Author: FairyPoweredProductions

Storehouse Deptford – until 20 September 2025

Reviewed by Claire Roderick

3***

Sage and Jester’s new immersive experience is visually stunning.

Staged in the imposing Deptford Storehouse, once storing paper for newspaper production, the design is inspired. Creative director Sophie Larsmon builds the atmosphere brilliantly. On arrival, visitors are given lanyards and guided to different waiting rooms where greeters sign you in and give you your visitor badge as a welcomed trustee of The Storehouse. A newsreel shows today’s news interspersed with mysterious goings-on in Deptford as trustees swear a pledge to consider the evidence and vote on the future of the facility.

The Storehouse was founded in 1983, when the internet originated. An archive of every piece of information ever produced built to evolve alongside the digital world – an Arkive. The founders believed that on the first of January 2025, The Great Aggregation would see the Arkive reach its threshold of information, heralding a transformation and the beginning of Truthtopia. Six months later, trustees must investigate this failure.

Guided through rooms by the cast, the daily routine of the Storehouse and the roles its inhabitants have been assigned become clearer, and one group appear to have come up with a solution themselves.

In such a vast building, the limited amount of rooms used is puzzling at first, but the rooms and actions are replicated in 4 areas, with the true expanse and impact of the space only revealed in the experience’s gorgeous CODA as the trustees rise and return to the above. Unfortunately, this synchronised performance means that some unscripted and entertaining interactions with the cast need to be curtailed briskly to get groups and their cast members to arrive at the final room together for the final scene.

Dramaturg Sophie Drake has a tough job realising the ideas of a writers’ room made up of Katie Lyons, Tristan Bernays, Sonali Bhattacharyya, Kathryn Bond, Caro Murphy and Rhik Samadder. The overarching message of the danger of misinformation is not new, and in the hands of so many writers, becomes trite and preachy at times. Even the backstories of the characters seem written by numbers – retreating to this isolated environment because of personal loss and the prejudices of the 1980s.

The cast that I saw did wonders with the script: Chris Agha full of nervous intensity and Harriett O’Grady charming and reasonable as they both explained the workings of the Storehouse and their lack of aging since 1983. This conceit gives Julie Belinda Landau free rein to create wonderful colourful costumes reminiscent of children’s TV presenters. This gives the experience aesthetics like The City of Ember as a closed society narrative, and much closer to that story than Snowpiercer or the Wool trilogy in the jeopardy stakes.

Visually, Storehouse is magnificent. From the beige silos and pillars and corporate waiting room to the cluttered cell where the information is bound – fully leaning into the hive mind/structure idea – to the ethereal stacks, Alice Helps’ design is beautiful. Natural materials like wool, silk and willow emphasise the organic nature of the Storehouse and there are interesting tiny details everywhere you look. Ben Donoghue’s lighting design and James Bulley’s sound design enhance the claustrophobic and otherworldly atmosphere. Constant announcements from the founders of the Storehouse – voiced by Billy Howle, Kathryn Hunter, Toby Jones, Meera Syal have taken on spiritual meaning to the workers, and these moments of recitation and genuflection become slightly creepy as they continue: something the writers could have explored more to create a more satisfying confrontation.

Well-intentioned but slightly too expositional and preachy, Storehouse is well worth a visit for its stunning design and atmosphere.

Playhouse East – until 28 June 2025

Reviewed by Claire Roderick

5*****

Lily Sinko has created a brilliantly bonkers survivor in this hilarious comedy, and her tour de force performance is unmissable.

Beginning as a seemingly world-weary recount of life, soon Sinko’s Magdalena is leaping and prowling around the stage, recounting bizarre encounters from Paris to Mount Everest – the Baron Munchausen of prostitutes.

Sinko’s writing and performing are sublime – clowning, skilfully handled audience interaction (and terrorising) and exquisite comic timing build a superbly realised character. A life of neglect, abuse and brutality becomes almost Enid Blytonesque in Magdalena’s memories (but with much more sex.) Magdalena wistfully recounts her childhood in Marseilles, talking about her “homeschooling” with her father and their arts and crafts sessions with charming naivety. Although her undying love for her father is never reciprocated, he remains her hero. Every callous act is changed into a fun game in her mind as she is sent to a very unusual boarding school. Magdalena encounters first love, friendships and betrayals before leaving the school in dramatic and implausible circumstances before finding sanctuary. Here, the imagery becomes more medieval Catholic guilt and fiery pits of hell. With a twisted idea of love drawn from her childhood but very aware of her potent sexuality, Magdalena is looking for love and acceptance – fighting against, and using, religion and power to find her place in the world.

