Producers Darren Bell and Cuffe & Taylor for Live Nation are delighted to welcome the full castfor the WhatsOnStage Award-winning concert production of Andrew Lloyd Webber’s Love Never Diesat the London Palladium. The concert run at 7.30pm on 16 October and 2.30pm and 7.30pm on 17 & 18 October.
Joining the previously announced Jamie Muscato as Phantom, Celinde Schoenmaker as Christine, George Blagden as Raoul, Courtney Stapleton as Meg and Mazz Murray as Giry will be Holly James (Moulin Rouge, Boston/Broadway; American Psycho, Broadway) as Fleck, Nic Greenshields (Les Misérables, Arena World Tour; The Wizard of Oz, West End) as Squelch and Charles Brunton (Matilda, West End; Bedknobs and Broomsticks UK & Ireland Tour) as Gangle. The cast is completed by Leslie Garcia Bowman (Hamilton, West End; The Red Shoes, Swan Theatre), Georgia Joan Clements (A Knights Tale, Manchester Opera House; Gypsy, Hope Mill Theatre), Sally Frith (Evita, West End; Cabaret, West End) Christian Knight (Hamilton, West End; Brigadoon, Regent’s Park Open Air Theatre), Louis Mackrodt (Evita, West End; Hamilton, West End), Gleanne Purcell-Brown (The Unlikely Pilgrimage of Harold Fry, West End; Shucked, Regent’s Park Open Air Theatre), Hollie Jane Stephens (The Producers, West End; Guys & Dolls, Bridge Theatre) and Tommy Wade-Smith (Mean Girls, West End/UK & Ireland Tour; Annie, UK & Ireland Tour).
The concert will be directed by Shaun Kerrison with choreography by Joanna Goodwin, set and costume design by Rebecca Brower, lighting design by Tim Deiling, sound design by Paul Gatehouse, music supervision by Simon Lee, casting by Sarah Jane Price Casting CDA, costume supervision by Jennie Quirk, props supervision by Katie Balmforth, associate sound design by Charlie Smith, orchestra management by Nicola Rossiter, production management by Pete Kramer and general management by Sam Quested for QUBE Theatricals.
The company is completed by Peter Barnett (company stage manager), Leea Smith (deputy stage manager) Ben Turnball & Declan Smith (assistant stage managers), Rachel Perry (head of wardrobe) and Annie Linfett (wardrobe assistant).
Love Never Dies – Phantom of the Opera’s spectacular sequel – returns to the story 10 years after the Phantom’s disappearance from the Paris Opera House. Escaped to a new life in New York, he has finally found a place for his music to soar. All that is missing is Christine Daaé – the young soprano whose sensational talent enchanted the Phantom and saw him fall deeply and dangerously in love.
In a final bid to win her back, the Phantom lures Christine, her husband, and their young son Gustave to America to perform one final time. As old wounds are reopened and forgotten memories unlocked, the Phantom sets out to prove that, indeed, Love Never Dies.
The original production of Love Never Dies has music by Andrew Lloyd Webber, book by Andrew Lloyd Webber and Ben Elton with Glenn Slater and Frederick Forsyth, lyrics by Glenn Slater with additional lyrics by Charles Hart and orchestrations by David Cullen and Andrew Lloyd Webber.
This concert production comes as Cameron Mackintosh’s production of Andrew Lloyd Webber’s Phantom of the Opera celebrates its 40th yearin London’s West End at His Majesty’s Theatre. Phantom of the Opera is widely considered one of the world’s most beautiful and spectacular musicals. Since 1986, the global phenomenon has played to over 160 million people in 217 cities, 58 territories and 23 languages.
Love Never Diesis produced by Darren Bell and Cuffe & Taylor for Live Nation and presented by arrangement with LW Entertainment.
Phil&Ben Productions are delighted to announce a new production of Frederick Knott’s classic thriller DIAL M FOR MURDER, which will premiere as part of a Summer 2026 repertory season at Eastbourne Theatres. It will open at Devonshire Park Theatre, Eastbourne where it will play from Thursday 2 – Saturday 11 July2026, before visiting Crewe, Fareham, Swindon, Westcliff, Harrogate, Blackpool, Coventry and Peterborough. Listings information below.
DIAL M FOR MURDER marks the beginning of a major long-term collaboration between Phil&Ben and PW Productions, aimed at strengthening the future of touring drama in towns and smaller cities across the UK. By combining Phil&Ben Productions’ experience and passion for mid-scale touring theatre with PW Productions’ extensive national touring expertise, the companies aim to create a practical and sustainable model for bringing high-quality drama back to venues that have seen touring opportunities diminish in recent years.
Phil and Ben said “We believe audiences in towns and smaller cities deserve regular access to outstanding live drama, and that the appetite for it remains strong. Dial M For Murder is an exciting production in its own right, but it also stands for something larger: a commitment to restoring confidence in mid-scale touring theatre and building lasting partnerships with venues and audiences.”
Iain Gillie of PW Productions added “For many venues, the challenge isn’t a lack of interest in drama — it’s the financial risk attached to presenting it. We want to help change that. Supporting Phil&Ben Productions allows us to invest in a model that prioritises sustainability, collaboration, and audience development, ensuring touring drama can continue to thrive beyond the major cities.”
Co-founder of the Local Theatre Touring Alliance and Chief Executive of Blackpool Grand Theatre Adam Knight said “Blackpool Grand Theatre warmly welcomes this partnership between Phil&Ben Productions and PW Productions. For mid-scale presenting venues, this kind of collaborative working and sustained commitment is exactly what is needed to grow audiences for touring drama while sharing risk more effectively and strengthening the long-term ecology for regional theatre.”
The partnership has been developed in response to growing concern across the theatre sector about the decline of touring drama, shrinking audiences, and the increasing financial pressures facing regional venues. Responding to Arts Council England’s independent review, ‘The State of Touring’, and aligned with the objectives of the Local Touring Theatre Alliance initiatives, the partnership seeks to address the report’s warning that touring drama is “likely to reach a critical level without intervention.” By strengthening opportunities for touring productions, the collaboration aims to support audience development, sustain regional venues, and help ensure that communities continue to have access to regular live theatre experiences.
The collaboration is built around a shared belief that live theatre plays a vital role in communities and that audiences across the country still have a strong appetite for accessible, high-quality drama when given the opportunity to experience it regularly.
PW Productions’ support will help underpin marketing, audience development, and long-term planning, allowing DIAL M FOR MURDER to play an important role in rebuilding audiences for touring drama and strengthening relationships between producers, venues, and local communities.
The companies hope the initiative will help re-establish regular touring drama in venues that have struggled to sustain it in recent years, while also creating a blueprint for a healthier and more resilient touring ecology nationwide.
This collaboration is committed to delivering quality, accessible drama with strong performances at its heart. Directed by Josh Mathieson, DIAL M FOR MURDER will star Tanya-Loretta Dee as Margot Wendice alongside Pete Ashmore as Tony Wendice. They are joined by Simon Pothecary as Max Halliday, Katy Dean as Inspector Hubbard, and Phil Stewart as Captain Lesgate.
With a company combining established touring experience and fresh contemporary talent, DIAL M FOR MURDER aims to reconnect audiences with the excitement, tension, and sophistication of classic live theatre.
