Author: FairyPoweredProductions

YORK THEATRE ROYAL ANNOUNCES FURTHER PROGRAMMING FOR 2026 INCLUDING NEXT YEAR’S PANTOMIME

York Theatre Royal today announces further programming, including Snow White & the Seven Dwarfs for Dec 2026 – and a return to the Main House stage for their Youth Theatre company with an adaptation of Wendy & Peter Pan.

Additional new shows going on sale include touring work from the

Hofesh Shechter Company, Le Navet Bete, the Reduced Shakespeare Company and more – as well as a variety of one-night events

and a return to the Studio of ‘The Old Paintshop’ series of cabaret club nights.

York Theatre Royal today announce their 2026 pantomime extravaganza will be Snow White & the Seven Dwarfs with York family favourite Robin Simpson (Aladdin, Sleeping Beauty) returning as the Dame. With lavish costumes, stunning sets, hilarious jokes and dazzling special effects, this is set to be an unmissable treat for the whole family. Written by Paul Hendy and directed by Juliet Forster, York Theatre Royal are renewing their collaboration with Evolution Productions for this magical fairytale panto. Running from 4 December 2026 to 3 January 2027, tickets go on sale with an early bird offer available for bookings made before 4 January 2026.

Autumn 2025 will also see a return to the Main House stage for York Theatre Royal’s Youth Theatre company with a production of Wendy & Peter Pan (3-5 September), Ella Hickson’s retelling of JM Barrie’s Peter Pan… Directed by Lydia Crosland and Sophie-Jade Howell with a company of young people involved both on stage and behind the scenes, the show will follow the story of Wendy Darling as she leads the rebellious lost boys, takes on the terrifying Captain Hook and discovers the power of being brave.

York Theatre Royal members will have access to 5-day priority booking with all the new shows going on sale from 1pm on 17 November. General sale will be open at 1pm on 22 November.

These two productions join York Theatre Royal’s diverse line up of produced work for 2026 – which includes The Secret Garden – The Musical (17 March – 4 April),based on Frances Hodgson Burnett’s beloved classic. This new revival of the Broadway musical will be directed by Tony Award-winner (and former YTR Artistic Director) John Doyle with a captivating score by composer Lucy Simon and book and lyrics by Marsha Norman. The creative team includes Catherine Jayes (Musical Supervisor and Orchestrator), David L. Arsenault (Co-Designer), Gabriella Dalton (Costume Designer), Johanna Town (Lighting Designer), Tom Marshall (Sound Designer) and Ginny Schiller CDG (Casting Director.)

The YTR produced work continues into 2026 with the new thriller The Psychic (29 April – 23 May) from Andy Nyman and Jeremy Dyson, creators of the smash hit Ghost Stories.  This twisted new thriller brings thrills, laughs and shocks to the stage in the World Premiere of this electrifying and unmissable play. The creative team includes Rae Smith (Designer), Chris Fisher (Illusions Designer), Zoe Spurr (Lighting Designer), Nick Manning (Sound Designer) and Arthur Carrington CDG (Casting Director.)

2026 will also see the world premiere of a YTR co-production with ETT and An Tobar and Mull Theatre, The Last Picture which runs in the Studio 5-14 February. Written by Catherine Dyson and directed by John R. Wilkinson, The Last Pictureis a moving new play which focuses on the power of empathy and its limits, from the unique perspective of emotional support dog Sam.

Paul Crewes, CEO of York Theatre Royal said, “Our 2026 line up of shows offers a wonderfully diverse range of work for our audiences to enjoy – from internationally renowned dance, award-winning musicals and world premiere productions created here in York.

“Our produced work continues to expand and grow with 2026 set to be an exceptional year for us as we work with Tony award-winning Director John Doyle on a revival of The Secret Garden – The Musical and a world premiere of a brand new play The Psychic from Andy Nyman and Jeremy Dyson who created the hit show Ghost Stories. Our co-production of The Last Picture in the Studio will be a startingly relevant piece of theatre and we are delighted to have the world premiere of the show here in Feb. 

“For the first time since 2019 we also welcome our Youth Theatre company onto the Main House stage with an adaptation of Wendy & Peter Pan which looks set to be absolutely magical and will offer a wonderful opportunity for young people to act on our stage and get involved backstage. We then round off our year with another fabulous panto, Snow White and the Seven Dwarfs which will be once again in collaboration with Evolution Productions.

“We can’t wait for audiences to experience this unmissable line up of shows and would really encourage people to take a leap of faith and see something new in 2026!”

Alongside the programme of produced work, dance continues to be a focus for York Theatre Royal – with 2026 plans including a world premiere from Phoenix Dance Theatre Interplay (27-28 February) and Hofesh Shechter’s new full-length work for Shechter II, IN THE BRAIN (12-13 June). Brought to life by the fierce, unstoppable energy of Shechter II, this performance will be a space to break free, where stories dissolve, identity fades, and only the beat rules.

The Everybody Dance Festival (6-7 March) will alsomake a return to showcase and celebrate dance in school and community settings – with York Dance Space also celebrating their 10-year anniversary with a spectacular showcase on the Main House stage, Together We Move (4 July).

