Last night’s press performance of The Rocky Horror Show at Storyhouse Chester demonstrated, once again, why this iconic production remains popular decades after its debut, and why its cult following shows no signs of diminishing. Having seen this production three times now, I entered with very high expectations, and I am delighted to report that I was not disappointed
When I first watched the show, I was utterly enchanted by its spectacle and remarkable originality. However, my second viewing was rather disappointing, primarily because the audience’s reaction was lacklustre, even with a celebrity in the cast. Therefore, when I had the chance to attend press night at Storyhouse, I was eager for the complete Rocky Horror experience—and this audience certainly did not disappoint.
From the very beginning, the atmosphere was vibrant. Fans arrived in elaborate costumes, equipped with props and ready with perfectly timed, often irreverent yet hilariously clever callouts. The interactive traditions that characterise Rocky Horror were flourishing. By the time the first performance of “Time Warp” commenced, audience members were already on their feet, dancing and completely engaged. It was everything one hopes for from this show and more—an uninhibited, joyful celebration of theatre and community.
Stephen Webb’s portrayal of Frank-N-Furter was a standout for me. Having witnessed his performance during the 2022 World Tour, I was already aware of the high calibre he brings to the role, and he certainly did not disappoint. Webb takes command of the stage with both confidence and ease, fully embodying the character (not to mention the suspenders). His performance is charismatic, authentic, and utterly captivating, establishing a benchmark that is challenging to surpass.
Jackie Clune took on the role of the Narrator, and she was a true delight. Recognised by many from her work on Motherland, she adeptly managed the audience’s constant callbacks with remarkable quick wit, even cleverly responding to jokes about “Motherland reruns.” Her strong rapport with the audience enhanced the enjoyment of the evening even further.
James Bisp, as Brad, delivered a compelling and convincing performance, adeptly conveying Brad’s awkwardness and gradual unraveling with both subtlety and humour. Similarly, Haley Flaherty’s portrayal of Janet was equally impressive, reminiscent of her captivating performance in 2022. She expertly balances Janet’s innocence with her transformation, showcasing both vocal strength and emotional depth throughout.
Beyond the lead roles, the entire cast merits recognition for their outstanding ensemble performance. Each performer brought energy, precision, and dedication, ensuring that the show maintained its momentum throughout. The chemistry on stage was palpable, and the uniformity of talent throughout the production lent it a polished, vibrant, and thoroughly enjoyable quality from beginning to end.
This production reminded me precisely why I adore The Rocky Horror Show. The performances were outstanding, but it is the traditions and audience participation that elevate it to something truly remarkable. It was an absolutely brilliant evening.
Mother? Is a 1 hour play written and performed by Rachel Stockdale. It is based on interviews and workshops Rachel recorded with around 100 women and caregivers in the North East in an attempt to answer the question, “What and who is a mother?” The performance investigates a wide range of aspects of motherhood including adoption, fostering, IVF treatment, and women’s experiences of pregnancy and birth. It explores the definition of a mother in its broadest sense.
The set for this play represents a school nursery where there are lots of soft toys and a ball pool which is used to illustrate aspects of the narrative. Although Rachel is the only actor on stage, she is quickly able to change her demeanour, expression and tone of voice to represent a diverse range of interviewees. The only other technique used to represent the views of the women interviewed is recordings of other actors speaking the words of these women. One stand out recording for me is the recollections of a midwife from Trinidad who came to Britain as part of the Windrush generation.
During her 1 hour on stage Rachel gave a voice to the women she met as part of her research. Conversations with women about childbirth illustrated how women sometimes had their birth plans ignored and often had to endure a C section. In contrast to this distressing revelation Rachel shares observations of mums in the playground. This for me was one of the most amusing aspects of the play with the categories of mummies such as super fit gym mummy, the very posh mummy and the rather anxious mummy giving the play a laugh out loud moment.
Another aspect of this play which absolutely struck a chord was the mum who was rushing to take her children to school before work. Although it was quite funny, it was also poignant and I did connect with that mum! The use of puppetry around this point was quite simple but added an effective dimension to the play.
There were one or two stand out lines in this performance, one of which was, “It takes a village to support a mother” which I thought was an interesting twist on the usual idea that it takes a village to raise a child. The other stand out line for me was, “No body’s perfect, we’re just trying our best.” As a mother I would absolutely agree with this statement! I would love to see the themes explored from interviews developed further. The material used for this performance has the potential to grow.
Utopia Theatre, Sheffield – until Saturday 11th July 2026
Reviewed by Claire Moore
4****
I have to be honest, before my invite to view The Swamp Dwellers I hadn’t come across the Utopia Theatre in Sheffield. Speaking to others I was not alone but seems we have all been missing out on something rather special.
Founded in 2012 by Artistic Director Dr Mojisola Kareem, Utopia Theatre has built a reputation for bringing African stories and perspectives to audiences across the UK and beyond. Their productions combine powerful storytelling with thought-provoking themes, creating theatre that not only entertains but also encourages audiences to see the world from a different perspective.
On arrival, you’re guided through curtains into a small but striking performance space designed by Sarah Lewis-Cole. A raised platform sits at the centre, surrounded by walls and ceilings draped in raffia and fabric, making the entire room feel like part of the production rather than simply somewhere to watch it. With an audience of just 50, it creates an intimate atmosphere where you feel completely drawn into the performance.
Directed by Mojisola Kareem, this is the first UK production of the play in over 50 years. It’s hard to believe the play was written by Wole Soyinka in 1958 because the issues it explores still feel so familiar today. Inequality, greed, power and ego all sit at the heart of the story, reminding us that some of society’s biggest challenges haven’t changed as much as we’d like to think.
This one-act play runs for just over an hour and follows an impoverished family trying to survive in the swamps. Nature has not been kind. Floods have devastated their land and crops, turning everyday life into a constant struggle.
Parents Alu (Urielle Klein-Mekongo) and Makuri (Jude Akuwudike) have accepted this as simply the way life is, but their twin sons have left the village determined to build a different future for themselves in the city. One son has been gone for ten years but Igwezu (Joshua Roberts-Mensah) has returned as life in the city has not turned out as planned. Returning home offers little comfort, with the flooded swamps only adding to his despair.
The arrival of a blind beggar, played by Obi Maduegbuna, brings a quiet wisdom to the story. Although unable to see, he understands far more than those around him about the lives they lead and the inequality they simply accept.
