Festival Theatre, Malvern – until 19th September 2026

Reviewed by Courie Amado Juneau

5*****

Since catching Blithe Spirit in an amateur production, I love Noel Coward. Catching a new play I had never seen before from the master’s pen, I was anticipating a treat.

The story revolved around established star Geri and an exploration of her social network (mostly friends and ex’s dependent on her continued fame) and how her love life (and that of others) affected the delicate dynamics in her life, with predictably farcical results.

Via some period music and a “curtain” showing a montage of newspaper headlines displaying the social whirl of Geri at all the fashionable places with the in crowd (like Warhol or Princess Margaret), the scene was quickly set without the need for rambling monologues. Once the curtain went up we found ourselves in the company of David Stillington – he who has lost his apartment keys and taken advantage of Geri’s spare bedroom and dressing gown…

Tracy-Ann Oberman is, of course, the lead and star of this show. She gave a sizzling performance, dazzling as a lady in her 40’s (ahem) who none could resist. I sure couldn’t! Every inch the star she is in real life – bringing this to the stage with a joyous conviction that does her and this production credit.

The rest of the cast were an ensemble affair of equal stars that also shined in the glittering firmament that Geri swept across. All had their own personalities and moments to hog the spotlight. All were wonderful. But James Dreyfus (playing secretary Monty) was a standout with an at times subtle, empathetic performance and at other times lovely Constable Goody moments of incredulity at the unfolding farce.

Arguably the biggest laugh of the evening was saved for Kit Young (as Johannes). The villain of the piece in many ways, his comeuppence was delicious – and I’m having to really resist telling you why. It’s worth going for this moment alone (you’ll know when it happens). I’m guessing kudos to Director Lindsay Posner for this masterstroke.

If you like 1970s fashion and music then this play will be right up your street as it evokes that era that style forgot with the precision of the Studio 54 disco lasers. With wigs, hair and makeup by Lee-Ellen Wilson and Bunny as Wardrobe Manager, deftly deploying costumes by Designer Peter McKintosh – this is a very stylish affair.

Which is more than can be said for the bedroom shenanigans that everyone was involved in! Those were heady times. I’ve read plenty of biographies of classic 70s rock bands so this was very familiar ground. I’m not sure if the 1939 original had the same level of decadence – I’d sure like to see the original to get a comparison.

And that’s something that impressed me. That the play left me longing for more. Longing to see the original which, I understand from overhearing a group in the foyer afterwards, has been liberally rewritten but with key lines still intact. I gather fans of the original won’t be jarred or disappointed – so rest assured classic Coward fans.

All in all, a pretty flawless performance which thoroughly deserves the full 5 stars I’m happy to award it.

The Arts at Marble Arch – until 6th December 2026

Reviewed by Phil Brown

5*****

Million Dollar Quartet is only the second show to be staged at The Arts at Marble Arch theatre which opened in July 2026 as a temporary 500+ seat venue while the original Arts Theatre undergoes redevelopment. It’s a decent space for audience and performers, but situated in the middle of what is effectively a roundabout, it does suffer occasionally from rorty traffic noise.  It’s situated more or less where an ill conceived artificial hill – the Marble Arch Mound – was recently erected.  Let’s hope it’s much more successful with the public…  

I first tapped my feet along to Million Dollar Quartet back in 2011 when it was staged at the Nöel Coward Theatre following a Broadway debut in 2010, and earlier US productions dating back to 2006.   

Although not the first ever Jukebox musical (apparently John Gay’s 1728 The Beggar’s Operais considered the earliest historical ancestor!), Million Dollar Quartet has to be among the earliest, but is especially significant for sampling the work of several high profile performers rather than a single artist, at a key inflexion point in the growth of rock ’n’ roll in the late 1950s.

It reimagines a unique occasion – the only time that four early greats of rock ’n’ roll – Elvis Presley (played by Connor Payne), Johnny Cash (Christopher Erasmus), Carl Perkins (Joey Bradick) and Jerry Lee Lewis (Joe Bence) came together with now legendary studio owner and producer Sam Phillips (Darren Day) at Sun Studios on 4th December 1956.  

