Author: FairyPoweredProductions

Charlotte English from BIRD Conservatoire
wins the 18th annual
STEPHEN SONDHEIM SOCIETY STUDENT PERFORMER OF THE YEAR competition

Taziva-Faye Kastsande from BIRD Conservatoire was runner up

Rosie Sutton from the University of Oxford was placed third

Charlotte English from BIRD Conservatoire has been named  Stephen Sondheim Society Student Performer of the Year in the 18th annual singing competition, affectionately known as SSSSPOTY, held, fittingly, in the West End’s Sondheim Theatre.

Her rendition of “I Read” from Passion secured her the title, a cheque for £1,000 and the chance to headline her own Sondheim-infused cabaret in London.

Taziva-Faye Kastsande, also from BIRD Conservatoire, was runner up performing “Last Midnight”  from Into The Woods. She receives £500.

Rosie Sutton from the University of Oxford, singing “Getting Married Today” from Company received £250, a new 3rd prize of donated in memory of critic and Stephen Sondheim Society member, Jeremy Chapman.

Chairman of the judging panel, Edward Seckerson, said it had been one of the closest ever contests.

Craig Glenday, Chair of The Stephen Sondheim Society, said:
“Charlotte was a very worthy winner in a contest packed with incredible competitors. The judges felt that Charlotte’s rendition of “I Read”from Passion was authentic and moving, and captured all of the complex nuances of this song and the character of Fosca. But it was also the longest time it’s taken the panel to agree on the top three. In a field this talented, the job of picking out winners is far from easy, but the fact they were in the final means they are all winners. Ultimately it was a wonderful afternoon of Sondheim that I hope honoured Steve’s memory.”

More than 350 video submissions were received for the contest, 81 of which qualified for a live, in-person audition with Chair of Judges Edward Seckerson, Musical Director Nigel Lilley (Here We Are and Follies, National Theatre) and guest judge Laura Pitt-Pulford (Follies in Concert, A Little Night Music in Concert, Marry Me a Little). The 12 finalists selected were  Ruby Decent (Bristol Old Vic Theatre School), Charlotte English (Bird College), Cait du Feu (Mountview), Marcus Harman (Royal Welsh College of Music and Drama), Rebecca Hennessey (Royal Welsh College of Music and Drama), Róisín Holland (Emil Dale Academy), Taziva-Faye Katsande (Bird College), Samuel Louis Bennett (Trinity Laban, Erica Schoebinger (Drama Studio London), Josephine Shaw (Royal College of Music), Rosie Sutton (University of Oxford), Freddy Thompson (Trinity Laban), with three reserves: Phoebe Graham (LAMDA), Nicholas McKeown (Royal Welsh College of Music and Drama) and Teddy Thompson (ArtsEd).

The students performed for a panel of highly respected West End performers and critics – Jenna Russell, a patron of The Stephen Sondheim Society, WhatsOnStage Best Supporting Actress Melanie La Barrie (recently The Witch in Into The Woods, previously Hadestown, Mary Poppins, & Juliet; Olivier-nominated actor Andy Nyman (The Producers, Hello, Dolly!, Assassins); Olivier nominated actress and singer Rachel Tucker (The Baker’s Wife in Into The Woods, previously Come From Away, The Last Ship, Hadestown); and renowned theatre critic Matt Wolf.

Each finalist was required to sing one song with music and lyrics by Stephen Sondheim, plus a new song chosen by them from the selection at NEW UK MUSICALS – the organisation founded by the Olivier-Award-winning Benjamin Button composer Darren Clark to showcase the UK’s best new musical-theatre writing for the stage.

It was the express wish of Mr Sondheim that for every one of his songs selected by the finalists, a new song is performed, in order to encourage and support the creation of new work.

THE STEPHEN SONDHEIM SOCIETY
Registered Charity Number 1142092
Chair: Craig Glenday (craig@sondheimsociety.com)
Events: Tina Foote (contact@sondheimsociety.com)
www.sondheim.org
The Stephen Sondheim Society is a registered Charity regulated by the Charity Commission (Registered Number 1142092). Its charitable aims are stated as being: to promote the public knowledge and appreciation of the works of Stephen Sondheim by such means as are charitable; and to advance the public education in music, particularly but not exclusively, to young people by holding an annual music competition. The Society produces cabarets, educational events such as workshops and masterclasses, maintains the Sondheim Archive at Kingston University, and publishes Sondheim The Magazine. The
jewel in the Society’s crown, however, is SSSSPOTY which gives students of musical theatre invaluable experience working with established Directors and Musical Directors, and provides them with a chance to perform on a West End stage. Recent events include Merrily We Sing Along (Upstairs at the Gatehouse), Acting Through Song Masterclass with Phillip Quast

Burlesque the Musical and music icon
Christina Aguilera
reveal three actors to star on stage as Ali Rose in
Burlesque the Musical  
based on the hit movie

Burlesque and Christina Aguilera today introduce the three young women stepping into the spotlight as Ali Rose, one of the most coveted leading stage roles of the summer in Burlesque the Musical.

Sharing the iconic role of the waitress-turned-burlesque performer, created by Christina in the 2010 Golden Globe-winning and Best Picture-nominated Hollywood movie, written and directed by Steven Antin, are Natalia Jacques, 23, and Gracie O’Brien, 20, from the UK and American Cecilia Petrush, aged 25, who was cast after a global talent search.

Three women. One spotlight. For the first time ever THREE new stars step into the world of Burlesque as Ali Rose.  

Christina Aguilera – the seven-time GRAMMY Award winner and one of the most powerful and influential voices in modern pop – is Executive Producer of the stage version of Burlesque the Musical. Steven Antin, who wrote and directed Aguilera in the movie version, is the writer, producer and creative director of the stage musical

Writer/Producer Steven Antin said:
“I wrote Ali for Christina – she was always my dream to play the role. When Christina brought Ali to life in the film, she created something truly iconic. She gave Ali her voice, her fire, her wit, her vulnerability, and her soul – creating a character audiences around the world fell in love with. Bringing Burlesque from screen to stage is about honouring that legacy while allowing the story to grow in a theatrical, cinematic and emotional way. And now these three exceptional, talented actresses step into those heels – not to imitate Christina, because no one could or should – but to continue the legacy she began and bring their own fabulous magic to Ali.”

