Author: FairyPoweredProductions

West End star
MAZZ MURRAY
joins the cast for the London premiere of

Moonlight – The Philip Lynott Enigma 

A major new rock musical 

Eventim Apollo, Hammersmith
Sunday 29 March 

Full cast revealed

The show will also tour the UK

West End leading lady Mazz Murray (Donna in Mamma, Mia!, Norma Desmond in Sunset Boulevard) is to star as Philomena Lynott, the mother of Thin Lizzy frontman Philip Lynott, in the thrilling new rock musical about his life, Moonlight – The Philip Lynott Enigma.

Mazz, who has also starred in Chicago, Rent, Smokey Joe’s Café, Fame, Pippin, and for nine years played Killer Queen in We Will Rock You, will join the production for the London premiere at Eventim Apollo Hammersmith on Sunday 29 March. The venue was where Thin Lizzy’s iconic “Live & Dangerous” album was recorded 50 years ago in 1976.

The cast is led by actor and singer Peter M. Smith (Who is Erin Carter?, Netflix) as Philip Lynott, with Padraic O’Loingsigh(The Plough and the Stars at the National Theatre, Juno and the Paycock at The Abbey Theatre, House of Guinness on Netflix) as Brendan Behan, Riley Clark (Vengeance) as Oscar Wilde, Luke Hayden (The Shadow of a Gunman, Juno and the Paycock at The Abbey Theatre and
National Theatre) as “The Landlord”, John Newcombe (The Government Inspector) as “The Journalist” with original founding member, Thin Lizzy guitarist Eric Bell making a special guest appearance.

Moonlight – already a critical hit in Ireland – has book and music by John Merrigan and Danielle Merrigan and is directed by Jason Figgis. It tells the story of the international rock star and Irish music icon, exploring Philip Lynott’s formative years, his struggles, his legacy and inspiration to musicians around the world, honouring him in the pantheon of great Irish poets.  It’s a truly authentic portrayal of one of the most authentic rockers of all time. 

Peter M. Smith says: 

“When offered the chance to play Philip Lynott, I was truly honoured as a proud Dubliner, and as a Thin Lizzy fanatic. Too much has been written about the rockstar lifestyle – it is a tired subject. This production seeks to honour Philip Lynott for what he was – a literary great and consummate artist.”  

Philip Parris Lynott
Philip Parris Lynott (pronounced “lie-not” – get it right!) was born in Birmingham in August 1949 to Philomena Lynott and Cecil Parris from Guyana. After a turbulent early childhood, he was sent to live with his grandparents in Crumlin, a working-class Dublin suburb. From then on, he made Ireland his spiritual home and source of musical inspiration.

As he said himself, being a “black Irish bastard” did not exactly set him up for success in life but he rose to become the first major international rock star that Ireland produced as frontman for Thin Lizzy, one of the biggest rock bands on the planet in the late 1970s along with co-founders Eric Bell and Brian Downey.

Thin Lizzy singles “Whiskey in the Jar” (1972), “The Boys Are Back in Town” (1976) and “Waiting for an Alibi” (1979) were international hits, and several Thin Lizzy albums reached the top 10 in the UK. The band’s music reflects a wide range of influences including blues, soul music, psychedelic rock, and traditional Irish folk music, but is generally classified as hard rock or sometimes heavy metal. Lynott led the group throughout their 14-year recording career of 12 studio albums, writing or co-writing almost all the band’s material.

Lynott performed with major artists around the world, and his incredibly diverse repertoire of songs remains hugely popular and influential to this day. On the 4th of January 1986, Philip Lynott was dead, gone far too soon, aged just 36.

The story of Lynott’s dealings with fame and fortune is a familiar road travelled by many before and after him. What is less known, is the narrative of his formative years, the dreamer, the fighter and the visionary. Before fame, Lynott was a poet and a sensitive man who spent years learning his craft, working harder than anyone around him. He was a complex character, always restless, looking for the next new thrill. 

Moonlight is a deeper portrait of Lynott that explores the key events that shaped and drove him, and his relationships with those around him. The drama explores themes of isolation, creative genius, flawed character, struggles with fame, and being awake and inspired when everyone else was asleep.

Writers John Merrigan & Danielle Merrigan said:
“Though Moonlight is a standalone stage production, it is the third in a trilogy of our works about great literary artists who emerged from Dublin onto the world stage.  The other two are: Vengeance (2021) about the demise of Oscar Wilde and Brendan – Son of Dublin (2023) about the life and times of Brendan Behan.  

“Wilde died when he was 46 in Paris, Behan aged 41 in Dublin, and Lynott when he was just 36 years old in England. All were flawed characters which makes them both interesting and at times problematic.  The varied themes that flow through their lives are highly interconnected and at times eerily similar.  They were ambitious outsiders who struggled with their art, their fame, their complex relationship with Dublin, and all fought ‘convention’ in their own way. They were true poets who held a mirror up to us all, asking important and sometimes uncomfortable questions, often at great cost to themselves and those close to them.

“As writers and composers, we explore these themes through words and music to gain insight and understanding. The works are musical dramas or perhaps better described as plays with music. Sometimes the songs move the plot forward, at other times they deliberately stop the action to allow us to reflect. The style of music changes with the context of each work.

