PARK THEATRE – UNTIL 28th FEBRUARY 2026

REVIEWED BY JACKIE THORNTON

4****

We’re transported back to 1945 Britain and the eve of Labour’s historic election victory in this 70-minute updating of Strindberg’s 19th Century Swedish play.

Award winning director Dadiow Lin’s thoughtful interpretation of renowned dramatist Patrick Marber’s brutal love tragedy is fiery and intense. We don’t find ourselves upstairs at any celebratory parties though, we’re downstairs in the kitchen of a stately home where Eleanour Wintour’s detailed period set design makes slick use of staging in the round to serve up supper, tea, coffee and drinks from mobile kitchen islands.

Charlene Boyd’s pious, buttoned-up housekeeper Christine never stops, ensuring every need is met for both her employers and chauffeur husband-to-be John, played with humour and passion by Tom Varey. Socialist views may have triumphed in the ballot box but this is not a space of equals. A fact we’re reminded of when daughter of the house Miss Julie, a stunning debut leading role from Liz Francis, sweeps in to fraternise with the staff. Her father (unseen) may be a Labour peer but he certainly doesn’t polish his own shoes and Julie’s attempts to foster relations with the lower classes only extends to making a play for John. Indeed, we learn that his Lordship has done his bit to educate John by lending him books and taking him to the theatre but isn’t there a bitter cruelty in teasing a lifestyle that will never be?

This is the crux of the play: the uncomfortable truth, which feels very fitting for modern audiences, that we are all stuck in an unbreakable system. Varey and Francis are transfixing as their desire and repulsion for one another shifts at a frantic pace, underlining their power struggle and reflecting that of society at large.

A clever and passionate story of class struggle with a sting in the tail.   

 

Birmingham Hippodrome – until 21st February 2026

Reviewed by Emma Millward

5*****

Carlos Acosta’s Don Quixote returned to Birmingham Hippodrome this week, having first premiered in 2022 as a modern retelling of the classic novel by Miguel de Cervantes and Marius Petipa’s 1869 ballet. Presented by Birmingham Royal Ballet, with the Royal Ballet Sinfonia performing Hans Vercauteren’s elegant arrangement of the original music by Ludwig Minkus, Acosta honours Petipa’s original choreography while still adding a modern energy that reflects his Cuban heritage and contemporary dance influences throughout the production.

The story follows the comic adventures of Don Quixote (Jonathan Payn) and his loyal squire, Sancho Panza (Olivia Chang-Clarke). Quixote is an elderly nobleman who becomes immersed in the books he reads and begins to believe they are real and that he is a brave knight. He sees visions of the beautiful Dulcinea (Daria Stanciulescu). Clad in a fruit-bowl helmet and riding a cleverly constructed metal horse, he sets off on an adventure with Sancho. Along the way, he meets Basilio (Mathias Dingman) and Kitri (Geneviève Penn Nabity). They are a young couple struggling with the disapproval of her father, Lorenzo (Rory Mackay). Lorenzo wants Kitri to marry the flamboyant nobleman Gamache (August Generalli), but Don Quixote creates a distraction, and the young lovers run away.

The story’s charm and humorous heartbeat come from Don Quixote’s fanciful adventures and Sancho’s cheeky personality, while Kitri and Basilio deliver a believable romantic spark. Penn Nabity and Dingman form an outstanding partnership. Their wedding pas de deux in the third act drew gasps and applause from the audience. Adding further flair to the bustling marketplace scenes are Matador Espada (Lachlan Monaghan) and Mercedes (Samara Downs). Their dramatic and passionate dancing serves as a striking counterpoint to Basilio and Kitri’s more youthful romance.

Visually, the production is stunning with a rich and vibrant colour scheme. Tim Hatley’s set and costume design never fails to impress. From the homely study of Don Quixote’s house, sun-drenched Spanish courtyards and the magical garden of the second act, every set provides a vivid backdrop to the action. The costumes are equally exquisite, featuring deep reds, golds and greens. Every main character is given their own distinct style that makes them instantly recognisable even amidst a busy ensemble. Lighting by Peter Mumford guides us seamlessly through the story, at times you can almost feel the heat of the Spanish sun radiating from the stage. Imaginative video design by Nina Dunn is used to great effect to project windmills coming to life during the Gypsy encampment scenes. The staging by Christopher Saunders strikes a balance between narrative, humour, and spectacle. This allows both principal dancers and ensemble space to shine while keeping the story clear and engaging from the bustling marketplace of Act I to the celebratory wedding finale. While the production is undoubtedly a five star show, a few more scenes featuring Don Quixote and Sancho Panza might have allowed audiences to savour their comic chemistry even further.

