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Cambridge Arts Theatre, Cambridge – until Saturday 22nd August 2026

Reviewed by Steph Lott

4****

Walking out of “Barnum the Circus Musical” at the Cambridge Arts Theatre on Tuesday evening, I found myself caught between conflicting emotions. The audience rose to their feet in a standing ovation, and visually, I couldn’t fault what I had seen. Yet for all its theatrical fireworks, this circus musical left me somewhat emotionally unmoved.

Let me start with what genuinely impressed me. The sheer ambition of staging a circus musical in such a confined space is audacious, and the actor-musicians deserve enormous credit. Playing over 150 instruments live, they created a soundscape that was both intricate and infectious, providing the propulsive energy that kept scenes moving when the narrative threatened to stall. Oti Mabuse’s choreography was impeccably crafted—the dance and circus moves performed in that tight venue were extraordinary. How the cast managed genuine acrobatics and aerial work without injuring themselves remains a mystery to me.

Lee Newby’s set and costume design transported us genuinely into a 19th-century circus. Every detail felt authentic and lovingly rendered, from the aged canvas to the period costumes. Even the elephant (yes, a theatrical one, but utterly charming) added warmth that the human leads couldn’t quite manage.

And here’s the puzzle: surrounded by such technical brilliance, why did I care so little about P.T. and Charity Barnum? Matt Rawle and Monique Young are clearly talented performers, yet their characters felt like ornaments rather than people. The razzmatazz—which should have enhanced their story—instead suffocated it. There’s so much to look at, so much spectacle, that quiet character moments are drowned out. We see P.T. perform success, but we never understand what drives him. What does he truly want? What does he fear losing? Without answers, he remains a performer playing a performer, never quite becoming a person.

The narrative itself lacks tension and pace, which compounds the problem. There are big traumatic events within the story but Barnum shrugs and moves on. However, I did really enjoy Penny Ashmore’s charming performance as Jenny Lind, the Swedish Nightingale. In a supporting role, she sang beautifully and she really looked the part.

Barnum is undoubtedly a technical triumph—a production that showcases genuine theatrical artistry and ambition. But spectacle alone cannot sustain a two-hour musical.

Great theatre balances the dazzle with genuine human emotion. Here, the razzmatazz gets in the way of the story rather than serving it. You leave impressed by what you’ve seen, but unmoved by why you should care.

However, this does not mean you shouldn’t go and see it. Barnum is absolutely worth experiencing for its sheer theatrical ambition and the brilliance of the ensemble. If you love spectacle, technical mastery and circus artistry, this production will dazzle you. And that alone makes it splendid entertainment.

Everyman Theatre, Cheltenham – until 22nd August 2026

Reviewed by Jacqui Radford

4****

This adaptation of Graham Greene’s novel, ‘Our Man in Havana’, is Clive Francis’ cheeky interpretation of a novel that has plenty of black humour and satire for inspiration. The play is an unnerving blend of political jitters and absurd espionage techniques brought to life by a small cast of four playing more than thirty characters. As an audience member, you need all your powers of observation about you but that adds to the experience.

We follow Jim Wormold (Jack Ashton), a vacuum-cleaner salesman, surprisingly recruited by MI6 agent Hawthorne (Bob Barrett) as a spy in Cuba. As a widower, he is persuaded to sign himself up by his determination to provide everything imaginable for his daughter, Milly (Jodie Steele). Following a chat with a German friend, he is drawn to the idea of inventing agents and providing increasingly absurd profiles to MI6 to build his income. In today’s terms that might be considered money laundering. His absurd ideas and stories feed the comedy moments in the production that have the audience enraptured. Jack Ashton nailed the art of portraying a rabbit in the headlights.

The many other characters around Wormold, Hawthorne and Milly are deftly played by just three other performers (Bob Barrett, Jodie Steele, Leon Ockenden). Bob Barrett brings wit to every character he plays; his most noteworthy being that of Teresa, a night club worker. Leon Ockenden adds to the comedy with his flamboyant expression; be that handyman, bank manager or pillar of the community. Jodie steals the show with her costume changes, exaggerated comedic expression and portrayal of ridiculous enthusiasm for the high life.

Our Man in Havana celebrates imagination, invention and the mess that ensues when an ordinary man tells one little lie. Woven through all the laughter is a nod to Greene’s own experience with MI5 during the Second World War; the absurdity of intelligence gathering, political bluster and the ease of it almost becoming fact.

