I’M EVERY WOMAN

THE CHAKA KHAN MUSICAL

WORLD PREMIERE TO OPEN AT THE PEACOCK THEATRE

FOR LIMITED RUN FROM 5 – 28 MARCH 2026

Producer Adrian Grant, in association with Chaka Khan, is thrilled to announce that I’M EVERY WOMAN THE MUSICAL, the powerful and inspiring life story of the award-winning, multi-platinum selling, global icon, Chaka Khan, will open at The Peacock Theatre in London for a strictly limited engagement from 5 – 28 March 2026 with an official opening night on 11 March. The new musical which reveals the woman behind the diva, and her rise to stardom has a book by Nia T. Hill, direction by Racky Plews, choreography by Jade Hackett and casting by Debbie O’Brien with further creatives and casting to be announced.

Tickets go on sale at 10am on 19 May.

Chaka Khan shares “Many of you know that my life has always influenced my music—but you may not know the full story. I’ve lived a rich, beautiful, and sometimes difficult life, and now those experiences will come alive on stage in I’m Every Woman: The Musical. It’s the greatest honour to have my journey and work celebrated in this way. London holds a special place in my heart, and I can’t wait to share this moment with the fans who have sung, danced, and stood by me through it all. I’ve always wanted to inspire joy, truth, and love—and I know this musical will be filled with all of that and more. This is for you!”

The fame, the fire, the fight — this is her story. I’m Every Woman: The Musical brings to life the untold story of Chaka Khan, one of the most influential voices of our time. Unapologetically bold and deeply human, the production explores her unwavering passion for civil rights, her defiance in the face of a toxic music industry, the harrowing road through addiction, and the unrelenting pressure of being a working mother. At its core, it’s a story of resilience, purpose, and power — a celebration of the woman behind the legend.      

I’M EVERY WOMAN THE MUSICAL will feature Chaka Khan’s much-loved songs released as a solo artist and lead singer of the band ‘Rufus’ such as I Feel For You, Tell Me Something Good, Ain’t Nobody, Sweet Thing, Higher Love and Through The Fire. The show, which is a journey of music, love and betrayal has a book that includes an array of Chaka’s famous friends from Joni Mitchell and Prince, to Stevie Wonder and Robert Palmer.

Producer, Adrian Grant said, “I’m excited to be bringing a stage show about the life of Chaka Khan to the West End. I grew up listening to hits such as Ain’t Nobody and I Feel For You, with her powerhouse vocals and electric videos which have left an undeniable imprint on popular culture. My brilliant creative team cannot wait to present that energy on stage, with a bold and empowering new musical celebrating Chaka’s legacy and amazing catalogue of songs.” 

Chaka Khan is a global music icon whose influence spans generations of singers, songwriters, musicians, and storytellers. With a career defined by innovation and resilience, she has redefined the sound of pop, soul, jazz, and funk—helping to shape the contemporary music landscape into what it is today. Inducted into the Rock and Roll Hall of Fame’s Class of 2023, Khan is not only a trailblazer but also a symbol of strength, creativity, and longevity. She has developed a vast and loyal global fan base, having performed on six continents. With over 100 million records sold, streamed, and downloaded worldwide, her legacy includes 10 Grammy Awards and 22 nominations—three of which she earned as a member of the groundbreaking band Rufus. Beyond her extraordinary voice, Chaka Khan is also a gifted songwriter, producer, visual artist, author, actress, humanitarian, activist, mother, and grandmother.                    

I’M EVERY WOMAN THE MUSICAL is produced by Adrian Grant in association with Chaka Khan. 

Willette Klausner Murphy for WMK Productions is Co-producer.

Website: www.imeverywomanmusical.com

Instagram: @imeverywomanmusical

TikTok: @imeverywomanmusical

Facebook: @imeverywomanmusical

LISTINGS INFORMATION

I’M EVERY WOMAN THE MUSICAL

5 – 28 March 2026

Peacock Theatre
Portugal Street
London
WC2A 2HT

Box office: 020 7863 8222  

[email protected] 

Tickets for the general public will go on sale at 10am on Monday, 19May.

You can sign up for more information on the musical’s website.

