JILL HALFPENNY TO RETURN TO THE ROYAL EXCHANGE THEATRE IN NOEL COWARD’S PRIVATE LIVES
A Royal Exchange Theatre Production
Noël Coward’s
PRIVATE LIVES
Director: Blanche McIntyre
27 March – 2 May 2026
Olivier-winning stage and screen actor Jill Halfpenny will return to the Royal Exchange Theatre in Noël Coward’s PRIVATE LIVES, playing the role of Amanda Prynne. This is Halfpenny’s second time performing at the Manchester venue, following her critically acclaimed performance in A TASTE OF HONEY in 2024. PRIVATE LIVES, Coward’s 14th production at the Royal Exchange, runs from 27 March to 2 May 2026 as part of the theatre’s 50th anniversary programme ‘A Homecoming’, which invites artistic alumni to return ‘home’ to share stories that resonate and celebrate the unique connection between artists and audiences.
This new production of Coward’s vitriol-laced classic is directed by award-winning director Blanche McIntyre, who also makes a welcome return to the Royal Exchange following her production of THE BIRTHDAY PARTY in 2013.
Halfpenny’s extensive stage credits include Paulette Bonafonté in LEGALLY BLONDE, for which she won an Olivier award, CHICAGO (West End), ABIGAIL’S PARTY (West End), WAY UPSTREAM (Chichester Theatre), IN A WORD (Young Vic) and A TASTE OF HONEY (Royal Exchange). She is also a renowned TV actress and known for her most recent roles in THE FEUD (Channel 5), DADDY ISSUES S2 (BBC), AFTER THE FLOOD S2 (Quay Street Productions / ITV), THE LONG SHADOW (New Pictures / ITV) and EVERYTHING I KNOW ABOUT LOVE (BBC 1). Most recently Halfpenny starred in the new Paramount+ psychological thriller GIRL TAKEN, released in January 2026.
Jill Halfpenny said: ‘The Royal Exchange has always had a special place in my heart, so I am delighted to be returning to the theatre to celebrate its 50th anniversary season. Private Lives perfectly showcases Noël Coward’s genius, and I can’t wait to step into Amanda’s feisty shoes to bring this classic comedy caper to life.’
The creative team includes Designer, Dick Bird; Lighting Designer, Johanna Town; Sound Designer, Gregory Clarke; Fight Director, Philip d’Orleans and Casting Director, Annelie Powell CDG, who will bring this Coward classic to life on the Royal Exchange’s iconic stage.
In Noël Coward’s savage comedy, there’s nothing a cocktail can’t cure as lovers battle to get the upper hand. Wit has never been so razor sharp and passion has never looked so brutal.
In PRIVATE LIVES, sparks fly on a honeymoon from hell and sexual chemistry is always only a heartbeat away from an explosion. Loved for their sparkling dialogue and art deco glamour, Noël Coward’s plays remain as funny and insightful as when they were written.
Further casting will be announced in due course.
LISTINGS
ROYAL EXCHANGE THEATRE St Ann’s Square, Manchester, M2 7DH Box Office: 0161 833 9833 / royalexchange.co.uk
A HOMECOMING 2026 – 2027 Tickets from £12
A Royal Exchange Theatre Production
Noël Coward’s PRIVATE LIVES Director: Blanche McIntyre Designer: Dick Bird Lighting Designer: Johanna Town Sound Designer: Gregory Clarke
Fight Director: Philip d’Orleans Casting: Annelie Powell CDG
Tickets from £12 27 March – 2 May 2026
Access Performances Captioned (C) Performances: 18 April, 2.30pm and 7.30pm
Sensory Adapted (SA) Performance: 28 April, 6.00pm Audio Described (AD) Performance: 29 April, 2.30pm BSL-Interpreted (BSL) Performance: TBC
Carlos Acosta’s Nutcracker in Havana is an inspired fusion of Latin and European culture, but also of traditional and modern theatrical technique. From the outset, we are transported to La Habana via the use of video and projections as part of the set created by award-winning designer Nina Dunn (Lazuli Sky, The Damned United, Don Quixote). Blending contemporary presentation with classical performances works to embellish well-established stage productions with a vibrant and compelling visual feast that is truly mesmerising, and this example is an astounding display of what can be achieved. The capacity to present otherwise unobtainable perspectives as well as the scope and variety of landscapes is fully exploited here by Dunn, bringing everything from the deepest jungle to snow in La Habana.