A whirlwind of energy, colour and passion, Carlos Acosta’s Don Quixote proves classical ballet can still dazzle and delight audiences.

Hull New Theatre – until 14th February 2026

Reviewed by Dawn Bennett

5*****

What a fabulous night I had last watching Buddy – The Buddy Holly Story at Hull New Theatre from start to finish the cast were all fantastic. This is not a juke box musical when the songs are sometimes put in and don’t seem to add anything to the story, the songs in Buddy are the story. The story of how he went from playing country with his band, The Crickets, to being the star he became in a very short time and of course the tragedy of his very early death at the age of only 22 years old.

I didn’t realise how many of Buddy’s songs I knew, from Oh Boy, Peggy Sue, True Love Ways to Heartbeat and many more. As good as the songs are they really came alive when performed by this very talented cast, the majority of them playing instruments as well as singing and acting. AJ Jenks was outstanding as Buddy Holly, his singing and guitar playing was something else, he brought the songs alive along with the fabulous Crickets Stephen Alexander-Kerr on drums who played Jerry Allison, Joe Sterling, on guitar, who played Niki Sullivan and Melker Nilsson on bass who played Joe B Mauldin.

This show doesn’t go into depth about the life of Buddy Holly, we see him and the band start out small, get their break in New York, change their management, how Buddy meets his future wife Maria Elena (Marta Miranda). We see him at his final performance in Clear Lake Iowa with The Big Bopper (Joshua Barton) and Ritchie Valens (Miguel Angel). For fans of his music and good music in general I think you will love this show as much as I did.

A special mention must go to the BSL signer, Andy Higgins, how he managed to keep up with the songs and the script I don’t know but he was excellent!

This is must see production, if you don’t catch it in Hull try and get to see it elsewhere. You won’t be disappointed and the songs will be with you for a long time! A five-star production by a five-star cast.

TURNING UP THE VOLUME

CAROLINE – A NEW MUSICAL

ANNOUNCES ICONIC SIXTIES SOUNDTRACK

ON WORLD RADIO DAY

SHE’S NOT A DJ. SHE’S NOT A ROCK STAR. BUT IN THE MIDDLE OF BRITAIN’S RADIO REVOLUTION, CAROLINE MIGHT JUST STEAL THE SHOW

Caroline – A New Musical is inspired by the true story of Britain’s pirate radio revolution which set the soundtrack to the sixties and gave a whole generation a new voice.  Today, on World Radio Day, as we celebrate the power of broadcasting, they confirm the iconic lineup of 1960s hits that will provide the soundtrack to power this vibrant new show.  

Packed with era-defining anthems, ‘Caroline’ will feature unforgettable tracks that shaped a generation, and will include My Generation by The Who, Not Fade Away by The Rolling Stones, Reach Out (I’ll Be There) by The Four Tops, Shout by Lulu & The Luvvers, Keep On Running by The Spencer Davis Group, Dead End Street by The Kinks and As Tears Go By from Marianne Faithfull.

From soul-stirring ballads to full-throttle rock ’n’ roll, the show explodes with the energy, optimism and rebellion of the 1960s. Expect soaring harmonies, heartbreak, dance-floor energy and pure sixties joy. Sweeping from chip shops to shipping lanes, from tiny transistor radios to the halls of power, Caroline is a funny, heartfelt musical about love and loyalty celebrating East Anglia’s special connection to a story that rocked the world.

A radio station for young people! Why do we need that?

Caroline dreams of something more than stacking shelves at the local greengrocers. Her days are routine, but her nights come alive, walking the pier, sharing laughs with her best friend Mary, and spinning records with Robbie, her music-mad boyfriend who’s big on charm yet short on direction.

But a music revolution is coming, and Robbie lands a shock gig with Radio Caroline – the pirate radio station blasting pop, soul and rock ’n’ roll from a ship off the Essex coast and suddenly everything changes. Caroline is swept into a tidal wave of music, mayhem and a movement that would shake up British culture forever.

