• Stephen Adly Guirgis Jesus Hopped the ‘A’ Train extended due to popular demand
  • Now playing at the Young Vic until Saturday 6 April
  • Relaxed performance added on Wednesday 3 April matinee

Young Vic presents


By Stephen Adly Guirgis

Directed by Kate Hewitt

Young Vic Main House

Until 6 April 2019

Young Vic presents


By Stephen Adly Guirgis

Directed by Kate Hewitt

Young Vic Main House

Until 6 April 2019

Director: Kate Hewitt; Set Designer: Magda Willi; Costume Designer: Kinnetia Isidore

Lighting Designer: Guy Hoare; Sound Designer: Peter Rice; Movement Director: Imogen Knight

UK Casting Director: Julia Horan CDG; US Casting Director: Jim Carnahan CSA

The Young Vic today announces an extension, due to popular demand, of Stephen Adly Guirgis Jesus Hopped the ‘A’ Train. The critically-acclaimed production, directed by Kate Hewitt, now runs until Saturday 6 April, and will include a Relaxed Performance on Wednesday 3 April.

The cast includes Oberon K. A. Adjepong (Lucius Jenkins), Matthew Douglas (D’Amico), Ukweli Roach (Angel Cruz) and Joplin Sibtain (Valdez).

‘Blistering. A physical punch of a play.’

The Telegraph

From Pulitzer Prize winner Stephen Adly Guirgis (The Motherf*cker with the Hat), comes this critically-acclaimed dark comedy about the American justice system and the contradictory nature of faith.

Inside the lockdown wing of Rikers Island prison, a frightened young man accused of murdering a cult leader is confronted with a charismatic born-again serial killer and a sadistic guard.  Will one man’s redemption lead to another’s damnation?

‘Bitingly, blackly funny, with deathlessly sharp dialogue.’

Time Out

Stephen Adly Guirgis is a playwright, screenwriter, director, and actor. As a playwright, his other credits includeOur Lady Of 121st Street, The Last Days of Judas Iscariot, Little Flower of East Orange, The Motherf*cker with the Hat, and Between Riverside and Crazy, which won the 2015 Pulitzer Prize for Drama. His television writing credits include NYPD Blue and The Get Down.

Kate Hewitt directs. Her theatre credits for the company include as director Far Away (JMK Young Director Award, 2014) and as Associate Director, Yerma. Her other directing credits include Frost/NixonTribes (Sheffield Theatres), The Ice Road (Raucous Theatre), Kiki’s Delivery ServiceTomcat (Southwark Playhouse), Romeo & Juliet (Ambassador’s Theatre) and Portrait (Edinburgh Festival/UK tour). As Associate Director her credits include, One Love: The Bob Marley Musical (Birmingham Rep), Charlie & The Chocolate Factory (Drury Lane),Medea (Headlong Theatre Company) and Electra (Gate Theatre/Latitude Festival).

Oberon K. A. Adjepong plays Lucius Jenkins. His theatre credits include Good Grief (Vineyard Theatre), TheWinter’s Tale, Measure For Measure, PericlesTamburlaine (TFANA), Homecoming Queen (Atlantic Theatre Company – AUDELCO nomination), Uncommon Sense (Tectonic Theater Project), Party People (The Public Theater), 12 Angry Men (The Billie Holiday Theatre), Like I SayCellophane (Flea Theatre), Mother CourageThe Blacks (The Classical Theater of Harlem/Classic Stage Company), Wabenzi (New Ohio Theatre), Hamlet Project (La MaMa), Sango (NBT – AUDELCO nomination). His television credits include BlacklistThe Knick and Louie; and for film, Crazy Famous and Crown Heights.

Matthew Douglas returns to the Young Vic to play D’Amico. His previous credits for the company include King Lear. Other theatre credits include An Inspector Calls (UK tour/Playhouse Theatre), Far from the Madding Crowd (The Watermill Theatre), The Widowing of Mrs Holroyd (The New Vic), TravestiesThe Importance of Being Ernest (Birmingham Rep), Hay Fever (West Yorkshire Playhouse), She Stoops to Conquer (Birmingham Rep/Chichester Festival Theatre/UK tour), The Big House (Abbey Theatre, Dublin), Salt Meets Wound(Theatre503), Hecuba (RSC/Albery Theatre) and Othello (international tour). His television credits includeMiracle Landing on the Hudson; and for film, Papadopoulos and Sons.