Despite having so little themselves, Alu and Makuri offer him food and shelter without hesitation. It creates a striking contrast when Kadiye (Theo Ogundipe) arrives. Dominating the space through both his physical presence and commanding performance, Kadiye is a powerful figure. Worshipped by the villagers, it soon becomes clear that while they struggle to survive, he does not share in their hardship.
The intimacy of the space means every performance has to feel truthful, and the cast rise to that challenge brilliantly, sharing every emotion with honesty and conviction.
Overall, an incredibly powerful performance. It is productions like this that remind you why it’s worth stepping outside your comfort zone every now and then. If you’re in Sheffield, I’d highly recommend taking the opportunity to see it. You may discover a story, a culture or a perspective you wouldn’t otherwise have experienced.
MANCHESTER ARTS CHARITY 53TWO LAUNCHES £10K BIRTHDAY FUNDRAISER TO PROTECT ITS FUTURE, WITH CORONATION STREET CAMEO AMONG TOP AUCTION PRIZES
Manchester theatre charity, known for supporting disabled, disadvantaged and emerging artists, and popular with top UK comedians including James Acaster, Joe Lycett – as well as Andy Burnham, launches £10,000 birthday fundraiser to secure its future under the arches
The high-profile birthday auction features blockbuster prizes, including an extra role on ITV’s Coronation Street and exclusive artwork by internationally renowned Mancunian artist Stanley Chow
Events include Night at the Musicals on the 18th July headlined by West End actress Shona Lindsay and star-studded birthday dinner dance on August 1st featuring BAFTA nominated star Ruth Madeley
Manchester based award-winning theatre and arts charity 53two is celebrating its 10th birthday in July with a number of exciting events at the popular venue with the aim of raising £10,000 to help secure the future of one of the city’s most accessible and inclusive independent creative spaces.
Based beneath the Grade II listed arches under the Manchester Central Convention Centre, 53two has become a home for artists, audiences and community groups who might otherwise struggle to access theatre – surviving floods, the pandemic and the cost-of-living crisis, while continuing to champion creativity across Greater Manchester.
Over the last decade, 53two has welcomed some of the biggest names in comedy and television, including Joe Lycett, Sarah Millican and James Acaster, as well as the Line of Duty’s Adrian Dunbar and former Corrie star Michelle Keegan. This is all while remaining rooted in its founding mission: to remove barriers and create opportunities for artists and audiences across the city.
The thriving cultural hub is asking supporters old and new across the city for vital donations to help 53two continue its mission of supporting artists, creating opportunities for emerging creatives, delivering community programmes and ensuring independent culture continues to thrive in Greater Manchester. Unlike many larger arts organisations, 53two receives no regular Arts Council England funding and no core funding from Manchester City Council, making community support vital for its future.
Headline prizes during the fundraising month include the opportunity to appear as an extra on ITV’s Coronation Street and an exclusive one-of-a-kind original artwork of the iconic 53two arches by acclaimed Manchester illustrator Stanley Chow who recently designed the ubiquitous pop-art image of Andy Burnham used during his successful Makerfield by-election campaign. Indeed, Burnham has frequented the arches and has encouraged the 24 hour run to use 53two as their home for fundraising events for the un-housed community.
Additional exclusive experiences and prizes will also be announced in the coming weeks, with remote bidding available for those unable to attend in person.
The fundraising efforts will culminate on 1st August with a star-studded Birthday Dinner Dance. The gala will feature:
A headline performance by legendary Manchester poet Tony Walsh, debuting a specially commissioned poem, These Bricks They Speak.
Keynote reflections from BAFTA-nominated actor Ruth Madeley on the vital importance of accessible, independent spaces in the North such as 53two.
Hosting duties by renowned comedian and Manchester favourite Toby Hadoke.
A poignant performance by Sing Their Name, a community choir for those bereaved by suicide, which is funded directly by 53two’s PMA grant programme, which helps fund community-led, creative projects focussing on wellbeing, across the region.
Ahead of the gala, 53two will host a diverse mix of exciting events throughout July to bring people together and help raise at least £10,000.
Highlights include a Night at the Musicals on the 18th July headlined by West End star Shona Lindsay; a Silent Disco beneath the arches on the 24th July; and a special community birthday quiz on the 25th July. Other events include a ‘Clubbercise’ session on the 18th July, as well as ‘Pianoke’ on the 30th July.
As part of the celebrations, 53two will also launch a new lottery scheme, creating a sustainable way for supporters to contribute to the organisation’s future work and help keep the venue open, accessible and affordable.
Simon Naylor, Creative Director at 53two commented, “Ten years ago, we set out to create a home for creativity, community and possibility – a place where artists and audiences could come together without barriers. Along the way we’ve faced challenges we could never have imagined, from the pandemic and rising costs to the wider pressures facing independent arts venues across the country. But, thanks to the artists, audiences, volunteers, partners and supporters who believe in what we do, we’ve not only survived — we’ve grown into a vital creative home for so many people across Greater Manchester.
“As we celebrate this milestone, we’re not just looking back at everything we’ve achieved together, we’re asking people to help protect what comes next. Every ticket bought, donation made and auction bid placed will help us keep supporting artists, welcoming communities and making sure theatre remains accessible to everyone. The next ten years hold even greater possibilities, and we invite everyone who has been part of our story – or wants to be a part of it – to help shape the next chapter.”
To get your ticket to one of the events taking place in July during 53two’s fundraising month, or to make a donation and bid in the auction visit: 53two.com/ten
The New Adventures team has once again delivered a magnificent production: sexy, sultry, and beautifully danced throughout.
The story is set in 1960s Harmony, a small Italian American town where Dino Alfano (Alan Vincent) owns Dino’s Diner and Garage. Dino treats his wife, Lana (Ashley Shaw), poorly, and when handsome drifter Luca (Harrison Dowzell) arrives in town looking for work, she is quickly drawn to him.
Lana’s sister, Rita (Kurumi Kamayachi), tries and fails to intervene, while Luca is also attracted to Angelo (Harry Ondrak-Wright). These tangled relationships lead to passion, intrigue, and murder.
The entire cast is magnificent, with compelling detail unfolding across every part of the stage. As an audience member, you are drawn completely into the world of the production, from the heat and tension of a sultry day to the atmosphere created through lighting, movement, and performance.