That is a very brief synopsis, as this show needs to be seen to be believed. Daniel Kettle’s direction allows everything to appear off the cuff and Sinko’s inspired writing creates a roller coaster of chaotic energy that leaves the audience breathless and begging for more. Exactly what Magdalena wants.

Upstairs at the Gatehouse – until 8 June 2025

Reviewed by Claire Roderick

4****

The Crooked Billets present Peter Mottley’s wonderful double bill of plays focussing on the seedier characters from Shakespeare’s Henry IV and V which create an earthier, more dangerous picture of life in Henry’s England. Both plays are monologues, expertly and entertainingly delivered by Arthur Drury and Gareth David Lloyd and directed skilfully by Paul Olding.

A boy actor (Arthur Drury) is getting ready to perform in Shakespeare’s new play – Henry V. As he dresses, he talks about life as a boy actor, wistfully describing how he had a voice like a nightingale and played Juliet and Rosalind. Now that his voice has broken, he is deemed fit only to play the middle-aged women so is donning the costume of Mistress Nell Quickly. As he dresses, the boy relates his own mother’s life to Quickly’s. Brought up in the tavern where his mother worked, he watched her taking clients upstairs, being beaten and abused until the arrival of Lemuel: “of all my dads – he was my favourite.” Unfortunately, like Pistol, war takes him away.

Playing the younger women has made the boy realise that life is not easy for women – especially those not born to money, and Drury effortlessly captures the mixture of despair, disgust, acceptance and overwhelming love the boy feels for his mother and his favourite dad, beginning to realise and understand the sacrifices and compromises they had to make just to survive in a brutal and unforgiving London. Drury’s thoughtful and humane performance brings Mottley’s empathetic writing to life brilliantly.

The second play sees Nell Quickly’s husband, Pistol (Gareth David Lloyd) sitting in a tavern seven years after the battle of Agincourt. Pistol is still a blowhard, but the events of that French campaign have scarred him mentally. As he gets more drunk, his bitterness towards Henry V spews out. Unable to forgive “young Henry” for his abandonment of Falstaff and the Cheapside companions of his wayward youth, Pistol spits out Shakespeare’s line “I know thee not” as he recounts Falstaff’s death and the execution of Nym and Bardolph for theft in France. Pistol’s view of the French campaign as one of the grunts rather than the lofty heights of the nobility is visceral and horrifying. Pistol rants about the stupidity of his friends, getting killed for not following his rules for plundering efficiently and of the stupidity of the nobles leading the war – following the rules of war no matter how many lives are lost needlessly. The descriptions of the horrors of the army dying from dysentery and the mad bloodlust and butchery of Agincourt are interspersed with sarcastic impressions of Henry giving inspirational speeches. Gareth David Lloyd is phenomenal conveying the constantly shifting and confused emotions of Pistol – heartbreakingly devastated at the death of the young boy who had come to France with him, and full of bitter hatred for Henry. David Lloyd portrays the torment of PTSD brilliantly. The madness in his eyes as he describes the antics of the archers is something to behold, as is the effort to bring himself back to “good old Pistol” as he realises that he is being watched. An unforgettable portrayal of the true horrors of war.

Before Nell/ After Agincourt is an unmissable double bill. Insightful and clever writing performed with heart and searing intensity.

Arches Lane Theatre – until 29 June 2025

Reviewed by Claire Roderick

2**

Stories about the fallout from scandals and crimes are always interesting – what happens to those left behind?

Writer and director Roger Steinmann imagines the life of Ruth Madoff, widow of the Ponzi fraudster Bernie Madoff. Was she complicit in his schemes or an innocent wife. Does she know where the missing billions are?

The publicity encourages fans of real-life dramas with a touch of Blanche Dubois and Norma Desmond to see this show, but although Ruth is written as an emotionally unstable recluse alone with her grief, unfortunately there is no dramatic tension or credible arc to her story.

