Author: FairyPoweredProductions

The acclaimed comedy theatre company 

Le Navet Bete presents

Oh Zeus!

A riotous, hilarious ride through Greek mythology

touring UK theatres from Spring 2026

Kings of comedy Le Navet Bete – one of the UK’s most-loved comedy theatre companies and creators of smash-hit family shows Dracula: The Bloody Truth, King Arthur and Treasure Island – have teamed up with one of the country’s best comedy writers and directors, Olivier Award nominated John Nicholson (The Time Machine: A Comedy), to present their riotous all-out hilarious ride through the world of Greek mythology Oh Zeus! on tour from March 2026. 

When the stability of Olympus is threatened by the marriage of Zeus’ daughter Hebe to a mere mortal, the King of the Gods hatches a plan to derail the wedding. Three actors play 40 characters in this mythical farce through Ancient Greece, the Underworld and back. 

Expect sensational physical comedy, outrageous jokes, fast paced chaos, and more togas than you can smash a plate at – perfect for lovers of Fawlty Towers, Bottom and The Play That Goes Wrong.

.Oh Zeus! tour will visit: Queen’s Theatre, Barnstaple (20-21 March), Exeter Northcott Theatre (8-18 April), New Wolsey Theatre, Ipswich (5-9 May), Lichfield Garrick Theatre (26-27 May), York Theatre Royal (18-20 June), Cast, Doncaster (3-4 July), Lowry, Salford (28 July-1 August) and Lighthouse Poole (25-26 September). Further 2026/27 dates will be announced.

Le Navet Bete is comprised of Al Dunn, Nick Bunt and Matt Freeman. Since 2008, Le Navet Bete has been touring the UK and internationally with their unique and chaotic style of physical comedy and have earned the reputation as one of the UK’s leading midscale theatre companies. Proudly based in Exeter, Devon and supported by organisations such as Arts Council England, the Exeter Northcott Theatre and the Exeter Phoenix they have been on a continuous mission to create and tour hilarious, physical and totally accessible comedy theatre using creative and engaging storytelling for absolutely everyone (ages 4 – 104!). 

Whilst Oh Zeus! is suitable for ages 12+, there will be additional ‘no kids allowed’ performances held at many tour venues – expect the same brilliant show but with more adult humour, swearing and added naughtiness.

For more information about Oh Zeus!, visit Le Navet Bete’s website: www.lenavetbete.com. 

LISTINGS 

Production: Oh Zeus! 

Producer: Le Navet Bete

Age Guidance: 12+

Content Warnings: None

Running Time: 2 hrs 30 minutes (including interval)

2026 TOUR DATES

20-21 March Queen’s Theatre, Barnstaple 

https://queenstheatre-barnstaple.com/events/oh-zeus/

8-18 April Exeter Northcott Theatre 

https://exeternorthcott.co.uk/events/oh-zeus/

5-9 May New Wolsey Theatre, Ipswich 

https://www.wolseytheatre.co.uk/events/oh-zeus/

26-27 May Lichfield Garrick Theatre 

https://www.lichfieldgarrick.com/events/oh-zeus#dates-and-times

18-20 June York Theatre Royal 

https://www.yorktheatreroyal.co.uk/show/oh-zeus/

3-4 July Cast, Doncaster 

https://www.castindoncaster.com/events/oh-zeus

28 July – 1 August Lowry, Salford 

https://thelowry.com/whats-on/oh-zeus-8t8s

25-26 September Lighthouse Poole

https://www.lighthousepoole.co.uk/event/oh-zeus/

Further 2026/27 dates to be announced

The Lyceum, Sheffield – runs until 21st February 2026

Reviewed by Sophie Dodworth

5*****

The most popular Tiger Who Came forTea has snook back into the Lyceum for yet another fantastic run of entertaining Sheffield’s (and further afield) little ones, and maybe some adults, according to the energy and reactions that were around in the auditorium. At just fifty-five minutes, it is a perfect length to keep your little people sat firmly on their seats without too many losing interest.

The book, first published in 1968, written by Judith Kerr was, and still is very much loved and remembered by all that spend time with this wonderfully innocent and endearing tale. A firm favourite that really has stood the test of time and is read on repeat at bedtimes everywhere!