The complete recordings of the actual event are available on Amazon and amount to 47 tracks (with some repetition).  It’s vaguely disappointing to find that only three of those 47 songs feature in the show, but hey, producers need a commercial show and audiences want to hear the hits, and the writers (Colin Escott and Floyd Mutrux) have conjured a thoroughly plausible and compelling story to tell with some wonderful dialogue.  It’s interesting though that Presley songs seem rather under represented in the programme, and of the 22 songs in the show only four are written by members of the MDQ.

Whilst little, if anything, seems to have changed in the body of the 2026 version of the show, (to coin a phrase popular in the southern US states “if it ain’t broke, don’t fix it”), it succeeds in elevating performance and production values to new heights.  Director Jonathan O’Boyle has polished this production to near perfection, and yet again, I leave the theatre marvelling at the versatility and breadth and depth of performing talent we have in the UK.

The stage set (Libby Watson) is the Sun Studio (formerly the Magic Throttle auto-parts store) and looks suitably of the period with a black and white tiled floor and gold records and photographs of artists on the walls.  Instruments and equipment lie scattered around.  The main wall is dominated by the control booth window behind which Phillips retires during “recording”.  A nice touch is a fan of ceiling mounted strip lighting echoing the sun’s rays feature of the Sun Studio logo.   Lighting design (Alex Musgrave) works a treat and movement of people (Joanna Goodwin) and equipment is slickly choreographed without appearing to be so.

In terms of dramatic structure, Darren Day is naturally engaging and charismatic as a front man introducing and narrating the show in a pronounced Alabaman drawl, and amusing with razor sharp reactions to occasional audience interventions.  The show intersperses narration and dialogue which usually leads to a song, often paused for brief segments of talk and then restarted or finished off.  This technique generates a realistic feeling of being present at a recording session. This feeling is reinforced by the way bass and drums keep noodling away during some of the narration and dialogue exchanges.  Dialogue is particularly well written – convincing and equally well performed.

The occasion is meant to be a Carl Perkins recording session, but he’s late and Jerry Lee Lewis is the first to arrive, on spec from Ferriday Louisiana.  Followed by  Perkins, Johnny Cash and finally Elvis Presley with girlfriend Dyanne (Jenay Naima).  Although the four main performers (MDQ) are playing on stage from the very beginning, their character introductions and back stories are revealed one by one as they each take a turn in the spotlight for their signature songs.

The seriously impressive band – the MDQ plus Brother Jay Perkins (Geraint Downing) on upright bass and W S ‘Fluke’ Holland (Jacob Evans) on drums –  is tighter than a body builder’s vest with superb sound.  In particular Joey Bradick as Perkins on guitar and Joe Bence as Jerry Lee on piano are masterful, with Downing superb on bass plus tricks, and Evans immaculate on drums .  

All the performers are very fine singers, but Christopher Erasmus’ baritone as Johnny Cash is probably the truest to his character, with his Sixteen Tons a favourite of the evening for me, whilst the quartet and Dyanne’s harmony work is stellar.  Connor Payne’s That’s Alright is almost indistinguishable from Presley, and surely Jerry Lee himself would have admired Bence’s show closing rendition of Whole Lotta Shakin’.  Jenay Naima as Dyanne cults through the testosterone with a sultry Fever and hard rocking I Hear You Knocking to great audience reception.

The show’s 2 hours of running time really does pass in a flash and culminates in a spectacular finale with a killer sequence guaranteed to get a primed and pent up audience on their feet to clap and boogie along to Hound Dog, Ghost Riders in the Sky, See You Later Alligator and Whole Lotta Shakin.   The audience absolutely loved this show.

Quite simply, Million Dollar Quartet is a superbly realised juke box musical that is not only fun, it will nourish and sustain you.  It’s a five star production offering nothing less than five star entertainment.  