Natalia Jacques, a recent graduate making her professional stage debut, will portray Ali in the West End production.

Gracie O’Brien, also making her professional stage debut, will be heading the 33-week UK tour from July.

Cecilia Petrush from Brooklyn, New York, who dazzled producers during a global talent search, will be the alternate Ali.

After a 100% sold-out, critically acclaimed West End run last year at the Savoy Theatre, Burlesque the Musical returns to London this September at the new West End venue The Arts at Marble Arch.

Over the next two years, more than 500,000 people are expected to attend performances at The Arts at Marble Arch, while a second production launches a major UK tour beginning at New Victoria Theatre, Woking on 25 July, before touring throughout 2026 and 2027. Additional international productions will be announced soon.

Based on the iconic film starring Christina Aguilera and Cher, Burlesque the Musical is a glittering, high-voltage theatrical event packed with powerhouse vocals, jaw-dropping choreography, and outrageous glamour.

Welcome to Burlesque the Musical – the glamorous, gritty, outrageously fun new musical based on the beloved hit movie that reminds us… Life’s not Fair. It’s Fabulous.

Step inside a club where sequins shimmer, seduction sparkles, and a single song can change your life forever. When Ali heads to New York searching for her mother, Tess Richarde, she is swept into a dazzling underground world of ambition, temptation, music, and desire – discovering not only her extraordinary voice, but the family she never knew she needed.

Featuring songs by Christina Aguilera, Sia, Diane Warren, Jess Folley, Todrick Hall, and Steven Antin, Burlesque the Musical is a scintillating celebration of self-discovery, empowerment, and unapologetic fabulousness.

Further casting and creative team announcements will follow soon.

Burlesque the Musical is produced by Christina Aguilera, Adam Paulden & Jason Haigh-Ellery, Steven Antin, Clint Culpepper, and In Fine Company.

SIX THE MUSICAL

EXTENDS WEST END RUN AT THE VAUDEVILLE THEATRE UNTIL NOVEMBER 2027

AS THE QUEENDOM CONTINUES TO REIGN SUPREME ON GLOBAL STAGES

IN LONDON, ON TOUR, AND AROUND THE WORLD

ALSO IN 2026: SIX OPENS IN SPAIN, RETURNS TO AUSTRALIA AND CHINA, AND HEADS TO NORTH AMERICAN CINEMAS

FURTHER INTERNATIONAL DATES INCLUDE GERMANY IN 2026 AND LUXEMBOURG IN 2027

DIVORCED, BEHEADED, WORLDWIDE!

[Saturday 6 June, London] The producers of SIX are delighted to announce that the West End production has extended its reign at the Vaudeville Theatre, with tickets now on sale for performances until Sunday 28 November 2027, with tickets available now via www.sixthemusical.com.

The announcement follows a remarkable period of continued international success for the home-grown British musical, which began life as a student production at the Edinburgh Fringe in 2017 and has since become a global phenomenon.

SIX follows the six wives of Henry VIII as they take to the mic to tell their own personal tales, remixing five hundred years of historical heartbreak into an 80-minute celebration of 21st century girl power.

The musical’s global reach grows further in 2026, with a new Spanish language production opening at Teatro Gran Vía in Madrid this September. Ahead of its premiere, the Spanish cast released Ex-Wives / SIX, the first official Spanish language recording from the musical, available to stream across all digital platforms alongside an official music video.

SIX continues its reign on Broadway at the Lena Horne Theatre and is now booking into its fifth year. The musical has toured the USA, Australia, New Zealand, Japan, Singapore, the Philippines, South Korea, the Netherlands, Germany, Italy and Switzerland, and enjoyed a seven-week season at the Venetian Resort in Las Vegas.

This year, SIX returns to Australia with a national tour kicking off in Melbourne before heading to Sydney and Brisbane; China for a 12-week engagement from October, alongside further international dates in Germany, visiting Munich, Frankfurt, Düsseldorf and Berlin, and performances at the Grand Théâtre de Luxembourg in May 2027.

Back on home turf, the London production continues to hold court in the West End and continues its reign at the Vaudeville Theatre, whilst nationally, the UK tour, now booking through to November 2027, continues to break Box Office records.

Winner of over 35 major international awards including the 2022 Tony Award for Best Original Score and Best Costume Design on Broadway, triple Whatsonstage Award winner for Best West End Show 2022, 2023 and 2025, and the 2020 BBC Radio 2 Audience Award for Best Musical, SIX was also nominated for five Olivier awards, including Best New Musical. The original studio album of SIX was officially certified Platinum in 2026, with the Broadway album SIX: Live on Opening Night nominated for a Grammy Award and, collectively, the music has been listened to over 5.5 billion times.

In 2025, the live captured event cinema release of SIX the Musical! Live was seen in cinemas across the UK on 750 screens, broadcast on the most screens of any limited release cinema event, beating Taylor Swift’s Eras tour. In 2026, SIX the Musical Live! will be released in cinemas across the US and Canada on over 1,000 screens.

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

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

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

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

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

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

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

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

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

Social media:

Facebook: sixthemusical

Twitter: @sixthemusical

Instagram: @sixthemusical

www.sixthemusical.com

Tower Theatre, Stoke Newington N16 – until 13 June 2026

Reviewed by Phil Brown 

4****

Perusing James Graham’s impressive body of work as a playwright, reveals he often writes about real life events that appear to mark or signal paradigm shifts.  Events with noticeable societal diffusion but which seem ever more significant with the passage of time.  It seems he is currently having a moment – not only gracing our screens with the TV adaptation of his own stage play Dear England (about Gareth Southgate and England football) but also the Tower Theatre stage with his rigorously researched and wonderfully written play Ink about the relaunch of a struggling left wing broadsheet, ‘The Sun’, in 1969.

