Author: FairyPoweredProductions

Cast announced for the UK premiere of the Off Broadway smash hit 

The White Chip

Produced by Danielle Tarento  (Titanic) 

and Tony® Award winning actress Annaleigh Ashford

Ed Coleman (I AM HANNAH, C4), Mara Allen (MACBETH, Shakespeare’s Globe) and Ashlee Irish (HELLO, DOLLY!, London Palladium) will star in the UK premiere of THE WHITE CHIP, written, autobiographically, by Sean Daniels, directed by Matt Ryan, at Southwark Playhouse Borough.

The UK premiere, which runs from 9th July – 16th August, is produced by Danielle Tarento and Tony® Award winning actress Annaleigh Ashford.

Despite spending more time drunk than sober, Steven McAlister (Coleman) has managed to graduate from college, create an extremely successful theatre group, get married, and thrive in a dream job at one of the most prestigious regional theatres in the United States.

Sure, it’s gratifying to go to an AA meeting where they reward you with a white chip token just for showing up, but does he really have a problem? Even with an ailing father, a marriage on the rocks, and his professional life careening out of control, Steven has a carefully constructed balancing act that keeps it all together – until it all falls apart.
Told with humour, honesty, and compassion, The White Chip is about living with addiction and coming alive through recovery.

Southwark Playhouse Borough
77-85 Newington Causeway,  London SE1 6BD
9th July – 16th August 2025

Ed Coleman (Steven)
Ed studied acting at the Lee Strasberg Theatre and Film Institute.
His credits include playing Harold Steptoe in STEPTOE & SON – LOST SITCOMS (BBC), THE BALLAD OF RENEGADE NELL (Disney), I AM HANNAH (C4), LEAVE A MESSAGE (Vaults Festival & Edinburgh), WHO IS DANIEL KING?, IMPOSSIBLE, THE BEAU SEUX (Edinburgh Fringe Festival). Films include PRIDE, 28 WEEKS LATER.

Mara Allen (#1)
Her credits include KING LEAR (Kenneth Branagh Theatre Company, West End & Broadway), THE NIGHT WATCH and THE MIRROR CRACK’D (Original Theatre), MACBETH (Shakespeare’s Globe Theatre), the title role in HENRY V (The Maltings Theatre), AN OCTOROON (Abbey Theatre, Dublin).

Ashlee Irish (#2)
His West End credits include HELLO, DOLLY! (London Palladium), GROUNDHOG DAY (Old Vic), THE LION, THE WITCH AND THE WARDROBE (Gillian Lynne Theatre), TINA – THE TINA TURNER MUSICAL (Aldwych Theatre), DREAMGIRLS (Savoy Theatre).

Creative team includes:
Director Matt Ryan
Designer Lee Newby
Lighting Designer Jamie Platt
Sound Designer Max Pappenheim
Casting Director Danielle Tarento
Produced by Danielle Tarento and Annaleigh Ashford.

Sean Daniels said: “It’s an honour to get to work with Danielle Tarento and Annaleigh Ashford to bring The White Chip to London. After the response we had in New York – the mix of laughter-filled shows and someone saying ‘I’m ready to get help’ after every performance – we knew we wanted to keep this going as long as we could. When you write a comedy about recovery you hope it finds the right people, people who get your dark sense of humour – from actors to producers to audience – and how lucky am I that it has.”

The show premiered in New York at 59E59 Theaters and was most recently produced at The Susan & Ronald Frankel Theater at MCC Theatre by Tony® Award winning actress Annaleigh Ashford alongside Hank Azaria, Jason Biggs, and fellow Tony® Award winner John Larroquette. The play received widespread acclaim, earning a coveted New York Times Critics’ Pick.

LISTINGS INFO

Danielle Tarento and Annaleigh Ashford
present

THE WHITE CHIP
by Sean Daniels

Directed by Matt Ryan

Location:
Southwark Playhouse Borough,
77-85 Newington Causeway,
London SE1 6BD

How To Get There:
The nearest stations are
Borough and Elephant & Castle

Performance Dates & Times:
9th July – 16th August at 7pm
(2.30pm Tuesdays and Saturdays)
Captioned performance on 6th August

Box Office link
southwarkplayhouse.co.uk/productions/the-white-chip/

Ticket Prices:
Pioneer Preview £12
Previews £18
Full price £32
Concession £26

Age Guidance: 11+

Socials
Instagram
Facebook
TheWhiteChipUK
Twitter (X)
TheWhiteChip_

Soho Theatre – until 3 May 2025

Reviewed by Claire Roderick

4****

Why does everything have to have a reason?

