Norbury Theatre, Droitwich – 7th June 2025

Reviewed by Courie Amado Juneau

5*****

Despite being a massive fan of Rik Mayall, I had never been to the Comedy Festival named in his honour. I also wasn’t aware that there was a musical comedy (largely) from the pen of John Otway! So it was with huge anticipation that I headed off to the Norbury Theatre in Droitwich to catch this highly acclaimed but oft forgotten gem.

The story (written by Otway and Paul Bradley in 1984) concerns a lovable under-achiever, Gordon, who starts his new year with two resolutions – to start a diary and to go out with one of his new flatmates (it being the day that he also moves into his new flat). Many a misadventure ensues as he attempts to impress all in his house plus his rather worrying boss…

Tom Johnson played our lead character, Gordon, giving us a lovable loser – just the kind of down on their luck nice guy that we English love. I saw echoes of Rik himself (from his Young Ones and Bottom characters), John Otway’s self depreciation and this nuanced performance was all the better for it. Not only that, but he also played guitar too, accompanying himself and his fellow actors from the stage. Impressive!

This seems like a great moment to mention the live band on stage: Scatty Lee (guitar), Charlie Skelton (violin) and Hannah Whitbourn (cello), who produced a surprisingly varied palette of colours given their meagre resources. They sounded remarkably orchestral and certainly wrought every last ounce out of emotion from the fabulous score.

Georgie Harriet-King played the object of Gordon’s affections, Cheryl with an ease that was highly endearing. With a charming singing voice and personality to match, she and Tom made a likable, yet highly believable romantic couple.

The cast was rounded out by James Day playing poet/singer Tristram (whose highlight was his gig at the knowingly named (if you know Otway’s catalogue) Bunson Burner pub. A spirited performance. Last but not least was Alex J Carter (playing Phil/Eric – two characters who Gordon is constantly trying to impress and who Carter had a total blast with. A Fabulous performance, threatening at all times to steal the show. What a cast!

This being a smaller production, there wasn’t an over abundance of sets or costumes – but what there was was cunningly deployed to maximum hilarity. I particularly loved the “backing singers” in the red sequin dresses. The set was very cleverly imagined – it being a massive diary, with the pages pulling out to become areas in the story (bedroom, bathroom, pub, office). And with all the best shows, there was some delicious fun onstage with ad-libs regarding the dodgy sets not behaving themselves. Wonderful!

The entire musical has a feel good factor which is highly infectious; with gentle humour (though hilarious) that no-one could take offence to, a heartwarming story and a cast of oddball characters who become instant friends. To cap it all off there’s some wonderful music from Otway and even a couple of songs from the equally fabulous Mr Johnson! Truly, I tell you, I left the theatre wanting more and feeling rather fine. Can there be a more perfect way to enjoy a comedy festival? I think not. Bravo!

THE NATIONAL THEATRE’S SOLD-OUT PRODUCTION OF

THE IMPORTANCE OF BEING EARNEST

TO TRANSFER TO THE WEST END THIS AUTUMN IN A

CO-PRODUCTION WITH SONIA FRIEDMAN PRODUCTIONS

FEATURING OLLY ALEXANDER IN THE ROLE OF ALGERNON MONCRIEFF

The National Theatre announces today that its sold-out, critically acclaimed production of The Importance of Being Earnest will transfer to the West End this autumn in a co-production with Sonia Friedman Productions.  This ‘bold and brash Wilde reboot’ (★★★★ The Times) will run for a limited season at the Noël Coward Theatre, a Delfont Mackintosh Theatre, from 18 September 2025 until 10 January 2026.  Tickets will go on sale to the general public on Monday 16 June at 12pm with over 20,000 tickets available for under £30 across the run. 

This ‘sparkling new production’ (★★★★★ Daily Mail) directed by Max Webster, is a joyful and flamboyant reimagining of Oscar Wilde’s most celebrated comedy.