Lez Brotherston’s set is brilliantly atmospheric, shifting seamlessly from the diner and garage to the jailhouse and a city nightclub. Chris Davey’s lighting and Paul Groothuis’s sound design enhance each location beautifully, creating a vivid setting that supports the dancers and heightens the drama.
The cast moved with precision and energy, responding to every beat of Terry Davies’ music and Rodion Shchedrin’s Carmen Suite, inspired by Bizet’s Carmen.
Sir Matthew Bourne has a remarkable gift for creating bold, groundbreaking productions, and The Car Man is no exception. I first saw The Car Man at the Royal Albert Hall nearly four years ago, and its impact and message feel just as powerful today.
The Car Man is dance at its very best: bold, expressive, and utterly compelling. The standing ovation it received last night was richly deserved.
JANE ASHER AND SAMANTHA WOMACK TO LEAD NEW UK TOUR OF DAISY GOODWIN’S BY ROYAL APPOINTMENT
Daniel Schumann, Lee Dean, and The Arts Theatre Cambridge today announce the full cast for the new UK tour of By Royal Appointment– the debut play of Daisy Goodwin, creator of hit ITV historical drama Victoria – directed by Anthony Banks.
Jane Asher and Samantha Womack will star as The Queen (Asher) and her Dresser (Womack). The play explores their relationship and how the pair created the public image of the world’s longest reigning monarch. They will be joined by David Robb as The Designer and Matthew Cottle as The Milliner.
By Royal Appointment is a co-production with Cambridge Arts Theatre and will open there on 21 September running until 3 October before touring to Nottingham Theatre Royal, Chelmsford Theatre, York Theatre Royal, Chichester Festival Theatre, Edinburgh Kings Theatre and Marlowe Theatre, Canterbury.
Further venues to be announced shortly.
Daniel Schumann and Lee Dean present
BY ROYAL APPOINTMENT
By Daisy Goodwin
Directed by: Anthony Banks;Designer: Jonathan Fensom
The late Queen Elizabeth II was famous for her discretion. She never said anything in public that could ruffle the lightest of feathers. But she had one way of expressing what she really thought – through her wardrobe.
By Royal Appointment is a funny, poignant and celebratory new play about the kind of power that only a Queen can wield – she charms the world through coats and admonishes her family through a carefully chosen hat. But the Queen herself is uninterested in fashion, her look is managed by her Designer, her Milliner and most powerful of all, her Dresser who was a working-class girl who goes from advising the Queen on the colour of her lipsticks to the real power behind the throne. But the Dresser, like all royal favourites is living on borrowed time.
By Royal Appointment is a behind the scenes peek into the world of our most popular monarch and the image she presented to the world.
By Royal Appointment was Daisy Goodwin’s debut play. Her most recent production of Victoria: A Queen Unbound was produced at Watermill Theatre in April 2026. For television, her writing credits include ITV historical drama series Victoria. Her novels include The Last Duchess, The Fortune Hunter, The American Heiress, Victoria and Diva, and she has curated eight poetry anthologies. Also, as a producer, her many credits include Grand Designs and Escape to the Country.
Jane Asher plays The Queen.Her stage credits include, Twelfth Night, The Circle (Orange Tree Theatre), A Song At Twilight, Moon Tiger (Theatre Royal Bath), An American in Paris (Dominion Theatre), Great Expectations (West Yorkshire Playhouse), The Gathered Leaves (Park Theatre), Pride and Prejudice (Regent’s Park Open Air Theatre), Charley’s Aunt (Menier Chocolate Factory), The Importance of Being Earnest, Farewell to the Theatre, Bedroom Farce (Rose Theatre Kingston), The Reluctant Debutant (Yvonne Arnaud Theatre), Before the Party (Queen’s Theatre), Blythe Spirit, Henceforward, House/Garden (Vaudeville Theatre), Festen (Almeida Theatre), Look Back In Anger (Royal Court Theatre, Criterion Theatre), Making It Better (Hampstead Theatre, Criterion Theatre), Measure for Measure, Romeo and Juliet, The Happiest Days of Your Life … (Bristol Old Vic, US tour), Old Flames (Bristol Old Vic), Peter Pan (Shaftesbury Theatre), Strawberry Fields, The School for Scandal, To Those Born Later (National Theatre), The Philanthropist (Royal Court Theatre, Mayfair Theatre, Broadway), The Shallow End, The Worlds Biggest Diamond, Treats (Royal Court Theatre), and Things We Do For Love (Gielgud Theatre). Her film credits include A Family Affair, Splinter, Burn Burn Burn, I Give It A Year, Alfie, Closing Numbers, Death at a Funeral, Deep End, Dream Child, Henry VIII and His Six Wives, Paris by Night, Runners, and for television, Crossing Lines, Pompidou, Eve, Stella, The Old Guys, Poirot: 3 Act Tragedy, The Palace, A for Andromeda, Crossroads, Miss Marple, The Mistress, Brideshead Revisited and The Mill on the Floss.
Samantha Womack plays The Dresser. Her theatre credits include Grease (Dominion Theatre), Guys and Dolls (Piccadilly Theatre), South Pacific (Barbican), Hope (Royal Court Theatre, Liverpool), The Addams Family, 42nd Street, Dear England (UK tours), and The Lion, The Witch, and the Wardrobe (Gillian Lynne Theatre, UK tour). Her film credits include Mama’s Back, Breeders, Up ‘n’ Under, The Baby Juice Express, Dead Man’s Cards, Forgiven, One Night in Istanbul, Kingsman: The Secret Service, Kingsman: The Golden Circle, and for television, Demob as series regular, Hedda, Health and Efficiency, Minder, Pie in the Sky as series regular, Nicola Dooley, Game On as lead role, Mandy Wilkins, Sharman, The Grimleys, Babes in the Wood, Imogen’s Face as lead role, Imogen, Liverpool 1 as lead role, DC Isobel de Pauli, Strange as lead role Jude Atkins, Home Again, Mount Pleasant, Silent Witness, Buffering, The Marlow Murder Club, and EastEnders as series regular Ronnie Mitchell.