Caroline is co-produced by partners of East Anglian Touring Consortium including New Wolsey Theatre, Landmark Theatres, Queen’s Theatre Hornchurch, Mercury Theatre Colchester, Norwich Theatre, Theatre Royal Bury St Edmunds, Hightide and Eastern Angles. With thanks to Arts Council England and National Theatre Generator programme. It is penned by the award-winning writer Vikki Stone and Directed by Douglas Rintoul (Chief Executive/Artistic Director at the New Wolsey Theatre) and Alex Thorpe (Co-Creative Director at Queen’s Theatre Hornchurch).

With a cast of actor-musicians to be announced, the world premiere of Caroline – A New Musical will open at the New Wolsey Theatre, Ipswich on 17 April 2026 before visiting Queen’s Theatre Hornchurch, New Theatre Peterborough, Mercury Theatre Colchester and Theatre Royal Bury St Edmunds.

Caroline – A New Musical is a feel-good blast of 60s hits, heart, and hometown pride capturing the moment Britain turned up the volume and never looked back.

Join the musical revolution with tickets starting from ?15. Visit Carolineanewmusical.com  

NOMINATIONS ANNOUNCED FOR THE

CRITICS’ CIRCLE THEATRE AWARDS 2026

The Critics’ Circle today announces the nominations for the 2026 Theatre Awards, sponsored by Finito. This is thefirst time in the awards’ 37 year historythat members have voted for longlists and shortlists.These are the only prizes to be entirely voted for by the professional theatre critics who are members of the Circle. The winners will berevealed in a ceremony at the National Theatre on 26 March.

Leading the competition with five nominations each are Ivo van Hove’s production of Arthur Miller’s All My Sons currently running at the Wyndham’s Theatre (Best Revival, Best Actor nominations for Bryan Cranston and Paapa Essiedu, Best Actress for Marianne Jean-Baptiste, and Best Director for van Hove), and two musical revivals – Jordan Fein’s production of Sondheim’s Into the Woods currently running at Bridge Theatre (Best Revival, Best Actress for Kate Fleetwood, Best Director for Fein, Best Designer for Tom Scutt and Best Ensemble or Cast), and Jamie Lloyd’s production of Evita by Andrew Lloyd Webber and Tim Rice which ran at The London Palladium last summer (Best Revival, Best Director for Lloyd, Best Actress for Rachel Zegler, Best Designer for Soutra Gilmour and Best Newcomer for Diego Andres Rodriguez).

They are followed by Paddington The Musical, Stereophonic, The Weir and Much Ado About Nothing, all with four nominations each.

The National Theatre has eleven nominations across five productions – Inter Alia, Hamlet, The Estate, Here We Are and The Land of the Living.

2026 Chair of the Critics’ Circle Drama Section, Mark Lawson said today, “Our first experiment with longlists and shortlists was intended to increase the range of talent under consideration. I’m confident that has happened with 179 candidates in play across the whole voting process – at venues from huge to minuscule – resulting in excitingly diverse shortlists. Emerging talent is especially well represented with a significant number of contenders for both Most Promising Playwright and Best Newcomer recognised for their professional theatre debuts. A new category for Best Cast or Ensemble aims to reflect that, while star and lead performances matter and thrill audiences, many great shows also rely on exhilarating teamwork.” 

This is the fourth year of the acclaimed Empty Space…Peter Brook Award being part of the Critics’ Circle Theatre Awards. Founded by Blanche Marvin MBE, who died last month just short of her 101st birthday, the award recognises a theatre that embodies the spirit of Peter Brook, both in its use of space and in relationship to its locality. Blanche’s daughter, Niki Marvin, an Oscar-nominated director/producer, has taken over the running of the award. From this year, the award has been renamed The Empty Space…Peter Brook Award (In Memory of Blanche Marvin), Sponsored by Nica

Burns. Decided by a separate panel of critics chosen by the Marvin family, the 2026 shortlist for this prize will be announced next week.

The Awards are made possible through the generous support and encouragement of Finito. “After a long-standing support of The Jack Tinker Award for Best Newcomer, we are delighted to become the main sponsor of the Critics’ Circle Theatre Awards” said Ronel Lehmann, Chief Executive, Finito.

Other individual awards are sponsored by 5RB,NLP and Nica Burns. The awards are also generously supported by Nick Hern Books and by an anonymous philanthropic donation. We also gratefully acknowledgethe participation of the Trewin Family who created the Best Shakespearean Performance Award.

