speak to every generation. Children will delight in its cheeky humour, colourful characters and energetic musical numbers, while adults will appreciate the sharp wit and darker humour.

More than fifteen years after its premiere, the production continues to enchant audiences. Magical, mischievous and magnificent, Matilda The Musical is a theatrical triumph fully deserving of the prolonged standing ovation it received.