“In the end, we may never fully understand these characters who have left us with important literary and musical legacies that continue to stand the test of time. Sadly, many others before and after them struggled too. We hope to make a small contribution towards a greater recognition of the importance of Wilde, Behan and Lynott in current times. In so doing, we further hope that we can all be kinder to the literary outsiders of today and support them, not waiting until they too pass to recognise how much they enrich our lives.”

Produced by Fatdan Productions



LISTINGS INFO

Fatdan Productions
present the UK premiere of

MOONLIGHT
The Philip Lynott Enigma
Book and Music by John Merrigan & Danielle Merrigan

Directed by Jason Figgis

LONDON
Eventim Apollo
Hammersmith
Sunday 29 March at 8pm
Tickets from £25 plus fees
https://www.eventim.co.uk/event/
moonlight-the-philip-lynott-enigma-eventim-apollo

Please note: Mazz Murray only appears in London.

TOUR DATES
Glasgow
Pavillion Theatre
Wednesday 20th May
https://trafalgartickets.com/pavilion-theatre-glasgow/en-GB/event/music/moonlight-the-philip-lynott-enigma-tickets

Newcastle
Tyne Theatre & Opera House
Thursday 21st May
https://www.tynetheatreandoperahouse.uk/whatson/moonlight-the-philip-lynott-enigma/#Tickets_in

Dartford
Orchard Theatre
Friday 22nd May
https://trafalgartickets.com/orchard-theatre-dartford/en-GB/event/music/moonlight-the-philip-lynott-enigma-tickets

Birmingham
The Alexandra
Saturday 23rd May
https://www.atgtickets.com/shows/moonlight-the-philip-lynott-enigma/the-alexandra-theatre-birmingham/

Dublin
Vicar St
Thursday 11th & Friday 12th June
https://www.vicarstreet.com/thelist-dashboard/
artist/1363-moonlight-the-philip-lynott-enigma.html

SOCIALS /WEBSITE LINKS  
https://www.facebook.com/moonlightrockmusical

A BUILT BY BARN REVIVAL

CORONATION STREET STARS

DANIEL BROCKLEBANK AND FAYE BROOKES TO STAR IN DOUBLE DOUBLE AT THE BARN THEATRE, CIRENCESTER

WRITTEN BY RICK ELICE AND ROGER REES
DIRECTED BY RYAN MCBRYDE

BARN THEATRE, CIRENCESTER

28 APRIL – 30 MAY

TICKETS ON SALE HERE

CEO and Artistic Director Iwan Lewis, Executive Director Liam McMullan, and the whole team at the Barn Theatre in Cirencester, are delighted to announce the casting for Built By Barn Revival of Rick Elice and Roger Rees’ Double Double, running Tuesday 28 April – Saturday 30 May, with a national press night on Thursday 30 April.

Weeks before his 37th birthday, Philippa’s husband Richard dies – the birthday that the terms of his inheritance required him to be alive and married. In the throes of grief, Philippa hatches a plan: find someone she can pass off as Richard and split the £2million windfall.

The good news is that she’s found Richard’s doppelganger in Duncan. The bad news? Duncan is homeless, shabby and has a broad Scots accent. Can she turn him into a passable version of genteel antiques collector Richard?

What follows is a witty psychological duel where Philippa and Duncan each struggle to get the upper hand, entangling feelings and second guessing intentions. Because now the con is on, who really has the most to lose?

In the role of Duncan will be Daniel Brocklebank, who played Billy Mayhew in ITV1’s Coronation Street from 2014 until 2026. He is also the recipient of a Screen Actors Guild Award for his performance in the multi award-winning Shakespeare in Love (Miramax). His theatre credits include As You Like It, Titus Andronicus, The Tamer Tamed and Lord of the Flies (Royal Shakespeare Company); The Importance of Being Earnest (Rose Theatre Kingston) and A Doll’s House (The Lowry).

Starring alongside Daniel will be Faye Brookes in the role of “Philippa”. Faye is best known for her role as Kate Connor in ITV1’s Coronation Street, for which she won a National Television Award. Her previous theatre credits include Chicago (UK and National Tour); Constellations (The Barn Theatre); Strictly Ballroom (UK and National Tour); and Shrek (UK and National Tour).

This revival of Double Double celebrates 40 years of the show, after its acclaimed debut at the Fortune Theatre in 1986. Written by Rick Elice (co-writer of Jersey Boys) and Roger Rees (Olivier and Tony award winning actor), this story of power, love, and illusion will draw audiences in and keep them guessing until the very last line.

Double Double will be directed by Ryan McBryde (Zog, Freckle Limited, UK Tour; Animal Farm, Stadt Trier). The wider creative team will be announced at a later date.

Barn Theatre’s Executive Director and Producer Liam McMullan said, “We’re absolutely delighted to welcome Daniel Brocklebank and Faye Brookes to the Barn to star in Double Double. Daniel brings tremendous depth and charisma to the stage, and it’s a real pleasure to welcome Faye back to the Barn with her undeniable stage presence – it’s no wonder she’s always been a firm favourite with our audiences. We can’t wait for everyone to see them together in this brilliant, psychological piece.”