The Royal Theatrical Fund today announces Actors Never Retire, a new podcast series celebrating the lives, careers and behind-the-scenes stories of those working across stage and screen. The RTF provides financial support to those that are unable to work due to illness, injury, in their twilight years or in times of crisis.
Hosted by actress Molly Hanson, the six-episode series will feature candid conversations with performers whose careers have spanned decades on stage and screen. The guests are David Alder, Colette Kelly, Hayward Morse, Barbara Rhodes, Myra Sands, and Elizabeth Seal, alongside a special introduction from RTF Chairwoman Samantha Bond and RTF President Robert Lindsay, and original music by Stefan Bednarczyk.
From backstage disasters and career-defining moments, to reflections on longevity in the industry, each episode offers an honest and entertaining insight into the realities – and enduring joys – of a life in the entertainment industry.
The first episode will be released on Friday 12 June with the remaining five episodes released every Friday thereafter. For further information, please go to https://trtf.com/.
Stefan Bednarczyk is a musical director, cabaret performer and actor. His theatre credits include Laughter on the 23rd Floor (Sondheim Theatre), Semi-Monde (Lyric Theatre), The Games of Love and Chance (National Theatre), The L.A. Plays (Almeida Theatre), Five O’ Clock Angel (Hampstead Theatre and King’s Head Theatre), The Killing of Mr Toad, The Grand Duke (Finborough Theatre), and Christmas Spirits (The Other Palace). As a cabaret performer his credits include Coward & Friends (Menier Chocolate Factory), Noël Coward’s Christmas Spirit (The Other Palace), Stefan Bednarczyk: King of Cabaret (Jermyn Street Theatre), and An Evening of Flanders and Swann (The Pheasantry and Jermyn Street Theatre).
Samantha Bond’s theatre credits include The Lie (Menier Chocolate Factory), Dirty Rotten Scoundrels (Savoy Theatre), Passion Play, Arcadia (Duke of York’s Theatre), What The Butler Saw, An Ideal Husband (Vaudeville Theatre), Donkey’s Years (Harold Pinter Theatre), Rubinstein’s Kiss, A Woman of No Importance (Hampstead Theatre), The Vagina Monologues (Wyndham’s Theatre), Memory ofWater (UK tour and West End), Amy’s View (National Theatre, Aldwych Theatre and Ehtel Barrymore Theatre), The Winter’s Tale (RSC), Much Ado About Nothing (UK tour and Phoenix Theatre), Romeo and Juliet. Her television credits include The Marlow Murder Club (as series regular Judith Potts), The Inheritance, Dreamland, Silent Witness, Moving On, Election Spy, Murdoch Mysteries, Home Fires, Downton Abbey, Outnumbered, Playhouse Presents, Midsomer Murders, New Tricks, The Queen, Heartbeat, Marple, Lark Rise to Candleford, The Sarah Jane Adventures, Distant Shores, Hotel Babylon , Fanny Hill, Donovan, NCS Manhunt; and for film, Hounded, The Stranger in Our Bed, Downton Abbey: A New Era, The Kindred, Schools Out Forever, Cold Blood Legacy, A Bunch of Amateurs, Blinded, Die Another Day, GoldenEye, Tomorrow Never Dies, and The World Is Not Enough.
Molly Hanson presents. Her theatre credits include POSH (Pleasance Theatre), A Christmas Carol, A Midsummer Night’s Dream, As You Like It (Windsor Castle), and First Episode (Jermyn Street Theatre). For television her credits include Father Brown, The Coroner, and Jack Ryan.
David Alder’s theatre credits include A Tale of Two Cities (Charing Cross Theatre), TheKissing Dance (Jermyn Street Theatre), The Villains’ Opera, Honk! The Ugly Duckling (National Theatre), Annie (Victoria Palace Theatre and UK tour), Scrooge – The Musical (Bristol Hippodrome), She Loves Me (Savoy Theatre),Leonardo (Novello Theatre), Me and My Girl (Adelphi Theatre), Call Me Madam (Victoria Palace Theatre), and Salad Days (Duke of York’s Theatre and UK tour). His television credits include The Bill and Ooh La La!; and for film, Decadence and Riff-Raff.
Colette Kelly’s stage credits include Ballroom (Waterloo East Theatre), By the Bog of Cats (Wyndham’s Theatre), Salad Days (Duke of York’s Theatre), Hair (Shaftesbury Theatre), and Grease (Gillian Lynne Theatre).
Hayward Morse’s stage credits include Butley (Criterion Theatre), What The Butler Saw (Sondheim Theatre and UK tour),The Mousetrap (St Martin’s Theatre), 84 Charing Cross Road (Cambridge Arts Theatre), Shylocks Revenge (UK tour), Stage Struck, Relatively Speaking, Don’t Misunderstand Me, London Suite (English Theatre Hamburg, English Theatre Frankfurt, and UK tour), Eden’s Empire (English Theatre Hamburg), Weapons of Happiness, Portraits, Magnificence, The Melting Pot, But It Still Goes On, Beast on the Moon (Finborough Theatre), The Reluctant Debutante, Barefoot in the Park (Yvonne Arnaud Theatre),and The Canterbury Tales (Phoenix Theatre). His television credits include Reacher, Accused, Autopsy: The Last Hours of, Footballers’ Wive$: Extra Time, Screen Two, The Great Detective.
Barbara Rhodes’ theatre credits include My Fair Lady (Adelphi Theatre) and No, No Nanette (Theatre Royal Drury Lane). Her opera and ballet credits include Falstaff, Turandot, Romeo and Juliet, The Nutcracker (all Royal Opera House); and for film, Pride and Prejudice, Hamlet and Carrington. Rhodes trained at the Royal Ballet School and was awarded the Solo Seal and Adeline Genee Bronze Medal.
Myra Sands’ theatre credits include Evita (Prince Edward Theatre), Funny Girl (Menier Chocolate Theatre, Savoy Theatre and UK tour), Sweeney Todd, Charlie and the Chocolate Factory (Theatre Royal Drury Lane), Cats (Gillian Lynne Theatre), Acorn Antiques: The Musical (Theatre Royal Haymarket), Marilyn!, Me and My Girl (Adelphi Theatre), Dear Anyone (Cambridge Theatre), The Baker’s Wife (Phoenix Theatre), Grease (Dominic Theatre and Cambridge Theatre), Candide, Summerfolk, Money, The Villain’s Opera, Honk (National Theatre), Follies (Southbank Centre), Carnival!, New Girl in Town, One Touch of Venus (Barbican Centre), The Boy Friend and Gigi (Regent’s Park Open Air Theatre), By Jupiter, Du Barry Was A Lady; and for film, Funny Girl.
Elizabeth Seal’s theatre credits include The Pajama Game, Damn Yankees (London Coliseum), Salad Days (Duke of York’s Theatre and UK tour), Chicago (Cambridge Theatre and Sheffield Theatres), The Corn Is Green (Lunt-Fontanne Theatre), and Irma La Douce (Lyric Theatre, Gerald Scheonfeld Theatre, and Alvin Theatre – Tony Award for Best Leading Actress in a Musical). Her television credits include My Son, My Son, Supernatural, Z Cars, The Misfit, Softly Softly: Task Force, and Route 66; and for film, Headlock Security, Lara Croft: Tomb Raider – The Cradle of Life, Mack the Knife, and Lara Croft: Tomb Raider – The Cradle of Life.
