Author: FairyPoweredProductions

JENNY SEAGROVE RETURNS TO THEATRE ROYAL WINDSOR THIS SEPTEMBER IN

WRITTEN BY ROYCE RYTON

DIRECTED BY ROY MARSDEN

TICKETS AND ADDITIONAL INFORMATION AVAILABLE HERE

Theatre Royal Windsor, one of the only unsubsidised producing theatres to operate all year round in Britain, today announces casting for the return of Jenny Seagrove and Simon Shepherd in Royce Ryton’s acclaimed thriller, The Anastasia File. Following critical acclaim at the Theatre Royal Windsor last year, the production will return to the theatre from Wednesday 30 September – Saturday 3 October 2026, as part of its UK tour.

Jenny Seagrove (A Woman of Substance with Portman-Artemis Productions, Local Hero with Goldcrest Films, Judge John Deed with One-Eyed Dog Limited) reprises her role as Mrs Manahan, alongside Simon Shepherd (Peak Practice with Central Independent Television, Midsomer Murders with Bentley Productions) as The Inspector. They are joined by returning cast members Ashley D. Gayle and Rosie Thomson.

A new twist on one of history’s greatest mysteries…

July 1918. Tsar Nicholas II and his family are brutally executed by the Bolsheviks in Ekaterinburg. Two years later in Berlin, a woman is pulled from a canal after a failed attempt to take her own life and is placed in an institutional facility.

As Doctors and police puzzle over her identity, she slowly begins to reveal details about her past that bring about the suspicion that she may in fact be the Grand Duchess Anastasia, the heir to the Romanov fortune.

Inspired by the true story of Anne Manahan, whose thirty-year battle for recognition as the last surviving Romanov was one of the most popular historical mysteries of the twentieth century.

Memory, fact and fiction intertwine in this thrilling and moving play that will keep you guessing until the curtain falls.

The production is directed by Roy Marsden, with lighting design from Nick Richings and Dan Samson on sound design.

“A great performance, an intriguing story filled with much power, emotion, sorrow, depth and torment.” – Fairy Powered Productions

The production opens at Theatre Royal Newcastle (Tuesday 15 – Saturday 19 September) and then returns to Theatre Royal Windsor (Wednesday 30 September – Saturday 3 October). It then continues to tour to Salisbury Playhouse (Tuesday 6 – Saturday 10 October), Malvern Theatres (Tuesday 13 – Saturday 17 October), Yvonne Arnaud Theatre (Tuesday 20 – 24 October).

The Anastasia File forms part of the Theatre Royal Windsor Season on Tour, comprising three productions originating at the theatre and touring the UK in 2026. It joins Noël Coward’s romantic comedy The Marquise and Graham Greene’s Our Man in Havana.

Jenny Seagrove said, “I am thrilled to be playing Anastasia Romanov again and to be sharing her fascinating story with audiences around the country. It is a story that gripped me from the first time I read about her and she continues to intrigue me. With a wonderful cast alongside me, I hope audiences will feel equally fascinated!”

Director Roy Marsden said “When Royce Ryton wrote ‘The Anastasia File’ in 1978 the weight of opinion was inclined to believe that the central character Anna Anderson, or as she was later known, Mrs Manahan, was indeed the missing Romanov daughter Anastasia. Then, as time went on more and more research took place, strongly suggesting the opposite. DNA testing, including samples from the hair of the Duke of Edinburgh, a distant relation of the Romanov’s, was used to provide apparently conclusive evidence dismissing Anna Anderson’s claim, nowadays we live in a more distrustful age, unwilling to accept on face value what we are fed by the media and by so called experts. I, along with others, have come to believe that the scientific evidence proving that Anna Anderson is not Anastasia is not as exact and as trustworthy as certain quarters would like us to believe. Therefore, in the absence of direct and conclusive proof, the question of whether Anna Anderson is Anastasia or not remains a mystery, a matter of personal belief.”

Theatre Royal Windsor sits at the heart of the town, carrying over 200 years of history behind its doors.

