Author: FairyPoweredProductions

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 27^th 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. 

Birmingham Hippodrome until 28th February 2026

Reviewed by Emma Millward

5*****

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.

Hampstead Theatre, London – until 21st March 2026

Reviewed by Celia Armand Smith

3***

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.

CATHERINE TATE

TO PLAY MARY TODD LINCOLN

IN THE SMASH HIT COMEDY

AT TRAFALGAR THEATRE

FROM 27 APRIL 2026

WRITTEN BY TONY^? AWARD-WINNER

COLE ESCOLA

DIRECTED BY TONY^? AWARD-WINNER

SAM PINKLETON

SCOTT KARIM

TO PLAY MARY’S HUSBAND

FROM 16 MARCH 2026

BOOKING NOW EXTENDED UNTIL 18 JULY 2026

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 Cole Escola (Writer) and Sam Pinkleton (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 show Why I Stuck a Flare Up my Ar*e for England will 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. 

Listings information

London date

Garrick Theatre, 2 Charing Cross Road, London, WC2H 0HH

Sunday, 7pm

£51.50 (including a commemorative glass)- £21.50 (concs) | thegarricktheatre.co.uk | 0330 333 4811

UK tour and New York

27 May                            Macready Theatre

Lawrence Sheriff Street, Rugby, CV22 5EQ

macreadytheatre.co.uk | info@macreadytheatre.co.uk

30 May                             Norwich Theatre (Stage Two)

Chantry Road, Norwich, NR2 1RL

norwichtheatre.org | 01603 630 000

11-13 June                    Newcastle Live Theatre

27-29 Broad Chare, Newcastle. NE1 3DQ

www.live.org.uk| 0191 232 1232 

8-18 July                       Soho Playhouse New York

15 Vandam Street, New York, NY 10013

sohoplayhouse.com | (212) 691-1555

Social media

Twitter:  @NimaxTheatres @RoxyDogProd @bumflareplay

Instagram @nimaxtheatres @roxydogproductions @bumflareplay

Facebook NimaxTheatresLondon

Awkward Prods present, in association with King’s Head Theatre and Daddy’s Money:

THE FIT PRINCE (WHO GETS SWITCHED ON THE SQUARE IN THE FROSTY CASTLE THE NIGHT BEFORE (INSERT PUBLIC HOLIDAY HERE)) To Tour UK

After critically acclaimed runs in Edinburgh and London, the smash hit from the creators of ‘Gwyneth Goes Skiing’ and ‘Diana’ is set to go on tour to Belfast, Newcastle, Manchester, Dublin, Oxford, Hull, Norwich, Bristol and Brighton

Previous Praise for The Fit Prince 2025:

Top 10 Standout Acts From This Year’s Edinburgh Fringe Festival – Vogue

Critic’s Pick – August 25 – New York Times

Number 1 Coolest Thing To Do In London – GQ
“Outrageously funny, unapologetically queer, and utterly unforgettable.”
  ★ ★ ★ ★ ★ Broadway World

“Clever, camp, charming and full of heart. A loud declaration of Awkward Productions’ unrivalled vision and talent.”★ ★ ★ ★ Broadway Baby

“This is theatrical escapism at its finest – a glitter bomb of clever writing, shameless silliness, and genuine heart.” ★ ★ ★ ★ ★ Theatre and Tonic

“Unmissable” ★ ★ ★ ★ ★ Everything Theatre

“All round incredible show” ★ ★ ★ ★ ★ The Spy In The Stalls

“a brilliantly weird marriage made in heaven” ★ ★ ★ ★ ★ All That Dazzles

Following riotous 2025 runs at the Edinburgh Fringe and in London, with over 21 five-star reviews and counting, Awkward Prods are delighted to announce that their romcom parody The Fit Prince (who gets switched on the square in the frosty castle the night before (insert public holiday here)) will be touring to Belfast, Newcastle, Manchester, Dublin, Oxford, Hull, Norwich, Bristol, Brighton in the spring and summer of this year.

From the makers of Gwyneth Goes Skiing, Diana: The Untold and Untrue Story and how to live a jellicle life, The Fit Prince (who gets switched on the square in the frosty castle the night before (insert public holiday here)) Flicks through the Net of traditional holiday movies, bringing all their Hallmarks together in the signature Awkward Prods way – queer, interactive, comedic and heartfelt.