Theatre Royal. Nottingham – until 19th September 2026

Reviewed by Lauren Fordham

4****

‘The Silence of the Lambs’ is a book written by Thomas Harris in 1988 but it imprinted itself permanently on the public consciousness in the multi-award-winning 1991 film. Directed by Jonathan Demme, it starred Anthony Hopkins, as imprisoned brilliant psychiatrist and also cannibalistic serial killer Dr Hannibal Lecter, and Jodie Foster as Clarice Starling, a trainee FBI agent who has been tasked with eliciting information from Lecter about a serial killer, ‘Buffalo Bill’ that the FBI are trying to catch. However, Lecter will only give information about ‘Buffalo Bill’ on a quid pro quo basis, the condition being that Starling first shares her childhood traumas with him.

 Now, for the first time, writer Gina Gionfriddo has adapted the story for the stage.

John Partridge plays Lecter, and he does so with a seductive suavity in both voice and manner that is evocative of an abusive husband, drawing Starling in with silky-voiced sophistry, until she angers him and he snaps, with the sudden violence of a camouflaged saltwater crocodile. This approach is a shrewd strategy since the distance of the audience means that he cannot rely, and sensibly does not seek to replicate, Hopkins’ captivating, clear-eyed close-ups.

Mollie Gallagher handles her professional theatre debut as deftly Starling does her weapon in the shooting range, neither missing a single mark throughout the show. Her Starling is sensitive and maternal as well as a shrewd sharpshooter, illustrated by the way she promises the man who finds Frederica Bimmel’s body that she will treat her with dignity.  Here I must pay tribute to Carolyn Downing’s sound design, because the muted wailing effects when Bimmel’s body is turned both evoke a bloodcurdling echo of the way she was killed and also imply a trapped spirit still suffering, an idea which is positively spine-chilling. 

Sam Jackson’s murderer Jame Gumb (nicknamed ‘Buffalo Bill’  by the press because he flays his victims, using their skin to make clothing intended for his dead mother) is almost pitiful as he watches his mother’s beauty pageant videos (projections powerfully designed by George Reeve). He also deliberately evokes pity outside the nightclub when he puts his arm in a sling and asks women to help him get home, a scarily successful deception in life as well as art by real serial killers like Ted Bundy.

I’m sure he would have been petrifying as he paced the floor above the pit where he incarcerated his victims, but unfortunately due to the overhang of the stage where I was seated, the upper level was impossible to see, and this greatly reduced the impact he had on me. Likewise, Jo Mousley’s attempt as Senator Ruth Martin to implore Gumb to release her daughter, the feisty Catherine (Lottie Amor) sounded statesmanlike but it was a shame that I couldn’t see her. 

This is an unfortunate, unavoidable clash of production design with accident – the lift providing access to the ideal seats for full-time wheelchair users is currently broken, so our view is currently restricted by the overhang. I don’t seek to attribute blame as these things often cannot be helped and I would not discourage full-time wheelchair users from seeing the show in any way, and thank staff for keeping me informed, but other venues might offer unrestricted views.

Michael Taylor’s set design is both naturalistic, effective and evocative – the prison catwalk and staircase does double duty representing both Starling’s path to interview Lecter and also Jame Gumb/Buffalo Bill’s house. Lecter’s cell is suitably claustrophobic and transparent, reflecting his total lack of privacy and the ability of prison staff to surveillance him 24/7, but also seemed over-cluttered, with paintings constructed with items like pens which he isn’t allowed to have. Taylor made an inspired decision to have Lecter’s cell rotate to reveal Jame Gumb/Buffalo Bill’s house, subtly reminding the audience that although Lecter is helping Clarice in Gumb’s case, neither she nor the audience should be lulled into a false sense of security, Lecter is still just as dangerous a killer as Gumb is, and that Lecter is always working on his own escape plan, even when he is not visible onstage. 

Howard Hudson’s lighting design is captivating and adds much to the drama of the piece, particularly during Lecter’s escape. I also appreciated the arresting sounds and lights of Starling’s photography during the autopsy scenes. I did think that the dialogue around the moth in the corpse’s throat could have been enhanced with a projection allowing the audience to see it, but I appreciate that this may have been a deliberate (and commendable) choice so as not to be seen to be copying the iconic imagery of the 1991 film.