Twitter: @cctheatreuk

Instagram: @criticscircletheatreuk

THE NOMINATIONS IN FULL:

THE MICHAEL BILLINGTON AWARD FOR BEST NEW PLAY

David Adjmi – Stereophonic (Duke of York’s Theatre)

Alice Birch – Romans A Novel (Almeida Theatre)

Jack Holden and Ed Stambollouian – Kenrex (The Other Palace)

James Graham – Punch (from a book by Jacob Dunne) (Young Vic / Apollo Theatre)

David Ireland – The Fifth Step (@sohoplace)

Suzie Miller – Inter Alia (National Theatre)

Joe Murphy & Joe Robertson – Kyoto (@sohoplace)

BEST REVIVAL OF A PLAY OR MUSICAL

All My Sons (Wyndham’s Theatre)

Brigadoon (Open Air Theatre Regent’s Park)

Evita (London Palladium)

Intimate Apparel (Donmar Warehouse)

Into The Woods (Bridge Theatre)

Indian Ink (Hampstead Theatre)

The Weir (Harold Pinter Theatre)

THE PETER HEPPLE AWARD FOR BEST NEW MUSICAL

Cable Street (Southwark Playhouse)

Here We Are (National Theatre)

Paddington The Musical (Savoy Theatre)

Shucked (Open Air Theatre Regent’s Park)

Sing Street (Lyric Hammersmith)

Titanique (Criterion Theatre)

THE 5RB AWARD FOR BEST DIRECTOR

Daniel Aukin – Stereophonic (Duke of York’s Theatre)

Jordan Fein – Into The Woods (Bridge Theatre)

Lynette Linton – Intimate Apparel (Donmar Warehouse)

Jamie Lloyd – Evita (London Palladium) and Much Ado About Nothing (Theatre Royal Drury Lane)

Luke Sheppard – Paddington The Musical (Savoy Theatre)

Ivo Van Hove – All My Sons (Wyndham’s Theatre)

BEST ENSEMBLE OR CAST

1536 (Almeida Theatre)

Here We Are (National Theatre)

Into The Woods (Bridge Theatre)

Stereophonic (Duke of York’s Theatre)

The Weir (Harold Pinter Theatre)

When We Are Married (Donmar Warehouse)

MOST PROMISING PLAYWRIGHT

Jamie Armitage – A Ghost in Your Ear (Hampstead Theatre) and An Interrogation (Hampstead Theatre)

Sophia Chetin-Leuner – Porn Play (Royal Court)

Hannah Doran – The Meat Kings! (Inc) of Brooklyn Heights (Park Theatre)

Sophia Griffin – After Sunday (Bush Theatre)

Katherine Moar – Ragdoll (Jermyn Street Theatre)

Ava Pickett – 1536 (Almeida Theatre)

Shaan Sahota – The Estate (National Theatre)

BEST ACTOR

Adeel Akhtar – The Estate (National Theatre)

Bryan Cranston – All My Sons (Wyndham’s Theatre)

Paapa Essiedu – All My Sons (Wyndham’s Theatre)

Brendan Gleeson – The Weir (Harold Pinter Theatre)

Sean Hayes – Goodnight, Oscar (Barbican Theatre)

James Hameed & Arti Shah – Paddington (Savoy Theatre)

David Shields – Punch (Young Vic / Apollo Theatre)

THE NLP AWARD FOR BEST ACTRESS

Kate Fleetwood – Into The Woods (Bridge Theatre)

Julie Hesmondhalgh – Punch (Young Vic / Apollo Theatre)

Marianne Jean-Baptiste – All My Sons (Wyndham’s Theatr

Rosamund Pike – Inter Alia (National Theatre)

Nicola Walker – The Unbelievers (Royal Court)

Samira Wiley – Intimate Apparel (Donmar Warehouse)

Rachel Zegler – Evita (The London Palladium)

BEST DESIGNER

Miriam Buether – Kyoto (@sohoplace)

The Land of the Living (National Theatre)

Lizzie Clachan – The Lady From The Sea (The Bridge)

Soutra Gilmour – Much Ado About Nothing (Theatre Royal Drury Lane) and Evita (The London Palladium)

Tom Pye – Paddington The Musical (Savoy Theatre)

Tom Scutt – Into The Woods (Bridge Theatre)

David Zinn – Stereophonic (Duke of York’s) and Here We Are (National Theatre)