Actor and singer-songwriter, Olly Alexander (It’s a Sin, Channel 4; White Rabbit, Red Rabbit, @sohoplace) will play the role of Algernon Moncrieff in Webster’s ‘wildly exuberant, hot pink staging of The Importance of Being Earnest (★★★★ FT) with further casting to be announced.

 Olly Alexander, singer, songwriter, actor, fashion icon and activist said:

“I’m over the moon to be returning to a West End stage to take on the fabulous role of Algernon Moncrieff in Oscar Wilde’s most fun and favoured play.  I’ve always hugely admired Wilde – he’s a true icon, not only a hugely successful and influential 19th century writer but also a trailblazing queer artist who fearlessly pushed against the expectations of society.  He was a pioneer of LGBTQ+ rights before such a thing existed and I’m so excited and proud to get the chance to inhabit his work.”

Max Webster, director said:

“I am ecstatic that The Importance of Being Earnest is transferring to the West End starring the brilliant Olly Alexander this September for a winter run.  The creative team and I really wanted to honour Oscar Wilde’s life and work and celebrate his legendary wit, fabulousness and imaginative freedom with this production.  We found that the play felt amazingly fresh and contemporary, and there was an incredible audience response night after night during its original run at the National Theatre.  I can’t wait to share this production again, with audiences in the West End, and am especially excited to work with Olly who I am certain will create a new and fabulous take on Wilde’s iconic character Algenon Moncreiff.”

Being sensible can be excessively boring. At least Jack thinks so.

While assuming the role of dutiful guardian in the country, he lets loose in town under a false identity. Meanwhile, his friend Algy takes on a similar facade.

Unfortunately, living a double life has its drawbacks, especially when it comes to love. Hoping to impress two eligible ladies, the gentlemen find themselves caught in a web of lies they must carefully navigate.

Olly Alexander is a singer, songwriter, actor and producer.  Other screen work includes The Riot Club (Universal Pictures), Bright Star (Warner Bros) and Skins (E4).  Other theatre work includes Peter and Alice (West End), The Aliens (Bush Theatre) and Mercury Fur (Old Red Lion/Trafalgar Studios).  Between 2010–2023, Olly Alexander performed and recorded music under the name Years & Years.  As Years & Years, he achieved two number one UK albums, ten UK Top 40 singles, was nominated for six BRIT Awards, and awarded the BRIT Billion Award.  Albums include Communion, Palo Santo and Night Call as Years & Years and Polari, under his own name.  In 2024, Olly Alexander represented the United Kingdom in the Eurovision Song Contest with his song Dizzy.

Max Webster is an award-winning theatre director, specialising in spectacular new work, opera and live music events.  Recent acclaimed productions include Macbeth (Donmar Warehouse/West End), Life of Pi (Sheffield Theatres/West End/Broadway), Henry V (Donmar Warehouse) and The Lorax (Old Vic).  He was Associate Director at the Old Vic from 2015 until 2019 and at the Donmar Warehouse from 2020 until 2024.

‘This exuberant production (★★★★ The i) also features set and costume designer Rae Smith, lighting designer Jon Clark, sound designer Nicola T. Chang, movement director Carrie-Anne Ingrouille, composer DJ Walde, physical comedy advisor Joyce Henderson, intimacy coordinator Ingrid Mackinnon, casting director Alastair Coomer CDG, dialect coach Hazel Holder and voice coach Shereen Ibrahim in the creative team.

Webster’s ‘Wilde party of irresistible anarchic charm’(★★★★The Guardian) was first performed in the Lyttelton Theatre from 21 November 2024 until 25 January 2025.  Following a sold-out run at the National Theatre, it was subsequently released to cinemas worldwide through National Theatre Live.  Over 165,000 people in the UK have watched ‘this joyous production’ (★★★★ The i).

The Importance of Being Earnest in the West End is supported by American Express, the National Theatre’s Official Payment Partner.

With previews beginning this evening at Theatre Royal Drury Lane, Disney Theatrical Group today announces that Hercules will extend until 28 March 2026.