This unique and trailblazing stage production is just as captivating and chilling as the iconic film, in different ways. Grab a glass of Chianti, and enjoy an interpretation that will stay with you long after the applause (and maybe the lambs, Clarice?) has gone silent.

Windsor Theatre Royal – until 19th September 2026

Reviewed by Andrew and Kate Lawrence

4****

We had arranged to go and see the performance of ‘Jane Eyre’ at the Windsor Royal Theatre last night, and since our son was heading back to Uni later this week, we decided to bring him along too. Early in the afternoon, though, I did wonder whether it would really be his kind of ‘thing’ — perhaps a little more cultured or literary than he might usually go for. I have to admit that since I hadn’t read the book either, I wasn’t entirely sure what to expect! Suffice to say, I needn’t have worried.

The play takes Charlotte Bronte’s book “Jane Eyre”, adapted for the stage by Nick Young and Ross Muir (the latter also appearing in the play), using just a simple stage set and the five remarkable actors, playing the parts of 14 characters from the book.

The book, as I understand from Wikipedia (other online encyclopaedias are available), tells the story of Jane Eyre, and her life experiences from an abused orphaned child up until her marriage to Mr Rochester. It’s quite a long book, but the play sufficiently summarises the story to remain meaningful whilst avoiding being laborious (I have seen some plays which I can only describe as an endurance rather than an enjoyment).

Whilst the scenery is rather simple, the costumes on the other hand are sublime. It did take me a few minutes to get accustomed to the use of 19th century language and prose, which the actors deliver so naturally, interspersed with an occasional musical interlude performed by the same actors equipped with guitar, cello and an accordion. These little dittys throughout the play only add to the 19th century feel of the performance making it so much more genuine. At least that’s what I assume a mid-19th century play was like?

Evie Depledge plays the part of Jane Eyre from start to finish, Ross Muir plays the part of Edward Rochester, but he also adapted the play (with Nick), produced it and wrote the music. And the remaining three, Janna Fox, Erin Maria Walther and Edward Smith perform the remaining 12 characters. They all sang beautifully and most of them played the instruments too.

I have no idea if the play respects the original story, I’m no scholar of that particular book, but if the book portrayed the story of an orphaned and abused young girl and her life experiences up to and including her marriage to the love of her life, flowered with the occasional laugh-out-loud joke and entertaining little musical interludes – then it does a great job of that. And if it doesn’t, well it’s still pretty good entertainment all the same.

My son enjoyed, we enjoyed it, and ultimately, that’s all that matters really.

The play finishes in Windsor on the 19th September so there’s still time to immerse yourself in this great classic.

Aylesbury Waterside Theatre – until Sunday 20th September 2026

Reviewed by Rachel Clark

5*****

The show starts, the introduction is very Las Vegas Vibe – Las Vegas has come to Aylesbury, but saying that Aylesbury Waterside has top shows, no need to go to London – or tonight Las Vegas.

The show has new choreography and costumes, but I am none the wiser as I have never seen it before.

I can see why the show has been running since 1996, it is mesmerising the foot work is unbelievable, but to me the men were totally outstanding, so in time and spellbinding. I did joke to my daughter who joined me, who needs Magic Mike and then they must have heard me as the shirts came off!

They say the show contained 150,000 taps; there was no way I was going to count but I can definitely confirm there were a lot. You also have a soloist – Cleo Griffin who had a wonderful voice and fiddle players – Iona Ritchie and Helena Gullan, both totally amazing.

Evis Hayter played the spirt, and Erin McPolin was Morrigan and Saoirse by Katie Coates.

The Dark Lord – Sean Scally was totally amazing his eyes and make-up I just loved and then his army of men in black and orange, to me they were my favourite bits I looked forward to them coming on stage, again the footwork was magical.

For me yes Lord of the Dance was very good I’m not disputing that, his part was played by Cathal Douglan – the footwork was incredible, but to me no better than all the others, but he did seem to gloat – and want the appreciate from the audience, but all were amazing and to me they all got the standing ovation and very well deserved, for me no dancer, singer, Fiddle player was better than any another they were all phenomenal, another must go and see show

Leeds Grand Theatre – until Saturday 19th September 2026

Reviewed by Adam Craddock 

4****

Last night I had the privilege of being invited down to the always wonderful Leeds Grand Theatre to review the latest leg of the UK & Ireland tour of “The Ballad of Johnny & June”, a new musical from the director of Jersey Boys.