Comedy-lovers are in for a treat with a riotous, all-out hilarious ride through Greek mythology from kings of comedy Le Navet Bete. Oh Zeus! (18-20 June) will bring sensational physical comedy, outrageous jokes, fast paced chaos, and more togas than you can smash a plate at. Fans of the Bard can also look forward to a rollercoaster ride through all 37 of his plays from the Reduced Shakespeare Company as they present a wild and irreverent show The Complete Works of William Shakespeare (Abridged) (7-11 July) which will leave audiences breathless with laughter.

For families, a mischievous musical based on Roald Dahl’s snappy book The Enormous Crocodile will be coming to the Main House (25-28 June)with toe-tapping tunes by Ahmed Abdullahi Gallab, a rib-tickling book and lyrics by Suhayla El-Bushra, and additional music and lyrics by Tom Brady.

2026 will see a return to York Theatre Royal from a range of local amateur companies including York Opera who are celebrating their 60th anniversary year with a production of Die Fledermaus in the Main House (3-6 June). York Settlement Community Players will also be back in the Studio with the deeply nostalgic Blue Remembered Hills (18-28 February) by Dennis Potter.

New shows joining the line up in the STUDIO include Meet Fred (31 March – 2 April), a darkly funny satire on disability rights; Departure(8-9 May) a music and dance performance which explores themes of death and ritual; Crumbs (20-23 May), a laugh-out-loud one-woman comedy from Badapple Theatre; and A Brief Case of Crazy (16-18 July), a heart-warming and hilarious physical comedy inspired by the genius of Charlie Chaplin.

The Old Paint Shop Cabaret Club will also return to the Studio (4 –25 June) and will feature regular cabaret nights of comedy, music, improv and burlesque by local artists. The line-up includes returning favourites Freida Nipples, The Jazzville Quartet, Queer Spaces and The Isolation Creations as well as new acts such as Wright&Grainger, Rock Paper Goose and Thorpe & Morrison.

 5-day priority booking for York Theatre Royal members ppens from 1pm on 17 November. General sale will follow at 1pm on 22 November.

Box office 01904 623568 |yorktheatreroyal.co.uk

LISTINGS

SLEEPING BEAUTY

2 December 2025 – 4 January 2026

THE LAST PICTURE

5 February – 14 February 2026

THE SECRET GARDEN – THE MUSICAL

17 March – 4 April 2026

THE PSYCHIC

29 April – 23 May 2026

WENDY & PETER PAN

3 September – 5 September 2026

SNOW WHITE AND THE SEVEN DWARFS

4 December 2026 – 3 January 2027

“Oh, stop messing about!” 
Celebrating One Hundred Years of Kenneth Williams (1926 – 2026),  David Benson returns with his legendary portrait of the outrageous comedy star in My Life with Kenneth Williams

A revised 30th anniversary version
of his critically acclaimed solo show
Think No Evil of Us: My Life with Kenneth Williams

 A major UK tour launches Sunday 25th January, 2026

“We all miss Kenneth Williams but thanks to David Benson, we’ve got him back!” Mark Gatiss

“An exhilarating one-man tour-de-force” Independent on Sunday

“A masterpiece of comic timing” Evening Standard

“Brilliant… truly remarkable” The Mail on Sunday
2026 marks a DOUBLE anniversary  

It’s been THIRTY YEARS since David Benson took Edinburgh Fringe by storm with his debut solo show, Think No Evil of Us: My Life with Kenneth Williams, winning a coveted Scotsman newspaper Fringe First Award.

Now, in celebration of what would have been Kenneth Williams’ 100th birthday on 22 February, 2026 David Benson revisits his classic performance in a new and revised version of the hit show.

In a dazzling display of impeccably honed stage craft, Benson gives an unsparing portrayal of the tormented comic genius, lurching from hilarity to self-pity in public and in private.

Praise from Kenneth’s Friends

Benson will bring the much-missed ‘Carry On’ actor, radio star and chat show raconteur roaring back to life, with an uncanny portrayal which has received unanimous praise from Williams’ closest friends including Dame Maggie Smith and Dame Barbara Windsor.

“How did you know all that? That’s just what it was like having dinner out with Kenny. A bloomin’ nightmare!” Dame Barbara Windsor

Dame Maggie Smith, after hearing Benson impersonating Williams in a radio interview immediately wrote to the young actor: “You ‘put the heart across me,’ as the Irish say – for I thought it was
Kenneth!”

The Jackanory Connection

In 1975, at the age of 13, Benson wrote a short story called “The Rag-and-Bone Man” for a contest on  the BBC 1 children’s series Jackanory, a daily programme to encourage reading which featured an actor  reading from children’s novels or folk tales while seated in an arm-chair. Kenneth Williams was one of  the most popular presenters reading read 69 books over the life of the programme. Benson’s story was chosen as a winner from 15,000 entries by Kenneth Williams himself, who then performed the story on national television.

Fifty years on, David Benson says: “At the time, it was a huge embarrassment to me. I was now associated in the minds of my enemies at school with the most outrageously camp man in England.
For a schoolboy desperately struggling with his sexuality in the hostile environment of 1970s Britain, the connection was mortifying. As I found out at school next day…”

Ironically, the publication of Williams’ own diaries in 1994 revealed a man who was every bit as terrified of his sexual nature as the Birmingham schoolboy whose writing caught his eye.