It is one of the UK’s only year‑round producing theatres operating without public funding. As part of The Bill Kenwright Group, Theatre Royal Windsor has built a reputation for standout productions and an ability to attract top‑tier talent to its stage — solidifying its position as one of Britain’s leading regional theatres.

www.theatreroyalwindsor.co.uk/

Southwark Playhouse Borough – until 22nd August 2026

Reviewed by Phil Brown

4****

Subtitled The Unheard Songs of Jonathan Larson, The Jonathan Larson Project is a bright idea originally conceived by acclaimed (US) theatre historian Jennifer Ashley Tepper, brought to the Southwark Playhouse stage by Thomas Hopkins, SAMS Entertainment and Julie Larson (producers), and John Simpkins (director).  And beautifully performed by an ensemble of 5 wonderful singers and a first rate live band, underlining the extraordinary quality of performing talent, in depth, we are lucky to have in the UK.

It’s a musical, but with a difference, comprising a sequence of Larson songs from early in his career as a struggling composer.  It gathers together songs that never found a home in his completed shows, standalone works, some from discarded/unrealised projects, some never performed.  There is no specific, governing narrative thread, although it flows naturally enough and seems to work as prescient commentary on modern life and universal themes.

As an American composer, lyricist and playwright, but maybe not quite in the very vanguard of the profession, Jonathan Larson may not be widely known to UK audiences   I first became aware of him through the film Tick, Tick….Boom back in 2022. (A film about his musical called Superbia that didn’t make it to production.  Some of which material is performed here).   Larson eventually had a hit project a few years later with Rent which ran from 1996 to 2008 and earned him a posthumous Pulitzer.  Tragically, he died of an aortic dissection in 1996 just before the show launched, leaving the distinct feeling of loss of a major talent not fully realised.  So this show is something of a revival and a timely reminder of what could have been.

What of the raw material – the songs ?  There are 18 in this song cycle – several “standalone theatre” and “cabaret” songs, a couple described as “pop songs”, a “revue” song and the rest from various musicals. There is certainly some very memorable, high class material, but overall, I would have to rate it at 3 star level.  The songs are lyrically clever and the music rich with delicious phrases and hooks, yet the end result sometimes feels overcomplicated and unlikely to pass the old grey whistle test with flying colours.

Congratulations, then, to Mike Mather, Marcus Collins, Imelda Warren-Green, Natalie Kassanga and Max Harwood whose infectious commitment, fine singing and precise harmonising performances are hugely enjoyable and elevate the show to 4 stars.  I particularly like ‘Greene Street’, ‘One of These Days’, ’Valentine’s Day’, ‘Falling Apart’, ‘Iron Mike’, ‘White Male World’, ‘The Truth is a Lie’, ‘SOS’, ’Pura Vida’, ‘Love Heals’ and ‘Piano’.  There are a couple of show stoppers in ‘Break Out the Booze’ and the hilarious ‘Hosing the Furniture’ (which won Larson the Sondheim Award).  One song though – ‘Vision Thing’ – is a lengthy musical rant on the subject of US politics and seems to suck a bit of momentum from an otherwise well-paced show.  

Shout-outs too to the excellent 5 piece band seemingly shoehorned into a couple of tiny gantries above the action with the drums confined to an airless cubicle beside the tiered seating.  In particular, Livi van Warmelo (musical director) stands out on electric keyboards.

The set is rough and ready simple.  A crude projection screen hoisted between the band gantries is used for archival footage at the introduction and occasionally throughout the show.  (Sadly, not visible from where I was positioned).  Furnished with step ladders, a piano and table and chairs, it effectively conveys a workshop or artist’s studio (designers – Nate Bertone, Sophie Williams).  The non-trivial “choreography” required to manage the set, props, and change of costumery for the different songs as well as ensuring suitable variation in singer’s positioning throughout the performance in the context of “in the round” was particularly impressive –  natural and unobtrusive (movement director – Taylor Walker).

The show runs for 90 minutes (no interval) and such an immersive experience in the round of Southwark Playhouse’s intimate The Large (space), is genuinely transporting.  Larson’s work is without a doubt worth experiencing/exploring and there can be few better ways of doing that currently than getting to this full fat celebration of his music by exceptionally talented musicians.  It is remarkable how fresh it sounds thirty plus decades after it was written…

Curve Theatre Leicester – until Sat 8th July 2026

Reviewed by Amarjeet Singh

5*****

Mike Leigh’s Abigail’s Party remains one of the sharpest observations of British social behaviour ever written, and Nadia Fall’s revival understands exactly why it remains relevant today. The script is packed with painful small talk which appears trivial on the surface, yet beneath it sits something sinister and more revealing. Leigh’s genius lies in how these seemingly meaningless exchanges expose each character’s depth while generating huge amounts of laughter along the way.

