Nottingham Theatre Royal – until Saturday 28 February 2026
Reviewed by Louise Ford
5*****
Blood behind the begonias
I’m sure that I’ve read somewhere that the Golden Age of murder and mysteries in the 1920s and 1930s was a response to the uncertainty and chaos of the First World War and the great social changes taking place across certain parts of the world. So perhaps it’s not surprising that these “cosy crimes” still appeal to audiences today, in our unsettling times. Caroline Graham’s first novel, The Killings at Badger’s Drift, was published in 1987. The first episode of Midsomer Murders aired on UK TV ten years later in 1997, with this first novel. The TV series ran to over 100 episodes. Caroline only wrote seven novels! The first episode starred John Nettles as Detective Chief Inspector Barnaby and Daniel Casey as DS Gavin Troy. The novel has now been adapted for the stage by Guy Unsworth. Guy also directed the play.
The good news is that DS Troy due to his hard work and diligence has now been promoted to Detective Chief Inspector and takes on the role of Barnaby. The sidekick role is played by James Bradwell, he’s got a lot to learn about red herrings and leaping to (the wrong) conclusions but he’s got a steady mentor to steer him through the murky world of village life.
Barnaby and Troy are key to the action and driving the story and mystery forward to a satisfactory conclusion. At times the action and scene changes take place around them as they stand centre stage ; pondering the chaos around them.
The rest of the cast really earn their wages with their quick changes . Each member of the cast plays at least two roles and are on and off stage in the blinking of an eye. The seven members of the cast play over 15 roles. There is a further nod to the drama’s classic roots in the program, where the casts’ pictures are all in golden frames. It is hard to pick out anyone performer, so I’ll just list them out as they all deserve recognition; Natalie Barclay, Chandrika Chevli, John Dougall, Julie Legrand, Rupert Sadler, Chris Agha and Rhîan Crowley-McLean
The big shout out goes to the set design (David Woodhead), we see the village through a window and the various rooms and buildings are “dropped in”, to great effect. To complement each set, various props whizz in and out and of course we have an overloaded tea trolley with a mind of its own! The sets are lit to perfection by Matt Haskins. The lighting really brings the scenes to life and are particularly impressive in one scene involving an interview of “two” suspects!
So in summary we are talking about an evening of murder and mystery set in the quaint English Countryside, where no one is quite who they seem and where the weapon of choice could be an axe, knife or good old fashioned poison. The production pays homage to the original TV series but is also peppered with humour and tongue in cheek self knowing. There is also a surprisingly high body count!
You wouldn’t think, would you, one small village could have so much trouble bubbling away under the surface?
Producers Barry & Fran Weissler and David Ian for Crossroads Live are delighted to announce full casting for the UK and Ireland tour of the smash hit romantic musical comedy WAITRESS, opening at the New Wimbledon Theatre from Saturday 28 March 2026.
Joining the previously announced Carrie Hope Fletcher as Jenna, Sandra Marvin as Becky, Evelyn Hoskins as Dawnand Les Dennis as Joe, will be Dan Partridge as Dr Pomatter, Mark Anderson as Ogie, Mark Wilshire as Earl and Dan O’Brien as Cal.
The company is completed by Will Arundell, Yochabel Asante, Alice Croft, Jamie Doncaster, Daniel George-Wright, Will Hardy, Bayley Hart, Olivia Lallo, Emma Lucia, David Mairs-McKenzie and Ellie Ruiz Rodriguez.
Carrie Hope Fletcher’s final performance will be Saturday 20 June 2026, with casting for the role of Jenna for the rest of the tour to be announced. Carrie will also not be performing in Sunderland (4-9 May).
Dan Partridge most recently starred as Charlie Price in the UK and European tour of Kinky Boots. His other theatre credits include Ben Locke in the world premiere of Here & Now, Magaldi in Evita at Curve Leicester, Danny Zuko in Grease both in the West End and on tour, Rum Tum Tugger in CATS in Europe and South Korea and Link Larkin in the UK tour of Hairspray.
Mark Anderson’s West End credits include Phil Spector in Tina – The Tina Turner Musical at the Aldwych Theatre, George Takei’s Allegiance at the Charing Cross Theatre, School of Rock at the Gillian Lynne Theatre, The Grinning Man at Trafalgar Studios, and the original West End cast of The Book of Mormon at the Prince of Wales Theatre. Further credits include the national tours of Bedknobs and Broomsticks, Salad Days, Love Me Tender, Legally Blonde and Mary Poppins.
Mark Wilshire previously covered the role of Earl in Waitress in the original West End company at the Adelphi Theatre. His other theatre credits include the original UK cast of White Rose: The Musical, The Bodyguard in the West End and on tour, the original West End company of Ghost, and UK tours of Never Forget, Our House, Starlight Express, Chitty Chitty Bang Bang and Carousel.
