Author: FairyPoweredProductions

JONATHAN BAILEY & ARIANA GRANDE

TO STAR IN A NEW PRODUCTION OF

Jonathan Bailey & Ariana Grande will star in a new stage production of Stephen Sondheim’s legendary musical,Sunday in the Park with George.

Performances will begin at the Barbican Centre, London in Summer 2027.

Sunday in the Park with George has music and lyrics by Stephen Sondheim and a book by James Lapine. The production will be directed by Marianne Elliot, with design by Tom Scutt.

Tickets for the season at the Barbican will go on sale in May 2026 and will only be sold via the official Barbican website and box office. To be the first to hear details and all further information about the production, sign-up at www.sundayintheparkmusical.com.

Sunday in the Park with George is produced by Empire Street Productions and presented in association with the Barbican.

All further information about the production will be announced at a later date.

CAST AND CREATIVE TEAM ANNOUNCED FOR THE DOUBLE BILL OF

PAUL BRADSHAW’S AGGY AND TELL ME STRAIGHT

AT PARK THEATRE

SH Productions and telling tales today announce the cast for the double bill of Paul Bradshaw’s tell me straight and the world premiere of aggy, with generous support from ATG through Ian McKellan’s Producers Grant.

Bradshaw will star alongside Buck Braithwaite and Jade Anouka in tell me straight, directed by Imogen Frances; and Frances and Bradshaw will co-direct Matthew Jordan, Jean-Luke Worrell, Jack Gittins in aggy. 

The productions open in Park 90 at Park Theatre from 6 March, with previews from 3 March, running until 28 March.

Paul Bradshaw said today, “To be the first playwright to have a double bill programmed at Park Theatre — especially as someone who grew up on a council estate on benefits — is something I don’t take for granted for a second. Reviving and reimagining tell me straight has been incredibly rewarding, and I can’t wait to share its messy, funny world with a brand-new audience. aggy is shaping up to be a visceral excavation of identity, power and creativity, handled with great sensitivity by our extraordinarily talented company. The whole team is excited to welcome fresh audiences to Park Theatre to experience both pieces.”

SH Productions and telling tales presents

TELL ME STRAIGHT/AGGY

By Paul Bradshaw

Lighting Designer: Cheng Keng; Sound Designer: Eamonn O’Dwyer; Audio and Visual Designer: Matt Powell; Set and Costume Designer: Damien Stanton; Dramaturg: Georgie Rankcom

3 March 2026 – 28 March 2026

TELL ME STRAIGHT

Director: Imogen Frances

Following sold-out runs at The King’s Head and Chiswick Playhouse, Paul Bradshaw’s award-winning debut play tell me straight is back. Him’s long line of hookups have one thing in common; they’re all straight. Best friend Dani thinks he needs to fix up and finally find ‘a gay man who actually likes gay men!’ But straight guys are like buses… A 30-day detox is just what Him needs – no booze, no fast food and no men! Buuuuut will distractions in the form of wide-eyed Lee, fuck boy Ryan and oldest friend Matt prove to be derailing? Or will Him finally change his ways and see what is right in front of him?

AGGY

Co-Directors: Imogen Frances & Paul Bradshaw

Lawrence and Mahlik have been together for a year. It’s going pretty well on all accounts. So when Mahlik’s contract is up at his flat, it’s only logical that they move in together. After a particularly tough rejection, Mahlik makes a risky suggestion for Lawrence’s next project – that he presents as an alter ego to secure more opportunities. As success starts to roll in, this fabricated persona leaves the couple facing uncomfortable truths neither of them can ignore. aggy is a bold one-act play exploring privilege, gender, race and creativity. It’s about art and who gets to make it. The play unflinchingly examines how people freely police one another, and how this can lead to destruction.

Paul Bradshaw (he/him) plays Him in tell me straight. Bradshaw is an award-winning actor, writer and director from London. He self-funded his drama school training at Mountview and since graduating has worked across stage, screen, and voiceover for companies including Disney, ITV, and BBC. His writing credits include tell me straight (King’s Head Theatre, Chiswick Playhouse – Standing Ovation Award for Best New Play and OFFIE commendation), The Barn (Turbine Theatre – OnComm nomination), West 11 (Southwark Playhouse), Feel More (The Space, Lion & Unicorn Theatre) and Two Cities (Criterion Theatre). His short film credits include Fizzy. He currently has several projects in development across stage and screen including state of the nation plays Not Working and Two Cities, a TV adaptation of tell me straight, original dystopian series 33, and short film Influence.

Buck Braithwaite makes his professional stage debut as Matt/Ryan/Lee in tell me straight. His television credits include Alexander:The Making of a God, Masters of the Air, Flowers in the Attic: The Origin, Wreck, and the upcoming second season of David Benioff’s critically acclaimed 3 Body Problem; and for film, Fair Play.