David Robb plays The Designer. His theatre credits include Private Lives, Armstrong’s Last Goodnight (Lyceum Theatre, Edinburgh), The Taming of The Shrew, The Beggar’s Opera, The Promise (Chichester Festival Theatre), She Stoops to Conquer, An Audience Called Edouard (Greenwich Theatre), Cowardy Custard (Mermaid Theatre), Betsi (Haymarket Theatre), King Lear (Almeida Theatre), Half the Picture (Tricycle Theatre), An Ideal Husband (The Old Vic), The Haunting, Single Spies (UK Tour), The Audience (Apollo Theatre), and Grenfell: Value Engineering (Tabernacle Theatre, Birmingham Rep). His television credits include, I Claudius, The Winslow Boy, Wuthering Heights, Le Morte D’Arthur, Fanny by Gaslight, First Among Equals, Half The Picture, Wings, up The Garden Path, Strathblair, Highlander, Taggart, Monarch of the Glen, Ivanhoe, The Flame Trees of Thika, Princess Stallion, The Crow Road, Wolf Hall as series regular Thomas Boleyn, and Downton Abbey as series regular Dr Clarkson. His film credits include The Four Feathers, Regeneration, The Life and Death of Peter Sellers, Elizabeth: The Golden Age, Young Victoria, Sacrifice, From Time to Time, All Those Small Things, and Downton Abbey: A New Era.
Matthew Cottle plays The Milliner. His theatre credits include Hamlet,Our Country’s Good, A Small Family Business, The Habit of Art (National Theatre), A Christmas Carol: A Ghost Story (Alexandra Palace, Birmingham Rep), Party Games! (Yvonne Arnaud Theatre), Mrs Warren’s Profession (Theatre Royal Bath), Woman in Mind, The Deep Blue Sea, The Chalk Garden (Chichester Festival Theatre), HabeasCorpus, Communicating Doors (Menier Chocolate Factory), The Windsors: Endgame (Prince of Wales Theatre), Rough Crossing (UK tour), Wonderland (Nottingham Playhouse), How the Other Half Loves (Theatre Royal Haymarket), and Neighbourhood Watch (New York). His television credits include Down Cemetery Road, The Responder, Alice & Jack, Life After Life, Bridgerton, Outlander, Defending the Guilty, Endeavour, Traitors, The Windsors, The Dresser, Man Down, and Game On as series regular Martin Henson and for film, By the Throat, The Critic, Seize Them! The Personal History of David Copperfield, Bright Young Things, and Chaplin.
Anthony Banks directs. His theatre credits include Blithe Spirit (Salisbury Playhouse), Inspector Morse, Dial M for Murder, Steel Magnolias, Raz (UK tours), Blackmail (Mercury Theatre Colchester), Herding Cats (Soho Theatre), The Girl on the Train (Duke of York’s Theatre/UK tour), Footballers’ Wives (Edinburgh Festival Fringe), The Gap (Hope Mill Theatre), Mrs Warren’s Profession (Theatre Royal Bath), My Cousin Rachel (Theatre Royal Bath), Games for Lovers (The Vaults), Hogarth’s Progress (Rose Theatre Kingston), Strangers on a Train, Gaslight, DNA (UK tours), Twilight Song (Park Theatre), After Miss Julie (Theatre Royal Bath/UK tour), Cesario, More Light, The Eternal Not, Prince Of Denmark (National Theatre), Pignight (Menier Chocolate Factory), The Experiment (Soho Theatre), Herding Cats (Theatre Royal Bath, Hampstead Theatre, Digital transatlantic production, and Soho Theatre), Bassett (Bristol Old Vic), ReWrite (Westminster Hall/National Theatre) and The Hotel Plays (Grange and Langham Hotels, London). He was also Associate Director at the National Theatre 2004 – 2014 where he commissioned and developed a hundred new plays for NT Connections.
Priscilla Queen of the Desert The Musical is based on the 1994 film ‘The Adventures of Priscilla, Queen of the Desert. ‘Priscilla’ is about drag queens Tick/‘Mitzi’ (Kevin Clifton) and Adam/‘Felicia, (Nick Hayes) and trans woman Bernadette (Adele Anderson) who join together to road trip across Australia to perform and also for Tick to meet his nine-year-old son, Benji, for the first time.
It is a raucous riot of colour, light and sound thanks to Andrew Exeter’s set design. Highlights include a spinning disco ball as the curtain rises on each act, the ‘pun-derfully’ pointed Cock (atoo) sign delineating the Sydney club at which the show opens, and of course the gorgeously garish ‘Priscilla’ tour bus. Exeter’s lighting spans rainbows and trans flag colours but also a naturalistic sunrise at Ayers’ Rock, the group’s final destination. Contrasting as that does with the aggressive, urgent flashing lights illuminating the transphobic attack on Bernadette in the bar, it adds an extra layer of symbolism that queer people can rise out of the darkness, into the (spot)light and that even the darkest night will end and the sun will rise. (Forgive the mixing of musicals and metaphors.)
Vicky Gill’s costume design is equally as flashy and flamboyant as Exeter’s lighting and just as effective, dressing Felicia and fellow drag queens full of feathers and flounce. Her simpler choices also signify the blurring of the gender identity lines within the characters and in much of the queer community as a whole. Tick, who is married to a woman, but attracted to men, wears a pink crop top and blue shorts – the colours of the trans flag.
Although Kevin Clifton, who plays Tick, is more than at ease with demanding, complex movement given his Strictly Come Dancing background, I actually found his slower scenes, when he dances with son Benji, impersonating Elvis and singing ‘Always on my Mind’ more impactful and sincere than the faster numbers like Girls Just Wanna Have Fun. At this performance Benji was played fantastically by Forrest Mahjouri, who definitely brought a lump to this reviewer’s throat with his unfailingly endearing, earnest acceptance of his nervous dad’s identity and job in what Tick euphemistically describes as ‘show biz.’
Billie Hardy also deserves praise as Tick’s estranged wife Marion, who still manages to put their son’s need for his father above her own frustrations of his nine-year exodus from his so-called family.
In the disco anthem Sisters Are Doing It For themselves, played in the interval, Annie Lennox and Aretha Franklin sang that ‘behind every man there had to be a great woman’ and nowhere is this demonstrated more clearly in ‘Priscilla’ than through the three Divas. Played by, Leah Vassell (Diva 1) Bernadette Bangura (Diva 2) and Jessie May (Diva 3) their passionate, powerful pipes would be equally at home in the heavens as Muses in Disney’s Hercules: The Musical or for Bangura and Vassell, perhaps one of the Dreamgirls.