Alone in her luxury apartment, with huge portraits of her husband and two sons creating a shrine-like atmosphere, Ruth’s mind/story lurches around in time as she first imagines a family meal and gets confused about where her family are before traumatic key events since Bernie’s arrest are revisited. This may be meant to show the discombobulating effect of being alone but the discombobulation spreads to the audience as well. As Ruth (Emily Swain) remembers the deaths of her sons – one from cancer, one by suicide – their chairs are removed from the stage in a misguided act of symbolism that misfires. In the corner of the stage is a pile of pizza boxes, the result of Ruth’s fantasist obsession with Italian delivery boy Marco (Evan Emanuel). This storyline seemed superfluous as an overwrought way to hammer home Ruth’s need to escape and facilitate a confrontation with one of Bernie’s victims later in the play.

Ruth yoyos wildly from blissfully unaware devoted loving wife to bitter victim of a cowardly bully, to venal partner in crime with moments of unintentional humour, but the unchanging backbone of Steinmann’s version of Ruth is a narcissistic humblebragging snob ready to attack anyone who dares threaten her privileged life, even now when it lies in ruins. It is only in the last stage of the show where some semblance of self-awareness flickers before being swatted away by the disembodied voices of her sons and husband as the latter tries to guide her to hell with him and her sons try to guide her to the pearly gates. This is probably supposed to be Faustian, but the arguments are psychobabble that sound as if the characters are reading them cold from a cheap self-help book.

Emily Swain’s heartfelt performance is let down by her character being written as a woman who has no identity other than as a mother and wife. And although grief can strip a person of their identity, this play gives no insight or sense of being to Ruth and it is exceedingly difficult to connect or care about the character, despite Swain’s praiseworthy efforts.

Roger Steinmann’s intention is admirable, but at this stage of its development, Ruthless is muddled and vague, not telling Ruth’s story with clarity and insight. This could be a fascinating story with further work. Collaboration with another writer/dramaturg and perhaps cutting the running time could develop a portrait of Ruth Madoff with more humanity, whether as victim or villain.

Birmingham Hippodrome – until 14th June 2025

Reviewed by Emma Millward 

4****

Peaky Blinders: The Redemption Of Thomas Shelby returns to Birmingham Hippodrome for the third and final time. The production brings together Steven Knight’s characters from the acclaimed BBC show with the exciting choreography of Rambert Dance Company. The show made its world premiere in Birmingham in 2022.  The production is a prequel/re-imagining of the TV show. Told entirely through dance, except for the late Benjamin Zephaniah’s occasional narration, it shows the earlier years of Tommy Shelby (Conor Kerrigan), his brothers John (Tom Davis-Dunn) and Arthur (Dylan Tedaldi) and just how they came to be the Peaky Blinders.

The show opens in the World War 1 trenches of Flanders. We see the Shelby brothers amongst the soldiers twitching in the mustard gas-filled air. Although they survive the war, Zephaniah’s sombre voice-over tells us they are ‘all dead. Not counted among the dead, because your bodies were not buried with the dead. But dead inside..’. In Act 1, we follow their return to Birmingham, where the gang descend into a life of robbery and violence. The first act very loosely follows the plot of the first three seasons of the TV show. Tommy becomes the leader of the Peaky Blinders, and falls in love with Grace (Seren Williams), who is portrayed here as a nightclub singer. Her demise during their wedding at the hands of Tommy’s rival Widow Changretta (Naya Lovell) happens a lot later in the TV show’s storyline, but with six seasons of possible plot lines to fit into a two hour show, these changes are to be expected. Act 2 is a more abstract interpretation of the events that follow Grace’s murder as Tommy retreats to an opium den and considers whether to take his life as he is haunted by visions of those he’s loved, lost and murdered. The second act loses a bit of momentum, as the action slows down. I found the opium den scene visually beautiful, although a little overlong. 

Director Benoit Swan Pouffer’s choreography manages to convey the range of emotions the characters are feeling. The fight scenes have a visceral energy and the dancers bring the swagger of Peaky Blinders to the stage perfectly. The lighting (Natasha Chivers) is moody and atmospheric. Richard Gellar’s costume design includes all the instantly recognisable Peaky outfits, but also has cleverly used outfits such as the brown leather masks used to portray the police dogs that chase down the gang. The set design by Moi Tran cleverly uses a unique trenched stage that offers various platforms and levels for the dancers to perform, and occasionally disappear behind. The live band are also on a raised platform at the back of the stage to perform both specially commissioned music by Roman GianArthur, and a selection of iconic Peaky tracks from Radiohead, The Last Shadow Puppets, Black Rebel Motorcycle Club, and , of course, Nick Cave and The Bad Seeds ‘Red Right Hand’ that always gives me goosebumps when I hear it.