Beverley and her husband Laurence have invited their neighbours over for drinks while teenage Abigail hosts a party next door. Joining them are the eager-to-please Angela and her largely uninterested husband Tony, along with the quietly reserved Sue, Abigail’s mother. What begins as an ordinary suburban gathering gradually becomes a fascinating study of class, status and personal dissatisfaction, as alcohol loosens tongues and long-suppressed tensions drift steadily to the surface.

What makes this production particularly successful is that the characters are authentic. Every person on stage is instantly recognisable. The humour comes not from punchlines but from behaviour: social boundaries casually crossed, unwanted opinions freely offered and conversations that become increasingly uncomfortable as nobody quite knows how to navigate them.

Tamzin Outhwaite is sensational as Beverley. From her opening appearance, undulating to Donna Summer’s “Love to Love You Baby“, she dominates the room, determined to control every aspect of the evening and absolutely convinced that she knows what everyone needs to enjoy themselves. Outhwaite captures Beverley’s contradictions beautifully. She is generous, manipulative, flirtatious, funny, overbearing and self-obsessed, but Outhwaite avoids turning her into a comic caricature. Instead, this Beverley feels genuinely formidable, a woman whose need for control carries an undercurrent of menace that makes the character even more compelling.

Kevin Bishop is equally impressive as Laurence. Rather than presenting him simply as Beverley’s long-suffering victim, he reveals the pride, vanity and simmering resentment beneath Laurence’s polite exterior. The increasingly strained dynamic between the couple demonstrates impeccable comic timing while never losing sight of the emotional reality underneath the humour.

Lauren Patel delivers a fantastic performance as the chatty Angela. Despite her inability to read a room, Angela remains endearing in her naivety. Omar Malik’s Tony provides the perfect counterbalance. Through staccato, one-word answers barely able to disguise his boredom and discomfort, Malik excels at portraying a man entirely detached from the social performance unfolding around him.

Pandora Colin is superb as Sue, the evening’s most reluctant guest. Attempting several hasty escapes while chaos unfolds around her, Colin gives Sue a quiet depth that makes her fascinating to watch.

Peter McKintosh’s set and costume design perfectly capture the 1970s aesthetic. Every shade of orange and brown, each piece reflects Beverley and Laurence’s aspirations. Howard Harrison’s lighting and Alexandra Faye Braithwaite’s sound design work seamlessly together, alongside a soundtrack ranging from Elvis to Demis Roussos and culminating in a magnificently deployed Beethoven’s Fifth. James Cousin’s movement direction adds further texture without ever drawing focus away from the performances, keeping everything feeling natural yet thoroughly engaging.

Funny, uncomfortable and unsettling, this is a superb revival. Every actor delivers a stellar performance, fully inhabiting richly drawn characters whose flaws and vulnerabilities feel entirely human. Brilliantly executed from start to finish, it reminds us that Abigail’s Party, with its uncomfortable themes, is as relevant today as it was when first written.

Hall for Cornwall, Truro – until 18th July 2026

Reviewed by Kerry Gilbert

5*****

A Fabulously Flamboyant Production Full of Warmth, Wit, Heart and Humour

Celebrating its 30th anniversary with a dazzling new production, Priscilla Queen of the Desert returns in spectacular style. Based on the beloved 1994 cult classic film, this feel-good musical is bursting with colour, glitz and glamour, all woven together with an irresistible disco-infused soundtrack and a wonderfully cheeky sense of humour.

The story follows Bernadette, Tick (who performs as Mitzi Mitosis) and Felicia as they embark on a journey across the Australian outback in their battered but iconic camper van, Priscilla Queen of the Desert, on their way to the performance of a lifetime. However, Tick is carrying a secret from his two friends: at the end of their journey, he will be meeting his son for the very first time.

