Author: FairyPoweredProductions

FULL CASTING ANNOUNCED FOR

TERESA DEEVY’S WIFE TO JAMES WHELAN

AT JERMYN STREET THEATRE

With the critically acclaimed, sell-out production of The Waves currently in performance, Jermyn Street Theatre and Mint Theater Company today announce full casting for a new production of Teresa Deevy’s Wife to James Whelan – a timeless story of love and pride which reintroduces Ireland’s forgotten genius to London audiences. Mint Theater Company’s Artistic Director Jonathan Bank directs Darragh Feehely (Bill McGafferty), Clíona Flynn (Nan Bowers), Eavan Gaffney (Kate Moran), Molly Hanly (Nora Keane), Fiach Kunz (James Whelan), Patrick McBrearty (Tom Carey), David Rawle (Apollo Moran), and Benjamin Reilly (Tom McClinsey).

Tracing seven years in the life of James Whelan, Deevy’s play explores ambition, compromise, and the role of women in Ireland, as personal desire collides with social expectation. The production opens on 1 July, with previews from 25 June, and runs until 25 July 2026 at Jermyn Street Theatre.

Jonathan Bank today said, “Wife to James Whelan is a play that challenges theatergoers to hear the unspoken thoughts of its characters—and there is no better place for that than the intimate Jermyn Street Theatre. Having worked on Deevy’s plays since Mint Theater Company launched the ‘Teresa Deevy Project’ in New York in 2010, I now look forward to learning from an exceptional Irish cast – assembled by the brilliant casting director Sarah Jones. Thank you, Stella and David, for the opportunity to continue this work in London.”

Stella Powell-Jones and David Doyle added, “Unfairly forgotten playwrights and plays can have no better advocate than Jonathan Bank and Mint Theatre Company. And Wife to James Whelan is an extraordinary play – and asks a question we still can’t answer. How much of ourselves are we willing to surrender for the joys and comforts of partnership?  London audiences have waited far too long to encounter Teresa Deevy’s remarkable writing, but this glorious cast makes the wait more than worthwhile.”

Jermyn Street Theatre and Mint Theater present

WIFE TO JAMES WHELAN
by Teresa Deevy

25 June – 25 July 2026

Cast: Darragh Feehely (Bill McGafferty), Clíona Flynn (Nan Bowers), Eavan Gaffney (Kate Moran), Molly Hanly (Nora Keane), Fiach Kunz (James Whelan), Patrick McBrearty (Tom Carey), David Rawle (Apollo Moran), Benjamin Reilly (Tom McClinsey)Director: Jonathan Bank; Set Designer: Neil Irish; Costume Designer: Anett Black; Lighting Designer: Chris McDonnell;Composer and Sound Designer: Jane Shaw;Casting Director: Sarah Jones

1937, a small Irish town. Nan Bowers and her friends are waiting to hear which local lad has won a life-changing job in Dublin. James Whelan shows up triumphant and ready to celebrate with his sweetheart, Nan, only to discover that she has plans of her own. Seven years later, James comes home, flush with success. His return will affect not only Nan but the whole town. 

Teresa Deevy was at the height of her fame when the Abbey Theatre rejected Wife to James Whelan amid the growing conservative backlash of the 1940s. Now, in 2026, Mint Theater’s Jonathan Bank makes an overdue reintroduction to Ireland’s forgotten genius with this timeless ensemble play that pits love against pride.

Teresa Deevy (1894 – 1963) was an Irish dramatist and writer. Her works include Katie Roche, A Disciple, Temporal Powers, The King of Spain’s Daughter, Reapers, The Wild Goose – all staged at Dublin’s Abbey Theatre. Among her other works are In Search of Valour, and Light Falling. Many of Deevy’s plays were adapted for radio: both The King of Spain’s Daughter and Wife to James Whelan were broadcast on the BBC, while Within a Marble City won first prize in the Radio Éireann drama competition of 1948.

Darragh Feehely plays Bill McGafferty. His theatre credits include A Misanthrope, A Streetcar Named Desire (Smock Alley Theatre), The House (Druid Theatre), Hammam, An Old Song, Half Forgotten (Abbey Theatre, Dublin), Hamlet (Mill Theatre Dundrum), The Glass Menagerie, Letters of a Country Postman (The Everyman, Cork), The Book of Names (Dublin Theatre Festival), The Flags (Cork Arts Theatre), and The (Not so) Quick Murder of Man (UK tour).

Clíona Flynn plays Nan Bowers. She is a recent graduate of the Royal Central School of Speech and Drama. Her theatre credits include Mean Girls (Savoy Theatre). Her television credits include Doctors; and for film, Someone Borrowed.

