Author: FairyPoweredProductions

Southwark Playhouse Borough – until 17 May 2025

Reviewed by Claire Roderick

3***

This silly but loving comedy set on a tube train is a very London centric production. Pulling out all the stops, there’s a spoof version of the freesheets that litter every carriage on the TfL network, The Retro, as a programme, while an actor in TfL gear with a loudspeaker marches around the bar preshow making mock announcements – “Mind the gap between this performance and your expectations” was a winner! The preshow playlist is a big hit, with many audience members singing along to classics about London. Obviously, The Jam’s Going Underground HAD to be played.

Hamish Clayton and Tom Woffenden’s story centres around two strangers getting on the train at Heathrow and riding the entire line to Cockfosters. James (Sam Rees-Baylis) has returned from a solo trip to Venice after splitting from his girlfriend and his luggage has gone missing. Tori (Beth Lilly) has been at a yoga retreat in Mexico after having a self-declared quarter-life crisis. A few awkward comments and silences soon become a full-blown conversation as the couple bond on their journey. Tori’s grandfather worked with the man who designed the tube map and she has a mysterious connection with the Underground but that secret unfortunately died with her grandfather.

Hamish Clayton directs with great energy and what follows is a random collection of sketches as instantly recognisable characters and caricatures enter and alight the carriage. (A fantastic realistic set designed by Gareth Rowntree – but thankfully without the smell.) Jimmy Bryant, Liam Horrigan, Natasha Vasandani and Emily Waters play American tourists confused by pronunciations and quirks in design, a woman who has an existential crisis when she is offered a seat, a family of Arsenal fans and, for some reason, the grim reaper. Most of these scenes are very funny, but others could be trimmed or cut altogether. The musical numbers are more consistent, with a raucous hen party, a busker who has a song mentioning every station on the network, and a rap battle to determine whether North, South, East or West London is best. The latter drew the biggest laughs, gasps and cheers of the night as insults were hurled. This is one of the shows weaknesses, as it speaks very loudly to the tribalism of Londoners and their love/hate relationship with the tube, but none of this would consistently elicit big laughs outside of London.

The development of Tori and James’s relationship is sweet, and there is a kind of resolution to her mystery, which was signalled very heavily throughout. The cast are a hoot, with Lilly and Rees-Baylis the quieter calm spot and anchor as the cast clown around them. The energy is undeniable and there are many very funny moments but the swift changes of tone are non-stop and the tender ending gets a little lost after the relentless parade of over-the-top silliness.

Cockfosters is like the TfL’s Sunday service – a little hit and miss. But if you are looking for 70 minutes of fun and nonsense with a super cast, this is the show for you.

Wyndham’s Theatre, London – until 12th July 2025

Reviewed by Celia Armand Smith

3***

“My Master Builder” by playwright Lila Raicek is a reworking of the Ibsen classic. Reimagined for modern audiences, Michael Grandage’s new production offers an exploration of legacy, guilt, and how the past can pull you back in. Set on 4th July in the beautiful Hamptons home of superstar architect Henry and his publishing bigwig wife Elena, Henry is unveiling his latest project – the old Whalers’ church. A huge glass pyramid like structure built in memory of their son Max who had died on the site ten years previous. To celebrate, Elena throws a party and invites friends and colleagues, past and present.

Elena has invited a former student, Mathilde/Hilde, with whom Henry had a not so secret student/teacher tryst a decade earlier. Mathilde happens to be the best friend of Elena’s assistant Kaia, who happens to be in a secret relationship with Henry’s protege Ragnar who is also the object of Elena’s desires. As you probably guessed, this all makes for a messy night of making and breaking of relationships and hearts.

Ewan McGregor as Henry, back on the stage for the first time in nearly 20 years, is definitely an exciting bit of casting but it is Kate Fleetwood as Elena who is the real star of the show. Whilst the character of Henry seems a bit sad and desperate, Fleetwood’s Elena is a fiery tour de force plus she gets all the best lines in the show. The tension between Elena and Elizabeth Debicki’s Mathilde is palpable from the get go, the women’s story is much the most interesting thing about this play. Mirren Mack’s Kaia adds another female viewpoint and she is also excellent in her portrayal of the put upon assistant. David Ajala as Ragnor provides some lightness and laughs which is a nice contrast to the tangle of relationships in which everyone is involved.

The real star of the show is Richard Kent’s beautiful set. A dreamy blue seascape and wind blown grasses sit behind large wooden window frames and doors complete with Paule Constable’s deliciously balmy lighting. A compellingly serene setting for a tumultuous night of drama.

It’s always good to experience a classic play projected through a different lens and My Master Builder shines a light on some stellar performances and an utterly gorgeous set. Some of the themes could have been explored with a bit more depth and some of the characters lacked a bit of oomph, but the talent on stage keeps things moving right up until the dramatic ending. This modern drama with a 19th Century foundation is an enjoyable watch.