CRITICALLY ACCLAIMED OLIVIER AND TONY AWARD-WINNING
STRANGER THINGS: THE FIRST SHADOW
EXTENDS FOR A FINAL TIME
BOTH IN THE WEST END AND ON BROADWAY
★★★★★
“It’s not only a ravishingly entertaining and deceptively daring piece of theatre,
it’s also an important one.”
Sunday Times
“A Non-Stop Thrill Ride!”
Deadline
★★★★★
‘The west end event of the year’
Daily Telegraph
“How the hell did they do this?”
New York Times
★★★★★
“As a piece of total theatre, this is streets ahead of anything else”
Evening Standard
The critically acclaimed, multi-award-winning Stranger Things: The First Shadowwill extend for a final time, completing its run at the Phoenix Theatre in London’s West End on 27 December 2026 and at the Marquis Theatre on Broadway on 3 January 2027.
The production will have run for over three years in London and after opening to five-star reviews in 2023, it went on to receive Olivier Awards for Best Entertainment and Best Set Design, the Critics’ Circle Awards for Best Set Design and Most Promising Newcomer, and the WhatsOnStage Award for Best New Play.
Since its debut at Broadway’s Marquis Theatre, Stranger Things: The First Shadow has been smashing box office records. The global phenomenonwas the most Tony Award-winning play of 2025, taking home 4 awards, including Best Scenic Design of a Play, Best Lighting Design of a Play, Best Sound Design of a Play, and a Special Tony Award for Illusions and Technical Effects.
Nearly 1.6 million tickets have been sold across the West End and Broadway, with over 1,500 total performances.
This first-of-its-kind collaboration between theatre and television marked Netflix’s first foray into theatre, with the epic story and groundbreaking feats of technical design attracting many new theatre audiences.
Matt and Ross Duffer, creative producers and creators of the hit Netflix series Stranger Things, said today, “When the legendary Stephen Daldry first came to us with the idea of making a Stranger Things play, we were stunned — both by the fact that Stephen wanted to do this, and that he believed it could work. And boy, did it work.
“We remain awed by what Stephen, Kate Trefry, Justin Martin, and all the brilliant behind-the-scenes wizards were able to pull off: cinematic theater unlike anything else out there. Their incredible work drew audiences from all over — a majority of whom had never even been to a Broadway show before.
“We’d also like to give a standing ovation to the incredibly gifted actors who stepped into these roles — including the Tony-nominated Louis McCartney — and to the fans, who made each and every performance so memorable.”
Bela Bajaria, Chief Content Officer at Netflix said, “Stranger Things: The First Shadow represents an unprecedented collaboration between television and theatre, showing what’s possible when a world class creative team brings a beloved and iconic series to life on stage. It has been a privilege to share this production with audiences over the past few years and particularly rewarding to see it introduce so many to the magic of theatre.”
Continued Sonia Friedman, co-producer, “We are incredibly proud of the ambition, imagination and artistry that every member of the company has brought to creating something truly groundbreaking. Together, they have pushed the boundaries of live theatre to tell this story with heart, adventure and spectacle. Partnering with Netflix has allowed us to go beyond what was previously thought possible on stage and create a truly immersive theatrical experience that brings audiences deeper into the world of Stranger Things, while introducing hundreds of thousands of people to the thrill of live theatre.”
Writer Kate Trefry added, “While writing Stranger Things, we always knew there was more to the story of Henry Creel, but never imagined we would have the chance to tell it all. Being given the opportunity to dive deeper into this world through the medium of live theater has been the thrill of a lifetime, and I am still in awe of what our incredible cast and crew was able to achieve. It has been a magical, terrifying ride, and to share the communal experience of every laugh, tear, and scare with your audience is every writer’s dream. Thank you to everyone who made this dream come true.”
Directors Stephen Daldry and Justin Martin added, “To be entrusted with bringing The Duffer Brothers’ incredible creation to the stage has been an utter joy. We are immensely proud of the talent and dedication of the cast and creative team over the past three years – each and every member an integral part of the process of bringing this story to life. Finally, a massive thank you to the fans, many of whom have never stepped inside a theatre before, for welcoming us and joining us every performance in the West End and on Broadway!”
Associate producer Shawn Levy of 21Laps concluded, “This theatrical experience has been incredibly gratifying. The First Shadow has allowed us to expand and deepen the storytelling, characters and audience experience of our Stranger Things franchise. Stephen, Justin, Sonia, and Netflix have been brilliant partners, and we are forever grateful to them for transposing Hawkins onstage in such elegant and innovative fashion. And of course, our deepest gratitude for the throngs of people who have joined us in turning Broadway and London’s West End upside down.”
★★★★★
‘So insanely visceral it left my jaw on the floor’ Mail on Sunday
“An Eleven Out Of 10!”
People
★★★★★
‘Sinister and thrilling trip balances horror and humour to great effect. This is exhilarating live theatre…’
Financial Times
Netflix and Sonia Friedman Productions present
STRANGER THINGS:THE FIRST SHADOW
By Kate Trefry
Original story by the Duffer Brothers, Jack Thorne & Kate Trefry
Based on the Netflix Series,Stranger Things,created by the Duffer Brothers
The Duffer Brothersact as creative producers, with 21 Laps Entertainment as associate producer.
STRANGER THINGS: THE FIRST SHADOW is written by Kate Trefry, directed by Stephen Daldry with co-director Justin Martin, set design by Miriam Buether, costume design by Brigitte Reiffenstuel, lighting design by JonClark, sound design by PaulArditti, original music composition, orchestration, arrangements and supervision by D.J. Walde, illusions design and visual effects by JamieHarrison and ChrisFisher, video design and visual effects by 59Studio, West End choreography by CoralMessam, movement direction and Broadway choreography by LynnePage, wigs, hair and make-up design by CampbellYoungAssociates, international technical director is Gary Beestone for Gary Beestone Associates, West End casting by Jessica Ronane CDG and Broadway casting by Jim Carnahan CSA.
STRANGER THINGS: THE FIRST SHADOW
LISTINGS
Phoenix Theatre
Charing Cross Rd, London WC2H 0JP
For further ticket information, performance schedule, full creative team and cast biographies,
To read more about STRANGER THINGS: THE FIRST SHADOW, visit TUDUM.com.
ABOUT STRANGER THINGS:
Created by The Duffer Brothers, Stranger Things debuted in 2016 and quickly became one of Netflix’s most popular series, with Seasons 1-4 amassing over 1.2 billion views. The fifth and final season premiered in 2025 with the biggest English-language premiere week, joining Season 4 on Netflix’s Most Popular List. The final season also propelled Seasons 1–4 back into the Global Top 10 for a record eight weeks and delivered Netflix’s most-watched New Year’s Day. Rooted in ‘80s nostalgia, the series is a cultural phenomenon with unparalleled longevity, famously driving Kate Bush’s “Running Up That Hill” and Prince’s “Purple Rain” back onto the charts. The franchise has garnered over 70 awards worldwide, including Emmys® and the Screen Actors Guild Award for Outstanding Performance by an Ensemble in a Drama Series. Now an evergreen global franchise, Stranger Things continues to super-serve fans with year-round engagement through the animated series Stranger Things: Tales From ‘85, the Olivier and Tony-award winning stage play Stranger Things: The First Shadow, a collection of books, the touring Stranger Things: The Experience, and the new immersive experience Stranger Things: Face the Dark at Netflix House Dallas. Fans also celebrate November 6 as ‘Stranger Things Day’ and follow @StrangerThings.Things for fun ways to bring the Stranger Things universe into their everyday lives. The beloved franchise will celebrate its 10th anniversary in the summer of 2026.