The Barn Theatre is an award-winning producing-house in the heart of the Cotswolds, on a mission to inspire communities and champion the power of storytelling.

York Theatre Royal – until Saturday 4th April 2026

Reviewed by Michelle Richardson

4****

York Theatre Royal’s latest production, The Secret Garden, The Musical, brings a fresh adaptation of Frances Hodgson Burnett’s beloved classic to the stage. With book and lyrics by Marsha Norman, music by Lucy Simon, and direction by John Doyle, this new version promises an exciting theatrical experience.

Attending on press night, it was wonderful to see the theatre so full, with a real sense of anticipation and energy in the air ahead of the performance.

On entering the auditorium the stage was set with a golden harp, sheets covering numerous items. Sheer material hung at the back of the stage, where you could see old stonework in the background. Once the play stage, the light stayed on as the actors entered. In silence the sheets were removed and painstakingly folded, I can remember doing exactly the same when I was younger, with my mother after the washing was done, revealing trunks, all different and scattered around. The audience were silent, you could almost hear a pin drop. Then the lights went down.

Brought to life by a cast of actor-musicians, it follows the story of Mary Lennox (Estella Evans), a young orphan. She has travelled from India to Yorkshire and Misselthwaite Manor, to the home of her Uncle Archibald (Henry Jenkinson). Her uncle is stricken with grief after the loss of his wife 10 years ago, and this grief affects the whole household. Lonely and troubled at first, she gradually finds friendship with her maid Martha (Catrin Mai Edwards) and her younger brother Dickon (a somewhat mature Elliot Mackenzie). Exploring the grounds, Mary discovers a hidden, long-locked garden that once belonged to her late aunt, Lily (Joanna Hickman). She also discovers her sickly cousin, Colin (Dexter Pulling), who is kept isolated indoors. Together, the children form a close bond and set out to uncover the garden’s secrets—leading to emotional healing and transformation for not only them, but all the household.

Jenkinson’s portrayal of Archibald was a real highlight for me. His grief came across as deeply raw and authentic, and his vocals were truly outstanding. As Lily’s ghost, Hickman appeared strikingly ethereal, gliding across the stage with her cello in tow, an impressive feat, whilst her haunting, operatic vocals lingered in the air. She made a huge impression.

The cast of actor-singer-musicians of the highest calibre, are truly exceptional and enormously talented. They move seamlessly across the stage, switching between instruments while continuing to act and sing with remarkable precision. It’s one of the finest examples of a true “triple threat” ensemble I’ve ever seen.

The costumes were all indicative to the era of the original novel, apart from Mary. She was decked out in a pair of jeans, hoodie, backpack, complete with water bottle. This choice of a contemporary outfit had me baffled, why was she dressed in such a contrast to the period costumes? There was no explanation on stage or in the program. It did get me thinking and my interpretations are Mary’s contemporary clothing signals her status as an outsider, visually separating her from the world around her. Alternatively, it allows the audience to see themselves in her shoes, bridging the classical historical story to the present day. Confusion, loss, and bewilderment are timeless and still resonate today. I really don’t know, I can just surmise.

This production ran just under 90 minutes without an interval. While this shorter runtime made it more family-friendly, it also felt a bit rushed, particularly toward the ending. From what I remember of The Secret Garden, the story usually centres on the children, but in this adaptation, the focus on angst and grief was more on the adults, especially Archibald, which shifted the story’s perspective.

The Secret Garden, The Musical, even with its flaws, is a beautiful piece of theatre that kept me enthralled from start to finish. The cast are genuinely outstanding and deserve to be seen. Playing at York Theatre Royal until Saturday 4th April, including several matinee shows during the run.

Tanya Moiseiwitsch Playhouse Sheffield– until Saturday 4th April 2026

Reviewed by Claire Moore

4****

Set in Sheffield, the play begins in 1969 as Kathy and Brian move into their first home in Burngreave, full of hope as they start out in life. But as anyone who’s lived a bit knows, life rarely goes exactly to plan. What unfolds is a story that spans decades — raising a family, juggling money and work, and navigating a world that keeps changing around them.

Written by award-winning Sheffield playwright Leo Butler, this state-of-the-nation drama takes place entirely in the front room. A cast of eight perform over 30 roles, bringing to life a wide range of characters across the 55-year span of the play.

Liz White is outstanding as Kathy, capturing that northern mum resilience that’s equal parts inspiring and, as any northern kid knows, slightly terrifying. She holds everything together — raising two children, working every shift she can, and looking after everything and everyone around her. Which makes it all the more powerful when, by the end, she’s the one who needs looking after. It feels like life has slowly taken the fight out of her, and it’s portrayed so beautifully that it can’t help but break your heart a little.

Kenny Doughty brings a steady, grounded presence as Brian, her husband, as we watch their relationship shift and change over the years. They have both been cast well, and their relationship and love for each other feel completely believable.

Throughout the play we see their children grow up — Mike (Samuel Creasy) and Rebecca (Abby Vicky-Russell). There are arguments, worries and fallouts, often driven by that feeling each generation has that they’re facing the hardest time and carrying the biggest battles. But as the years unfold, you start to see that every generation has its own challenges — just in different forms.