The dance company is outstanding, but special mention must be given to Simone Damberg Würtz as Aunt Polly and Conor Kerrigan as Tommy. Although there was a lot of action happening, I found my eyes were always drawn to them. There may be a few tiny flaws, but Rambert has produced an exhilarating and memorable production that I urge you to see while it is still on tour.

York Theatre Royal – until Saturday 14th June 2025

Reviewed by Michelle Richardson

4****

After a successful 2023 Yorkshire tour, John Godber’s “Do I Love You?”, is currently touring a bit more of the UK. This week it is back in Yorkshire playing at York Theatre Royal. Set to the rhythm of Northern Soul, a music and dance movement that emerged in the north of England and the Midlands in the early 1970’s. It developed from the British Mod scene, based on soul music with a heavy beat and fast tempo.

Post-covid, three twenty something year olds from Hull, are struggling to find their way in life, and failing abysmally. Sally (Martha Godber) gained the most A levels but didn’t graduate, and now looks after her gran, childhood and best friend Kyle (Emilio Encinoso-Gil) has a degree but doesn’t know what to do with it, and finally Nat (Chloe McDonald), completing the trio of friends, who they met at college, is being pressurised by her mother to work in the NHS. They are all disillusioned with the grim realities of life, battling unemployment, living costs and lacking purpose, no job, no money, no life. Finally, Kyle gets a job working at a fast-food kiosk, and the other two follow suit.

Sally’s gran, played by McDonald with a scarf around her head and a cigarette between her fingers, is full of Irish spirit. After Sally comes across some old vinyl in her gran’s attic, a gift from Marvin, who we come to believe she had an illicit affair with, she is enthralled with stories about the world of Northern Soul and it becomes her obsession.

All three friends, after a bit of a hiccup, fall in love with the music and dance. They learn the energetic dance moves, kicks, stomps, twist and spins, travelling all over in search of venues. Blackpool is their ultimate aim, as long as they get the spirit of the dance, and it becomes part of their soul.

Through their performances, the cast captures the essence of Northern Soul with their palpable energy. They are all on stage for whole performance and their chemistry is evident for all to see. Throughout they are wearing “Keep The Faith” branded polo shirts, a phrase associated with the movement, signifying the dedications and spirit of the subculture. The scenes throughout are intertwined with snippets of classic tracks and spirited footwork, thanks to choreography by Sally Molloy (World Northern Soul Dance champion 2022).

The set is very simple, the lighting moodful. At times I found the dialogue a bit clunky and repetitive. The cast, music and dancing are the stars of the show. I would have loved to have heard more and seen more. I enjoyed watching the freedom, the energy and the abandonment of everything, whilst they slid across the floor, lost in a moment.

Do I Love You? though packed with humour and energy, begs the question, has anything changed since the 70’s? We are still struggling with rising prices, unemployment and finding a sense of belonging. This socially aware comedy bridges generations, captivating both loyal fans and newbies to the movement that is Northern Soul.

Keep the faith! And catch this whilst you can.

ORE ODUBA

TO STAR AS

DR FREDERICK FRANKENSTEIN IN

MEL BROOKS’

YOUNG FRANKENSTEIN THE MUSICAL

AT HOPE MILL THEATRE

FROM 10 OCTOBER 2025

Hope Mill Theatre are delighted to announce that Ore Oduba will star as Dr Frederick Frankenstein in Mel Brooks’ YOUNG FRANKENSTEIN THE MUSICAL which will have its regional premiere at Hope Mill Theatre from 10 October to 30 November 2025, with a press night on 15 October. YOUNG FRANKENSTEIN will be directed and choreographed by Nick Winston.

Ore Oduba is an actor and broadcaster whose stage credits include Caractacus Potts in Chitty Chitty Bang Bang, Happy Man/Mr Thompson in Pretty Woman: The Musical and Brad Majors in the 50th anniversary production of The Rocky Horror Show. Ore has also played Teen Angel in Grease, and this summer starred in the principal role of Stuart Piper in the world premiere of the Peter James’ thriller Picture You Dead.