In addition, the familiar score has been re-arranged by composer Pepe Gavilondo Peón to include Cuban rhythms, which brilliantly turns up the energy without diminishing the beauty of Tchaikovsky’s original work. Its tempo is a fitting accompaniment to the phenomenal athleticism of the performers; Acosta Danza are joined by several guest artists in this performance and not only provide a level of energy to compete with any cinematic event, but also veil their obvious strength with all the supreme grace and elegance a night at the ballet has ever promised. There is a dizzying range of technique and style throughout, perfectly creating the mood and narrative for every scene, be it the raucous joy of a family reunion or the cultivated refinement of a palace ball. Particularly memorable performances are given by the dolls Oshun, Chango and Soldadito, played respectively by Carolina Monteagudo, Paul Brando and Alexander Arias with masterful control of movement. Also notable throughout was the performance of Brandy Martinez, whose energetic interpretations of both Fritz and the Russian dancer are breathtaking. Of course, the combination of strength and featherlight grace are embodied by the performance of the piece’s Sugar Plum Fairy, here performed flawlessly by Annette Delgado.
A thoroughly dignified performance of the magician, Tío Elías Drosselmeyer, is given by Alexander Verona (Push, Still Current, Flux), as his character orchestrates the myriad of events. His costume brings all the sparkle of the Christmas season, setting the bar for the spectacular variety of costume design across all the characters; undoubtedly a feather in the cap for costume designer Angelo Alberto.
On reading the programme, we learn how the whole production is infused with symbolism honouring the history and life of Acosta’s native Cuba; the performance is truly an homage to the resilience of the island’s population, where Christmas has been quite a recent addition to their calendar, added thanks to the visit from Pope Jean Paul II in 1998. Other curious elements revolve around the use of the maypole, which Acosta tells us was introduced to Cuba by the British in 1880 and enjoyed by enslaved people on the rare occasion they were allowed opportunities to dance. Also, the design of the hats worn by the Mambises in the ‘battle scene’ are representative of those worn by those who fought for independence from the Spanish for 30 years.
All in all, this production is a thrilling kaleidoscope of colour, magic and joy underpinned by an outstanding creative edge. Although some might question the jarring imagery of a white prince in the midst of such a fabulously diverse cast, it is a minor point that cannot be permitted to detract from an absolutely spectacular performance. Definitely one not to be missed on its current UK tour.
Mayflower Theatre, Southampton – until Saturday 10th January 2026
Reviewed by Emma Barnes
4****
Could it BE any more nostalgic? From the start, Friends! The Musical Parody at the Mayflower Theatre proves it is far more than a cheap impersonation. It is a well-researched, celebratory tribute that unapologetically embraces the ridiculous, bonkers joy that made the original sitcom a global phenomenon, and we loved every moment . For anyone who spent the 90’s onwards obsessing over the lives of six New Yorkers, this show is a fast-track into pure joy and 90s nostalgia.
From the moment you enter, the production sets a clever tone by casting the theatre audience as a live studio audience in LA, immediately creating high energy and excitement. The cast have clearly put in the hours studying the iconic six; their mannerisms were parodied to perfection. Whether it’s the specific tilt of a head or a nasal catchphrase, the attention to detail was fantastic. This is not a deep meaningful look into friendship, the parody successfully leans into the most outlandish elements of the sitcom, ensuring the humor lands with comedic authenticity rather than just surface-level mimicry.
Ronnie Burden captures Joey Tribbiani’s dim-witted charm with ease, and Amelia Atherton is wonderful as Phoebe Buffay, nailing the eccentric vocal inflections and guitar-strumming whimsy of the character. The physical comedy is top-tier—Ross’s infamous tight leather pants scene had the entire theatre laughing. It’s those specific, nuanced details that prove the creators really know the show.
Produced by the team behind Hairspray and directed by Michael Gyngell (The Full Monty), the score, although lacking in original tv soundtrack, featuring witty pastiches of Broadway classics. A particular highlight was the “Central Perk Tango,” a sharp and hilarious nod to Chicago’s “Cell Block Tango.”
The attention to props and costumes is on point, adding to a vibrant aesthetic that feels like a 90s time capsule. As a teenager of the 90’s myself , including the full Rachel hair do, I adored the step back in time.