All other roles are performed brilliantly by Harki Bhambra, Michelle Bonnard, Andrew Macklin and Melina Sinadinou. I was particularly impressed with how believable Harki Bhambra was as both an awkward schoolboy and a middle-aged carpet salesman.

The dialogue is fast paced, with a clever touch where the last word of one sentence becomes the first of the next, shifting us into a different time and scene. At times, it genuinely feels like you’re sitting in the front room with them — multiple conversations happening at once, with shifts in volume guiding where your attention should be. It feels real and authentic.

Sarah Beaton’s set design is simple but works well, with nostalgic props marking the passing of time — I’d forgotten the fun (and frustration!) of trying to work a new video recorder, and I’m quite happy to forget the shell suits. Scene changes are smooth and seamless, keeping everything moving without breaking the flow.

The second half felt a little longer than it needed to be at times. That said, the strength of the story still carries it through.

The play doesn’t shy away from difficult conversations or challenging opinions. But I suppose the front room is exactly where those conversations happen — where we feel safe enough to say what we really think and feel, the things we might not say anywhere else. A lot of it is hard to hear, and you hope that’s because those views are no longer tolerated. But then other moments still feel uncomfortably familiar, and it does make you wonder how much has really changed.

Living is one of those plays that stays with you long after you’ve left the theatre. Maybe it’s because I’m of a certain age, or because it’s set so close to home, but the names, places and moments made me feel part of it. The intimacy of the Playhouse means you feel every high and low, and as we’re taken through the decades, you start to notice the patterns. The struggles don’t disappear; they just change shape. It’s a reminder that there isn’t always a neat “happy ever after”, and maybe there never was. Instead, it brings you back to what really matters — making the most of your own life, and the people in it. In the end, all we can really do is start living.

Old Red Lion Pub & Playhouse, London – 18th March 2026

Reviewed by Celia AS

4****

Jacob Poole is rowing across the ocean on his own with just himself and a handful of social media followers for company. Livestreaming for his dad and six other people, he’s committed to raising money for a charity close to his heart and he’s got a great story to accompany his fundraising but is it history to tell. Jacob’s “channel” soon catches people’s attention bringing sudden internet fame. Swell, written by and starring Rufus McGrath, is a one man play that examines the isolation of internet fame, the lengths people will go to to maintain it, and the impact it has on those around them.

McGrath deftly weaves the upbeat and optimistic social media updates with a quiet isolation in which he is not afraid to sit. Under the direction of Charlie Collinson, Swell takes on the ambitious challenge of evoking the vast emptiness of the ocean within the walls of a small pub theatre, and it succeeds. A modest set of a wooden structure with some riggers and oars attached is a boat and that’s all that is needed. McGrath never really stands up straight and moves around the confines of the space with studied precision. The play is beautifully paced and the result is a production that is part uplifting story of endurance and part Black Mirror episode that makes you feel deep unease.

Jordan Lewis’ technical direction seamlessly integrates visuals and lighting. Each lighting choice from head torches in the darkness to blaring sun, coupled with the social media videos projected on to the wall prove especially effective, offering a window into Jacob’s growing online following and the repetitiveness of his life at sea.

While the writing invites ambiguity encouraging us to question Jacob’s motives, his past decisions, and the sincerity of his endeavour, it is Rufus McGrath’s magnetic presence that anchors the piece. Even though there is some real humour peppered throughout, it is the quiet intensity to his portrayal that keeps us fully invested, mirroring the curiosity of Jacob’s virtual followers. I just hope Jacob makes it home.

NEW TOUR DATES ANNOUNCED FOR THE

BRAND-NEW PRODUCTION OF

ANDREW LLOYD WEBBER’S

MULTI-AWARD-WINNING MUSICAL

MICHAEL HARRISON FOR LLOYD WEBBER HARRISON MUSICALS PRESENTS THE REGENT’S PARK OPEN AIR THEATRE PRODUCTION ACROSS A MAJOR UK TOUR

PERFORMANCES BEGIN AT THE THEATRE ROYAL, PLYMOUTH ON 6 OCTOBER 2026

FOLLOWING A SEASON AT REGENT’S PARK OPEN AIR THEATRE
FROM 25 JULY – 12 SEPTEMBER 2026

www.catsthemusical.com

Michael Harrison for Lloyd Webber Harrison Musicals presents the Regent’s Park Open Air Theatre productionof Andrew Lloyd Webber’s global sensation, CATS, across a major UK tour and is today delighted to confirm full dates for the forthcoming tour. The brand-new production of the multi-award-winning musical will open at Theatre Royal, Plymouth, where it plays from 6 – 17 October 2026 and then tours through to June 2027.

The tour is directed and choreographed by Regent’s Park Open Air Theatre Artistic Director, Drew McOnie and follows a summer season at the venue from 25 July – 12 September.

With music by Andrew Lloyd Webber and based on Old Possum’s Book of Practical Cats by T.S. Eliot, this production of CATS recently announced 2026’s touring engagements, which after Theatre Royal, Plymouthwill visit Hull, New Theatre (20 – 24 October 2026); Birmingham, Hippodrome (27 Oct -7 November 2026); Manchester, Palace Theatre (10 – 21 November 2026) Bristol Hippodrome (24 – 28 November 2026); Llandudno Venue Cymru (1 – 5 December 2026) and Glasgow, Theatre Royal (8 – 27 December 2026).