THE TREWIN AWARD FOR BEST SHAKESPEAREAN PERFORMANCE

Hayley Atwell – Much Ado About Nothing (Theatre Royal Drury Lane)

Jonathan Bailey – Richard II (Bridge Theatre)

David Harewood – Othello (Theatre Royal Haymarket)

Tom Hiddleston – Much Ado About Nothing (Theatre Royal Drury Lane)

Francesca Mills – Hamlet (National Theatre)

Samuel West – Twelfth Night (Barbican)

THE JACK TINKER AWARD FOR MOST PROMISING NEWCOMER (SPONSORED BY FINITO)

Isobel Akuwudike – The Lady From The Sea (The Bridge)

Ruby Ashbourne-Serkis – Indian Ink (Hampstead Theatre)

Asa Butterfield – Second Best (Riverside Studios)

Kate Phillips – The Weir (Harold Pinter Theatre)

Diego Andres Rodriguez – Evita (The London Palladium)

Jasper Talbot – Inter Alia (National Theatre)

Artie Wilkinson-Hunt – The Land of the Living (National Theatre)

WORLD PREMIERE STAGE ADAPTATION OF

SHIRLEY JACKSON’S SUPERNATURAL THRILLER

THE HAUNTING OF HILL HOUSE

TO EMBARK ON UK TOUR THIS AUTUMN

A new stage adaptation of Shirley Jackson’s bestselling novel The Haunting of Hill House will make its world premiere with a UK tour this autumn. Following the critically acclaimed Netflix hit series that introduced a new generation to Jackson’s eerie masterpiece, this brand-new adaptation – written by Olivier and BAFTA award-winner Stef Smith – will conjure the iconic supernatural thriller on stage.

Laurence J. Hyman, son of Shirley Jackson, today said, “From film and television to the stage, my mother Shirley Jackson’s legacy continues to endure through her iconic novel The Haunting of Hill House. I’m thrilled that this haunting classic will return in a new form, and that Stef Smith’s adaptation will capture the novel’s remarkable and unsettling spirit for audiences in a whole new way.”

Directed by Martin Constantine, this is a Wiltshire Creative production in association with Theatr Clwyd, presented by Mark Puddle with Alexander “Sandy” Marshall and Patrick Myles. Opening at Salisbury Playhouse on 11 September, the run continues at Richmond Theatre from 6 – 10 October before embarking on a UK tour to Theatre Clwyd, Theatre Royal Brighton, Palace Theatre Manchester, Liverpool Everyman & Playhouse, concluding at Royal Lyceum Theatre in Edinburgh on 14 November.

Stef Smith added, “The Haunting of Hill House is one of the greatest supernatural novels of the last one hundred years and to have the chance to adapt it for the stage is a true privilege. I find Shirley Jackson’s world intoxicating, thrilling and gut-wrenching. I believe there is something so deeply theatrical at the heart of Hill House. From the spooky, to the surreal, through heartache and hope. I hope that our cast of characters will take the audience along for a ride quite unlike anything else. Above all we will examine that the biggest horrors are usually human.”

Tickets are now on sale, with the full cast and creative team to be announced shortly.

Supportedusing public funding by Arts Council England.

Mark Puddle with Alexander “Sandy” Marshall and Patrick Myles present
a Wiltshire Creative production in association with Theatr Clwyd

THE HAUNTING OF HILL HOUSE

Novel by Shirley Jackson

Adapted for the stage by Stef Smith

Directed by Martin Constantine

11 September – 14 November 2026

“A ghost can be a lot of things. A memory, a daydream, a secret, grief, anger, guilt.”

When a group of daring investigators take on the mystery of Hill House, curiosity quickly
descends into fear. Experiments plunge into darkness. Strange disturbances ripple through
twisting corridors. As the house tightens its grip, it will leave you on the edge of your seat…
and questioning what is real long after the curtain falls.

From best-selling novel to major hit Netflix series, The Haunting of Hill House now takes to the stage in this gripping new production that blurs the line between heart-thumping suspense and the supernatural.

Shirley Jackson (1916 – 1965) was an American writer celebrated for her works of horror and mystery. Over a career spanning more than two decades, she authored six novels, two memoirs, and more than 200 short stories. Her novels include The Road Through the Wall, Hangsaman, The Bird’s Nest, The Sundial, and We Have Always Lived in the Castle.