Eavan Gaffney plays Kate Moran. Her theatre credits include Uncle Vanya, A Streetcar Named Desire, The Loved Ones (Smock Alley Theatre), King Lear, The Stewart of Christendom (Gate Theatre, Dublin), Breaking (Ireland tour), Children of the Sun, and The Loved Ones (Abbey Theatre, Dublin).

Molly Hanly plays Nora Keane. She is a recent graduate of the Bristol Old Vic Theatre School. Her theatre credits include 855-For-Truth (The Bridge Theatre, Brussels and The Hope Theatre), and Youth’s The Season (Abbey Theatre, Dublin).

Fiach Kunz plays James Whelan. His theatre credits include Becoming Maggie, Extremities (The New Theatre, Dublin), Romeo and Juliet, Three Days of Rain (Mill Theatre Dundrum), and A Fear and Loathing Actor in Dublin (Edinburgh Festival Fringe – also writer). His television credits include The Walsh Sisters, Witness Number 3, Foundation, Red Election; and for film, Black ’47 and Lift.

Patrick McBrearty plays Tom Carey. His theatre credits include The White Handkerchief (The Millennium Forum), Belfast Actually, Belfast Actually 2 (Theatre at the Mill), Good with Faces (Dublin Fringe Festival), Volunteers (The Playhouse Derry), Richard III, New Speak, A Midsummer Night’s Dream (Lyric Theatre, Belfast), The Border Game (Lyric Theatre, Belfast and Ireland tour), Home Malone, The McCooeys (Grand Opera House, Belfast), and I Shall Wear Purple (Northern Ireland tour). His television credits include A Knight of the Seven Kingdoms, Blue Lights, Hope Street, and Heads & Tails.

David Rawle plays Apollo Moran. His theatre credits include Amsterdam, Afterwards (Dublin Fringe Festival), Youth’s The Season-?, A Night at the Movies (Abbey Theatre, Dublin), The Borrowers (Gate Theatre, Dublin), Danti-Dan (Ireland tour), and The Blackwater Lightship (Gaiety Theatre, Dublin). His television credits include Moone Boy, Drop Dead Weird, Falling for the Life of Alex Whelan, and Small Town, Big Story.

Benjamin Reilly plays Tom McClinsey. His theatre credits include Danny Ryan (Smock Alley Theatre), The Long Christmas Dinner (Abbey Theatre, Dublin), Mortal Sin (Bewley’s Café Theatre), and The Merchant of Venice (Mill Theatre Dundrum).

Jonathan Bank directs. He returns to Jermyn Street Theatre following the London premiere of Yours Unfaithfully (also Beckett Theatre, NYC). Other credits as Artistic Director of Mint Theater Company include Katie Roche, Temporal Powers, The Suitcase Under the Bed (all by Teresa Deevy), Yours Unfaithfully, The New Morality, Mary Broome, So Help Me God!, Is Life Worth Living?, The Fifth Column, The Return of the Prodigal, and Susan and God.

LISTINGS

WIFE TO JAMES WHELAN
16B Jermyn Street, London, SW1Y 6ST
Box Office: 020 7287 2875
www.jermynstreettheatre.co.uk

THE WAVES
Running until 30 May 2026Monday – Saturday, 7:30pm

3pm matinees on Tuesdays and Saturdays

Relaxed Performances: Thursday 30 April at 7:30pm & Tuesday 12 May at 3pm
Captioned Performance: Monday 11 May at 7:30pm
Tickets from £18

WIFE TO JAMES WHELAN
25 June – 25 July 2026

Monday – Saturday, 7:30pm

3pm matinees on Tuesdays and Saturdays

Relaxed Performances: Tuesday 7 July at 3pm & Thursday 16 July at 7:30pm
Captioned Performance: Monday 13 July at 7:30pm
Tickets from £18

Awkward Prods, Eric Kuhn Productions, Side Hustle Productions and Daddy’s Money present:

LINUS KARP WAS HIT WITH AN UMBRELLA

5th – 30th August (not 18th), 8:20pm

Underbelly, Bristo Square (Friesian)

With Work In Progress performances:

23rd – 25th July, 8:30pm at Park Theatre, London

A true story written and performed by Linus Karp

With dramaturgy from Olivier Award nominee Haley McGee 

and creative support from Joseph Martin

In July 2024, Linus Karp was hit with an umbrella in a homophobic attack in Soho, London.

A new show from the acclaimed company behind Diana: The Untold and Untrue Story, Gwyneth Goes Skiing and The Fit Prince (who gets switched on the square in the frosty castle the night before (insert public holiday here)).