Ink was first premiered at the Almeida in 2017 before transferring to the West End. The Tower Theatre Company deserves praise for making an inspired choice to revive Ink which ranks alongside such classic newspaper dramas as The Front Page and The Post as gripping insights into press practice and behaviour.  Not only does it take us back to the days of newshounds and expletive laden, smoke filled news rooms in Fleet Street, it’s a cracking underdog story as well as a searching examination of class, ambition, establishment disruption and media power.  

And the Tower Theatre players have produced a very fine production indeed, carried along by two excellent leads – Christopher Lloyd James, more Yorkshire than some hybrid of Michael Parkinson and Geoffrey Boycott, as the no nonsense Editor Larry Lamb, and Zane Fleming as the ruthlessly determined but very young Rupert Murdoch who by this time was already the owner of the ‘News of the World’. They spark superbly off each other.

The powerful opening scene sees Lamb and Murdoch at dinner discussing what makes a good story.  Lamb expounds on the 5 Ws – who, what, where, when, and why.  But over time, he’s changed his mind about the importance of why – once that question has been answered, the story is over.  The most important question is what next?   And the need to know what happens next is what makes the story of Ink such a gripping one.

Of course, Murdoch has invited Lamb to Rules Restaurant to pitch the editor’s job just before finalising the purchase of the Sun from the Mirror.   “The Sun?  “Bollocks.  It’s a stuck up broadsheet that’s never once made profit”.  But Murdoch knows exactly which buttons to press and they agree to a fearless mission – “to shine a light in every corner no matter what…”

Act 1 takes us from venture initiation to the initial launch at which the Sun achieves a circulation close to 1 million – well in excess of the previous level.   It covers a lot of ground in terms of story content but only a few weeks of real time.  Like Murdoch, Lamb, previously overlooked as editor of the Mirror, has his own point to prove and despite being under funded and under resourced sets about recruiting and shaping ‘The Sun’ team mark 2 with phenomenal energy.  

Christopher Lloyd James is utterly convincing as the driven and inspiring kick-ass editor, cajoling the old school new team out of their comfort zone into taking risks such as the hilarious moment they decide to use italics on the front page as well as the initially stilted brainstorming session that turns into a flood of ideas forming the basis of the paper’s new values – win, free, love.   There are clashes with the unions and a nice scene on hot metal newspaper production.  Lamb has taken something old and turned it into something quite new.  Or as Murdoch says – taken something borrowed and turned it into something blue.  The scene ends with Murdoch challenging Lamb to beat the Mirror in one year whilst Hugh Cudlipp (Steve Grist) of ‘The Mirror’ bewails the danger signs flashing for his paper.

Act 2 covers the rest of the year as ‘The Sun’ accelerates past ‘The Mail’ whilst being sneered at by the media establishment and the rest of Fleet Street, but Murdoch is unmoved – “who needs friends when you have readers”.   

There are two absolutely side splitting moments early on when Murdoch questions the wisdom of Knickers Week but agrees to TV advertising and Harry Apps playing the actor Christopher Timothy gains a deserved ovation for sprinting through the tightly scripted advert, word perfectly and quite brilliantly in 30 seconds flat.

Things turn darker when Muriel (wife of Sir Alick McKay a close colleague of Murdoch and deputy chairman of News Limited in the UK) is mistaken for Murdoch’s wife Anna and kidnapped.  Larry Lamb recognises this is the biggest story so far in the paper’s history and chooses to lead on the story, propelling circulation past 1.8 million.    This story ends in the murder of Muriel McKay and questions are inevitably asked about paper’s role in the tragedy.  The final controversy addressed at some length is the decision to go topless on Page Three.

There is much to admire about this hugely enjoyable and imaginatively directed production (director – Jess Staufenberg).  The writing is exceptional and the performance ain’t far short.  The leads are fabulously suited to their exhausting roles and are well supported by the rest of the cast who also have their moments.  Sets are economical but marvellously effective (Jennie Foot) and the frequent, brilliantly choreographed scenery changes by the cast are a work of art in their own right (Angharad Ormond).  Use of lighting (Samuel Littley) and projection (James Christensen) is good, and I particularly love the way scenes are punctuated with iconic 60s music.

I hope this well paced production is as much fun to be part of as it is a treat to watch – you get a real sense of how liberating the 60s and early 70s experience was – a world of possibilities with anything and everything up for grabs.  

This show commandeers your attention from the get-go and does not relinquish it until the very end when (spoiler alert), ‘The Sun” sinks Hugh Cudlipp and ‘The Mirror’.  That’s entertainment…

AMELIA BULLMORE RETURNS TO THE STAGE
TO LEAD MAJOR UK REVIVAL OF MARGARET ATWOOD’S THE PENELOPIAD AT YORK THEATRE ROYAL

York Theatre Royal today announces Amelia Bullmore will return to the stage to star as Penelope in the major UK revival of Margaret Atwood’s The Penelopiad, directed by the company’s Creative Director Juliet Forster. Bullmore last appeared on the stage in the critically acclaimed UK revival of Circle Mirror Transformation at HOME Manchester in 2018. Also announced today, the production extends its run until 31 October.

Adapted from Margaret Atwood’s critically acclaimed novella of the same name, The Penelopiad is an exuberant feminist retelling of Homer’s The Odyssey giving voice to the silenced Penelope and her chorus of maids.

Amelia Bullmore today said, “I’m thrilled I’m going to be working at York Theatre Royal – such a beautiful theatre – on this fantastic play. The Penelopiad manages to be funny, dark, moving and provocative by turns. And it’s Margaret Atwood so the writing is uniquely brilliant. I think audiences will love how playful it is and how directly it connects with them.”

Juliet Forster, Creative Director at York Theatre Royal said,“It is wonderful to have Amelia on board to lead the cast for The Penelopiad. Penelope is such a fascinating and complex character in Margaret Atwood’s retelling and I know Amelia will do her justice! I can’t wait to work with her to bring this compelling story to the stage for York audiences.”