This is the question Anna (Vyte Garriga) asks the confused security guard (Daniel Chrisostomu) who finds her sitting on a park bench in the dark making paper swans.

Flabbergast Theatre bring Garriga’s darkly enchanting absurdist work to the stage with style. Valentina Turtur’s simple yet beautifully evocative stage design plays with traditional Swan Lake sets and the sight of Garriga dressed as a ballerina on this set conjures an expectation of tragedy before you even take your seat.

Crisostomo immediately sets the tone as he enters, moving like a steam train across the stage before he spots Anna. The park is locked. How can she be avoiding the cameras and the eyes of the other security guards sitting here on the bench? Anna’s only explanation is that she must finish before the morning – before she is seen.

This plays out in repeated iterations, we see the pair dancing happily, Anna menacing the guard – as a story needs blood, Anna acting like his therapist, co-operating to complete Anna’s task, amongst others. The constant thread is his inability to comprehend her even when it appears they are making progress. He is in uniform and she is an artist. He insists they are locked inside the park – trapped – while she blithely continues her mission. He can only make paper boats, not swans. Who knows what it means – we all understand and take from the play differently – as it should be with such skilful absurdist theatre.

Garriga and Chrisostomu’s movement around the stage is balletic and sometimes hypnotic. His repeated mechanistic, or ritualistic actions matching certain phrases are delightful and Henry Maynard’s lighting along with Nick Hart’s music shifts the mood from tender to threatening effortlessly.

Thought provoking, funny and captivating, Paper Swans is a real treat for fans of the absurd.

Theatre503 – until 3 May 2025

Reviewed by Claire Roderick

4****

Amy Powell Yeates’ gloriously funny and perceptive play about lifelong friendship has lines and situations that will resonate with everyone in the audience.

Beginning in 1998 with Charlie and Debs trying to cope with the splintering of the Spice Girls, the play follows the pair’s friendship over the next 25 years.

From schoolgirl crushes and worries – with pledges of lifelong friendship and promises to live together when they’re older, through their twenties with contrasting lives of student frugality and more comfortable job security, the pair’s relationship ups and downs are observed brilliantly.

The ridiculous intensity of creating dance routines and your own catchphrase as you are struggling to discover yourself and clinging to each other for support are captured by the wonderful Olivia Forrest as Charlie and Rosa Robson as Debs. Their dancing, scattered throughout the show, are hilarious and a fantastic nod to the French and Saunders dance sketches from that era.

As the years pass, the pair’s priorities change and their meetings are sometimes fraught as the brutal honesty and love that works when you see each other everyday hits differently when you get together less often. The women’s dependence on each other shifts and swings like a pendulum as their careers and relationships develop, and arguments develop, but we never need to see these resolved as these little deaths of a friendship like this are never permanent.

Amy Powell Yeates evokes nostalgia and portrays the depth and support of true friendship with wit and heart. For two characters who talk so much, what remains unsaid hits just as hard – sometimes they don’t need words to convey their love. Although when it comes to judging and commenting on each other’s choices, they don’t hold back!

Claire O’Reilly’s smart direction allows Olivia Forrest and Rosa Robson to shine with fantastic energy and glorious physical performances that capture the ages of the characters. Both are wonderful comedic actors, and convince in the quiet, more reflective moments.

A wonderfully warm, wise and witty celebration of female friendship, Little Deaths is a fantastic show to see with your bestie. You’ll dance home!

Donmar Warehouse – until 7 June 2025

Reviewed by Claire Roderick

4****

Patrick Marber’s debut play, written in 1995, is a tense and darkly funny slice of male bravado and addiction. It’s Saturday night at Stephen’s London restaurant, and the staff are getting ready for their weekly poker game.

Stephen (Daniel Lapaine) insists his son Carl (Kasper Hilton-Hille), who he thinks is recovering from his gambling addiction, plays to learn discipline. Their fractured relationship drives the play, with Lapaine nailing Stephen’s acute need to be in control of his addiction and everything around him. His thoughtless insults are at odds with his acts of seeming kindness – but is this kindness heartfelt or simply keeping the staff exactly where he wants them?

With one staff member absent, there is some doubt about whether the game can take place, with everyone badgering chef Sweeney (Theo Barklem-Biggs) to join them instead of having a quiet night before a rare visit with his young daughter. Sweeney knows he is an addict and his acquiescence after lots of matey banter is inevitable.