About The Show

Panic! In Swedonia. The King is dead, and the Prince in line to the throne is unmarried – if he doesn’t find someone soon, he must forfeit the crown!

Meanwhile, in New York City, baker Aaron Butcher is butchering his career as a family baker. His puppet colleague, the ever-optimistic Jenny Puppetson, secretly enters him for a mysterious royal commission in the faraway land of Swedonia: Aaron has been chosen to bake the wedding cake for the Prince himself. Extremely reluctantly, and mostly to spite his ex, Aaron accepts. Maybe a commission in a suspiciously familiar, completely fictional country will fix his problems…

Audiences are invited to Swedonia – the perfect setting for the ultimate queer parody of all those Netflix and Hallmark romcoms you love to cringe at; the chaotic queer cousin to them all.

Written by and starring Linus Karp and Joseph Martin, with original music by Golden Globe–nominated songwriter and producer Leland (Troye Sivan, Charli xcx, RuPaul’s Drag Race) and multiple surprise cameos, The Fit Prince is a joyous subversion of heteronormative romcoms and a love letter to Karp’s native Sweden.

As if their creative chemistry weren’t already clear, there’s a sweeter twist to the story: in August last year, Linus and Joseph legally tied the knot on stage at the Edinburgh Fringe in a packed-out 750-seat Pleasance Grand in front of friends, loved ones and a ticketed audience. Believed to be the first legal wedding ever to take place at the Fringe – and the first LGBTQ+ wedding in the festival’s official programme – the one-off ceremony celebrated their 11 years together with a joyful mix of festival sparkle and real-life romance.

Digital Cast Cameos

In addition to the live on-stage action, The Fit Prince also boasts a glittering line-up of digital cameos.

Appearing via video throughout the show are Grammy-nominated pop icon Tove Lo (making her theatrical debut as the Prime Minister of Swedonia), Sebastian Croft (Heartstopper, Game of Thrones), Malte Gårdinger (Young Royals), Joshua Whitehouse (The Knight Before Christmas, Poldark), Misia Butler (Kaos), Jeremy McClain (Pose), Kate Butch (RuPaul’s Drag Race UK), and more – including Geri Allen (Operation Mincemeat) reprising her acclaimed Queen of England from Diana: The Untold and Untrue Story.

This line-up brings together a mostly queer and pan-global mix of talent –  from drag royalty to pop royalty to fan-favourite faces from queer TV moments. 

WHO’S WHO

Linus Karp is a queer Swedish actor, writer and theatre maker whose range as a performer goes from glamorous blonde women to glamorous blonde men. He is the writer/performer behind Gwyneth Goes Skiing, Diana: The Untold and Untrue Story and how to live a jellicle life. He is so skinny that he was the inspiration for the hockey sticks in Heated Rivalry.

Joseph Martin is an actor, musician and creative based in North London. Previous credits include Jeff Wayne’s The War Of The Worlds (Layered Reality), Sir Quentin Blake’s The Green Ship (UK Tour), and Count Magnus (BBC). He co-founded Awkward Prods with Linus Karp in 2017.

Leland is a Golden Globe–nominated songwriter and producer. He has written for artists including Charli xcx, Kylie Minogue, Selena Gomez, Ariana Grande and Cher, as well as co-writing Troye Sivan’s Grammy-nominated hit Rush. His television and film credits include RuPaul’s Drag Race, Love, Victor (Hulu), The Other Two (HBO Max), and Sierra Burgess Is a Loser (Netflix). He also wrote the original songs for Gwyneth Goes Skiing.

More Praise for The Fit Prince, 2025

“A flamboyantly queer, joyfully audience-involving homage to the romcom”

★ ★ ★ ★ ★ Edinburgh Reviews

“Proving once again that these theatre creators have a unique voice, The Fit Prince is their best show yet.” ★ ★ ★ ★ ★ The Recs

“Fringe camp at its absolute finest.” ★ ★ ★ ★ The Arts Desk
  “Going straight to the top of my recommendations for this Fringe!” ★ ★ ★ ★ ★ Theatre and Tonic
  “A beautiful and hilarious rom-com for the ages – one of the freshest, most original shows you’ll see this Fringe.” ★ ★ ★ ★ ★ Fairy Powered Productions
  “A gloriously unhinged send-up of Hallmark-style romcoms, full of theatrical flair and tongue-in-cheek charm.” ★ ★ ★ ★ Mickey Jo Theatre