Running time: 2 hours 20 minutes plus an interval

Performances:

Mondays, Tuesdays, Wednesdays, Thursdays, Fridays & Saturdays at 7:30pm

Wednesday & Saturday matinees at 2:30pm*

*N.B there will be no matinee performance on Wednesday 11 March, and no show on Monday 23 March

Theatre Royal Concert Hall Nottingham – until Sunday 18th May 2025

Reviewed by Amarjeet Singh

4****

Nick Stafford’s stage adaptation of Michael Morpurgo’s best-selling 1982 war novel, War Horse is magnificent. Emotional and character driven, this production, directed by Tom Morris with revival director Katie Henry, is a triumph. The story recounts the experiences of young Albert and his beloved horse Joey. Acquired via a drunken challenge between Albert’s father and uncle, Albert raises Joey from a foal, building an unbreakable bond as they grow together on the family farm while facing many trials and tribulations. World War One parts them, as Joey is sold as a military horse by Albert’s immoral father and is set to be sent into war immediately. Albert tries to enlist but is told he is too young. He is reassured by the general who is to ride Joey, that he loves, rides and sketches horses and he would take good care of Joey. But upon receiving the general’s sketchbook after he is killed in battle, Albert sets out to reunite with Joey.

Exquisitely designed by Handspring Puppet Company and masterfully choreographed by Toby Sedgwick, War Horse is brought to life by its incredible puppets and puppetry. Foal Joey is operated by Diany Samba-Bandza (Head), Jordan Paris (Heart), and Eloise Beaumont-Wood (Hind). Adult Joey is operated by Tea Poldervaart (Head), Robin Hayward/Ross Green (Heart) and Gun Suen (Hind). Topthorn, Joey’s fellow war horse is operated by Tom Quinn (Head), Lewis McBean (Heart) and Michael Larcombe (Hind). The sheer effort these performers put in is astounding. The realism is mind-blowing, ear twitches, tail swishes and vocal sounds are spot on. From a gallop to a trot, the movements are fluid, and you forget in an instant that they are not real. To see the horses being ridden is amazing. As well as the horses, there are birds, riders and a rather delightful goose. Tom Sturgess is a wonderfully endearing Albert, his relationship with Joey is authentic and adorable. The whole company combine to create a magnificent production.

John Tams songs, sung by Sally Swanson who narrates the show takes us through emotional moments when words are not enough. Adrian Sutton’s music is rousing and raises the emotional stakes and the drama. Rae Smith’s set design is subtle but sublime, with an empty stage adorned with a ripped page from what could be the generals sketch book. Animation from 59 illuminates the page with moving sketches which take us through different times and places. We see galloping horses, fields, farms and depictions of war, but these never detract from the action on the stage. Sticks and bars are held in different positions by the cast to create dynamic fences, boats and gates. Rob Casey’s Lighting combined with the simple sets is what elevates it all. We fully experience the war through bright flashes. Spotlights highlight certain parts of the action whilst others are left in shadow, switching between the two ensuring the action is never static.

War Horse is a life affirming tale told in a truly magical way. A touching tearjerker that traverses the multilayered impact of war and the power of friendship in all its forms

Greenwich Theatre – until 24th May 2025

Reviewed by Ben Jolly

3***

There’s a dense cloud of dry ice oozing from the stage and the sombre soundtrack of nostalgic piano pop-covers offers an atmospheric greeting as we enter the auditorium of Greenwich Theatre where a revival of Jez Butterworth’s critically acclaimed play, Parlour Song has just opened. Through the dimly lit stage, we can make out Emily Bestow’s well thought out set design consisting of a midnight blue structure representing a house, starkly contrasted with clinically bright white household items scattered around the set and a projected floor plan with white tape on the floor of the stage to indicate doors and walls akin to a practice often used in the rehearsal room; these elements lead me to believe at first glance that this production has chosen to lean into the darker side of this “darkly comedic” play.

For this piece, Butterworth opted to investigate the life of suburbia in England; whatmaterialises in the life behind the white picket fence and how does life go on with want and desire continuing to interrupt the realm of “happily ever after”? We have Ned our tragi-comedic character and his wife, Joy; joining from next door is Dale who is also married with two children. The dust has well and truly settled on Ned and Joy’s eleven-year marriage and with routine and stability births new problems of desire and paranoia between them.