Along the way, the trio encounter a wide variety of people, some far more welcoming than others. The show does not shy away from addressing prejudice, most notably when Priscilla is vandalised with homophobic graffiti. Yet while there are moments of sadness and reflection, the production never lingers too long in darkness, quickly lifting spirits once again with another joyous musical number.

Kevin Clifton delivers a compelling performance as Tick, bringing both emotional depth and outstanding vocals to the role. One particular highlight is his Elvis impersonation, which proves to be a genuine crowd-pleaser. Samuel Stokes, stepping in as understudy for Felicia, is simply sensational. His boundless energy, exceptional vocals, magnetic stage presence and impressive dance ability make for a truly standout performance. Alongside them, Adele Anderson brings warmth, elegance and wit to Bernadette, and the chemistry shared between the three leads feels completely natural.

Leah Vassell, Bernadette Bangura and Jessie May more than live up to their billing as The Divas, delivering powerhouse vocals that consistently elevate the production.

Isabella Glanznig Santos is a comedic delight as Cynthia, producing some of the evening’s biggest laughs. Her unforgettable performance ensures that audiences may never look at a ping-pong ball in quite the same way again.

Vicky Gill’s costume designs are nothing short of extraordinary. Bold, flamboyant and brilliantly colourful, each new costume seems determined to outdo the last, leaving the audience eagerly anticipating every new reveal.

Priscilla Queen of the Desert is a fabulously flamboyant production filled with warmth, wit, heart and humour. Offering exactly what audiences come for, it delivers a joyous celebration of individuality and acceptance, alongside a generous dose of pure theatrical escapism.

WEST END STAR KERRY ELLIS SEEKS RISING TALENT

Link to apply for Search for a Star: https://performnow.co.uk/search-for-a-star

Link to book tickets to Kerry’s show: https://leedsheritagetheatres.com/whats-on/kerry-ellis-2026/

West End star Kerry Ellis is once again giving the next generation of performers the chance to join her on stage when she returns to City Varieties Music Hall on Thu 29 October 2026.

As part of her forthcoming Rock Anthems tour, Kerry is inviting aspiring young talent to perform a song with her at each tour date, celebrating the iconic rock artists who have inspired her career, from Queen and Meat Loaf to Bonnie Tyler and Aerosmith.

For the second time, she has teamed up with Perform Now to give budding talent the chance to share her spotlight and sing in front of a live audience.

Confident soloists must be aged 11–19, live within 45 minutes of the venue and be available on the performance date.

A passionate champion of emerging talent, Kerry regularly hosts online coaching sessions and is delighted to offer this opportunity again, having previously done so as part of her Queen of the West End tour. She said: “I loved sharing the stage with rising stars on my Queen of the West End tour – there were some very special moments, and the standard of talent was super high. When I was asked if I would do it again on my Rock Anthems tour, it was an easy ‘yes’.”

Perform Now creates exciting training and performance opportunities for young people, supporting their development while building confidence, skills and industry knowledge.

Rachel Crouch and Kyle Tovey, directors of Perform Now, added: “We have seen such success and growth from those who were successful in previous years that we can’t wait to see this year’s applicants.”

NEW PRINCIPAL CAST MEMBERS JUST ANNOUNCED FOR 

AS THE SMASH-HIT MUSICAL CELEBRATES ITS 
1,000^TH PERFORMANCE IN THE WEST END

JOINING THE LONDON COMPANY FROM 15 SEPTEMBER:

Internationally renowned soprano DANIELLE DE NIESE
as PERSEPHONE

Acclaimed film and television actor SHAUN DOOLEY
as HADES

West End rising star FAYTH IFIL
as EURYDICE 

West End leading-lady MALINDA PARRIS
as HERMES

Singer-songwriter NATHAN SYKES
from chart-topping band The Wanted
as ORPHEUS 

Producers of the Tony® and Grammy Award-winning musical Hadestown, which will celebrate its 1000^th performance at the Lyric Theatre in London’s West End this week, are thrilled to announce an exciting line up of new cast members, with accolades spanning chart-topping pop music, classical opera, film, television and theatre, who will join the company from 15 September 2026:

Danielle de Niese will play Persephone. Internationally acclaimed soprano and broadcaster, de Niese has performed with all the leading opera companies and orchestras around the world. She won the Olivier Award for Outstanding Achievement in Opera earlier this year.