You are invited into the home of Sophie and her Mummy and Daddy on a very typical day in their lives. Daddy goes to work as he always does, while Mummy and Sophie have a day in the house. The milkman arrives for his visit with all his stock of cupboard fillers and then the knock on the door brings in a new guest that has never been before…the Tiger. The Tiger is hungry and in all their kindness, Sophie and Mummy let the Tiger eat all their food and drink all their water! What will they do when Daddy comes home and there is nothing in for dinner? You will have to attend on the tour to find out…

The cast this time round are outstanding and all are able to draw you in to their character with their charisma and well-honed acting skills. Aaron Andrews plays the roles of Daddy/Milkman and The Tiger so perfectly well. He adds real fun to the role of the Milkman, with rounds of laughter from the audience at his well-timed comedic moments. Sophie is played by Eleanor Meredith, and she does a cracking job, it can’t be an easy feat to play an infant when you’re an adult, but she does it so believably. Mummy is played by Jenanne Redman and a steely job here too, absolutely committed to staying in character and professional throughout. A solid trio all round.

There’s probably as much audience participation in this show as there is in in your typical pantomime, which just goes down such a treat. Songs aplenty with reems of repetition and assistance by the cast to help the crowd learn and join in, making it such fun.

Well worth a trip to see this if you can catch it at Sheffield or on the rest of the tour. A fantastic hour of classic fun, talent and warm-hearted moments.

Leeds Playhouse – until 28 February 2026

Reviewed by Dawn Smallwood

4****

A Midsummer Night’s Dream is a joint production by Headlong and Shakespeare’s Globe and also with Bristol Old Vic and Leeds Playhouse. It is currently touring to four theatres including the Playhouse. The Shakespeare’s comedy was written in the 16th Century and is today one of the most popular well-known plays.

The comedy is set in Midsummer Athens and the comedy is centred around two subplots. Both subplots are revolved around Theseus (Michael Marcus) and Hippolyta (Hedydd Dylan) who are about to be married. The first subplot is around four Athenians, Hermia (Tiwa Lade) and Lysander (David Olaniregun) and Helena (Tara Tijani) who is in love with Demetrius (Lou Jackson) but he isn’t in love with her. Hermia and Lysander escape to the forest and both Helena and Demetrius follow them. The second subplot is a group of actors, made up by the restaurant staff including Peter Quince (Jack Humphrey) and Nick Bottom (Danny Kirrane). The group travels to the forest to rehearse their play for the imminent Theseus and Hippolyta’s wedding.

The fantastical and magical forest, figuratively shown on stage, evokes emotions and discoveries and both subplots begin to unravel. All the characters enter a world of chaos, conspiracy and confusion amid a dispute over a child between Oberon (Marcus) and Titiana (Dylan), the King and Queen of Fairies. Oberon with the help of Puck (Sergo Vares), a sprite, schemes his plan to get the child for himself and this begins the confusion and drama.

This extends to all the characters in the forest; Bottom becomes a donkey and Titiana falls in love with him. The cast is mistakenly spelled further to the Athenians with a love triangle begins with Lysander and Demetrius falling in love with Helena. The plots continue to unravel until resolutions are sought and subsequently ends all well for everyone.

This production has been adapted for winter and it certainly has a fresh and contemporary approach and interpretation which aligns with Headlong’s aims. Under the direction of Holly Race Roughan and Naeem Hayat, the key prose, poetic forms in the text are not compromised and its modern interpretation appreciates Shakespeare’s writing ingenuity. The production is engaging, funny and yet serious with the key themes raised in the story. One can resonate with the premise of dreaming and how it aligns with and triggers from everyday reality and relations. There is something for everyone and the play offers an invitation to consider deeply the concerns and cares of the world.

The simplistic and sustainable staging, courtesy of Max Johns, with its white deco and winter themed works well with the key themes and its versatility to project the story in all environs. The space is well used and the auditorium is utilised with the characters appearing from the various exits. The staging is complimented with Joshie Harriette’s lighting and Nicola T. Chang’s music and soundscapes.

With each member of the cast portraying well the roles, this production of A Midsummer Night’s Dream is very enjoyable, excellently put together, entertaining and evoking. It offers one to examine the story, deeper and further beyond the play.