Theatre Royal Wakefield – until 3rd May 2025

Reviewed by Lauren Fordham

5*****+

‘Everybody’s Talking About Jamie’ is a musical adapted from the 2011 documentary ‘Drag Queen at 16’. The biographical BBC3 programme is about Jamie Campbell (renamed Jamie New in the musical) who wanted to wear a dress to his school prom and become a drag queen.

‘Everybody’s Talking About Jamie’ is expertly handled by Diva Productions’ cast, led by James Banks who is confident and charismatic both physically and vocally as Jamie. That confidence and competence is evident in his and others’ unashamed riffing on the score, which also adds depth to their characterisation. 

This is particularly true in the case of Esmae Bloomer in her portrayal of Pritti Pasha, Jamie’s Muslim best friend, whose impressive vocal acrobatics give a contemporary feel to a complex character grappling with historic religious customs in modern society. 

But the thing that sets Diva Productions apart from, and in my opinion, elevates them above other theatre companies, is their innovative use of video screens, the brainchild of director and designer, Andrew Ashley. Video screens are used effectively to expand the set and add detail, such as the interior of Jamie’s house, and his classroom, complete with exam countdown and careers poster. They also effectively and evocatively supplement and accentuate the lyrics of and metaphors in the songs. For example, the opening song ‘And You Don’t Even Know It’ features not only videos of ‘the clock on the wall that’s moving too slow,’ but also expanding and shrinking boxes to reflect Jamie’s gender non-conformity and to represent how he cannot be categorised or constrained by his careers teacher, Miss Hedge, or by society as a whole. 

As powerful as these tools are, on the one hand, they were absent and arguably rendered unnecessary during the most emotional numbers, Ugly in this Ugly World sung by Jamie, and He’s My Boy, sung by his mother Margaret New, empathetically played by Meg Riley. These are songs that demand to be felt in the heart and visual effects would have only diluted and distracted from the complex emotions that are just as powerful and resonant psychologically as Banks’ and Riley’s voices are physically.

I also want to pay tribute to Charlotte Wallis’ choreography and Andrew Ashley and Nathan Purcell’s lighting design. Wallis’ use of additional dancers alongside Jamie when he sang about climbing ‘The Wall in My Head,’ and Ashley and Purcell’s use of the colours of the trans flag as the sunset dovetailed perfectly to demonstrate that Everybody’s Talking About Jamie is not about one gay boy, but encompasses the queer community as a whole, as everyone faces discrimination they must overcome. The song’s lyrics remind the audience that everyone in society is vulnerable to negative voices and influence so we should all be careful, intentional and thoughtful with our words and actions. 

The only low point of the production (bar a few technical screen flickers)  wasn’t actually part of the production at all, it came at the end of the show when the screens displayed violent, homophobic rhetoric that had been shared about the show on social media. 

These unacceptable attacks simply serve to underscore how important the empowering, inclusive message of ‘Everybody’s Talking About Jamie’ is, so I implore everyone to get down to the Theatre Royal Wakefield, step into the spotlight, and take up the place where YOU belong before the light goes dark on Saturday 3rd May.

Liverpool Olympia – 2nd May 2025

Reviewed by Carla Whittaker

5*****

Irish Annies is a joyful celebration of Irish music, humour, and community spirit, brought to life through the warm and chaotic world of a local Irish pub.

Created by Asa Murphy and featuring live music from six-piece band The Shenanigans, the story follows pub landlady Annie and her loyal band of regulars as they navigate the threat of losing their beloved pub. Every day is St. Patrick’s Day in Annie’s, and the pub is filled with the charm of Irish culture: live music, hearty banter, and that ever-welcoming spirit. But when Moira the Moneylender arrives to collect a long-standing debt, the pub’s future hangs in the balance. Despite the uncertainty, the regulars rally together, and what unfolds is a night of laughter, storytelling, music, and good old Irish resilience.

As the show unfolds, we learn that Annie’s pub has become more than just a bar – it’s a cornerstone of the community, a place where stories are shared, laughter echoes, and music is the heartbeat of daily life. However, the looming threat of closure due to unpaid debts brings an emotional weight to the otherwise festive atmosphere. Annie struggles with how to break the news to her loyal customers, all while trying to keep spirits high. Moira the Moneylender’s impending visit creates a ticking clock, intensifying the drama while providing opportunities for comedic conflict. Throughout the evening, each of the regulars reveals their dreams, disappointments, and devotion to the pub. Ultimately, the community bands together in a heartfelt climax that celebrates resilience, friendship, and the power of music to unite.