Think No Evil of Us returns as My Life With Kenneth Williams

In this new edition of the legendary show, Benson includes extracts from the only recording that exists of that 1975 broadcast and, with characteristic honesty, tells of the day a BBC researcher came to visit and by chance captured on tape the terrifying truth of the boy’s home-life: his mother’s dangerous descent into paranoid psychosis.

My LIfe With Kenneth Williams
2026 UK tour dates

FAVERSHAM
The Alex
Sunday 25th January at 7:30pm
https://thealex.org.uk/event/my-life-with-kenneth-williams/

WINCHESTER
Theatre Royal
Wednes day28th January at 7:30pm
https://www.theatreroyalwinchester.co.uk/whats-on/my-life-kenneth-williams

HENLEY
Kenton Theatre
Thursday 29th January at 7.30pm
https://thekenton.org.uk/events/think-no-evil-of-us-my-life-with-kenneth-williams/

KENDAL
Brewery Arts
Friday 6th February at 8pm
https://www.breweryarts.co.uk/event/my-life-with-kenneth-williams/

STIRLING
Macrobert Arts Centre
Saturday 7th February at 7.30pm
On sale TBC

BEDFORD
Quarry
Friday 13th February at 7:30pm
https://quarrytheatre.ticketsolve.com/shows/873678233/events

SHREWSBURY
Theatre Severn
Saturday 14th February at 7:30pm
https://www.theatresevern.co.uk/shows/whatson/my-life-with-kenneth-williams/

COLCHESTER
Mercury
Tuesday 17th February at 7:30pm
https://www.mercurytheatre.co.uk/event/my-life-with-kenneth-williams/

GUILDFORD
Yvonne Arnaud
Friday 27th February at 7:45pm
Saturday 28th February at 2:45pm & 7:45pm
https://www.yvonne-arnaud.co.uk/whats-on/my-life-kenneth-williams

GORLESTON
Pavilion
Friday 6th March at 7.30pm
On sale TBC

PETERBOROUGH
Cresset
Friday 13th March at tbc
On sale TBC

EXETER
Barnfield
Friday 20th March at 7:45pm
On sale TBC

WEYMOUTH
Pavilion
Sunday 28th March at 2.30pm
On sale TBC

With more dates to be announced soon

Running Time
Approximately 2 hours (inc interval)

Age Suitability 12+

Website
www.mylifewithkennethwilliams.co.uk

X  @MyLifewithKW
Instagram @mylifewithkw
Facebook @MyLifeWithKWBIOS

David Benson
David Benson has most recently been seen touring nationwide with Jack Lane in their acclaimed Dad’s  Army Radio Show. Best-known for his performance as Noel Coward in the BBC’s classic war-time comedy Goodnight Sweetheart, David exploded onto the theatre scene with his first solo show Think  No Evil of Us: My Life With Kenneth Williams. The show became an instant classic, and he followed this  with a succession of solo shows on a wide variety of subjects, including Frankie Howerd, Dr. Johnson,  the death of Diana Princess of Wales and an award-winning examination of the Lockerbie plane bombing. He was a member of the National Theatre’s smash hit comedy One Man, Two Guvnors alongside James Corden, appearing in 1,015 performances of the show. In the film Blade Runner 2049  he plays a hologram of Liberace. He was nominated for a BBC Audio Best Actor Award for his portrayal  as Frankie Howerd in Frankie Takes a Trip.

Presented by Suzanna Rosenthal Productions and Little Jester Productions.

READING REP THEATRE ANNOUNCES THREE LOCAL YOUNG PERFORMERS TO SHARE THE ROLE OF TINY TIMMY IN NEW STAGING OF BETH FLINTOFF’S READING-BASED ADAPTATION OF

A CHRISTMAS CAROL

A BOLD ADAPTATION THAT IS REDEFINING THE REGIONAL

CHRISTMAS THEATRE EXPERIENCE

28 NOVEMBER 2025 – 3 JANUARY 2026

Berkshire’s flagship producing theatre, Reading Rep Theatre, have today announced the three young performers who will share the role of Tiny Timmy in their upcoming new staging of Beth Flintoff’s acclaimed adaptation of A Christmas Carol, which relocates Charles Dickens’ seminal story to Reading and the iconic Huntley and Palmers Biscuit Factory.

Eli Murphy (aged 10), Emily Maclellan (ages 10), and Ned Woollatt (aged 9) will share the role of Tiny Timmy through the show’s run. All three young performers are from the local Reading area.

The adaptation, which had past sell-out runs in 2021 and 2022 in Reading, runs fromFriday 28 November 2025 – Saturday 3 January 2026.

Louis Ling, Children’s Manager for the production, says of the casting, “Our young actors, Eli, Emily, and Ned – shone during auditions, delivering a wonderful interpretation of the Tiny Timmy character. It was clear they were perfect for the role in our homegrown production of A Christmas Carol. They’re all working incredibly hard in rehearsals and bringing fantastic energy and heart to the production.”