The game is upended when Carl brings along his “ex-teacher” Ash (Brendan Coyle – delivering a masterclass in dangerous, watchful stillness tinged with regret). Carl has not recovered, and Ash has been bankrolling his losing streak, but now Ash’s own debts have been called, Carl must pay up. Having assured Ash that he can win all the money he needs from this game, Ash joins and looks on in amused silence at the histrionics played out around him. With the mantra, play the man, not the cards repeated, Ash is probably on to a winner.

The game appears to be the safest place for this hapless codependent crew. Debts are chased half-heartedly between the staff as they know they have nowhere to go, and debts to Stephen are sorted out in unpaid overtime. The banter and abuse they fling thoughtlessly at each other is written beautifully and is instantly recognisable. Alfie Allen’s Frankie is the biggest tiddler in this tiny pond – bragging about his success with women and winning regularly enough to ignite a pipedream of a life as a professional gambler in Vegas. A dream shattered by Ash with a quietly devastating performance from Allen.

The underlying sadness and hopelessness of these characters contrasts with Hammed Animashaun’s Mugsy – bouncing around with eternal optimism and childlike energy. His business plans with Carl (terrible choice of business partner) are shot down by everyone, but he refuses to give up. Animashaun is a joy to watch, bringing heart to the play but also giving hints of a darker side to Mugsy when he is frustrated and feels no one takes him seriously.

Marler’s writing is astute and witty, making poker accessible to an uninitiated audience and nodding to the ridiculousness of some convoluted games with Mugsy’s Nightmare – devised and explained by Mugsy. The older players decry wildcards as relying on luck rather than skill, but this is the only way Mugsy can win as his self-declared skills are practically non-existent. Matthew Dunster’s taut direction builds the tension wonderfully and Moi Trans set – a stark kitchen/restaurant has a fantastic Donmar transformation into the cellar where the game takes place in the second act.

Tense, funny and surprisingly moving as a study of addiction and male fragility, Dealer’s Choice is a wonderfully entertaining play that has stood the test of time.

Southwark Playhouse Borough – until 17 May 2025

Reviewed by Claire Roderick

3***

This silly but loving comedy set on a tube train is a very London centric production. Pulling out all the stops, there’s a spoof version of the freesheets that litter every carriage on the TfL network, The Retro, as a programme, while an actor in TfL gear with a loudspeaker marches around the bar preshow making mock announcements – “Mind the gap between this performance and your expectations” was a winner! The preshow playlist is a big hit, with many audience members singing along to classics about London. Obviously, The Jam’s Going Underground HAD to be played.

Hamish Clayton and Tom Woffenden’s story centres around two strangers getting on the train at Heathrow and riding the entire line to Cockfosters. James (Sam Rees-Baylis) has returned from a solo trip to Venice after splitting from his girlfriend and his luggage has gone missing. Tori (Beth Lilly) has been at a yoga retreat in Mexico after having a self-declared quarter-life crisis. A few awkward comments and silences soon become a full-blown conversation as the couple bond on their journey. Tori’s grandfather worked with the man who designed the tube map and she has a mysterious connection with the Underground but that secret unfortunately died with her grandfather.

Hamish Clayton directs with great energy and what follows is a random collection of sketches as instantly recognisable characters and caricatures enter and alight the carriage. (A fantastic realistic set designed by Gareth Rowntree – but thankfully without the smell.) Jimmy Bryant, Liam Horrigan, Natasha Vasandani and Emily Waters play American tourists confused by pronunciations and quirks in design, a woman who has an existential crisis when she is offered a seat, a family of Arsenal fans and, for some reason, the grim reaper. Most of these scenes are very funny, but others could be trimmed or cut altogether. The musical numbers are more consistent, with a raucous hen party, a busker who has a song mentioning every station on the network, and a rap battle to determine whether North, South, East or West London is best. The latter drew the biggest laughs, gasps and cheers of the night as insults were hurled. This is one of the shows weaknesses, as it speaks very loudly to the tribalism of Londoners and their love/hate relationship with the tube, but none of this would consistently elicit big laughs outside of London.

The development of Tori and James’s relationship is sweet, and there is a kind of resolution to her mystery, which was signalled very heavily throughout. The cast are a hoot, with Lilly and Rees-Baylis the quieter calm spot and anchor as the cast clown around them. The energy is undeniable and there are many very funny moments but the swift changes of tone are non-stop and the tender ending gets a little lost after the relentless parade of over-the-top silliness.

Cockfosters is like the TfL’s Sunday service – a little hit and miss. But if you are looking for 70 minutes of fun and nonsense with a super cast, this is the show for you.