‘The Fit Prince […]’ might well be the crown jewel of Awkward Productions.” ★ ★ ★ ★ ★ A Youngish Perspective
  “Bursting with queer joy, mischievous invention, and laugh-until-you-cry mayhem. Swedonia is officially my new happy place.”  ★ ★ ★ ★ ★ Theatre Audience Podcast
  “This is unashamedly fun, fiercely funny, and just an utterly unforgettable experience…the must-see theatrical event of the season.” ★ ★ ★ ★ ★ Pink Prince Theatre
  “A must-see” ★ ★ ★ ★ ★ Celeb Mix
  “Unmissable – supremely silly and hilariously uplifting.” ★ ★ ★ ★ ★ Fairy Powered Productions
  “Had me howling throughout, a must-see…pure unadulterated joy” ★ ★ ★ ★ ★ The Live Review

Praise for previous Awkward Prods shows

“An endless amount of non-stop laughter” ★★★★★★ Jack The Lad
  “Absurd, camp, chaotic, and hilarious” ★★★★★ Attitude
  “Perfectly imagined and brought to life on stage with vision and heaps of silliness”

★★★★★ The National
  “A masterclass of parody” ★★★★★ The Skinny
  “As poised and polished as it is anarchic and outrageous.” ★★★★★ London Theatre1
  “A whole new level of genius” ★★★★★ All That Dazzles
  “The most unhinged piece of theatre in existence” ★★★★★ Broadway Baby
  “Gleeful absurdist comedy at its finest” ★★★★★ Culture Fix
  “Gloriously ridiculous” ★★★★ The Stage
  “Preeningly perfect… very funny” ★★★★ The Scotsman

“Repellent trash” Daily Mail
 
 

The Fit Prince (who gets switched on the square in the frosty castle the night before (insert public holiday here))

Venue: The Lyric Theatre, 55 Ridgeway Street, Belfast, BT9 5FB
 Dates: Friday 13^th – Saturday 14^th March 2026
Time: 7.30pm
 Tickets: https://lyrictheatre.co.uk/whats-on/the-fit-prince

TOUR DATES AND TICKET LINKS:

• BELFAST (Lyric Theatre) – March 13-14 – https://lyrictheatre.co.uk/whats-on/the-fit-prince
• NEWCASTLE (Live Theatre) – April 7-10 – https://www.live.org.uk/whats-on/fit-prince
• MANCHESTER (Hope Mill) – April 21-26 – https://hopemilltheatre.co.uk/event/the-fit-prince/ 
• DUBLIN (Smock Alley) – May 28-30 – https://smockalley.com/the-fit-prince/
• OXFORD (Old Fire Station) – June 6-7 – https://oldfirestation.org.uk/whats-on/the-fit-prince-who-gets-switched-on-the-square-in-the-frosty-castle-the-night-before-insert-public-holiday-here/
• HULL (Truck Theatre) – June 11 – https://www.hulltruck.co.uk/whats-on/general-entertainment/the-fit-prince/
• NORWICH (Playhouse Theatre) – June 21 – https://norwichtheatre.org/whats-on/the-fit-prince/
• BRISTOL (Tobacco Factory) – June 24-27 – https://tobaccofactorytheatres.com/shows/the-fit-prince-who-gets-switched-on-the-square-in-the-frosty-castle-the-night-before-insert-public-holiday-here/
• BRIGHTON (The Old Market) – June 29-30 – https://www.theoldmarket.com/shows/the-fit-prince

YORK THEATRE ROYAL ANNOUNCES MAJOR UK REVIVAL OF

MARGARET ATWOOD’S THE PENELOPIAD

York Theatre Royal today announces a major UK revival of Margaret Atwood’s The Penelopiad. Adapted from her critically acclaimed novella of the same name, this exuberant feminist retelling of Homer’s The Odyssey gives voice to the silenced Penelope and her chorus of maids.

Directed by York Theatre Royal’s Creative Director Juliet Forster, the production will open on 14 October, with previews from 10 October, and runs until 24 October 2026 at York Theatre Royal.

The Penelopiad premiered at the Swan Theatre, Stratford-Upon-Avon, in July 2007 in a co-production between the Royal Shakespeare Company and Canada’s National Arts Centre. This marks the first major UK revival of the show since that production.