Eli Murphy says, “I like acting and want to be an actor when I’m older. The cast were fun in the rehearsal last week. Tiny Timmy is positive and kind even though he is poor.”

Emily Maclellan says, “I’m very proud to be cast as Tiny Timmy in A Christmas Carol. I can’t wait to be on stage and see all the people coming to see me. I love Tiny Timmy and the thing I like most about the character is that He is a very positive and doesn’t give up.”

Ned Woollatt says, “I’m really excited to be part of the production because I get to meet lots of new people which is great. I love the character of Tiny Timmy as he has such a positive attitude despite all his challenges.”

There’s magic in the air – everywhere except the Huntley and Palmers Biscuit Factory, where Ebenezer Scrooge remains as bitter as ever. But when the ghosts of Christmas Past, Present, and Yet to Come pay him a visit, will Scrooge finally discover the true meaning of the season?

Step into Victorian Reading for a heartwarming journey of redemption, wonder, and joy. Featuring beloved characters and brimming with Dickensian charm, A Christmas Carol is the perfect festive treat for the whole family.

Step into Victorian Reading, brought vividly to life in a production brimming with live music, heart, and festive wonder. Full of local pride, community spirit, and Dickensian warmth, A Christmas Carol promises to be Berkshire’s must-see festive treat for all ages.

Beth Flintoff is Associate Playwright and Young Writers Associate at the Royal Court Theatre in London and an Associate Artist at RABBLE Theatre Company. Her play The Ballad of Maria Marten (for Eastern Angles) is regularly produced around the world and was Nick Hern Books’ second most performed play of 2024.

Beth Flintoff said of relocating Dickens’ classic tale, “I have always loved Dickens, and I was so excited to adapt A Christmas Carol – its message is so warm and generous and full of heart. I immediately knew that I wanted to translate Dickens’ much-loved characters to their respective jobs at the Huntley and Palmer’s Biscuit Factory, as it’s such an important part of the town’s past. Audiences will still get to see the old favourites like Tiny Tim and the Cratchits, but this time you’ll find them popping up in recognisable places on the cobbled stones in the heart of old Reading. Christmas shows are about bringing the whole family together, and celebrating our community, and I really hope this does that.”

Chris Cuming (Peter Pan, The Snow Queen) returns to direct the new staging of Reading Rep’s Christmas show, who was previously co-director and movement director on the prior incarnations of the show. 

Joining the Tiny Timmies in the cast will be George Eggay (The Wife of Willesden – Kiln Theatre, The Last King of Scotland – Crucible Theatre, Sheffield), Orla O’Sullivan (The Snow Queen, It’s A Wonderful Life, Potted Panto – Reading Rep Theatre), Charlotte Warner (The Snow Queen, It’s A Wonderful Life, Potted Panto – Reading Rep Theatre), Sam Amestoy (Rainbow Rescue, A Midsummer Night’s Dream – Reading Rep Theatre), and Mark Desebrock (Hedda Gabler, The Snow Queen – Reading Rep Theatre).

Alongside Cuming on the creative team will be Nicky Bunch as Set & Costume Designer, Aaron J Dootson as Lighting Designer, Joe Dines as Sound Designer, Tabitha Stock as Costume Designer, Nathan Storm as Associate Lighting Designer, Louis Ling as Children’s Manager, Sarah Hawkins as Casting Designer, and Jordan Harris as Production Manager.

Chris Cuming said of the production, “Christmas at Reading Rep is always something special. A true highlight of the town’s festive calendar. It’s a joy to revisit Beth Flintoff’s home-grown adaptation, bringing together familiar faces from our company and new talent to celebrate Reading’s history through Dickens’ most enduring tale. This A Christmas Carol is funny, moving, and full of heart, a story about community, compassion, and the power of change. It’s everything Christmas at the theatre should be.”

More information on the production can be found at www.readingrep.com.  

Palace Theatre, Manchester – until 15 November 2025

Reviewed by Charlotte McWilliam

5*****

A Powerful, Reimagined Triumph!

Michael Harrison, in association with Cameron Mackintosh, delivers a stunning reimagining of the Boublil and Schönberg classic Miss Saigon that absolutely does not disappoint. Directed by Jean-Pierre van der Spuy and musically directed by Ben Mark Turner, this UK National Tour production is a poignant way to mark the 50th anniversary of the fall of Saigon and the end of the Vietnam War, capturing every ounce of the story’s tragedy, beauty, and emotional depth.

The show opens with The Heat Is On in Saigon – vibrant, colourful, and bursting with energy. The unity within the cast is instantly clear, setting the tone for an evening where ensemble storytelling shines. Sun and Moon beautifully introduces the tender chemistry between Chris, played by Jack Kane, and Kim, portrayed exquisitely by Julianne Pundan. Their partnership grows with heartfelt sincerity throughout.

Andrew D Edwards’ set design is a triumph. The revolving stage is used to brilliant effect, especially during Last Night of the World, which is tender, cinematic, and gorgeously played. And of course, the iconic helicopter moment in Act 2 is nothing short of spectacular: realistic, gripping, and powerfully staged as the cast is winched to safety.