Dale arrives on stage, “It started slowly.” he announces soberly, and we start at the point where it all began, with the cracks just starting to show in Ned’s psyche. Throughout the various comedic beats in the inaugural scene, it is evident that the macabre undertones weigh down the lighter, witty dialogue and continuing from scene to scene, it’s an uphill struggle for the cast to bring the audience in on the joke. Despite this, Naveed Khan is a great tonic with his theatrical energy, masterful physical comedy and range. Kellie Shirley as Joy is sexy and sultry, who in contrast to Khan, opts to internalise her performance, cleverly leaving you to want more. This stark opposition in dynamics only highlights the couple at odds. Jeremy Edwards plays the “everyday man”, Dale with charm but lacks any further findings in his character development resulting in an unbalanced feel of characterisations.

James Haddrell’s staging is a masterclass in the macabre but does not organically lend itself to the comedy. The momentum suffers with the Pinter inspired pauses and each scene is stretched out to the point where it wears thin over time. The aesthetic of the piece and character motivations appear contrived as the play reaches its conclusion just in time narrowly avoiding outstaying its welcome.

For completists of Butterworth’s work who might have missed this earlier piece or fans of the cast, the trip to Greenwich Theatre will undoubtedly prove worthwhile. However, despite evident effort from the cast and crew, the production ultimately falls short in its comedic potential.

Hull Truck Theatre – until 24th May 2025

Reviewed by Dawn Bennett

5*****

To Have and To Hold at Hull Truck theatre last night was one of the best plays that I have seen for a long, long time. Written by Richard Bean (One Man Two Guvnors, Made in Dagenham and The Hypocrite to name just a few) it was a roller coaster of emotions all the way through, from moments of sadness to full belly laughs.

Jack (Ian Bartholomew) and Florence (Paula Wilcox) have been married for 60 years. Jack isn’t as well as he’d like to be and Florence has a few memory problems and her eyesight isn’t as good as it once was. They live in Wetwang in the Yorkshire Wolds; they’re plodding along with their lives but just finding it a bit of a struggle now. Their niece Pamela (Sara Beharrell) does their shopping for them and the couple’s friend, Eddie (Adrain Hood) also helps out, going to the bank, keeping Jack company and taking up running his allotment.

Jack and Florence have two children, Rob (Stephen Tompkinson) and Tina (Rebecca Johnson) Rob is a crime writer and lives in London and is often in Los Angles were he’s in talks for his book to be made into a film. As he says he couldn’t stay in Wetwang as there’s no film industry there! Tina runs a company, which specialises in private Doctors practices, down in Somerset.

Rob and Tina don’t live near their parents so are not there to help them day to day as their cousin Pamela is always reminding them. They come home to have a family meeting to suggest to Jack and Florence that they move in with Tina and what follows is a heart-warming story of family life and the problems that go with it.

The interactions between the cast are just wonderful and very believable, they are very experienced actors and they were an absolute joy to watch,

The cast all played their parts brilliantly, I was really drawn into their story and a lot of it really resonated with me and possibly a lot of the audience with parents/partners of a certain age.

This is definitely must-see production, a five-star show by a five-star cast.

Grand Opera House York – until Sunday 11th May 2025

Reviewed by Michelle Richardson

4****

York Stage are currently treading the boards at the Grand Opera House York. Under the direction of Nik Briggs, their latest production is Shakespeare’s comedy play, A Midsummer Night’s Dream. I was fortunate to attend opening night, and I was excited to see their fresh interpretation of such a classical well-known piece of work.

The play is a truly crazy, bonkers story, where reality and the world of fairies merge. Set in the mystical realm of Athens, where comedy and chaos collide, you get three sagas for the price of one. Two pairs of mismatched lovers, a mischievous group of fairies, led by a fairy King and Queen, and a ramshackle troupe of amateur actors. As the audience is drawn into the enchanting world of A Midsummer Night’s Dream, the playful elements of the piece take centre stage. Magical mishaps, love potions and fairy mischief create romantic chaos, but ultimately love prevails.