There is something wonderfully refreshing about a comedy that dares to celebrate joy. In an age when so much theatre leans into cynicism, darkness or irony, Allegra, the delightful new play from Peter Quilter, arrives like a burst of sunshine. Warm, witty and unexpectedly moving, this charming production is a glorious reminder that happiness itself can be a radical act.
At the centre of the story is Allegra (Maureen Lipman), a woman whose love of life is so overwhelming that she simply cannot stop herself from singing. Whether in a café, a supermarket or walking down the street, music spills out of her at the most inappropriate moments, much to the bewilderment of those around her. What begins as a quirky comic premise gradually unfolds into something far richer: an exploration of individuality, compassion and society’s tendency to mistrust those who refuse to conform.
The role feels as though it was written exclusively for Maureen Lipman, and her performance is nothing short of magnificent. Commanding the stage from her first entrance, Lipman delivers a masterclass in comic timing while ensuring that Allegra never becomes merely eccentric or caricatured. Beneath every laugh lies genuine humanity. She captures the character’s childlike wonder, vulnerability and fierce determination to remain true to herself in a world increasingly determined to place people into neat categories.
Lipman’s performance is also remarkable for its emotional range. One moment she has the audience roaring with laughter at an absurd observation or spontaneous musical outburst; the next, she reveals a heartbreaking loneliness hidden beneath Allegra’s cheerful exterior. It is a performance full of warmth and wisdom, reminding us why Lipman remains one of Britain’s most treasured performers.
The supporting cast are equally impressive. Allegra’s brother Ronen (John Middleton) serves as both protector and worrier, struggling to balance his love for his sister with his concerns about her wellbeing. His relationship with Allegra provides some of the evening’s most touching moments. Meanwhile, Anna (Elizabeth Bower), Allegra’s compassionate carer, brings empathy, humour and emotional intelligence to the story, while the long-suffering local policeman- Officer Rogers (Bailey Patrick) adds another layer of comic frustration to the increasingly chaotic situations that unfold. Together, the four actors create an ensemble that feels utterly believable and deeply engaging.
Quilter’s writing is beautifully judged throughout. The jokes arrive with effortless regularity, but they are never simply there for easy laughs. Running beneath the comedy is a thoughtful examination of what society considers “normal” and how quickly difference can be misunderstood. The script asks important questions about freedom, happiness and individuality without ever becoming preachy. Instead, these themes emerge naturally through character and situation, allowing audiences to draw their own conclusions.
Visually, the production is equally accomplished. The set creates an inviting world that feels both realistic and slightly heightened, reflecting the way Allegra experiences life. Clever lighting and imaginative staging help blur the boundary between reality and the musical fantasies playing inside her head. The result is a production that feels constantly alive with possibility.
What ultimately makes Allegra so special is its generosity of spirit. It celebrates kindness over judgement, imagination over conformity and joy over despair. In doing so, it leaves audiences with something increasingly rare: genuine hope.
As the curtain falls, you leave the theatre smiling—not because you’ve witnessed a simplistic feel-good comedy, but because you’ve spent two hours in the company of characters who remind us of the value of compassion, understanding and unapologetic happiness.
Funny, heartfelt and beautifully performed, Allegra is one of the most uplifting theatrical experiences of my year so far. Anchored by a career-defining performance from Maureen Lipman and a script that balances laughter with genuine emotional depth, this is a production that sings straight to the heart.
OUT OF THIS WORLD: SPACE DOGS: THE MUSICALHAS LIFT-OFF IN LONDON
WRITTEN BY NICK BLAEMIRE AND VAN HUGHES
FROM 28 JULY TO 09 AUGUST 2026 AT THE OTHER PALACE STUDIO
London audiences are set for a stellar adventure this summer as Space Dogs: The Musical blasts into The Other Palace Studio for a limited run from 28 July to 09 August.
The epic, mind-bending new musical uncovers the unbelievable-yet-true story of Laika, a stray dog from Moscow, and the mysterious Chief Designer, the top-secret Soviet scientist who sent her into orbit during the Cold War Space Race.
Written and performed by Nick Blaemire and Van Hughes, this unique rock musical docu-comedy is a two-hander unlike any other with Hughes and Blaemire playing and singing every role. From Laika and the Chief Designer to high-ranking politicians, covert scientists, and an entire pack of 40 Russian space dogs, the two actors shift seamlessly between characters in this thrilling, fast-paced theatrical feat.
A sweeping tale of invention, betrayal, political intrigue, and the immortal bond between man and dog, Space Dogs: The Musical takes audiences on a kaleidoscopic journey from the launch pads of earth to the stars above.
Producers Paul Taylor-Mills and Tricia Small shared their excitement: “Bringing SPACE DOGS to London and to The Other Palace – feels like the perfect next chapter for this wildly original show. Nick and Van have created a theatrical universe that is as hilarious as it is heartfelt.”
Space Dogs is written by and starring Nick Blaemire and Van Hughes, directed by Will Blum and produced by Paul Taylor-Mills and Tricia Small.
TONY AWARD-WINNING STAGE AND SCREEN STAR ROGER BART TO RETURN AS ‘DOC BROWN’
WITH AUSTRALIAN RISING STAR AXEL DUFFY AS ‘MARTY McFLY’
Lead producer Colin Ingram, together with Robert Zemeckis and Bob Gale, the creators of the Back To The Future film trilogy, are delighted to announce initial casting for the first ever UK tour of the multi award-winning BACK TO THE FUTURE The Musical, with Tony Award-winning stage and screen star Roger Bart returning as Doc Brown, having originated the role on stage in the West End, on Broadway and internationally, and Australian rising star Axel Duffy as Marty McFly.
Roger Bart is scheduled to open the tour at the Bristol Hippodrome (8 October – 21 November 2026) as well as playing the Edinburgh Playhouse (2 December 2026 – 2 January 2027). Further casting for the role of Doc Brown, and the remaining company, is to be announced.
Producer Colin Ingram said, “We’re thrilled to welcome back stage and screen star Roger Bart to the Delorean in Bristol and Edinburgh after creating the role of Doc Brown in the West End production and playing it in Sydney and on Broadway where he was nominated for a Tony Award for his performance; Roger has a gift of musical comedy acting that is up there with Nathan Lane and Martin Short. At the same time, we can’t wait to introduce Axel Duffy who wowed audiences playing Marty McFly in Sydney. Back to the Future is one of the most technically ambitious productions to ever tour the UK and Ireland, combining groundbreaking stagecraft, spectacular effects and beloved storytelling on a scale rarely seen on the road. Finding performers who can not only meet those demands but also capture the spirit of these legendary characters is essential – the audiences are in for something special!”