The Morning of the Dragon brings a striking visual moment, with the masked Ho Chi Minh ensemble performing a puppet-like, tightly choreographed number. Christie Cartwright and Carrie-Anne Ingrouille’s choreography throughout is clever, dynamic, and full of symbolism, particularly with the use of sweeping fabrics that evoke danger, fluidity, and the jester like charm of the Engineer.

Julianne Pundan’s Kim captures the innocence and emotional intensity of the character, at times echoing the youthful purity of Lea Salonga. Her vocals in I Still Believe are breathtaking, deeply connected to the orchestra and delivered with astonishing clarity. Some cast members seem slightly vocally tired in the early scenes, but by mid-Act 1 the whole production finds its full energy, aided by superb lighting design that highlights the metaphorical stains and scars of the story.

A standout in Act 1 is Seann Miley Moore as the Engineer, who absolutely steals the show with charisma, humour, and a delicious edge of danger. This seasoned Engineer excels during his Act 2 showstopper, The American Dream, is a glittering, wild spectacle – part Miss America, part Pride parade, and entirely unforgettable. Moore’s raw energy captures the desperation, delusion, and dark comedy of the character, amplified by Michael Mahler’s additional lyrics that inject modern relevance and wit throughout.

The arrival of Kim’s young son brings a collective “awww” from the audience—he’s endearing, natural, and a heartbreaking reminder of the war’s impact on families, especially felt by the mothers watching.

Vocally, Dominic Hartley-Harris (John) is a powerhouse – rich, warm, and emotionally grounded, with significant echoes of Broadway quality. His portrayal brings integrity and heart to the difficult role of reuniting parents and children in the chaos after the war. Emily Langhan (Ellen) delivers a gorgeous, nuanced Maybe, blending classical and musical theatre tones in a way that feels perfectly suited to the role.

Boublil and Schönberg’s score is the beating heart of this production – sweeping, wise, and heartbreakingly beautiful. The recitative, recurring motifs, and emotional arc all come together to remind us why this is one of their finest collaborations.

The tragic finale, reminiscent of Romeo and Juliet and echoing A Little Fall of Rain from Les Misérables, is profoundly moving. Kim’s sacrifice – giving her life so that Tam can have a future with his father and Ellen – is the ultimate act of love, leaving the audience in stunned and genuinely sorrowful.

As the final notes faded, the entire auditorium rose to its feet in a well deserved standing ovation, a testament to the power, artistry, and emotional weight of this production.

Following its sell-out success, extra dates have already been added for 2026. So if you missed this run, or simply want to experience the magic again, be sure to get your tickets when Miss Saigon returns to Manchester.

Leeds Grand Theatre – until Saturday 29th November 2025

Reviewed by Adam Craddock

5*****

HELLO!

I had the pleasure to be invited along to Leeds Grand Theatre to review the UK and International tour of The Book of Mormon. This is one of my absolute favourite musicals and I hadn’t seen it on tour before so I was very excited to see how it translated from the west end production onto the road, and the answer is seamlessly! The plot follows Elders Price and Cunningham, two young Mormon missionaries as they seek to bring the word of Joseph Smith to the people of Uganda. I’m sure you all already know Mormon by reputation, but if not please DO NOT go and see this show if you are easily offended or take yourself too seriously, if you’re up for a naughty laugh however then this is definitely a show not to be missed. The show stars Sam Glen as Elder Cunningham and Adam Bailey as Elder Price. Glen was absolutely marvellous as Elder Cunningham, his physical humour and brilliant energy were absolutely perfect for this character and his vocal was sweet as a nut. Bravo! Bailey was solid as Price, with an interesting take on the character as much more of a rambling and frenetic person than I have previously seen, although this did run away from him at times to the point that he ran so fast through his dialogue that I struggled to make out anything of what he said. Nyah Nish was strong as Nabulungi, definitely growing into the show in the second act after a slightly slow start. Nish brought a real naturalism to thepart that you don’t normally tend to see in Mormon. Kirk Patterson and Tom Bales were both solid as Mafala and Elder McKinley respectively.

The standout for this production however in my view is its ensemble. This is a show that lives and dies by the strength of its ensemble and the group in this production definitely breathed all the life into it! From crisp choreography to fantastic background acting, this ensemble had me staring at them mostly rather than the leads. A special shoutout has to go to Zachary Loonie, I could not take my eyes off him throughout the show, I don’t think I’ve ever seen a Mormon this full out before and there was not one single moment that he seemed to let his performance drop and become unwatched.This really was a perfect example of how to be a fantastic ensemble member and take every moment of spotlight that is given to you. The production values were all excellent, from a set ripped straight from the west end show to a band playing for their lives, this was brilliant! My only slight criticism in this regard is that there were several moments where the characters were only partially lit and half a face was in darkness. It’s only a small nitpick but a real bug bear of mine!

All in all however, I would recommend seeing The Book of Mormon in the highest of regards, this is a laugh a minute piece of theatre that truly has to be experienced once, and then you will inevitably come back again and again just as I have!

The Little Theatre, Leicester – until 15 November 2025

Reviewed by Sam Bradshaw

4****

Things I Know To Be True is a contradictory story – as the family dramas unfold, we are reminded of how little we truly know, how fragile truth is, and how powerful it can be once it is revealed -especially when it is ripped bare by those you hold most dear.