Jade Anouka voices Dani in tell me straight. Her theatre credits include Otherland (Almeida Theatre), Heart (Minetta Lane Theatre, Brixton House, Edinburgh Fringe), Cock (Ambassadors Theatre), Dear Elizabeth (Gate Theatre), Shakespeare Trilogy, The Vote (Donmar Warehouse), Doctor Faustus (Duke of York’s Theatre) Henry IV, Julius Ceasar (St. Anne’s Warehouse), Omeros (Sam Wanamaker Playhouse), Clean (59E59 Theatres, Traverse Theatre), The Phlebotomist (Hampstead Theatre), QueenMargaret, So Here We Are (Royal Exchange Theatre), The Greatest Wealth, Cover My Tracks (The Old Vic), Hamlet, Romeo and Juliet (Shakespeare’s Globe), Love’s Labour’s Lost (Shakespeare’s Globe, US tour), CHEF (Soho Theatre), Moon on a Rainbow Shawl (The National Theatre), Twelfth Night (York Theatre Royal), Romeo and Juliet (Bolton Octagon) Wild Horses (Theatre503), Blood Wedding (Southwark Playhouse), The Taming of the Shrew, The Merchant of Venice (RSC), The Penelopiad (RSC, National Arts Centre Canada), and Handa’s Surprise (The Little Angel Theatre). Her television credits include Dune: Prophecy, The Sandman, Fool Me Once, His Dark Materials, Cleaning Up, Turn Up Charlie, Trauma, Small Axe: Education, The Drowning, Beforeigners, Chewing Gum, Lucky Man, The Vote, and Angela Black; and for film, ear for eye, Last Christmas, Fisherman’s Friends, Fisherman’s Friends: One and All, Zebra Girl, The Bower, Her & Her, The Rhythm Section, Baby Gravy and The Dark Channel.

Matthew Jordan makes his professional stage debut as Lawrence in aggy. His television credits include Geek Girl; and for film, The Phoenician Scheme. 

Jean-Luke Worrell plays Mahlik in aggy. His theatre credits include Peter Pan Goes Wrong (Lyric Theatre, UK tour), A Strange Loop (Barbican Theatre), Cluedo (UK tour), The Comedy About a Bank Robbery (Criterion Theatre), Cinderella (Greenwich Theatre), and Robinson Crusoe (Chipping Norton Theatre). His film credits include The Magic Faraway Tree.

Jack Gittins plays Rex in aggy. Their theatre credits include Shooting Star: A Revealing New Musical (The Two Brewers) and Zanna Don’t! A Musical Fairytale (Old Joint Stock Theatre). Gittins is also a drag artist going by the name of Climax – she won The Next Drag Superstar 2025, The Nottingham Drag Pageant 2025 and the Bohemia Ball 2025.

Imogen Frances is a London and Devon-based director, intimacy director, writer, and actor. Their directing credits includetell me straight (King’s Head Theatre, Chiswick Playhouse – Standing Ovation Award for Best New Play and OFFIE commendation), The Immigrant Play (The Bread & Roses Theatre). They’ve directed numerous drama school productions including Yerma, Dogville (Rose Bruford College), The Cherry Orchard and The Seagull (Italia Conti). Their writing credits include Star Cross’d (Rose Bruford College Commission), co-written with Tanya Bridgeman, and (pause before continuing) which was long-listed for the RSC’s 37 Plays Award. Their latest play WOM(b)AN is currently in development and has received support from The Young Vic and Exeter Northcott’s Reclaim Festival. They regularly host queer cabaret nights dedicated to championing FLINTA* artists. 

TELL ME STRAIGHT / AGGY

LISTINGS

Park Theatre, Park90

Clifton Terrace, Finsbury Park, London N4 3JP

Box Office: 020 7870 6876 //boxoffice@parktheatre.co.uk

TICKETS

£15.00 – £20.00

Multibuy discount is 20% 

3 March 2026 – 28 March 2026

tell me straight

Performances Monday to Saturday, 7:00pm evenings, 2:30pm matinees

aggy

Performances Monday to Saturday, 8:45pm evenings, 4:15pm matinees

CAST ANNOUNCED FOR SHEFFIELD THEATRES
WORLD PREMIERE PRODUCTION OF
THE LADIES FOOTBALL CLUB
By Stefano Massini, Adapted by Tim Firth, Directed by Elizabeth Newman

Sheffield Theatres have today announced casting for the major world premiere production of The Ladies Football Club by Stefano Massini (The Lehman Trilogy) and adapted by Tim Firth (Calendar Girls). The production plays at the Crucible Theatre from Sat 28 Feb – Sat 28 Mar 2026 directed by Sheffield Theatres Artistic Director, Elizabeth Newman with movement by Frantic Assembly’s Scott Graham.

One of the must-see new plays of 2026, The Ladies Football Club comes to the stage from the Tony Award-winning writer of the West End and Broadway hit, The Lehman Trilogy, Stefano Massini in a new adaptation by BAFTA and Olivier Award-winner of the global phenomenon, Calendar Girls, Tim Firth. In this exciting piece of storytelling, The Ladies Football Club is a powerful story of friendship and community directed by award winning Elizabeth Newman, Artistic Director of one of the UK’s most prestigious national producing powerhouses, Sheffield Theatres. Tony and Olivier Award nominated Artistic Director of Frantic Assembly, Scott Graham will create the movement for the production, sharing his unique signature craft of storytelling through movement. With its roots firmly set in Sheffield, this new play is a universal story brought together by some of the leading forces in contemporary theatre.