Dervla Kirwan plays Mary Jane Hanrahan. Her theatre credits include King LearFrankie and JohnnyUncle Vanya (Chichester Festival Theatre), Mr Foote’s Other Leg (Hampstead Theatre, Theatre Royal Haymarket), The Weir (Donmar Warehouse and West End), Betrayal (Donmar Warehouse), Aristocrats (National Theatre) and Hush (Royal Court Theatre). Her television credits include White DragonThe SilenceMaterial GirlTrue Dare Kiss55 Degrees NorthHearts and BonesBallykissangel and Goodnight Sweetheart; and for film, TrautmannInterlude in PragueLunaEntityOndine and Dangerous Parking.

Ukweli Roach plays Angel Cruz. His theatre credits include Nightfall (Bridge Theatre), 5,6,7,8 (rough cuts) (Royal Court Theatre), Romeo & Juliet and Helen (Globe Theatre). Television credits include HumansHard Sun, Blindspot (series 1 – 3), DickensianThe RoyalsGrantchesterSilkDriftersStarlingsMonroe and Eternal Law. Film credits include One DayStreetdance 3D and Venus And The Son. Roach is Artistic Director of dance company Birdgang, touring with the Blaze international Hiphop dance show.

Joplin Sibtain plays Valdez. His theatre credits include The Beaux’ StratagemDaraAn Oak TreeBehind The Beautiful ForeversOthelloThe Wind in the WillowsThe Absence of War (National Theatre), Godchild(Hampstead Theatre), A Midsummer Night’s Dream (Shakespeare’s Globe), King Lear (Almeida Theatre), The King and I (Curve), An Enemy of the People (Sheffield Theatres), A Street Car Named Desire (Nuffield Southampton Theatres), The Crucible (Octagon Theatre Bolton), Indian Ink (Salisbury Playhouse), The Ark an The Covenant (Battersea Arts Centre), The Fall GuyThe Moonstone (Royal Exchange Theatre), and Romeo and Juliet (RSC). His television credits include NightflyersSafeHard Sun and No Offence; and for film, Honey in the Head and Naachle London.

Oberon K.A. Adjepong is appearing with the permission of UK Equity, incorporating the Variety Artistes’ Federation, pursuant to an exchange program between American Equity and UK Equity.

Young Vic                                                                                                                                                     Listings

66 The Cut, Waterloo, London, SE1 8LZ

Jesus Hopped the ‘A’ Train

Main House

Until 6 April 2019

Box Office:                          020 7922 2922

Performances:                  Monday – Saturday at 7.30pm

Matinees on Wednesdays and Saturdays at 2.30pm

Captioned:                          Thursday 14 March at 7.30pm

Audio Described:              Wednesday 20 March at 2.30pm

Relaxed Performance:   Wednesday 3 April at 2.30pm

Tickets:                                 £10, £20, £30, £40 (Concessions available)

Young Vic

Based on The Cut in London’s Waterloo, we produce new plays, classics, musicals, adaptations of books, short films, digital projects and game changing forms of theatre. We attract large audiences from many different backgrounds, and forge deep connections in our neighbourhood where we provide extensive free activities. For many years the Young Vic has been synonymous with inclusivity, accessibility and creativity. We foster emerging talent and collaborate with some of the world’s finest directors, performers and creatives; creating productions that say much about the world we live in.

Artistic Director:              Kwame Kwei-Armah

Executive Director:          Despina Tsatsas

Twitter and Instagram @youngvictheatre

The Young Vic’s Supporters

The Young Vic receives public subsidy from Arts Council England and Lambeth & Southwark Borough Councils.