The Penelopiad premiered at the Swan Theatre, Stratford-Upon-Avon, in July 2007 in a co-

production between the Royal Shakespeare Company and Canada’s National Arts Centre. This marks the first major UK revival of the show since that production.

Further casting will be announced at a later date.

York Theatre Royal presents

THE PENELOPIAD
by Margaret Atwood

10 October – 31 October 2026

Cast includes: Amelia Bullmore (Penelope)

Director: Juliet Forster; Casting by: Ellie Collyer-Bristow CDG

THE ODYSSEY: HER STORY

Margaret Atwood, author of the modern feminist classic The Handmaid’s Tale, revisits Homer’s The Odyssey in a powerful, irreverent and darkly humorous retelling that unpicks one of the oldest of myths.

Immortalised as the devoted and faithful wife to the glorious Odysseus, Penelope waits 20 years for her husband to return from the Trojan War, silently weaving and unpicking and weaving again. Now it’s time to hear the story of those left behind…

Reimagining this ancient tale, Atwood gives voice to the silenced Penelope and her chorus of maids. Wandering the underworld Penelope spins a different kind of thread: her side of the story – a tale of injustice, betrayal and revenge.

Adapted for the stage by Booker Prize winner Margaret Atwood and interwoven with songs, York Theatre Royal’s production will be directed by Juliet Forster (Little Women, Around The World In 80 Days-ish!) This exuberant and witty retelling questions the version of events we think we know and exposes the truth behind the myth…

Margaret Atwood is an internationally acclaimed writer, poet and essayist whose work has been published in more than forty-five countries. Her novels include The Handmaid’s Tale (recipient of Arthur C. Clarke Award – and subsequently adapted into the Emmy and Golden Globe-winning TV series), The Robber Bride, Alias Grace, The Blind Assassin (winner of the Booker prize), Cat’s Eye, The Edible Woman, Surfacing, Life Before Man, Bodily Harm, The Testaments (winner of the Booker prize), and The MaddAddam Trilogy. Her poetry collections include Double Persephone, The Circle Game, Power Politics, Morning in the Burned House, and The Door. Her essay collections include Negotiating with the Dead and Burning Questions. Atwood’s novella The Penelopiad was published in 2005 and later adapted in 2007 for the stage, marking her first theatrical work.

Amelia Bullmore plays Penelope. Her theatre credits include Circle Mirror Transformation (HOME Manchester), A Christmas Carol (Noël Coward Theatre), The Norman Conquests (The Old Vic and Circle in the Square Theatre, New York), The Crucible (Sheffield Crucible), Really Old, Like Forty Five (National Theatre), Road and The Queen and I (Leicester Haymarket, Royal Court Theatre and UK tour), The Thickness of Skin (Royal Court Theatre), A View from the Bridge, Romeo and Juliet (Royal Exchange Theatre and UK Tour), All My Sons and How The Other Half Lives (Cheltenham Everyman), Be-Bop-A-Lula (Liverpool Playhouse and UK tour), The Red Balloon (Contact Theatre), The Threepenny Opera (Birmingham Rep), Major Barbara and Sweet Bird of Youth (Citizens Theatre, Glasgow), The Way of The World (Wilton’s Musical Hall) and Ladies in the Lift (Red Stockings Theatre Company.) Her television credits include Riot Women, The Buccaneers, Happy Valley, Gentleman Jack, Scott & Bailey (as series regular DCI Gill Murray and co-writer), Twenty Twelve, The Crown, Vienna Blood, I’m Alan Partridge, Jam, Big Train, State of Play, Ashes to Ashes, The Jetty, Marble Hall Murders, The Larkins and Coronation Street (as series regular Steph Barnes); and for film, Mrs Dalloway, Festival, The Truth, Endgame and What We Did on Our Holiday. Bullmore is also an acclaimed writer for TV, radio and stage – her play Di and Viv and Rose premiered at Hampstead Theatre before transferring to the Vaudeville Theatre in the West End.

Creative Director of York Theatre Royal Juliet Forster directs. At York Theatre Royal she has directed Sleeping Beauty, His Last Report, Little Women, Around the World in 80 Days-ish!, Sovereign,  Aladdin, The Coppergate Woman,  A View from the Bridge, Everything is possible: The York Suffragettes, The Machine Stops, The Crucible, Twelfth Night, Betrayal, See How They Run, In Fog and Falling Snow, Two Planks and a Passion, A Number, Angels & Insects, Blue/Orange, Morgana le Fey, Escaping Alice, Oleanna, Rupert Brooke, Beyond Measure, The Journey, Jack and The Beanstalk, All New Adventures of Peter Pan, Cinderella, The Travelling Pantomime, The Elves and the Shoemakers, The Book of Dragons, Whatever Next and Rabbit and Hedgehog. Other theatre includes Romeo & Juliet, A Midsummer Night’s Dream (Shakespeare’s Rose Theatre, York & Blenheim), Sense and Sensibility (Theatre by the Lake), The Tempest (Winchester Theatre Royal), The Devil at Coventry, View, Alien Invasion, Five Princes and a Wedding (Belgrade Theatre), The Legend of Perseus, The Night Before Christmas, Don’t Let the Pigeon Drive the Bus (Big Wooden Horse), and A Midsummer Night’s Dream, and A Tale of Two Cities (Wolverhampton Grand Theatre).

LISTINGS

THE PENELOPIAD
York Theatre Royal
St Leonard’s Place, York YO1 7HD
www.yorktheatreroyal.co.uk

Box Office: 01904 623568

THE PENELOPIAD

10 – 31 October 2026

ACCESS PERFORMANCES:

British Sign Language Interpreted Performance – 16 Oct at 7.30pm

Audio Described Performance – 22 Oct at 2pm (Touch Tour at 1pm)

Captioned Performance – 24 Oct at 2.30pm

★★★★★

‘Movie magic come to life’

Radio Times

THOSE SUMMER NIGHTS… ARE BACK!