Roger Bart originated the role of Doc Brown in the Manchester, West End, Broadway and Sydney runs of BACK TO THE FUTURE The Musical, gaining a Tony Award nomination for his time on Broadway. His other stage credits include originating the role of Carmen Ghia in Mel Brooks’ Broadway musical The Producers, for which he received Tony Award and Drama Desk Award nominations, and recreated the role in the film adaptation of the musical, Snoopy in the revival of You’re A Good Man, Charlie Brown, for which he won the Tony Award and Drama Desk Award, originating the title role in the musical of Mel Brooks’ Young Frankenstein, Disaster!, The Frogs, Triumph Of Love, King David, and Big River. Roger also created the role of Hades in the NYSF/Public Theater production of Hercules, revisiting the piece that he first brought to life as the singing voice of ‘Young Hercules’ in the animated film’s Academy Award-nominated song ‘Go the Distance.’ His extensive television credits include Good Trouble, A Series of Unfortunate Events, Graves, Grace and Frankie, and Episodes. Other popular television appearances include Revenge, Desperate Housewives and 30 Rock. His film credits include The Stepford Wives, Man With The Bag, Ghost Light, Speech & Debate, and Jay Roach’s adaptation of Trumbo, as well as Last Vegas, Law Abiding Citizen, Harold & Kumar 2, American Gangster and Office Romance.
Axel Duffy originated the role of Marty McFly in the Australian production of BACK TO THE FUTURE The Musical, alongside Roger Bart. His further theatre credits include Will Parker in Oklahoma, for which he won Performing Arts WA Awards for Best Male Performer and Best Newcomer, Karl in the Australian company of Harry Potter and the Cursed Child, Leaf Coneybear in The 25th Annual Putnam County Spelling Bee, the Australian National Tour of Grease The Musical, One Day In September, Irene, Neylon and Peele’s The Beep Test and multiple international tours with The Tap Pack.
BACK TO THE FUTURE The Musical is a global success, with productions currently running in North America, Japan, Royal Caribbean Cruises and Germany, with a French production to follow. The show has been seen by over 5 million people worldwide so far. The critically acclaimed Olivier, WhatsOnStage and Broadway World Award-winning Best New Musical played its final performance in London’s West End on Sunday 12 April 2026 after 5 years at the Adelphi Theatre, where it broke box office records and was seen by over 2.3 million people.
Based on the Universal Pictures/Amblin Entertainment film, BACK TO THE FUTURE The Musical has a book by Bob Gale and new music and lyrics by Emmy and Grammy Award-winning Alan Silvestri and six-time Grammy Award-winning Glen Ballard, with additional songs from the film including The Power of Love and Johnny B. Goode.
BACK TO THE FUTURE The Musical is directed by Tony Award-winning director John Rando (Urinetown, On The Town), alongside the multi Tony and Olivier Award-winning design team of Tim Hatley (set and costume design), Chris Bailey (choreography), Chris Fisher (Illusions), Tim Lutkin and Hugh Vanstone (lighting), Gareth Owen (sound) and Finn Ross (video), with musical supervision and arrangements by Nick Finlow. Orchestrations are by Ethan Popp and Bryan Crook, with dance arrangements by David Chase. Casting is by David Grindrod CDG for Grindrod Burton Casting.
Back to the Future the movie was released in 1985, starring Michael J. Fox as Marty McFly and Christopher Lloyd as Dr Emmett Brown – last year marked the 40th anniversary of the film’s release. The film grossed $360.6 million (£279 million) at the box office worldwide and the total box office for all three films in the Back to the Future franchise was $936.6 million (over $1.8 billion in today’s money).
BACK TO THE FUTURE The Musical is produced by Colin Ingram, Frankel/Viertel/Baruch/Routh Group, Playing Field, CJ ENM, Universal Theatrical Group, Fin C Gray, Augury, Robert Zemeckis and Bob Gale.
TUESDAY 9 MARCH – SATURDAY 10 APRIL 2027 BIRMINGHAM HIPPODROME https://www.birminghamhippodrome.com/ ON SALE NOW Casting for the role of ‘Doc Brown’ to be announced
TUESDAY 8 JUNE – SATURDAY 3 JULY 2027 MAYFLOWER THEATRE, SOUTHAMPTON https://www.mayflower.org.uk/ ON SALE NOW Casting for the role of ‘Doc Brown’ to be announced
TUESDAY 24 AUGUST – SATURDAY 11 SEPTEMBER 2027 THEATRE ROYAL, PLYMOUTH https://theatreroyal.com/ ON SALE NOW Casting for the role of ‘Doc Brown’ to be announced
TUESDAY 19 OCTOBER – SATURDAY 13 NOVEMBER 2027 WALES MILLENIUM CENTRE, CARDIFF https://www.wmc.org.uk/ ON SALE NOW Casting for the role of ‘Doc Brown’ to be announced
Cameron Mackintosh is delighted to announce new cast members joining the West End production of Boublil and Schönberg’s musical sensation Les Misérables at the Sondheim Theatre, now in its record-breaking 41st year.
From 6th July the cast will include Ian McIntosh as ‘Jean Valjean’, Oliver Savile as ‘Javert’, Martha Kirby as ‘Fantine’, Harry Hepple as ‘Thénardier’, Mina Anwar as ‘Madame Thénardier’, Jess Folley as ‘Éponine’, Thiago Phillip Felizardo as ‘Marius’, Joe Griffiths-Brown as Enjolras ‘ and Lucia McLaughlin as ‘Cosette’. Will Callan plays ‘Marius’ from 17th July to 11th August.
From 7th September Australian leading lady Stefanie Jones joins the production, making her West End debut as ‘Fantine’. Stefanie received critical acclaim as the title role in the recent UK and Ireland tour of Cameron Mackintosh and Disney’s production of Mary Poppins, a role that previously earned her a Sydney Theatre Award for Best Leading Performance in a Musical.
The company is completed by Joanna Adaran, Madeline Banbury, Nicholas Carter, Tom Carter-Miles, Fergus Dale, Matthew Dale, Zak Devlin, Lily De-La-Haye, Sophie-May Feek, Lyndsey Gardiner, Pablo Gómez Jones, Simi Jolaoso, Seán Keany, Chris Kiely, Sarah Lark, Sarah-Marie Maxwell, Ben Nicholas, William Pennington, Jak Skelly, Lukin Simmonds, Rosie Strobel, Georgia Tapp, Genevieve Taylor, Lee V G, Isobel Vaughan-Palmer, Danny Whelan, and Joey Zerpa-Falcon.
Les Misérables, which celebrated its 40th Birthday in the West End last October, has been seen by over 150 million people worldwide in 55 countries, 452 cities, and has been translated into 22 languages. It has won over 275 major awards around the world, among which 5 Olivier Awards (including a special recognition award in April 2025), 8 Tony Awards, 5 Helpmann Awards, and more recently Best West End Show at the 2026 WhatsOnStage Awards, with the movie winning 3 Oscars.
On 29 May 2026, First Night Records released Les Misérables: The 40th Anniversary All-Star Cast – the ultimate and complete recording of Cameron Mackintosh’s production of Boublil & Schönberg’s legendary musical – available now through streaming and digital platforms and as a double CD.
Les Misérables continues to thrill audiences globally. After nearly 2 years and over 1 million tickets sold across 30 cities, Les Misérables: The Arena Concert Spectacular visits the final cities in its world tour this summer with performances at the Utilita Arena in Birmingham from Thursday 11th June followed by London’s Royal Albert Hall and Radio City Music Hall in New York. The Spanish-language production Los Miserables also continues to play to audience and critical acclaim at the Teatro Apolo in Madrid, having recently won four awards: Best Musical, Best Actor, Best Actress and Best Musical Direction at the national Talia Awards.