Season at a glance


By Stephen Adly Guirgis

Directed by Kate Hewitt

Main House

Until 6 April 2019


By Luke Barnes

Conceived by Young Vic Taking Part & Justin Audibert

Directed by Josh Parr

The Maria

Until 9 March 2019

A Young Vic, Elliott & Harper and Cindy Tolan Production


By Arthur Miller

Directed by Marianne Elliott & Miranda Cromwell

Main House

1 May –29 June 2019

Press Night: Thursday 9 May, 7pm

A Young Vic and Sweat Variant Production


Writer, Performer and Sound Designer: Okwui Okpokwasili

Director, Visual and Sound Designer: Peter Born

The Maria

1 – 29 June 2019

Press Night: Wednesday 5 June, 7pm


By Hattie Naylor

Directed by Caitriona Shoobridge

The Clare

10 – 20 July 2019

A Young Vic, Manchester International Festival and Green Door Pictures co-production

In association with Eleanor Lloyd Productions, Bob Benton for Anthology Theatre and Eilene Davidson


Created by Idris Elba & Kwame Kwei-Armah

Directed by Kwame Kwei-Armah

Main House

29 July – 24 August 2019

Press Night: Thursday 1 August, 7pm


By Federíco Garcia Lorca

in a new version by Marina Carr

Directed by Yaël Farber

Main House

19 September – 2 November 2019

Press Night: Wednesday 25 September, 7pm


By Jackie Sibblies Drury

Directed by Nadia Latif

Main House

28 November 2019 – 18 January 2020

Press Night: Thursday 5 December, 7pm





London’s first theatre themed café, The Theatre Café, today announces exciting expansion plans for 2019. A brand new site will open on St Martin’s Lane in June 2019 and offer theatre fans a bigger and better space to enjoy everything stagey. The new larger premises will feature a brand-new stage and offer more live events and opportunities for fans to be part of the West End community. 

London Theatre Bookings and The Theatre Café’s Chief Operations Officer, Ryan Woods said:

“ I am so delighted we have the opportunity to expand The Theatre Café. The industry and fans have taken this café to their heart, supported us and now we can give them all a bigger space to bring the theatre community together. We aim to make theatre more accessible to the public, which lies at the heart of why we are passionate about progressing this place. I am so proud to lead this company of dedicated staff and owners who all share that goal. ”

The Theatre Café’s first location on Shaftesbury Avenue, which opened in 2015, has achieved exceptional success, with the last year seeing a huge upturn in the recognition of the brand worldwide. The café is a hub for theatre fans, with theatrical memorabilia adorning the walls and showtunes played throughout the day. 

With a large, dedicated social media following and support from industry professionals, The Theatre Café has also become a go-to for theatre fans that are looking for the latest theatre news alongside fun and innovative content.

The Theatre Café recently announced a partnership with Waitress the Musical to provide pies for the West End production from a purpose-built bakery in the heart of the West End,further strengthening its profile among theatre fans. 

The Theatre Café is operated by London Theatre Bookings, London’s largest independent ticket agent. 

The Shaftesbury Avenue site will continue to operate as a ‘grab and go’ coffee shop, being rebranded as The Theatre Café Expresso

Twitter: @thetheatrecafe

Instagram: @theatrecafeuk

Sarah Frankcom steps down as Artistic Director of the Royal Exchange Theatre


It has been announced today that Sarah Frankcom is stepping down as Artistic Director of the Royal Exchange Theatre to take up a new post as Director of the prestigious drama school LAMDA. Sarah originally joined the Exchange as Literary Manager in 1998. In 2008 she was made Joint Artistic Director before taking up her current position as sole Artistic Director in 2014. Under her artistic leadership the Exchange has thrived and has been celebrated for its originality, innovation and continued support for the next generation of writers, actors, directors and theatre makers. Described as a ‘Powerhouse’ and recognised for its ‘brave and bold’ programming Sarah has shaped the Theatre into an award-winning Company that asks what a producing theatre can be for artists, audiences and communities today.