This production cleverly highlights the dangers of a political situation becoming a farce, which feels highly relevant in the present climate. In all honesty, the overriding feeling at the end of the show is a sense of wonder at the interpretation of a 1950s novel that bears such relevance to our current political climate. The applause and appreciation from the audience at the end of this production spoke volumes and for me, it reminded me that literature classics are not always as stuffy as you’d imagine.

STORYHOUSE, CHESTER – UNTIL SATURDAY 22 AUGUST 2026

REVIEWED BY MIA BOWEN

5*****

I went into The Choir of Man knowing almost nothing about it. I left wondering why on earth it had taken me so long to discover it.

As someone who has always loved the rich, spine-tingling sound of a male voice choir, I thought I knew what I was in for. I couldn’t have been more wrong—in the very best way.

Before the show even began, Storyhouse had transformed its theatre into The Dragon, a warm, bustling British/Irish pub. The friendly theatre volunteers encouraged us to head onto the stage itself, buy a drink from the fully working bar and soak up the atmosphere. Naturally, I wasn’t going to turn down the chance to have a pint on stage!

The place was already buzzing. The stage bar was packed with people chatting, laughing and clinking glasses. Then I realised something rather brilliant—the actors were already there amongst us, happily talking to audience members as though we’d all been regulars for years. It immediately broke down that invisible wall between audience and performer, making everyone feel like they’d wandered into their favourite local rather than a theatre.

As everyone returned to their seats, the show’s narrator, the wonderfully charismatic Poet, Oluwalonimi Owoyemi, introduced us to the other eight men who call The Dragon home. There’s the Bore, the Romantic, the Barman, the Maestro, the Joker, the Handyman, the Beast and the Hard Man—each recognisable from almost every pub in Britain. (If you don’t know one of them, you probably are one.)

There’s no traditional plot, and honestly, it doesn’t need one. Instead, each character tells their own story through music, humour and beautifully written spoken word, creating something that feels incredibly personal.

What follows is one hundred and twenty minutes of astonishing musicianship. Every cast member sings. Every cast member plays instruments. Every cast member dances—and I mean really dances. The choreography is exhilarating; the harmonies are flawless and the sheer energy on stage is infectious. One moment you’re laughing at perfectly timed comedy, the next you’re wiping away a tear before bursting into applause after another breathtaking vocal arrangement.

The soundtrack is packed with familiar songs, cleverly reinvented with powerful harmonies and inventive arrangements that had the audience singing along, clapping and cheering throughout. It’s impossible not to get swept up in it.

But beneath all the fun, The Choir of Man quietly delivers something much deeper. It’s a celebration of friendship, community and the importance of looking out for one another. It also explores men’s mental health with honesty and sensitivity, reminding us that strength isn’t about hiding your feelings—it’s about knowing there will always be someone to share a pint, a laugh or a conversation with.

The entire cast is exceptional, and together they create something truly special. You don’t simply watch The Choir of Man; you’re welcomed into it. I laughed. I sang. I applauded until my hands hurt. I even found myself getting a little emotional. Raise a glass to The Choir of Man—it’s heartfelt, hilarious, uplifting and quite simply one of the most joyous evenings I’ve ever spent in a theatre.

Theatre Royal Windsor – until Saturday 22nd August 2026

Review by Mike Linane

3***

We Will Rock You is a jukebox musical based on the songs of British rock band Queen with a book by Ben Elton. The musical tells the story of a renegade group known as the Bohemians who struggle to restore the free exchange of thought and culture in a vaguely Orwellian society.

The plot is honestly quite naff but to coin a phrase ‘nothing really matters’ about it as it is just a vehicle to hang the songs of Queen around and it is to see and hear these songs performed that audiences will come for.

This is a community production of the former West End musical with the cast all from the local area and for the most part amateur and with little previous stage experience. Sometimes during this production it showed. It’s very brave of the producers to tackle this show as the songs written by Queen are not easy ones to sing live and some are performed better than others. The stand out song and performance of the night is delivered by Ella Murphy playing Oz when she sings No One But You (Only The Good Die Young).

Credit must be given to this mostly young and inexperienced cast for having the guts to put themselves out there and perform one iconic song after another knowing full well that they can’t compete with the incomparable Freddie Mercury.

There are lots of opportunities for the audience to sing along to their favourites songs, to clap their hands in time to the music and to wave their hands in the air declaring they are the champions.

The audience that attended the opening night performance clearly thoroughly enjoyed themselves judging from the rapturous applause they gave at the end.

This show will appeal to fans of the rock group Queen (obviously), but also to afficionados of jukebox musicals and tribute acts (although at no time do any of the cast pretend to be Queen).