Asa Murphy shines as Seamus Murphy, full of cheek and charisma, effortlessly guiding the action while also leading the band. Samantha Alton is outstanding as Irish Annie, perfectly capturing the spirit of a landlady who is both fiercely protective and warmly maternal. Her interactions with both cast and audience felt genuine and spontaneous. Ricky Tomlinson – a household name thanks to his role in The Royle Family – appears as himself, delivering belly laughs and crowd interaction through his stories of prison life, encounters with film stars, and tales from his career. Other strong performances include Lesley Longley as the lovable porky the postman, Richard Barry as the passionate but down-on-his-luck actor Noel Singen-Smithe, and Lynne Fitzgerald as the stern and memorable Moira the Moneylender. Each cast member brought unique charm and chemistry to the ensemble, resulting in a tight-knit and believable community.

The direction is sharp and well-paced, ensuring that the energy never dips. The set is a character in itself: a lovingly recreated Irish pub complete with Guinness signs, aged furniture, and atmospheric lighting. The setting instantly transported the audience to a cosy, familiar place, while the costumes grounded each character in authenticity. There was evident attention to detail in the production design, making the performance space feel intimate and immersive. From the lighting changes to the transitions between scenes, everything was slick and professional, enhancing the overall experience.

The script, written by Asa Murphy, strikes a perfect balance between comedy and emotion. The dialogue is sharp, witty, and filled with colloquial charm. Characters felt rounded and real, with clear relationships and backstories woven seamlessly into the narrative. The show’s musical backbone, featuring a mix of Murphy’s original songs and beloved Irish tunes, elevated the emotional beats and punctuated the comedy with heartfelt melodies. Audience interaction was a key component, and it never felt forced – rather, it was a natural extension of the pub setting. Ricky Tomlinson’s anecdotes and Murphy’s hosting brought a cabaret-style freshness to the production.

From the first note to the final curtain, the pace was fast and energetic. Scenes flowed smoothly, and the integration of music, dance, and dialogue kept the audience consistently entertained. There was never a dull moment – even quieter scenes held attention thanks to emotional depth and superb timing. The energy levels were high throughout, and the cast maintained a strong connection with the audience.

The atmosphere in the Liverpool Olympia was electric. Laughter rang out frequently, and sing-alongs were heartily embraced. The show fostered a true sense of community – people who entered as strangers left with shared memories and smiles. From clapping along with the music to shouting out responses during banter, the audience was thoroughly engaged. It felt more like a celebration than a standard performance.

A standout moment was Richard Barry’s powerful rendition of ‘Danny Boy‘. The room fell completely silent – a moment of pure emotion – before erupting into thunderous applause. The chemistry between Murphy and Alton grounded the show, giving it heart and warmth. The Shenanigans were musically flawless, and their joy was infectious. A personal favourite was the rendition of ‘I Love Galway Bay‘. Another unforgettable moment was Ricky Tomlinson’s storytelling, which gave the show a unique edge and grounded it in

The show itself was flawless and deeply enjoyable. The only slight drawbacks were related to the venue: the space was chilly, and the toilets were understocked and lacked hot water. These small issues did not detract from the brilliant performance and are more a reflection of the venue than the production.

Irish Annies is a feel-good musical that’s equal parts heartwarming and hilarious. It’s a tribute to Irish culture, storytelling, and music, all delivered with sincerity and charm. You’ll laugh, you’ll sing, and you may even shed a tear. A perfect night out that uplifts and entertains. A reminder of the magic that live theatre can bring.

Irish Annies is now touring the UK and promises a fantastic evening for all. Whether you’re looking for a night of comedy, music, or simply to be uplifted, this show delivers. Don’t miss out – get your tickets and join the Irish party!

FAYE TOZER

TO PLAY MISS KITTY LeROY IN

DIAMONDS AND DUST

A TALE OF THE GOOD, THE BAD AND THE LUCKY

OPENING AT

THE EMERALD THEATRE, LONDON

PREVIEWING 16 JUNE 2025

FULL CAST ANNOUNCED

Dita Von Teese, alongside Tosca Rivola, Dee Parsons and Julian Stoneman are thrilled to announce that the Steps and musical theatre star Faye Tozer will take on the iconic role of Miss Kitty LeRoy in the world premiere of a brand-new and hotly anticipated theatrical production DIAMONDS and DUST.

London’s newest West End venue, the Emerald Theatre, proudly opens its doors with the debut of DIAMONDS and DUST. Previews begin 16 June 2025, with an official gala opening on 3 July.