With music by Alan Menken and lyrics by David Zippel, and a brand-new book by Robert Horn and Kwame Kwei-Armah, Casey Nicholaw’s production of Hercules, co-choreographed with Tanisha Scott, is inspired by the 1997 animated film of the same name from Walt Disney Studios. The feature film, directed by The Little Mermaid filmmakers John Musker and Ron Clements, and written by Clements, Musker, Donald McEnery, Bob Shaw and Irene Mecchi, won Best Animation Feature at the Los Angeles Film Critics Association Awards and was nominated for the Academy Award® for Best Original Song for Go the Distance.

The cast is Luke Brady (Hercules), as the Muses, Candace Furbert (Thalia), Sharlene Hector (Clio), Brianna Ogunbawo (Melpomene), Malinda Parris (Calliope), Robyn Rose-Li (Terpsichore), and Kimmy Edwards and Kamilla Fernandes (Standby Muses); Mae Ann Jorolan (Meg), Trevor Dion Nicholas (Phil), Stephen Carlile (Hades), and Craig Gallivan and Lee Zarrett (in the roles of Bob and Charles), with Rhianne Alleyne, Lana Antoniou, Daisy Barnett, Felipe Bejarano, Sarah Benbelaid, Joel Benjamin, Jack Butcher, Nicole Carlisle, Francessca Daniella-Baker, Marie Finlayson, Ryesha Higgs, Cruz-Troy Hunter, Travis Kerry, Stefan Lagoulis, Jason Leigh Winter, Jordan Livesey, Harriet Millier, Ellie Mitchell, Saffi Needham, Ben Nicholas, Ingrid Olivia, Matt Overfield, Patrick John Robinson, Ope Sowande and Rhys West.

DISNEY’S

HERCULES

Music by Alan Menken

Lyrics by David Zippel

Book by Robert Horn and Kwame Kwei-Armah

Director and Choreographer: Casey Nicholaw; Co-Choreographer: Tanisha Scott;

Scenic and Additional Video Design: Dane Laffrey; Costume Design: Gregg Barnes, Sky Switser;

Lighting Design: Jeff Croiter; Sound Design: Adam Fisher; Video Design: George Reeve;

Special Effects Design: Jeremy Chernick; Dance Music Arrangements: David Chase;

Hair and Wig Design: Mia M. Neal; Make-Up Design: Kirk Cambridge- Del Pesche;

Music supervisor and Arranger: Michael Kosarin; Orchestrations: Danny Troob and Joseph Joubert;

Dance Arrangements: David Chase; Casting: Natalie Gallacher CDG for Pippa Ailion and Natalie Gallacher Casting

The musical, inspired by the animated film, based on the ancient myth.

It’s what classical civilisation would have wanted.

Ancient Greece. A time of gods, mortals… and Hercules, who isn’t quite either. But if he’s not a god, how can he possibly save the world from Hades? It’s one thing flexing those pecs, but going from zero to hero requires a different kind of strength. 

Get ready for a wise-cracking, column-shaking, underworld-rocking ride of adventure, self-discovery, and love. In tunics. 

Facebook /HerculesOnStage

Instagram @herculesonstage

www.herculesthemusical.co.uk  

LISTINGS

HERCULES

Theatre Royal Drury Lane

Catherine Street, Covent Garden, London WC2B 5JF

www.herculesthemusical.co.uk  

Previews sold out – from £29.50 post press night

Group rates and education rates are available – please see the website

PERFORMANCES:

POST PRESS NIGHT:

Monday to Saturday 7:30pm

Thursday and Saturday matinees 2:30pm 

ACCESS PERFORMANCES: 020 3925 2998 or access@lwtheatres.co.uk

Captioned performance               7.30pm on 15 September

Signed performance                     7.30pm on 23 September

Relaxed performance                   1.30pm on 15 November

Audio Described performance    2.30pm on 29 November

FAULTY TOWERS THE DINING EXPERIENCE

50 YEARS OF FAWLTY TOWERS…AND STILL NO SIGN OF ROOM SERVICE!

TO CELEBRATE 50^th ANNIVERSARY OF THE ICONIC TV SHOW, TICKETS ARE NOW ON SALE IN THE WEST END FOR JUST £50

BASIL RETURNS HOME – SPECIAL ANNIVERSARY PERFORMANCE IN TORQUAY – FRIDAY 19 SEPTMBER

www.faultytowersdining.com/london

As the show’s 13^th year in London continues to run and run with only the most minor of mishaps on a daily basis…Artistic Director Alison Pollard-Mansergh, Producer Jared Harford, and the whole team at Interactive Theatre International are proud to announce that Faulty Towers The Dining Experience – the multi award-winning global phenomenon that offers an experience like no other set in the iconic Fawlty Towers hotel – is releasing the first batch of London tickets for 2026, priced at just £50 to celebrate 50 glorious years of Fawlty Towers, as well as putting on an extra special anniversary performance on 19 September – in Torquay itself!

 This limited ticket release is available for performances from 8 January 2026 through until 31 May at the President Hotel in Bloomsbury, and is available to book here.  

Faulty Towers the Dining Experience sees audiences enjoying a quintessentially British experience as Basil, Sybil and Manuel serve up theatre and chaos alongside a 70s-style 3-course meal at the President Hotel, right in the heart of London, where the trio have spent over a decade setting West End records for longest running immersive experience, longest running show based on a TV series, and the longest running Fawlty Towers show of any kind worldwide!

2025 marks the 50th anniversary of the original BBC sitcom Fawlty Towers, which first aired on 19 September 1975. Written by John Cleese and Connie Booth, the series about the quintessential irascible Torquay hotelier ran for just 12 episodes but became one of the most acclaimed and influential British comedies of all time. Its enduring popularity has made it a cornerstone of UK television history.

To further celebrate, Faulty Towers the Dining Experience will also be putting on an extra special anniversary performance in Torquay itself – tickets are on sale now here for an evening at The Osborne Hotel, Hesketh Crescent, Torquay, including VIP options, and one Lord and Lady VIP ticket – where one lucky couple with be treated like royalty for one night only, experiencing all of Basil’s…charm.

Producer Jared Harford said, “We continue to be thrilled and humbled by the global success of Faulty Towers The Dining Experience. With such renewed interest and demand for Fawlty Towers, we’re proud to be extending our London run once again and announcing another exciting round of UK residencies. The 50th anniversary is the perfect moment to say thank you to our audiences – and we can’t wait to serve up even more mayhem.”

As well as constantly touring round the UK, the show has also enjoyed a series of sell-out sit-down residencies in major UK cities. Return dates for spring 2026, are also now on sale:

3 – 15 February voco Manchester
7 – 22 February Northampton Town Centre Hotel
16 – 19 April The Scotsman Hotel Edinburgh
21 – 23 April Oran Mor (Glasgow)
24 – 26 April Forgan’s Broughty Ferry (Dundee)
28 -29 April Forgan’s St Andrews (St Andrews)
30 April – 3 May  Palm Court Hotel (Aberdeen)
22 – 27 September Royal Station Hotel Newcastle

A show like no other…

Devised by Alison Pollard-Mansergh, Andrew Foreman and others, Faulty Towers The Dining Experience has hosted residencies in the UK and internationally since 2008, appearing in 43 countries and welcoming over a million guests. A loving tribute to the BBC’s legendary sitcom, the show is 70% improvised and totally immersive – offering diners a seat at the most infamous hotel restaurant in British comedy history.

Highlights in the show’s legacy:

• 2009: First London performance in Covent Garden
• 2012: Launch of the first West End residency
• 2019: One millionth guest welcomed at Edinburgh Festival Fringe
• 2022: Move to President Hotel, 25 years worldwide, 10 years in London
• 2025: 13th year in London – and counting
• 2026: Celebrating 50 years of Fawlty Towers with a £50 ticket release

Faulty Towers The Dining Experience is a loving tribute to Fawlty Towers. Faulty Towers The Dining Experience uses scripts and a dining experience format devised by Imagination Workshop Pty Limited and is not endorsed in any way by John Cleese or Connie Booth.