The show follows the infamous “Man in Black” Mr Johnny Cash throughout his life from the loss of his brother as a young boy to his struggles with addictions as an international star. We also see the ways his life crosses over with his future wife June Carter from his earliest of musical experiences. The play is narrated by their son together John Carter Cash and he walks us through the story, with tales from both individuals involved and then also guiding us back to somewhere near the truth.    

Christopher Ryan Grant wows in the starring role as the legendary man in black. Grant has a sublime aura around his portrayal, he just oozes cool and charisma and by god does he sound just like the legend himself! His southern drawl is just perfect and if you closed your eyes I swear you could believe Johnny Cash was there himself! Christina Bianco co stars as June Carter Cash. Bianco plays a brilliantly bubbly June, with some great comedic moments but also really holding her own in some of the more serious scenes. Ryan O’Donnell finishes off the named roles as their son together, John Carter Cash. O’Donnell was great in this guiding role, allowing the action to pass him by whilst always being switched on and engaged whilst watching. The way he portrayed young John in particular I really enjoyed, especially with the use of the ghostly spotlight to physically portray the child. The wider cast were all absolutely fabulous as well, with a strong ensemble definitely being a major win for this production.    

In terms of productions aspects it was a mixed bag for me. I love the set, with a real industrial feel to it with its metallic and wooden lines and levels. The use of the chairs and benches throughout was also effective. The lighting and video effects were all strong and crisp, but most importantly appropriate to the show. The sound however was an issue for me. There were multiple times throughout this performance where mics would drop out mid line, not turn on until someone was half way through their first line or just completely miss instruments being played on stage, especially in the song “Jackson”. Whilst this didn’t ruin the show by any means it did keep dragging me away from the immersion in a disappointing manner.    

Overall I would highly recommend seeing The Ballad of Johnny and June. This show is a brilliant one to experience especially with someone you love, and I for one can’t wait to see it again! 

Yvonne Arnaud – until 19th September 2026

Reviewed by Heather Chalkley

5*****

The successful duo writer Torben Betts and director Philip Franks have done it again, creating the final part of an epic murder trilogy. Autonomous in their own right each play has a common thread of farcical, murderous tension. Full of belly laughs, gasps and seat jumpers The Other Side does not disappoint.

No spoilers here, I can tell you Rufus Hound (Peter) gives an awesome performance as the tormented soul of a totally deluded has been. It’s not just the audience that has the rug pulled from beneath them!

Carla Mendonca (Susannah), his wife, smoothly delivers lines creating twists and turns you will not expect!

Throw in the quirky mother-in-law, Miriam (Susie Blake) and the storyline really gets outlandish! Blake (Miriam) expertly casts a well placed glance whilst bursting into Gilbert & Sullivan songs from the operettas she so loves, twisting the knife a little harder into her son-in-laws tortured psyche.

Aisha Jawando (Laura) brings suppressed rage into every line, whether it’s playful banter, extortion or pure unadulterated anger – a performance not to be missed.

The creative team presents a versatile set, cleverly constructed to increase both the farcical and murderous tension. No mean feat!

If you love a murder mystery I highly recommend. This is a farce with a uniqueness you will be mad to miss! 

Alhambra Theatre Bradford – until 12th September 2026

Reviewed by Lauren Fordham

5*****

Diva Productions’ innovative interpretation of ‘Sunset Boulevard’ the musical by Andrew Lloyd Webber is inspired by Billy Wilder’s 1950 film of the same name. It chronicles screenwriter Joe Gillis’ (James Banks) unsuccessful attempt to get his script actioned by Paramount Studios and his car loan paid off – while evading repo men he ends up at the isolated mansion of old silent-movie star, Norma Desmond (Alison George.) 