Previous Praise for Awkward Prods:

“Absurd, camp, chaotic, and hilarious” ★★★★★ Attitude

“Perfectly imagined and brought to life”★★★★★ The National

“A masterclass” ★★★★★ The Skinny

“Gloriously ridiculous” ★★★★ The Stage

“Preeningly perfect… very funny” ★★★★ The Scotsman

“As poised and polished as it is anarchic and outrageous.”★★★★★ London Theatre1

“A whole new level of genius” ★★★★★ All That Dazzles

“The most unhinged piece of theatre in existence” ★★★★★ Broadway Baby

“Gleeful absurdist comedy at its finest” ★★★★★ Culture Fix

“An endless amount of non-stop laughter” ★★★★★★ Jack The Lad

“Repellent trash” Daily Mail

Awkward Prods, the award-winning creators of Diana: The Untold and Untrue Story, Gwyneth Goes Skiing and The Fit Prince, return to Edinburgh Fringe with a more personal and introspective show (albeit still with their own brand of anarchic queer celebratory style): Linus Karp Was Hit With An Umbrella.

For the first time, Awkward Prods will be tackling a true story, filtered through their distinctive blend of comedic performance, storytelling and theatrical invention.

In July 2024, shortly before taking Gwyneth Goes Skiing to the Edinburgh Fringe, Linus Karp and Joseph Martin – a couple of eleven years – were walking through London holding hands when out of nowhere, a man approached them, struck Linus across the head with an umbrella, and shouted disturbing homophobic slurs. Joseph chased the attacker, tackled him to the ground, and restrained him until the police arrived. The man was arrested at the scene.

Linus Karp Was Hit With An Umbrella takes that incident as its starting point and follows everything that came after: the shock of the attack, the slow legal process that followed, and the emotional aftermath of being targeted for being visibly queer – and in London’s Soho, a historically queer part of the capital. 

Now, with some distance from the event, Linus returns to that moment, to examine its lasting impact – from the immediate shock to the way it has shaped his everyday life as a queer person. The show explores the unease that can follow: around acts as simple as holding hands in public, and a heightened awareness of risk in spaces once taken for granted, alongside the more complex emotional aftermath of the incident, including the dissonance of processing violence whilst grappling with unexpected feelings of sympathy towards the person responsible. Linus also reflects on performing at the Edinburgh Festival Fringe in the immediate aftermath of the attack – stepping back onto stage and in front of audiences whilst still processing what happened. 

Moving beyond memoir, the final section of the show transforms the stage into a fictionalised trial, where the structures of justice can be reimagined, and the questions left unanswered in real life can finally be confronted. In putting the attacker theatrically on trial, Linus creates space to examine the realities of hate crime, the limits of legal resolution, and what it means to seek closure when no verdict ever came.

Despite its more serious subject matter, Linus Karp Was Hit With An Umbrella remains rooted in Awkward Prods’ signature style: witty, queer and distinctly theatrical, with audience-interaction and multimedia elements woven in. True to their work, the show blends dark humour with absurdity and playfulness throughout. 

In 2025, Linus Karp and Joseph Martin, a real-life couple of eleven years, made headlines when they became the first couple to legally marry on stage at the Edinburgh Fringe as part of the festival’s official programme. This year, their work continues to share personal aspects of a queer relationship, looking at how to navigate through a traumatic hate crime. 

Performed solo by Linus Karp, with Joseph Martin as stage manager and creative collaborator, the show is developed with dramaturgy from Olivier Award nominee Haley McGee (Age Is A Feeling) and produced by Awkward Prods, alongside Eric Kuhn for Eric Kuhn Productions, and Doulla Croft and Sam Goodman for Side Hustle Productions and Chris Darby for Daddy’s Money, with David Thomas Tao as Associate Producer.

Eric Kuhn is a three-time Tony Award-winning producer, marking his first collaboration with Awkward Prods and his first time presenting work at the Edinburgh Festival Fringe. 

Side Hustle Productions develops and produces work for stage, screen, and beyond – stories that foster empathy, build community, and endure. This also marks their first time presenting work at the Fringe.

Daddy’s Money Productions invests in, develops and stages live performances spanning musical theatre to cabaret. They are driven by the desire to share new stories, elevate queer voices for all audiences, and create unique experiences.

Awkward Prods will also be performing their previous sell-out cult hit Diana: The Untold and Untrue Story during the final week of the Edinburgh Festival Fringe (Underbelly, Bristo Square (Ermintrude), 24th – 30th August, 10pm)). 

FROM THE MAKERS OF…

This brand-new production follows Awkward Prods’ international success with their previous hits:

• The Fit Prince (who gets switched on the square in the frosty castle the night before (insert public holiday here)) played the Edinburgh Fringe 2025 before transferring to King’s Head Theatre, London and embarking on a UK & Ireland tour.
• Gwyneth Goes Skiing sold out its Edinburgh 2024 run (plus extra shows) and toured the US in 2025 & 2026, selling out in LA, NYC and Park City, Utah.
• Diana: The Untold and Untrue Story sold out its 2023 Fringe run (plus extras), toured the world, and won the Off-Fest Award for Best Play at the Fringe.
• Their earlier hit how to live a jellicle life: life lessons from the 2019 hit movie musical ‘Cats’ kicked off the now-legendary “awkwardprods” style: high camp, deep cut pop culture, genre-mashing storytelling and queer community celebration.