For more information on the show visit www.faultytowersdining.com

Jack Studio Theatre – until 7 June 2025

Reviewed by Claire Roderick

3***

Game Play is a delightfully offbeat show about a relationship that isn’t picture perfect. Beginning with a monologue from Dom (Sam Law) sharing his “wisdom” about how to approach first dates, his technique works and he and Izzy (Hayley Calleia) hit it off immediately.

The story then jumps to a scene where it isn’t immediately obvious whether they are now living together as friends or are in an open relationship, but this is soon made clear as Dom talks about his date – according to Izzy he’s collecting humanitarian girlies like Pokémon cards. As the story unfolds it becomes obvious that Izzy needs some sort of friction or danger to feel happy in a relationship and Dom is prepared to do anything for the woman he loves, although resentment is bubbling under the surface as he provides her with what she needs.

R.K. Chui has written fascinating yet relatable characters tying themselves in knots and Calleia and Law are a dynamic and charismatic duo, effortlessly funny and delivering exciting performances ensuring that the audience’s sympathy is constantly shifting as the games reveal and shift the power dynamics. Aoife Scott’s confident direction sets a swift pace which could be tempered a little when certain scenes have hit hard and need time to settle. The pace works best when there is a musical break between scenes. There is a lot of karaoke and dance – music and dad dancing seem to be the couple’s healing time where they reset their rhythm and minds. The structure is interesting as the couple physically warm up for certain scenes, give their “prepared” monologues through the microphone or discuss what they have planned to show the audience the next part of their story, breaking the fourth wall with charm and humour.

With R.K. Chui’s deft and witty writing and excellent performances, Game Play is an insightful and funny play that has enormous potential.

Tabard Theatre, Chiswick – until 21 June 2025

Reviewed by Phil Brown

 4**** 

In an interesting adaptation of the One Man,Two Guvnors concept, how about one cast, one set – two plays.  All for the price of one.  And very well staged in one of the most delightful bijou pub theatres in London.

OnBook Theatre (Ian Nicholas and Jason Moore) maybe onto something exciting with this innovative production idea of a single governing theme common to two plays – in this case, behind the scenes frustration of the performing life, with some domestic strife on the side.  Using a Noises Off style approach in both plays, the action explores what happens in the life of artists backstage in the dressing room, in settings that are around 90 years apart.

In truth, at around 30 minutes, the first play, Red Peppers, is more of a comic sketch, albeit one with an unfeasibly high entertainment value.  Written and performed originally by Noël Coward along with Gertrude Lawrence in 1935, it’s about the fractious relationship between husband and wife team, George and Lily Pepper (superbly played by Jon Osbaldeston and Jessica Martin respectively) as they tour a fading music hall act, designed long ago by George’s father, across the country.  

It starts with the Red Peppers dressed as sailors “on stage” dancing and singing the very funny “Has Anyone Seen Our Ship” as the concluding number of their first act stint, before switching quickly back stage where the recrimination, resentment and bitchiness begin.  Despite considerable marital friction accumulated over years of working together, George and Lily manage to present a pugnacious united front in confronting critical comment from conductor Bert Bentley (Phillip Gill), headliner Mable Grace (a magisterial Emma Vansittart) and theatre manager Mr Edwards (Dominic McChesney).   Overall, an all-round, hugely entertaining, fast paced and brilliantly performed 1930s slanging match.  The play concludes with the Red Peppers back on stage in white tie and tails singing “Men About Town”.  

Post interval, Aged in Wood, a new one act play written by Cian Griffin takes us back to the same dressing room, but now in the modern day.  We see leading actor Deena Ames (Jessica Martin) in curlers reflecting on a very difficult opening night, a short while before going on stage again.  