Announced today, the cast includes Jessica Baglow (Gentleman Jack) as Rosalyn, Leah Brotherhead (Hullraisers) as Hayley, Lesley Hart (Shetland) as Berenice, Bettrys Jones (The Buddha of Suburbia) as Olivia, Ellie Leach (Coronation Street)as Brianna, Clair Norris (EastEnders) as Melanie, Anne Odeke (Princess Essex) as Justine, Krupa Pattani (Mr Bates vs The Post Office) as Cheryl, Cara Theobold (Downton Abbey) as Violet, Chanel Waddock (Othello)as Penelope, Charley Webb (Emmerdale) as Abigail. Joy Adeogun (Romeo and Juliet) and Jamie Randall (The House Party)will perform as Swings for the production.

Sheffield Theatres Artistic Director Elizabeth Newman said: “The cast and creatives coming together for The Ladies Football Club bring extraordinary imagination, rigour, and heart to a story that demands to be seen and heard now. It honours the courage and collective spirit at the root of the history of women’s football, while pushing boldly into the present. The Ladies Football Club does not simply celebrate an important moment in history – it reclaims it. I am so excited to create this piece of storytelling with such a great team of people!”

Stefano Massini added: “I read that the majority of the world’s population is female. But the rules and power are firmly in the hands of us men. This is what my play is about: a moment in time when a group of women, while their husbands were away fighting at the front, took the ball and made women’s football history. It’s a story I loved telling, because it’s the sum of eleven stories, those of each of the workers who made up that dream team.”

Tim Firth said: “The story of the birth of women’s football is intrinsically linked to its disappearance. The excitement I felt on reading Stefano’s funny and lyrical verse drama  was the challenge of creating a play that was a football match: told as much in movement as in words by eleven players who never leave the field, who support each other, fight each other and discover a passion for something forbidden. It is a tale told in two halves with some critical extra time and, tragically for the women involved, no V.A.R.”

With World War One forcing men onto the front line to fight, the women of Sheffield take their place in the factories, constructing the bombs and the bullets.

When they start kicking a football around on their lunch breaks, it soon becomes clear that it’s not just positions on a factory floor these women can fill; it’s on the football pitch too. Finding unexpected strength through their new passion and teamwork they end up playing to crowds of over fifty thousand, all the time unaware something is looming that will blow the whistle on their beautiful game.

The creative team are Writer Stefano Massini, Adaptor Tim Firth,Director Elizabeth Newman,Designer Grace Smart, Movement Director Scott Graham, Lighting Designer Ben Jacobs, Sound Designer Ella Wahlström,Video Designer Joe Ransom, Composers Ella Wahlström, Tim Firth and Steve Parry, Casting Director Juliet Horsley,Associate Director Ben Occhipinti, Associate Sound Designer Pierre Flasse, Assistant Director Flo Gill and Additional Musical Arrangements & Recording Steve Parry

Olivier Awards unveils new Headline and Broadcast Partners for 50^th anniversary 

·         Cunard becomes Headline Partner of the Olivier Awards, elevating their existing partnership with the UK’s most prestigious theatre event 

·         The ceremony will air in a prime-time slot on the BBC, serving as this year’s Broadcast Partner 

OlivierAwards.com 

Wednesday 14 January, 11am: Today, the Olivier Awards unveils partnerships for 2026, including Cunard as new Headline Partner for the event, and the BBC as Broadcast Partner. The ceremony will take place on Sunday 12 April and will mark the 50^th anniversary of the awards, which were established in 1976.  

As Headline Partner, Cunard further strengthens its long-standing connection with world-class theatre and commitment to supporting the arts, prevalent both on board their ships and ashore. Cunard takes the wonder of the West End to the open ocean, both through its core on-board entertainment programme which includes the Olivier Award-winning Come From Away (2019 Best New Musical winner) and Pride And Prejudice* (*Sort Of) (2022 Best Entertainment or Comedy Play winner), and through its dedicated London Theatre at Sea voyages, offering guests exclusive performances from leading talent and sharing behind-the-curtain secrets of the Olivier Awards. Additionally, Cunard gives its name to the Cunard Best New Musical award, marking a new phase for this prestigious partnership. 

Katie McAlister, President of Cunard, said: 

“Cunard has long celebrated the very best in art, culture and exceptional entertainment experiences, and we are incredibly proud to be the Headline Partner of the Olivier Awards – the UK’s most prestigious stage honours. This partnership reflects our shared passion for outstanding performance, storytelling, and British heritage, both on land and at sea.” 

For its 50^th year, the Olivier Awards will be televised in a prime-time slot on the BBC on Sunday 12 April. The programme will be delivered in partnership with Penny Lane Entertainment, producers of numerous event specials across music, comedy and entertainment. The BBC will also broadcast a special episode of Bargain Hunt, featuring a cast of previous Olivier Award nominated and winning contestants, and a look behind the scenes at an iconic West End theatre. 

Kash Bennett, President of the Society of London Theatre, said: 

“I am thrilled that the Olivier Awards are working with the BBC for our 50^th anniversary and that Cunard, stalwart champions of London theatre, will be our Headline Partner. These prestigious partnerships enable us to shine a spotlight on the best of London theatre and the vitality of arts and culture.” 