Singer, Actress, TV personality and West End star Faye Tozer is probably best-known for BRIT Award winning pop band Steps who had number one hits with Tragedy and Stomp and have sold over 25 million records worldwide! Their 10th album The Platinum Collection celebrating 25 years reached an impressive No.1 in the official charts and they have proudly just completed their 10th UK Arena tour. Faye has starred in numerous musicals over the years including: 101 Dalmatians (UK Tour), 42^nd Street (UK Tour), Singin’ in the Rain (West End & UK Tour) and Everybody’s Talking About Jamie (West End).

Her numerous TV credits include Ru Paul’s Drag Race (BBC), The Graham Norton Show (BBC), The One Show (BBC) Ant and Dec’s Saturday Night TakeAway (ITV), Gogglebox (Channel 4), Midsomer Murders (ITV), Strictly Come Dancing (BBC), Tonight at the London Palladium, All Round to Mrs Browns, The Sooty Show, Alan Carr Chatty Man, Steps On The Road Again (Sky Living), Steps The Reunion (Sky Living), Lorraine (ITV),  This Morning (ITV), Loose Women (ITV) and Top Of Tops (BBC).

The cast appearing alongside Dita Von Teese as Lady Luck (at certain performances*) and Faye Tozer as Miss Kitty LeRoy (at certain performances**) will be Alexandros Beshonges (MAMMA MIA, West End), Isabelle Bosher (Women’s Netball Super Cup, Sky Sports), Candace Cane (Performed alongside Beyoncé, Snoop Dogg and Diplo), Bethany Chan (The Lion King, West End), Georgia Eddon-Burke (Lío London Cabaret), Hollie Kate (Beauty and the Beast, Richmond Theatre), Cristian Liberti (Performed alongside Kylie Minogue, Robbie Williams & Sophie Ellis Bextor), Lady Lydia (La Clique London), Zoë Marshall (Circus OZ), Callum Quinnen (Bombay Superstars, West End), Tosca Rivola (Tarantina, Dita Von Teese World Tour), Manny Tsakanika (Magic Mike Live, West End), Zinzile Tshuma (Bring It On, UK Tour), Sienna Walker (Come What May, UK Tour) and Niko Wirachman (The Prince of Egypt, West End).

At certain performances the role of Lady Luck will be played by Didi Derrière (The Beguiling Hour, Crazy Coqs).

At certain performances the role of Miss Kitty LeRoy will be played by Katie Dunsden (Grease, Moulin Rouge, West End).

DIAMONDS and DUST is a tale of the good, the bad and the lucky featuring some of the finest West End performers the UK has to offer, magnetic burlesque starlets and dangerous cirque artists. The production promises a thrilling blend of Old West lore, vintage casino culture, high-stakes stunts and Dita Von Teese’s signature glamour.

Step into our hazy saloon and let the 52-card deck decide your fate. This is the untold story of Miss Kitty LeRoy, the Wild West’s most notorious card dealer, making her own way in a man’s world while trying her hand at taming Lady Luck for herself, perhaps in vain… 

London’s newest theatrical production serves double jeopardy as the show plants a boot firmly in plot-driven theatre and a stiletto in the nuanced art of seduction. This world premiere production promises an unforgettable evening of pre-show entertainment with exceptional dining, specially curated cocktails and electrifying theatre.

The experience continues into the early hours with Emerald After Dark, a rare late-night curated entertainment program featuring: ‘West End Wednesdays’ designed for theatre industry professionals and enthusiasts, and a line-up of both global and local DJ Talent with live entertainment every Thursday, Friday and Saturday***. During the first four weeks of the production, Emerald After Dark will be admitting patrons with a valid West End theatre ticket for free before 11pm.

The entire production conceived and directed by Tosca Rivola & Dita Von Teese, story by Tosca Rivola & co-written by Emma Henley & Careena Melia, choreography by Matt Nicholson, Dita Von Teese and Tosca Rivola, set and lighting design by Philip Gladwell, sound design by Gareth Owen, musical supervision by Lewis Carnie, associate costume designs by Jenny Quirk, wigs, hair and make-up by Sam Cox, millinery by Hood London, casting by Gusthart Casting & Pearson Casting and general management by MPSI Ltd.  The production also boasts costume designs for Dita Von Teese by British designer Jenny Packham and bespoke footwear designs by Christian Louboutin. Audiences will also be lavished with a newly curated musical soundtrack for this dynamic new production.

The show features an optional, lavish dining experience, with brunch menu which offers refined sharing bites and a supper set menu. Showcasing a farm-to-plate philosophy.

DIAMONDS and DUST is produced by Tosca Rivola, Dita Von Teese, Dee Parsons and Julian Stoneman, with co-producers Sydney Max Lee, Sienna Sinclaire, Robert Testagrossa and Paul Dainty.

*Dita Von Teese will perform during the initial opening weeks and will appear at a limited number of London shows thereafter, set for 6 performances Thursday-Sunday, each month. Please check the website for further details.