As we have come to expect from main house productions at The Little, the scenery is good quality, detailed, and fit for purpose without being wasteful. Steph Nicholls and Dave Towers , alongside a fine build and stage crew, have done a wonderful job. The essential domestic ‘business’ with coffee machines and carrot peeling in the upstage kitchen is kept to a minimum, as most of the important conversations happen in the ever-shifting seasonal garden. Doug Finlay’s lighting design coalesces with Sam Kelly’s nature-based sound scape to provide some subtle and very atmospheric transitions. These pauses in the intensity of the scene work not only communicate the changes of the seasons, but also the passing of time – and provide a much-needed pause for the audience to reflect on what has gone before and prepare for the next can of worms to be popped-open. Perhaps a moment of recovery for the family too. There is a strong theme of nature growing through this beautiful interpretation by director Nadine Beasley, who has no-doubt nurtured a family-feel in the company, enabling such powerful and naturalistic delivery.

The heads of the Price family are mum Fran (Nicky Mawer) and Bob (Paul Beasley) who are now middle-aged and in the autumn of their lives. The original script is set in Australia but as explained in the programme, the decision was made to stick with a generic well-spoken ‘Midlands’ accent. While we could have done without the few references to “gum trees” “dollars” and kids moving to ‘Sydney/Brisbane’ which do jar and take you momentarily away from the story – the issues could be faced by anyone and we soon dismiss these references as being unimportant.

4 grown-up children orbit the family home despite their best efforts to ‘get out’, returning to the nest in times of need. Rosie (Sophie Johnston) is the youngest and sets the stage with some passionate anti-naturalistic direct address which is so well delivered and emoted by Johnston, we immediately care about the highs and lows on her expedition away from home. Clever staging from N.Beasley embellish and energise this recount of events and throughout the piece, the long soliloquys of all the characters never fail to hold our attention, shifting easily between natural and ‘theatrical’ staging.

Because of our connection formed with Sophie Johnston, who is a natural storyteller, we remain allied with the character of Rosie as she is also an unwilling witness to the trauma and distress of these family issues. I don’t imagine any audience member could be in the privileged position of not being able to connect in a very real way to the problems faced by the characters in this all-too-real and raw family inquest.

Kate Carey (Pip) delivers a magnetic performance with some of the best projection and diction we’ve seen at The Little lately, somehow managing to make us both care about and dislike her character in equal measure. She is very relatable for the modern woman too busy sorting everything out to have anything for herself, struggling between unhappiness and selfishness.

Richie Phillips (Ben) provides us with a distinct character, with a different energy and physicality to his siblings and being considered ‘the favourite’ – Phillips looks very comfortable on stage, with strong physicality exploring the fall from golden-boy arrogance to little-boy despair with vivid, visceral clarity.

Joe Allen (Mark) completes the sibling set, with perhaps the most difficult task of all. Through no fault of the actor, Mark’s revelation does elicit a slight eye-roll at yet another super-dramatic plot development that in his case seems to have some from absolutely nowhere – the plot twists can feel like an exhausting year’s worth of Aussie Soap Opera smushed into a 2-hour play! However, Allen appears to have approached this complex role with humility and sensitivity, and this important and rather current issue is handled with great respect. We feel proud of both the character and the actor when we see them return to the home at the end of the piece.

Which brings us to the disparity in reaction of the parents to the various problems faced by the children. They are often at odds with each other both in terms of response and how aware they are of each other’s problems. P.Beasley doesn’t quite have the age himself for a 63 year old character to sit comfortably on his frame. Bob is sometimes found standing awkwardly and slightly redundant behind the phenomenally intense arguments, leaving the audience willing Dad to step-in and take charge. However, Beasley’s portrayal of barely-restrained rage and wounded betrayal is quite powerful and reminds us of how difficult being a Dad and Husband can be. His facial expression during the final revelation is heart-breaking.

Stealing the spotlight is Nicky Mawer (Fran) who is indispensably watchable, and manages some enormous emotional turn-arounds with great skill. Every line is delivered straight from her heart and felt like the first time she has ever said it, giving deep brutality to some of the cuttingly raw honesty. It didn’t feel like acting.

As the strong ‘garden’ metaphor makes us reflect on periods of growth, nature/nurture, self-care, hibernation, and renewal – the family truths dug-up and laid bare in this piece will connect with all who see this powerful piece.

Cast Theatre, Doncaster – until Saturday 15th November 2025

Reviewed by Adam Craddock

5*****

Tonight I had the absolute delight of being invited down to the wonderful Cast Theatre in Doncaster to review the latest leg of the never ending tour of Willy Russell’s Blood Brothers. This show holds a very dear place in my heart, having seen the show countless times and actually been lucky enough to have played The Narrator whilst I was training in London. The story is well known to many for its themes of class, trust and superstition, and these are just as relevant today as when Russell first penned the script.