Dan O’Brien’s theatre credits include Erwin Bach in Tina – The Tina Turner Musical, Mamma Mia, Jersey Boys, both in the West End and on tour, and Ray in the UK tour of Dreamboats and Petticoats.
WAITRESS is based on the 2007 movie written by Adrienne Shelly. Music and lyrics are written by GRAMMY award-winning, singer-songwriter sensation Sara Bareilles. With a book by Jessie Nelson, direction by Tony-award winner Diane Paulus and choreography by Lorin Latarro, Waitress has garnered multiple awards and nominations in both America and the UK, receiving acclaim from both audiences and critics alike.
Celebrating 10 years of production, WAITRESS opened on Broadway on 24th April 2016 at the Brooks Atkinson Theatre, where it ran until 5th January 2020. Waitress celebrated its official opening night at the Adelphi Theatre in London’s West End on 7th March 2019. The show has gone on to global success with further productions in North America, Japan, Holland, a French language production in Canada, a Spanish language production in Mexico, and coming this spring of 2026 an Australian production in Melbourne and Sydney.
WAITRESS tells the story of Jenna, an expert pie maker in a small town, who dreams of a way out of her loveless marriage. A baking contest in a nearby county and the town’s new doctor may offer her a chance at a new life, while her fellow waitresses offer their own recipes to happiness. But Jenna must find the courage and strength within herself to rebuild her life. This beautiful musical celebrates friendship, motherhood, and the magic of a well-made pie.
Book by Jessie Nelson
Music and Lyrics by Grammy Award-winner Sara Bareilles
Based upon the motion picture written by Adrienne Shelly
Directed by Tony Award-winner Diane Paulus
WAITRESS was originally produced by Barry & Fran Weissler and Norton and Elayne Herrick. The tour is produced by Barry & Fran Weissler and David Ian for Crossroads Live.
With Dear Liar currently in performances and preparations underway for Aether, Jermyn Street Theatre today announces full casting for Flora Wilson Brown’s adaptation of Virginia Woolf’s literary classic The Waves. Júlia Levai directs Archie Backhouse as Louis, Breffni Holahan as Susan, Pedro Leandro as Neville, Syakira Moeladi as Jinny, Tom Varey as Bernard, and Ria Zmitrowicz as Rhoda. Casting is by Jatinder Chera.
Following six friends from childhood to adulthood, this coming-of-age story opens on 21 April 2026, with previews from 16 April, and runs until 23 May at Jermyn Street Theatre.
Flora Wilson Brown today said, “I am so excited to work with this incredible group of artists on bringing Woolf’s masterpiece to Jermyn Street. I’ve loved the book for so long and to have the chance to work on our own version is a dream.”
Júlia Levai added, “Flora’s gorgeous adaptation captures the experience of being alive in the most playful and moving way. I am beyond thrilled to be bringing it to life with such a fantastic group of actors and creatives.”
Jermyn Street Theatre present THE WAVES Novel by Virginia Woolf
Adapted by Flora Wilson Brown
Cast: Archie Backhouse (Louis); Breffni Holahan (Susan); Pedro Leandro (Neville);
Syakira Moeladi (Jinny); Tom Varey (Bernard); Ria Zmitrowicz (Rhoda)
Movement Director: Ken Nakajima; Casting Director: Jatinder Chera
16 April – 23 May 2026
Rhoda. Bernard. Susan. Neville. Jinny. Louis.
They begin by the coast. Then, school. Youth. Forming. Swelling. Terror. Joy. Working. Falling. Fame. Grief. Alone. Together.
The Waves is a tender, thrilling story about growing up together. Major new talents Flora Wilson Brown and Júlia Levai unite to bring Virginia Woolf’s masterpiece to heart-thumping life.
Virginia Woolf (1882 – 1941) was one of the most influential modernist writers of the 20th century. The Waves is regarded as a landmark of literary modernism, notable for its experimental structure departing from traditional narrative form. Her major other works include The Voyage Out, Night and Day, Jacob’s Room, Mrs. Dalloway, To the Lighthouse, Orlando, A Room of One’s Own, and Three Guineas. A key figure in the Bloomsbury Group, Woolf was also an influential essayist and early feminist writer who helped define modern fiction.
Flora Wilson Brown is a writer and dramaturg – she returns to Jermyn Street Theatre following The Beautiful Future is Coming (also Bristol Old Vic and Traverse Theatre). Her plays include I Know I Know I Know (Southwark Playhouse) and Viking (Underbelly, Edinburgh Festival Fringe). As a dramaturg, she has worked on projects at the Edinburgh Festival Fringe, the RSC, and the Orange Tree Theatre.