With 10 series and 236 episodes to pull from, the show is rammed full of content. At times, the pace is so frantic it feels slightly content-heavy, but the die-hard fans in the room clearly lapped up every obscure reference.
Be warned: a reasonable knowledge of the TV series is required. If you don’t know why Monica is wearing a turkey on her head or the significance of a “moo point,” some of the lightning-fast gags might fly over your head. However, the show moves with such momentum that it hardly matters if you miss the occasional beat. If, like me, you watched and rewatched most of the episodes at it’s peak 20+ years ago, this is a loving piss-take that hits the mark. A night of feel-good nostalgia where the jokes land, the cameos surprise, and the heart is as big as a cup of coffee at Central Perk.
“So now you know, that I know, that they know”— this show is a total joy that no Friends fan should miss.
Leeds Grand Theatre – until Saturday 10 January 2026
Reviewed by Adam Craddock
5*****
Tonight I had the pleasure to be invited along to my first review of the year, Fawlty Towers: The Play at Leeds Grand Theatre. John Cleese is one of my absolute favourite performers of all time and, whilst I am more expert on Month Python, I have a great fondness for Fawlty Towers. After reading the program and the director’s notes I was pleasantly surprised by the premise of the play. Rather than taking an easy route and just doing a compilation of the greatest hits, Cleese has sat down with the 10 episodes and picked 3 of his personal favourites, adapting them as if they were all happening simultaneously over one weekend.
Danny Bayne starred as the iconic Basil Fawlty. As well as having more than a passing resemblance to a younger Cleese, Bayne has the brilliant energy and physicality needed to pull off this iconic character. Whether it be his goose stepping or his charades game for dragonfly, Bayne really does embody this character and delivers on the most dangerous risk of this show, someone else playing Basil! Mia Austen was great as Sybil Fawlty, with a cracking laugh and again, a very respectful nod to the source material. Whilst not having much to do in Act 2, she still was extremely strong when required. Joanne Clifton was brilliant as Polly Sherman, with her apparent mastery of the Spanish language being mightily impressive and some brilliant delivery to her dialogue.
Greg Haiste was fabulous as Mr Hutchinson, the highly irritating spoon seller. His pompous manner was excellent and delivered exactly on this part what was needed. Adam Elliott was fair as Mr Walt, again he really gave a brilliant physical performance, in particular during the chaotic dinner scene. Jemma Churchill was brilliantly awful as Mrs Richards, the deaf and pompous visitor who finds fault in everything. Neil Stewart was hilarious as “The Major”, another slightly senile older character who distrusts all Germans and pursues a rat with his Lee Enfield, what’s not to love! The absolute highlight of the show for myself and my partner however was Hemi Yeroham as Manuel, the constantly put down but ever cheerful waiter from Barcelona. Yeroham was absolutely fantastic and had my partner bent over in stitches with his frenetic physical comedy and flawless delivery of the dialogue. This for me was quintessentially perfect casting! Bravo!
The set was absolutely fabulous, split over two floors and showing off various rooms weighing the hotel. Most of our action takes place in the reception as you would expect, but the whole set was used very effectively. The sound and lighting were both fine to me, no real noteworthy events either way. The costume and hair/makeup teams need to be congratulated for their efforts too, there for me is no chance this happens to be this close to the original without them!
Overall, I would highly recommend you check yourself in to a trip to Leeds Grand to pick this fabulous show up while it is in town. For nostalgic laughter then this is definitely the show for you.
Darlington Hippodrome – until Saturday 10 January 2026
Reviewed by Andrew Bramfitt
4****
If you think you’re safe in the theatre, The Woman in Black is here to prove you very, very wrong.
Opening at Darlington Hippodrome, this latest touring production of the classic ghost story reminds us why it has terrified audiences for over three decades. Stripped-back, shadow-soaked and deliciously unsettling, it proves that when it comes to horror, less really is more — and the theatre remains one of the most thrilling places to be scared witless. Under the assured direction of Robin Herford, this PW Production stays fiercely true to the essence of Susan Hill’s original tale. There are no cheap tricks here — instead, fear creeps in quietly, building through atmosphere, sound and the uncomfortable feeling that something is watching you from just beyond the light.