As part of exciting plans for 2026, the Olivier Awards with Cunard will be celebrating the crucial role that UK theatre plays as an incubator of talent, linking past winners and nominees with the local venues that inspired and nurtured them. A brand-new partnership with The Observer will offer enhanced coverage of the nominations and events surrounding the awards, including an exclusive series of nominee portraits.  

The prestigious Nominees’ Celebration will take place at The Londoner (Official Hotel Partner), where nominees will enjoy an afternoon tea, with a drinks reception provided by Piper-Heidsieck, who are returning as Official Champagne Partner, and celebration partner Famille Perrin. Alongside Cunard as Headline Partner, the Olivier Awards has secured additional partners including Audi, returning as Official Car Partner, Edmunds Cocktails, The Ivy, and Fortnum & Mason, to enhance this year’s ceremony and associated events. 

Tickets for the Olivier Awards 2026 with Cunard are now on sale to the public, available at RoyalAlbertHall.com.  

OlivierAwards.com | Facebook | X | Instagram | TikTok | YouTube 

#OlivierAwards 

SALLY ANN MATTHEWS

JOINS THE CAST OF THE

UK AND IRELAND TOUR OF

HERE & NOW

FROM 23 JANUARY 2026

The producers of the UK and Ireland tour and WhatsOnStage Award-nominated musical HERE & NOW, presented by UK pop sensation, Steps, are delighted to announce that Coronation Street star Sally Ann Matthews will take over the role of Patricia from 23 January 2026. Sally takes over the role from originator Finty Williams who finished her run in December 2025.

Sally Ann Matthews is best known for playing the role of Jenny Bradley in ITV’s Coronation Street. She joined the show in 1986 through to 1991, she returned for a brief return in 1993 before coming back as a regular in 2015 staying with the show until October 2025. Outside of the role that spanned 39 years Sally has starred in various theatre productions including: Mum’s The Word (UK Tour), The Business of Murder (UK Tour), Present Laughter (UK Tour), Killing Time (UK Tour) and The Accrington Pals (Bolton Octagon).

Her other TV and film credits include: Murdered by My Boyfriend (BBC), The 4 O’Clock Club (BBC), My Mad Fat Diary (Channel 4), EastEnders (BBC), Being Human (BBC), Song for Marion (Steel Mill Pictures) and Brassed Off (Miramax Films).

Sally joins Lara Denning as Caz, Jacqui Dubois as Vel, Blake Patrick Anderson as Robbie, Rosie Singha as Neeta, River Medway as Jem, Chris Grahamson as Gareth, Edward Baker-Duly as Max, Ben Darcy as Ben, John Stacey as Lesley and Lauren Woolf as Tracey.

The cast is completed by Georgia Christofi, Kade Ferraiolo, Albert Green, Harry Jack, Casey Jay, Charlie-Jay Johnson, Rosemary Annabella Nkrumah, Dean Rickards, Markus Södergren, Genevieve Taylor and Jessica Vaux.

Jack Palmer (Mary & George, Sky; Better Man, Partizan) also joins the show as Off Stage Swing.

Featuring Steps’ most beloved hit songs, HERE & NOW has an original book by Shaun Kitchener and is produced by the band and ROYO with Pete Waterman. It is directed by Rachel Kavanaugh, with choreography by Olivier Award-winning Matt Cole and Matt Spencer-Smith as musical supervisor, orchestrator and arranger.

It’s Friday night and the vibe is right as Caz and her fabulous friends dream of the perfect summer of love. But when Caz discovers her ‘happy ever after’ is a lie, and the gang’s attempts at romance are a total tragedy, they wonder – will love ever get a hold on their hearts? Or should they all just take a chance on a happy ending…

Steps (Claire Richards, Faye Tozer, Ian ‘H’ Watkins, Lee Latchford-Evans and Lisa Scott-Lee) are the UK’s most successful mixed sex pop group of all time, with 14 top five singles, 4 number one albums, 22 million record sales, 500 million streams & 11 sold-out national arena tours under their belts. The band’s hits include #1 singles Tragedy/Heartbeat and Stomp, the gold certified One For Sorrow & Better Best Forgotten, the silver certified 5,6,7,8, Last Thing On My Mind, Love’s Got A Hold On My Heart, Chain Reaction, all of which will feature in the musical alongside many more.

Steps’ 2017 comeback tour sold out all 300,000 tickets, making it one of the biggest pop tours of the year. The band have since continued to release new music including two further iTunes #1 singles, the Sia-penned What The Future Holds in 2020 and the Michelle Visage duet Heartbreak In This City in 2022. In 2022 Steps celebrated their 25th anniversary with a headline summer tour and released the #1 album Platinum Collection which means they join ABBA, Rolling Stones and Stereophonics as the only groups in UK history to score #1 albums in four consecutive decades.

Musical supervision, orchestrations and arrangements by Matt Spencer-Smith, set design by Tom Rogers, costume design by Gabriella Slade, lighting design by Howard Hudson, sound design by Adam Fisher, wigs and hair design by Sam Cox, make-up design by Jackie Saundercock, casting by Will Burton for Grindrod Burton Casting, Music Technology by Phij Adams and Production Management by Setting Line.