Shaun Dooley will play Hades. Shaun’s extensive television and film credits include Mr Bates Vs The Post Office, Criminal Record, Changing Ends, It’s a Sin, Gentleman Jack, The Stranger, Broadchurch, Misfits and Saltburn alongside an acclaimed body of stage work, includingJez Butterworth’s Hills of California directed by Sam Mendes.

Fayth Ifil will play Eurydice. Ifil first debuted on the West End aged just 10 years old. She has gone on to play leading West End roles in Tina – The Tina Turner Musical, and Just For One Day.

Malinda Parris will play Hermes. A leading West End performer, Parris has starred in The Greatest Showman, Hercules, & Juliet, Little Big Things, Mary Poppins, Matilda, Caroline, or Change, The Light Princess and Parade.

Nathan Sykes will play Orpheus. Earning international success as a member of chart-topping band The Wanted, Sykes has gone on to launch an acclaimed solo music career.

They join Melanie Bright, Spike Maxwell and Lauran Rae as the Fates; Femi Akinfolarin, Michelle Andrews, Gabriela Benedetti, Ollie Bingham and Sebastian Lim-Seet as the Workers, with Juan Jackson, Oisín Nolan-Power, Lindo Shinda, Jasmine Triadi and Milly Willows as Swings. 

Hadestown takes you on an unforgettable journey to the underworld and back, intertwining two mythic love stories – that of young dreamers Orpheus and Eurydice, and that of King Hades and his wife Persephone.  A deeply resonant and defiantly hopeful theatrical experience, Hadestown invites you to imagine how the world could be.

Blending American songwriting traditions, from indie folk, to pop, blues, and New Orleans-inspired jazz, Hadestownhas music, lyrics, and book by acclaimed Tony® and Grammy®-winning singer-songwriter and BBC Radio 2 Folk Award-winner Anaïs Mitchell whooriginated Hadestownas anindie theatre project and acclaimed album, before transforming the show into a genre-defying new musical alongside artistic collaborator and Tony® Award-winning director Rachel Chavkin.

The Hadestown creative team includes David Neumann (Choreography), Rachel Hauck (Scenic Design), Michael Krass (Costume Design), Bradley King (Lighting Design), Nevin Steinberg and Jessica Paz (Sound Design), Liam Robinson (Music Supervision and Vocal Arrangements), Michael Chorney and Todd Sickafoose (Arrangements and Orchestrations), Ken Cerniglia (Dramaturgy), Tarek Merchant (Co-Musical Director & Associate Music Supervisor), George Francis (Co-Musical Director), Maria Crocker (UK Associate Director), Bobby Windebank (Associate Choreographer) and Victoria Gimby (Resident Director). Casting by Jacob Sparrow. Principal Casting by Rob Kelly.

Hadestown is produced in London by Mara Isaacs, Dale Franzen, Hunter Arnold, Tom Kirdahy and the National Theatre in association with JAS Theatricals.

Nottingham Royal Concert Hall – until Saturday 11 July 2026

Reviewed by Louise Ford

4****

Starts with a bang … ends with everyone on their feet!

The original film of The Bodyguard came out in 1992, and was Whitney Houston’s acting debut. It was a massive success both financially and musically. It also had an iconic film poster, all grey and dramatic. So I’m not sure if I’ve ever seen the original film, although my theatre buddy had seen it. I felt that I knew the plot: diva, stalker, romance, but there were a couple of surprises and twists in the musical.

The original screenplay was written by Lawrence Kasdan in 1975. It had a couple of false starts before becoming the hit movie starring Whitney Houston and Kevin Costner. With all of the great songs in the original film and other Houston hits, it was inevitable that the film would become a musical. It took twenty years for the screenplay to be adapted into a musical and it debuted in the West End in 2012. The adaptation was by Alexander Dinelaris, directed by Thea Sharrock, the choreography is by Karen Bruce and the set and costume design is by Tim Hatley. The musical gives centre stage to the songs and energetic dance routines.