John Mackay delivers a gripping performance as Arthur Kipps, a man desperate to confront a past that refuses to stay buried. Mackay, well known for his extensive stage work and screen appearances, brings a haunting intensity to the role, drawing the audience into Kipps’ psychological unravelling with unnerving ease. Alongside him, Daniel Burke is superb as The Actor — initially playful and sceptical, before being pulled into the same chilling reality. Burke’s background across theatre and television shines through in a performance that balances wit, precision and mounting dread.
What makes The Woman in Black so effective is its trust in the audience’s imagination. Sparse staging, clever lighting and perfectly timed silences allow fear to bloom in your own mind — often far more terrifying than anything explicitly shown. The Hippodrome itself becomes part of the experience, its creaks, corners and cavernous space lending themselves beautifully to this classic chiller. It’s a reminder that live theatre can offer thrills no screen ever could.
So, if you’re in the mood for a night of elegant terror, jump scares earned the hard way, and a ghost that refuses to be forgotten — take your seat… if you dare.
Cameron Mackintosh is delighted to announce that actress, singer and presenter Lucie Jones will return to Boublil and Schönberg’s musical sensation Les Misérables at the Sondheim Theatre in London’s West End.
Credit: Johan Persson
Jones will play Fantine, a role she has already performed to great acclaim in the West End and more recently on the World Tour Arena Spectacular, for a limited season from Monday 19 January to Saturday 11 April 2026. She joins Ian McIntosh as ‘Jean Valjean’, Sam Oladeinde as ‘Javert’, Adam Gillen as ‘Thénardier’, ClaireMachin as ‘Madame Thénardier’, Thiago Phillip Felizardo as ‘Marius’, Amena El-kindy as ‘Éponine’, Joe Griffiths-Brown as ‘Enjolras’ and Izzi Levine as ‘Cosette’.
The company is completed by Hollie Aires, Aidan Banyard, Ella May Carter, Nicholas Carter, Matthew Dale, Irfan Damani, Lily De-La-Haye, Lila Falce-Bass, Sophie-May Feek, Jessica Johns-Parsons, Seán Keany, Chris Kiely, Sam Kipling, Mia Lamb, Sarah Lark, Ollie Llewelyn-Williams, Matthew McConnell, Aaron-Jade Morgan, Adam Pearce, William Pennington, Jordan Simon Pollard, Lewis Renninson, Danielle Rose, Georgia Tapp, Noah Thallon, Imaan Victoria, and Danny Whelan.
Further casting for performances from 2 February 2026 will be announced soon.
Boublil and Schönberg’s magnificent iconic score of Les Misérables with lyrics by Herbert Kretzmerincludes the classic songs, I Dreamed a Dream, On My Own, Stars, Bring Him Home, Do You Hear the People Sing?, One Day More, Empty Chairs at Empty Tables, Master Of The House and many more. Several of its songs have become real life anthems of revolution wherever in the world people are fighting for their freedom.
Les Misérables, which celebrated its record-breaking 40th Birthday in the West End last October, has been seen by over 150 million people worldwide in 55 countries, 452 cities, and has been translated into 22 languages. It has won over 270 major awards around the world, among which 5 Olivier Awards (including a special recognition award in April 2025), 8 Tony Awards and 5 Helpmann Awards, and the movie won 3 Oscars.
Les Misérables is the longest running and indisputably one of the most popular musicals in the world.
LES MISÉRABLES
Sondheim Theatre, Shaftesbury Avenue, London W1D 6BA
Producers ROYO and Curve are delighted to announce that musical theatre and Tik Tok star, Hannah Lowther (SIX, West End; Heathers: The Musical, The Other Palace) will play Margot and Alternate Elle Woods in brand-new Made at Curve production of the West End and Broadway smash-hit LEGALLY BLONDE THE MUSICAL. Hannah will play the role of Elle Woods when the musical’s star Amber Davies (Strictly Come Dancing, BBC1; The Great Gatsby, London Coliseum; Pretty Woman, UK Tour) is not performing*. The musicalwill tour the UK and Ireland in 2026, opening at Leicester’s Curve theatre on 7 February and running until 2 January 2027.