Website: TheStepsMusical.com

Instagram: @TheStepsMusical

X: @TheStepsMusical

TikTok: @TheStepsMusical

Facebook: @TheStepsMusicalUK

2025/26 TOUR SCHEDULE

20– 24 January 2026                        Southampton Mayflower Theatre                                                                       02380 711811

                                                           www.mayflower.org.uk                                    

27 – 31 January                                 Belfast Grand Opera House

                                                           www.goh.co.uk                                                

3 – 7 February                                   Cardiff Wales Millennium Centre

                                                           www.wmc.org.uk                                             

10 – 15 February                               York Grand Opera House

                                                           www.atgtickets.com/York                                

17 – 22 February                               Oxford New Theatre

                                                           www.atgtickets.com/Oxford                             

24 February – 1 March                      Edinburgh Playhouse

                                                           www.atgtickets.com/Edinburgh                       

10 – 15 March                                    Wolverhampton Grand                                                                                       01902 42 92 12

                                                          www.grandtheatre.co.uk                                 

24 – 29 March                                    Theatre Royal Plymouth                                                                                     01752 267 222

                                                           www.theatreroyal.com                               

31 March – 4 April                              Milton Keynes Theatre

                                                           www.atgtickets.com/milton-keynes-theatre       

8 – 12 April                                         Blackpool Opera House                                                                                     0844 770 0593*

                                                           www.wintergardensblackpool.co.uk                

14 – 19 April                                       Norwich Theatre Royal                                                                                       01603 630 000

                                                           www.norwichtheatre.org                                  

21 – 26 April                                       Hull New Theatre                                                                                                 01482 300 306

                                                           www.hulltheatres.co.uk                                   

28 April – 3 May                                 Leicester Curve                                                                                                   0116 242 3595

                                                           www.curveonline.co.uk                                   

5 – 10 May                                         Leeds Grand Theatre                                                                                          0113 243 0808

                                                           www.leedsheritagetheatres.com                     

12 – 16 May                                       Canterbury Marlowe Theatre                                                                             01227 787787

                                                            www.marlowetheatre.com

SIX THE MUSICAL

NEW QUEENS ASCEND THE THRONE!

AS SIX CONTINUES TO REIGN SUPREME AT THE VAUDEVILLE

SMASH-HIT WEST END SHOW NOW BOOKING UNTIL JANUARY 2027

The producers of Toby Marlow and Lucy Moss’s award-winning global smash hit SIX are delighted to reveal the new Queens who will take up their crowns in the West End from Tuesday 24 February, as the home-grown musical sensation continues its run at the Vaudeville Theatre, now booking until January 2027.

Adrianne Langley (Titanique – Criterion Theatre; Twist and Shout – UK Tour) will play ‘Catherine of Aragon’, while Marisha Morgan (Tina – West End; Charlie and the Chocolate Factory – UK Tour; Anyone Can Whistle – Southwark Playhouse) joins the Queendom as ‘Anne Boleyn’. Jessica Aubrey (Wicked – West End; Titanique – Lido Paris; But I’m A Cheerleader – Turbine Theatre) as ‘Jane Seymour’, with Freya Karlettis (Play On! – UK Tour; Hairspray; The Lion King) as ‘Anna of Cleves’, Leesa Tulley (Why Am I So Single – Garrick Theatre; SIX – UK Tour) as ‘Katherine Howard’, and Nia Stephen (&Juliet – UK Tour; The Enormous Crocodile – Regent’s Park) will make her West End debut as ‘Catherine Parr’.

They are joined by Tegan Bannister (Oliver! – Gielgud Theatre & Chichester; I Should Be So Lucky – UK Tour; Les Misérables – West End & UK Tour) as Alternate ‘Aragon/Cleves’, Mary Elliott as Alternate ‘Boleyn/Howard’, and Ashlyn Weekes (Dear Evan Hansen – Asia Tour; Starlight Express – Wembley Park; The Royal Variety Performance 2024) as Alternate ‘Seymour/Parr’. The company is completed by Super Swings Laura Baxter, who is continuing from the 2025 cast in which she made her professional and West End debut, Gabs Boumford (SIX – Australasian Tour; Grease – Dubai Opera) and Imogen Rose Hart (Hamilton – UK Tour; A Chorus Line – Leicester Curve & Sadler’s Wells; Your Lie in April – Theatre Royal Drury Lane).

The band features Ladies in Waiting Beth Jerem as Musical Director/Keys, Alice Angliss on Drums, Emma Jemima on Guitar, Kelly Morris on Bass, and Annabelle Lee Revak as Assistant Musical Director.

Think you know the six Wives of Henry VIII? Think again…

Prepare to lose your head and experience the Tudor Wives’ lives as they turn back the clock and take to the stage to reclaim their crowns and retell their stories of love, loss and the infamous ex they all have in common.

Join Aragon, Boleyn, Seymour, Cleves, Howard and Parr, backed by their fierce on-stage band, the Ladies in Waiting, and Get Down to a royal retelling of the sassiest story in British Her-story.

SIX is written by Toby Marlow and Lucy Moss, with direction by Lucy Moss and Jamie Armitage. Choreography is by Carrie-Anne Ingrouille, with set design by Emma Bailey, costume design by Gabriella Slade, lighting design by Tim Deiling, sound design by Paul Gatehouse, musical orchestration by Tom Curran, and musical supervision by Joe Beighton, and casting by Pearson Casting.