Darlington Hippodrome – until Saturday 22nd August 2026

Reviewed by Adam Craddock

5*****

Last night I had the pleasure of being invited along to the always wonderful Darlington Hippodrome to watch the latest leg of the UK and Ireland tour of Paul Hendy’s “The Last Laugh”. This is a play I’ve been looking forward to come up for review for a good while now and (spoiler alert) it did not disappoint! The play follows an imagined pre show backstage chat between the legendary comedians Tommy Cooper, Eric Morecambe and Bob Monkhouse as they prepare in their dressing room to go on for a show. We see a brilliant combination of familiar gags and quirks, but also a lovely imagined interaction between three of comedy’s greats. 

Damian Williams is out of this world as Tommy Cooper. Williams just oozes funny, he has that knack of being funny funny without doing a thing at all, which somehow makes him even more funny. His delivery of the gags was second to none and I deeply admire his performance. Bravo! Simon Cartwright is fabulous as Bob Monkhouse. Cartwright is an accomplished impressionist and that is evident in his portrayal of Monkhouse, but you can also really feel the personal connection he had with the legend he portrays, which we were very lucky to find out about in the very interesting post show question and answer session. Steve Royle delivers an impeccable comedic performance as Eric Morecambe. Royle is a veteran of the comedy circuit and yet it is so endearing to see him take on this role that so obviously inspired him, and may I say he has brilliant ukelele skills for a newbie! 

In terms of production values I rate this play very highly. The set was full off comedic props and Easter eggs, but was also very real to what an 80’s dressing room was like. The lighting and sound design were both spot on and the costume and props department must be commended for their work, particularly the birds feet! 

Overall I could not recommend this play more highly. This is a show where three masters of their craft pay a beautiful homage to those that came before. I think this is a true must see for a comedy fan of any age. 

The Winter Gardens Blackpool – until 22 August 2026

Reviewed by Debra Skelton

5*****

‘Visually stunning and expertly crafted, Mean Girls impresses throughout’

Following a highly successful run in London’s West End, Mean Girls: The Musical, inspired by the hit 2004 film starring Lindsay Lohan, has embarked on a major tour across the UK and Ireland for 2026 and this week, the production arrives in Blackpool. Written by acclaimed actress, comedian and screenwriter Tina Fey, who also penned the original movie, the musical brings plenty of sharp humour and wit to the stage.

The story closely follows the plot of the beloved film. Cady Heron (Emily Lane) arrives at North Shore High School as a newcomer after spending her childhood being home-schooled in Africa. Suddenly immersed in the complex social world of high school, she encounters a range of student groups, from ambitious Mathletes and studious academics to popular athletes and the feared Plastics. As Cady quickly learns, navigating teenage social hierarchies can be both exciting and perilous.

Along the way, she forms a friendship with outsiders Damian (Michael Dean-Wilson) and Janis (Georgie Buckland), who introduce her to the unwritten rules of school life and fill her in on the personalities who dominate the social scene. In particular, they caution her about Regina George (Vivian Panka), the powerful and ruthless leader of the Plastics. However, when Regina unexpectedly welcomes Cady into her inner circle, Janis sees an opportunity and devises a scheme aimed at dismantling the school’s most notorious clique.

Mean Girls is an entertaining and energetic production packed with humour and memorable moments. Tina Fey’s writing sparkles with sharp one-liners, clever observations and biting social commentary, creating a cast of characters that are both distinctive and instantly recognisable.

Much of the show’s appeal comes from its outstanding supporting cast. Regina George’s fellow Plastics, the sweet but dim-witted Karen and the anxious, approval-seeking Gretchen Wieners, are brought vividly to life by Sophie Pourret and Kiara Dario. Both performers deliver strong comic performances that capture the essence of their characters while making them feel fresh and engaging. Equally impressive is Karim Zeroual, whose portrayal of science enthusiast Kevin Ganatra is full of enthusiasm, charm and comic timing.

Faye Tozer, best known as a member of pop group Steps, demonstrates remarkable versatility by taking on three adult roles: Cady’s mother, Mrs Heron; teacher Ms Norbury; and the flamboyant and over-the-top Mrs George. Despite the challenge of multiple rapid costume and character changes, Tozer delivers each performance with confidence, energy and plenty of personality.

Mean Girls boasts a strong collection of musical numbers, from the energetic “Revenge Party” to Karen’s amusing Halloween-themed song “Sexy” and Regina George’s fiery villain anthem “World Burn”. The standout performance, however, comes from Georgie Buckland, whose powerful rendition of “I’d Rather Be Me” delivers an uplifting message of self-confidence and individuality, earning some of the loudest applause of the night.