**Faye Tozer will perform during the initial opening weeks and from 14 July and will not appear in Monday performances. Please check the website for further details.

***During June/July Emerald After Dark will have Monday experiences. Please check the website for further details.

LISTINGS INFORMATION

From 16 June 2025

EMERALD THEATRE

8 Victoria Embankment,

London

WC2R 2AB

Performance schedule:

Monday, Wednesday, Thursday, Friday at 8.15pm

Saturday at 12.15pm, 4pm, 9pm

Sunday at 2:30pm, 8pm

Running time: 1 hour 55 minutes including an interval

Please check the website for specific dining and after dark timings

Age guidance: 18+

With Saturday & Sunday Brunch and matinee performances 16+ with adult supervision

Website: DiamondsxDust.com

Twitter: DiamondsxDust

Facebook: DiamondsxDust

Instagram: DiamondsxDustUK

TikTok: DiamondsxDustUK

BRENDAN GLEESON MAKES HIS WEST END DEBUT IN
CONOR McPHERSON’S
THE WEIR
PRESENTED BY KATE HORTON PRODUCTIONS AND LANDMARK PRODUCTIONS

Kate Horton Productions and Landmark Productions today announce a new production of The Weir written, and directed for the first time, by Conor McPherson (The Brightening Air, Girl from the North Country), starring Brendan Gleeson (The Banshees of Inisherin, Paddington 2) making his West End debut as Jack at the Harold Pinter Theatre from 12 September to 6 December 2025, with a press night on Friday 19 September.

The multi award-winning actor Brendan Gleeson makes a long-awaited return to the stage in Dublin playing at the 3Olympia Theatre from 8 August to 6 September before transferring to the West End. Further casting to be announced.

Tickets for the West End run are on sale now to ATG priority members and go on general sale at 10am today, Thursday 1 May via theweirplay.com.

The tallest tales reveal the deepest truths.

On a stormy night, four local men gather in an isolated pub in rural Ireland. Their usual banter and everyday lives are disrupted by the arrival of a woman called Valerie. The stories they weave to impress her are gripping, haunting and deeply unsettling. Little do they know that she has a profoundly personal story of her own, the sharing of which will leave them all shaken.

The Weir is a testament to the need for human connection, the possibility of hope, and the enduring power of storytelling.

Brendan Gleeson said, “Conor McPherson’s The Weir is one of the rarest plays around.  The last time I appeared on stage was ten years ago, at the Olympia Theatre in Dublin, where I started my career.  I can’t wait to be back there, and then to play in the West End for the first time, at the beautiful Pinter Theatre – and to work with Conor on his profoundly moving, inspiring and ultimately hopeful play.”

Conor McPherson said, “I can hardly believe it’s thirty years since I wrote The Weir – and about thirty years since I first met the wonderful Brendan Gleeson. It’s an absolute honour to bring this play to life again with one of the great titans of Irish acting. I’m hugely looking forward to directing my play for the very first time and sharing this production with audiences in Dublin and in London very soon.”

Kate Horton said, “Along with a multitude of theatregoers, I was spellbound by Conor McPherson’s play The Weir when it first premiered at the Royal Court. I’ve since been granted three wishes; to have Conor agree to direct his own masterpiece for the first time, for the magnificent Brendan Gleeson to agree to lead the cast, and for the brilliant Anne Clarke to join me as co-producer. Together, they are titans of Irish and International theatre. The Weir is a beautiful play about human connection, the endurance of hope and the essential power of storytelling. It will be a joy to share this production with audiences.”

Anne Clarke said, “In the way that people remember where they were when something significant happened – the moon landings, say, or who shot JR – I remember where I was when Kate Horton called, to tell me that she had been working with Conor McPherson on a new production of The Weir, and that Brendan Gleeson had agreed to play Jack. They were hoping the production would open in Dublin, ahead of a West End run. I had been lucky enough to work with Brendan before, when he played Dinny in The Walworth Farce at the 3Olympia Theatre in Dublin alongside his sons Brian and Domhnall, and the thought of working with him on Conor’s sublime play was a thrill. And I had known and admired Kate’s extraordinary body of work as a producer for many years, so the opportunity to work with her was another thrill. It promises to be hugely special, and I can’t wait for audiences in both Dublin and London to see it.”

The Weir is produced by Kate Horton Productions and Landmark Productions.