SIX is produced by Kenny Wax, Wendy & Andy Barnes and George Stiles.

This newly announced company follows a remarkable period of international celebration for the musical. Autumn 2025 saw SIX welcome its original Japanese Queens for a special one-week residency at the Vaudeville Theatre, where the production was performed entirely in Japanese with English captions — a UK first. The residency drew both critical and audience acclaim, reaffirming the show’s global resonance and its deepening relationship with international audiences.

2025 also saw the launch of the SIX the Musical Afternoon Tea at The Soho Hotel, a limited-edition collaboration running through to February 2026. Featuring pastries inspired by each Queen, the experience offers audiences another way to immerse themselves in the world of SIX ahead of seeing the musical in the West End.

Winner of over 35 international awards, including two 2022 Tony Awards, four WhatsOnStage awards, and nominated for five Oliviers, SIX can also be seen live on stage worldwide: as well as London’s West End, the show continues to tour the UK and throughout Europe and internationally. Seasons in Manila and Singapore have recently been completed, and 2026 sees a new Australasian Tour opening in July, a new Spanish language production opening in Madrid in September, as well as tours to Netherlands, Germany and Asia.

SIX is currently playing at Broadway’s Lena Horne Theatre, the tour continues to play cities throughout the US. In 2024, the show both achieved 1.5million followers globally – across YouTube, Instagram, X, TikTok and Facebook in the UK, US, Australia, Korea and beyond – and hit another milestone achievement, with SIX the Musical (UK Studio Cast Recording) and the Grammy Award®-nominated SIX: LIVE ON OPENING NIGHT (the first Original Broadway Cast Recording ever recorded live on opening night) songs having been streamed in excess of 5.2 billion times.

Tickets to all international productions of SIX are available via sixthemusical.com

Social media:

Facebook: sixthemusical

Twitter: @sixthemusical

Instagram: @sixthemusical

www.sixthemusical.com

RABBLE Theatre

Powerful play about the Post Office Scandal headed to

Doncaster Cast

Glitch – The True Story of the Post Office Scandal

Written by Zannah Kearns

Directed by Gareth Taylor

A new play about the Post Office scandal is headed to Doncaster Cast this coming February. Glitch – The True Story of the Post Office Scandal, will be in the theatre on 25th February as part of a UK national tour.

“We are very pleased to be bringing Glitch to Cast, Doncaster. Although tragic, this is an inspiring contemporary story of one woman’s courageous fight against deep corruption. Having worked so closely by people directly affected by the awful events, we are proud and determined to keep the story in the public eye.” Toby Davies, Artistic Director and Founder of RABBLE Theatre.

RABBLE Theatre created Glitch with sub-postmistress Pam Stubbs, who worked tirelessly to prove not just her own innocence in the Horizon scandal, but that of thousands of others.

The play featuresNaveed Khan, who returns to Doncaster, having performed in the theatre’s 59 Minutes to Save Christmas back in 2013. Naveed trained at The Oxford School of Drama. He will be playing the roles of David, Daljit, Green and Sir Alan Bates.

Theatre – Tamburlaine, Buddha of Suburbia and Tartuffe (RSC), Pitcairn (Shakespeare’s Globe, Chichester Festival Theatre & Out of Joint), Parlour Song (Greenwich Theatre), A Thousand Splendid Suns (Birmingham REP), Around the World in 80 Days (Theatre Royal Bury St Edmunds),  Paradise of the Assassins (Tara Arts), Darknet (Southwark Playhouse) 59 Minutes to Save Christmas (The Barbican & Slung Low), Flood – To The Sea & Flood – Abundance (Slung Low & BBC), The Trial (Watford Palace Theatre), Pioneer and After the Rainfall (Curious Directive).

 TV  – QuarterLife (Amazon Prime), Black Ops (BBC), The Cleaner (BBC),Ludwig (BBC), Generation Z (All3Media International), Suspect: The Shooting of Jean Charles de Menezes (ITV), This City is Ours, (LeftBank), Sex Education (Netflix),  Breeders (Sky), Not Going Out (BBC), Tell Me Everything(ITV), Living in Fear (Sky), Humans (Channel 4), Electric Dreams (Channel 4), Hold the Sunset (BBC), Josh (BBC), Birds of a Feather(ITV), River (BBC) and The Catherine Tate Show (BBC).

Feature Film – Bridget Jones – Mad About the Boy (Universal), Fuze (Sigma Films), Death on the Nile (20th Century Studios), Between The Lights (Laal Blue Dot), Northern Comfort (Good Chaos), What’s love got to do with it? (Instinct), Body of Water (BFI & BBC Films), Survivor (Millennium Films),Second Coming (BFI/Film4).

Joanne Howarth will play the leading role of Pam Stubbs, the sub-postmistress of Barkham wrongly accused of stealing tens of thousands of pounds. Joanne was in RABBLE’s The Last Abbot of Reading. She is a ‘Shakespeare’s Globe’ Associate Artist where she worked on 5 seasons of Shakespeare and The Crucible last year and has been in 11 shows for the RSC, recently as Margaret Thatcher in Falkland Sound. Joanne started her career at The Wolsey, Ipswich and has played many places on the ‘Glitch’ tour including The Importance of Being Ernest in Chester, Our Lady of Blundellsands in Liverpool, and Henry V in Scarborough.  Other favourites this millennium include Told By An Idiot’s You Can’t Take It With You at The Royal Exchange Manchester, Parliament Square there and at The Bush, Goodnight Mr Tom in the West End, King Lear with Glenda Jackson at The Old Vic and The Pull of Negative Gravity at 59E59st Off-Broadway. Television includes Wallander, Grange Hill, Spooks, It’s A Sin, Call the Midwife and EastEnders.