Beyond the performances, the production excels in every technical department. The slick choreography (Casey Nicholaw) keeps the energy high throughout, while the lighting (Kenneth Posner), sound (Brian Ronan) and inventive set design (Scott Pask) ensure the show remains visually engaging from start to finish.

Whether you’re a fan of the film or completely new to the story, Mean Girls delivers an evening of pure entertainment.

Charing Cross Theatre, London – until 6th September 2026

Reviewed by Phil Brown

4****

If I were to write a one line review, Jeeves Takes Charge is one of the most blissful marriages of richly humourous writing and uninhibited comic acting you are likely to see on the West End stage at any time.  The marvellously dextrous Sam Harrison, playing Jeeves, Wooster, Gussie Fink-Nottle and a host of other characters (22 apparently), is on stage for the entire 1 hour 40 minutes and pulls off a stellar solo performance.  It’s nothing less than a tour de force and a model of infectious light entertainment.

Actually, Jeeves Takes Charge on stage has been around for a while.  The original one-man theatre production with Edward Duke was co-devised by James and Edward Duke with Hugh Wooldridge (the current director) as far back as 1980.  The brand new production with Sam Harrison, opened at the Theatre Royal Bath, in December 2024.  This deep immersion in the role shows through in Harrison’s faultless delivery of copious comic content, effortless switching between characters and the polished smoothness of the production.  

From his own long involvement with the show, Hugh Wooldridge knows the material intimately and has brought his A game to the direction.  It moves at pace, pays careful attention to detail and many of the laugh out loud moments are the result of Harrison’s malleable countenance, vocal gymnastics and physical antics, turning essentially ordinary situations into pure comedy.

It is interesting that writing from and about a bygone age (Jeeves Takes Charge was published in 1916) should still be so popular – Agatha Christie is another example.  Wodehouse certainly created memorable characters including Gussie Fink-Nottle, Pongo Twistleton and Biscuit Biskerton who “has the appearance of someone looking for the leak in life’s gas pipe with a lighted candle”.   Whilst the basic plots seem unremarkable and farcical in nature, they cover timeless themes of endearing folly, romantic complication and friendship. The resulting stories are turbo-charged by brilliant use of language and sheer inventiveness of description. 

Although he was from a privileged background, Wodehouse himself did not live a pampered lifestyle and never employed a personal valet.  In fact, he seems to have been something of a workaholic (over 70 novels and 300 short stories), basing them on real life encounters, and subverting the master/servant dynamic for comedic purposes.  (Not too far removed from reality though – NCOs were generally much more experienced than young officers in the armed forces back then, and how is it very much different from current day government ministers and their departments ?)  Jeeves – “employers are like horses, they require managing”…

The James and Edward Duke’s adaptation of Jeeves Takes Charge for the stage takes the original short story in which Bertie Wooster engages Jeeves as the replacement for the light fingered Meadowes, and adds material from multiple Wodehouse stories to feature 22 different characters – at least two of which are Aunt Agatha and Aunt Dahlia.  Inspired no doubt by Wodehouse’s own experience of being looked after by up to 20 ‘aunts’ whilst a colonial orphan.  

The end result is three separate tales – his short lived engagement to Lady Florence Craye, his encounter with Peggy Mainwairing, Miss Tomlinson and the school for young ladies near Brighton (both pre-interval) and Gussie Fink-Nottle’s prize giving speech at Market Snodsbury Grammar School (post interval).  

Jeeves ‘takes charge’ in subtly different ways in each situation – sabotaging Bertie’s engagement to Florence Craye (“when the wife comes in at the front door, the valet of bachelor days goes out at the back”), setting Bertie up for a pratfall at the young girls school, and spiking Gussie Fink-Nottle’s drink at the prize giving with Harrison excelling as the tipsy toff. 

The stage set (Caite Hevner) is relatively sparse but cleverly designed – a grandish room with multiple picture frames, a chesterfield sofa and a supertitle display showing the exact location of each scene in art deco script.  It starts off as a sitting room in Berkeley Mansions, Wooster’s flat in Mayfair, but is cunningly transformed into clubs, Easeby Hall, various country piles, and halls by different video projections in the picture frames (Caite Hevner) and the use of sound (Paul Groothuis) and lighting (Tim Mitchell).  Particularly effective is its use to create a railway compartment with moving scenery via the picture frames including typical posters that could be found in trains in those days.  And again, in a car journey through projection of moving countryside..