Ore made his screen acting debut in BBC One primetime drama Noughts + Crosses. Meanwhile as an experienced and versatile presenter, familiar to audiences of This Morning, The One Show and BBC Radio 2, he has fronted some of the biggest national events live to millions. Ore won the 14th season of Strictly Come Dancing in 2016.

On joining the cast of YOUNG FRANKENSTEIN, Oduba said: “What a dream come true. Mel Brooks is a genius of comedy and Young Frankenstein is as iconic a title as it gets. I watched the most recent production in the West End through tears of laughter! Can’t wait to start ‘Putting on the Ritz’ with our talented cast, crew and creatives. And in such a renowned venue as the Hope Mill Theatre, it’s going to be an unforgettable 8 weeks in Manchester.”

Joining Ore for YOUNG FRANKENSTEIN will be Jessica Martin (Spitting Image, Doctor Who) as Frau Blücher, Rhiannon Chesterman (I Wish You Well, West End) as Elizabeth Benning, Pete Gallagher (Fisherman’s Friends The Musical, UK tour/Toronto) as The Monster, Curtis Patrick (Pretty Woman UK Tour) as Igor, Simeon Truby (Wicked, West End) as Inspector Hans Kemp/Harold the Hermit and Julie Yammanee (Jerry’s Girls, Menier Chocolate Factory)as Inga. The cast is completed by Belle Kizzy Green (Chitty Chitty Bang Bang, UK Tour), Robin Kent (Chicago, UK Tour), Bryan Mottram (Back To The Future The Musical, West End), Alanna Panditaratne (Peter Pan, Victoria Theatre Halifax), Oliver Ramsdale (Chicago, UK Tour), Hakeem Tinubu (Singin’ in the Rain, International Tour), Patricia Wilkins (Back To The Future The Musical, West End) and Jessica Wright (42^nd Street, Sadler’s Wells/UK Tour/ Toronto).

Adapted by Mel Brooks from his legendary 1974 film starring Gene Wilder, YOUNG FRANKENSTEIN tells the story of the grandson of the infamous Victor Frankenstein, Frederick Frankenstein (pronounced “Fronk-en-steen”) who inherits his family’s estate in Transylvania. With the help of a hunchbacked sidekick, Igor (pronounced “Eye-gore”), and a leggy lab assistant, Inga (pronounced normally), Frederick finds himself in the mad scientist shoes of his ancestors. “It’s alive!” he exclaims as he brings to life a creature to rival his grandfather’s. Eventually, of course, the monster escapes and hilarity continuously abounds.

YOUNG FRANKENSTEIN marks the 10th Anniversary year of Hope Mill Theatre, which opened its doors in October 2015. Founded by Joseph Houston and William Whelton the Award-Winning venue has gained a reputation Nationally and Internationally for its in-house musical productions.

Every bit as relevant to audience members who will remember the original as it will be to newcomers, YOUNG FRANKENSTEIN has all the panache of the screen sensation with a little extra theatrical flair added. It will surely be the perfect opportunity for a production company to showcase an array of talents. With such memorable tunes as The Transylvania Mania, He Vas My Boyfriend and Puttin’ on the Ritz by Irving Berlin, YOUNG FRANKENSTEIN is scientifically proven, monstrously good entertainment.

Mel Brooks’ YOUNG FRANKENSTEIN has a book by Mel Brooks and Thomas Meehan, with music and lyrics by Mel Brooks, orchestrations by Doug Besterman & Mark Cumberland and original direction and choreography by Susan Stroman. This production will have direction and choreography by Nick Winston, musical direction and co-musical supervision by Francesca Warren, set design by Sophia Pardon, orchestration and co-musical supervision by Charlie Ingles, sound design by Ben Harrison, lighting design by Aaron J Dootson, video and projection design by Matt Powell, costume design by Lorraine Parry, wigs and make-up design by Nicola Thorp, associate choreography by Lauren Kate Hampton and casting by Jim Arnold.

Website: hopemilltheatre.co.uk/event/young-frankenstein

Facebook: @HopeMillTheatre

X: @hopemilltheatre

Instagram: @hopemilltheatre

LISTINGS INFORMATION

10 October 2025 – 30 November 2025

Hope Mill Theatre

113 Pollard St

Manchester

M4 7JA

Preview Performances: 10 – 14 October 2025.