There is a different, less combative and more farcical tenor to the frustrations examined in Aged in Wood.  It proceeds in a sequence of well structured two handed scenes – firstly Deena with Avis Runyon (Emma Vansittart channelling Joanne Lumley) her agent whose preposterous boosterism is absolutely delicious, summed up by “I love you Avis, but sometimes you’re full of shit.  I’m an agent darling, I have to be”.  Avis also flits in and out linking subsequent scenes with more killer punchlines.

Then we get 4 time Olivier award winner and aging Rufus Good (Philip Gill) who is unable to learn his lines, but lacking self awareness, accuses Deena of throwing his performance off by speaking her lines too quickly.   Both actors combine beautifully to squeeze an impressive amount of comedic content from trying to speak the lines more slowly.

Enter Deena’s 21 years old fashion student son and party animal Quin Ames (perfectly pitched by Rhys Cannon), for the sort of inquisition that should instantly chime with most parents.   “Boys like you do not live in Brixton…you belong in… Muswell Hill”.  Their brilliantly written and highly amusing interaction inexorably spirals downhill with each of Deena’s maternal concerns, towards eventual exasperated protestations of control freakery.

Next up is an old acquaintance from a previous fictional musical, director Terry Dunne (an excellent Dominic Chesney).  He is putting on a new West End musical with a part for Deena, surreally based on the diary of Anne Frank set during the Falklands war with some insanely inane details.

It’s a very busy dressing room as, right on Dunne’s coattails, Deena’s estranged husband, Henry Ames (masterfully played by Jon Osbaldeston), shows up to discuss their daughter moving in with him and his new girlfriend Cheryl along with divorce papers for signing.  After some bitterness and biting repartee  – “I can’t help if they get along so well.  Of course they do, they’re the same age” – the exchange assumes a more serious tone as Deena and Henry’s sparring develops into an honest exchange of feelings, possibly for the first time.  They succeed in reaching a mutual understanding.  An insightful and poignant scene – well written and wonderfully acted.

Finally, we return to farce when Rufus Good re-enters with a solution to “our little problem”.

Every aspect of this two play production exudes classy professionalism.  I particularly love the level of stimulation packed into only 90 minutes of showtime, thanks to the quality, precision, and richness of the writing.  However, it is the beautifully wrought performances by the cast that elevate this show to a wonderful evening’s entertainment.

In particular, Jessica Martin, Jon Osbaldeston and Emma Vansittart are sensationally good.

Alphabetti Theatre, Newcastle – until 7th June 2025

Reviewed by Sandra Little

4****

This show is the latest offering from Alphabetti Theatre which is a great little theatre tucked in a corner of Newcastle. Shit Life Crisis is a one hour performance written by Olivia Hannah and starring Florence Odumosu and Madeleine MacMahon. It explores the impact of cancer on the day to day lives of two young women. The play begins in a local shabby pub, The Slippery Duck, where Grace (played by Florence Odumosu) is hosting a sing-along memorial for her “full of life” friend and cancer buddy Abbie ( played by Madeleine MacMahon ). From this point the play goes back in time and explores the relationship which unfolds between Abbie and Grace on their cancer treatment journey. We learn that life is boring for Grace and there are financial issues because of her inability to work. She also feels guilty because her parents are rearranging their lives due to her illness and she also experiences some mental health issues.

The third character in this play is Lily (also played by Madeleine MacMahon ). Grace’s friendship with Lily is best summed up when Grace tells us that Lily made her realise how lucky she was to have Abbie as a friend!

Much of the dialogue in the show has a straightforward, uncomplicated style, however there are phrases that really do have weight and are able to convey powerful messages . An example of this is when Abbie tells Grace that, “ love is a verb, it’s something you do.”

Although the subject matter of this show might seem very bleak, there are also quite joyous moments. The karaoke songs are both uplifting and great fun. Both girls have great voices and are well capable of blasting out a tune, however I felt that Florence Odumosu’s singing was particularly good. The audience are invited to join in with the karaoke numbers which include River Deep, Mountain High and Tracy Chapman’s, Baby Can I Hold You Tonight, along with several disco themes in between.