This is a meticulously staged production with stagecraft ingenuity to match the originality of Wodehouse’s writing.  Sam Harrison is so good in an extremely demanding role.  A most charming, amusing and delightful escape from the outside world.

FULL CAST ANNOUNCED FOR DANIEL EVANS’ AS YOU LIKE IT, STARRING JONATHAN GROFF AS ROSALIND 

• RSC CO-ARTISTIC DIRECTOR DANIEL EVANS DIRECTS AN ALL-MALE COMPANY IN SHAKESPEARE’S JOYFUL COMEDY
• ELLIOT BARNS-WORRELL PLAYS ORLANDO, JOINING THE PREVIOUSLY ANNOUNCED JONATHAN GROFF AS ROSALIND AND FISAYO AKINADE AS CELIA 
• GARY WILMOT PLAYS BOTH DUKE FREDERICK AND DUKE SENIOR
• TONY AWARD WINNER RICHARD McCABE PLAYS JAQUES, WITH GREG HAISTE AS TOUCHSTONE
• AS YOU LIKE IT PLAYS IN THE ROYAL SHAKESPEARE THEATRE FROM SATURDAY 26 SEPTEMBER – SATURDAY 7 NOVEMBER 2026

The Royal Shakespeare Company (RSC) today announces the full cast for Daniel Evans’ production of William Shakespeare’s As You Like It, playing in the Royal Shakespeare Theatre, Stratford-upon-Avon, from Saturday 26 September – Saturday 7 November 2026. 

Elliot Barnes-Worrell will play Orlando, joining the previously announced Tony Award-winning Broadway actor Jonathan Groff as Rosalind and Fisayo Akinade as Celia. Gary Wilmot will play the dual roles of Duke Frederick and Duke Senior, with Richard McCabe as Jaques and Greg Haiste as Touchstone. 

The full company includes Fisayo Akinade (Celia), Elliot Barnes-Worrell (Orlando), Giles Cooper (Le Beau), Jamal Franklin (Ensemble), Jonathan Groff (Rosalind), Greg Haiste (Touchstone), Steffan Harri (Gwilym/Syr Osian), Steffan Hughes (Ensemble/Vocal Captain), Rhys Parry Jones (Corin/Hymen/a Lord at Court/a Lord in Arden), Edward Judge (Charles the Wrestler/Silvius), Gareth Kennerley (First Lord in Arden/Ensemble), Luke McCall (Amiens), Richard McCabe (Jaques), Tim Preston (Phoebe/a Lord at Court), Caleb Roberts (Oliver), Gareth Snook (Adam/Audrey) and Gary Wilmot (Duke Frederick/Duke Senior). 

Director Daniel Evans said, “As You Like It asks for a company of actors who can embrace wit, singing and wrestling! I’m over the moon with our cast and can’t wait to revel in their generosity, curiosity and talent. Soon, we’ll be inviting audiences into our Forest of Arden to experience the transformational power of love!” 

‘If I were a woman…’ 

Rosalind is banished from the court of Duke Frederick – but not before she and young Orlando fall for each other. Seeking out her exiled father in the Forest of Arden with her devoted cousin Celia, Rosalind disguises herself as a young man, Ganymede. 

In fear of his own life, Orlando also escapes to the forest and soon runs into Ganymede, who pledges to cure his lovesickness. But in order to do so, Orlando has to woo her… or rather, he has to woo ‘him’. Then the games commence. 

Daniel Evans directs an all-male company in Shakespeare’s most sweet-natured comedy, where love is love – no matter where it falls. 

The creative team includes Director Daniel Evans, Set Designer Anisha Fields, Costume Designer Colin Richmond, Lighting Designer Ryan Day, Composer, Arranger and Music Supervisor Theo Jamieson, Sound Designer Paul Groothuis, Movement Director Michela Meazza, Fight Director Kev McCurdy, Dramaturg Dr Will Tosh and Casting Director Charlotte Sutton CDG. 

As You Like It plays in the Royal Shakespeare Theatre from Saturday 26 September – Saturday 7 November 2026.

Jonathan Groff makes his RSC debut as Rosalind. He most recently starred on Broadway as Bobby Darin in Just in Time, for which he also served as a producer and received Tony Award, Drama Desk Award and Drama League Award nominations. He previously won the Tony Award for his portrayal of Franklin Shephard in the celebrated revival of Merrily We Roll Along. The production was filmed by RadicalMedia, acquired by Sony Pictures Classics and released theatrically. 