Riverside Studios – until 4 March 2026

Reviewed by Laura Mobilia

4****

Too Small to Tell is a powerful one-woman play that tells the story of a young woman who has just graduated from drama school, pursuing dreams of becoming a successful actor and encountering the challenges and difficulties that this career brings to those who don’t have a “name”. She finds a job at Miramax in London, Harvey Weinstein’s famous company, only to find herself under the orders of a famous man with a now infamous history of abuse.

As soon as you enter the theatre, the video with its voices, words and music brings you into the world of Weinstein — a man who brought many women to fame and success in the middle of a sad atmosphere of power and abuse.

The protagonist, Lisa Rose, who is also the author and tells the story in the first person, changing from one character to another, takes us inside this world and through her personal story — a story hard to tell, a story about resilience and a desperate need to shout to the world what happened at Miramax London, but also what happens inside her. This mixture of drama, pain and resilience, with touches of comedy, allows Lisa Rose to give a great and detailed performance with very strong body work, and immerses us in a crude and tough world.

The set design and props are reduced to a minimum, but this works well with the costume and lighting design; everything kept in black and white, which suits the spirit of the play.

We see a standing microphone which is used by the actor to break the fourth wall and connect with the audience. Every time she stands there, she reveals more of her true self, speaks directly to the audience and allows us to see her vulnerable side. When she leaves the microphone, she returns to different characters — her younger self, her colleagues, Harvey Weinstein — giving a very talented variety of performances that make us feel we don’t really need other actors on stage. The way she changes from role to role is technically impressive.

The co-directors Liz Ranken & Paula B Stanic did a very good job directing this play — the scene transitions, the movement direction, and the technical aspects such as video, music, sound and lighting.

We can see a small team that works well together and has taken this play to several stages, hopefully with more to come.

Birmingham Rep – until Saturday 7th March 2026

Reviewed by Nadia Dodd

5*****

The Battle crashes onto the stage like a distorted guitar riff from 1995 — loud, cocky and absolutely gagging for a fight. Written by John Niven and directed with turbo-charged flair by Matthew Dunster, this gloriously profane comedy dives headfirst into the era of 90s Britpop and the legendary Oasis vs Blur chart war.

Front and centre are Damon and Liam, played with swaggering brilliance by Oscar Lloyd and George Usher. Lloyd’s Damon is all art-school smirk and calculated cool, relishing every smug aside, while Usher’s Liam is a firecracker in a parka — prowling, snarling and delivering insults like they’re platinum singles. Comic timing is razor sharp, each pause and pout milked for maximum effect. It’s less polite rivalry, more playground brawl with record deals attached.

The language? Filthy. Gloriously, creatively, unapologetically filthy. Audiences should prepare for industrial levels of swearing, deployed with such rhythm and invention that it becomes a kind of poetry. Niven’s script revels in the egos and excess of the era, and the cast hurl expletives with fearless commitment. If you’re easily shocked, bring earplugs. If not, buckle up.

Adding fuel to the chaos is Liam’s long-suffering brother Noel, played wonderfully by Paddy Stafford. Stafford’s Noel often appears as the only man in the room with a flicker of common sense, though he’s perpetually dragged back into the madness. His weary glances and simmering frustration provide some of the evening’s biggest laughs — a masterclass in saying everything with a single look.

There’s scene-stealing support, too, from Matthew Horne as Andy Ross, whose music industry polish barely disguises a man gleefully stoking the feud for sales. Horne leans beautifully into the opportunism, all nervous charm and corporate spin. Louisa Lytton brings warmth and steel as Meg, cutting through the laddish posturing with grounded intelligence. Lytton ensures Meg is far more than a bystander; she’s a steadying presence amid the testosterone storm.

The multi-dimensional set shifts and slides throughout, cleverly repositioned by members of the cast in full view of the audience. Platforms rotate, furniture glides, and entire scenes are reshaped on the fly, giving the show a restless energy that mirrors the volatile rivalry at its heart. These transitions feel choreographed rather than practical — the stage itself seems caught up in the battle.

Dunster’s direction keeps everything moving at breakneck speed. Just when an argument threatens to explode beyond control, a perfectly timed lighting shift or set change spins us into the next confrontation. It captures the sense of a cultural moment spiralling wildly, driven by ego, media hype and genuinely cracking tunes.