Wyndham’s Theatre, London – until 12th July 2025

Reviewed by Celia Armand Smith

3***

“My Master Builder” by playwright Lila Raicek is a reworking of the Ibsen classic. Reimagined for modern audiences, Michael Grandage’s new production offers an exploration of legacy, guilt, and how the past can pull you back in. Set on 4th July in the beautiful Hamptons home of superstar architect Henry and his publishing bigwig wife Elena, Henry is unveiling his latest project – the old Whalers’ church. A huge glass pyramid like structure built in memory of their son Max who had died on the site ten years previous. To celebrate, Elena throws a party and invites friends and colleagues, past and present.

Elena has invited a former student, Mathilde/Hilde, with whom Henry had a not so secret student/teacher tryst a decade earlier. Mathilde happens to be the best friend of Elena’s assistant Kaia, who happens to be in a secret relationship with Henry’s protege Ragnar who is also the object of Elena’s desires. As you probably guessed, this all makes for a messy night of making and breaking of relationships and hearts.

Ewan McGregor as Henry, back on the stage for the first time in nearly 20 years, is definitely an exciting bit of casting but it is Kate Fleetwood as Elena who is the real star of the show. Whilst the character of Henry seems a bit sad and desperate, Fleetwood’s Elena is a fiery tour de force plus she gets all the best lines in the show. The tension between Elena and Elizabeth Debicki’s Mathilde is palpable from the get go, the women’s story is much the most interesting thing about this play. Mirren Mack’s Kaia adds another female viewpoint and she is also excellent in her portrayal of the put upon assistant. David Ajala as Ragnor provides some lightness and laughs which is a nice contrast to the tangle of relationships in which everyone is involved.

The real star of the show is Richard Kent’s beautiful set. A dreamy blue seascape and wind blown grasses sit behind large wooden window frames and doors complete with Paule Constable’s deliciously balmy lighting. A compellingly serene setting for a tumultuous night of drama.

It’s always good to experience a classic play projected through a different lens and My Master Builder shines a light on some stellar performances and an utterly gorgeous set. Some of the themes could have been explored with a bit more depth and some of the characters lacked a bit of oomph, but the talent on stage keeps things moving right up until the dramatic ending. This modern drama with a 19th Century foundation is an enjoyable watch.

Theatre Royal Wakefield – until 3rd May 2025

Reviewed by Lauren Fordham

5*****+

‘Everybody’s Talking About Jamie’ is a musical adapted from the 2011 documentary ‘Drag Queen at 16’. The biographical BBC3 programme is about Jamie Campbell (renamed Jamie New in the musical) who wanted to wear a dress to his school prom and become a drag queen.

‘Everybody’s Talking About Jamie’ is expertly handled by Diva Productions’ cast, led by James Banks who is confident and charismatic both physically and vocally as Jamie. That confidence and competence is evident in his and others’ unashamed riffing on the score, which also adds depth to their characterisation. 

This is particularly true in the case of Esmae Bloomer in her portrayal of Pritti Pasha, Jamie’s Muslim best friend, whose impressive vocal acrobatics give a contemporary feel to a complex character grappling with historic religious customs in modern society. 

But the thing that sets Diva Productions apart from, and in my opinion, elevates them above other theatre companies, is their innovative use of video screens, the brainchild of director and designer, Andrew Ashley. Video screens are used effectively to expand the set and add detail, such as the interior of Jamie’s house, and his classroom, complete with exam countdown and careers poster. They also effectively and evocatively supplement and accentuate the lyrics of and metaphors in the songs. For example, the opening song ‘And You Don’t Even Know It’ features not only videos of ‘the clock on the wall that’s moving too slow,’ but also expanding and shrinking boxes to reflect Jamie’s gender non-conformity and to represent how he cannot be categorised or constrained by his careers teacher, Miss Hedge, or by society as a whole. 

As powerful as these tools are, on the one hand, they were absent and arguably rendered unnecessary during the most emotional numbers, Ugly in this Ugly World sung by Jamie, and He’s My Boy, sung by his mother Margaret New, empathetically played by Meg Riley. These are songs that demand to be felt in the heart and visual effects would have only diluted and distracted from the complex emotions that are just as powerful and resonant psychologically as Banks’ and Riley’s voices are physically.

I also want to pay tribute to Charlotte Wallis’ choreography and Andrew Ashley and Nathan Purcell’s lighting design. Wallis’ use of additional dancers alongside Jamie when he sang about climbing ‘The Wall in My Head,’ and Ashley and Purcell’s use of the colours of the trans flag as the sunset dovetailed perfectly to demonstrate that Everybody’s Talking About Jamie is not about one gay boy, but encompasses the queer community as a whole, as everyone faces discrimination they must overcome. The song’s lyrics remind the audience that everyone in society is vulnerable to negative voices and influence so we should all be careful, intentional and thoughtful with our words and actions. 