Groff’s additional Broadway credits include Hamilton, for which he received a Tony Award nomination and won a Grammy Award as part of the original cast recording, Spring Awakening, for which he also received a Tony Award nomination, and In My Life. His Off-Broadway credits include Merrily We Roll Along, Little Shop of Horrors, Hamilton, The Submission, The Bacchae, The Singing Forest, Prayer for My Enemy, Hair and Spring Awakening. His screen credits include Mindhunter, Looking, Glee, Hamilton, Frozen, Frozen II, The Matrix Resurrections and A Nice Indian Boy. 

Fisayo Akinade makes his RSC debut as Celia. On screen, he is best known for playing Dean Monroe in Russell T Davies’ Channel 4 series Cucumber and Banana and Mr Ajayi in the Netflix series Heartstopper. His theatre credits include Slave Play (Noël Coward Theatre), The Crucible (National Theatre), The Glow (Royal Court Theatre) and Shipwreck (Almeida Theatre). 

Elliot Barnes-Worrell returns to the RSC to play Orlando, having previously appeared in Richard II. His theatre credits include The Lover and The Collection (Ustinov Studio, Theatre Royal Bath), Small Island and Man and Superman (National Theatre), winning the Ian Charleson Award for his performances in Man and Superman and Richard II. His television credits include Black Mirror, The Killing Kind, Van der Valk, Jericho and Doctor Who. His film credits include VS., The Voyage of Doctor Dolittle and Ready Player One. He has also filmed a leading role in the forthcoming Channel 4 series The Academy. 

Richard McCabe returns to the RSC to play Jaques. His previous work for the Company includes A Tender Thing, King John, Othello, The Imperium Plays, The School of Night, Three Hours After Marriage, Timon of Athens, Troilus and Cressida, Twelfth Night and The White Devil. He won both Tony and Olivier Awards for his performance as Harold Wilson in The Audience and was Olivier Award-nominated for playing Autolycus in The Winter’s Tale. His further theatre credits include The Yeomen of the Guard (London Coliseum), A Little Hotel on the Side (Theatre Royal Bath), Bingo (Chichester Festival Theatre/Young Vic), Doctor Faustus (Young Vic), Fortune’s Fool (Old Vic), Scapino (Chichester Festival Theatre) and Yes, Prime Minister (West End and UK tour). His screen credits include Grantchester, Anatomy of a Scandal, A Very British Scandal, Death in Paradise, The English Game, Collateral, Harlots, Peaky Blinders, Poldark, Gladiator II, 1917, The Duke, Master and Commander, Notting Hill and The Constant Gardener. 

Greg Haiste returns to the RSC to play Touchstone, having previously appeared in The Comedy of Errors, Troy Story and Festive Tales. His theatre credits include Fawlty Towers (West End and UK tour), Guy Fawkes (York Theatre Royal), Quiz (Chichester Festival Theatre and West End), Nell Gwynn and Richard II (Shakespeare’s Globe), The 39 Steps (West End), Peter and the Starcatcher and A Christmas Carol (Royal & Derngate), Relatively Speaking and Black Comedy (Watermill Theatre), Love’s Labour’s Lost (Peter Hall Company/Rose Theatre), The Play What I Wrote (UK tour), Low Pay? Don’t Pay! (Salisbury Playhouse/Told by an Idiot), The Madness of George III (Birmingham Rep/West Yorkshire Playhouse) and The Tempest (Southwark Playhouse). His television credits include Ghosts, Miss Scarlet and the Duke, This England, Pennyworth, Timewasters, Home Fires, Emmerdale and EastEnders. His film credits include The Fantastic Four: First Steps, The Current War, The Time of Our Lives and Starfish. 

Gary Wilmot plays Duke Frederick and Duke Senior. His extensive theatre credits include Cats (Regent’s Park Open Air Theatre), A Man for All Seasons (UK tour and West End), The Wizard of Oz (London Palladium and UK tour), Old Friends (Gielgud Theatre), Wicked (Apollo Victoria Theatre), Anything Goes (Barbican), The Prince of Egypt (Dominion Theatre), Mr Gum and the Dancing Bear (National Theatre), Flowers for Mrs Harris (Chichester Festival Theatre), Dirty Rotten Scoundrels (Savoy Theatre and UK tour), The Pajama Game (Shaftesbury Theatre), Chitty Chitty Bang Bang and Me and My Girl (Adelphi Theatre). His screen credits include Death in Paradise, Midsomer Murders, House of Games, Would I Lie to You? and Never Mind the Buzzcocks. 