INITIAL CASTING ANNOUNCED FOR SECRET CINEMA’S

SMASH HIT, GREASE: THE IMMERSIVE MOVIE MUSICAL

★★★★★

‘Full of unforgettable moment,

after unforgettable moment’

The Sun

Initial casting is announced today for the return of the critically acclaimed Grease: The Immersive Movie Musical – reprising their roles from last year, Stephanie Costi and Lucy Penrose return as Sandy and Rizzo respectively; and they are joined by Giórgios Micheldes as Danny and Archangelo Ciulla as Kenickie. Further casting will be announced in due course.

This summer Secret Cinema is welcoming audiences back to Rydell High once more with the return of the smash-hit Grease: The Immersive Movie Musical, following its sold-out run in 2025. The production opens at Evolution London in Battersea Park for a strictly limited run from 22 July to 13 September.

★★★★

‘A joyful, communal experience. The songs are all showstoppers’ WhatsOnStage

Each performance of Grease: The Immersive Movie Musical is a two hours and fifteen minutes  spectacular. From ‘Summer Nights’ to ‘Greased Lightnin’’ to ‘We Go Together’, every iconic song from the beloved 1978 Paramount Pictures film comes to life as a knock-out cast and live band perform against multiple movie screens.

From the moment they enter this modern live experience, audiences step into the world of the movie, exploring the iconic locations including Frosty Palace, The Autoshop, and The Carnival and immerse themselves in school spirit, training with Coach Calhoun, cheering on the T-Birds, taking part in a choir practice and even tasting 1950s American diner-style delights.

The innovative production is brought to life by the multi-award-winning creative team of Matthew Costain – Director; Tom Rogers – Set Designer; Jennifer Weber – Choreographer; Howard Hudson – Lighting Designer; Gareth Fry – Sound Designer and Ian William Galloway – Video Designer.

Due to popular demand, summer 2026 will feature even more themed Roam and Return seating, allowing audiences to explore the experience and return to dedicated seating at Frosty Diner or The Drive-In.

★★★★

‘This is a masterpiece. A spectacularly ambitious show’ Evening Standard

Secret Cinema & TodayTix present

GREASE: THE IMMERSIVE MOVIE MUSICAL

Grease: The Immersive Movie Musical is produced by Secret Cinema and TodayTix (Merritt Baer, Artistic Director and Co-Founder; Ben Hosford, Executive Producer).

Director: Matt Costain; Choreographer: Jennifer Weber; Set Designer: Tom Rogers; Lighting Designer: Howard Hudson; Sound Designer: Gareth Fry; Music Supervisor, Orchestrator and Arranger: Steve Sidwell; Video Designer: Ian William Galloway; Costume Designer: Susan Kulkarni and Martina Trottman; Wigs, Hair and Make-up: Farida Ghedwar and Jessie Deol; Casting Director: Grace McInerny for Pippa Aillion and Natalie Gallacher Casting

22 July – 13 September

Gala Performance: Wednesday 29 July at 7:30pm

Archangelo Ciulla plays Kenickie. His theatre credits include A Knight’s Tale The Musical (Manchester Opera House), Singin’ in the Rain (Dubai and China), Mamma Mia! (West End), Disney’s Newsies (Troubadour, Wembley Park – The Stage Debut Award nomination for Best Performer in a Musical), Billy Elliot (Italian and international tour), and Dick Whittington (New Wimbledon Theatre). His film credits include Cruel Peter.

Stephanie Costi returns to play Sandy. Her stage credits include Something Rotten! (Manchester Opera House), Pretty Woman (Zurich), Sleeping Beauty (Darlington Hippodrome), Fame (Athens), The Sound of Music (Beirut & Lebanon tour), and Romeo & Juliet (English National Ballet); and concerts include Children of Eden, West End Does: Love (Cadogan Hall), Roles We’ll Never Play (Union Theatre), and One Young World: Opening Ceremony (Royal Albert Hall). She came third in Mamma Mia! I Have a Dream for ITV.

Giórgios Micheldes plays Danny. His stage credits include Justin Timberlake’s opening act on his Forget Tomorrow World Tour, Grease (UK and Dominion Theatre), Disney’s Newsies (Troubadour Theatre), and Here Come The Boys (The London Palladium). His film credits include Mistletoe Farm.

Lucy Penrose returns to play Rizzo. Her theatre credits include Ancient Grease (The Vaults), Growled (Royal Vauxhall Tavern), Judy! (Arts Theatre, Southwark Playhouse and London Hippodrome), Eurovision, Your Decision (Above The Stag Theatre, Wonderville, King’s Head Theatre and Royal Vauxhall Tavern), Top Hat, California Suite (Royal Court Liverpool), and A Pissedmas Carol (Sh!tfaced Showtime, Edinburgh Fringe Festival). For television, her work includes Watchmen.

Listing Information

Evolution London, Battersea Park,

Chelsea Bridge Gate, Queenstown Road, London SW11 4NJ

www.greasetheimmersivemoviemusical.com

22 July – 13 September PERFORMANCES

Tues – Sun 7:30pm (Sun 5:30pm) Sat 2:30pm, Sun 12:30pm

Social: @greaseimmersive on Instagram, TikTok and Facebook

TICKETS

General Admission (Standing Ticket) from £39

Roam & Return (Seated Ticket) from £59 – Roam and return to dedicated themed seating at either The Drive-In or Frosty Diner

Hall for Cornwall, Truro, Cornwall – until 13th June 2026

Reviewed by Kerry Gilbert

5*****

‘A joyful, uplifting, and thoroughly entertaining production that captures the spirit of the show beautifully’

I was delighted to review Mamma Mia! at the wonderful Hall for Cornwall. Having had the privilege of seeing the show several times, I can confidently say this production stands out as the finest I have experienced. It is exceptionally polished, brimming with humour and warmth, and the cast delivered outstanding portrayals with both authenticity and charm.

From the outset, the production engages the audience with its energy and attention to detail. The cast share a natural chemistry that brings both the comedic and emotional elements vividly to life, ensuring each character feels fully realised and integral to the story.