So lights, music, pyrotechnics and we are off, with a bang! No spoilers here, but the audience all left their seats in surprise!

The production is visually impressive with lighting by Mark Henderson and video design by Duncan McLean. The use of video and projection helped avoid too many scene changes and provided a cinematic touch to the production.

The star of the show and filling Whitney’s singing boots was Mireia Mambo as Rachel Marron. The role demands not only powerful vocals but also great dancing skills. Mireia has a great stage presence and she was sensational. Opposite Rachel is the titular hero, played by Adam Garcia as Frank Farmer. Farmer is a brooding character who is struggling with a mistake on a previous job. The initial reluctance by Frank to take the job and Rachel’s dislike of having her freedom curtailed leads to romantic feelings, which increases the risk from the stalker. The menacing stalker was ably played by James-Lee Harris.

The role of Rachel’s sister, Nicki Marron, is powerfully played by Sasha Monique. The role of Rachel’s son, Fletcher, is played by Mason Dyett. At only nine years old, he has a great stage presence and is clearly having a fab time. The ensemble adds to the whole show with their energy and great dancing.

Whilst at times the dialogue is a bit clunky and the scenery mechanism seemed to be struggling in the heat, the production moved at quite a pace, and before we knew it we were at the climax, with the iconic ‘I will always love you’ filling the auditorium.
It’s a high-energy performance with a fitting finale, ’ I wanna dance with somebody’.

Acclaimed comedy theatre company 

Le Navet Bete throws open the doors of Hotel Krapios once again

extending Oh Zeus! into 2027 by popular demand

A riotous, hilarious ride through Greek mythology  

Kings of comedy Le Navet Bete – one of the UK’s most-loved comedy theatre companies and creators of smash-hit family shows Dracula: The Bloody Truth, King Arthur and Treasure Island – along with Olivier Award nominated comedy writer and director John Nicholson (The Time Machine: A Comedy, Peepolykus), have announced an extension of Oh Zeus!, their riotous, all-out hilarious ride through the world of Greek mythology.

When the stability of Olympus is threatened by the marriage of Zeus’ daughter Hebe to a mere mortal, the King of the Gods hatches a plan to derail the wedding. Three actors play nearly 40 characters in this mythical farce through Ancient Greece, the Underworld and back. Expect sensational physical comedy, outrageous jokes, fast paced chaos, and more togas than you can smash a plate at – perfect for lovers of Fawlty Towers, Bottom and The Play That Goes Wrong.

Behind the chaos, lies a costume rail worthy of Olympus itself: the cast of three race through 39 costumes and a staggering 84 costume changes – 63 of which are lightning-fast quick changes – as they hurtle between gods, mortals and monsters at breakneck speed.

Le Navet Bete is comprised of Al Dunn, Nick Bunt and Matt Freeman. Since 2008, Le Navet Bete has been touring the UK and internationally with their unique and chaotic style of physical comedy and have earned the reputation as one of the UK’s leading midscale theatre companies. Proudly based in Exeter, Devon and supported by organisations such as Arts Council England, the Exeter Northcott Theatre and the Exeter Phoenix they have been on a continuous mission to create and tour hilarious, physical and totally accessible comedy theatre using creative and engaging storytelling for absolutely everyone (ages 4 – 104!). 

Oh Zeus! 2026-27 tour will visit: Lowry, Salford (28 July-1 Aug); The Dukes Lancaster (15-19 Sept); Lighthouse Poole (25-26 Sept); Queen’s Theatre, Hornchurch (6-10 Oct); New Vic Theatre, Newcastle-under-Lyme (15-17 Oct); Mayflower Studios, Southampton (9-13 Feb); Theatre Royal Plymouth (28 Feb); Yvonne Arnaud Theatre, Guildford (11-13 March); Salisbury Playhouse (18-20 March); Gulbenkian Arts Centre, Canterbury (2-3 Apr); Newcastle Theatre Royal (9-10 Apr); Theatre Royal Bury St Edmunds (13-17 Apr); Theatre by the Lake, Keswick (27 Apr-1 May); Harrogate Theatre (13-15 May); Everyman Theatre, Liverpool (17-19 June) and Mercury Theatre Colchester (16-19 September). Further dates to be announced.