Stef Smith is an Olivier and BAFTA-winning playwright. Her theatre credits include Roadkill (Theatre Royal Stratford East – winner of the Olivier Award for Outstanding Achievement in an Affiliate Theatre), Girl in the Machine, Enough (Traverse Theatre), Swallow (Traverse Theatre/Edinburgh Festival Fringe – also adapted for screen, premiering at the Edinburgh International Film Festival), Nora: A Doll’s House (Citizens Theatre), Smoke (and Mirrors) (Traverse Theatre/DOT Istanbul), Woman of the Year (Òran Mór), Human Animals (Royal Court Theatre) and The Outrun (Edinburgh International Festival). Her screenwriting credits include Float (winner of the BAFTA Scotland Award for Best Television Scripted), and The Outrun.

Martin Constantine is an award-winning theatre and opera director. His theatre credits include Peter Pan (Storyhouse Theatre, Chester), The Owl and the Pussycat (UK tour), Manga Sister (The Yard Theatre), The Future for Beginners (Wales Millennium Centre/Edinburgh Festival Fringe), Marsha (Arcola Theatre). His opera credits include The Elixir of Love (UK tour), Acis and Galatea (Buxton International Festival), The Silent Twins (Almeida Theatre), Cavalleria Rusticana, Pagliacci (Shanghai Opera House), Don Giovanni (Loughborough Festival Opera), Dead Man Walking, and Paul Bunyan (Wales Millennium Centre).

THE HAUNTING OF HILL HOUSE 

LISTINGS

Instagram, X: @hillhouseonstage #HillHouseOnStage

www.thehauntingofhillhouse.co.uk/

11 September – 14 November 2026

Press performance: Thursday 8 October at 7:30pm at Richmond Theatre

Salisbury Playhouse, Salisbury

11 September – 03 October 2026

Box Office: 01722 320 333 / https://www.wiltshirecreative.co.uk/

Richmond Theatre, Richmond
06 – 10 October 2026

Box Office: 0333 009 6690 / https://www.atgtickets.com/whats-on/richmond/ 

Theatr Clwyd, Mold

13 – 17 October 2026

Box Office: Office: 01352 344 101 / https://www.theatrclwyd.com/ 

Theatre Royal Brighton, Brighton

20 – 24 October 2026

Box Office: 0114 249 6000 / https://www.atgtickets.com/venues/theatre-royal-brighton/

Palace Theatre Manchester, Manchester

27 – 31 October 2026

Box Office: 0333 009 6690 / https://www.atgtickets.com/venues/palace-theatre-manchester/

Manchester on-sale: 20 February 2026 at 10am

Liverpool Everyman & Playhouse, Liverpool

03 – 07 November 2026

Box Office: 01223 503 333 / https://www.artstheatre.co.uk/whats-on/ 

Royal Lyceum Theatre, Edinburgh

10 – 14 November 2026

Box Office: 0131 248 4848 / https://lyceum.org.uk/

Recommended for ages 12+

Festival Theatre, Malvern – until 14th February 2026

Reviewed by Courie Amado Juneau

5*****

I was fortunate enough to see Fiery Angel’s production of Murder on the Orient Express last year, so I felt enormous anticipation at the return to Malvern of this great company with Death on the Nile.

At curtain up, we saw Poirot in a London street witnessing two lovers embracing and it was immediately apparent that this version was not going to be following the original rigidly. There then followed a party which, again, was not in the original book. Although not canon; this was a very clever plot ploy to set the scene and introduce the characters rapidly – so I can understand the poetic licence.

Since David Suchet’s flawless performance it must be nigh on impossible for any actor portraying our peculiar Belgian friend. Mark Hadfield did a wonderful job, imbuing the character with a lot of humour which was most welcome. The fact that Mark made one forget the inimitable Mr Suchet is a testament to how superb he was!

Every member of this wonderful cast, brought passion and drama and carried the plot forward beautifully, adding to the whole with excellent performances. But the central protagonist love triangle – Esme Hough as Jacqueline De Bellefort (spurned lover turned revenge specialist), Libby Alexanda-Cooper as Linnet Ridgeway (selfish rich girl on honeymoon) and Nye Occomore as Simon Doyle (the man in the middle of this love triangle) were especially effective, believable and odious.