Brendan Gleeson

Film credits: Banshees of Inisherin (for which he was nominated for an Oscar, Golden Globe, BAFTA), Joker: Folie à Deux, The Tragedy of Macbeth, Six Shooter (winner of Academy Award), In Bruges (Golden Globe, British Independent Film, Satellite, IFTA, and BAFTA Award nominated), Harry Potter, The Tailor of Panama, In My Country, The Tiger’s Tail, The Butcher Boy, Breakfast on Pluto, Mission: Impossible II, AI, 28Days Later…, Gangs of New York, Troy, Kingdom of Heaven, Beowulf, Green Zone, Albert Nobbs, Safe House, The Company You Keep, Edge of Tomorrow, The Guard (Golden Globe, IFTA and BIFA nominated), Cavalry (winner of IFTA and BIFA), The Coen Brothers’ The Ballad of Buster Scruggs, Hampstead, Paddington 2, Trespass Against Us, Alone in Berlin, Assassin’s Creed, Live by Night, In the Heart of the Sea, Suffragette (winner of BIFA Award), The Field, Into the West, The Treaty, Far and Away, Braveheart (winner of five Academy Awards), The General (winner of IFTA and the London Critics’ Circle Film Award) and I Went Down (winner of Boston Society of Film Critics).

TV credits: Spider:Noir (Amazon/Marvel), The Good Daughter (Peacock), State of the Union (Emmy nominated), Mr. Mercedes, A Higher Loyalty (Golden Globe nominated), Into the Storm (winner of Emmy, IFTA, Satellite Award winner, Golden Globe and BAFTA Awards nominated).

Theatre credits:Following early work with Passion Machine in Dublin, theatre credits include On Such as We (Abbey Theatre) and The Walworth Farce (3Olympia Theatre).

Conor McPherson

Conor wrote and directed The Brightening Air (The Old Vic)and the Tony and Olivier Award-winning premiere of the musical Girl from the North Country (also West End and Broadway).Past theatre includes: Uncle Vanya — South Bank Sky Arts Theatre Award (West End/BBC); Port Authority (Gate Theatre, Dublin/West End); The Weir — Olivier Award for Best New Play (Royal Court/West End/Broadway); The Seafarer (National Theatre/Broadway); Shining City (Royal Court/Broadway); The Night Alive — New York Drama Critics’ Circle Award for Best Play (Donmar/Atlantic Theater, New York); Cold War (Almeida); The Nest (Lyric Belfast/Young Vic); Dance of Death (Donmar/BBC Radio).

OLIVIER AWARD WINNING TITANIQUE

ANNOUNCES NEW CAST MEMBERS
JOINING THE SHIP OF DREAMS

FROM 10 JUNE 2025

AT CRITERION THEATRE
london.titaniquemusical.com

Friday 2 May, London: Eva Price and Michael Harrison are delighted to announce new cast members joining their Olivier Award Winning splash hit West End musical Titanique from Tuesday 10 June 2025. Tickets to “The West End’s funniest new musical” (Smooth Radio) are currently booking until Sunday 4 January 2026 at london.titaniquemusical.com.

Titanique won the 2025 Olivier Award for Best New Entertainment or Comedy Play.

Joining the ship of dreams from Tuesday 10 June are Luke Bayer (Everybody’s Talking About Jamie, RENT)as Jack, Richard Carson (Les Misérables, Joseph and the Amazing Technicolor Dreamcoat)as Cal, Hiba Elchikhe (The Time Travellers Wife, Aladdin) as Rose, Carl Mullaney (La Cage Aux Folles, Les Misérables) as Ruth, Tosh Wanogho-Maud (Robin Hood – Palladium Pantomime, The Drifters Girl) as The Iceberg and Caitlin Tipping (SIX, Frozen the Musical)asoffstage Understudy.  

They join original West End cast members Darren Bennett as Victor Garber / Luigi, Lauren Drew as Céline Dion, Charlotte Wakefield as Molly Brown, Adrianne Langley, Madison Swan andRodney Vubya as on-stage background vocalists, as well as offstage understudy Freddie King. 

Eva Price and Michael Harrison commented:
“We’re so thrilled by the incredible response Titanique has received from UK audiences. We’re delighted to welcome these brilliant triple threat performers aboard this Summer to bring their extraordinary talent and humour to our unsinkable team!” 
 

★★★★★
The Times, Daily Mail, Sunday Express, Sunday Mirror, Gay Times, London Theatre

When the music of Céline Dion makes sweet Canadian love with the eleven-time Oscar®-winning blockbuster film Titanic, you get Titanique, off Broadway’s most award-winning splash hit that turns one of the greatest love stories of all time into a hysterical musical fantasia.

Want to find out what really happened to Jack and Rose on that fateful night? Just leave it to Céline Dion to enchant the audience with her totally wild take, recharting the course of Titanic’s beloved moments and characters with her iconic song catalogue. Sailing on fierce powerhouse voices in show-stopping performances of such hits as My Heart Will Go On, All by Myself and To Love you More – backed by a full live band – Titanique is a one-of-a-kind theatrical voyage bursting with nostalgia, heart and campy chaos. See you aboard the Ship of Dreams, girlfriends!