The only low point of the production (bar a few technical screen flickers)  wasn’t actually part of the production at all, it came at the end of the show when the screens displayed violent, homophobic rhetoric that had been shared about the show on social media. 

These unacceptable attacks simply serve to underscore how important the empowering, inclusive message of ‘Everybody’s Talking About Jamie’ is, so I implore everyone to get down to the Theatre Royal Wakefield, step into the spotlight, and take up the place where YOU belong before the light goes dark on Saturday 3rd May.

Liverpool Olympia – 2nd May 2025

Reviewed by Carla Whittaker

5*****

Irish Annies is a joyful celebration of Irish music, humour, and community spirit, brought to life through the warm and chaotic world of a local Irish pub.

Created by Asa Murphy and featuring live music from six-piece band The Shenanigans, the story follows pub landlady Annie and her loyal band of regulars as they navigate the threat of losing their beloved pub. Every day is St. Patrick’s Day in Annie’s, and the pub is filled with the charm of Irish culture: live music, hearty banter, and that ever-welcoming spirit. But when Moira the Moneylender arrives to collect a long-standing debt, the pub’s future hangs in the balance. Despite the uncertainty, the regulars rally together, and what unfolds is a night of laughter, storytelling, music, and good old Irish resilience.

As the show unfolds, we learn that Annie’s pub has become more than just a bar – it’s a cornerstone of the community, a place where stories are shared, laughter echoes, and music is the heartbeat of daily life. However, the looming threat of closure due to unpaid debts brings an emotional weight to the otherwise festive atmosphere. Annie struggles with how to break the news to her loyal customers, all while trying to keep spirits high. Moira the Moneylender’s impending visit creates a ticking clock, intensifying the drama while providing opportunities for comedic conflict. Throughout the evening, each of the regulars reveals their dreams, disappointments, and devotion to the pub. Ultimately, the community bands together in a heartfelt climax that celebrates resilience, friendship, and the power of music to unite.

Asa Murphy shines as Seamus Murphy, full of cheek and charisma, effortlessly guiding the action while also leading the band. Samantha Alton is outstanding as Irish Annie, perfectly capturing the spirit of a landlady who is both fiercely protective and warmly maternal. Her interactions with both cast and audience felt genuine and spontaneous. Ricky Tomlinson – a household name thanks to his role in The Royle Family – appears as himself, delivering belly laughs and crowd interaction through his stories of prison life, encounters with film stars, and tales from his career. Other strong performances include Lesley Longley as the lovable porky the postman, Richard Barry as the passionate but down-on-his-luck actor Noel Singen-Smithe, and Lynne Fitzgerald as the stern and memorable Moira the Moneylender. Each cast member brought unique charm and chemistry to the ensemble, resulting in a tight-knit and believable community.

The direction is sharp and well-paced, ensuring that the energy never dips. The set is a character in itself: a lovingly recreated Irish pub complete with Guinness signs, aged furniture, and atmospheric lighting. The setting instantly transported the audience to a cosy, familiar place, while the costumes grounded each character in authenticity. There was evident attention to detail in the production design, making the performance space feel intimate and immersive. From the lighting changes to the transitions between scenes, everything was slick and professional, enhancing the overall experience.

The script, written by Asa Murphy, strikes a perfect balance between comedy and emotion. The dialogue is sharp, witty, and filled with colloquial charm. Characters felt rounded and real, with clear relationships and backstories woven seamlessly into the narrative. The show’s musical backbone, featuring a mix of Murphy’s original songs and beloved Irish tunes, elevated the emotional beats and punctuated the comedy with heartfelt melodies. Audience interaction was a key component, and it never felt forced – rather, it was a natural extension of the pub setting. Ricky Tomlinson’s anecdotes and Murphy’s hosting brought a cabaret-style freshness to the production.

From the first note to the final curtain, the pace was fast and energetic. Scenes flowed smoothly, and the integration of music, dance, and dialogue kept the audience consistently entertained. There was never a dull moment – even quieter scenes held attention thanks to emotional depth and superb timing. The energy levels were high throughout, and the cast maintained a strong connection with the audience.

The atmosphere in the Liverpool Olympia was electric. Laughter rang out frequently, and sing-alongs were heartily embraced. The show fostered a true sense of community – people who entered as strangers left with shared memories and smiles. From clapping along with the music to shouting out responses during banter, the audience was thoroughly engaged. It felt more like a celebration than a standard performance.