And then there’s the ending — which is, frankly, a little bit nuts. It tips gleefully over the edge into full-blown comic absurdity, escalating the madness to a level that has the audience roaring with laughter. It’s the kind of finale that has to be seen to be believed.

By curtain call, The Battle feels like you’ve survived (and thoroughly enjoyed) the Britpop wars all over again — only funnier, louder and with even more swearing. Whether you were Team Blur or Team Oasis, this production proves one thing: in this battle, the audience wins.

SISTER MARY 

in

“OH SISTER MARY”

A musical comedy cabaret

Soho’s Original Cabaret Nun is back! 

“Relentlessly Funny” London Evening Standard

“Pick of the Day” New York Times. 

“Comedy Gold” Three Weeks

***** Musical Theatre Review

“More Painful then childbirth” Time Out. 

Yes, she’s back. Sister Mary, Soho’s original Cabaret nun presents her show 

“Oh Sister Mary” for a strictly limited one week run at 

The Arches Lane Theatre, Battersea 

Battersea Power Station, Arches Lane, Nine Elms, SW11 8AB

(formerly Turbine Theatre)

Tuesday March 17^th till Saturday March 21^st at 7pm. 

Tickets from £15!

www.archeslanetheatre.com

Following her show last year at Charring Cross Theatre and her summer season in New York and Provincetown, join Sister for a new fun filled show of singing, comedy, silliness, showtunes, some surprises and a few games and possibly a small dose of audience participation. 

No prayers here, she’s not that sort of nun. 

Found on the steps of St Peters of the Sisters of the Third removed in Soho, she dreams that musical theatre star Elaine Paige is her mother? But is this a fantasy or a fact? Let her tell all, but will you confess your sins to the original showbiz nun? 

Nottingham Theatre Royal – until Saturday 21 February 2026

Reviewed by Louise Ford

5*****

If you’re not crying, you must be deaf!

A distinctly chilly February evening saw us heading off to the Theatre Royal to enjoy Sunny Afternoon. It’s over 60 years since The Kinks had their first number one, “You Really Got Me”, the song and sound are as loud and aggressive as ever. The play is based on the book Sunny Afternoon by Joe Panhall and is in association with Hampstead Theatre and Aron Productions. It first hit the stage back in 2014.

The story charts the rise and blows of The Kinks, from Ray (Danny Horn) and Dave’s (Oliver Hoare) humble and chaotic childhood in Fortis Green, to their ill-fated tour of America and eventually becoming rock legends.

The set designed by Miriam Buether emphasises the world of music, there are speakers everywhere and instruments permanently on stage. The whole cast, not just the band, constantly pick up and play a variety of instruments. They are an incredibly talented bunch. The importance of music is also picked up in the choreography (Adam Cooper), which is energetic and seeps out into the auditorium. There are also quite a few costume changes, some of which take place on stage, much to the audience’s amusement.

We see the boys in their bedroom playing guitars, drums or anything they can knock out a tune on. There are six older sisters who ebb and flow through the family home and bedroom, getting ready for a night out. The family is held together by Mrs Davies (Deryn Edwards) and Mr Davies (Phil Corbitt), who were themselves no strangers to belting out the odd tune.

The band starts out life as a backing band, The Ravens, for Crooners. Stifled with the music they are forced to play, they explode with their own sound, and thus starts their journey to fame and (eventual)fortune. The story really focuses on the musical genius of Ray and his troubles and doubts. Danny Horn delivers a captivating performance, which in turn is powerful and sensitive. He really does steal the show. He is equally matched by Oliver Hoare playing the, at times, out-of-control Dave, drunk on fame and stardom. Their bitter arguments and feud contribute to the band’s troubles both on and off stage.

The other two band members are slightly in the shadows of the main act. However, they are thoughtfully portrayed by Harry Curley (Pete Quaife) and Zakarie Stokes (Mick Avory). To be fair, this is really Ray Davies’ story and everyone else is a supporting act.

The tender moments of Ray’s life are covered sensitively in his relationship with Rasa (Lisa Wright).