Co-written by Tye Blue, Marla Mindelle and Constantine Rousouli, Titanique celebrated its Off-Broadway premiere in June 2022 at Asylum Theater, starring the musical’s co-authors Mindelle and Rousouli as Céline Dion and Jack Dawson. After several sold-out extensions, the musical transferred to the Daryl Roth Theatre on 20 November 2022 where it continues to play until 15 June 2025. As well as New York and London, the musical comedy is currently playing Sydney and Paris.

Titanique is directed by Tye Blue and choreographed by Ellenore Scott. Music Supervision, Arrangements and Orchestrations are by IRNE Award-Winner Nicholas James Connell,Scenic Design for Titanique is by Gabriel Hainer Evansohn and Grace Lauchbacher for Iron Bloom Creative Production; Costume Design is by Alejo Vietti; and Lighting Design is by Paige Seber; and Sound Design is by Lawrence Schober with casting by Pearson Casting CDG.

In addition to its recent Olivier Award wins, Titanique won seven major awards during the 2022/23 theatre season, including three Lucille Lortel Awards, the Off-Broadway Alliance Award for Best New Musical, Las Culturistas’ Culture Award for Best Indoor Performance and two Dorian Awards.

The London production of Titanique is produced by Eva Price and Michael Harrison.

ACORN ANTIQUES THE MUSICAL

TO RETURN TO THE STAGE

FOR ONE NIGHT ONLY

AT MANCHESTER OPERA HOUSE

SUNDAY 2 NOVEMBER

From the genius of Victoria Wood and based on the iconic sketch from her show Victoria Wood As Seen On TV, Hope Mill Theatre are delighted to announce that ACORN ANTIQUES THE MUSICAL will return to the stage for one night only at Manchester Opera House on Sunday 2 November 2025 for a special fundraising concert directed by Hope Mill’s own Joseph Houston and William Whelton with musical direction and supervision by Nigel Lilley and choreography by Sammy Murray.

Tickets on-sale from 10am on Tuesday 6 May.

Come along to Manchesterford, a place full of quaint, old-fashioned shops such as “Acorn Antiques” run by sisters Miss Babs and Miss Berta. They are assisted by business partner Mr Clifford, elderly tea lady Mrs Overall, and two ‘pitiful adolescents’. But before long their cosy world faces a threat from developers, who want to turn their high street into a collection of coffee bars and sexy underwear shops. As the plot unfolds, Miss Babs and Miss Berta are faced with financial woes and family secrets, including a lost triplet sister. Will the innocent antique dealers fight off the developers and a sinister loan shark? Can they find the missing will of their father? And will Miss Berta ever find true love?

This laugh out loud musical parody will be sure to have you rolling in the aisles and toe tapping along…so grab yourself a macaroon and don’t miss this special one-off performance.

Star cast to be announced.

Victoria Wood originally wrote Acorn Antiques as a weekly slot in her sketch show, Victoria Wood As Seen on TV. She based it on the long-running serial Crossroads, and radio soap Waggoners Walk. Taking swipes at soaps with their wobbly sets, overacting, cheesy dialogue and wildly improbable plots. Its premise – the lives and loves of the staff of an antiques shop – lampooned the staples of soap operas: love triangles, amnesiacs, sudden deaths and siblings reunited.

In 2005, Victoria Wood created the musical version, with the intention of giving people a “lovely, happy night in the theatre”. It was directed by Trevor Nunn with choreography by Stephen Mear and opened at the Theatre Royal, Haymarket and had a sellout season. Several key members of the original cast joined the stage production including Julie Walters, Celia Imrie and Duncan Preston – with Victoria Wood alternating with Julie Walters in the role of Mrs Overall.  The show earned several Olivier Award nominations, including Best New Musical and winning Best Supporting Actress in a Musical for Celia Imrie.

The concert will celebrate 10 years of Hope Mill Theatre, with all box office money going towards their Outreach programme, which includes Hope Mill Theatre School, as well as funding a brand-new community space within Hope Mill.

Artistic Director of Hope Mill Theatre, Joseph Houston, said: “In celebration of our 10^th Anniversary and after the success of our previous concert staging’s, Gypsy and NINE, we are thrilled to be bringing ACORN ANTIQUES back to the stage and to its rightful home of Manchester! 20 years ago, ACORN ANTIQUES opened in the West End, starring many of the original cast members, including Julie Walters, Celia Imrie and Victoria Wood herself. In 2007 the show embarked on a tour of the UK with a revised version of the script, directed by Victoria Wood, and it is this version that we are honoured to be bringing back to audiences. Featuring much loved musical numbers including ‘Macaroons’ and ‘Tip Top Tap’ and set against the backdrop of Manchesterford, inside the iconic Acorn Antiques shop, this is a hilarious musical extravaganza and myself and Will are so honoured to be working on it alongside the Victoria Wood Estate.”