Archie Backhouse plays Louis – he returns to Jermyn Street Theatre following his performance in Farm Hall (also Theatre Royal Bath and Theatre Royal Haymarket). His other theatre credits include How to Fight Loneliness (Park Theatre), Strategic Love Play, The Listening Room (UK tour), The Wonderful World of Dissocia (Theatre Royal Stratford East), Telethon (Shoreditch Town Hall), Christopher Green: No Show (The Yard Theatre), There is a Field (Theatre503), The Outsider (Coronet Theatre), and The Gap in the Light (New Diorama Theatre).
Pedro Leandro plays Neville. His theatre credits include Julius Caesar (RSC), Fiji (Omnibus Theatre), A View from the Bridge (York Theatre Royal), A Song at Twilight (Theatre Royal Bath), Welcome to Thebes (Tobacco Factory Theatres), Tender Napalm (Wardrobe Theatre), and The Wizard of Oz (Redgrave Theatre). His television credits include The Strangers (as series regular Deputy Walters), Waiting for the Out, Citadel, Domina, The Liberator, Hanna, and Right Now; and for film, The Strangers: Chapter 1, The Strangers: Chapter 2, and The Strangers: Chapter 3.
Breffni Holahan plays Susan. Her theatre credits include Three Sisters (The Gaiety Theatre, Dublin), The Flea (The Yard Theatre), Dog Sh!t (Theatre503), Electric Rosary (Royal Exchange Theatre), Collapsible (Abbey Theatre and Bush Theatre), Drama at Inish, It was easy (in the end) (Abbey Theatre), Nina’s Got News, and Everything Not Saved (Edinburgh Festival Fringe). Her television credits include The Nevers, Storyland, and Vikings.
Syakira Moeladi plays Jinny. Her theatre credits include Princess Essex, The Taming of the Shrew (Shakespeare’s Globe), Dear Octopus (National Theatre), As You Like It (@sohoplace), Billy Elliot: The Musical (Victoria Palace Theatre), and Matilda: The Musical (Cambridge Theatre).
Tom Varey plays Bernard. His theatre credits include Hamnet (RSC and Garrick Theatre), The Glass Menagerie (The Yard Theatre), A Taste of Honey (National Theatre, UK tour and Trafalgar Theatre), Deathwatch (The Coronet Theatre), One Arm (Southwark Playhouse), and A Midsummer Night’s Dream (Liverpool Everyman & Playhouse). His television credits include Fifteen Love, Ridley Road, Death in Paradise, No Offence (as series regular PC Stuart O’Connell), Game of Thrones, Ackley Bridge, Dark Angel, The Village; and for film, The Boys in the Boat and Pond Life.
Ria Zmitrowicz plays Rhoda. Her theatre credits include The Glow, Gundog, Bad Roads, X (Royal Court Theatre), The Welkin (National Theatre), The Doctor, Three Sisters, Dance Nation (Almeida Theatre), Plastic (Theatre Royal Bath), The Crucible (Royal Exchange Theatre), Arcadia (UK tour), God’s Property (Soho Theatre) and Four Minutes Twelve Seconds (Hampstead Theatre and Trafalgar Theatre). Her television credits include Make That Movie, Sherwood, The Power, Through the Gates, Three Girls, Mr Selfridge, Outlaws, Youngers,Nightshift, The Midnight Beast, Murder on the Home Front, Whitechapel and The Third Day: Autumn; and for film, Misbehaviour and Teen Spirit.
Júlia Levai directs. Her directing credits include Petty Men (Arcola Theatre), Radiant Boy, Smoke (Southwark Playhouse), We’ll Be Who We Are (VAULT Festival), Northern Girls (Pilot Theatre),Did I Wake You? (Young Vic as part of ‘Five Plays’), The Prince of Homburg (The Space) and There Has Possibly Been an Incident (Blue Elephant Theatre). Her assistant and associate directing credits includeCoriolanus, Dear Octopus (National Theatre), Hope Has a Happy Meal (Royal Court Theatre), All’s Well That Ends Well (RSC), L’Illusion Comique (National Theatre in Belgrade, Serbia) and Nora: A Doll’s House (Young Vic Theatre). Levai is an MGCFutures bursary recipient and was previously Director in Residence at the National Theatre in Belgrade, Serbia. She is a script reader for NT Studio, Papatango Prize, The Bruntwood Prize and The Women’s Prize for Playwriting.