A standout moment was Richard Barry’s powerful rendition of ‘Danny Boy‘. The room fell completely silent – a moment of pure emotion – before erupting into thunderous applause. The chemistry between Murphy and Alton grounded the show, giving it heart and warmth. The Shenanigans were musically flawless, and their joy was infectious. A personal favourite was the rendition of ‘I Love Galway Bay‘. Another unforgettable moment was Ricky Tomlinson’s storytelling, which gave the show a unique edge and grounded it in

The show itself was flawless and deeply enjoyable. The only slight drawbacks were related to the venue: the space was chilly, and the toilets were understocked and lacked hot water. These small issues did not detract from the brilliant performance and are more a reflection of the venue than the production.

Irish Annies is a feel-good musical that’s equal parts heartwarming and hilarious. It’s a tribute to Irish culture, storytelling, and music, all delivered with sincerity and charm. You’ll laugh, you’ll sing, and you may even shed a tear. A perfect night out that uplifts and entertains. A reminder of the magic that live theatre can bring.

Irish Annies is now touring the UK and promises a fantastic evening for all. Whether you’re looking for a night of comedy, music, or simply to be uplifted, this show delivers. Don’t miss out – get your tickets and join the Irish party!

FAYE TOZER

TO PLAY MISS KITTY LeROY IN

DIAMONDS AND DUST

A TALE OF THE GOOD, THE BAD AND THE LUCKY

OPENING AT

THE EMERALD THEATRE, LONDON

PREVIEWING 16 JUNE 2025

FULL CAST ANNOUNCED

Dita Von Teese, alongside Tosca Rivola, Dee Parsons and Julian Stoneman are thrilled to announce that the Steps and musical theatre star Faye Tozer will take on the iconic role of Miss Kitty LeRoy in the world premiere of a brand-new and hotly anticipated theatrical production DIAMONDS and DUST.

London’s newest West End venue, the Emerald Theatre, proudly opens its doors with the debut of DIAMONDS and DUST. Previews begin 16 June 2025, with an official gala opening on 3 July.

Singer, Actress, TV personality and West End star Faye Tozer is probably best-known for BRIT Award winning pop band Steps who had number one hits with Tragedy and Stomp and have sold over 25 million records worldwide! Their 10th album The Platinum Collection celebrating 25 years reached an impressive No.1 in the official charts and they have proudly just completed their 10th UK Arena tour. Faye has starred in numerous musicals over the years including: 101 Dalmatians (UK Tour), 42^nd Street (UK Tour), Singin’ in the Rain (West End & UK Tour) and Everybody’s Talking About Jamie (West End).

Her numerous TV credits include Ru Paul’s Drag Race (BBC), The Graham Norton Show (BBC), The One Show (BBC) Ant and Dec’s Saturday Night TakeAway (ITV), Gogglebox (Channel 4), Midsomer Murders (ITV), Strictly Come Dancing (BBC), Tonight at the London Palladium, All Round to Mrs Browns, The Sooty Show, Alan Carr Chatty Man, Steps On The Road Again (Sky Living), Steps The Reunion (Sky Living), Lorraine (ITV),  This Morning (ITV), Loose Women (ITV) and Top Of Tops (BBC).

The cast appearing alongside Dita Von Teese as Lady Luck (at certain performances*) and Faye Tozer as Miss Kitty LeRoy (at certain performances**) will be Alexandros Beshonges (MAMMA MIA, West End), Isabelle Bosher (Women’s Netball Super Cup, Sky Sports), Candace Cane (Performed alongside Beyoncé, Snoop Dogg and Diplo), Bethany Chan (The Lion King, West End), Georgia Eddon-Burke (Lío London Cabaret), Hollie Kate (Beauty and the Beast, Richmond Theatre), Cristian Liberti (Performed alongside Kylie Minogue, Robbie Williams & Sophie Ellis Bextor), Lady Lydia (La Clique London), Zoë Marshall (Circus OZ), Callum Quinnen (Bombay Superstars, West End), Tosca Rivola (Tarantina, Dita Von Teese World Tour), Manny Tsakanika (Magic Mike Live, West End), Zinzile Tshuma (Bring It On, UK Tour), Sienna Walker (Come What May, UK Tour) and Niko Wirachman (The Prince of Egypt, West End).

At certain performances the role of Lady Luck will be played by Didi Derrière (The Beguiling Hour, Crazy Coqs).

At certain performances the role of Miss Kitty LeRoy will be played by Katie Dunsden (Grease, Moulin Rouge, West End).

DIAMONDS and DUST is a tale of the good, the bad and the lucky featuring some of the finest West End performers the UK has to offer, magnetic burlesque starlets and dangerous cirque artists. The production promises a thrilling blend of Old West lore, vintage casino culture, high-stakes stunts and Dita Von Teese’s signature glamour.