Discovering that Gillis is a writer, she pays him to edit her substandard script based on ‘Salome’, which she insists Paramount Pictures are calling to make into a movie.  Gillis moves into Desmond’s mansion and becomes her kept man, with whom she quickly falls in love. When Gillis tries to extricate himself to liaise with people he met at Paramount, including his love interest, script reader Betty Schaefer (played by Meg Riley) he gets reports of Desmond’s suicide attempts. Although drawn back to her side several times, Gillis becomes increasingly frustrated with Desmond’s delusions and controlling behaviour, and prepares to leave her, once and for all. Learning of his relationship with Schaefer, in a jealous, possessive rage Norma shoots Gillis, and when the police arrive, she goes willingly, believing that they are representatives of Paramount who have finally come to make her movie.

Diva Productions’ founders Andrew Ashley and Andy Fretwell both have backgrounds in video design and always seek to produce innovative, original versions of popular musicals, so they chose to produce ‘Sunset Boulevard’ as if it were a movie musical, adopting film conventions on a screen in the background by crediting the stars by name and announcing location/scenes using stage directions to give a clear sense of place and time. Ashley and Fretwell have also made the unique, ambitious and inspired  decision to present Sunset Boulevard as a film-within-a-film, where a camera operator, Joanne Edwards, follows the cast around and their faces are shown on an enlarged black and white video screen in the background. The video screen was extremely effective in highlighting characters’ emotions and underscoring Don Black and Christopher Hampton’s lyrics like ‘no words can tell what my eyes can tell’ – credit here must also go to Iona Wilson for the dramatic, gothic style makeup she has George wear.  

Tribute must also be paid to Andy Fretwell’s costume design and the way in which that furthers the monochrome theme and dichotomy of light and innocence, exemplified by Meg Riley’s Schaefer wearing white, and darkness and stagnation, represented by the long, dark, Miss Havisham-esque gown that Desmond wears throughout. 

The video screens effectively evoke location, for example when Gillis and Schaefer are running through Paramount Studios, and this was more effective at sustaining drama than physical set pieces, which might have distracted the audience’s attention from the characters – and, as prior ‘Sunset Boulevard’ fans will know, Norma Desmond would certainly not have countenanced any distractions from her audience, so neither should ‘Diva.’

I last saw video screen projection and onstage cameras used (equally effectively) in Diva’s sister company, Powerhouse’s teen production of Les Miserables in 2025, but they were used more sparingly and I think ‘Sunset Boulevard’ could have benefited from a similar approach to make the intense moments where they were used, such as Joe Gillis capturing his own shooting, more impactful. At some points, the action on the video screens wasn’t quite in sync with the actors’ live singing and that took me out of the story somewhat. By contrast, I adored the scene where ensemble dancers Grace Wassell and Cayden Carter are visible on the screen silently mirroring Gillis and Desmond’s dance on stage. I feel that was truest to Desmond being a silent movie star, turning the focus to her face and having, as the lyrics go, literally ‘no words.’ 

Lighting was also effectively used in this scene to denote Desmond and Gillis’ footsteps in the dark ballroom, in a way that reminded me of Disney’s ‘Frozen’s’ Elsa shooting ice with her every footstep, it’s as though Gillis dancing romantically with Desmond is allowing light to break through her darkness.

Andrew Ashley and Nathan Purcell  have designed elaborate, movie-style lighting at Paramount Studios and frequently cast on Desmond. I particularly liked the lighting  on Desmond’s mansion gate because it resembled a star, as if Gillis had been led there by it like the wise men were led to Jesus. That’s definitely an interpretation Desmond would appreciate, anyway, such is her own impression of her self-importance, she does think she is messianic in the movie world, at least.

This lighting is dazzlingly effective at emphasising Desmond’s belief that she is still revered – the literal brightness of the light also functions figuratively  as a metaphor for Desmond’s failed relationships and perceived reasons for her abandonment  – you cannot look at such a light for long without harm.

Another innovation brought to Diva’s ‘Sunset Boulevard’, this time by choreographer Charlotte Wallis, is adding dancers to many scenes. In the early scenes at Paramount Studios, the black-clad ensemble’s choreography serves to crowd out the room and add tension because if you fall in show business, there are always any number of faceless strangers  waiting to pounce and take your place.