FLORAL PAVILION THEATRE NEW BRIGHTON

ANNOUNCES DETAILS OF WHAT’S ON THIS AUTUM

INCLUDING THE HILARIOUS SMASH-HIT WEST END PLAY  
THE LAST LAUGH (6–10 OCTOBER) 

THE 75th ANNIVERSARY TOUR OF AGATHA CHRISTIE’S ICONIC THRILLER THE MOUSETRAP (19–24 OCTOBER)

AND CHRISTMAS PANTOMIME FAMILY-FAVOURITE 
ALADDIN (5 DECEMBER–3 JANUARY)

FURTHER INFORMATION HERE

[Friday 14 August 2026, New Brighton] The Floral Pavilion has unveiled a packed autumn and winter season, bringing some of the biggest names in touring theatre, comedy, music and family entertainment to New Brighton. Leading the line-up are the smash-hit West End comedy The Last Laugh; Agatha Christie’s legendary thriller The Mousetrap, arriving as part of its landmark 75th anniversary tour; and the Floral’s much-loved Christmas pantomime, Aladdin.

At the heart of New Brighton, the 814-seat Floral Pavilion is one of the Wirral’s leading live entertainment venues, welcoming a wide-ranging programme of national touring theatre, comedy, music, dance, family entertainment and its hugely popular annual pantomime. The autumn and winter months ahead reflect that breadth, with major touring productions sitting alongside household names, one-night shows and family favourites.

Fresh from hit runs in the West End and New York, The Last Laugh (6–10 October) brings three of Britain’s best-loved comedy legends back to life, with Britain’s Got Talent finalist Steve Royle as ‘Eric Morecambe’, Damian Williams as ‘Tommy Cooper’ and Simon Cartwright as ‘Bob Monkhouse’. Written and directed by Paul Hendy, the critically acclaimed comedy imagines the three icons sharing one very unusual dressing room and swapping thoughts on life, death, comedy and what it really means to be funny. Warm, sharply observed and packed with nostalgia, the show arrives in New Brighton following its acclaimed international success.

Theatre’s most famous murder mystery comes to New Brighton as Agatha Christie’s The Mousetrap plays the Floral Pavilion from 19–24 October. The 75th anniversary tour stars Nicholas Bailey – best known to millions as Dr Anthony Trueman in BBC’s EastEnders – as ‘Major Metcalf’, alongside Susan Penhaligon, whose celebrated screen career includes Bouquet of Barbed Wire and A Fine Romance, as ‘Mrs Boyle’. After more than seven decades of keeping audiences guessing, the record-breaking thriller remains one of British theatre’s great institutions, with further casting for the anniversary tour to be announced. 

Christmas at the Floral Pavilion gets an extra dose of magic this year with Aladdin (5 December–3 January), starring BAFTA-winning Raven host and Molly and Mack actor James Mackenzie as the gloriously wicked ‘Abanazar’, alongside Floral Pavilion favourite Sean Jones, returning for his seventh year as ‘Wishee Washee’. Packed with big laughs, larger-than-life characters, spectacular staging and all the festive fun audiences have come to expect from the venue’s annual pantomime, Aladdin promises a joyful Christmas adventure for the whole family.

Elsewhere, theatre highlights range from Diane’s Deli (4 September) and Emmeline Pankhurst: Angel or Anarchist? (23 October) to Cue Murder! Halloween Special Murder Mystery (31 October), Thunder Road Theatre Presents: The Void (6–7 November) and festive whodunnit Murder at the Manor – A Murder Mystery Christmas Special (12 December).

Music highlights include John Barrowman – My Life in Musicals (10 September), The Mersey Beatles (12 September), The Opera Boys – The Farewell Tour Starring Paul Potts (19 September), The Illegal Eagles – ‘Take it Easy‘ (4 October), The Overtones – Jivin’ Home for Christmas (9 November), Hugh Cornwell – Never Say Goodbye – The Final Solo Acoustic Tour (12 November), China Crisis – Warped Tour 2026 (14 November) and The Glenn Miller and Big Band Spectacular (21 November).

Comedy and entertainment across the season includes John Cleese & The Holy Grail (7 September), Psychic Sally (9 September), an evening Up Close and Personal with Carl Froch and Dave Allen (18 September), Hal Cruttenden: Can Dish It Out But Can’t Take It (3 October), Simon Evans (10 October), Russell Watson (16 October), Paul Smith – Happy (28 October) and Gary Delaney (10 November), alongside seasonal variety and cabaret.