Set on the fictional Greek island of Kalokairi, the narrative follows Sophie Sheridan (Sarah McFarlane) as she prepares to marry Sky (Ryan Ebbrell). Hoping to have her father walk her down the aisle, Sophie secretly invites three of her mother Donna’s (Jenn Griffin) former partners — Harry Bright (Richard Meek), Sam Carmichael (Luke Jasztal), and Bill Austin (Mark Goldthorp) — after discovering their identities in Donna’s diary, setting the stage for both comedic misunderstandings and heartfelt revelations.

The standout performance comes from Jenn Griffin, whose rendition of ‘The Winner Takes It All’ is nothing short of a powerhouse. Her vocals are precise and commanding throughout, delivered with both emotional depth and control. The auditorium falls into a striking silence, as she draws the audience into a truly shared and unforgettable moment. Other standout performances are from Rosie (Rosie Glossop) together with Bill Austin, singing the duet ‘If you change your mind’ was comedic perfection and one of the highlights of the show for me.

The staging is slick and well-paced, with seamless transitions that carry the audience effortlessly between scenes. Strong ensemble work and well-judged choreography give the production momentum, supporting the storytelling without overwhelming it.

Vocally, the cast deliver impressive performances, supported by a talented live band that does full justice to ABBA’s iconic score. The musical numbers are integrated smoothly into the narrative, maintaining engagement and energy throughout, while highlighting the enduring appeal of the music.

Overall, this is a joyful, uplifting, and thoroughly entertaining production that captures the spirit of the show beautifully — a memorable theatrical experience and a night to remember.

FULL CAST

ANNOUNCED FOR

DISNEY’S HIGH SCHOOL MUSICAL

FOR LOWRY AND LONDON

Hope Mill Theatre and Chris Harper Productions in association with Lowry are delighted to announce the full cast for first UK non-replica production of Disney’s HIGH SCHOOL MUSICAL which will open at Lowry, Salford on 22 August 2026 running until 19 September 2026 before transferring to London’sTroubadour Wembley Park Theatre from 12 October 2026 – 3 January 2027 with press night on 20 October 2026.

Jason Donovan* will star as Coach Bolton at Lowry with Harry Judd taking over the role in London. Starring in both venues will be Disney icon KayCee Stroh as Ms Darbus, Tobias Turley as Troy Bolton, Leonor Correia as Gabriella Montez, Caitlin Tipping as Sharpay Evans and Luke Bayer as Ryan Evans.

Joining them will be Char Burnett (Frozen; The Book of Mormon, West End) as Taylor McKessie, Jordan Benjamin (Hamilton; The Little Big Things, West End) as Chad Danforth, Simeon Beckett (Back to the Future, West End; Hamilton, UK & Ireland tour) as Zeke Baylor, Olivia O’Connor (Why Am I So Single?, West End) as Martha Cox, Yna Tresvalles (Ballad Lines, Southwark Playhouse Elephant; Six, UK & International tour)as Kelsi Nielson and Curtis Patrick (Thespians, UK tour; Young Frankenstein, Hope Mill Theatre/Liverpool Playhouse) as Jack Scott.

The cast is completed by Alexander Black (Grease, Independence of the Seas), Eleanor Bye (Nine, Hope Mill Theatre; Robin Hood, New Wimbledon Theatre), Harriet Caplan-Dean (&Juliet, UK & Ireland tour; Six, UK tour), Alison Driver (Singin’ In The Rain, Royal Exchange Theatre; The Frogs, Southwark Playhouse), Conor Luke Drury (Dick Whittington, Broadway Theatre, Catford), Mary Francis (professional debut), Sonia Gil-Lubeiro (professional debut), Tamsin January (Moulin Rouge, UK & Ireland tour; TINA – The Tina Turner Musical, West End), Joseph Lennox (Cats, International Tour), Lucas Morlotti (Robin Hood, The Capitol Horsham), Katie Mulligan (Beauty and the Beast, Churchill theatre, Bromley), André Phipps (MJ The Musical, West End), Meg Silsby (professional debut), Kade Stenson (Snow White and The Seven Dwarfs, Marlowe Theatre, Canterbury), Ethan Vijn (Choir of Man, West End; Hamilton, UK & Ireland tour) and Eddie Zickerman (professional debut).

Celebrating the 20^th anniversary of the iconic film HIGH SCHOOL MUSICAL has a book by David Simpatico with music adapted, arranged and produced by Bryan Louiselle and is co-directed by Hope Mill founders Joseph Houston and William Whelton. Featuring classic songs such as: Breaking Free, We’re All In This Together, Get’cha Head in the Game, Stick to the Status Quo and many more.

Based on the hit Disney Channel Original movie, that inspired a generation, HIGH SCHOOL MUSICAL had its world premiere production at Stagedoor Manor Summer Theatre Camp in 2006. It then went to The Theatre of Stars in Atlanta, Georgia for its first professional staging before Disney Theatrical Group staged a national tour in 2007. The musical has enjoyed significant success in regional theatres around the world and had its London premiere at the Hammersmith Apollo Theatre in January 2008.

HIGH SCHOOL MUSICAL will be co-directed by Joseph Houston & William Whelton with choreography by Aaron Renfree, set design by Andrew Exeter, sound design by Matt Peploe, video design by George Reeve,lighting design by Rory Beaton, costume design by Sophia Pardon, musical supervision by Katy Richardson, musical direction by Audra Cramer, casting by Pearson Casting, wigs & hair design by Jackie Sweeney & Angie Carradus, make-up design by Dominic Skinner, costume supervisionby Laura Rushton & Lisa Aitken, props supervision by Marcus Hall Props, WHAM supervision by Jackie Sweeney & Angie Carradus, orchestral management by Rich Morris for Music Solutions Ltd, dialect coaching by Aundrea Fudge, associate set design by Ryan Webster and production management by Ammonite Studios. General management by Chris Harper Productions.