The story carefully weaves in the precarious nature of four working-class lads entering into the world of pop music, with the associated managers and hangers-on, all looking to take their cut or percentage of the band’s fame. Whilst there’s more to say about the exploitation endemic in the music industry and class structure keeping the working class talent in their place, this review isn’t the place! However, the play does highlight the issues without ramming them down your throat.

All in all, an excellent night out. The audience clearly loved the mix of theatre and rock concert. Even this morning, the strains of Waterloo Sunset are still softly ringing in my ears.

As long as I gaze on the Waterloo sunset, I am in paradise.

The Grand Theatre Blackpool – until 21 February 2026

5 *****

The 2026 stage adaptation of Single White Female, adapted by Rebecca Reid based on an update to the classic 1990s thriller for the social media era and directed by Gordon Greenberg, is a modern psychological thriller set in England. It follows Allie who takes in a lodger which leads to a sinister and obsessive relationship.

Allie a recently divorced mother, is struggling to balance single parenthood with the launch of her tech start-up. Under financial pressure (ex-husband Sam has slashed child maintenance payments) she advertises for a lodger on the suggestion by her friend Graham to share her home and help with the expenses.

Hedy, a seemingly delightful and attentive woman, responds to the ad and as Allie feels she is the perfect, relatable, and charming choice, she accepts her as a lodger and quickly becomes a lifeline for Allie.

Unfortunately, Hedy is not as she seems and as their lives intertwine, Hedy’s admiration for Allie turns into a dark obsession. She begins to mirror Allie’s habits, appearance, and relationships, effectively trying to erase and replace her. Boundaries begin to blur as Hedy manipulates those around Allie, including her teenage daughter, Bella, and her ex-husband Sam.

The tension builds with themes of social media, digital footprint, and, in some interpretations, a “creeping metamorphosis” where Hedy seeks to steal Allie’s identity entirely. This results in the ‘perfect arrangement’ unravelling into a psychological battle for control, culminating in a tense confrontation where Allie must fight to reclaim her identity and protect her family.

This production is set in a modern, often high-tech, apartment that becomes a sentient presence reflecting the instability and danger of the situation. It explores themes of obsession, isolation, and the modern performance of self. It also features intense, dramatic moments that border on melodrama, characterized by a mix of psychological suspense and thriller elements.

Kym Marsh (Hedy) and Lisa Faulkner (Allie) had a controlling stage presence with their chemistry with Kym providing a measured and quietly unnerving performance, balancing fragility with menace and Lisa for bringing relatable warmth to her character. Jonny McGarrity (Sam) portrays him as likeable and light-spirited despite his reputation as a “womanising” and “alcoholic” ex-partner. Andro (Graham) provided some essential light relief and a grounded sense of humanity to the story. Finally, to Amy Snudden (Bella) for her standout performance bringing an emotional authenticity and realistic portrayal of a moody, insecure 15-year-old.

Special thanks also need to go to Morgan Large for the set and costume design with the well thought layout of the set and costumes which established a clear visual distinction between Allie “beige mum” and Heddy with her darker palette. Jason Taylor for the lighting design and Max Pappenheim for the sound design as both were very cleverly used creating some very creepy moments at times which added to the tension.

Single White Female will appeal to fans of the original film like me and who are curious to see how the story translates to a British setting and a modern context.

For theatregoers who enjoy thrillers with plenty of twists and intrigue, then this offers a fast-paced evening with a side of nostalgia.

York Opera House – until Saturday 21st February 2026

5*****

Last night in York, Prima Facie proved itself to be exactly what its reputation promises: urgent, devastating, and impossible to shake. Performed at the York Grand Opera House, this one-woman play landed with the force of a verdict read aloud in a silent courtroom.

At the centre of it all was Jodie Comer, delivering a performance that can only be described as blistering. This was a tour de force in the truest sense, controlled, ferocious, and heartbreakingly precise. To borrow the play’s own language, Comer’s work here is the crème de la crème: the very best of what contemporary theatre can offer.

Written by Suzie Miller, Prima Facie charts the transformation of Tessa, a brilliant criminal defence barrister who believes fervently in the law, until the law turns its cold, procedural gaze on her. Miller’s writing is razor-sharp, balancing legal argument with deeply personal testimony, and Comer navigates these shifts with astonishing clarity. She moves seamlessly from swaggering courtroom confidence to vulnerability and rage, never losing the audience for a second.