Their work is never just performed for an audience – it’s performed with them. That’s not a metaphor. The

audience literally helps make the show.

WHO’S WHO…

Linus Karp is a queer Swedish actor, writer and director. He is the creator and performer of  Gwyneth Goes Skiing, Diana: The Untold and Untrue Story, The Fit Prince (who gets switched on the square in the frosty castle the night before (insert public holiday here)) and how to live a jellicle life: life lessons from the 2019 hit movie musical ‘Cats’.

Joseph Martin is an actor, writer and musician. Training: East 15. Previous credits include Jeff Wayne’s The War of the Worlds (Layered Reality), Sir Quentin Blake’s The Green Ship (UK Tour) and Count Magnus (BBC). He co-founded Awkward Prods with Linus Karp in 2017 and has worked as a Producer for BBC Radio 2 and Radio 4.

Haley McGee is a writer and actor. Her solo show Age is a Feeling (Fringe First and an Olivier nomination) has played sold-out runs in Edinburgh, London (Soho Theatre) and Toronto and has been translated and produced in over 10 languages. Her solo The Ex-Boyfriend Yard Sale has been adapted into a book of the same name, published by Hachette.

Eric Kuhn is a producer of TV, films, documentaries, and theatre on the West End and Broadway. Eric has earned three Tony Awards, a Peabody, two GLAAD awards, a BIFA, and numerous other awards. Recent credits include: Grand Theft Hamlet (streaming on Mubi), Cats: Jellicle Ball (on Broadway), Born with Teeth (West End) and Invasive Species (Vineyard Theatre and The King’s Head Theatre).

Doulla Croft has 28 years of experience in digital marketing and over a decade of experience investing in theatre — including Room (US Tour & Broadway), Six The Musical (UK & Broadway), Choir of Man, 42 Balloons, and What It Means. 

Sam Goodman leads the Theatre & Immersive team at Lee & Thompson, one of the UK’s leading law firms for the creative industries. He has a practical understanding of how productions are developed, financed, and brought to life. 

Chris Darby is delighted and humbled to be the only producer returning to the Fringe and hasn’t won any Tonys… yet. Selected production credits with Daddy’s Money include The Fit Prince (that gets switched on the square in the frosty castle the night before insert public holiday here) (Kings Head Theatre & Edinburgh Fringe); Small Town Boys (Union Theatre), and Associate Producer for Ride The Cyclone (Southwark Theatre).

CHANNING TATUM’S

MAGIC MIKE LIVE IN LONDON

CELEBRATES ITS 3000^th PERFORMANCE &

EXTENDS RUN

AT THE HIPPODROME CASINO

TO SATURDAY 27 JUNE 2027

ON SALE NOW

Watch & Share: Cast of Magic Mike Live Celebrates 3,000 Performance
with Epic Dance Montage at Iconic London Landmarks

Youtube link: https://youtu.be/vyMnEhQg5rQ

Channing Tatum and his co-producers are delighted to announce a new booking period for Magic Mike Live at The Theatre at the Hippodrome Casino in London as the production celebrates its 3000^th performance. Patrons will be able to book performances through to Saturday 27 June 2027. Tickets on sale now.

The internationally acclaimed cast of Magic Mike Live in London includesTaylor Diamond-Lord (from New Zealand), Myles Harper (from the UK), Jake Cocca-Brewer (from the UK), Jack Manley (from the UK), Kevin Vélez (from Columbia), Carles Escoms Ferrer (from Spain), Espoir Alpha (from Congo/ Australia), Nick Brown (from Australia), Ryan Elson (from the UK), Reece Darlington-Delaire (from the UK), “Sweeney” Todd Holdsworth (from the UK), Mark Lace (from New Zealand), Clare Billson (from Australia), Genevieve Nicole (from the UK), Olivia Warren (from the UK),  Charlotte Perry (from the UK) and James Percy (from the UK).

Created and co-directed by Channing Tatum, Magic Mike Live, has run for over 7 years in London, having performed 3000 shows and wowing over 900,000 people and more than 2,000,000 worldwide. It is a large-scale, live production show based on the hit films Magic Mike and Magic Mike XXL, which opened at The Theatre at the Hippodrome Casino in London’s Leicester Square in November 2018.  Magic Mike Live inspired a new television series on HBO Max, Finding Magic Mike, and the third instalment of the Magic Mike film franchise, Magic Mike’s Last Dance. Magic Mike Livehas become an international sensation since opening in Las Vegas in April 2017.

In addition to breaking box office records and performing to sold-out audiences in Las Vegas and London, the show has thrilled audiences around the world with engagements in Berlin, Australia, and Miami and Dallas in North America.