Performances: Tuesday to Saturday/ 7.30pm & 2.30pm/ Sundays 2pm, 3pm or 6pm

Tickets from: £27

Box Office: 0161 275 9141

MUSICAL PARODY UNFORTUNATE: THE UNTOLD STORY OF URSULA THE SEA WITCH 

RETURNS TO LOWRY, SALFORD
 FOR A FIVE-WEEK CHRISTMAS SEASON 

Book and Lyrics by Robyn Grant & Daniel Foxx 

Music by Tim Gilvin 

Lowry, Salford

5 Dec 2025 – 11 Jan 2026 

Back by popular demand, the critically acclaimed musical parody Unfortunate: The Untold Story of Ursula the Sea Witch is delighted to announce its return to Lowry, Salford for a five-week Christmas season. Following two previous sell-out runs at Lowry, Unfortunate is back with a brand-new production, opening on Friday 5 December and playing until Sunday 11 January 2026. Tickets go on general sale tomorrow, Friday 12 June at 10am. 

When Disney released The Little Mermaid in 1989, they had no idea they were giving birth to an icon. Ursula the Sea Witch quickly took her place as the queen of Disney villains: a pop culture legend and a feminist badass. She’s loud. She’s clever. She’s sexy and unapologetically plus-sized. She’s not defined by slipper-sized feet, or enchanted blonde hair, or snow-white skin. Ursula is plump, purple and proud. A queer icon with a message for us ‘poor unfortunate souls’: love the skin you’re in, value your voice over your body, and don’t be afraid to be a little bit nasty. 

Cruella told her side, and Maleficent’s had her moment… Now the legendary sea witch is ready to spill in this tell-all tale of sex, sorcery and suckers – a laugh-a-minute dive through Ursula’s backstory filled with a filthy pop soundtrack, much loved characters as you’ve never seen them before and enough (eco-friendly) glitter to keep you sparkling all the way home. Gather up your merfriends; it’s going to be one hell of a beach party. 

Unfortunate first premiered with a sold out run at the Edinburgh Fringe in summer 2019, before heading to Birmingham Hippodrome’s Patrick Studio that Christmas. The show then transferred to Underbelly Earls Court in London and returned for a second sell-out Edinburgh run in 2022. In December 2023 the production returned to London for an 11-week run at Southwark Playhouse Elephant prior to a six month UK tour in 2024. A Swedish-language production will open in Norrköping in September 2025. 

Unfortunate the musical parody has book and lyrics by Robyn Grant and Daniel Foxx, with music by award-winning composer Tim Gilvin. Creative team and casting to be announced. Produced by Wildpark Entertainment. 

Unfortunatemusical.com 

Instagram/TikTok/Facebook @UnfortunateMusical 

LISTINGS

Wildpark Entertainment, Runaway Entertainment, The Vaults and Dianne Roberts presents 

Unfortunate: The Untold Story of Ursula the Sea Witch 

Book and lyrics by Robyn Grant & Daniel Foxx


Music by Tim Gilvin 

Friday 5 Dec 2025 – Sunday 11 Jan 2026 

Lowry, Pier 8, The Quays, Salford M50 3AZ 

Box Office:thelowry.com | 0161 876 6000 

Tickets: from £28.50 

Performance times: 

Tue – Sat eves 8pm 

Sat & Sun mats 3pm 

Fri 19 Dec 5pm & 8pm 

Wed 24 & 31 Dec 5pm Fri 2 Jan 5pm 

No performances 25 & 26 Dec, 1 Jan 

Age guidance: 16+


Running time: 2 hours including one interval

• ADÈLE ANDERSON (FASCINATING AÏDA) WILL PLAY THE ROLE OF BERNADETTE IN UK AND IRELAND TOUR OF PRISCILLA QUEEN OF THE DESERT OPENING AT THE PALACE THEATRE MANCHESTER IN FEBRUARY 2026.
• FROM THE PRODUCERS OF HAIRSPRAY THE MUSICAL, THE FULL MONTY AND SHREK THE MUSCIAL, THE RETURN OF THIS ICONIC AWARD-WINNING MUSICAL WILL BE DIRECTED BY OLIVIER NOMINATED IAN TALBOT AND CHOREOGRAPHED BY OLIVIER AWARD-WINNER MATT COLE.
• FEATURING ICONIC DISCO ANTHEMS SUCH AS ITS RAINING MEN, I WILL SURIVE AND ‘GIRLS JUST WANNA HAVE FUN’.