Les Misérables is the longest running and indisputably one of the most popular musicals in the world.
Cameron Mackintosh’s production of Les Misérables is written by Alain Boublil and Claude-Michel Schönberg and is based on the novel by Victor Hugo. It has music by Claude-Michel Schönberg, lyrics by Herbert Kretzmer and original French text by Alain Boublil and Jean-Marc Natel, additional material by James Fenton and adaptation by Trevor Nunn and John Caird. Orchestrations are by Stephen Metcalfe, Christopher Jahnke and Stephen Brooker with original orchestrations by John Cameron. The production is directed by Laurence Connor and James Powell, designed by Matt Kinley inspired by the paintings of Victor Hugo with original costume design by Andreane Neofitou, additional costume design by Christine Rowland and Paul Wills, lighting by Paule Constable, sound by Mick Potter, projections realised by Finn Ross & 59 Studio, musical staging by Geoffrey Garratt, and music supervision by Stephen Brooker and Alfonso Casado Trigo.
LISTINGS : LES MISÉRABLES (LONDON)
Sondheim Theatre, Shaftesbury Avenue, London W1D 6BA
With tonight’s media performance to celebrate Andy Nyman’s return to the company as Max Bialystock, a performance for which he has been nominated for multiple awards, The Producers are set to mark Mel Brooks’ upcoming 100th birthday on 28 June with a special offer of 100 tickets at £19.26 across Monday to Friday performances in June, marking the year of his birth – 1926.
In addition, the production will offer a free ticket in June to anyone marking their 100th birthday this year – patrons are asked to arrive at the box office with photo ID and telegram from King Charles III.
With a book by Mel Brooks and Thomas Meehan, and music and lyrics by Mel Brooks, the production is directed by Patrick Marber. The show transferred from the Menier Chocolate Factory following its acclaimed run last year to the Garrick where it completes its run on 19 September.
★★★★★ ‘The funniest show in London’ Evening Standard
David Babani and Nica Burns & Max Weitzenhoffer, Kevin Salter
Seaview, Creative Partners Productions and 2ontheaisleBDWY
present
The Menier Chocolate Factory production of
THE PRODUCERS
Book by Mel Brooks and Thomas Meehan
Music and Lyrics by Mel Brooks
Original Direction and Choreography by Susan Stroman
By special arrangement with StudioCanal
Cast: Andy Nyman (Max Bialystock), Marc Antolin (Leo Bloom), Trevor Ashley (Roger DeBris), Raj Ghatak (Carmen Ghia), Harry Morrison (Franz Liebkind), Joanna Woodward (Ulla), Alex Lodge (Storm Trooper), Kelsie-Rae Marshall (Hold-Me-Touch-Me), Megan Armstrong, Olly Christopher, Gabrielle Cocca (Dance Captain), Ryan Pidgen (Standby Max), Nolan Edwards, Michael Franks, Matt Gillett (Resident Director), Esme Kennedy, Sinead Kenny, Josh Kiernan (Assistant Dance Captain), Marianne Bardgett, Kate Parr, Emma Robotham-Hunt, Pierce Rogan, Hollie Jane Stephens (Assistant Dance Captain), Jermaine Woods and Liam Wrate
Director: Patrick Marber; Choreographer: Lorin Latarro;Set Designer: Scott Pask; Costume Designer: Paul Farnsworth; Lighting Designer: Tim Lutkin; Sound Designer:
Paul Groothuis; Wigs, Hair & Makeup Designer: Betty Marini;
Musical Supervisor & Dance Arranger: Gareth Valentine; Musical Director: Matthew Samer; Orchestrators: Larry Blank and Mark Cumberland; Original Arrangements: Glen Kelly;
Associate Choreographer (UK): Anna Woodside; Associate Lighting Designer: Harvey Ebbage; Associate Sound Designer: Simon King; Associate Set Designer: Orit Jacoby Carroll; Assistant Musical Director: John Reddel; Resident Director: Matt Gillett
Production Manager: Patrick Molony; Props Supervisor: Jamie Owens; Costume Supervisor: Sabrina Cuniberto; Orchestral Manager: James Gorman; Keyboard Programmer: David Chin.
At the Garrick Theatre
Booking until 19 September 2026
The first major London revival of Mel Brooks’ The Producers has exploded onto the West End after transferring to the Garrick Theatre following its sold-out run at the Menier Chocolate Factory.
Based on the classic cult film, the original Broadway production won a record twelve Tony Awards. Teeming with Mel Brooks’ signature humour, The Producers takes no prisoners as it proudly proclaims itself an “equal opportunity offender!”.
Down-on-his-luck Broadway producer Max Bialystock schemes with timid accountant Leo Bloom to create the biggest flop in theatre history – only to have it backfire spectacularly, and with thunderous applause.
English Touring Theatre (ETT)’s Artistic Director Richard Twyman and Executive Producer Sophie Scull, today announce their new season comprising five plays featuring world premieres of new writing, adaptations, and a major revival. Further productions in the season are to be announced at a later date.
Richard Twyman, Artistic Director and joint CEO and Sophie Scull, Executive Producer and joint CEO today said, “We’re very proud to announce our season of work from Autumn ’26 until Spring ’27. This is a season of ambitious new work, classic titles re-imagined and bold adaptations. In response to the twin crises in British theatre: significant declines in new writing and a wide scale reduction in touring drama; this season sees ETT reassert its commitment to telling urgent stories that resonate nationally and are accessible to audiences in their local theatre.
“Since the beginning of 2026 to the end of this season ETT will have produced nine shows, eight of which will be new plays or adaptations. We would like to thank the incredible artists and production teams that will realise this work and our partners and tour venues including Bristol Old Vic, Factory International, Graeae, Leeds Playhouse, MMXX, New Wolsey, Nottingham Playhouse, Northern Stage, Royal Lyceum Theatre Edinburgh, Sheffield Theatres, Theatre De La Ville Luxembourg, Theatre Royal Stratford East and Yvonne Arnaud.”
The autumn season opens with Application 39, written by Palestinian writer Ahmed Masoud and directed by Cressida Brown, a satirical and resonant take on life in Gaza featuring lived testimony. The production will open in September 2026 at Bristol Old Vic, before travelling to Theatre Royal Stratford East, and then embarking on a UK tour.
This is followed by Lanny, in association with Bristol Old Vic, where the production will run. Directed by their Artistic Director Nancy Medina, this world premiere is a stage adaptation of Max Porter’s much loved novel adapted for the stage by West Country playwright Bea Roberts.
Chelsea Walker continues her association with ETT having previously directed A Streetcar Named Desire and Cougar, returning to direct a new production of Romeo and Juliet in a co-production with Royal Lyceum Edinburgh, Leeds Playhouse, and Nottingham Playhouse. The production opens in Edinburgh early next year, before embarking on a tour to Leeds Playhouse, Yvonne Arnaud Theatre, and concluding its run on 8 May 2027 at Nottingham Playhouse.