There is a diverse range of emotions covered in this performance in a single hour alongside some ironic moments. We learn for example that the memorial arranged by Grace is for her “full of life chemo buddy” who has recently died. I learned so much about about the impact of cancer on the day to day lives of survivors from this production and I must confess this is a topic I hadn’t given a great deal of thought to before watching Shit Life Crisis.

The show includes strong language and sexual content and is recommended for audiences over 16 years old.

Blackpool Grand Theatre – until 15th June 2025

Reviewed by Charlotte McWilliam 

4**** 

“A Fresh, Feel-Good Twist on a Classic”

Presented by Pitlochry Festival Theatre Directed by Sam Hardie 

Blackpool Grand Theatre was alive with electric anticipation as an excited, leather-jacket clad audience, dotted with pink polka dots, gathered to be whisked away to Rydell High. From the moment the lights dimmed, the energy was infectious – clapping, cheering, and whooping set the tone for an immersive and vibrant evening.

This actor-musician adaptation of Grease The Musical is no ordinary tribute to the 1978 cult classic. With the cast doubling as the on-stage band, this production delivers an imaginative and musically rich reimagining. Alexander Service’s (Danny) impressive guitar skills and Leah Jamieson’s (Jan) lively saxophone playing brought a fresh dynamism to the performance, showing off the cast’s quadruple-threat talents.

The cast brought their own flair to iconic characters, Leah Jamieson (Jan) was a comedic joy throughout, fully embracing her quirky character with charm and energy whilst bold hair choices – Sandy’s sleek dark locks and Rizzo’s vibrant red added a touch of modern edge. While this Danny Zuko may not have radiated traditional teen-idol allure, he charmed with musical prowess during “Stranded at the Drive In”. Blythe Jandoo’s (Sandy) vocals were clear, confident, and tinged with an American twang—soaring beautifully in “Summer Nights,” more than holding her own in comparison to Olivia Newton-John’s iconic interpretation.

Despite a few minor technical hitches with sound levels, particularly during group numbers, the vocal talent shone through. The Pink Ladies occasionally overpowered the T-Birds due to their positioning on stage, but the musicality remained strong throughout.

The set design by Nick Trueman, though modest, was cleverly used, and standout lighting effects designed by Rory Beaton, especially during the “Grease Lightning” number, added dramatic flair with claps of lightning surging through the auditorium—eliciting genuine gasps of delight from the crowd. While the choreography took a backseat, the actor-musicianship more than made up for it, delivering a musical experience rich in talent and heart.

There were a few unconventional choices in the song lineup – Freddy My Love”, and “Mooning” made appearances, offering fans of the original film a rare treat. “Beauty School Dropout” was a visual highlight, enhanced by creative lighting.

Doody played by David Rankine emerged as a real star, seamlessly shifting between character and drummer, bringing charisma and humour in every moment. His energy and presence made him an unexpected standout and a firm audience favourite. His John Travolta like looks hit well too! 

While the narrative was at times non-linear, something that could confuse Grease newcomers, it was ultimately the cast’s enthusiasm, commitment, and musical talent that anchored the show. Fiona Wood’s (Rizzo) “There Are Worse Things I Could Do” was sung with poise and depth, though a touch more grit and vulnerability may have made it truly unforgettable.

The final scene in the diner, reworking “You’re the One That I Want,” may have lacked a little of the usual fire, but the rousing encore of “We’ll Always Be Together” brought everyone to their feet, the entire theatre clapping and swaying with joy.

This Grease may not follow the classic formula to the letter, but it pulses with originality, heart, and live musical talent. It’s a bold and refreshing take, and with just a touch more polish in choreography and tech, it could be a truly unmissable hit.

A feel-good, foot-tapping night at the theatre that dares to do things differently – and does so with real charm

York Theatre Royal – until Saturday 7th June 2025

Reviewed by Michelle Richardson

5*****

Matthew Bourne’s, The Midnight Bell, returns to the York Theatre Royal after a successful debut in 2021. Described as “intoxicated tales from the darkest Soho” and based on the novels of Patrick Hamilton. Set in the 1930’s, all the action centres around The Midnight Bell, a public house in Central London.