LISTINGS
THE WAVES 16B Jermyn Street, London, SW1Y 6ST Box Office: 020 7287 2875 www.jermynstreettheatre.co.uk DEAR LIAR Until 7 March 2026
Monday – Saturday, 7:30pm 3pm matinees on Tuesdays and Saturdays Relaxed Performances: Thursday 26 February at 7:30pm Tickets from £18
AETHER 16 March – 4 April 2026 Monday – Saturday, 7:30pm 3pm matinees on Tuesday and Saturday Tickets from £22
THE WAVES 16 April – 23 May 2026
Monday – Saturday, 7:30pm
3pm matinees on Tuesdays and Saturdays
Relaxed Performances: Thursday 30 April at 7:30pm & Tuesday 12 May at 3pm Captioned Performance: Monday 11 May at 7:30pm Tickets from £18
WIFE TO JAMES WHELAN 25 June – 25 July 2026
Monday – Saturday, 7:30pm
3pm matinees on Tuesdays and Saturdays
Relaxed Performances: Tuesday 7 July at 3pm & Thursday 16 July at 7:30pm Captioned Performance: Monday 13 July at 7:30pm Tickets from £18
PLAYHOUSE, LIVERPOOL – UNTIL SATURDAY 28TH FEBRUARY 2026
REVIEWED BY MIA BOWEN
5*****
Experiencing The Woman in Black on press night at the stunning Liverpool Playhouse was truly unforgettable. This legendary thriller continues to prove that it becomes more chilling and impactful as time goes on. Having attended this production three times now, I find that it somehow grows sharper, darker, and even more nerve-shredding with each viewing. I still find myself jumping at the same moments — which, in my opinion, is the greatest compliment I can give to a performance.
The Playhouse itself truly deserves a heartfelt mention. Its stunning historic architecture, both inside and out, beautifully enhances the eerie, gothic atmosphere of the evening. You can really feel the charm of the building as it draws you in. The central aisle running through the stalls seating is particularly striking for this performance, and I won’t share too much—just know it creates an enchanting sense that the story might inch much closer to the audience than one would anticipate.
At the heart of this incredible production are just two remarkable performers, who captivatingly carry the entire narrative with their astonishing skill. Daniel Burke, in the role of the Actor, has blossomed into an even more confident and compelling presence since I first experienced the tour last September. His precision, impeccable timing, and physical storytelling weave a masterclass in suspense that truly keeps the audience on the edge of their seats. Previously, I had the pleasure of seeing John Mackay as Mr Kipps, but this time the role was taken on by the talented Philip Stewart. Both actors deserve equal recognition for their phenomenal performances—each brings remarkable depth, vulnerability, and superb control to the role. Watching this dynamic duo seamlessly switch between multiple characters is not only impressive but also adds an extra layer of richness to the production, making it an unforgettable experience.
The creative team truly deserves enormous credit for their exceptional work. The sound design, crafted by Sebastian Frost, and the brilliant lighting by Kevin Sleep are both essential to the production’s impact. Together, they create a pervasive atmosphere of tension and unease that maintains a thrilling edge throughout the performance, keeping the audience engaged and on the edge of their seats.
What makes this thrilling experience particularly captivating is the atmosphere of live theatre itself. Unlike the standard experience of watching a horror film, you find yourself completely enveloped — seeing, hearing, and almost sensing the story as it unfolds all around you. The energy from last night’s packed audience, which included many eager students, was electric: as laughter, gasps, and genuine screams echoed through the theatre, they intensified the tension and excitement of the performance, creating a truly unforgettable experience.
As I left the theatre and made my way back to my car, I couldn’t help but notice how quickly my footsteps became — each step more hurried than the last. The atmosphere was thick with a sense of urgency, and I became acutely aware of the sounds surrounding me: the rustling leaves, distant voices, and the echo of footsteps on the pavement. It was a vivid reminder of the intensity of the experience I had just witnessed. The performance was dark, atmospheric, and hauntingly moving — a true testament to the power of live theatre. It gripped my heart and mind in a way that’s both thrilling and unforgettable, leaving a lasting impression that lingers long after the final curtain call.
New Wimbledon Theatre- until Saturday 27th February 2026
Reviewed by Carly
5*****
Dear England at New Wimbledon Theatre is an absolute triumph – a thrilling, intelligent, and deeply moving piece of theatre that delivers far more than you might expect from a play centred on football. It is gripping from start to finish, blending sharp humour, emotional depth, and electrifying staging into one unforgettable evening.
From the moment the lights dimmed, the production commands attention. The atmosphere inside the theatre was electric -a shared sense of anticipation rippling through the audience. What followed was two and a half hours of theatre that felt both epic in scale and intimate in emotion. The writing is razor-sharp, witty, and layered, allowing the story to unfold with pace and precision while never losing sight of its emotional core.
The performances across the board were outstanding. The portrayal of Gareth Southgate (David Sturzaker) was particularly compelling- calm, thoughtful, and quietly determined, capturing the essence of a leader redefining what it means to represent England. The performance struck a beautiful balance between restraint and vulnerability, making his journey feel authentic and genuinely affecting. The rest of the cast were equally impressive, shifting seamlessly between moments of high-energy locker room banter and deeply personal reflection. Each actor brought nuance and humanity to roles that could easily have been caricatures, grounding the production in truth.