An all-new flagship production will open in New York City this October in a newly renovated, multi-function and custom-built venue one block from Times Square.

From the bespoke entrance off Cranbourn Street, to the specially curated lounge and bar experience, to the cast of world-class performers, Magic Mike Live is a complete evening of unparalleled entertainment for guests aged 18 and up. Audience members enter Magic Mike’s mythical club and marvel as a group of extraordinary artists perform a 360-degree dance and acrobatic spectacular in front of, behind, and above them.  Sexy dance routines intertwined with one-of-a-kind acts, are presented by a diverse cast of performers from around the world.

Guests can also enjoy pre and post-show cocktails and cuisine at two bespoke bar and lounge experiences – Permission and Archive & Myth – designed and curated by Magic Mike Live designer Rachel O’Toole. Patrons can either book their spots in advance or drop in if they fancy an intimate and luxurious space to unwind in the heart of London’s West End.

Permission was recently voted one of Open Table’s ‘Top 10 Best Restaurants in London.’ The intimate and atmospheric lounge located just steps from the theatre entrance offers a range of food and beverage options, as well as live music curated by the Magic Mike Live team.

Named one of the UK’s Top 50 Cocktail Bars for a second consecutive year, Archive & Myth is hidden beneath the Hippodrome Casino and is accessed by a password-protected door off Cranbourn Street.  This secret bar offers a stylish escape from the Square’s hustle and bustle, with a tempting menu of elevated classic cocktails, bespoke vintage spirits and light bites, enjoyed in an elegant space that is richly inspired by the heritage and legends of the venue itself.

Patrons can also book a VIP Luxe Seats package, guaranteeing the best seats in the house, complimentary cocktails, and entry to Permission with a personal concierge escort to the show. The VIP Luxe package also includes a meet and greet with some of the dancers after the show. For more information visit magicmikelondon.co.uk

Magic Mike Live in London is co-directed by Channing Tatum and Alison Faulk, with Luke Broadlick as associate director, and choreography by Alison Faulk and Luke Broadlick.The Executive Producer is Vincent Marini with General Management by Crossroads Live. The production designer is Rachel O’Toole, with scenic design by Rob Bissinger and Anita LaScala (Arda Studio), costume design by Marina Toybina, lighting design by Philip Gladwell and video design by Luke Halls.  Musical supervisor is Jack Rayner, with sound design by Nick Kourtides. Dreya Weber is aerial choreographer & aerial apparatus designer and Ross Sands is resident choreographer. 

Magic Mike Live is produced in London by Channing Tatum, Reid Carolin, Greg Jacobs, Peter Kiernan, Steven Soderbergh, Nick Wechsler and United Talent Agency in association with Warner Bros., Vincent Marini, The Hippodrome Casino, Bruce Robert Harris and Jack W. Batman, TSG Entertainment & Ashley DeSimone, Richard Winkler and The Creative House.

LISTINGS INFORMATION

Magic Mike Live

The Theatre at the Hippodrome Casino

Cranbourn Street

Leicester Square

London WC2H 7JH

Website:  www.magicmikelondon.co.uk  

Twitter: @MagicMikeLDN

Facebook: @MagicMikeLDN

Instagram: @MagicMikeLiveLDN

TikTok: @Magicmikelivelondon

Box Office:  tickets@magicmikelondon.co.uk

Ticket Prices from: £42 (including booking fee)

Current Booking Period: Sunday 28 June 2026

Running Time: approximately 90 minutes (no interval)

Performances: Wednesday 7pm, Thursday 7pm & 9.30pm, Friday 7pm & 9.30pm, Saturday 4pm, 7pm & 9.30pm, Sunday 4pm & 7pm.

Please note there are no performances w/c 31 August 2026, w/c 7 September 2026 and w/c 4 January 2027.

Magic Mike Live London is also introducing the following accessible performances:

BSL – Theatre Sign for those who are D/deaf / Hard of Hearing and whose main communication is BSL

Wednesday 3 June 2026, 7pm

Customers attending with Nimbus access card are entitled to tickets for these performances at the reduced rate of £67.50 per person. Those entitled to an essential companion will receive that ticket complimentary. For further information on our access performances please email access@magicmikelondon.co.uk or call the box office 02038703621. Customer Service hours are between 12pm – 6pm Tuesday through Sunday.

Magic Mike Live guests must be at least 18 years to attend – appropriate photo ID will be requested on arrival at the venue – GambleAware.org

Producers of ‘Wicked’ donate a further £10,000 in tickets to theatre works!, continuing their partnership with the UK Charity into a third year

www.theatreworks.global

www.WickedActiveLearning.co.uk

Following a successful two-year partnership, which has seen over 1000 school children benefit from a free or subsidised bursary, the producers of the stage musical Wicked have committed to donating a further £10,000 worth of tickets to theatre works!, a UK-based charity committed to making theatre accessible to young people for a third consecutive year.