Today, additional dates for 2027 are confirmed, including: Nottingham, Royal Concert Hall (6 – 16 January 2027); Canterbury, Marlowe Theatre (19 – 23 January 2027); Sunderland, Empire Theatre (26 – 30 January 2027); Aberdeen, His Majesty’s Theatre (9 – 13 February 2027); Norwich, Theatre Royal (16 – 27 February 2027);  Belfast, Grand Opera House (2 – 13 March 2027); Oxford, New Theatre (23 – 27 March 2027); Southampton, Mayflower Theatre (30 March – 10 April 2027); Edinburgh Playhouse (20 – 24 April 2027); Bradford, Alhambra Theatre (27 April – 1 May 2027); Liverpool, Empire Theatre (5 – 15 May 2027); Woking, New Victoria Theatre (18 – 22 May 2027); Cardiff, Wales Millennium Centre (25 – 29 May 2027); Milton Keynes, Milton Keynes Theatre (1 – 5 June 2027) and Newcastle, Theatre Royal (8 – 19 June 2027).

CATS at Regent’s Park Open Air Theatre is part of Drew McOnie’s second season as Artistic Director. It marks the third Andrew Lloyd Webber title produced by the venue in the last 10 years following the Olivier-Award winning revival of Jesus Christ Superstar (directed by Tim Sheader and choreographed by Drew McOnie) in 2016, 2017 and 2020, and Evita (directed by Jamie Lloyd) in 2019.

Lloyd Webber Harrison Musicals’ productions include the acclaimed, hit production of Evita at The London Palladium, the Olivier-Award and Tony-Award winning revival of SUNSET BLVD., Starlight Express at Troubadour Wembley Park Theatre and this year’s summer production at The London Palladium, Jesus Christ Superstar starring Sam Ryder. 

‘A new day has begun.’

From Euston station to Victoria Grove, the strays and rebels of London gather under the Jellicle moon in the hope they’ll be the chosen one. And each of them asks, because each of them dares, who will it be?

Based on T.S. Eliot’s Old Possum’s Book of Practical Cats, and with a legendary score which inspired generations featuring Old Deuteronomy, Macavity: The Mystery Cat, Jellicle Ball and the chart-topping hit Memory, this brand-new production of CATS, directed and choreographed by Drew McOnie (Brigadoon, Jesus Christ Superstar), is a magical musical like no other.

CATS is one of the longest-running shows in West End and Broadway history. The show originally premiered at the New London Theatre in 1981, where it played for 21 record-breaking years and almost 9,000 performances. The ground-breaking production was the winner of the Olivier and Evening Standard Awards for Best Musical. In 1983, the Broadway production became the recipient of seven Tony awards, including Best Musical. It ran for 18 years.

Since its world premiere, CATS has been presented in over 54 countries, has been translated into 23 languages and has been seen by more than 77 million people worldwide. The Broadway cast recording won a Grammy Award for Best Cast Album. In 2026, CATS will also embark on 2 major international tours, and CATS: The Jellicle Ball will make its Broadway debut at the Broadhurst Theater.

Joining McOnie on the creative team are Sami Fendall (Set, Costume and Wigs Designer); Jessica Hung Han Yun (Lighting Designer); Adam Fisher (Sound Designer); Guy Common (Makeup Designer); Will Burton (Casting Director) and Alex Parker (Musical Supervisor). 

Full casting for the UK tour to be announced.

catsthemusical.com

CURRENTLY SELLING OUT ACROSS THE COUNTRY,

MISS SAIGON’S LONG-AWAITED

WEST END RETURN SEASON

GOES ON PUBLIC SALE FROM FRIDAY

AS

HAMILTON’S SUMMER SEASON

STARRING LESLIE ODOM, JR.

SELLS OUT IN UNDER 24 HOURS

www.hamiltonmusical.com/london

www.miss-saigon.com

The two great contemporary historical musicals – Hamilton and Miss Saigon – continue to break box office records in the West End and around the UK.

In London, the entire nine-week engagement of Hamilton featuring its original Broadway cast member Leslie Odom, Jr., playing Aaron Burr, at the Victoria Palace sold out in less than 24 hours, with the priority sign up list selling out the season. But do not throw away your shot and check the website daily for returns, as well as to find out more about Lottery tickets. www.hamiltonmusical.com/london

In Belfast, Miss Saigon – which has been selling out all over the UK since the thrilling new production began touring last October – is currently breaking both attendance and box office records at the Belfast Opera House.

Boublil & Schönberg’s legendary musical broke box office records in London when it last went on sale. As the show prepares to make its highly-anticipated return to the capital, the heavily subscribed priority sign up closes on Tuesday night, for the limited season of Miss Saigon at the Prince Edward Theatre from May 2027. Patrons who sign up for Priority tickets will have early access, ahead of General bookings opening on Friday, 20 March 2026 at 11am at www.miss-saigon.com.

The heat is on for tickets, so get ahead of the crowds to see what the Daily Telegraph hails as “a superb new Saigon for our times”.