Glynis Barber (playing Salome Otterbourne) was the marquee name – certainly, her acting prowess was the most familiar to me due to her wonderful portrayal of Soolin in Blakes 7. And I loved the character she brought to life on the stage tonight – a very batty thespianic match-maker who very nearly stole the show from the main characters. Bob Barrett (Colonel Race) was another total joy who lit up the stage; especially in the scenes with him and Poirot – the “here comes the denouement” bit being one of the highlights of the entire evening!

The staging was rich and sumptuous with the set being particularly effective; on two levels providing much scope for drama as seeing the actors high up had a surprisingly thrilling effect and made the most of a quite minimalistic construction. A big pat on the back then for Designer Mike Britton.

As I mentioned, there was a lot of liberties taken with the rewrite with a murder or two completely missing. Couple that with some deliberately shifty goings on designed (I’m sure) to muddy the waters with lots of fishy red herrings and this turned out to be a masterstroke (presumably) from Director Lucy Bailey, particularly if you were new to the tale, in keeping you guessing.

The ending packed a punch too (which I won’t spoil), leading to a genuinely thought provoking love monologue from our titular detective – unlike the murders it was perfectly executed and stayed with me long after the actors had left the stage! Worth attending for that alone.

So, were the unfamiliarity and changes etc worth it? You bet they were! I found this to be a thoroughly enjoyable night’s entertainment and one that I highly recommend. Even better than last year’s performance, so bravo all around!

Nottingham Theatre Royal – until Saturday 14 February 2026

Reviewed by Amy V Gathercole

3***

“The atmosphere created by the set and lighting design is unmistakably noir, welcoming the audience into a shadow‑drenched world flickering into view…”

The main draw of this production is the UK theatre debut of British‑American Mischa Barton (best known for playing Marissa in the 00s teen drama The OC) as the famous femme fatale Phyllis Nirdlinger — a character defined by calculation, charm and hidden agendas.

James M. Cain’s Double Indemnity has travelled a long way from its 1930s origins, becoming a cornerstone of the film‑noir genre before finding new life on stage. This latest production, directed by Oscar Toeman, embraces that heritage with confidence. From the moment the lights rise, the atmosphere is unmistakably noir, complete with the shutter‑blind aesthetic that defines the style. A minimalist, shadow‑drenched world of offices, alleyways and underground corners flickers into view with crisp clarity. Josh Gadsby’s lighting and Ti Green’s set design complement each other perfectly, while the haunting score threaded throughout heightens key moments. Dan Balfour’s sound design and composition give the show much of its brooding mood.

At the centre of this entangled tale is Walter Huff (Ciarán Owens), an insurance man looking for something to get his pulse racing. He comes into contact with Phyllis and together they weave a web of deceit and deadly consequences. Owens delivers a performance that feels grounded yet quietly electric. In classic noir fashion, he narrates the action, feeding the audience clues, concerns and ultimately, confessions.

He charts Huff’s slide from curiosity to complicity with natural ease, never overplaying the drama but letting it simmer beneath the surface. He’s compelling to watch, especially as the stakes tighten around him. His scenes with his boss and mentor, Keyes (Martin Marquez), are among the production’s strongest. Marquez brings passion, humour and moral weight to the role, grounding the play with warmth and conviction. Their dynamic becomes the emotional anchor of the piece and is more gripping at times than the central seduction plot, which never fully convinces.

Mischa Barton takes a more understated approach to Phyllis. It’s a gentler interpretation than audiences familiar with the source material might expect, especially for a character traditionally defined by dangerous allure. While the restraint is an interesting choice, it sometimes leaves the role feeling muted in a production that leans heavily into noir’s heightened tension. Even so, Barton finds moments of quiet intensity that hint at a more internalised, psychological Phyllis — less overtly seductive, more quietly calculating. Her presence adds intrigue, even if it doesn’t fully ignite the story.

The supporting cast, including Gillian Saker, Joseph Langdon, Oliver Ryan and Sophia Roberts, add texture without pulling focus. Their shifts between roles are clear and purposeful. As Phyllis’s younger step‑daughter, Lola, Roberts provides a sincere and vulnerable performance that softens the production’s harder edges.

Double Indemnity is stylish and steady, but ultimately fails to be truly absorbing. While the atmosphere is rich and the cast are committed, the show never quite achieves the necessary momentum, leaving this viewer admiring the craft but ultimately unmoved.

Tickets are available from TRCH ( https://trch.co.uk/whats-on/double-indemnity-qj8t) for Nottingham and from Show Tours ( https://showtours.co.uk/double-indemnity-tour-dates/) for the rest of the UK tour.