The donated tickets are for the West End production of Wicked, as part of its acclaimed Wicked Active Learning education programme, providing the opportunity for children to immerse themselves in the magical world of Oz.

Offered in addition to Wicked’s year-round commitment to significantly reduced-priced Education tickets, schools can apply to theatre works! for financial support to attend Tuesday to Thursday performances during term time. This arrangement ensures that the experiences are integrated into the educational framework, providing both entertainment and learning opportunities.

This significant contribution will provide young people outside the M25, facing economic and social barriers, with the opportunity to experience one of London’s most iconic stage musicals, enhancing their appreciation for the arts in general and live theatre in particular.

The charity, theatre works!, will use these tickets to broaden the horizons of children who might not otherwise have the chance to attend such a high-calibre production.

Since its inception five years ago, theatre works! has provided tickets in the UK and US for over 33,000 children and young people to attend the theatre. By coordinating with schools and youth organisations, the charity funds trips that are not only fun but also educational, including post-show discussions whenever possible.

Describing their experience, a teacher from Academy of St Francis of Assisi, Liverpool said “The educational and emotional value of the experience was clear. Not only did students enjoy a world-class production, but many also gained new perspectives on social justice, self-expression, and empathy. The trip has also sparked renewed interest in the performing arts among our students, with some already asking about future theatre opportunities”

Sharon Studer, Co-founder and Chair of theatre works!, said “‘For over a thousand students supported by theatre works!, seeing Wicked has been far more than a memorable day out. It has been a first encounter with live theatre and a chance to discover the imagination, craft and hard work behind a major production. The post-show Q&As that many attend have been an especially valuable part of that experience, helping young people understand that theatre is created by many different talents, both on stage and behind the scenes. Wicked’s support has also helped raise awareness of theatre works! and our mission to make these opportunities available to children who might otherwise be excluded. We are deeply thankful to the whole Wicked team for their continued support.’

Contact Information

For more information about theatre works!, please look at their website, www.theatreworks.global, or contact them at info@theatreworks.global.

Sheffield City Hall – Wednesday 6th May 2026

Reviewed by Claire Moore

4****

Let’s Face The Music And Dance! sees Strictly Come Dancing favourites Aljaž Škorjanec and Janette Manrara return to the stage with a brand-new show celebrating the music that has sound tracked so many of our lives. From big band classics and musical theatre favourites to modern pop hits, the evening is a tribute to the songwriters, composers and producers behind the songs we all know and love.

Each section is made up of medleys of well-known songs from artists including Kate Bush, Cole Porter, Burt Bacharach and The Beatles. Aljaž and Janette are joined by a talented supporting cast of dancers and backed by live music from boogie woogie pianist Tom Seals and his Big Band, as well as the huge vocals of Jill Marie Cooper — and not many people can do Whitney Houston justice, but Jill Marie absolutely does.

Packed full of stunning dance routines and feel-good energy, the show also has plenty of humour, with Aljaž, Janette and Tom chatting naturally with the audience throughout. Nothing feels overly scripted or forced; it genuinely feels like they just want you to join them in their love of music and dance.

I’m always impressed watching the salsa, jive and ballroom routines on Strictly, but seeing this level of dance live on stage is something else entirely. The talent on stage is incredible, and at times there’s so much going on you hardly know where to look.

The whole show flows beautifully. I did initially wonder how six dancers would manage on what appeared to be quite a small stage, but clever use of blocks creates different levels and allows the routines to really open up —even using the grand piano as part of the choreography. Everything feels sleek, polished and incredibly well rehearsed.

It’s glamorous, nostalgic and full of the kind of joy that has the audience smiling and dancing in their seats. But what really makes the show work is the relationship between Aljaž and Janette. There’s such genuine warmth and happiness between them, and it’s obvious how much they both love dancing and performing together. That joy spreads through the whole theatre and creates a brilliant atmosphere in Sheffield City Hall. A thoroughly enjoyable evening from start to finish.

Yvonne Arnaud – until Saturday 9^th May 2026

Reviewed by Heather Chalkley

4****

Writer Peter Quilter has taken this epic true story and moulded it into a tragic comedy like no other! Director Kirk Jameson has managed to bring to life Florence Foster Jenkins’ rise to notoriety, imbued with warmth, humour, admiration and an incredible lack of self-awareness!

Wendi Peters (Florence) has honed her huge voice for the purpose of singing beautiful arias with most of the notes in the wrong order! That is quite some feat! Notes are sung at just the right level, pitch and dissonance to have the audience roaring with laughter and applauding with admiration, at the same time as feeling pain in their ears! More impressive is Peters facial expressions, reflecting the emotions of each opera and the complete and utter ignorance of how terrible she sounds! Florence had a big heart that wanted to keep on giving, to charity and community, using her voice as one way of bringing people together. The look of triumph and excitement Peters gives Florence with her whole body, when she accepts the invite to play at Carnegie Hall, is a standout moment not to be missed.