On the one hand, I loved the maternal relationship between Bernadette (Adèle Anderson) and Adam/Felicia (Nick Hayes) when she comforts him after he is attacked going out in full drag in Coober Pedy. But I also felt uncomfortable when he was deadnaming her because that is highly taboo for cis people to do, so it felt like a double standard that was awkward to witness and understand. This discomfort was quickly overridden however, by the refreshing joyousness of her natural budding relationship with Bob (Peter Duncan) who is likeable and endears himself to the audience as like Benji, he defies the audience’s expectations and accepts her for exactly who she is. After all, the greatest thing is to love and be loved in return.
I hope I have been sufficiently convincing that you belong in a seat on this tour bus by July 4th before it rumbles off to its next venue, and I guarantee that, cis or trans, boy/man, non-binary person, woman or girl, you will definitely have a lot of fun!
CAST AND DATES ANNOUNCED — FIRST LOOK UNVEILED AS TICKETS GO ON SALE THIS WEEK
MOLIÈRE’S COMEDY MASTERPIECE
ADAPTED AND DIRECTED BY DARREN RAYMOND
● Strictly Limited 7-week Season: Running from 4 September – 24 October 2026 at the Marylebone Theatre.
● Mark Rylance, the Oscar and Olivier Award-winner, stars in the titular role alongside the newly announced cast and creative team.
● Written and directed by Darren Raymond (Shakespeare’s Globe’s Sam Wanamaker Award 2025 recipient), Artistic Director of the award-winning Intermission Youth and Intermission Ensemble, the charity’s professional performance company.
● Bold, hilarious and heartfelt, Tartuffe (Remixed) reimagines Molière’s timeless comedy through the lens of a contemporary Nigerian–Jamaican family.
● Tickets from £20 featuring a dedicated commitment of 2,250 tickets priced under £30 across the run and a £20 lottery for every performance. Priority Bookingopens today at 12 noon, 30 June.General On-Salefrom12 noon, 1 July.
Tickets for the World Premiere of Tartuffe (Remixed) starring Oscar and Olivier-Award winner Mark Rylance will go on general sale this week for a strictly limited 7-week season from 4 September to 24 October 2026. Written and directed by Darren Raymond, this vibrant new adaptation of Molière’s masterpiece blends razor-sharp comedy, spoken word, music, and beautifully crafted rhyming verse. The production is a joyful celebration of faith, family, forgiveness, and the courage to speak truth to power.
Priority booking opens today, 12 noon, Tuesday 30 June and tickets from £20 will go on general sale at 12 noon,Wednesday 1 July. The production also unveils its cast and a first look at the striking production artwork.
Bringing the Afolabi-Williams family to life with Mark Rylance are Intermission Youth graduates Sara Mokonen (The Jungle, Playground Theatre and West End), Black British Theatre Award nominee Christopher Mbaki (Before I Go, Brixton House) and Morenike Onajobi (Taming Who?Arcola Theatre). The cast also features actors with long-standing ties to Intermission, Nakeba Buchanan, Craig Blake (The Harder They Come, Theatre Royal Stratford East), and Blanche Williams, while award-winning Sierra Leonean storyteller and actor Usifu Jalloh (The Secret Lives of Baba Segi’s Wives, Arcola Theatre) joins the lineup. This unique creative union offers a rare opportunity to witness an incredible collaboration on stage, bringing Mark Rylance, a long-serving trustee of Intermission Youth, together with some of the talent his advocacy has helped champion.
The outspoken Afolabi–Williams family gathers at Oga Afolabi’s mansion as preparations begin for the wedding of his daughter. With relatives arriving from far and wide, family traditions are in full swing, emotions are running high, and opinions are never in short supply. But when Tartuffe, a charismatic man of God who has won Oga’s unwavering trust, takes up residence in the family home, old wounds reopen, loyalties are tested, and faith itself becomes a battleground. As the wedding day draws ever closer, the family must expose the truth before everything they hold dear is torn apart.
The production also reunites Mark Rylance and ULTZ, the Olivier Award-winning and Tony-nominated set and costume designer, who have worked on multiple productions together including Jerusalem and Much Ado About Nothing. Simisola Majekodunmi joins as lighting designer (Relics, Jaja’s African Hair Braiding and Ghosts, Lyric Hammersmith); Once On This Island Concert (Theatre Royal Drury Lane).
Tartuffe (Remixed) is presented by Marylebone Theatre, Patrick Myles & David Luff, Shakespeare Road in partnership with Intermission, co-produced with Alexander “Sandy” Marshall, Anthology Theatre, Glass Half Full, Rupert Gavin/Mallory Factor, Tulchin Bartner Productions and Wild Yak.
Producers Patrick Myles and David Luff (Dr Strangelove, West End and Network, National Theatre and Broadway) are the stellar producing team who co-produced with the Marylebone Theatre on the recent hit The Price, starring Henry Goodman, which received rave reviews and played to sold out houses earlier this year.
Marylebone Theatre’s Artistic Director Alexander J Gifford says: “For many years, Darren has been creating amazing, “remixed” versions of Shakespeare’s plays for Intermission Youth. With Mark he has turned his hand to Molière and the result is a brilliantly funny, surprisingly poignant new play. Mark was born to play Tartuffe and I have no doubt that he will deliver another iconic stage-performance. I am tremendously excited to be partnering with Intermission Ensemble, some of whose professional actors have come up through the theatre company’s youth programme. The alumni are not just fantastically talented, but highly-trained and united by a spirit of family. I expect audiences to fall in love with Tartuffe (Remixed) and for it to be hailed as an outstandingly original, deeply moving version of the classic French comedy.”
Darren Raymondsays: ”The production is a massive nod to the next generation. Mark will be starring alongside some of Intermission Youth’s alumni. This isn’t just a performance; it’s a tangible bridge between a stalwart of the stage and the young talent he has spent years mentoring. I am thrilled to see our company’s signature style come to life, where original verse meets the raw, rhythmic tapestry of cultural sounds that define our modern society.”
Mark Rylance says: “Since 2009 I’ve adored Darren Raymond’s productions of Shakespeare, created for his Intermission Youth theatre company. So, I’m very excited to work with him directing Intermission Ensemble, a professional company, remixing Moliere’s satirical masterpiece.