Sabina Netherclift will be playing the roles of Kay Linnell, Swift, Hilary and others. She trained with Jacques Lecoq in Paris and has worked extensively as a performer, movement director and director. Her acting credits include Glitch stage 1 and Off the Block (RABBLE Theatre), The Great British Bump Off (South Street Arts Centre), The Red Ladies, The Feast During the Plague, The Overcoat (Clod Ensemble), and The Nativity (Young Vic). On screen, she has appeared in Doctors (BBC) and The Rise and Fall of Ancient Rome (BBC).

She co-founded Filament Theatre, alongside composer Osnat Schmool, and is a resident artist at South Street Arts Centre. Sabina lectures at GSA and is a regular teacher for RABBLE Theatre’s participation programme.

Playing Nora, Tracey, Jan, Judge is Laura Penneycard. For RABBLE, Laura has been involved in various development projects, Off The Block new writing festival and the radio production of Who Killed Alfred Oliver?. She has been involved in Glitch from the very beginning.

Laura graduated from The Royal Welsh College of Music & Drama 2002. Theatre credits include The Mousetrap, Firework Maker’s Daughter, Master and Margarita directed by Blanche McIntyre & Of Good Report chronicling the work of Spike Milligan & co. She has toured with Clwyd Theatr Cymru, Bristol Old Vic, Birmingham Stage, Yellow Coat Theatre, Queens Theatre Hornchurch, Torch Theatre, Rosa Productions, Greenham Trust and ACT Productions. 

TV & film credits include Doc Martin and multiple historical horrors.

Glitch is written by Zannah Kearns and directed by RABBLE associate artist, Gareth Taylor. Dramaturgy is by RABBLE associate artist, Beth Flintoff who is also associate playwright at the Royal Court Theatre. Sound and Music Composition is by RABBLE Associate Artist, Benjamin Hudson whilst lighting design is from Oliver Welsh. Set and costume design is by Caitlin Abbot.

The tour spans the majority of England and even into Wales, near the post office of Sir Alan Bates.

The play was originally commissioned by the University of Reading and based on an original idea by Elizabeth Conaghan. It was created in association with legal professionals and victims of the story and first produced in June 2024 at Minghella Studios, University of Reading.

For further information and to learn how the production was created, please visit https://rabbletheatre.com/glitch/.

Festival Theatre, Malvern – until 17th January 2026

Reviewed by Courie Amado Juneau

4****

Sherlock Holmes – we all know him. Right? Well, maybe…

Tonight’s story revolves around familiar enough themes from the Holmesian books – stolen plans, spies, some juicy murders… Principally, this original story from the pen of Nick Lane straddles the period between Holmes dismantling Moriarty’s criminal network and the famous scene at the end of “The Final Problem” at the Reichenbach Falls.

It’s immediately obvious this production is revelling in the unfamiliar, since none of the normal habitues of Baker Street are following the common template. For instance, Holmes doesn’t have slicked back hair, there’s no deerstalker or pipe and this is quite a young depiction. Maybe that’s just my impression from the energetic portrayal from leading man Mark Knightley, who gives the character his all in thrilling fashion with emotional scenes, action sequences and more. Everyone has their own favourite iteration of the great detective – so taking on this monumental character must be a rather poisoned chalice – bravo, therefore, for a genuinely enjoyable reading.

Tonight’s Dr Watson isn’t the bumbling buffoon of Rathbone’s era, nor the slightly exasperated, rather vanilla depiction of the Sherlock TV series. Instead, Ben Owora, gives us a nicely rounded characterization. Slightly matter of fact (although this was a professional in the Victorian Era so…). All in all a fine portrayal.

The rest of the cast play varied and diverse roles. Quite a feat producing such variety with just subtle clothing, voice and mannerism changes. Each had their highlight but my favourite was Robbie Capaldi’s Roland Smith whose deadpan lugubriousness was a sheer delight! Pippa Caddick’s Irene Adler was powerful and gave Holmes some deep emotional waters to negotiate. Eliot Giuralarocca entertained with the marvelously officious government lacky Henry Petty-Fizmaurice. Last, but by no means least, was Gavin Molloy’s Moriarty – all the more sinister in his normality, with plenty of delicious, hateful thuggery along the way. Wonderful acting from one and all!

As I mentioned, there was plenty for Holmes buffs to nod knowingly at via allusions to famous cases like “A Scandal in Bohemia” and “The Bruce-Partington Plans”. There was liberal use of London landmarks (as Conan Doyle was wont to do). I also really appreciated the running joke about Holmes violin playing – straight from the pages of the original tomes. Some may find such an involved Mrs Hudson a bit jarring, but this worked for me as Pippa brought a real zest and zeal to the character.