Sarah Frankcom, Royal Exchange Artistic Director said,  

“My last four years at the Royal Exchange have been the most fulfilling and exhilarating of my career to date. The Theatre has allowed me to focus on my passions of nurturing new work and developing next generation theatre talent, whilst collaborating with some amazing artists and sharing work with an increasingly wide range of audiences. I’m immensely proud of the strides the Company has taken on and off our stages, increasing representation in both the stories we share with audiences, the artists we make work with, and the meaningful way in which we now work with, and listen to the communities we serve. The Exchange is in a really positive place and confidently embraces creative adventure. The time is ripe for fresh ideas and a new imagination to explore the possibilities of our iconic spaces, and lead the Company to new places artistically in partnership with our inspiring Executive Director, Steve Freeman.”

“There are very few jobs I would feel excited about leaving the Exchange for, but my background in teaching and enduring appetite for finding new and innovative ways of developing the widest variety of theatre talent, made the offer to lead LAMDA, and reimagine what drama training might be in the future, too enticing a challenge to pass up. I can’t wait to see what the Exchange accomplishes next, and know that whoever the next Artistic Director is, they will be enabled and supported by the finest of theatre colleagues, artists and audiences.” 

Creating some of the Exchange’s most defining pieces of theatre, Sarah’s work as a director has seen her reimagine classic drama and breathe life into new plays. Through her creative partnership with Associate Artist Maxine Peake she has redefined work as wide ranging as HAMLET, Caryl Churchill’s THE SKRIKER, A STREETCAR NAMED DESIRE and in 2018 Samuel Beckett’s surreal masterpiece HAPPY DAYS. Her recent productions have included the critically acclaimed DEATH OF A SALESMAN with Don Warrington and OUR TOWN, for which she was awarded Best Director at the 2018 UK Theatre Awards.  

Alongside her work on stage Sarah established THE BRUNTWOOD PRIZE FOR PLAYWRITING, a beacon for new writing and now Europe’s largest playwriting competition. She has championed the development of the Exchange’s award-winning Young Company and Elders whose extraordinary work continues to inform and impact. OPEN EXCHANGE, a growing network of local artists, has helped to connect makers from across the region providing space and support for the development of theatre here in the City. She has placed audiences and the communities of Greater Manchester at the heart of the organisation through unique projects such as YOU, THE AUDIENCE, the GM CRITICS SCHEME and the development of the Theatre’s newest programme of work LOCAL EXCHANGE. These projects have become a vital part of a continually evolving relationship with audience and communities.  

Royal Exchange Executive Director Steve Freeman commented…  

“It is a testament to Sarah’s generosity and vision that she is moving on from the Royal Exchange when the organisation is at the height of its creativity, handing over one of the most exciting roles in British theatre to fresh talent. She leaves us in an incredibly strong and vibrant position with art, artists, audiences, and our local communities at the centre of all we do. Her leadership is the reason why the Exchange is such a thriving and vital cultural institution, and her legacy is a tremendous foundation for our future. I know that Sarah will have an equally powerful impact in her new role at LAMDA.”

Alison Clark, Director North and National Combined Arts Director at Arts Council England added:  

“The Royal Exchange has gone from strength to strength under the artistic directorship of Sarah Frankcom. The work that has been produced under her leadership has been artistically outstanding and innovative, while also attuned and connected to local communities and audiences. She leaves the Royal Exchange in a fantastic place to now build on what she has achieved, especially under its new Executive Director, Steve Freeman. On a personal note I will miss Sarah’s presence in the city but look forward to seeing the difference she’ll make in her new role.”

Ben Caldwell, Chair of the Royal Exchange’s Board concludes…   

“Sarah is an extraordinary leader and an inspiring Artistic Director. It goes without saying that we are sorry to see her go but wish her an enormous amount of luck in her new role at LAMDA. I’ve had the privilege of working closely with Sarah since 2015 and have seen her passion for theatre and her drive for change first hand. Under her guidance the Royal Exchange has soared, our work is celebrated, our audiences have grown, and they are younger and more representative of our city region. She leaves this theatre on a high, with a strength and confidence for what our future might hold. I cannot think of anyone better to shape the future of LAMDA and I thank her for her everything she has brought to this unique Manchester theatre.”

As Artistic Director of the Royal Exchange Sarah Frankcom has transformed the Theatre into one of the most important and vibrant producing houses in the UK. She takes up her new role at LAMDA in November 2019.