Miss Saigon returns to the Prince Edward Theatre more than a decade after it last performed in the capital in the same theatre. Performances begin on Thursday, 13 May 2027 and run through to Saturday, 8 January 2028.

Miss Saigon is currently on a sell-out UK & Ireland Tour that is booking through to August 2026 (see www.miss-saigon.com for tour dates) and includes return visits to Manchester and Birmingham due to phenomenal demand.

You can tune into a special television performance from Miss Saigon, featuring Seann Miley Moore, Julianne Pundan and Jack Kane, on this year’s Big Night of Musicals by The National Lottery, to be broadcast later this month on BBC1.

Full casting for the West End season is to be announced this Autumn.

Visit www.miss-saigon.com

At the Victoria Palace Theatre, Tony and Grammy Award-winner and Broadway’s original ‘Aaron Burr’, Leslie Odom, Jr. will reprise the role that he originated in New York, for a strictly limited nine-week season in the West End production of HAMILTON from Friday, 3 July – Saturday, 5 September 2026.

For his portrayal of Aaron Burr, Odom won the Tony Award for Best Actor in a Musical and a Grammy Award for his performance on the original cast recording. He returned to the role on Broadway for a sell-out 12-week season in the Autumn of last year. His other Broadway credits include his Tony nominated performance in the 2023 revival of Purlie Victorious: A Non-Confederate Romp Through the Cotton Patch. In 2020, he starred in and performed the songs of legendary singer Sam Cooke in the critically acclaimed film adaptation of One Night in Miami…His portrayal of the soul icon was met with widespread praise and critical acclaim earning him nominations for an Academy Award, BAFTA Award, Critic’s Choice Award, Golden Globe Awards and Screen Actors Guild Awards. Odom was enlisted to write, compose and perform the film’s original Song ‘Speak Now’, for which he was nominated for an Academy Award and earned him a Critics’ Choice Award for Best Song as well as several other award nominations. His many other screen credits include Glass Onion: A Knives Out Mystery,  Murder on the Orient Express, The Good Wife, One Dollar, Only, Love in the Time of Corona, Central Park, Abbott Elementary and The Many Saints of Newark.

Visit www.hamiltonmusical.com/london

CAST ANNOUNCED FOR

WORLD PREMIERE OF CAROLINE: A NEW MUSICAL

The cast and creative team have been revealed for the world premiere of vibrant new musical Caroline. The inaugural production from East Anglian Touring Consortium opens at New Wolsey Theatre on 17 April before touring to Queen’s Theatre Hornchurch, New Theatre Peterborough, Mercury Theatre Colchester and Theatre Royal Bury St Edmunds.

The talented cast of actor-musicians includes: Nicola Bryan (Mamma Mia – International Tour / Sister Act – UK Tour) as Betty; Gareth Cooper (One Man, Two Guvnors – New Vic / Julius Caesar – Southwark Playhouse) as Postmaster General; Jake Halsey-Jones (Dear Evan Hansen – Asian Tour / Hamilton – Victoria Palace) as Robbie; Joey Hickman (Noël and Gertie – UK Tour / Brief Encounter – Stephen Joseph Theatre & UK Tour) as Declan; Rhiannon Hopkins (The Lion, The Witch and the Wardrobe – UK and Ireland Tour / Buddy – The Buddy Holly Story – UK Tour) as Kitty; James Lawrence (Peaky Blinders: The Rise / Doctor Who: Time Fracture – Immersive Everywhere) as Steven; Claire Lee Shenfield (The Rivals – Orange Tree Theatre & Theatre Royal Bath / Little Women – UK Tour) as Caroline; Jerome Lincoln (Standing At The Sky’s Edge – National Theatre at the Gillian Lynne Theatre, West End / Once On This Island – Theatre Royal, Drury Lane) as the Private Secretary; Perry Meadowcroft (A Midsummer Night’s Dream – OVO Theatre & Minack Theatre / JUDY! – The Arts Theatre) as Dave the Fish; and Eloise Richardson (Dick Whittington and His Cat – New Wolsey Theatre / Once Upon a Flowerbed – Moonbeam Theatre) as Mary.

A radio station for young people! Why do we need that? Caroline dreams of more than stacking shelves at the local greengrocers. By night she escapes to the pier with her best friend Mary and Robbie, her music-mad boyfriend. When Robbie lands a shock gig with pirate station Radio Caroline, blasting pop and rock from a ship off the Essex coast, Caroline is swept into a tidal wave of music, mayhem and a revolution that will shake British culture

Caroline is written by the award-winning Vikki Stone and directed by Douglas Rintoul and Alex Thorpe. The creative team includes sound designer Helen Atkinson, set and costume designer Stella Backman, dramaturg Titilola Dawudu, voice coach Charmaine Hoare, fight and intimacy director Haruka Kuroda, lighting designer Callum Macdonald, musical supervisor Paul Schofield, and choreographer Sundeep Saini.