This isn’t your usual run of the mill Shakespeare, York Stage have shaken things up with the set, the costumes and the music. Straight from the off, the stage is set with metal railings, the actors decked out in metallic and animal print costumes, very 80’s disco vibe. The Moon (May Tether) is belting out “Freed from Desire”, whilst the stage is shimmering with enthusiastic ravers. Certainly, a break from tradition, but intertwined with Shakespearean dialogue, it makes for a compelling piece of theatre.

Theseus (Mark Holgate) is soon to be married to Hippolyta (York favourite Suzy Cooper), but they get drawn into a family quarrel courtesy of Egeus (York Stage matriarch Joanne Theaker). This conflict about love matches gets more complicated with the manipulation of the fairies, and the involvement of the mischievous Puck (James Robert Ball). The play within the play, is to celebrate the upcoming nuptials. It is there we meet Bottom (Ian Giles) and the rest of the troupe. The action becomes more absurd and comical as they stumble through rehearsals, until their final performance hysterical performance.

At times it was a struggle to hear what the actors were saying, especially with the Shakesperean language, and the plot can be confusing to say the least. Saying that, the whole cast performed with energy and charisma and brought this whimsical play to life.

May Tether was hitting the high notes, with hits like “You’ve Got the Love” and “Show Me Love”, often descending or flying through the air. Hats off to her. The choreography throughout was executed with much exuberance and vigour and one of the highlights of the evening.

The costumes were superb, vivid and vibrant. A theme running throughout, the same animal prints appearing in a lot of the cast’s clothing. The fairies didn’t have traditional voile tutus, instead they wore metallic pieces, whilst the fairy ensemble were encased in silver lame suits. The drama group outfits, during their final performance were a feast of orange workwear, so fitting for this interpretation, and providing much merriment. The edition of a shell suit, in a metallic animal print, worn by chavvy Puck and huge gold chain worn by Oberon, were reminiscent of tv shows Shameless and Brassic. Who knew they would fit in with a production of A Midsummer Night’s Dream? The only negative I had was Bottom when he turned into a donkey, his headpiece was underwhelming, I wanted more.

As ever with York Stage, they have a live band performing, under the direction of Stephen Hackshaw. This musical accompaniment is always a highlight of their productions, and a joy to hear.

Whilst not your traditional Shakespearean play, it is refreshing to see something different and a new take on an old favourite. York Stage and their wonderful performers have delivered an energetic, fun and somewhat bizarre show. What more could you ask for from a night out at the theatre?

Everyman Theatre, Cheltenham – until 10th May 2025

Reviewed by Jacqui Radford

5*****

Any opportunity to see this production of the Olivier, Tony and Grammy award winning musical should not be missed. It is a perfect example of the power of musical theatre and its impact on gritty content.

Directed by Adam Penford, the production focusses on Evan Hansen, an anxious teenager desperate to fit in. We meet him at the start of a new school term, accessing therapy prescribed by his mother to overcome his awkwardness and cowering in corners each time he encounters one of his peers. Inevitably, he is the butt of all jokes and a prime target for bullies.

My expectation was that we would follow Evan through his therapy via the letters that he writes to himself daily but the twist in the tale comes at the very beginning when one of Evan’s letters changes his course through young adulthood. Ultimately, Evan is set on a path to acceptance but gets tangled up in his desperation to find it; so much so that he is destined for more angst and shattered dreams than he could ever have dreamed of.

It must be said that the raw content of this production is dealt with incredibly sensitively and even throws in some humour along the way. Everyone in the audience connects with the themes that are explored and as such, the scattering of humour affords some respite from the intense emotion generated by stellar performance and moving musical renditions. The entire cast had the audience transfixed, experiencing a full spectrum of emotion. The auditorium itself was either respectfully silent, sobbing or laughing.

The creativity behind the set design adds a further dimension to the feel of the performance, including social media feeds and push notifications; acknowledging the positive and negative influence that social media has on modern family life and adolescence.