One of the most remarkable aspects of Dear England is how it transcends sport. Yes, it recreates iconic tournament moments with pulse-raising intensity. The tension of penalty shootouts, the roar of the crowd, the unbearable weight of expectation, but it is ultimately about much more than football. It explores leadership under scrutiny, the psychology of performance, the burden of national identity, and the importance of vulnerability in spaces traditionally dominated by bravado. The play tackles themes of masculinity and mental resilience with intelligence and sensitivity, offering a refreshing and timely perspective.
The staging is nothing short of exceptional. The use of multimedia elements, projected match footage, lighting shifts, and sound design, immerses the audience completely. At times, the theatre genuinely felt like a stadium, with the soundscape capturing the collective hope and heartbreak of fans across the country. The choreography and physical movement were dynamic and precise, cleverly recreating the rhythm and energy of professional football without ever feeling gimmicky. Scene transitions were slick and fluid, maintaining momentum throughout.
What truly sets this production apart is its emotional impact. There are moments of laugh-out-loud humour, particularly in the sharp exchanges between players and staff, but these are perfectly balanced with scenes of genuine poignancy. The exploration of penalty trauma which is so deeply embedded in England’s sporting history, was handled with surprising tenderness. The audience could be heard holding their breath during key moments, fully invested in the outcome despite knowing the historical results. That ability to create suspense from real-life events is a testament to the strength of the storytelling.
Importantly, Dear England is accessible. You do not need to be a football fanatic to appreciate it. In fact, even those with little interest in the sport would find themselves captivated by the human stories at its centre. The play invites the audience to reconsider what it means to represent a nation, and challenges outdated ideas about strength and success. It celebrates growth, empathy, and unity — qualities that resonate far beyond the pitch.
The direction deserves enormous praise for maintaining such a perfect tonal balance. The production never becomes overly sentimental, nor does it lean too heavily into spectacle. Instead, it trusts its characters and its message, allowing the audience to engage fully without manipulation. The pacing is tight, the structure cohesive, and the emotional beats land with precision.
By the final scene, there is a profound sense of uplift. It is not a simplistic, fairy-tale triumph, but something more meaningful — a recognition of progress, resilience, and hope. As the cast took their bows to thunderous applause, and the famous song- Sweet Caroline was being shouted at the top of everyone’s lungs it was clear that this production had struck a chord.
Dear England is powerful, funny, stirring, and beautifully performed. It is a masterclass in contemporary theatre-making and a reminder of how sport can reflect the wider cultural moment. Whether you love football or not, this is a must-see production that leaves you entertained, moved, and genuinely inspired. An outstanding five-star evening in every sense.
The Lightning Thief: The Percy Jackson Musical arrived in Birmingham last night, continuing its UK tour. I should confess that I went in as a complete newcomer to the Percy Jackson universe. I have never read Rick Riordan’s novels or seen the subsequent movies. I was a little worried that I would be lost or not understand what was happening. I needn’t have worried, as the first few minutes clearly set up the narrative of the show. This adaptation was written by Joe Tracz with music and lyrics by Rob Rokicki.
Percy Jackson (Vasco Emauz), a teenage boy with ADHD and dyslexia, has been kicked out of numerous schools. He discovers he is the half-blood son of the Greek god, Poseidon. When his mortal mother, Sally (Simone Robinson in one of many roles) is attacked by a Minotaur, Percy is knocked unconscious and wakes at Camp Half-Blood, a summer camp for the children of Greek gods. He soon embarks on a quest with his friends Grover (Cahir O’Neill), a half-goat satyr, and Annabeth (Kayna Montecillo), the daughter of Athena, to recover Zeus’s stolen lightning bolt and hopefully prevent war breaking out between the gods.
Vasco Emauz captures Percy’s confusion, frustration and eventual new-found confidence with sincerity. Kayna Montecillo’s Annabeth is sharp and commanding, while Cahir O’Neill brings warmth and well-timed humour as Grover. Together, the trio’s obvious chemistry makes their friendship believable. The supporting cast, including Ellie Grace Cousins, Joseph Conner, Niall Sheehy and Paolo Micaleff all shift effortlessly between gods, monsters and mortals. My personal favourite was Danny Beard as perpetually exasperated Camp Half-Blood Director Mr D (or Dionysus), the Greek god of wine and drama. Clad in a huge orange quiff wig and a blue sparkly suit, Mr D is a sight to behold. Although my eyes were naturally drawn to Beard, they never overshadowed the onstage action and they clearly relished playing such a gloriously larger-than-life character.
Rob Rokicki’s pop-rock score, performed by a talented five piece band led by musical director Will Jay, propels the show along. With 22 songs packed into a two-hour show, the music rarely lets the pace drop. Under the direction of Lizzi Gee, the show embraces its concert-like vitality and never takes itself too seriously. Gee’s choreography is also sharply executed, making full use of Ryan Dawson Laight’s industrial set design. The set features metal scaffolding, movable platforms and a huge central circular screen that is used for video designer Matt Powell’s projections. Richard Pinner’s illusions integrate seamlessly with Tom Deiling’s lighting bringing mythological elements vividly to life.