Juliet Forster said today,“Margaret Atwood is such a phenomenal writer – she’s clever, witty, subversive and her insights into human dynamics are acutely well observed. The Penelopiad is a funny, moving, fast paced, visual feast, a classical tale told through a contemporary lens. The epic, heroic story of The Odyssey will never look the same again! I am thrilled we will be staging it here at York Theatre Royal, and I can’t wait to get started on the show.”

Priority booking opens for YTR members on 23 Feb at 1pm, with general onsale on 28 Feb at 1pm.

York Theatre Royal presents

THE PENELOPIAD
by Margaret Atwood

10 October – 24 October 2026

Director: Juliet Forster

THE ODYSSEY: HER STORY

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

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

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

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

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

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

LISTINGS

THE PENELOPIAD

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

Box Office: 01904 623568

THE SECRET GARDEN – THE MUSICAL

17 March – 4 April 2026

THE PSYCHIC

29 April – 23 May 2026

THE PENELOPIAD

10 – 24 Oct 2026

SNOW WHITE & THE SEVEN DWARFS

4 Dec 2026  – 03 Jan 2027

TIKTOK STAR WILL PARFITT TO LEAD MAGIC MEN UK ARENA AND THEATRE TOUR IN 2026

British performer Will Parfitt will headline a UK arena and theatre tour in 2026 with Magic Men, the internationally touring live show from Australia.

The global stage show has played to arena-sized crowds worldwide and has sold over one million tickets across North America, Asia and Europe. At its biggest event so far, more than 6,000 people attended a Saturday night performance in Oslo in 2025, the largest audience recorded for a live male revue. Parfitt, who fronts the Magic Men show, has built a major online following. He has more than 15 million followers across social media, and videos of his performances have been viewed more than two billion times.

The backpacker-turned-male-stripper and viral phenomenon

He did not originally plan a career on stage. In his early twenties he was travelling in Australia and working odd jobs when a nightclub promoter asked him to take part in a live performance. Expecting it to be a one-off experience, he agreed. The booking led to further appearances and eventually international touring as the venues grew from small clubs to theatres and later arenas with thousands of spectators.

Parfitt says the live reaction keeps him performing. “Every girl is going to feel special on that night. You never get the same crowd twice,” he says. “You respond to them and they respond back.” Excited to be coming back to the UK he continues “We’ve performed all over the world, but coming home feels really special. UK crowds really know how to have fun, and I know this is going to be an unforgettable experience for everyone.”

The show combines choreographed routines, music and audience interaction, with spectators often invited on stage during the performance.

Promoter Maria Ohlson says audiences quickly settle into the atmosphere. “Once the show starts, people relax,” she says. “After that, the room carries the night on its own.”

Tickets go on pre-sale on Thu 26 February and general sale Fri 27 February

Magic Men Australia

Facebook: https://www.facebook.com/MagicMenAustralia

Instagram: https://www.instagram.com/magicmenaustralia

TikTok: https://www.tiktok.com/@magicmenaustralia

Will Parfitt

Facebook: https://www.facebook.com/willparfittTM

Instagram: https://www.instagram.com/will_parfitt

TikTok: https://www.tiktok.com/@will_parfitt

LISTINGS

Magic Men

M&S Bank Arena                                             www.mandsbankarena.com

Thu 15 October

Venue Cymru                                                   www.venuecymru.co.uk

Sun 18 October

Portsmouth Guildhall                                      www.portsmouthguildhall.org.uk

Tue 20 October

Bournemouth International Centre                  www.bic.co.uk

Wed 21 October

Bradford Live                                                  www.bradfordlive.co.uk

Fri 23 October                                      

SEC Armadillo, Glasgow                                 www.sec.co.uk

Sat 24 October

Middlesbrough Town Hall                               www.boxoffice.middlesbrough.gov.uk

Fri 28 October

O2 City Hall Newcastle                                    www.academymusicgroup.com/o2cityhallnewcastle

Thu 29 October

Swansea Brangwyn Hall                                  www.brangwyn.co.uk

Fri 30 October

Fairfield Halls Croydon                                    www.fairfield.co.uk

Sat 31 October

More dates to follow

Short listings copy

Magic Men have sold over 1 million tickets worldwide and now the world’s biggest Ladies Night is coming to you. Starring international sensation Will Parfitt, this bold, high-energy production is packed with wild performances, razor-sharp choreography, and irresistible stage presence. It’s not just a show it’s a party! One night. One show. One unforgettable experience.

Strict 18+ policy