Director Douglas Rintoul says: “Caroline is a story born from the spirit of East Anglia – rebellious, creative, and full of music. To be announcing this extraordinary cast and creative team as the inaugural production of the East Anglian Touring Consortium feels incredibly exciting. This collaboration brings together some of the region’s leading theatres to create work at scale, rooted in our place but with national ambition. I can’t wait for audiences across the region to experience the energy, heart and soundtrack of this remarkable story brought to life by such an exceptional company.

Caroline is a feel-good blast of 60s hits, heart, and hometown pride capturing the moment Britain turned up the volume and never looked back. Inspired by the true story of Britain’s pirate radio revolution which set the soundtrack to the sixties and gave a whole generation a new voice, Caroline is packed with era-defining anthems. Exploding with energy and optimism sweeping from chip shops to shipping lanes and tiny transistor radios to the halls of power, this funny, heartfelt musical about love and loyalty celebrates East Anglia’s special connection to a story that rocked the world.

She’s not a DJ She’s not a rock star. But Caroline might just steal the show!Join the musical revolution with tickets starting from £15. Visit Carolineanewmusical.com 

Caroline is co-produced by partners of East Anglian Touring Consortium including New Wolsey Theatre, Landmark Theatres, Queen’s Theatre Hornchurch, Mercury Theatre Colchester, Norwich Theatre,Theatre Royal Bury St Edmunds, Hightide and Eastern Angles. With thanks to Arts Council England and National Theatre Generate programme.

MORE VENUES ANNOUNCED

FOR THE FIRST EVER UK TOUR

OF THE

MULTI AWARD-WINNING
WORLDWIDE SMASH-HIT

Lead producer Colin Ingram, together with Robert Zemeckis and Bob Gale, the creators of the Back To The Future film trilogy, are delighted to announce further venues for the first ever UK tour of the multi award-winning BACK TO THE FUTURE The Musical.

Alongside the previously announced dates in Bristol, Edinburgh, Liverpool, Milton Keynes, Sunderland and Southampton, the production will also visit Birmingham Hippodrome (9 March – 10 April 2027), Alhambra Theatre, Bradford (11 May – 5 June 2027), Manchester Opera House (13 July – 21 August 2027), Theatre Royal, Plymouth (24 August – 11 September 2027) and Wales Millenium Centre, Cardiff (19 October – 13 November 2027). Additional venues are still to be announced.

BACK TO THE FUTURE The Musical continues to run in the West End at the Adelphi Theatre, currently in its 5^th year in London, having broken box office records at the venue, and been seen by 2.3 million people. The production will play its final performance on Sunday 12 April 2026. The critically acclaimed Olivier, WhatsOnStage and Broadway World Award-winning Best New Musical is also a global success, with productions currently running in North America, Japan, Royal Caribbean Cruises, and Germany, with a French production to follow. The show has been seen by over 5 million people worldwide so far.

Based on the Universal Pictures/Amblin Entertainment film, BACK TO THE FUTURE The Musical has a book by Bob Gale and new music and lyrics by Emmy and Grammy Award-winning Alan Silvestri and six-time Grammy Award-winning Glen Ballard, with additional songs from the film including The Power of Love and Johnny B. Goode.

BACK TO THE FUTURE The Musical is directed by Tony Award-winning director John Rando (Urinetown, On The Town), alongside the multi Tony and Olivier Award-winning design team of Tim Hatley (set and costume design), Chris Bailey (choreography), Chris Fisher (Illusions), Tim Lutkin and Hugh Vanstone (lighting), Gareth Owen (sound) and Finn Ross (video), with  musical supervision and arrangements by Nick Finlow. Orchestrations are by Ethan Popp and Bryan Crook, with dance arrangements by David Chase. Casting is by David Grindrod CDG for Grindrod Burton Casting.

Back to the Future the movie was released in 1985, starring Michael J. Fox as Marty McFly and Christopher Lloyd as Dr Emmett Brown – last year marked the 40^th anniversary of the film’s release. The film grossed $360.6 million (£279 million) at the box office worldwide and the total box office for all three films in the Back to the Future franchise was $936.6 million (over $1.8 billion in today’s money).

BACK TO THE FUTURE The Musical is produced by Colin Ingram, Frankel/Viertel/Baruch/Routh Group, Playing Field, CJ ENM, Universal Theatrical Group, Fin C Gray, Augury, Robert Zemeckis and Bob Gale.

www.BackToTheFutureMusical.com     

BACK TO THE FUTURE THE MUSICAL UK TOUR – 2026/ 2027 LISTINGS

THURSDAY 8 OCTOBER – SATURDAY 21 NOVEMBER 2026
BRISTOL HIPPODROME
https://www.atgtickets.com/venues/bristol-hippodrome/
ON SALE NOW

WEDNESDAY 2 DECEMBER 2026 – SATURDAY 2 JANUARY 2027
EDINBURGH PLAYHOUSE
https://www.atgtickets.com/venues/edinburgh-playhouse/
ON SALE NOW

TUESDAY 12 JANUARY – SATURDAY 6 FEBRUARY 2027
LIVERPOOL EMPIRE
https://www.atgtickets.com/venues/liverpool-empire/
ON SALE NOW

TUESDAY 9 – SATURDAY 27 FEBRUARY 2027
MILTON KEYNES THEATRE
https://www.atgtickets.com/venues/milton-keynes-theatre/
ON SALE NOW