During the evening, I also discovered there are theatre audiences, and then there are ‘Percy Jackson audiences’. At times it felt less like a touring production and more like a live concert. The hardcore fans in the crowd clearly love Percy, and loved to show it, with cheers, clapping and screams at the mere sight of certain characters or even props in some cases. Thankfully, this adoration never became too distracting.
Mythic, magical, and unforgettable. The Lightning Thief: The Percy Jackson Musical is a must-see for newcomers and die-hard fans alike.
Alexi Kaye Campbell’s Bird Grove is a portrait of the young George Eliot. Before she writes Middlemarch and Silas Marner, George Eliot is the spirited Mary Ann Evans (Elizabeth Dulau) – bookish and full of radical thinking but not quite sure how it will fit with the life being laid out for her by her concerned brother and father. She no longer wants to attend church and she certainly won’t marry despite her brother Isaac’s (Jolyon Coy) best efforts to pair her off with a bumbling suitor (Johnnie Broadbent). With the help of her radical thinking friends The Brays, Mary Ann begins to defy the Victorian norms and traditions much to the heartache and disappointment of her father.
As her intellect and voice become stronger, the relationship between Mary Ann and her father Robert (Owen Teale) becomes strained. He is a self made man who has worked his way up to provide everything he can for his daughter including an education. Bird Grove takes its name from the large house the Evans family moved to in the Midlands in order to find Mary Ann a husband and it is where the play takes place. Sarah Beaton’s simple but effective rotating set has high panelled walls that line the back of the stage and a large window in the centre. A picture of elegant yet restrictive domesticity.Mary Ann’s companion/governess/maid Maria (Sarah Woodward) provides much of the humour, and her free-thinking friends the Brays (Rebecca Scroggs and Tom Espinar) are great in their roles as an alternative viewpoint to the stagnated world in which she has been raised.
Excellent performances from Owen Teale and Elizabeth Dulau lead a strong cast in Anna Ledwich’s intelligent and well acted production. However at 2 hours 40 mins, it is a bit long especially as the pace is slow in the first hour or so, but there is a message of hope at the end. Bird Grove is exactly the kind of period drama that would make great Sunday night TV so I hope that it makes the leap from stage to screen.
Leeds Grand Theatre – until Saturday 28th February 2026
5*****
Olivier Award-winning Sunny Afternoon rolls into Leeds this week, bringing with it a smart, muscular jukebox musical inspired by the life and music of The Kinks. In the tradition of shows such as The Buddy Holly Story and Jersey Boys, it charts the heady mix of ambition and idealism, fraught contracts, volatile relationships and, ultimately, hard-won success in the face of adversity.
Written by Ray Davies and Joe Penhall, this is far more than a polished tribute concert. While it is packed with classic Kinks numbers – including You Really Got Me, Lola, Waterloo Sunset and Dedicated Follower of Fashion – the songs are woven into a narrative that evokes its era with confidence and presents characters who deepen and develop as the band evolves.
Drama was never in short supply for the Kinks. Alongside one of rock music’s most infamous sibling rivalries, they also earned the dubious distinction of becoming the first British band to be effectively barred from touring the United States. The story follows the group from the brink of discovery in 1964 through roughly 15 years of upheaval and achievement. Visually, the production is striking: the first half plays out against a wall of amplifiers, evoking a vast recording studio, while the band’s first American visit transforms the backdrop into a bold Stars and Stripes motif.
Performances across the board are strong. Danny Horne is outstanding in the central role of Ray Davies – a tortured genius and perfectionist, while Oliver Hoare brings manic energy to Dave Davies. Harry Curley is engaging as the shy bassist Pete Quaife who seems to be perpetually on the edge of tears, and Zakarie Stokes anchors the band convincingly as drummer Mick Avory.
Unsurprisingly, the music is the production’s greatest strength. Beyond the guitar-driven anthems, the show allows space for gentler, more reflective moments. An acappella rendition of “Days” is beautifully harmonised, while “Too Much on My Mind” becomes a tender duet between Ray and his wife, Rasa (Lisa Wright). All of this is supported by a superb live band (Michael Cullen and Alex Ward) and confident on-stage musicianship from the cast – Ben Caplan (Eddie Kassner and others) helping out on drums and tambourine and Phil Corbitt (Mr Davies/Allen Klein) was a multi-instrumentalist.
It is easy to understand why this production swept the boards at the 2015 Olivier Awards. This is not a relentlessly feel-good musical; it embraces darker themes and a weighty sense of realism. Yet it is precisely that honesty which gives the show its impact – a compelling portrait of resilience and creative survival. In Leeds until Saturday 28th, this is not only worth seeing once, but worth returning to again.