Madagascar The Musical Review

York Theatre Royal – until 2nd March 2019

Reviewed by Marcus Richardson


My second time watching Madagascar The Musical on stage, my first in Bridlington and now at the York Theatre Royal. I always find it interesting to watch a show at different points in the tour, does it get better or does the commitment die down. I would find it rather stupid to try and explain the plot of the much loved film so I’ll skip straight to the actors.

The cast, with just as much energy as I watched the show a couple of months ago, entertained the kids and adults alike, with fun upbeat songs and hilarious jokes throughout the show you’ll have to try hard not to have a good time. Matt Terry from the X Factor played Alex the Lion, the King of New York; with an impressive voice during the songs in the show and an energy on stage that engages the audience. My stand out performer was Timmika Ramsay, same as last time, playing Gloria the hippo with a soulful voice and a sassy character.  Antoine Murray-Straughan played Marty the Zebra with a lot of energy on stage and really brought the bounce to the show. Jamie Lee-Morgan player Melvin the giraffe, with a tall head on a stick it looked hard to control and heavy to hold, I’m surprised at how he held it up and use it in dance scenes. The character that the kids loved was King Julien played by Jo Parsons, with a crazy personality and more milk in the character than in a cow, the audience were howling at his moments on stage. The ensemble did an amazing job of taking on different roles from penguins, old ladies and lemurs, giving vocals that worked well with each other and each stood out on stage. It’s so great to see when the actors don’t loose the oomph throughout the run and give the same energy to every performance, and the energy here is fanatic.

The costumes look as similar to the film as you can make a body suit, it suited the style of the show. The set was simple enough so that the actors could bring props and scenery on stage   I really like when a show does this at it means scene changes are fast and we get lost in the magic of theatre more.

The kids loved this show and the audience at York Theatre Royal was much more reactive than at Bridlington Spa, the show is rather short with two forty minute acts, so you won’t have children getting bored. This is a show for all ages and families, any fans of the film will have to watch the live show as it’s just as funny.

Saturday Night Fever Review

Sheffield Lyceum – until 2 March 2019

Reviewed by Lottie Davis Browne


It’s the late 1970’s and disco fever is in full swing. Italian-American teenager Tony Manero lives in Bay Ridge, Brooklyn with his parents and younger sister. Stuck in a dead end job in a small DIY site, Tony’s only real escape is the weekend when he can hang out with his four friends at local disco bar 2001 Odyssey (more fondly referred to as “the 2001”), where Tony is fast becoming the King of the dance floor.

When Tony hears about an upcoming dance contest at the 2001 where the top prize is $1,000 he decides to enter, reluctantly partnering with local girl Annette, who has been lusting after Tony for some time. However Annette’s joy is short lived as Tony meets a more experienced dancer, Stephanie Mangano at Dale Dance Studio, where him and Annette have been rehearsing, telling Annette he has found himself a new dance partner.

Although Tony wants more than just friendship from Stephanie, he reluctantly agrees to keep their relationship strictly professional.

Admittedly I haven’t seen the original movie that this musical is a direct adaptation of, having not being born until the early 80s nor not being a fan of disco nor The Bee Gees, whom of course provide the entire soundtrack for the story. Sure I’m familiar with the majority of their songs but tend to flick between radio stations should one of their tunes come on – unless of course it’s one of the many cover versions! However Saturday Night Fever transported me back in time to the groovy seventies, from the bad fashion to the disco balls.

Whilst the story itself is pretty much non existent, focussing mainly around the dance competition, it’s the music and choreography which make this musical such a hit. Bearing this in mind, I wasn’t particularly blown away by Richard Winsor as leading man Tony. For those that have seen the original movie, I’m sure you’ll recall how John Travolta was full of sass putting every emotion into his dancing – from toe to finger tips. However I felt Winsor lacked charisma and was seemingly devoid of showing any energy or emotion in his routines. You’d only to glance across at Jared Thompson as Double-J to see the difference. A great deal of disco moves relay on exaggerated hip moves which Thompson certainly didn’t disappoint on. Every part of his anatomy and facial expressions delivered the moves with jive and charisma, making me wonder why he hadn’t been cast as the leading role instead.