The production stars Vivienne Carlyle as Mrs Johnstone, the fiery and proud mother of the titular blood brothers. Carlyle brings a brilliant realness to the role and her connection to the material is evident throughout. Kristoffer Harding co stars as The Narrator. Harding has a brilliant control to his performance, it is so easy to let the poetic patterns of the narrators speech become formulaic and predictable but Harding actually showed me several new takes on verses that I haven’t seen The Narrator get taken down before. He also had a beautiful tone to his vocal and the blend between Harding and Carlyle in the harmonised sections was beautiful. Sean Jones returns to the role of Mickey and having first seen him in this role over 10 years ago (he’s been playing it on and off for 20+ years), I have to say I was very pleasantly surprised that it didn’t feel stale at all. Jones still had that childish glee and playfulness that really makes him shine in particular as the younger Mickey. Joe Sleight plays Eddie, and I have to say I think this may be my new favourite portrayal of Eddie. The charm and wit he brings to the character is extremely endearing and I was mightily impressed by his smooth tenor vocal. Gemma Brodrick was brilliant as Linda, in particular in the later scenes in the show when she can really let loose and show off her fabulous acting ability. The scene where she relents and gives Mickey the tablets was touching and her agony was palpable. Bravo! Francesca Benton-Stace was on tonight as understudy for Mrs Lyons. I felt that she really grew into the role as act 1 went on and her relationship with Edward was very interesting to watch.

My only real criticism of the show would be the slightly iffy spotlight that would occasionally completely miss the actors, leaving parts of heads in the dark, or would start wandering on its own when no one was moving on stage. Whilst this did not ruin the show for me at all it did draw my eye at several time and somewhat break the immersion for a brief second.

All in all, I would recommend seeing Blood Brothers in the highest regard. This is a timeless classic, British theatre at its very best and I think this performance shows that despite its age as a production, Blood Brothers has got many years left in it yet! Tell me that’s not true!

Actor David Sturzaker sat down with fairypowered to answer 20 questions. David is currently playing Gareth Southgate in James Graham’s Olivier Award winning Dear England.  Currently on tour around the UK, book tickets here

Let’s start with a few favourites

Favourite show (whether you have been in it or not)? 

Anne Boleyn, written by Howard Brenton. I played Henry VIII, and it was on that tour that I met my wife, Jo, who was playing the title role.

Favourite book? 

The Goldfinch by Donna Tartt

Favourite theatre? Shakespeare’s 

Globe in London

Favourite song? 

Your Love Keeps Lifting Me Higher, Jackie Wilson

Favourite music? 

Soul, folk

Favourite food? 

Risotto

Favourite drink? 

Most wines!

What is your favourite role? 

Charles II in Nell Gwynn by Jessica Swale, which opened at Shakespeare’s Globe and transferred to the West End

What was your first role? 

Claudio in Much Ado About Nothing

And what role would you really like to play? 

Stanley in A Streetcar Named Desire (Though probably a bit too old for that now!)

If you weren’t a performer , what would you be? 

In reality, don’t know! Maybe something in the health/fitness sector. But my fantasy other job is a restaurant reviewer

What made you decide to be a performer? 

I enjoyed acting in youth theatre, and then I had the epiphany of learning that it could actually be a profession

Do you enjoy touring? 

I do. I love seeing different parts of the country, getting to know different theatres and, for a while, the simplicity of the lifestyle. But at the same time, I also miss my family and home.

What advice would you give the 16-year-old you?

Ha! I think giving advice is complicated– it’s more important for people to find their own path. But for my 16-year-old self?….. Try not to be so self-conscious!

Do you fancy branching out in Producing or Directing? 

I have done some producing before and have enjoyed it so I would consider doing more in the future. Directing though – that feels like a skill set that many others possess in far greater abundance – the ability to have an overall vision whilst keeping an eye on the detail and fulfilling leadership and pastoral roles at the same time.

What was the last stage show you saw and really enjoyed? 

Every Brilliant Thing at @Soho PlaceDavid Sturzaker plays Gareth Southgate in James Graham’s play ‘Dear England’ and then on tour until March 2026 – dearenglandonstage.com

Sid Sagar is 2025 Jerwood Writer in

Residence at Pentabus

Pentabus today announces that writer and performer Sid Sagar is the new 2025
Jerwood Writer in Residence at Pentabus. Recruitment for the 2026 Writer in Residence
continues.

Pentabus Artistic Director and 2025 BAFTA winner Elle While commented, “The
appointment of Sid is the next exciting step for Pentabus and its legacy of relationships
with extraordinary writers, as we welcome his particular talent for writing about
community and culture in the UK and his expansive warmth and ability to connect with
people and places.”

Sagar’s debut play Biting Point was produced by Middle Child this year and toured car
parks in the North East in a site-specific staging, his audio drama John from Hemel was
broadcast on Radio 4 in May, and he has recently appeared in Mrs Warren’s Profession
in the West End alongside Imelda Staunton.

Sid Sagar commented, “Pentabus is genuinely committed to making work that speaks
to communities. The company’s legacy and vision is extraordinary and increasingly
important in a disconnected time. I can’t wait to get started.”

Liv Hennessy, previously announced as the 2025 Jerwood Writer in Residence, instead
continues her relationship with Pentabus as an Associate Artist.