Choreography is used to evoke pace, such as the car chase by the repo men who are after Joe, and also place, such as the scenes in Desmond’s swimming pool where the ensemble duck and weave to evoke undulating water. In the number ‘Sunset Boulevard’, this choreography also synchronised in a synergistic way with Russ McArthur’s almost premonitory percussion, as if Gillis would drown beneath the crashing waves. 

Alison George, who plays Norma Desmond, is the brightest star in Diva’s dazzling firmament of a show, which is the perfect metaphor for the way Andrew Ashley physically lights up her show-stopping number, ‘As If We Never Said Goodbye.’ She is as captivating as Glenn Close, her vocals soar higher than Nicole Scherzinger’s, and she is destined for superstar success.

James Banks’ Gillis and Meg Riley’s Betty Schaefer have a sweet chemistry and Riley an innocent yet soaring vocal that would make her a great fit for ‘Phantom of the Opera’s Meg Giry.  Banks is also a great actor whose portrayal of Gillis’ shooting suggests he’d be quite at home in the horror sector.

The commitment to the show’s monochrome, literal and figurative light and darkness themes extend from every aspect of the show onstage even into Andrew Ashley’s programme design. Though I appreciated the extra-textual consistency, the small, pale white/grey font made much of the programme content difficult to read.

Although ‘Sunset Boulevard’ is a show dominated by powerful leads, Andrew Ashley and Andy Fretwell’s perfectly-cast production has once again illuminated a whole galaxy of talent. This is a company whose innovation lights the way for other groups, a metaphorical guiding star that shows a clear and well-worn path to theatrical triumph. 

The Mill at Sonning – until 31 October 2026

Reviewed by Marcia Spiers

3***

A clever script, effective humor and strong production values, though some performances may develop further during the run.

This well-known Miss Marple story by Agatha Christie has been adapted for the stage. Having seen another production a couple of years ago, I found comparisons inevitable. The action is set in a small English village, where Marina Gregg, a fading Hollywood star, lives with her younger and attentive husband, Jason Rudd. The mystery unfolds during a party at their new home, recently purchased from a local widow.

The set and lighting are cleverly designed to allow scenes to be replayed as the plot develops, revealing details the audience may not have noticed before. At times, however, the repeated action appeared to differ slightly from the original version; this may have been a deliberate way of reflecting changing perspectives. The scene transitions were flawless, with the movement of furniture, props and performers managed almost invisibly, allowing the audience to concentrate on Christie’s excellent story. The costumes evoked the period, although some were more convincing than others, and a couple of the wigs looked less natural.

The script makes effective use of humor despite the seriousness of the situation. Although the pace felt a little slow at first, it gathered momentum, and I found the second half more engaging.

Liza Goddard offers a more glamorous interpretation of Miss Marple than the television portrayals I remember, while retaining the character’s familiar watchfulness, particularly in her scenes with the recently widowed Dolly Bantry, played with warmth and assurance by Annie Wensak.

Other notable performances came from Jane Quinn as the starstruck and effusive Heather Leigh, James Mack as the slightly hapless Chief Inspector Dermot Craddock, Elysia Showan as the lively young Cherry Baker and Martin Razpopov as butler, Giuseppe Renzo. Lydia Kirton as Ella Zielinsky, Paul Kemble as Cyril Leigh, Saskia Strallen as Lola Brewster and Jason Taffe-Watson as Jason Rudd contributed effectively in supporting roles, with scope for the ensemble’s characterisations to deepen as the run continues.

As Marina Gregg, Sara Crowe presents a more restrained figure than the volatile Hollywood diva I had expected. The reactions of Marina’s husband and staff suggest that she can be difficult and unpredictable, but I did not always feel that volatility in the performance, even during her encounter with her two long-lost daughters, her shock on discovering what happened to her son or her emotional instability. A little more contrast between Marina’s public glamour and private emotional intensity might have made those moments more powerful; however, the restraint may also be an intentional interpretation of a woman whose composure conceals deeper turmoil.