HIGH SCHOOL MUSICAL is produced by Hope Mill Theatre and Chris Harper Productions in association with Lowry and co-produced by Winkler & Smalberg, Catherine Schrieber, Drew & Dane Productions, Kevin & Kate McGrath, Merritt Baer, Marc Levine, Andrei Cotocu for Seabright Live and Michael Watt Productions.

Website:  HighSchoolMusicalOnStage.com

Instagram: @highschoolmusicalonstage

*Jason will do performances up until Friday 18 September

LISTINGS INFORMATION

SALFORD

22 August 2026 – 19 September 2026

Lowry

Pier 8, The Quays

Salford

M50 3AZ

Performances:

22 August – 6 September: Wednesday – Sunday 2pm & 7pm

Please note there will be an additional performance on Tuesday 25 August at 7pm. There will be no 7pm performance on Sunday 23 August and no 2pm performance on Friday 28 August.

8 – 19 September: Tuesday – Saturday 7pm, Saturday – Sunday 2pm

Please note there will be matinees on Wednesday 9 September & Thursday 17 September at 2pm

Tickets from: from £26

Box Office: 0161 876 2000

HighSchoolMusicalOnStage.com

LONDON

12 October 2026 – 3 January 2027

Troubadour Wembley Park Theatre

3 Fulton Road

Wembley Park

Wembley

HA9 0SP

THE TONY AND GRAMMY AWARD-WINNING BEST MUSICAL

HADESTOWN
TO EMBARK ON A HIGHLY-ANTICIPATED
UK & IRELAND TOUR IN 2027

Producers of the Tony and Grammy Award-winning Best Musical Hadestown, currently playing its third smash-hit year in London’s West End, today announce the first-ever UK & Ireland tour beginning February 2027. 

The highly anticipated tour of Hadestown will open at the Curve Theatre, Leicester on 19 February 2027, before visiting Salford, Leeds, Nottingham, Birmingham, Milton Keynes, Southampton, Norwich, Canterbury, Newcastle, Glasgow, Edinburgh, Aberdeen, Cardiff, Liverpool, Dublin, Belfast, Sheffield, Hull, Plymouth, Wolverhampton, Chester, and Sunderland. Further dates, casting and full creative team to be announced.

Blending American songwriting traditions, from indie folk, to pop, blues, and New Orleans-inspired jazz, Hadestownhas music, lyrics, and book by acclaimed Tony and Grammy-winning singer-songwriter and BBC Radio 2 Folk Award-winner Anaïs Mitchell whooriginated Hadestownas anindie theatre project and acclaimed album, before transforming the show into a genre-defying new musical alongside artistic collaborator and Tony Award-winning director Rachel Chavkin.

Mara Isaacs (Producer), said: “We are thrilled to bring Hadestown to audiences across the UK and Ireland. This is a show that has moved and captivated audiences in London and around the world – and for good reason. Anaïs Mitchell’s extraordinary score, combined with a story about love and hope in the face of impossible odds, creates an evening in the theatre unlike any other. Once you’ve heard it, you won’t be able to get it out of your head. UK and Ireland – wait for us. We’re coming.”

Anaïs Mitchell (Music, Lyrics & Book), said: “I’m thrilled that Hadestown will be touring across the UK and Ireland! Our West End casts have taught us that these songs sound right at home in every lilt and brogue… we are thrilled to bring this story and music to folks all over and see what new resonances will be found.”      

Hadestown takes you on an unforgettable journey to the underworld and back, intertwining two mythic love stories – that of young dreamers Orpheus and Eurydice, and that of King Hades and his wife Persephone.  A deeply resonant and defiantly hopeful theatrical experience, Hadestown invites you to imagine how the world could be.

Hadestown is the winner of 8 TonyAwards on Broadway including ‘Best Musical’ and a Grammy Award for ‘Best Musical Theatre Album.’ The Original Broadway Cast Recording has become one of the most streamed cast albums of all time with nearly one billion streams to date and has recently been certified Gold by The Recording Industry Association of America. 

The critically acclaimed West End run continues at London’s Lyric Theatre, more than eight years after its sold-out engagement at the National Theatre in 2018. 

Anaïs Mitchell | Music, Lyrics & Book

Anaïs is a singer-songwriter whose recordings include the original studio album of Hadestown (2010, featuring Justin Vernon and Ani Difranco) and Young Man in America (2012). Reinterpretations of traditional music include Child Ballads (2013, with Jefferson Hamer) and Bonny Light Horseman (2019, as Bonny Light Horseman). She has headlined worldwide and supported tours for Bon Iver, Josh Ritter and Punch Brothers. Awards include BBC Radio 2 Folk Award and Folk Alliance International Spirit of Folk Award. Year-end best lists: NPR, Wall Street Journal, MOJO, Uncut, Guardian, Sunday Times, Observer. Hadestown is Anaïs’s first musical.

Rachel Chavkin | Director

Rachel is a director, writer and artistic director of the TEAM. Hadestown (NYTW, National Theatre, London) has been one of her greatest joys. Tony and Lortel nominations and Drama Desk Award for Dave Malloy’s Natasha, Pierre & The Great Comet of 1812 (Broadway, Ars Nova, A.R.T.). London: Mission Drift (National Theatre), American Clock (Old Vic). Select New York and regional: Marco Ramirez’s The Royale (LCT; Obie Award, Drama Desk and Lortel noms.), Malloy’s Preludes (LCT3), Bess Wohl’s Small Mouth Sounds (Ars Nova and national tour), Carson Kreitzer and Matt Gould’s Lempicka (Williamstown Theatre Festival), The Royal Family (Guthrie Theatre) and multiple collaborations with Taylor Mac. Her first film, Remind Me, was an official selection of the Venice and Beverly Hills Film Festivals. 2017 Smithsonian Award for Ingenuity. Upcoming: Wohl’s Continuity (MTC), Malloy’s Moby Dick (A.R.T.). Proud NYTW Usual Suspect and Member SDC.

Hadestown UK & Ireland touris produced by Mara Isaacs, Dale Franzen, Hunter Arnold,and Tom Kirdahy.

Further information on Hadestown UK & Ireland Tour and how to buy tickets, can be found at tour.hadestown.com.