Recruitment for the 2026 Jerwood Writer in Residence is currently at the longlist stage.
The successful writer will work alongside Sid Sagar for the first few months of their
residency.

Previous writers in residence at Pentabus include award-winning writer and performer
Florence Espeut-Nickless (DESTINY), and George Devine-winning writer Simon
Longman (Gundog), both of whom have written new ghost stories for Even More…
Ghost Stories by Candlelight, which has just finished a national tour, in a co-production
with HighTide.

KEALA SETTLE AND HAL FOWLER

STAR IN A NEW RE-IMAGINING OF

MRS. PRESIDENT

CHARING CROSS THEATRE

23 JANUARY –  8 MARCH 2026

●      KEALA SETTLE STARS AS MARY LINCOLN IN A RARE DRAMATIC ROLE IN A NON-MUSICAL THEATRE PRODUCTION

●      THIS BRAND-NEW RE-IMAGINING, FOLLOWING ITS JANUARY 2025 STAGING, EXPLORES THE MOTIVATIONS BEHIND ONE OF THE MOST VILIFIED WOMEN IN U.S HISTORY

●      WRITTEN BY MULTIDISCIPLINARY ARTIST JOHN RANSOM PHILLIPS WITH NEW DRAMATURGY BY BRONAGH LAGAN, THE DIRECTOR BEHIND OLIVIER-NOMINATED CRUISE AND WHAT’S ON STAGE WINNER FLOWERS FOR MRS HARRIS

●      OPENS 23 JANUARY FOR SIX WEEKS UNTIL 8 MARCH AT CHARING CROSS THEATRE

Musical theatre icon and Broadway star Keala Settle (THE GREATEST SHOWMAN, WAITRESS, SISTER ACT) and Hal Fowler (LES MISÉRABLES, ASPECTS OF LOVE, FLOWERS FOR MRS HARRIS) are cast in a brand-new re-imagining of Mrs. President, a gripping psychological drama that uncovers the turbulent inner world and the passions and ambitions of Mary Lincoln, America’s First Lady.

Following its original London staging in January 2025, this fully transformed production opens at London’s Charing Cross Theatre for six-weeks from 23 January to 8 March 2026 with press night on 27 January 2026. This is not a remount, but a reinvention — richer in scope, sharper in focus, and more hauntingly human.

Cast as Mary Lincoln, the wife of President Abraham Lincoln, this play marks a rare non-singing dramatic role for Keala Settle, showcasing her extraordinary depth and power. Hal Fowler, who was cast in The Who’s original rock musical Tommy and has starred in numerous West End shows plays Mathew Brady, the forefather of photojournalism and also one of the earliest celebrity/portraiture photographers in American history.

Set in the aftermath of 1865 and following the assassination of her husband, Mary is a woman under siege, suffering from immense grief, struggling with her mental health, vilified by society and in the media. She seeks out Brady to help her redefine her public image, a mission which ultimately results in a journey of self-discovery.

Keala says: “I was so struck by Mary’s story and by the profound human cost she endured. She was a woman whose identity for centuries was put in a box and whose legacy continues to be defined by other people’s ideologies. I’m excited by this opportunity to tell her story and connect with London audiences. I hope they will see both myself and Mary in a brand-new light.”

Bronagh Lagan (Olivier-nominated play Cruise and What’s On Stage’s 2024 Best West End Production Flowers for Mrs Harris) who has re-envisioned and directed this play adds: “In today’s polarised political climate, Mary Lincoln’s journey — navigating intense public scrutiny while balancing her roles as wife, mother, and political figure — feels profoundly resonant. Through her strength and vulnerability, Mrs President invites us to reconsider how society and media portray women, revealing the human cost of leadership and the resilience required to endure it.” 

Multidisciplinary artist and playwright John Ransom Philips comments: “History rarely grants women the right to define themselves — Mary Lincoln least of all. Her story deserves to be told not as rumour, spectacle, or judgment, but as the truth of a brilliant, wounded, and resilient woman who bore the human cost of a nation’s spotlight. Our collaboration with Bronagh, Keala, Hal, and the Aria Entertainment team finally gives Mary the truth and artistry she was denied.”

The new creative team includes designer Anna Kelsey, lighting designer Derek Anderson and sound designer Eamonn O’Dwyer.

Mrs. President is produced by Art Pond Foundation with General Management by Aria Entertainment.

From live performance to visual art

To coincide with the opening of his re-invented play, multidisciplinary artist John Ransom Phillips will debut his first UK exhibition of watercolours and oil paintings. Mary Lincoln and Frida Kahlo UNFRAMED will be presented at the historic Royal Watercolour Society’s gallery on Whitcomb street, just minutes from Charing Cross Theatre, from 30 January to 21 February, 2026.

More than a companion to the play, this exhibition creates a dialogue between the two women — reaching across time, geography, and circumstance to bring them into shared presence. Phillips’ artistic vision resists inherited narratives and invites new forms of seeing and subjectivity, freeing them from identities long imposed upon them. UNFRAMED offers audiences a rare opportunity to experience this vision across both live performance and visual art, ultimately inviting us not only to see Mary and Frida anew, but to consider how we, too, might step beyond the frames that have defined us.