“Darren’s genius for language and humour guarantees this will be a Tartuffe like no other. Our early rehearsals have been hilarious. The mix of a corrupt English missionary in a contemporary Nigerian–Jamaican family culture is bringing out the authentic cadence and revolutionary meaning of this classic play.”
In a major commitment to affordability to ensure access for lower-income families and new theatre audiences over 2,250 tickets across the run are priced at £30 and below, filling the equivalent of eight full houses. A lottery will also release a limited number of specially priced £20 seats for every single performance. Additionally, the production has partnered with dedicated schools, youth groups, and diverse community organisations to allocate heavily subsidised £15 tickets across 10 select performances.
CAST
Mark Rylance
Sara Mokonen
Morenike Onajobi
Christopher Mbaki
Usifu Jalloh
Craig Blake
Nakeba Buchanan
Blanche Williams
CREATIVES
Adapted and directed by Darren Raymond
Set design by ULTZ
Lighting designer Simisola Majekodunmi
LISTINGS
Dates: 4 September – 24 October 2026
Where: Marylebone Theatre
Address: Rudolf Steiner House, 35 Park Rd, London, NW1 6XT.
Times: Monday – Saturday 7.30pm, Wed & Sat 2.30pm
Captioned: Tuesday 7th October at 7.30pm
Audio Described (and Touch Tour): Saturday 17th October – matinee
Secret Cinema today announces full casting for the return of the critically acclaimed Grease: The Immersive Movie Musical. Joining the previously announced Stephanie Costi (Sandy), Lucy Penrose (Rizzo), Giórgios Michaelídes (Danny), Arcangelo Ciulla (Kenickie), and Ricky Wilson (Teen Angel) are Kieran Alleyne (Sonny), Charlotte Avery (Principal McGee), Em Barrett (Coach), Michelle Bishop (Blanche), Ziki Buswell (Jan), Leah Dane (Cha Cha), David Fearn (Johnny Casino, Alternate Teen Angel), David Heal (Leo Balmudo), Hannah Hague (Marty), Khyrese Heron (Putsie), Joshua C Jackson (Vince Fontaine), Andrew Jackson (Doodie), Imogen Kingsley-Smith (Patty Simcox), Jacob Stebbings (Eugene Felsnick), and Jess Smith (Frenchie), with Kingsley Campbell-Golding, Erin Corfield, Bella Donald, CJ Driver, Abiola Efunshile, Alex Hetherington, Max Ilett, Charles Potter, and Zaya Tserenbat.
This summer Secret Cinema is welcoming audiences back to Rydell High once more, following its sold-out run in 2025. The production opens at Evolution London in Battersea Park for a strictly limited run from 22 July to 13 September.
Secret Cinema & TodayTix present GREASE: THE IMMERSIVE MOVIE MUSICAL
Grease: The Immersive Movie Musical is produced by Secret Cinema and TodayTix (Merritt Baer, Artistic Director and Co-Founder; Ben Hosford, Executive Producer).
Director: Matt Costain; Choreographer: Jennifer Weber; Set Designer: Tom Rogers; Lighting Designer: Howard Hudson; Sound Designer: Gareth Fry; Music Supervisor, Orchestrator and Arranger: Steve Sidwell; Video Designer: Ian William Galloway; Costume Designer: Susan Kulkarni and Martina Trottmann; Wigs, Hair and Make-up: Farida Ghwedar and Jessie Deol; Casting Director: Grace McInerny for Pippa Ailion and Natalie Gallacher Casting.
22 July – 13 September
Gala Performance: Wednesday 29 July at 7:30pm
Each performance of Grease: The Immersive Movie Musical is a two hours and fifteen minutes spectacular. From ‘Summer Nights’ to ‘Greased Lightnin’’ to ‘We Go Together’, every iconic song from the beloved 1978 Paramount Pictures film comes to life as a knock-out cast and live band perform against multiple movie screens.
From the moment they enter this modern live experience, audiences step into the world of the movie, exploring the iconic locations including Frosty Palace, The Autoshop, and The Carnival and immerse themselves in school spirit, training with Coach Calhoun, cheering on the T-Birds, taking part in a choir practice and even tasting 1950s American diner-style delights.
Kieran Alleyne plays Sonny. His theatre credits include MJ the Musical (Prince Edward Theatre), and Thriller Live (UK tour). His television credits include Dani’s Castle; he also was the 3rd place finalist in The X Factor in 2016.
Charlotte Avery plays Principal McGee. Her theatre credits include Les Liaisons Dangereuses (National Theatre), Golden Years (Birmingham Rep), Stepping Out (Leicester Haymarket Theatre), Who’s a Lucky Boy (Royal Exchange Theatre), Young Apollo (The Leatherhead Theatre), Annie Get Your Gun (Chichester Festival Theatre), Starlight Express (Apollo Victoria Theatre and international tour), and Grease (Dominion Theatre). Her television credits include EastEnders (as series regular Tina Stewart), Shakespeare & Hathaway, Toast of London, Love Soup, Jeeves and Wooster, Landmarks – Portrait of Europe, Murder in Mind, Rides( as series regular Sacha), The Ruth Rendell Mysteries, The Adventures of Robin Hood, The Good Guys and Waking the Dead, and for film Scoop, Rogue Agent, Lady Chatterley’s Lover, Lucky, Thin Ice and Warrior Angels.
Em Barrett plays Coach. This marks her professional London stage debut. Her theatre credits include Are You Brave Enough (Disneyland Paris), and Pour House (Norwegian Cruise Line).
Michelle Bishop plays Blanche. Her previous theatre credits include Cabaret (Playhouse Theatre), Cinderella (Gillian Lynne Theatre), Strictly Ballroom (Piccadilly Theatre), Sunset Boulevard (London Coliseum), Bend it Like Beckham (Phoenix Theatre), White Christmas (Dominion Theatre), Charlie and the Chocolate Factory (Theatre Royal Drury Lane), Kiss Me Kate (The Old Vic), Lend Me a Tenor (Gielgud Theatre), Company (Southwark Playhouse), Jersey Boys (Prince Edward Theatre), Fame (Shaftesbury Theatre) and Snow White and the 7 Dwarfs (Victoria Palace Theatre), Grandpa’s Great Escape, Monkee Business, Footloose, The Wedding Singer, Grease, Just Like That (UK tour), Singin’ In The Rain (China tour), Starter for Ten (Bristol Old Vic, Birmingham Rep), Little Shop of Hours (Storyhouse), Kiss Me Quickstep (Queen’s Theatre, New Wolsey Theatre and Theatre Clwyd), 42nd Street, Top Hat, Thoroughly Modern Millie, Guys and Dolls (Kilworth House), A Midsummer Night’s Dream (New Wolsey Theatre), and Singin’ In The Rain (Théâtre du Lido). Her television credits include Galavant; and for film Mrs Henderson Presents.