Families are also well catered for, with All Star Superslam Wrestling (26 September), Science Museum: Space Explorers (28 October), Fireman Sam Live! – The Lost Pirate Treasure (30 October), There’s a Monster in Your Show (3–4 November) and Storytime with Santa (11–24 December), alongside Aladdin.

The programme also features Imperial Classical Ballet – Swan Lake (18 October) and Sing the Musicals (29 October). 

Pauline Campbell, Floral Pavilion’s Venue Manager, said, “We’ve got so much to look forward to at the Floral Pavilion this autumn and winter, with a brilliant mix of theatre, comedy, live music and family entertainment coming to New Brighton. From major touring productions such as The Last Laugh and the 75th anniversary tour of The Mousetrap, through to some fantastic one-night shows and, of course, our Christmas pantomime Aladdin, there’s a huge amount happening over the months ahead.

“One of the things we’re most proud of at the Floral is the sheer variety of what we’re able to offer our audiences. Whether you’re joining us for a much-loved classic, a great night of live music, a family show or your annual trip to the panto, we can’t wait to welcome everyone through our doors.” 

SUBMISSIONS NOW OPEN

FOR MTFestUK 2027!

MTFESTUK RETURNS TO THE OTHER PALACE IN 2027!

The Other Palace is thrilled to announce that submissions are now open for the 8th annual MTFestUK 2027, which will showcase up to six (6) new musicals in January – February 2027 at The Other Palace Studio.

MTFestUK is a unique festival that provides a platform to showcase and celebrate musical theatre. Up to six (6) pieces at different stages of development will be selected following an open submission process, giving their creative teams the opportunity to develop, workshop and share their work with audiences. 

We welcome writing teams from all backgrounds, across the UK and internationally, to bring their fresh, bold and imaginative pieces to the festival. MTFestUK is committed to championing original musical theatre and shining a light on voices and stories that are often underrepresented. Audiences are invited to be part of the journey, to discover, explore, engage, and support new musicals in their earliest stages of development. Each piece will be cast and rehearsed before holding four sharing performances in workshop format, open to audiences. 

Musicals previously showcased at MTFestUK that have gone on to have a future life include:

REDCLIFFE by Jordan Luke Gage

Legendary by Cheeyang Ng

Nerds by Hal Goldberg, Jordan Allen-Dutton and Erik Weiner; 

ROMY AND MICHELE The Musical by Robin Schiff, Gwendolyn Sanford and Brandon Jay;

Tit Swingers by Abey Bradbury and Sam Kearney-Edwardes;

Bling by Elliot Clay and Tori Allen-Martin;

A Jaffa Cake Musical by Sam Cochrane and Rob Gathercole;

Come Dine With Me by Aaron King, Sam Norman, Nell Butler and Genevieve Welch;

The Government Inspector by Jodie Prenger, Neil Hurst, Cat Gisby and Maxwell Tyler;

Sherlock Holmes and the Poisonwood by P Burton-Morgan and Ben Glasstone;

Cake: The Marie Antoinette Playlist by Jack McManus, Tasha Taylor Johnson and Morgan Lloyd Malcolm; 

Millennials by Elliot Clay; 

Eurobeat: Pride of Europe by Craig Christie; 

But I’m a Cheerleader by Bill Augustin and Andrew Abrams; 

First Date by Austin Winsberg, Alan Zachary and Michael Weiner.

Paul Taylor Mills, Artistic Director for The Other Palace, said: “Supporting new work is vital to the future of musical theatre. Creatives need the space, time and encouragement to take risks, experiment and discover what their work can become. That’s exactly what makes MTFestUK so important. It creates a platform for new voices and stories and gives new pieces the opportunity to be seen, heard and explored.

Over the years, MTFestUK has helped shine a spotlight on some truly exciting and ambitious new musicals. And it’s incredible to see just how many of them have gone on to be further developed and find lives beyond the festival. Now, as the submissions are open for the 8th MTFestUK, I’m thrilled to invite creatives from all backgrounds to share their new work with us. Who knows what the next big hit might be?”

To submit your show for consideration, please follow the link: https://theotherpalace.co.uk/mtfestuk/. 

Submissions close on Sunday 27 September 2026, 11.59pm.

LISTINGS

Submissions close on Sunday 27 September 2026, 11.59pm.

MTFestUK 2026 dates: January – February 2027

Venue:            The Other Palace Studio 

Address:          The Other Palace, 12 Palace Street, London, SW1E 5JA, 

Website:         https://theotherpalace.co.uk/mtfestuk/

Instagram:

@mtfestuk

@theotherpalace

#MTFestUK

Twitter:
@Fest_MT 
@TheOtherPalace

#MTFestUK