By the end of the performance everyone is left with their own take away; whether it is the poignance of the lyrics in ‘You Will Be Found’, the power of writing a letter to yourself or a reminder of negotiating your own adolescence. Seeing ‘Dear Evan Hansen’ will make any day a good day!

Marylebone Theatre – 30 May 2025

Reviewed by Claire Roderick

3***

Shimmy Braun’s emotional play is based on characters and experiences from his life in the orthodox Jewish community. Ari Freed (Ilan Galkoff) introduces himself to the audience and warns them that even though he’ll make them laugh, this is a tragedy. The play opens in a synagogue, at Ari’s funeral after he took his own life aged eighteen.

Ari’s struggles growing up gay in his Brooklyn community are relayed through his narration and flashback scenes. We see the first time his father called him a faygele (the Yiddish term for a homophobic slur) when he disapproves of his body language posing for photos at his bar mitzvah and the next five years unfold explaining the inevitable path to suicide (a term with no direct Yiddish equivalent). Ari’s father (Ben Caplan) is a therapist who has daddy issues of his own and is repeating the cycle of belligerence and bullying in his family life whilst maintaining a wholesome image in public. Ari’s mother (Clara Francis) has been pregnant for most of her adult life, with Ari being the oldest of eleven children, with another on the way. Exhausted and distracted, her attempts to stand up for Ari against his father are dwindling, just as Ari’s behaviour is escalating and he needs her most.

Ari’s openness about his sexuality leads to him being used by the older students at school, and when they are found in the act, it is Ari who is expelled. These early encounters and his emotional difficulties with his father cause him to seek out older men for sexual encounters and the levels of hypocrisy amongst the men in his community are revealed – again, it is Ari who is vilified. His only real confidantes who appear to have no agenda but to help him are Sammy (Yiftach Mizrahi) who tried to live in the orthodox faith, married and had four children before finally coming out, and the kindly Rabbi Lev (Andrew Paul). But as Ari spirals and his impulsive reactions cause everyone to turn him away, Ari sees only one way out.

The cast are exceptional, with Ilan Galkoff electric as the tragic Ari.

The story is told through narration by Ari to the audience, or in vignettes from his life punctuated by music and scenery shifting. As Ari jumps in and out of the scene, running off stage sobbing as a fifteen-year-old and then re-entering as the cool narrator to make snarky comments, the pace never settles into a comfortable rhythm, but this could be director Hannah Chissick’s aim – we know the ending, so it’s the events on the journey that must keep us off kilter and engaged.

Sammy’s situation echoes writer Shimmy Braun’s life, and this character seems the most grounded and rounded compared to the more stereotypical parents and rabbi. The scene where Sammy confronts Rabbi Lev over his assumptions and prejudices is beautifully written, thoughtful and powerful as Sammy challenges Lev’s adherence to Leviticus. The absurdist portrayal of Sammy’s use of the parable of the turkey prince, showing a rabbi guiding an outsider back to God with gentle steps, to reach Lev, is a huge change of tone that will probably split audiences, but I enjoyed it. Rabbi Lev is written as a man trying to find a way in this world he can never quite understand to help kindness shine – Andrew Paul’s expression as Lev stays up late and watches interviews with gay orthodox Jews who had to leave their community is a heartbreaking mix of confusion and shame.

This heartbreaking story resonates far beyond the Jewish community. Ari’s struggle for acceptance and need for unconditional love surrounded by uncompromising and judgemental people is one that is instantly recognisable to the LGBTQ community. Shimmy Braun’s insightful and impassioned play shows exciting potential.

Leeds Grand Theatre – until Saturday 10 May 2025

Reviewed by Adam Craddock

5*****

Tonight’s slice of theatre took us on a trip back in time to the 90s. A time before streaming tv, before social media and a time ruled by MTV! “Cruel Intentions: The 90s Musical” takes place very much within this world. Based on the 1999 film “Cruel Intentions”, which in turn is based on the 200 year old French novel “Les Liaisons Dangereuses” by Pierre Choderlos De Lacos, the musical follows step siblings Sebastian Valmont and Kathryn Merteuil and their sordid escapades as they bet on whether Sebastian can bed the innocent Annette Hargrove.