Step into our hazy saloon and let the 52-card deck decide your fate. This is the untold story of Miss Kitty LeRoy, the Wild West’s most notorious card dealer, making her own way in a man’s world while trying her hand at taming Lady Luck for herself, perhaps in vain… 

London’s newest theatrical production serves double jeopardy as the show plants a boot firmly in plot-driven theatre and a stiletto in the nuanced art of seduction. This world premiere production promises an unforgettable evening of pre-show entertainment with exceptional dining, specially curated cocktails and electrifying theatre.

The experience continues into the early hours with Emerald After Dark, a rare late-night curated entertainment program featuring: ‘West End Wednesdays’ designed for theatre industry professionals and enthusiasts, and a line-up of both global and local DJ Talent with live entertainment every Thursday, Friday and Saturday***. During the first four weeks of the production, Emerald After Dark will be admitting patrons with a valid West End theatre ticket for free before 11pm.

The entire production conceived and directed by Tosca Rivola & Dita Von Teese, story by Tosca Rivola & co-written by Emma Henley & Careena Melia, choreography by Matt Nicholson, Dita Von Teese and Tosca Rivola, set and lighting design by Philip Gladwell, sound design by Gareth Owen, musical supervision by Lewis Carnie, associate costume designs by Jenny Quirk, wigs, hair and make-up by Sam Cox, millinery by Hood London, casting by Gusthart Casting & Pearson Casting and general management by MPSI Ltd.  The production also boasts costume designs for Dita Von Teese by British designer Jenny Packham and bespoke footwear designs by Christian Louboutin. Audiences will also be lavished with a newly curated musical soundtrack for this dynamic new production.

The show features an optional, lavish dining experience, with brunch menu which offers refined sharing bites and a supper set menu. Showcasing a farm-to-plate philosophy.

DIAMONDS and DUST is produced by Tosca Rivola, Dita Von Teese, Dee Parsons and Julian Stoneman, with co-producers Sydney Max Lee, Sienna Sinclaire, Robert Testagrossa and Paul Dainty.

*Dita Von Teese will perform during the initial opening weeks and will appear at a limited number of London shows thereafter, set for 6 performances Thursday-Sunday, each month. Please check the website for further details.

**Faye Tozer will perform during the initial opening weeks and from 14 July and will not appear in Monday performances. Please check the website for further details.

***During June/July Emerald After Dark will have Monday experiences. Please check the website for further details.

LISTINGS INFORMATION

From 16 June 2025

EMERALD THEATRE

8 Victoria Embankment,

London

WC2R 2AB

Performance schedule:

Monday, Wednesday, Thursday, Friday at 8.15pm

Saturday at 12.15pm, 4pm, 9pm

Sunday at 2:30pm, 8pm

Running time: 1 hour 55 minutes including an interval

Please check the website for specific dining and after dark timings

Age guidance: 18+

With Saturday & Sunday Brunch and matinee performances 16+ with adult supervision

Website: DiamondsxDust.com

Twitter: DiamondsxDust

Facebook: DiamondsxDust

Instagram: DiamondsxDustUK

TikTok: DiamondsxDustUK

BRENDAN GLEESON MAKES HIS WEST END DEBUT IN
CONOR McPHERSON’S
THE WEIR
PRESENTED BY KATE HORTON PRODUCTIONS AND LANDMARK PRODUCTIONS

Kate Horton Productions and Landmark Productions today announce a new production of The Weir written, and directed for the first time, by Conor McPherson (The Brightening Air, Girl from the North Country), starring Brendan Gleeson (The Banshees of Inisherin, Paddington 2) making his West End debut as Jack at the Harold Pinter Theatre from 12 September to 6 December 2025, with a press night on Friday 19 September.

The multi award-winning actor Brendan Gleeson makes a long-awaited return to the stage in Dublin playing at the 3Olympia Theatre from 8 August to 6 September before transferring to the West End. Further casting to be announced.

Tickets for the West End run are on sale now to ATG priority members and go on general sale at 10am today, Thursday 1 May via theweirplay.com.

The tallest tales reveal the deepest truths.

On a stormy night, four local men gather in an isolated pub in rural Ireland. Their usual banter and everyday lives are disrupted by the arrival of a woman called Valerie. The stories they weave to impress her are gripping, haunting and deeply unsettling. Little do they know that she has a profoundly personal story of her own, the sharing of which will leave them all shaken.

The Weir is a testament to the need for human connection, the possibility of hope, and the enduring power of storytelling.