Ziki Buswell returns for a second year to play Jan. Her theatre credits include Beauty and the Beast (The Grove Theatre), Woman Like Me, Pop Forever (UK tour), The Adventures of Peter Pan (The Alban Arena), and Bugsy Malone (Milton Keynes Theatre). Her film credits include Moment by Moment.
Arcangelo Ciulla plays Kenickie. His theatre credits include A Knight’s Tale The Musical (Manchester Opera House), Singin’ in the Rain (Dubai and China), Mamma Mia! (West End), Disney’s Newsies (Troubadour, Wembley Park – The Stage Debut Award nomination for Best Performer in a Musical), Billy Elliot (Italian and international tour), and Dick Whittington (New Wimbledon Theatre). His film credits include Cruel Peter.
Stephanie Costi returns to play Sandy. Her stage credits include Something Rotten! (Manchester Opera House), Pretty Woman (Zurich), Sleeping Beauty (Darlington Hippodrome), Fame (Athens), The Sound of Music (Beirut & Lebanon tour),and Romeo & Juliet (English National Ballet); and concerts include Children of Eden, West End Does: Love (Cadogan Hall), Roles We’ll Never Play (Union Theatre), and One Young World: Opening Ceremony (Royal Albert Hall). She came 3rd in Mamma Mia! I Have a Dream for ITV.
Leah Dane returns to play Cha Cha. Her television credits include Slow Horses;and for film, The Moment and A Christmas Karma.
David Fearn returns to play Alternate Teen Angel and Johnny. His theatre credits include Dirty Dancing (Gunnersbury Park), Bridgerton (Park Place, Wembley), and Blondel (Union Theatre). His television credits include as series regular Dr Parker in Hollyoaks.
Hannah Hague plays Marty. Her theatre credits include & Juliet (Performing Arts Theater, Hamburg), and Matilda the Musical (Cambridge Theatre, London).
David Heal returns to the role of Leo Balmudo. His theatre credits include Beauty and the Beast (Fareham Live), For Those Of Us Who Were Never Meant To Survive (Shoreditch House), Cinderella (Centenary Theatre), If Music Be The Food Of Love, Play On (The Players Theatre Thame), Slices Of Life: DM (Stage Door Theatre), Boys in the Buff (Drayton Arms), Tickle (Drayton Arms), Sleeping Beauty (Eden Court, Inverness, Palace Theatre, Newark), The Musical That Goes Right (The Cockpit Theatre), Freedom (Lyceum Theatre), Strike Boys (M&S Bank Arena),and Oliver! (Theatre Royal Drury Lane).
Khyrese Heron plays Putsie. This marks his professional stage debut. His television credits include Taking The Next Step and The Next Step (Season 4).
Andrew Jackson plays Doodie. His theatre credits include Ebony Scrooge (Sadler’s Wells), and Young Voices UK (UK tour).
Joshua C Jackson plays Vince Fontaine. Jackson is a member of the Olivier Award-winning Showstopper! The Improvised Musical and the UK’s longest-running POC improv group, Do The Right Scene. His theatre credits include Rumble in the Jungle Rematch (Canada Water Theatre), The Tempest (UK tour), Girl From the North Country (UK and Ireland tour), MJ the Musical (Prince Edward Theatre). His television credits include The Diplomat, Avenue 5, and Station Eleven; and for film, You Should HaveLeft, Needle in a Timestack and Voidance.
Imogen Kingsley-Smith returns to the role of Patty. Her theatre credits include Love Goddess: The Rita Hayworth Musical (Cockpit Theatre), Sleeping Beauty (Churchill Theatre), Live at the Palladium (London Palladium), Matilda the Musical (Cambridge Theatre), and Billy Elliot the Musical (Victoria Palace Theatre). Her television credits include Doctor Who – “The Interstellar Song Contest” and Matilda the Musical: Surprise Surprise, her film credits include Billy Elliot: The Musical Live and Robbie Williams: One Night At The Palladium.
Giórgios Michaelídes plays Danny. His stage credits include Justin Timberlake’s opening act on his Forget Tomorrow World Tour, Grease (UK and Dominion Theatre), Disney’s Newsies (Troubadour Theatre), and Here Come The Boys (The London Palladium). His film credits include Mistletoe Farm.
Lucy Penrose returns to play Rizzo. Her theatre credits include Ancient Grease (The Vaults), Growled (Royal Vauxhall Tavern), Judy! (Arts Theatre, Southwark Playhouse and London Hippodrome), Eurovision, Your Decision (Above The Stag Theatre, Wonderville, King’s Head Theatre and Royal Vauxhall Tavern), Top Hat, California Suite (Royal Court Liverpool),and A Pissedmas Carol (Sh!tfaced Showtime, Edinburgh Fringe Festival). For television, her work includes Watchmen.
Jess Smith plays Frenchie. Her theatre credits include The Greatest Showman (Bristol Hippodrome), Shake It Up Baby (Epstein Theatre), The Legend Of Rooney’s Ring (Royal Court, Liverpool), Blood Brothers, Pop Princess (UK tours), and Aladdin (Northwich Memorial Court, St Helens Theatre Royal, Queen Elizabeth Hall).
Jacob Stebbings returns to the role of Eugene Felsnick. His theatre credits include Beauty and the Beast (Halifax Victoria Theatre), Peter Pan (Halifax Victoria Theatre), Railway Ball (O2 Intercontinental).
Listing Information
GREASE: THE IMMERSIVE MOVIE MUSICAL
Evolution London, Battersea Park,
Chelsea Bridge Gate, Queenstown Road, London SW11 4NJ
TEN QUESTIONS IN TEN MINUTES: A Natter With The Nolans
For three decades they were always In The Mood For Dancing. Now, Anne, Denise and Maureen Nolan are reuniting to star in their first summer season, in Blackpool, since the 1980s. They tell Steve Cain more.