Will Callan and Nic Myers star as Sebastian Valmont and Kathryn Merteuil respectively. Callan is brilliantly nonchalant and suave as Valmont, with a real sensitive side developing by the end of the show and an absolutely fantastic vocal. Myers is also fabulous as Merteuil, with a real Heather Chandler on steroids vibe to her performance and a chemistry with Callan that was palpable. She had a tremendous vocal and acting performance throughout, bravo!

Abbie Budden was great as Annette Hargrove, with a fabulous innocence and honesty to her performance, really grounding this slightly wacky show. Lucy Carter was hilarious as Cecile Caldwell and Marci Greenbaum. She had a brilliant energy about her throughout and had myself and my partner in stitches on several occasions. Luke Conner Hall was brilliant as Blaine Tuttle, with a fantastic poppy vocal and comedic chops on full display. Joe Simmons was strong as the in denial jock Greg McConnell playing the fake macho to perfection. Gabriella Williams and Kevin Yates were both good as Mrs Bunny Caldwell and Ronald Clifford respectively, as was the wider ensemble. There were really no weak links within this cast, kudos to the casting team!

The set was brilliant, a simple two tier building with balcony that screamed of a college sorority building, a classic setting for the vibe of the era. The direction was strong and the choreography was very good, working excellently with the vibe of the show, without pulling away from some of the more tender moments. The lighting and sound design were both good, with the lighting in particular really enhancing the visuals of this show.

I came into this show with no actual knowledge of the movie, let alone its forefather novel, and I have to say after watching this musical, myself and my partner are now dying to watch the film! It was just the right blend of goofy and naughty, sexy and silly and I can wholeheartedly see this becoming an absolute cult classic. With tunes from the likes of N-Sync, Christina Aguilera and The Spice Girls, this is a show that has something for everyone and is not to be missed. I would recommend “Cruel Intentions: The 90s Musical” in the highest degree and would encourage anyone to get a ticket while you can before they walk out that door and say Bye Bye Bye!

DAVID HAREWOOD    TOBY JONES   CAITLIN FITZGERALD

in

Theatre Royal Haymarket, London

23 October 2025 – 17 January 2026

Press Night:  Tuesday 4 November 2025 at 7pm

www.OthelloOnStage.com

London, UK, 8 May 2025 – Shakespeare’s OTHELLO rages to life in an explosive new production starring David Harewood OBE (Homeland, Best of Enemies) as Othello, Toby Jones OBE (Mr Bates vs the Post Office, Detectorists) as Iago and Caitlin FitzGerald (Succession, Masters of Sex) as Desdemona.

Directed by Tony Award-winner Tom Morris OBE (War Horse) with music by PJ Harvey, this epic story of manipulation, jealousy and toxic masculinity explores the darker side of power, rage and desire.  

Performances begin at Theatre Royal Haymarket, London’s West End venue that specialises in short-run, star-led high quality productions from 23 October 2025 until 17 January 2026. 

Priority tickets will be released on 22 May at 10am, followed by general public on-sale from 23 May at 10am.To sign up for priority ticket access, visit OthelloOnStage.com

David Harewood, who in 1997 was the first black actor to play Othello at the National Theatre, and makes a return to the role in this brand-new production said:

‘It’s very exciting to be tackling this monumental part once again. Last time around I was very conscious of breaking through a particular glass ceiling and I probably felt the weight of that. No concerns this time and I’m looking forward to starting afresh.’

Toby Jones said: ‘I am eagerly anticipating rehearsals for Othello with David Harewood, Caitlin FitzGerald and Tom Morris, preparing as best I can to immerse myself in this dark, sad, funny, mysterious world.’

Caitlin FitzGerald said: ‘I am thrilled to be joining this incredible production with these incredible people, and to explore a Desdemona who is full of agency, fearless in both mind and heart, and a true equal to Othello.’

Director Tom Morris added ‘The glittering screen careers of David Harewood, Toby Jones and Caitlin FitzGerald are built on their love of theatre.   David blazed into the theatrical limelight as Romeo with Temba Theatre Company and Othello at the National Theatre, establishing himself as a live actor of rare charisma.   At the same time, Toby’s company the Table Show played a key part in the creative explosion at the Battersea Arts Centre, honing the playful storytelling instincts which have made him a watchword in film and TV.  And underlying the intelligence and searing wit of Caitlin’s screen performances in Succession, Love Simple and Masters of Sex is a rare theatrical craft expressed in the Hedda Gabler which blew former New York Times Critic, Ben Brantley’s mind.’