It has been announced today that Adèle Anderson, best known as one-third of the internationally acclaimed satirical cabaret trio Fascinating Aïda, will play the role of Bernadette in the UK and Ireland tour of Priscilla Queen of the Desert.  The production comes to Birmingham Hippodrome from Monday 23 March until Saturday 28 March 2026.

With razor-sharp wit and a voice to match, Adèle is a revered performer in British cabaret and has been delighting audiences around the world for over four decades. Since joining Fascinating Aïda in 1984, Adèle has co-written with founder member Dillie Keane and performed in countless shows earning the group numerous accolades, including nominations for three Olivier Award nominations, a Perrier Awards and the New York Drama Desk Award.

Adèle’s recent theatre credits include ‘The School For Scandal’ (Midsummer Scene Festival, Dubrovnik), ‘Nul Points’ (Union Theatre), ‘She Loves Me’ (Sheffield Crucible), ‘Closer To Heaven’ (Above The Stag), ‘Doctor Dolittle’ (UK Tour) and ‘Follies’ (Landor Theatre). She has recently performed at the Adelaide Cabaret Festival and has appeared in numerous pantomimes around the country and directed two at The Theatre, Chipping Norton.

Adèle Anderson said: “I am delighted to have been asked to join such an illustrious team to bring this joyous show to theatres around the UK and Ireland. Bernadette is a warm, witty, caring and compassionate character, whom audiences will love. In the current climate it is vital that people see this character as a human being who is secure in herself, who loves, laughs and cries and, most importantly, earns respect from those she encounters as she motors through Australia.”

Priscilla Queen of the Desert, based on the 1994 Oscar-winning film, is set to hit the road bursting onto stages across the UK and Ireland opening at the Palace Theatre in Manchester on 19 February 2026.

Directed by Olivier Award-nominated Ian Talbot OBE with choreography by Olivier Award-winner Matt Cole with set and lighting design by Andrew Exeter,the sassy and joyous Broadway and West End hit musical, follows the hilarious and heart-warming journey as three friends travel across Australia in a dilapidated bus nicknamed Priscilla to put on the show of a lifetime.  

Featuring a hit parade of dance floor classics as well as garnering international acclaim, at its core, Priscilla Queen of the Desert’s enduring appeal lies in its heartfelt exploration and celebration of identity, diversity and the journey toward self-acceptance. Challenging societal norms, and the importance of embracing one’s true self, the characters confront prejudice and adversity, they also discover the strength found in unity, friendship and the beauty of authentic expression.

Packed full of dazzling dance routines, a sparkling array of spectacular costumes and an iconic soundtrack of 80s and 90s disco anthems including ‘Hot Stuff’, ‘It’s Raining Men’, ‘I Will Survive’, ‘Girls Just Wanna Have Fun’, ‘Finally’ and more, Priscilla Queen of the Desert is an exuberant celebration of acceptance and belonging, bursting at the seams with humor, heart and spectacle.

Further casting will be announced in due course. Priscilla Queen of the Desert UK & Ireland Touris produced by Mark Goucher, Matthew Gale (Hairspray The Musical, The Full Monty and Shrek The Musical) and Gavin Kalin.

Priscilla Queen of the Desert comes to Birmingham Hippodrome from Monday 23 March until Saturday 28 March 2026. Tickets can be booked at www.birminghamhippodrome.com or by calling 0121 689 3000.

Octagon Theatre, Bolton – until Saturday 28th June 2025

Reviewed by Rebecca Hampson

4****

Based on the novel of the same name, Pride & Prejudice has been spectacularly adapted for the stage by Kate Hamill. Under Direction of Lotte Wakeham this comedic take on the Austen classic simply sparkled.

When entering the theatre, I was particularly pleased to see an in-the-round staging for this performance and was instantly immersed by the stunning modern string quartet music. As a HUGE regency fan and avid watcher or Bridgerton I knew immediately that I was going to love this show.

Whilst every actor onstage shone in their roles, the stand out performance for me came from Jessica Ellis as Lady Catherine de Bourgh. The Characterisation and Gait were impeccable. Multi-rolling was frequent in this performance and each actor ensured that each character was unique.

Special commendation must also go to set and costume designer Louie Whitmore who indulged us with the most stunning empire waist gowns.

If Regency, Austen and comedy are your thing this is a play you cannot miss