Brendan Gleeson said, “Conor McPherson’s The Weir is one of the rarest plays around.  The last time I appeared on stage was ten years ago, at the Olympia Theatre in Dublin, where I started my career.  I can’t wait to be back there, and then to play in the West End for the first time, at the beautiful Pinter Theatre – and to work with Conor on his profoundly moving, inspiring and ultimately hopeful play.”

Conor McPherson said, “I can hardly believe it’s thirty years since I wrote The Weir – and about thirty years since I first met the wonderful Brendan Gleeson. It’s an absolute honour to bring this play to life again with one of the great titans of Irish acting. I’m hugely looking forward to directing my play for the very first time and sharing this production with audiences in Dublin and in London very soon.”

Kate Horton said, “Along with a multitude of theatregoers, I was spellbound by Conor McPherson’s play The Weir when it first premiered at the Royal Court. I’ve since been granted three wishes; to have Conor agree to direct his own masterpiece for the first time, for the magnificent Brendan Gleeson to agree to lead the cast, and for the brilliant Anne Clarke to join me as co-producer. Together, they are titans of Irish and International theatre. The Weir is a beautiful play about human connection, the endurance of hope and the essential power of storytelling. It will be a joy to share this production with audiences.”

Anne Clarke said, “In the way that people remember where they were when something significant happened – the moon landings, say, or who shot JR – I remember where I was when Kate Horton called, to tell me that she had been working with Conor McPherson on a new production of The Weir, and that Brendan Gleeson had agreed to play Jack. They were hoping the production would open in Dublin, ahead of a West End run. I had been lucky enough to work with Brendan before, when he played Dinny in The Walworth Farce at the 3Olympia Theatre in Dublin alongside his sons Brian and Domhnall, and the thought of working with him on Conor’s sublime play was a thrill. And I had known and admired Kate’s extraordinary body of work as a producer for many years, so the opportunity to work with her was another thrill. It promises to be hugely special, and I can’t wait for audiences in both Dublin and London to see it.”

The Weir is produced by Kate Horton Productions and Landmark Productions.

Brendan Gleeson

Film credits: Banshees of Inisherin (for which he was nominated for an Oscar, Golden Globe, BAFTA), Joker: Folie à Deux, The Tragedy of Macbeth, Six Shooter (winner of Academy Award), In Bruges (Golden Globe, British Independent Film, Satellite, IFTA, and BAFTA Award nominated), Harry Potter, The Tailor of Panama, In My Country, The Tiger’s Tail, The Butcher Boy, Breakfast on Pluto, Mission: Impossible II, AI, 28Days Later…, Gangs of New York, Troy, Kingdom of Heaven, Beowulf, Green Zone, Albert Nobbs, Safe House, The Company You Keep, Edge of Tomorrow, The Guard (Golden Globe, IFTA and BIFA nominated), Cavalry (winner of IFTA and BIFA), The Coen Brothers’ The Ballad of Buster Scruggs, Hampstead, Paddington 2, Trespass Against Us, Alone in Berlin, Assassin’s Creed, Live by Night, In the Heart of the Sea, Suffragette (winner of BIFA Award), The Field, Into the West, The Treaty, Far and Away, Braveheart (winner of five Academy Awards), The General (winner of IFTA and the London Critics’ Circle Film Award) and I Went Down (winner of Boston Society of Film Critics).

TV credits: Spider:Noir (Amazon/Marvel), The Good Daughter (Peacock), State of the Union (Emmy nominated), Mr. Mercedes, A Higher Loyalty (Golden Globe nominated), Into the Storm (winner of Emmy, IFTA, Satellite Award winner, Golden Globe and BAFTA Awards nominated).

Theatre credits:Following early work with Passion Machine in Dublin, theatre credits include On Such as We (Abbey Theatre) and The Walworth Farce (3Olympia Theatre).

Conor McPherson

Conor wrote and directed The Brightening Air (The Old Vic)and the Tony and Olivier Award-winning premiere of the musical Girl from the North Country (also West End and Broadway).Past theatre includes: Uncle Vanya — South Bank Sky Arts Theatre Award (West End/BBC); Port Authority (Gate Theatre, Dublin/West End); The Weir — Olivier Award for Best New Play (Royal Court/West End/Broadway); The Seafarer (National Theatre/Broadway); Shining City (Royal Court/Broadway); The Night Alive — New York Drama Critics’ Circle Award for Best Play (Donmar/Atlantic Theater, New York); Cold War (Almeida); The Nest (Lyric Belfast/Young Vic); Dance of Death (Donmar/BBC Radio).