This is the first of a series of contemporary Shakespeare productions created by Tom Morris for Chris Harper Productions to be staged in the West End over the next five years.

Joining Tom Morris and PJ Harvey on the creative team are Ti Green (Designer), Jon Nicholls (Sound Design and Additional Music), Richard Howell (Lighting Design), Anna Cooper CDG (Casting), Dominic Skinner (Make-up Design), Suzanne Scotcher (Hair & Wigs Design), Katie Henry (Associate Director), Bethan James (Assistant Director), Laila Diallo (Movement Director), Sabia Smith (Costume Supervisor), Mariama Bojang (Assistant Costume Designer), Sheena Linden (Company Manager), Damian Partington (Production Manager) and Samantha Adams (Dramatherapist).

Othello is produced by Chris Harper Productions with Len Blavatnik & Danny Cohen for Access Entertainment.  Further casting for the production will be announced at a later date.

Hall for Cornwall, Truro – until 10th May 2025

Reviewed by Kerry Gilbert

5*****

‘An absolute ‘must see’ show, a full on stroll down Memory Lane, being reacquainted with characters we love’

I was thrilled to review the UK tour of ‘Only Fools and Horses: The Musical’ at the wonderful Hall for Cornwall on opening night. Based on the beloved UK staple show, it was a childhood favourite of mine in the 80’s, so I was very familiar with the story and characters and seeing them brought to life on stage didn’t disappoint! The show boasted a whole host of truly iconic moments from the TV show and this was thoroughly appreciated by the audience.

Based in 1989 Peckham, Derek ‘Del Boy’ Trotter tries to navigate life as a general wheeler and dealer making ends meet whilst his younger brother Rodney is trying to set up house and home with his wife to be Cassandra. Through comedy, the tough times of the life of a market salesman are brought to life, always dreaming that next year, they’ll be millionaires.

Del Boy was played by Kieran Andrew, and he totally stole the show for me, brilliant casting. His accent was fantastic, and he nailed the mannerisms, character and facial expressions of Del Boy completely. He commanded the stage effortlessly and gave an incredible energy throughout the whole show.

Rodney was played by Tom Major, who was on his tour debut, and he did a terrific job. Goofy, loveable, charming and moody all rolled into one. His cockney accent was spot on and had a great stage presence. His on-stage partner was played by Nicola Munns who doubled up as Marlene too. She did an amazing job at playing both characters, especially as they have different qualities.

Raquel was played by Georgina Hagen who gave a strong performance, performing a song called ‘The Girl’ displaying fantastic vocals. The adorable Philip Childs played the role of Grandad and delivered a stellar performance. Boycie was played by Craig Berry, his voice was excellent and he had a beautiful singing voice.

The costuming was terrific and represented the show well. I loved Del Boy’s outfits particularly with the Harrington jacket and iconic coats.

The set design by Alice Power was truly spectacular, with flats at either side and a rotating centre stage which took us between the market, the Trotter’s home and The Nag’s Head. Even with the Trotters Independent Traders 3-wheeler van making an appearance! Clever use of lighting by Ian Scott, helped to direct your gaze as they moved between sets. Graphics and images were used on the interactive screen, and this added clear direction of where the scene was. It also had hilarious comedy moments during ‘The Tadpole Song’ with the very interesting fireworks.

The music for the show was impressive, packed with original songs, my favourites being, Only Fools And Horses/Hooky Street, Bit Of A Sort and Gaze Into My Ball. I loved the use of well-known songs, ‘Lovely Day’ and ‘Holding Back the Years’ at the pivotal moment in the show. Music and lyrics are mostly written by Paul Whitehouse and Jim Sullivan, with a bit of Chaz and Dave thrown in to add to the spectacle.

An absolute ‘must see’ show, a full on stroll down Memory Lane, being reacquainted with characters we love.