Nigel Lilley from the Victoria Wood Foundation and musical director & supervisor said: “Working with Victoria on the tour of Acorn Antiques remains the giggliest rehearsal period I can remember.  Vic was in her element – often working through the night to produce solid gold re-writes, gently giving us daily masterclasses in comic timing, and generally just delighting in those wonderful characters that she’d created so many years before.  I think Vic would be thrilled that we are dusting off our Marigolds and bringing the show back to Manchesterford – where it rightfully belongs!”

ACORN ANTIQUES THE MUSICAL is produced by Hope Mill Theatre.

Website:atgtickets.com/shows/victoria-woods-acorn-antiques-the-musical/opera-house-manchester

Facebook: @HopeMillTheatre

X: @hopemilltheatre

Instagram: @hopemilltheatre

LISTINGS INFORMATION

Manchester Opera House

3 Quay St,

Manchester

M3 3HP

Tickets from: from £35

Box Office: 0333 009 6690

EVERYMAN THEATRE, LIVERPOOL – UNTIL SATURDAY 17TH MAY 2025

REVIEWED BY MIA BOWEN

4****

Nathan Powell’s debut play, ‘Takeaway’, is the latest home-grown hit gracing Liverpool’s Everyman Theatre, running until 17 May 2025. This heartfelt and humorous piece explores themes of family, identity, and community in Toxteth, Liverpool. Directed by Amanda Huxtable, the production examines the intergenerational dynamics of a British Jamaican family as they navigate the challenges posed by gentrification and the need for cultural preservation.

Set in Hylton’s Caribbean takeaway, a beloved family-run café located in the heart of Liverpool 8, the play centres around Shelly (Bene Sebuyange). As the youngest daughter, Shelly seeks to establish her own identity in the shadow of her mother, Carol (Phina Oruche), who upholds traditional values. This familial tension extends to Shelly’s older sister, Browning (Adi Alfa), her white boyfriend, Richard (Bill Caple), and the cheerful chef of the takeaway (Wayne Rollins). The narrative unfolds against a backdrop of community unrest, turbulence times and the looming threat of luxury developments, highlighting the conflict between progress and heritage. Amid these challenges, the family must contend with new pressures. This production skilfully blends humour with poignant social commentary.

It was clear that the performance resonated with the audience on a bustling press night, as theatregoers responded warmly to the characters. During the press night, it was revealed that three out of the five actors were making their stage debut, one of whom was Adi Alfa. Her performance that evening was particularly striking; she effectively embodied a strong character with a deep connection to her heritage. In addition, Wayne Rollins provided delightful comic relief and demonstrated genuine care for the family. As the chef and a long-standing member of the takeaway staff, Rollins brought both humour and heartfelt warmth to the narrative, significantly enriching the story overall.

Georgia Wilmot’s design exuded a genuinely authentic vibe. Takeaway presents a captivating blend of humour and drama, showcasing the intricacies of family dynamics and the evolution of communities. With its relatable characters and relevant themes, it promises a truly engaging theatrical experience.

This is the first of three new productions written by Powell for The Liverpool Everyman and Playhouse in 2025. He places a strong emphasis on new writing, collaborations, diversity, inclusion, and the development of artists.

Brighton Fringe, The Level – until 1^st June 2025

Reviewed by Heather Chalkley 

3***

The excitement builds as we sample the delicious festival food and drink, people of all ages waiting in anticipation. This is our chance to get a glimpse of what is on offer under the big top at Brighton Fringe. A circus cabaret like no other! 

Revel Puck Circus is the epitome of what Fringe festivals are all about, providing an opportunity for people near and far to showcase their burgeoning talent; to entertain us in a uniquely Brighton fashion!

The ring master Nancy hosts The Rucus with lively introductions, a splash of comedy and a sales pitch for each act.

Expect the unexpected. From the quietude of Bhemoth, incorporating their flowing costume into this alternative juggling act to full bodied cabaret She’s B.Hind You, wearing the highest heels you will ever see balancing upside down on a chair (and not much else)!

Appreciate the courage and confidence. That includes the audience! InThisTogether invites you to participate in their collaborative human body balancing performance. It is quite beautiful to watch. The fun and sisterhood of The Greatest Show on Earth and high energy Neon Sun Roller Circus give you a glimpse into what it feels like to put yourself out there!

The finale performance from The Nose Dive Assembly brought the audience to a climax with their art, jeopardy and physicality, inside giant hoops on a floating stage! 

We are entertained by a medley of acts to tempt you into the festival. There is something for everyone; come drink it in, get into the spirit, whether you want a glass of milk or a full-bodied merlot!