Whilst Oh Zeus! is suitable for ages 12+, there will be additional ‘no kids allowed’ performances held at many tour venues – expect the same brilliant show but with more adult humour, swearing and added naughtiness.

For more information about Oh Zeus!, visit Le Navet Bete’s website: www.lenavetbete.com. 

LISTINGS 

Production: Oh Zeus! 

Producer: Le Navet Bete

Age Guidance: 12+

Content Warnings: None

Running Time: 2 hrs 30 minutes (including interval)

2026/27 TOUR DATES

28 July-1 August Lowry, Salford 

https://thelowry.com/whats-on/oh-zeus-8t8s

15-19 September The Dukes, Lancaster

https://dukeslancaster.org/whats-on/theatre/oh-zeus

25-26 September Lighthouse Poole

https://www.lighthousepoole.co.uk/event/oh-zeus/

6-10 October Queens Theatre Hornchurch

https://queens-theatre.co.uk/whatson/oh-zeus/

15-17 October New Vic Theatre, Newcastle-under-Lyme

https://www.newvictheatre.org.uk/productions/oh-zeus/

9-13 February Mayflower Studios, Southampton

https://www.mayflower.org.uk/whats-on/oh-zeus-2027

28 February Theatre Royal Plymouth

https://theatreroyal.com/whats-on/oh-zeus

11-13 March Yvonne Arnaud Theatre, Guildford

ON SALE 7 AUGUST

18-20 March Salisbury Playhouse

ON SALE SOON

2-3 April Gulbenkian Arts Centre, Canterbury

https://thegulbenkian.co.uk/events/oh-zeus/

9-10 April Newcastle Theatre Royal

ON SALE SOON

13-17 April Theatre Royal Bury St Edmunds

ON SALE 20 OCTOBER

27 April-1 May Theatre by the Lake, Keswick

ON SALE SOON

13-15 May Harrogate Theatre

https://www.harrogatetheatre.co.uk/events/oh-zeus-le-navet-bete/

17-19 June Everyman Theatre, Liverpool

ON SALE SOON

16-19 Sept Mercury Theatre Colchester 

ON SALE 28 AUGUST

Further dates to be announced

“Forget Phantom’s chandelier or Miss Saigon’s helicopter: what the DeLorean does in Back to the Future is in a different stratosphere of wonderment.”

Sydney Morning Herald

For the very first time, BACK TO THE FUTURE The Musical has released an image of the DeLorean finale, giving people a glimpse of what to expect on the road later this year, with the UK tour opening at the Bristol Hippodrome (8 October – 21 November 2026).

Co-creator of the film trilogy, and book writer for the stage adaption, Bob Gale, said, “The illusions involving the DeLorean are next-level state-of-the-art, and I never get tired of seeing the car in action with an audience. This is truly the definition of stage magic. It’s one of those things you have to see for yourself.  One of the highlights for me has been sitting in rehearsal with the cast when they see it from the auditorium for the first time.  They absolutely know what they’re about to see and how it’s done, but their jaws still drop!”

Speaking about the creative team’s approach to translating the iconic moments on stage, he adds, “Director John Rando has a management style which I subscribe to: hire the best people you can and get out of their way! These illusions are the product of an amazing confluence of talent: production design, special effects, video effects, lighting, sound and stage management. Every member of the team signed on because they’re all fans of the movie and were willing to give 200% to ensure that what they did would be worthy of being called “Back to the Future.”  They succeeded beyond my expectations!”

Following Bristol, the tour will also visit the Edinburgh Playhouse (2 December 2026 – 2 January 2027), Liverpool Empire (12 January – 6 February 2027), Milton Keynes Theatre (9 – 27 February 2027), Birmingham Hippodrome (9 March – 10 April 2027), Sunderland Empire (13 April – 8 May 2027), Alhambra Theatre, Bradford (11 May – 5 June 2027), Mayflower Theatre, Southampton (8 June – 3 July 2027), Manchester Opera House (13 July – 21 August 2027), Theatre Royal, Plymouth (24 August – 11 September 2027) and Wales Millenium Centre, Cardiff (19 October – 13 November 2027). Additional venues are still to be announced.