Matthew James Morrison (Cosmé McMoon) said more with his body language and countenance than actual words, most of which caused people to laugh out loud. You see the growth of Cosmé’s relationship with Florence, starting with utter fear and cringe at the atrocity of her voice, to blithely accompanying her on the quest to spread the gift of music to everyone. The fact that he is paid well compels him to stay, then unexpectedly he finds fondness and respect, a desire to help her live her dreams. 

Peters is ably assisted in creating such a fun performance by the epic costumes, that are beautiful and satirical all at the same time! Well done creative team for bringing the music, costume and set together in a way that creates the atmosphere of a big concert hall. 

Florence was determined to live her dream and there is a lesson for us all in that!

Grand Theatre Leeds – until Saturday 10^th May 2026

Reviewed by Katie Brewerton

4****

Here and Now is the brand new musical based on the songs of Steps. Set in a supermarket with a group of friends looking for a ‘Summer of Love’ Here and Now is the ultimate cheesy, camp, feel good musical. 

As you enter the theatre the set towers over you from the stage, almost the entire show is set in Better Best Bargains Supermarket, with aisle numbers 5, 6, 7, 8 taking centre stage for obvious reasons. The show begins with Caz (Lara Denning) encouraging her work friends to do whatever it takes to make themselves happy in love. Robbie (Blake Patrick Anderson) finds fault in everyone he dates and never really gives anyone a chance, Vel (Jacquie Dubois) is in a relationship with someone she doesn’t actually like and Neeta (Rosie Singha) is in love with colleague Ben (Ben Darcy) but is too afraid to tell him. They make a pact that by Caz’s 50^th birthday they will all strive to make themselves happy just like Caz.

Caz soon receives devastating news as her husband decides things aren’t working between them, just as they get approved to adopt a child. She now has to search for her own happy ending as well. After an ill advised decision by Caz to help Max (Edward Baker-Duly) buy Better Best Bargains in exchange for help with her adoption and financial security things go from bad to worse for all the friends and they must come together in the second act to save the store and their friendships. 

The cast are great with fantastic vocals, particularly Lara Denning and you’re in for a special treat with a performance by River Medway, who plays Jem, in full drag with his own entourage singing Chain Reaction.

Packed with hits including the hugely popular Tragedy, Better the Devil you Know and of course 5, 6, 7, 8 the mega mix finale had everyone up on their feet clapping along. 

Sheffield Lyceum – until Saturday 9th May 2026

Reviewed by Claire Moore

4****

The Spy Who Came In From The Cold brings one of John le Carré’s best-known novels to the stage for the very first time. This Cold War thriller takes us into a world of espionage, double-crossing and moral grey areas, where nobody quite knows who can be trusted.

Disillusioned British intelligence officer Alec Leamas (Ralf Little) is ready to leave the world of spying behind him, until George Smiley persuades him to take on one final undercover mission against the East German Secret Service. But as the lines between truth and deception begin to blur, and new relationships develop, Leamas finds himself questioning far more than just the mission.

The book has been a global bestseller for more than six decades, but I have to confess I’m one of the few people who had never read it or seen any of the adaptations. Add in the fact I’d only ever seen Ralf Little in comedy roles before, and there were quite a few firsts for me going into this production.

Adapted for the stage by award-winning playwright and screenwriter David Eldridge, the production manages to make a very complex story feel surprisingly accessible. There’s a lot to fit into a running time of under two hours, but the use of clear explanations from Leamas helps the audience keep up with the twists and turns of the plot without it ever feeling too heavy.

The set is simple but effective — mainly tables, chairs and the odd mattress moved smoothly between scenes. Behind it all sits a huge grey wall that feels cold, oppressive and quietly threatening throughout. When it finally begins to move towards the audience near the end, you know this story isn’t heading anywhere good.

The costumes are understated too, which works well given how layered the story is, while the noir-style music adds to the atmosphere brilliantly. There’s a constant sense of tension running underneath everything.

Amid the complexity of the plot and the fast movement between scenes, some of the rapid-fire dialogue is hugely impressive — particularly the exchanges between Leamas and Control (Nicolas Murchie). The pace never drops, and the sharp delivery really helps build the pressure and stress of the situation.

The cast work really well together, and the whole production feels incredibly slick. With such a complex story to tell in a relatively short running time, it’s clear a huge amount of work has gone into making everything flow so seamlessly.

But a special mention has to go to Ralf Little, who really impressed as Leamas. It’s a huge role to take on, but he carries it with confidence and real believability, showing a much darker and more serious side than audiences might be used to seeing from him.

It may be a little back to front, but the novel is now firmly on my reading list. But I suppose that’s the beauty of art — opening us up to new stories and experiences, however we happen to find them.