Chelsea Walker, Director of Romeo and Juliet, commented, “I am thrilled to join forces with ETT, Royal Lyceum Theatre Edinburgh, Leeds Playhouse and Nottingham Playhouse to direct Romeo and Juliet. It’s a play I’ve always wanted to direct, and it feels more urgent and moving now than ever before, in a world where decisions are made in the blink of an eye and people are forced to grow up younger and younger. I can’t wait to bring our visceral, contemporary take to audiences across the UK.”
ETT’s Artistic Director Richard Twyman will then direct the world premiere of Pericles, a new play by Sami Ibrahim, inspired by Shakespeare’s play. Set in modern day Lebanon, Turkey, Greece and Libya, Ibrahim’s version brings Shakespeare’s ancient story of displacement into urgent contact with the present, where today’s defining crisis is found hiding inside his most compassionate play. Featuring an international cast, Pericles is co-produced with long term collaborators Bristol Old Vic and Théâtres de la Ville de Luxembourg, and made in association with MMXX.
Sami Ibrahim, writer of Pericles, today said, “I’m so excited to bring Pericles to the stage with ETT and particularly with Richard as director. We’ve been wrestling with the text for years and it’s been a thrilling challenge to mix the original Shakespeare with modern dialogue and a modern story, tracking the journeys of people fleeing across continents. It’s a play about migration and the way families are both torn apart and reunited over decades. I’m aware of how personal a piece it is for both me and Richard so to work on the play together is a privilege and I know it’s in very safe hands. Of course, Pericles also features colossal shipwrecks and wrong turns so it’s only fitting that the piece should travel across countries to be performed. I can’t wait to share it with audiences.”
Finally, the world premiere production of Lettie Precious’ 12 Letters to My Name – in a co-production with Sheffield Theatres and Graeae -will be staged in Sheffield. Originally developed through ETT’s Nationwide Voices programme, supported by the John Ellerman Foundation,
Continuing their pledge in supporting new work, ETT also announces The New Classics. This partnership between Guildhall and English Touring Theatre seeks to develop urgent contemporary adaptations of classic plays and novels. These plays seek to address the gap identified by drama school and industry sectors for diverse adaptations that bring the canon into the present moment. There will be a series of commissions over the coming years to be performed first by Guildhall students before embarking on professional tours. In the first cohort, Hannah Khalil and Dipo Baruwa-Etti are bringing these enduring narratives up to date, creating deeply resonant stories for a new generation of theatremakers and audiences alike.
ETT, Matthew Schmolle Productions and Theatre Royal Stratford East present
APPLICATION 39
By Ahmed Masoud
Director: Cressida Brown
Bristol Old Vic
23 – 26 September 2026
Factory International, Manchester
9 – 10 October 2026
Theatre Royal Stratford East
13 – 14 October 2026
A sharply satirical, future‑facing drama by Palestinian writer Ahmed Masoud, Application 39 imagines a Gaza risen from ruin, unexpectedly awarded the right to host the 2048 Olympic Games, exactly 100 years after the Nakba. It is bold, irreverent, and rooted in lived testimony as well as speculative hope.
In Application 39, two young IT workers in the municipality of Gaza hack the bid process for the 2048 Olympics as a prank – and win. Their “victory” becomes a surreal yet pressing journey through occupation, bureaucracy, absurdity, and reconstruction. This stage version draws on real‑life testimonies, including from Gaza itself, to pose a radical question: what if Gaza were no longer rubble and siege – but a site of global gathering, resistance and renewal?
Ahmed Masoud is a Palestinian and British writer, theatre maker, and academic. His plays include The Shroud Maker, Camouflage, Passports, Mo Salah, Jinn and Other Complicated Things; and his novels, Vanished: The Mysterious Disappearance of Mustafa Ouda and Come What May. Masoud is the founder of the Al Zaytouna Dance Company and PalArt Collective.
Cressida Brown directs. Her theatre credits include The Political History of Smack and Crack,England & Son (UK tour), Cutting the Tightrope: The Divorce of Politics from Arts (Arcola Theatre), Amphibians (Bridewell Theatre), Twelfth Night (RSC and Guangzhou Dramatic Arts Centre), Icarus, Septimus Bean and His Amazing Machine (Unicorn Theatre), Food (Finborough Theatre), Screens (Theatre503), Speaking Freely, Hotel Du Vin, The Words are Coming Now (Theatre503). Brown also created a documentary film titled Ruby Francis’ Nubian Songs, in association with the Bush Theatre.
Bristol Old Vic Production in association with ETT present
LANNY
Based on the novel by Max Porter
Adapted by Bea Roberts
Director: Nancy Medina
16 October – 7 November
Not far from Bristol, there is a village. This village belongs to the people who live in it and to those who lived in it hundreds of years ago. It belongs to England’s mysterious past and its confounding present. It belongs to families dead for generations, and to those who have only recently moved here, such as the boy Lanny, and his mum and dad. But it also belongs to Dead Papa Toothwort, who has woken from his slumber in the woods. Dead Papa Toothwort, who is listening to them all.
By the author of Sunday Times Bestseller, Grief is the Thing with Feathers, Max Porter’s spectral novel Lanny rocked the literary world in 2019. Described as “a joyously stirred cauldron of words” (The Guardian) that is “magically beguiling” (Financial Times), it intertwines reality and imagination to thrillingly eerie effect.
Adapted for the stage by award-winning West Country playwright Bea Roberts (And Then Come The Nightjars), and directed by Nancy Medina (The Beautiful Future Is Coming; A Good House; Choir Boy – Best Director, Black British Theatre Awards 2024), this dark and powerful story of folklore, fable and the nature of belonging is the flagship production of our 260th year.
Max Porter is an English writer. His first novel, Grief Is the Thing with Feathers won the Sunday Times/Peter, Fraser & Dunlop Young Writer of the Year, the International Dylan Thomas Prize, the Europese Literatuurprijs and the BAMB Readers’ Award and was shortlisted for the Guardian First Book Award and the Goldsmiths Prize. His second novel, Lanny was longlisted for the Booker Prize award and shortlisted for the 2019 Waterstones Book of the Year.
Bea Roberts’ plays include The Whitby Rebels (Stephen Joseph Theatre), Those Who Are Left (Shortlisted for the George Devine Playwriting Award), Ivy Tiller: Vicar’s Daughter, Squirrel Killer (RSC), Infinity Pool: A Modern Retelling of Madame Bovary, The Borrowers (Tobacco Factory Theatre), And Then Come The Nightjars (Theatre503 – Winner of the International Theatre503 Playwriting Award, Finalist for the Susan Smith Blackburn Award for playwriting and nominated for six Off West End Awards including ‘Most Promising Playwright’ – and tour), The Little Mermaid (Egg Theatre, Bath Theatre Royal), Loam (Royal Court and Royal Welsh College of Music and Drama), The C-Word Clubhouse (Sky Ars, The Old Vic, and RSC). For television, her work includes The Polite Revenge Society, and This Cult Ate My Mum; and for film, And Then Come The Nightjars, and Sir F. Mother F*cking Drake.