Producers Kevin McCollum & Lucas McMahon and Mike Lavoie & Carlee Briglia are delighted to announce that Catherine Tate will play Mary Todd Lincoln in the Tony? Award-winning smash hit comedy OH, MARY! at Trafalgar Theatre from 27 April until 18 July 2026 with booking also extended until 18 July 2026. Also joining the cast is Scott Karim, who will play Mary’s Husband from Monday 16 March. ohmaryplay.co.uk
Mason Alexander Park’s final performance as Mary Todd Lincoln will be Saturday 25 April and Giles Terera’s final performance as Mary’s Husband will be Saturday 14 March.
OH, MARY! currently stars Kate O’Donnell as Mary’s Chaperone, Oliver Stockley as Mary’s Husband’s Assistant and Dino Fetscher as Mary’s Teacher.
Catherine Tate (she/her) is an actor and writer known for her award-winning work on stage and screen. Her many West End credits include Under the Blue Sky at The Duke of York’s Theatre, Much Ado About Nothing at the Wyndham’s Theatre, Some Girls at the Gielgud Theatre, The Catherine Tate Show Live at the Wyndham’s Theatre and Hammersmith Apollo, and most recently, Sleeping Beauty at the London Palladium and The Enfield Haunting at the Ambassadors Theatre. Her other theatre credits include The Way of the World, The Princes Play and Season’s Greetings, all for the National Theatre, the RSC’s A Servant To Two Masters in the West End and on an International Tour, The 24 Hour Plays at the Old Vic and on Broadway, Assassins at The Menier Chocolate Factory, The Vote at the Donmar Warehouse, and The Exonerated at Riverside Studios.
Catherine recently filmed two series of the new sitcom Going Dutch opposite Denis Leary, for Fox, and previously returned to Doctor Who alongside David Tennant in 2023’s 60th anniversary specials. Her other television work includes Queen Of Oz for the BBC which Catherine created, wrote and executive produced, Hard Cell and The Bad Mother’s Handbook, both for Netflix, My First Nativity for Sky, and Big School and Leading Lady Parts, both for the BBC. She had huge success for her work on the multi award winning BBC comedy series The Catherine Tate Show, Nan’s Christmas Carol and Catherine Tate’s Nan. She is best known to American audiences for playing the iconic Nellie Bertram in the US version of The Office on NBC and as Magica De Spell in the Disney reboot of Ducktails.
Catherine’s film credits include The Nan Movie, Monster Family, Super Bob, Nativity 3, Monte Carlo, Gulliver’s Travels, Sixty Six and Starter For Ten.
Scott Karim (he/him) most recently received rave reviews for his performance as ‘Smee’ in the RSC’s Wendy & Peter Pan at the Barbican. His many other stage credits include London Tide, Dara, Great Britain and Othello, all at the National Theatre, as well as The Flea at The Yard Theatre, the award-winning 2:22 A Ghost Story at the Lyric Theatre, Chasing Hares at the Young Vic, Ayad Akhtar’s The Invisible Hand at the Kiln Theatre, Bijan Sheibani’s The Arrival at the Bush Theatre, Oklahoma! At Chichester Festival Theatre, Young Marx at the Bridge Theatre, and The Merchant of Venice at Shakespeare’s Globe. Scott’s television credits include Channel 5’s The Game alongside Jason Watkins, Halo for Paramount+, Dracula and The Dumping Ground for the BBC, The Great and Electric Dreams: Crazy Diamond for Channel 4, and Sky’s Brittania.
OH, MARY! is a dark comedy about a miserable, suffocated Mary Todd Lincoln in the weeks leading up to Abraham Lincoln’s assassination. Unrequited yearning, alcoholism, and suppressed desires abound in this 80-minute one-act play that finally examines the forgotten life and dreams of Mrs. Lincoln, through the lens of an idiot (playwright Cole Escola).
Declared “one of the best comedies in years” by The New York Times, OH, MARY! received Tony? Awards for Best Leading Actor in a Play (Cole Escola) and Best Direction of a Play (Sam Pinkleton), Drama League Awards for Outstanding Play and Outstanding Direction of a Play, as well as a special citation from the New York Drama Critics’ Circle. It was named a finalist for the Pulitzer Prize for Drama.
OH, MARY! premiered off-Broadway at the Lucille Lortel Theatre in January 2024, before a Broadway transfer to the Lyceum Theatre in July 2024, where it broke box office records and continues to play to sold out audiences. It had its West End premiere at Trafalgar Theatre on 3 December 2025.
In addition to ColeEscola (Writer) and SamPinkleton (Director), the full creative team includes dots (Scenic Designer), Holly Pierson (Costume Designer), Cha See (Lighting Designer), Daniel Kluger (Sound Design and Music), Drew Levy (Sound Designer), Leah J. Loukas (Wig Designer), David Dabbon (Arrangements) with Casting by Stuart Burt CDG.
The Executive producers of OH, MARY! at Trafalgar Theatre are Wessex Grove.