The staging is deceptively spare. The set, designed by Miriam Buether, places Tessa in a flexible, abstract legal landscape: part courtroom, part memory, part psychological battleground. It’s a space that Comer actively works, rearranging furniture, shifting objects, and physically reshaping the stage to mirror Tessa’s changing inner world. Watching her do this while remaining fully inside the character is a quiet marvel of theatrical discipline.

Equally striking is the lighting design by Natasha Chivers, which sculpts the performance with forensic precision. Stark whites interrogate, deep shadows accuse, and sudden shifts in tone land like legal objections. The lighting doesn’t decorate the action; it argues with it, underscoring the play’s themes of exposure, power, and scrutiny.

What makes Comer’s achievement all the more extraordinary is the sheer endurance required. For 100 uninterrupted minutes, she is alone on stage — no breaks, no scene changes to hide behind — delivering a torrent of complex dialogue entirely from memory. The mental and physical effort involved is immense, and yet it never shows. Every line feels freshly discovered, every pause deliberate.

One of the most indelible images of the evening comes when rain begins to fall on Tessa. It is a simple theatrical device, yet utterly devastating in effect. Comer sits just off-centre stage as the water pours down on her, her exterior stripped away with everything else, until she is just a woman in a summer dress, soaked, shaking, and broken. Her composure dissolved into raw, unguarded grief; tears mixed with rain as she stared into the void, overwhelmed by what had been taken from her and by the system she once trusted. In that moment, there is no rhetoric, no advocacy, only heartbreak. The audience watches, transfixed, as Comer allows the silence and the rain to do their work, creating a tableau of vulnerability that feels almost too intimate to witness. It is a scene that lodges in the chest and refuses to leave.

By the final moments, the audience in York was utterly still, held in a collective breath. Prima Facie is not an easy night at the theatre, but it is an essential one — and Comer’s performance ensures it will linger long after the lights go down.

*I would like to make it clear that I paid for my ticket for Prima Facie but was so inspired by this outstanding piece of female empowerment

Yvonne Arnaud Theatre – until 21st February 2026

Reviewed by Heather Chalkley

5*****

Writer Patricia Highsmith’s character, Tom Ripley, is brought to life by Mark Leipacher in this adaptation of her acclaimed novel. The focus on character building in the first act draws you in and is amplified by the ensemble, as they move in unison, breathing the same breath. The tension reaches a crescendo right from the start of act 2, with the first murder, continuing to roll on and on throughout each scene to the end. This is a masterpiece in direction.

Ed McVey (Tom Ripley) captures the audience from the first moment, instantly conveying an uncomfortable weirdness, whilst being perfectly polite and amenable. Completely owning a dialogue full of Constant lying, weaving an intricate web, McVey (Ripley) does not drop a single line, miss a cue, change in accent or props. Doubling as narrator, only his murderous character can lace the dialogue with a smattering of humour. 

Bruce Herbelin-Earle (Dickie Greenleaf) carries the suave, unconcerned demeanour of this entitled son of a wealthy man, with ease. Herbelin-Earle manages to bring out the ruffled feathers and piqued temper of Dickie, in a controlled manner that comes with the confidence of the wealthy. Maisie Smith (Marge Sherwood) portrays the heartache of a woman in love who knows that love will never be returned but hangs in there anyway. Smith (Sherwood) gives an honest performance that is perfectly balanced with her co-stars. 

The flexibility of the ensemble is impressive, as they duck in and out of the different characters, purveying a menagerie of body language and accents. The ensemble working together as one body, to represent the tension and pressure experienced by Ripley (McVey) is profoundly effective, reflecting the catch line ‘have you ever felt you are being watched?’.

 Choreographer, Haruka Kuroda, uses clever lighting and slow motion to deliver impactful fight and intimacy scenes. Always difficult to make it believable, the audience physically wince at times. The love making scene between Marge (Smith) and Dickie (Herbelin-Earle) is simply beautiful. The staging is inspired, white and unyielding in its starkness, combined with smoothly rolling scenery, sound effects and mood lighting, you know straight away what is being created. 

The audience is captivated from start to finish! A great evening’s entertainment.