Nancy Medina is Artistic Director of Bristol Old Vic. Her directing credits for Bristol Old Vic include The Beautiful Future is Coming (also Edinburgh Festival Fringe), A Good House (also Royal Court Theatre), and Choir Boy. Her further directing credits include The Darkest Part of the Night (Kiln Theatre), Moreno (Theatre503), Trouble in Mind (National Theatre), The Half God Of Rainfall (Fuel, Birmingham Rep, and Kiln Theatre) The Laramie Project (Bristol Old Vic Theatre School), Two Trains Running (Royal & Derngate), Strange Fruit (Bush Theatre), Collective Rage: A Play in 5 Betties (Royal Welsh College of Music and Drama), When They Go Low (NT Connections / Sherman Theatre), Yellowman (Young Vic Theatre), Romeo and Juliet, As You Like It (GB Theatre), Curried Goat And Fish Fingers (Bristol Old Vic), Dogtag (Theatre West), Strawberry & Chocolate, Dutchman (Tobacco Factory Theatres) and Persistence Of Memory (Rondo Theatre). She is a recipient of the following awards: 2024 Genesis Foundation Prize, 2020/2021 Peter Hall Bursary (National Theatre), 2018 RTST Sir Peter Hall Director Award (Royal & Derngate/English Touring Theatre), 2017 Genesis Future Director Award (Young Vic) and 2014 Emerging Director’s Prize (Tobacco Factory Theatres). She was a visiting director at the Bristol Old Vic Theatre School and was joint Artistic Director and founder of the Bristol School of Acting.
ETT, Royal Lyceum Theatre Edinburgh, Leeds Playhouse and Nottingham Playhouse present
ROMEO AND JULIET
By William Shakespeare
Director: Chelsea Walker
Royal Lyceum Theatre Edinburgh
30 January – 27 February
Leeds Playhouse
1 – 20 March 2027
Yvonne Arnaud Theatre, Guildford
22 – 27 March 2027
Nottingham Playhouse
19 April – 8 May 2027
Then I defy you, stars!
This is the lovesick tragedy of Romeo and Juliet.
A pair of teenagers fall madly in love while their families violently tear each other apart. An explosive, urgent tale of forbidden love, secrets, loyalty and grief, where one wrong decision can change everything.
What do you do when your fate is already sealed, but you’re falling in love for the very first time? A love that refuses to stay in the past, enduring, unending and unbroken.
These violent delights have violent ends.
Chelsea Walker is an award-winning director, having won the Sir Peter Hall Director Award in 2017. She has twice been a finalist for the JMK Directors Award, winning the runner-up prize in 2016, has twice been nominated for an Off West End Best Director Award and twice nominated for a UK Theatre Award. Her directing credits include R.O.I. (Return On Investment), Yous Two (Hampstead Theatre), The Da Vinci Code (Salisbury Playhouse and Mercury Theatre Colchester), All’s Well That Ends Well (Shakespeare’s Globe), Visit From An Unknown Woman, This Much I Know, On The Beach (Sheffield Theatres), Missing Julie (Theatre Clwyd), Hedda Gabler (Sherman Theatre), Cougar, Low Level Panic (Orange Tree Theatre), P’yongyang, Chicken Dust (Finborough Theatre), Klippies (Southwark Playhouse), A Streetcar Named Desire (UK tour) and Lean (Tristan Bates Theatre).
ETT, Bristol Old Vic and Théâtres de la Ville de Luxembourg Co-Production
in association with MMXX present
PERICLES, PRINCE OF LEBANON
A play by Sami Ibrahim (with Shakespeare)
Director: Richard Twyman
Bristol Old Vic
25 February – 20 March 2027
Théâtres de la Ville de Luxembourg
12 – 17 April 2027
“The same tales have been told for thousands of years. Nothing changes”
A father and daughter, separated by war, scattered across borders; this is a story of survival and hope. Pericles traces their journey from Syria to Lebanon, Turkey, Libya and Greece. Ibrahim’s new adaptation sets Shakespeare’s original verse against modern-day language, asking what happens to love when two people no longer share the words to express it.
A story we have seen play out across the centuries – and one that is still unfolding. Featuring an international ensemble, this is Shakespeare for today.
Sami Ibrahim is a playwright and screenwriter. He is currently writing a feature for BBC Film and the A24 backed company 2am, a feature for Film4 and Hera, and a TV series for Range Media and Square Peg. He won Theatre Uncut’s Political Playwriting Award for two Palestinians go dogging, which ran at the Royal Court in 2022 and was nominated for an Olivier Award for Outstanding Achievement in an Affiliate Theatre. He has been shortlisted for the George Devine Award twice and has been on attachment at the National Theatre Studio as well as a writer-in-residence at Shakespeare’s Globe – where he co wrote Metamorphoses, which was performed in 2021 and recently transferred to the Seattle Rep in Washington. His plays are published by Nick Hern Books. He is working on a handful of theatre commissions, as well as developing original television and feature film projects. He was announced as a Screen Star of Tomorrow 2025.
Richard Twyman took up the role of Artistic Director of ETT in November 2016. As AD, his directing credits include Dealing with Clair (Orange Tree Theatre), The Ballad of Hattie and James (Kiln Theatre), Othello (UK and International tour), and Macbeth (Lyric Hammersmith Theatre and UK tour). He was previously Associate Director (International) at the Royal Court Theatre, where he worked with playwrights across the world to develop their plays. Prior to this, he spent five years at the RSC working on fourteen productions, including the hugely acclaimed Histories Cycle, for which he directed Henry IV Pt II, which were honoured with three Olivier Awards, the Evening Standard Editor’s Choice Award and named by The Guardian’s Michael Billington as his production of the decade 2000-2010. Twyman has directed at the Royal Court Theatre: You for Me for You by Mia Chung, Torn by Nat Martello-White, Harrogate by Al Smith and The Djinns of Eidgah by Abhishek Majumdar. His other credits include Ditch by Beth Steel, which opened the Old Vic Tunnels; Les Liaisons Dangereuses by Christopher Hamptonat Theatre Cocoon, Tokyo/Osaka; Deliver Us and Stolen Ground by Anna Leader at Théâtres De La Ville Luxembourg; Give Me Your Hand (New York), nominated for the Drama Desk Award for Outstanding Unique Theatrical Experience in 2012.
ETT, Sheffield Theatres and Graeae present
12 LETTERS TO MY NAME
By Lettie Precious
12 June – 26 June 2027
Lettie Precious’ deeply personal coming- of -age story about what it means to grow up between different worlds.
“Miss struggles to curl her tongue around every syllable of the name my father so proudly gave me. Say it!”
Tobi and Jay, the only two Africans in the class, are lambs to the slaughter. Newly arrived to England, Sheffield, they are forced to navigate a new life alongside the quiet ache of home. As they struggle to hold onto their names, and themselves, they find connection in unexpected places and in the bonds they form with one another.
Originally developed through ETT’s Nationwide Voices programme, supported by the John Ellerman Foundation.
Lettie Precious’ first full length plays is This Is Us (developed with National Theatre Studio). Their short plays include My White Best Friend (Royal Court Theatre), The Grey Area (part of Queer Upstairs at the Royal Court Theatre). They have also had other short plays presented by Stratford East, Jermyn Street Theatre, Theatre503, Theatre Centre and Fuel. Screen work includes the short film Oh Toni! as part of the BBC’s The Break (2021) (which was shortlisted for the Broadcast Digital Award 2022), an original feature with Long Acre / Air Street Films, and an original TV series being developed with support of the BBC Writers’ Room. They were part of the BBC Writers’ Room 2019/20 and won a Royal Court Theatre / Kudos Fellowship in 2019.