Phillip Aiden gave a chilling performance as Tony’s abusive alcoholic father whist Melody E Jones gave a heart warming performance as his ill-suffering wife.

The stage set was featured around some metal staircases which became the 2001’s steps for dancing on, lead to Tony’s bedroom and to the bridge Tony and his friends loved to hang out on, which later becomes the place where tragedy strikes (or should that be Tragedy?!).

Throw in the mirrored multi-coloured lit floor and disco balls for that original nostalgic disco feel and this musical leaves one itching to get up and strut. Whilst nothing can be done to enhance the lack of story from the original movie, having a issues from domestic violence, suicide, rape and the over use of the F-word, by the time the cast reach the encore finale mega mix (Disco Inferno/Night Fever/You Should be Dancing) one cant help but feel all warm and fuzzy and busting your best disco moves.

Saturday Night Fever is the ultimate nostalgic night out, performing at Sheffield’s Lyceum Theatre until Saturday 2nd March

Kinky Boots Review

Bristol Hippodrome – until 9 March 2019

Reviewed by Lucy Hitchcock


Harvey Fierstein and Cyndi Lauper as the original Musical and Staging designers of this show have hit the market in British Theatre with a BANG!

Kinky Boots follows the story of Charlie Price who takes on his fathers business as shoe makers, but ends up sending it into disrepair. In comes Lola, a flamboyant, fabulous and larger than life drag queen, who with Charlie, helps to build the business back up to hit the niche market of Drag Queens who need shoes. With Lola needing ‘2 and a half inches of irresistible, tubular sex…in RED’ this is no mean feat for Charlie, who eventually takes his shoes to Milan once perfected. Along the way, are some mountains Charlie needs to move in order to make his father proud, but nothing can sway his newfound passion of Shoe making.

Charlie Price, played by Joel Harper-Jackson was superb. His vocal ability was astonishing and he showed such emotion through the issues his character has to face-offending Lola and losing her support, losing his father, his marriage ending (the list could go on!). Harper-Jackson showed such empathy and really captured the audience and held us throughout the show.

The Angels are Lola’s backup group-a swarm of 6 Drag Queens who uplift the audience and enhance the choreography in ways I never dreamt of! High kicks, daring jumps and sultry moves all performed in humongous heels put most of the female audience to shame!

The standout performance of this show, was Kayi Ushe as the incomparable Lola, who served fabulous sass, iconic movement and soul destroying vocals all packed into this one performance. Lola is a superstar, an amazing character that any aspiring little boy would be proud to play! She has one of the most stunning emotional arcs I’ve ever witnessed and Ushe performed this seamlessly; making the audience laugh one minute and then cry the next. Hold Me In Your Heart is one of the most beautifully performed songs I’ve ever heard. Ushe channelled his inner Whitney Houston and certainly made me well up.

Providing one of the most ostentatious finales I’ve been blessed to witness, Kinky Boots is a mirage of heel, sex, fun and hilarity – so much so, I’ve booked to see it again this Saturday!! Do not miss out-Lola is waiting! 

Macbeth Review

Mayflower Theatre Southampton until Saturday 2nd March 2019.

Reviewed by Leanne Caplis


Directed by Rufus Norris the National Theatre bring to the stage Macbeth. This is a UK and Ireland Tour that will also be broadcast to cinemas by National Theatre Live on Thursday 10th May 2019.

Having not familiarised myself with the story since reading it during my school days I was lost trying to establish what moment of time the play was trying to portray. I also found it difficult to confirm who was who within the play although by the second half I had worked it out.

The opening scene, which is a good blend of staging, lighting, music, dance and gore set the scene for the brilliance that was yet to come.

I found the set and costumes to be very dark; the only flash of colour being the loud red suit worn by King Duncan (Tom Mannion) and Michael Nardone (Macbeth). The rest of the cast wore modern day clothing which was mainly combat style attire. Some might find the set a bit basic with only three poles with shredded black bin bags hanging from them, a steep wooden walkway and outer walls of accommodation. I thought it worked well for this production and I enjoyed watching the cast move the set about making in part of the storyline.