The stage is dark and misty, a lone figure dancing across the floor. Dropping onto a single bed, where he awakens, to find out he was only dreaming. He’s a bartender at The Midnight Bell, a local establishment frequented by an assortment of characters, longing for a connection, something more. In the bar we meet several characters, staring at the bottom of an empty glass. The barmaid, agrees to marry am older man after being spurned by the bartender, whose head is turned by a prostitute, an older lady, wooed by a dashing scoundrel, a tortured soul is tormented by an out of work actress, who has a wandering eye and a couple, whose attraction can’t be contained, all whilst trying to hide their secret, illegal relationship in a time when homosexuality was illegal.

Through the captivating choreography and expressive storytelling, the performance draws the audience into the moment. No words are spoken during the performance, the dancers’ movements convey the complex emotions and turbulent relationships. You can’t help with being enthralled with each step, each gesture, speaking louder than words ever can, as each artist moves effortlessly across the stage. The dancers weave together themes of hope, love, desire, anguish and heartbreak, the intertwining relationships exposed before our eyes.

The soundtrack is meshed with songs from the 30’s, which are mimed and completely depicts the era. The high-pitched sound, depicting the anguish of the tortured romantic whilst he is writhing on the floor, is very effective, though quite ear piercing.

On the stage table and chairs, a park bench come and go, as does the bar, the props are moved about with ease by the dancers, choreographed within the story. The use of window frames, a sign for a phone box being lowered and raised, lit up signs depicting rooms, dance hall and cinema, flicker on and off come in to play as the story unfold. The set design and lighting, casting shadows that evoke the mood, bring to life the sleaziness of Soho.

The Midnight Bell is a powerful piece of storytelling, especially the first act. The world class dancers, Cordelia Braithwaite, Glenn Graham, Michela Meazza, Andy Monaghan, Liam Mower, Bryony Pennington, Edwin Ray, Danny Reubens, Ashley Shaw and Alan Vincent, are thoroughly mesmerising in their physicality. The depths of their, skillful and graceful, performances negated the need for spoken words. I could hear the words beautiful being spoken after at least one dance, I couldn’t agree more.

This superb, contemporary dance, production from Matthew Bourne is playing in York until Saturday 7th June, before continuing its countrywide tour.

Theatre Royal, Windsor – until 14 June 2025

Reviewed by Joanna Huggett

4****

We had the pleasure of attending the opening night of ‘Doubting Thomas’ at the Windsor Theatre Royal, a new play written by their recently announced ‘Writers in Residence’ Catherine O’Reilly and Tim Churchill.

The play is about how a family deals with the effects of a court case in which their father Thomas, diagnosed with dementia, is accused of causing the death of a care home worker in which he resides. Having dementia means that Thomas is never interviewed, and hence the family never really knows what really happened, but as we shall discover, some know a great deal more than others.

The entire play is set in the lounge of the family home where the matriarch of the family, Jane Noble played by Felicity Dean, her daughters, Sara played by Claire Marlowe, and Anna played by Eva O’Hara, her grandson Ben, played by Louis Holland, her cousin Matt, played by Ben Nealon meet with the solicitor Karima Somani played by Nikki Patel and on a separate occasion with Thomas’ brother Peter, played by Gary Webster. They discuss the coming court case and later when Peter joins them, they are awaiting the jury decision.

It’s a well written story, well served by the scenery and exemplary acting from all involved, complimented by some well chosen musical segways courtesy of Thomas’ David Bowie record collection.

Despite the simple story line in which we know Thomas is going to be tried for manslaughter and is unable to defend himself due to his dementia condition, it is also clear that we have not been given all the facts. So as the story unfolds, and the family unravels, we can expect some twists and turns right to the very end.

It’s an intriguing and thought provoking watch, go see it before it ends on June 14.