I do feel that the play was a tad long – although the second half picked up the pace and was all the better for it. Sadly, I never quite got that lovely Holmesian explanation of his detective method nor Watson’s attempts at the same, falling short of the mark. Basically, there was little interrogation of Holmes’s method, which was a pity.

That said, the finale’s interplay between Holmes and Moriarty regarding the nature of power and politics and the very final moments of the play (which I won’t spoil, for those who wish to see it) made the price of admission well worthwhile – even on a wintery, January night.

PLAYHOUSE THEATRE, LIVERPOOL – UNTIL 17TH JANUARY 2026

REVIEWED BY MIA BOWEN

5*****

Last night, I had the immense pleasure of delving into the intriguing, clue-filled world of Inspector Morse: House of Ghosts at the Playhouse. Given the packed theatre, it was clear that I was among many who had spent decades solving mysteries from the comfort of their own sofas. Although I’m not particularly well-versed in the ITV series, I discovered that a deep understanding of Morse isn’t necessary to appreciate this production—just a love for clever mysteries, sharp dialogue, and the occasional theatrical ego meltdown.

This first-ever stage adaptation of the iconic detective immerses Morse and Lewis in a delightfully meta whodunnit surrounding the mysterious on-stage death of a young actress named Ophelia. As the investigation progresses, it intertwines with sinister events from Morse’s own past, occurring 25 years earlier. This connection prompts moments of self-reflection amid a theatrical realm filled with actors, secrets, and a magnificently domineering director—complete with an abundance of twists, turns, and red herrings.

The cast is outstanding across the board, making it genuinely challenging to highlight individual performances. Charlotte Randle, as Verity, was particularly impressive—exuding brilliance on stage while delivering gloriously exaggerated, dramatic portrayals of acting with impeccable timing. Spin Glancy as Justin fully embraced the over-the-top melodrama, providing hilarious moments that were thoroughly enjoyable in the best way possible.

At the core of the narrative are the detectives themselves. Tom Chambers as Inspector Morse and Tachia Newall as DS Lewis have a terrific rapport, demonstrating an effortless chemistry that grounds the play and lends significant weight to the mystery. Their partnership is sharp, engaging, and a pleasure to witness as they navigate both the crime and the chaos of the theatrical world surrounding them.

The design elements deserve particular commendation. Colin Richmond, responsible for both set and costume design, has crafted a wonderfully versatile stage that transitions seamlessly from crime scene to pub to police station and back to the stage itself. The movement of props on and off the stage is slick and seamless, maintaining the story’s momentum without ever disrupting the audience’s immersion. It’s a clever, fluid, and immensely effective design.

Even as a novice to Morse, it was impossible not to recognise the significance of the character’s legacy. After all, this is the series that Radio Times readers voted as the greatest British crime drama of all time in 2018 and which ranked 42nd on the British Film Institute’s list of the 100 Greatest British Television Programmes. Fortunately, Inspector Morse: House of Ghosts more than lives up to this reputation, offering classic Morse intelligence with a playful theatrical twist.

Mayflower Theatre, Southampton – until 17 January 2026

Reviewed by Gemma Gibson

4 ****

Football and theatre are both quintessentially England, so it is exciting to see worlds collide with James Graham’s new and uplifting play, Dear England.

Dear England is the story of Gareth Southgate’s revolutionary journey as manager for England, and how he used his eight years in post to not only help bring football home, but transform the culture and mindset of the team and make England smile again.

With the England men’s team suffering loss after loss, as well as the penalties curse, it is up to Southgate to take on what is deemed the impossible job and bring the team to glory.

The casting for this play was key and it did not disappoint, with all the familiar football faces brought to life. From the furrowed brow on the pitch to the iconic waistcoat, David Sturzaker does a brilliant job taking on the role of Southgate, performing his personality and mannerisms with ease and charm.

Team captain Harry Kane (played by Oscar Gough), Marcus Rashford (Jayden Hanley), Jordan Pickford (Jack Maddison); all the team is there and skilfully interpreted by the cast, making the audience on opening night smile and remember these key players with warmth. Playing team psychologist Pippa Grange, Samantha Womack is refreshing, bringing the required calm and grounded energy to the role.

Caricature cameos from Gary Lineker (Ian Kirkby), plus a few older sport personalities and a politician or two, adds moments of both realism and humour to the story.

The best part for me was, of course, the football matches. How the cast approaches these scenes (without a football!), alongside the set, sound and music providing an electric stadium feel, you are teleported right back to the iconic moments of 2018, 2021, 2022 and 2024. I really felt I was there, reliving the action.

While the play takes you seamlessly through a world of football chants, training, pep talks, and matches, I was pleased this story also includes the wider issues and themes of its time. From navigating Brexit and the Covid-19 pandemic, to the power of social media and Black Lives Matter, these were important parts of Southgate and the team’s legacy and are expertly woven into the story, proving that football isn’t just a sport.

The set for this play is simple but effective, alternating between pitch and locker room as quick as a wink. 

This is a thought-provoking production that shines a light on the successes and struggles of the England team, making you laugh, sing and go quiet in all the right places. Most importantly this play is a love letter to England, a country with football and community at its very heart.

You do not need to be a football fan to enjoy this entertaining story of triumph, loss and nostalgia. And, if you are a football fan, swap out the stadium for the theatre one evening to watch Dear England.