Australian rising star Axel Duffy will play the role of Marty McFly for the tour. Roger Bart will play the role of Doc Brown at the Bristol Hippodrome and Edinburgh Playhouse. Brian Conley will play the role of Doc Brown at the Milton Keynes Theatre. Further casting for the role of Doc Brown, and the remaining company, is to be announced.

BACK TO THE FUTURE The Musical is a global success, with productions currently running in North America, Japan, Royal Caribbean Cruises and Germany, with a French production to follow. The show has been seen by over 5 million people worldwide so far. The critically acclaimed Olivier, WhatsOnStage and Broadway World Award-winning Best New Musical played its final performance in London’s West End on Sunday 12 April 2026 after 5 years at the Adelphi Theatre, where it broke box office records and was seen by over 2.3 million people.

BACK TO THE FUTURE The Musical is produced by Colin Ingram, Frankel/Viertel/Baruch/Routh Group, Playing Field, CJ ENM, Universal Theatrical Group, Fin C Gray, Evolution Productions, Nicholson Green Productions, Augury, Robert Zemeckis and Bob Gale.

Further 2027 tour dates announced for Just For One Day – The Live Aid Musical

Producers Jamie Wilson Productions (Avenue Q, The Devil Wears Prada, Two Strangers (Carry A Cake Across New York), Mrs Doubtfire) are thrilled to announce further tour dates for Just For One Day – The Live Aid Musical, in association with Curve, Leicester.

Heading out on a major tour, opening at Curve in Leicester in March 2027, before visiting the previously announced Wales Millennium Centre, Cardiff; Marlowe Theatre, Canterbury; Opera House, Manchester; New Theatre, Oxford; Playhouse, Edinburgh; Theatre Royal, Plymouth; Empire, Sunderland; Alexandra, Birmingham; New Theatre, Hull; Grand, Leeds; Theatre Royal, Nottingham; King’s Theatre, Glasgow; Empire, Liverpool and Mayflower Theatre, Southampton. 

Further venues and dates announced today include Woking Theatre, Bromley Churchill, Milton Keynes Theatre, Belfast Grand Opera House, Southend Cliffs Pavilion, Wolverhampton Grand, Sheffield Lyceum and Newcastle Theatre Royal.  For further information, visit theliveaidmusical.com.

41 years ago today on 13 July 1985, music united the world. Now, audiences can discover the behind-the-scenes story of Live Aid in a whole new way. Just For One Day – The Live Aid Musical is the story behind the greatest concert in music history.

With hit songs by Bob Dylan, David Bowie, The Who, U2, Queen, Madonna, The Police, Elton John, Paul McCartney, Diana Ross and more. Experience classic tracks from the iconic artists who made history at simultaneous charitable concerts in London and Philadelphia in a completely new way.

Live Aid was an unprecedented global music event that brought 1.5 billion people together, and they all have a story to tell about ‘the day rock ‘n’ roll changed the world’.

Just For One Day – The Live Aid Musical  finished its run in London on Saturday 7 February 2026. The West End production opened in May 2025 following a successful North American run at CAA Ed Mirvish Theatre in Toronto and a record-breaking world premiere at London’s The Old Vic theatre where it became the theatre’s fastest selling musical ever.

Celebrating the iconic Live Aid concerts in London and Philadelphia, Just For One Day – The Live Aid Musical will continue to support the work of The Band Aid Charitable Trust with £1.6million raised to date.

Just For One Day – The Live Aid Musical is written by  John O’Farrell and directed by Luke Sheppard, with musical supervision, arrangements and orchestration by Matthew Brind, choreography by Ebony Molina and casting by Stuart Burt CDG. 

JUST FOR ONE DAY – The Live Aid Musical was originally presented at The Old Vic theatre, London in January 2024 and was produced in the West End by Jamie Wilson Productions, Kevin McCollum, Sonia Friedman Productions, Gavin Kalin Productions, Kenny Wax, ATG Entertainment, David & Hannah Mirvish, Nederlander Presentations, Stephen C Byrd, Tilted, No Guarantees Productions, Burnt Umber Productions, Willette & Manny Klausner, Nicole Eisenberg, Hornos/Moellenberg and The Old Vic by permission of The Band Aid Charitable Trust.