Overall, this is an entertaining production, carried by a strong script, assured staging and a few engaging performances. The pace and characterisation were not always fully convincing on the night I attended, but these are elements that may strengthen as the run progresses. Agatha Christie enthusiasts should still find plenty to enjoy in this production.

York Theatre Royal – until 12th September 2026

Reviewed by Lauren Fordham

5*****

Wilko, Love and Death and Rock ‘n’ Roll is a biographical play about the life, career and death of 80s’ band Dr Feelgood guitarist, Wilko Johnson, written by Jonathan Maitland. 

Fortunately the songs featured in the show are covers, like Route 66, so pre-existing knowledge of the band or the era isn’t necessary to enjoy the play – for which I am grateful, being of the generation that thinks – when Wilko’s is mentioned – of the departed homeware, hardware and pick ‘n’ mix store, having never come across the singer before I was invited to review the show.

Played by Johnson Willis, Wilko himself was adamant the show not be seen as a ‘jukebox’ musical but rather a play with music. He would be disappointed in this reviewer, then, because the opening bars of Simon Slater’s powerful music, coupled with James Stokes’ lighting the auditorium like an ethereal Milky Way and Wilko musing on his love of astronomy, instantly recalled the opening of ‘We Will Rock You’, with the words, ‘is this the real life or is this just fantasy?’

As portrayed in this play, Wilko’s real life straddled both of those realms – he defied an abusive father (played by David John) and a snobbish school teacher belittling his enunciation of words (John House) – to gain an English Literature degree. This English graduate reviewer was as entranced as his girlfriend-turned wife  Irene (Lara Lemon) from the moment Wilko/Johnson quoted Wordsworth’s ‘Daffodils’ to his students lying in the grass, Dead Poet’s Society style. 

Wilko enjoyed fantasy-level fame and female attention with Doctor Feelgood, enjoying lots of sex and drugs with his rock ‘n’ roll. This is exemplified in a spliff-taking scene with Irene, who is both beloved and beleaguered by his extra-marital sex with fans), and also after his cancer diagnosis, when he asked his doctor to give him morphine at the end of his life but to ensure he could enjoy its effects. Willis’ and Lemon’s chemistry is as sweet as it is heartbreaking when Irene dies of cancer, particularly at her funeral when he repeats the lines he said when they met.  

James Stokes’ sound design gives a powerful sense of both space and place, whether through the waves and seagull calls surrounding Wilko’s beloved Canvey Island, or the meditative sounds of singing bowls during his visit to Japan. 

Nicolai Hart-Hansen’s costumes underscore Wilko’s underlying vulnerability when he himself gets (pancreatic) cancer, with him in a flimsy hospital gown and in the ensemble in gloves and masks. Wilko has lovely fantasy reconnections with Irene and bandmate Lee Brilleaux when the latter have also died, but both costumes are subtle and their interactions tender, so they don’t feel like tacky ‘ghosts’.

But just as Jon House’s Lee Brilleaux says when he kicks Johnson out of ‘Dr Feelgood’, this isn’t just the Wilko Johnson or the Johnson Willis show. This is truly an ensemble show, and every single member is multi-talented – Georgina Field who plays Sparko, strums bass guitar, David John rocks out on the drums and John House is handy with a harmonica as well as singing.

But one vital person in Wilko’s story plays a life-changing role, as himself, yet isn’t credited in the programme at all. Charlie Chan is a surgeon and a rock photographer, who took pictures of Wilko at what he thought was his farewell tour in Camden in 2013 and was puzzled by how well he looked, for a man with terminal cancer. Chan contacted Wilko’s manager, encouraging him to get a second opinion, resulting in major surgery that extended Wilko’s life by a further nine years! Not to mention, Chan disclosed that, after taking audience questions in the post-show discussion last night, he was driving to Cheltenham to perform surgery at 9am the next morning! That kind of intuition and skill deserves a standing ovation of his own.

This is a fantastic, funny, heartfelt show that will make you contemplate and appreciate health, life, the universe and those you love, and the unifying, poetic and eternal power of words and music.