The witches (Elizabeth Chan, Hauk Pattison and Evelyn Roberts) were superb. Their eerie voices that echoed throughout the theatre together with the creepy way they moved about the stage left me feeling like I was in a scene from a horror film.

I found the old Scottish dialect difficult to get to grips with at times and had to concentrate hard not to focus on every word being spoken; it was easy to get lost in the script. I’m not sure if it was our seating location (dress circle) or the microphone volume but I found Macbeth hard to hear on more than one occasion which was unfortunate as Michael Nardone was definitely the stand out character for me. A special mention here for Kirsty Besterman (Lady Macbeth) and Rachel Sanders (Ross) who both gave powerful performances.

I would gauge the audience to have been at least 70% school/college children and as a result I expect the play will produce good debates as part of literature study. The silence of the audience throughout the production is testament to a good show and therefore a recommended watch

The Royal Shakespeare Company’s Matilda The Musical will help ‘Share a Story’ as the Official World Book Day Bedtime Story on Thursday 7 March


The Royal Shakespeare company is delighted to announce that on World Book Day, Thursday 7 March at 7pm, cast members from the multi award-winning Matilda The Musical will present this year’s Official World Book Day Bedtime Story.

Audiences across the globe who tune into the Matilda The Musical Facebook channel at this time will be able to watch an exclusive performance from the cast including a reading from the beloved book by Malinda Parris as the show’s librarian Mrs Phelps and a performance of one of the show’s iconic musical numbers ‘Quiet’, featuring Isobel Hubble, one of the four actresses who share the role of Matilda. The bedtime story will also be streamed across partner feeds including those for Roald Dahl, World Book Day, Puffin and more.

In 2019, once again, the call to action to “Share a Story” lies at the heart of World Book Day – encouraging parents and carers to read and share stories with their children for just ten minutes each day. Reading for pleasure is the single biggest indicator of a child’s future success – eclipsing family circumstances, parents’ educational background or income (OECD). Yet the fact remains that children’s reading for pleasure is in long-term decline. According to the National Literacy Trust, if every child left primary school with the reading skills they need, the UK economy could increase by £30 billion by 2025.

As part of this year’s partnership between the Roald Dahl Story Company and World Book Day, children across the country will also find Roald Dahl’s most famous heroine, Matilda Wormwood, at the heart of the day’s celebrations as each of the 15 million book tokens given to every school child in the UK and Ireland is set to feature the literature-loving heroine.  

Matilda The Musical has now been seen by more than 9 million people worldwide, having toured to over 72 cities and played more than 6600 performances in the West End, on Broadway and on tour across North America, the UK, Ireland, Australia and New Zealand. The London production is now booking to 24 May 2020. 

Winner of over 91 international awards, including 23 for Best Musical, Matilda The Musical is also now touring the UK and Ireland, playing across the country until 17 August 2019.

Matilda The Musical is written by Dennis Kelly, with music and lyrics by Tim Minchin, and was 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 the special effects and illusions are by Paul Kieve. 

Inspired by the incomparable Roald Dahl’s beloved book, Matilda The Musical was commissioned by the Royal Shakespeare Company and premiered at the RSC’s Stratford-upon-Avon home in November 2010, before transferring to London’s West End in October 2011, where it opened to rave reviews. The New York production of Matilda The Musical opened in April 2013 at Broadway’s Shubert Theatre and was celebrated on 10 “Top Ten” lists for 2013, including TIME Magazine’s #1 Show of the Year. 

Matilda The Musical swept the board at the 2012 Olivier Awards, with a record-breaking seven awards, and won four Tony Awards and a Tony Honor for Excellence in the Theater for the four girls sharing the title role on Broadway.  

The North America production toured 52 cities. The Australian and New Zealand production won a Sydney Theatre Award for Best Musical in 2015, and played sold-out seasons in Melbourne, Brisbane, Perth, Adelaide and Auckland. The show broke further records in July 2016 by winning all 13 Helpmann Awards for which it was nominated. Matilda The Musical had its first non-English language production at the LG Arts Centre in Seoul, South Korea in September 2018. 