Tell us about your forthcoming summer season?
MAUREEN: I think we need to stress that this is not the all-singing, all-dancing kind of summer season we used to do. This show is as much about us getting to know the audience as it is about them getting to know us.
ANNE: The reaction has been amazing – it feels surreal. The fans and the general public alike have been absolutely fantastic. Ticket sales are doing really well.
DENISE: When we announced the summer season, we received so many lovely messages from fans, saying they couldn’t wait to see the three of us back together again. Our fans are so loyal.
Tell us why you have such an affinity with Blackpool?
MAUREEN: It has so much going for it. As well as being a fun place with the beach, the promenade and the Tower, we have a beautiful Grade II-listed award-winning park. We’re all great advocates of Blackpool, it has a special place in our hearts.
DENISE: You can go to prettier seaside resorts and they’re lovely during the day but there’s absolutely nothing to do at night. With Blackpool, you’ve got the best of both worlds. I love living here, it’s got my heart.
ANNE: Even though I’ve performed in many amazing venues – in the UK and around the world – including the Royal Albert Hall and the London Palladium, I still
love performing in my home town. I just love Blackpool and have performed in summer season and also our own Nolans show at the Opera House. And, I’ve appeared in pantomime at the Grand Theatre. They’re both amazing, beautiful venues.
What was it like being in a group with your sisters?
DENISE: When you’re part of a family group, alongside your sisters, it’s impossible to become a diva. There’s always someone behind you, ready to say, “Just who do you think you are?”
MAUREEN: I’ve been singing, with my sisters and individually, since I was nine – that’s 60-plus years now. I’m very close to all my sisters and, with what we’ve all been through, you come to realise that life is short and that family is the most important thing.
ANNE: Both amazing and frustrating. Amazing because I was living and working with my sisters, doing something I loved. Frustrating because you’re never recognised as an individual.
I’m In The Mood For Dancing will always be your signature song. Tell us about that iconic hit?
MAUREEN: I’m really proud of it, it always goes down well and is spoken of in the same breath as I Will Survive and I Am What I Am. I think any song that still stands up after almost 50 years, and fills a dance floor, deserves to be considered a pop classic.
ANNE: That song has kept our names going. It’s been fantastic for all of us right through our careers. Whenever and wherever we sing it, people sing along or get up and dance – you can tell they really love it.
DENISE: We did a charity show in Sheffield, last October, and when we sang I’m In The Mood For Dancing, the audience went absolutely crazy. That was when we realised that we still have something to give. It was instrumental in us reuniting to do summer season.
Share with us one of your highlights from your time in The Nolans?
DENISE: Nothing can ever beat working with Frank Sinatra. I can’t ever top that. We were his support act on his 1975 European Tour and every day was full of ‘pinch-me’ moments.
MAUREEN: We enjoyed huge success in Japan and actually sold more records there than The Beatles, Michael Jackson, Adele and Ed Sheeran combined. In 1981, we won the Tokyo Music Festival and were the first ever European act to do so.
ANNE: We had a wonderful night when we were working at The Blue Note Jazz Club in Tokyo. Stevie Wonder had his last night party of his tour there and we were invited, so met Stevie. He sat at the piano and sang all of his hits for us.
In addition to huge success as part of The Nolans, you’ve each had solo careers. Give us a highlight from your solo career?
DENISE: Performing at Ronnie Scott’s [Jazz Club] with Buddy Greco, singing medleys of Duke Ellington and Ella Fitzgerald numbers – backed by an 18-piece orchestra.
MAUREEN: Starring as Mrs Johnstone in Blood Brothers. I’ve played her on-and-off for over 20 years and I think, for a woman, it’s the best role in musical theatre.
ANNE: I loved performing at Manchester Pride [in 2009]. Beforehand, I was really excited and so looking forward to it but I was also wracked with nerves. I sang I Am What I Am, Don’t Rain On My Parade and I’m In The Mood For Dancing. They seemed to love me and gave me a great reception.
Tell us an achievement you’re particularly proud of?
DENISE: I recorded an album of Frank Sinatra songs, which made it to the top of the jazz charts before entering the regular album charts. It did well and I became the second-oldest female to be in the Top 20 after Dame Vera Lynn!
ANNE: I did an outdoor pop concert, for the first time, when I was 72! It was in Ireland and I shared the bill with Billy Ocean, Tony Hadley and Peter Cox. That was a massive deal for me and I loved it.
MAUREEN: Along with Bernie, Linda and Denise, I hold a Guinness World Record for the most siblings to play the same leading lady role in the same West End show at different times. I had big shoes to fill when I stepped into the role of Mrs Johnstone in Blood Brothers.
Tell us something interesting about yourself?
DENISE: I think I must have been born in the wrong era because I just loved performing harmonies with my sisters. We did an Andrews Sisters medley including Back In Nagasaki, Chattanooga Choo Choo and Boogie Woogie Bugle Boy of Company B. I also love performing the songs made famous by Doris Day and Judy Garland.
MAUREEN: I learned to pole-dance in my mid-50s. I was appearing in a touring production of a play called The Naked Truth. I had bruises on my thighs for the entire tour.
ANNE: I only have three regrets in life. I never learned to swim; I never learned a foreign language fluently, and I never learned to play an instrument properly.
In June, you were presented with a Lifetime Achievement Award at The Pride of Éireann Awards. How did that feel?
MAUREEN: We were thrilled when we were told we were getting this award. To be recognised for all your hard work and six decades in show-business is such an honour.
DENISE: To receive recognition for something we thoroughly enjoy doing makes us proud. But that pride is tripled when the honour comes from the country of our birth.
ANNE: This award means so much to us, especially to remember the legacies of Linda and Bernie. They both would have been thrilled to know that Ireland is celebrating what we achieved together as a family.
Which item on your ‘rider’ is most essential?
MAUREEN: Tea. I love a nice pot of tea!
DENISE: Foldback with reverb. The sound is my big hang-up.
ANNE: Somewhere nice to dress, relax, and apply my make-up. And a bottle of water!
An Afternoon with The Nolans runs every Saturday (from 25 July) until 3 October. For more information and to book tickets, visit www.houseofsecretsmagicbar.com