TUESDAY 9 MARCH – SATURDAY 10 APRIL 2027
BIRMINGHAM HIPPODROME
https://www.birminghamhippodrome.com/
ON SALE NOW

TUESDAY 13 APRIL – SATURDAY 8 MAY 2027
SUNDERLAND EMPIRE
https://www.atgtickets.com/venues/sunderland-empire/
ON SALE NOW

TUESDAY 11 MAY – SATURDAY 5 JUNE 2027
ALHAMBRA THEATRE, BRADFORD
https://www.bradford-theatres.co.uk/alhambra-theatre
ON SALE NOW

TUESDAY 8 JUNE – SATURDAY 3 JULY 2027
MAYFLOWER THEATRE, SOUTHAMPTON
https://www.mayflower.org.uk/
ON SALE NOW

TUESDAY 13 JULY – SATURDAY 21 AUGUST 2027
MANCHESTER OPERA HOUSE
https://www.atgtickets.com/venues/opera-house-manchester/
ON SALE NOW

TUESDAY 24 AUGUST – SATURDAY 11 SEPTEMBER 2027
THEATRE ROYAL, PLYMOUTH
https://theatreroyal.com/
ON SALE NOW

TUESDAY 19 OCTOBER – SATURDAY 13 NOVEMBER 2027
WALES MILLENIUM CENTRE, CARDIFF
https://www.wmc.org.uk/
ON SALE NOW

FURTHER VENUES TO BE ANNOUNCED

RIDE THE CYCLONE

THE SMASH HIT MUSICAL

TO RETURN TO

SOUTHWARK PLAYHOUSE ELEPHANT

DUE TO PHENOMENAL DEMAND

FOR A 10-WEEK SUMMER SEASON

FROM 19 JUNE – 22 AUGUST 2026

Kevin McCollum, Morris Berchard and Jack Maple are delighted to announce that the critically acclaimed RIDE THE CYCLONE THE MUSICAL will return to Southwark Playhouse Elephant from Friday 19 June 2026 to Saturday 22 August 2026 following a record-shattering and sold-out UK premiere run in 2025.

Tickets on sale Wednesday 18 March.Casting to be announced.

The musical, written by Jacob Richmond and Brooke Maxwell, previously broke Southwark Playhouse’s record of most tickets sold within a 24-hour period after going on sale and has received a flurry of hugely positive reviews.

RIDE THE CYCLONE THE MUSICAL is directed and choreographed by Lizzi Gee with musical direction and supervision by Ben McQuigg, set and costume design by Ryan Dawson Laight, lighting design by Tim Deiling, video design by Nina Dunn for PixelLux, sound design by Tom Marshall, illusion design by Richard Pinner, casting by Harry Blumenau and associate direction by Eva Sampton. Production Management is by Toby P Darvill for Production Solutions Group, with General Management by Jack Maple Productions.

We’re back for round two. Ready to ride again?

After a freak roller-coaster accident, six teenagers find themselves suspended in limbo and offered one final chance to return to life. One by one, they step into the spotlight to prove why they deserve that second chance.

Darkly comic, unexpectedly moving, and told at full tilt, this 90-minute musical is a five-star theatrical thrill ride. London — this is one ride you can’t miss.

Producers Kevin McCollum, Morris Berchard and Jack Maple said of the show’s return: “We couldn’t be more excited to bring Ride The Cyclone back for another ride.  We were delighted that we sold out our initial run, and are thrilled to be returning to Southwark in 2026 to give those who missed out on tickets the first time around a chance to Ride The Cyclone”

RIDE THE CYCLONE THE MUSICAL had its world premiere at the Atomic Vaudeville in British Columbia, Canada in 2008. The American premiere took place at the Chicago Shakespeare Theatre in September 2015 and went on to open Off-Broadway at the Lucille Lortel Theatre in November 2016. Since then it has had runs in Seattle, Atlanta, Minneapolis, Sydney and Buenos Aires.

RIDE THE CYCLONE THE MUSICAL is produced by Kevin McCollum, Morris Berchard and Jack Maple. The show is licensed by Concord Theatricals.

Website: southwarkplayhouse.co.uk/productions/ride-the-cyclone

Instagram: @cyclone_musical

TikTok: @cyclone_musical

Facebook: @CycloneMusical

LISTINGS INFORMATION

RIDE THE CYCLONE THE MUSICAL

Friday 19 June – Saturday 22 August 2026

Southwark Playhouse Elephant

1 Dante Place,

London,

SE11 4RX

How to get to Elephant Venue: the nearest stations are Elephant & Castle and Kennington.

Performances:

Tue – Sat 7pm

Thurs & Sat 2.30pm

Sun 1pm

Please note there will be an additional matinee performance on Tuesday 18 August at 2:30pm

Captioned performance – Wednesday 29 July 7pm

BSL performance – to be announced

Running time: 90-minutes no interval

Age guidance: 12+

Content Guidance: show contains mature content and adult themes

Box Office

020 7407 0234 / southwarkplayhouse.co.uk/productions/ride-the-cyclone

Box Office opens Mon – Sat, 10am – 6pm.

Tickets

Standard tickets from £20 | Concessions tickets £16