Matilda The Musical is produced by the Royal Shakespeare Company with André Ptaszynski and Denise Wood as Executive Producers. The production was developed with the support of Jeanie O’Hare and the RSC Literary Department.    


Cambridge Theatre
Earlham Street
London WC2H 9HU

Tuesday – Friday 7pm
Wednesday 2pm
Saturday 2.30pm & 7.30pm
Sundays 3pm

Box Office: Cambridge Theatre 020 7087 7745 / RSC Ticket Hotline 01789 331111
No booking fee. 
Booking until 24 May 2020

Twitter: @MatildaMusical
Facebook: @MatildaTheMusical
Instagram: @MatildaTheMusical





Allan Stewart and guests did not disappoint. The Big Big Variety Show was filled with big big laughs throughout. The intimate theatre made you feel like you were at a VIP viewing.

From Shirley Bassey to Freddy Mercury Allan’s impressions are as impeccable as ever.

Grant Stott as Allan’s right hand man was perfect. The comradery is so natural and everyone was in on the jokes with the way they deliver them.

Soul Nation Choir have great voices and got the audience participation started. Was brilliant to see them in the second half, showing off their acting skills.

BGT’s Mandy Muden had an opening night teething problem with her microphone not working however, between Allan & the sound team they got her up and running quickly, with a few laughs in the process. She done very well to get the audience back on side following this, and finished on a high.

For me, Kev Orkian stole the show. His own section had all belly laughs from start to finish. His incredible piano skills and singing added a great extra depth to his performance. His Cameo after the interval had everyone in stitches, even the cast when he went off script. Playing on his accent & heritage in Armenia, he pushed the boundary on political correctness with the most hilarious results.

The Andy Pickering Orchestra is a collection of highly talented musicians that are a perfect backbone running through the whole show.

Overall, a classic well balanced variety show that everyone in town should go and see

Yorke Dance Project comes to Leeds to celebrate 20 years of exceptional dance

Yorke Dance Project comes to Leeds to celebrate 20 years of exceptional dance

Yorke Dance Project

TWENTY Years Anniversary Programme

Wednesday 20 March

Stanley & Audrey Burton Theatre, Leeds

Contemporary ballet company Yorke Dance Project returns to Leeds next month to celebrate its 20thanniversary with TWENTY. Featuring new dance by Robert Cohan CBE and the first ever restaging of Sir Kenneth MacMillan’s Playground, the company will be performing at the Stanley & Audrey Burton Theatre on 20 March 2019 for one night only.

Yorke Dance Project has attracted increasing acclaim for presenting dance by past masters and emerging artists from both the UK and the USA. For TWENTY, Artistic Director Yolande Yorke-Edgell has curated a celebratory programme which perfectly sums up her company’s philosophy. This first restaging of Sir Kenneth MacMillan’s Playground since its première by Sadler’s Wells Ballet in 1979will feature guest artist Romany Pajdak, First Artist of The Royal Ballet, music composed by Gordon Crosse, and set and costume designs reimagined by MacMillan’s daughter Charlotte MacMillan.

Communion is the sixth work created for the company by legendary contemporary choreographer Robert Cohan. Mythical and life-enhancing, Communion is set to music by Nils Frahm and designed by Cohan’s former London Contemporary Dance Theatre collaborator John B Read.

Between and Within is a new work by emerging LA-based choreographer Sophia Stoller, with original music by Justin Scheid. Four dancers play out the complex dynamics of a relationship between two people.

Yorke-Edgell’s own work Imprint pays tribute to the three choreographers who have been most important and influential throughout her career as a dancer: Richard Alston, for whom she danced at both Rambert and his own company; Bella Lewitzky, whose LA company she joined in 1994; and Robert Cohan, with whom she has worked so closely over the past few years.

Tickets for TWENTY by Yorke Dance Project at the Stanley & Audrey Burton Theatre, Leeds are on sale now and can be booked online at or by calling the Box Office on 0113 220 8008. Tickets are priced at £15.00.