Festival Theatre, Malvern – until 9th May 2026

Reviewed by Courie Amado Juneau

5*****

I knew the name Somerset Maugham but had never seen on of his plays. So it was with much anticipation that I caught tonight’s theatre piece.

The story revolves around a wife trying to ignore her husband’s affair (of the last year). Most everyone else seemed to know, but she was determined to keep the upper lip stiff. When circumstances transpired against her continuing this pretense, she has to finally confront the assembled personages and concoct a way to move on…

A surprising “false” start piqued the interest immediately – but more of that piano playing later! Anna Fleischle was responsible for designing the opulent set and was co-costume designer (alongside Cat Fuller) and both deserve a pat on the back for some gorgeous staging.

Three strong leading ladies propelled the story forward; Kara Tointon, playing Constance Middleton (around whom the tale was woven), displayed a commendably restrained performance that was nevertheless full of passion – saving her emotional outbursts for maximum effect. Her sister Martha Culver (Amy Vicary-Smith) was the character i had most empathy with as she was the most normal (by today’s standards). Thoroughly modern, she was determined to put the world (and her sister’s marriage) to rights. Her recap was the funniest part of the play (joint first with the butler). And mother Mrs Culver (Sara Crowe) was hilarious and truly wacky in her ideas and moral code. Pragmatic might be a kinder, more measured, assessment. Marie-louise Durham (Gloria Onitiri), a trifling concoction who was so full of herself she was loathsome in her selfishness, rounded out the brilliantly played ladies.

The men (Jules Brown (Mortimer Durham, the other husband), Tim Delap (John Middleton the lothario fiend) and Alex Mugnaioni (Bernard Kersal the foppish puppy dog still in love with someone else’s wife)) were the men; all testosterone fueled bravura and horns clashing. Poor things! All masterfully brought to life but I ended up feeling rather sorry for them. This is definitely a “girl power” story – the men, to my mind don’t fare too well.

Butler Bentley (Philip Rham) was the standout character. A truly excellent performance with some wickedly humorous reactions and sideways glances. And on stage piano playing of some rare beauty! What is that tune (could it be by composer Jamie Cullum, I wonder)?

It is a funny play, most of the laughs coming from the outrageous attitudes of the well to do and the times! Plus the extremely clever writing alluding to the titular play which Constance never does get to see! Most amusing. I’ve not read the original but this is certainly a witty script by Laura Wade (based, obviously, on Maughan’s work). And it all concludes in satisfying style with some just deserts very much in keeping with the conscience and standing of the characters – though, beware the tennis pro’s out there!

All in all it’s a fun night out that delivers something for everyone. It certainly gave me a lot of pleasure, some head shaking (at that peculiar moralizing) and cause to pause for thought. Well deserving of top marks from all concerned!

Hall for Cornwall, Truro – until 9th May 2026

Reviewed by Kerry Gilbert

5*****

‘A Fabulous Feel-Good Production’

It was a real tonic to review Legally Blonde for the opening night at the wonderful Hall for Cornwall. Being a well-remembered films from my youth, and 25 years since it was first released, it’s been brought to stage with lots of colour (pink) and energy.

Legally Blonde follows Elle Woods, as she works to get into Harvard Law School to follow the love of her life Warner. She surprises herself and those around her in becoming a great lawyer, with integrity. She then realises that Warner may not be all that she really wants.

The musical is fast paced, and high energy and has a fair few laughs throughout. The music and lyrics from Laurence O’Keefe and Nell Benjamin are catchy and full of energy. I particularly enjoyed ‘Omigod You Guys’, ‘Blood in the Water’, and ‘Bend and Snap’ which are all fun ensemble pieces, and ‘Gay or European?’ was performed as over the top as possible. The production is directed by Nikolai Foster and has done a fantastic job in bringing this version of Legally Blonde to stage, which is also faithful to the original film. The choreography by Leah Hill is energetic and the ensembles are incredible using every inch of the stage. Colin Richmond’s set design was beautiful, cleverly using small scale models as locations and using additions in real scale that put us in particular buildings, including, the lecture room, store, hair salon and shower. The band, led by musical director Olivia Zacharia were outstanding. The dogs Bruiser and Rufus, got the biggest Aww from the audience, and having them on stage was very impressive and they were handled and behaved impeccably!

Headlining the impressive cast, following her stint in Strictly Come Dancing is, Amber Davies as Elle Woods, and she delivers outstanding vocals throughout. George Crawford gives some powerhouse vocals as Emmett. The whole cast were superb with strong voices and tight choreography. A shout out goes to Jocasta Almgill, playing Brooke Wyndham, who impressively manages to sing whilst performing a high energy skipping rope routine!

If you’re a fan of Legally Blonde, and even if you’re not, then this fabulous feel-good production is well worth seeing.