Watermill Theatre, Newbury – until 14th March 2026

Reviewed by Joanna Huggett

5*****

I attended the production with my 14-year-old daughter, and what an absolute treat it was for us both. From the very first moment, we were completely drawn in.

The set beautifully captured what life might have been like in rural Oxfordshire at the end of the nineteenth century — simple yet incredibly effective and wonderfully versatile. We especially loved watching the cast sing while seamlessly moving furniture between scenes; it felt fluid, natural, and added to the charm of the performance.

The characterisation was outstanding. The cast transitioned effortlessly between roles, convincingly portraying characters ranging from very young to very old. Their adaptability and attention to detail made each character feel distinct and believable.

For us, the star of the show was Laura, played by Jessica Temple. She carried the narrative with such grace, guiding us through her story with warmth and authenticity. Her performance was deeply emotive, particularly in the final scene following her brother’s death at war — a moment that was truly moving. We also adored Edmund, played by Alex Wilson, whose comic timing was impeccable. The scene in which he and Godfrey (Zrey Sholapurkar) played the young girl cousins was a particular highlight and had us thoroughly entertained.

We always love visiting the Watermill — such an intimate, quaint theatre with a wonderfully welcoming atmosphere. This production felt perfectly suited to the space.

I had initially wondered whether my 14-year-old might find the show a little slow, but when I asked her afterwards, she replied, “Not at all.” As a young teenager, she really connected with Laura’s journey of self-discovery and finding her place in the world.

A truly delightful and thoroughly engaging production — not to be missed.

The show can also be seen at Theatre by the Lake 26 March – 18 April

Cambridge Arts Theatre, Cambridge – until Saturday 10th February 2026

Reviewed by Steph Lott

3***

As a lifelong fan of the Inspector Morse television series, I approached last night’s performance of “Inspector Morse: House of Ghosts” with a mixture of excitement and trepidation. Could the stage truly capture the brooding atmosphere and intellectual depth that made the show so compelling? The answer, I’m afraid, is “not quite.”

The production’s greatest challenge rested on Tom Chambers’ shoulders: could he embody Morse without simply mimicking John Thaw’s iconic portrayal? Chambers opts for his own interpretation, presenting a more vulnerable, romantic, and occasionally lighter version of the character. While this shows admirable courage, his reliance on certain mannerisms became somewhat distracting as the evening progressed. I found myself watching the performance rather than believing in the character—a critical distinction that prevented full immersion in the story.

Alma Cullen, who wrote episodes for the original television series, brings undeniable credentials to the script. The play attempts to capture that familiar intellectual, moody, and nostalgic tone we associate with “Inspector Morse”, but it falls somewhat short of the mark. The deep psychological edge that distinguished the TV series feels diluted here, replaced by something more conventionally theatrical.

Fortunately, the supporting cast provides solid ballast. Tachia Newall delivers an empathetic and grounded performance as DS Lewis, offering a necessary counterpoint to Morse’s eccentricities. Charlotte Randle brings faded amusing glamour to her role as the diva Verity, while Jason Done proves particularly commanding when portraying Lawrence, helping to maintain momentum throughout the production.

The pacing presents significant problems. The first act is slow and dense, establishing atmosphere at the expense of engagement. Then, as if overcorrecting, the second act rushes through revelations at such speed that crucial plot points feel confusing rather than satisfying. This uneven tempo undermines the mystery-solving experience that should be the production’s heart.

The “play within a play” conceit feels forced and distracting rather than clever. More frustratingly, there are characters crucial to the action who are referenced but never appear on stage—a theatrical choice that left me feeling cheated. In a whodunnit, we want all the pieces visible before us; having key players exist only in dialogue feels like a storytelling cop-out.

“Inspector Morse: House of Ghosts” suffers from an identity crisis. If you’re seeking an amusing whodunnit for a pleasant evening out, you’ll likely enjoy yourself. The production has moments of wit, the performances are professional, and the Cambridge Arts Theatre is as always, a great setting. However, if you’re hoping for the melancholy Morse, the philosophical musings, and the emotional depth that characterized the television series, you may leave disappointed.

The play isn’t unsuccessful—it’s simply caught; neither a faithful homage nor a bold reimagining. For devoted fans, that’s perhaps the most unsatisfying mystery of all.