Critically Acclaimed Football Drama Scores West End Finale
Why I Stuck a Flare Up My Ar*e for England will play its final UK show at the Garrick Theatre this summer
· The ‘Flarewell’ tour coincides with the fifth anniversary of the infamous incident that inspired the play, as well as this year’s Men’s Football World Cup which kicks off in June
· Before the West End date, there are performances in Rugby, Norwich and Newcastle
· The show will also have a two-week run in New York
· Since its debut in 2023, the show has played all over the UK and internationally winning critical acclaim and multiple awards
Sunday 21st June, Garrick Theatre, 7pm
“High-octane one-man show laced with humour that addresses serious issues around toxic masculinity”The Stage
@bumflareplay | #bumflareplay | roxydog.co.uk
Exploring the beautiful game’s ugly side, the award-winning hit showWhy I Stuck a Flare Up my Ar*efor Englandwill play its last UK show at the Garrick Theatre on Sunday 21st June.
Inspired by the England fan who went viral for putting a lit flare in his buttocks before the European Football Championships Final in 2021, the show tells the story of die-hard football fanatic Billy who eats, sleeps, and breathes the sport alongside his best mate Adam. But what begins as a shared passion quickly spirals into something more dangerous when they fall in with a new crowd. Looking at the darker underbelly of football culture, what follows is a funny, raw and honest look at tribalism, toxic masculinity, and the desperate search for a place to belong, timely ahead of the Men’s Football World Cup and the fifth anniversary of the European Football Championships.
Why I Stuck A Flare Up My Ar*e for England premiered at the Edinburgh Fringe in 2023 and returned in 2024 and 2025 for successive sell-out runs. The show has since toured across the UK including London runs at Southwark Playhouse, Wiltons Music Hall and Underbelly as well as internationally in Australia, winning the Holden Street Theatres Award, the Best Theatre & Physical Theatre Award at Adelaide Fringe, Best Theatre & Performance at Perth Fringe World, and an Offie Award. Football icon Chris Kamara and TV presenter Ben Shephard have lent their voices to the show as radio presenters. The play was published by Methuen Drama in 2025. Following the final date at the Garrick, the show will travel over to New York as part of Soho Playhouse’s Fringe Encore Series from 8-18 July.
Alex and director Sean Turner said, “We’re beyond thrilled to announce that our little one-man football show, which previewed at the Old Red Lion pub theatre before playing a 50-seater hotel conference room at the Edinburgh Fringe back in 2023, has made it to the West End. It genuinely feels like a dream come true. We’re so thankful to everyone who has supported, worked on and been part of the show over the last few years. Finishing the show in the West End and then Off-Broadway alongside the World Cup was never part of the plan, and we’re incredibly grateful for this opportunity. We can’t wait to set off one final flare’’
Alex Hill is a writer, actor and producer from Egham, England. He trained at Arts Educational Schools, graduating in 2022. Why I Stuck A Flare Up My Ar*e For England is his debut play. Other acting credits include Flashbang (2026) at Greenwich Theatre & UK Tour, the music video for Chicane’s Summer In E Major (2023), and the short film Daylight Follows (2023). Other writing includes the short film Occasionally United (ArtsEd, 2023).
Director of the show Sean Turner was Artistic Director and Chief Executive of Trinity Theatre in Tunbridge Wells from 2021 – 2023. He trained at ALRA, East 15 and in Devising with Complicité. He is responsible for unearthing the script of Arthur Miller’s first play, No Villain, which he directed at the Old Red Lion, later transferring to Trafalgar Studios 2. Sean was previously Associate Director on the West End and UK Touring productions of the hit comedy The Play That Goes Wrong, and directed replica productions across the Globe.
Nimax Theatres was formed in 2005 when Nica Burns and Max Weitzenhoffer bought four West End playhouses from Andrew Lloyd Webber’s Really Useful Theatres the Apollo, Duchess, Garrick, and Lyric theatres. The name Nimax is a portmanteau of their two names. Nimax then bought Weitzenhoffer’s Vaudeville theatre and in 2012, the magnificent Palace theatre. The theatres have a combined capacity of over 5,700 seats and in addition to hosting some of the UK’s most critically acclaimed plays and musicals, present a busy and varied programme of comedy, concerts and children’s theatre. Nimax Theatres has housed notable and award-winning productions over its 20-year history and currently houses some of the West End’s favourite shows; from long-running classics like the ground-breaking, two part play Harry Potter and the Cursed Child at the Palace Theatre and The Play That Goes Wrong, recently celebrating 10 years at the Duchess theatre, to the Tony and Olivier award-winning Hadestown and SIX, as well as nurturing new British writing with Ryan Calais Cameron (For Black Boys… and Retrograde). In Autumn 2022, Nica Burns announced the opening of @sohoplace, the first purpose-built, fully accessible West End theatre in 50 years. The venue is owned by Nica and operated by Nimax Theatres.