HADESTOWN LISTING INFORMATION 

Website: tour.hadestown.com
Instagram: HadestownUK

X: HadestownUK

Facebook: HadestownUK

TikTok: hadestownmusical

Current Tour dates:

Curve Theatre, Leicester

Friday 19 February – Saturday 6 March 2027

General on sale: 16 June 2026

curveonline.co.uk

Lowry, Salford

Tuesday 9 – Saturday 20 March 2027

General on sale: 5 June 2026

thelowry.com

Leeds Grand Theatre

Tuesday 23 – Saturday 27 March 2027

General on sale: 12 June 2026

leedsheritagetheatres.com

Theatre Royal, Nottingham

Tuesday 30 March – Saturday 10 April 2027

General on sale: 12 June 2026

trch.co.uk

Birmingham Hippodrome

Tuesday 13 April – Saturday 17 April 2027

On-sale soon

birminghamhippodrome.com

Milton Keynes Theatre

Tuesday 20 April – Saturday 24 April 2027

General on sale: 17 June 2026

miltonkeynes-theatre.co.uk

Mayflower Theatre, Southampton

Tuesday 27 April – Saturday 1 May 2027

General on sale: 19 June 2026

mayflower.org.uk

Theatre Royal, Norwich

Tuesday 11 – Saturday 15 May 2027

General on sale: 26 June 2026

norwichtheatre.org

Marlowe Theatre, Canterbury

Tuesday 18 – Saturday 22 May 2027

On-sale soon

marlowetheatre.com

Theatre Royal, Newcastle

Tuesday 1 – Saturday 5 June 2027

General on sale: 26 June 2026

theatreroyal.co.uk

King’s Theatre, Glasgow

Tuesday 8 – Saturday 12 June 2027

General on sale: 17 June 2026

atgtickets.com/venues/kings-theatre-glasgow

Festival Theatre, Edinburgh

Tuesday 15 – Saturday 19 June 2027

General on sale: 11 June 2026

capitaltheatres.com

His Majesty’s Theatre, Aberdeen

Tuesday 22 – Saturday 26 June 2027

General on sale: 6 June 2026

aberdeenperformingarts.com

Wales Millenium Centre, Cardiff

Tuesday 29 June – Saturday 3 July 2027

General on sale: 3 July 2026

wmc.org.uk

Liverpool Empire 

Tuesday 6 – Saturday 10 July 2027

General on sale: 17 June 2026

atgtickets.com/venues/liverpool-empire

Dublin

Dublin details coming soon

Grand Opera House, Belfast

Tuesday 27 July – Saturday 7 August 2027

General on sale: 19 June 2026

goh.co.uk

Lyceum Theatre, Sheffield

Thursday 9 – Saturday 18 September 2027

General on sale: 13 June 2026

sheffieldtheatres.co.uk

Hull New Theatre

Tuesday 21 – Saturday 25 September 2027

General on sale: 6 June 2026

hulltheatres.co.uk

Theatre Royal, Plymouth

Tuesday 5 – Saturday 9 October 2027

General on sale: 7 July 2026

theatreroyal.com

Wolverhampton Grand Theatre

Tuesday 26 – Saturday 30 October 2027

General on sale: 8 June 2026

grandtheatre.co.uk

Storyhouse, Chester

Tuesday 2 – Saturday 6 November 2027

General on sale: 5 June 2026

storyhouse.com

Sunderland Empire Theatre

Tuesday 9 – Saturday 13 November 2027

General on sale: 17 June 2026

atgtickets.com/venues/sunderland-empire

Further tour dates to be announced.

STORYHOUSE, CHESTER – UNTIL SATURDAY 6TH JUNE 2026

REVIEWED BY MIA BOWEN

4****

Attending the press night of Mrs Dalloway at Storyhouse was a captivating and surprisingly immersive experience, especially for someone like me who is not familiar with Virginia Woolf’s original novel. From the moment the audience began to take their seats, it was evident that this would not be a conventional production. Kit Green, tall, poised, and elegantly dressed, mingled among the audience in character, warmly greeting attendees and creating an atmosphere that felt more like an intimate social gathering than a traditional performance.

As the lights remained dimmed, Green stepped onto the stage, introducing herself as Clarissa Dalloway and swiftly immersing the audience in her narrative. The set design, although seemingly straightforward, proved to be highly effective; three large panels, which appeared to be green drapes, were unveiled as screens. In one corner stood a black piano, while the opposite side featured a solitary chair with a book and glasses. This minimalist staging ensured that the emphasis remained squarely on the storytelling and the performances.

This new adaptation features a solo performance that combines live acting with film and visual design. Director Jen Heyes refers to it as “cine-theatre,” a blend of film and live performance. This integration is executed seamlessly on stage, enriching the narrative rather than detracting from it.

The play, inspired by Woolf’s 1925 novel, unfolds over a single day in London during 1923, focusing on Clarissa as she prepares for an evening party while contemplating her past. Her narrative is intertwined with that of a war veteran grappling with the psychological scars of World War One, creating a poignant contrast between external social poise and internal conflict. This duality is portrayed with sensitivity and clarity, making the themes approachable even for those unfamiliar with the original material.

Green’s performance was particularly captivating as she effortlessly balanced charm and vulnerability. She held the audience’s attention throughout, skillfully guiding them through Clarissa’s memories and emotions with subtle shifts in tone and presence. During transitions between narrative threads, Green adeptly maintained the flow by inviting the audience to consent to “plunge into the heart of the moment,” a device that felt both playful and disarming. Each new thread was clearly introduced, ensuring the tone remained light and accessible, while she frequently engaged with the audience. At one point, she even invited four audience members on stage to enjoy a playful round of “What time is it, Virginia Woolf?”, which added an unexpected and memorable layer of interaction.

Overall, Mrs Dalloway at Storyhouse is a thoughtful and innovative adaptation that warmly and intelligently welcomes audiences into its world. This production merits attention and contemplation, leaving viewers uplifted and thoroughly enchanted by its originality and charm.