They star alongside George Crawford (The Great Gatsby, London Coliseum; Newsies, Troubadour Wembley Park) as Emmett, Karen Mavundukure (Stranger Things, West End, The Colour Purple, Birmingham Hippodrome & UK Tour; Dreamgirls, West End) as Paulette, Adam Cooper (A Chorus Line, Curve/Sadler’s Wells; Matthew Bourne’s Swan Lake, Sadler’s Wells; Billy Elliot, Universal) as Callahan, Jamie Chatterton (The Little Big Things, Soho Place; The Osmonds: A New Musical,UK & Ireland Tour) as Warner, Annabelle Terry (Scissorhandz, Southwark Playhouse Elephant; Hamlet, National Theatre) as Vivienne, Jocasta Almgill (A Chorus Line, Curve/Sadler’s Wells/UK Tour; Grease, Dominion Theatre) as Brooke, Rosanna Harris (Grease, UK Tour; The War of the Worlds: Spirit of Man, Arena Tour) as Serena and Remi Ferdinand (Hamilton, West End; Grease, West End) as Pilar. With Ty-Reece Stewart (Footballer’s Wives, Assembly Rooms Edinburgh; Charlie and the Chocolate Factory, UK & Ireland Tour) as Kyle and Bradley Delarosbel (A Chorus Line, Sadler’s Wells/Curve/Japan; Matilda the Musical, Netflix) as Carlos.
The cast is completed by Keanna Bloomfield (The Sound of Music; My Fair Lady, Curve), James Lim (Disney’s Aladdin, UK Tour; Clueless, West End), Aaron Shales (&Juliet, West End/UK & Ireland Tour; Fantasies Come True, The Other Palace), Jaime Tait (Beautiful: The Carole King Musical, West End; Motown the Musical, West End), Daisy Twells (Muriel’s Wedding, Curve; Heathers, Soho Place/The Other Palace/UK Tour), Louie Wood (Billy Elliot; A Chorus Line, Curve), Raiaz Fisher (TINA: The Tina Turner Musical, West End; Save The Cinema, Sky Cinema), Dylan Gordon-Jones (Freaky Friday The Musical, Home Manchester), Lauren Hampton (Half a Sixpence; Hello Dolly, Bristol Hippodrome) and Ollie Hart-Bradford (Legally Blonde, Curve; Elf, UK Tour).
The multi-award winning LEGALLY BLONDE THE MUSICAL features original music and lyrics by Laurence O’Keefe and Nell Benjamin and a book by Heather Hach, based on the novel LEGALLY BLONDE by Amanda Browning and the iconic 2001 Metro-Goldwyn-Mayer film of the same name starring Reese Witherspoon and Jennifer Coolidge. It is presented by arrangement with Music Theatre International.
LEGALLY BLONDE THE MUSICAL will be directed by Curve’s Artistic Director Nikolai Foster (Kinky Boots; The Wizard of Oz; A Chorus Line) and choreographed by Leah Hill(Kinky Boots, UK and Ireland tour; Beautiful: The Carole King Musical, Curve & UK Tour; The Wiz, Hope Mill Theatre)with musical supervision & additional arrangements by Matt Spencer-Smith (Here & Now, Birmingham Alexandra & UK and Ireland tour; Dear Evan Hansen, UK tour), set design by Colin Richmond (The Little Big Things, Soho Place; The Wizard of Oz, UK tour), costume design by Tom Rogers (Here & Now, Birmingham Alexandra & UK and Ireland tour; A Knight’s Tale The Musical, Manchester Opera House), wigs, hair & make-up design by Sam Cox (Moulin Rouge, West End, Broadway and International Tour; 13 Going On 30 The Musical, Manchester Opera House),lighting design by Ben Cracknell (Clueless, Trafalgar Theatre, The Wizard of Oz, London Palladium), sound design by Adam Fisher (Here & Now, UK & Ireland tour, Evita, London Palladium) and casting by Harry Blumenau CDG CDA (Kinky Boots, UK & Ireland Tour/West End; Ride the Cyclone, Southwark Playhouse Elephant).
LEGALLY BLONDE THE MUSICAL comes hot off the heels of the sell-out tour of KINKY BOOTS, also directed by Foster and co-produced by Curve and ROYO.
“Whoever said orange is the new pink was seriously disturbed”
This ultimate feel-good rom-com, based on the award-winning film starring Reese Witherspoon, follows Elle Woods on her transformation from ‘It Girl’ fashionista to legal ace at Harvard Law School, all in the name of love. Elle must prove she is more than blonde ambition, swap the changing rooms for the courtroom and learn that ‘being true to yourself never goes out of style.’
LEGALLY BLONDE is produced by ROYO and CURVE.
*Please check the website for Amber and Hannah’s performance dates.
Stephen Sondheim remembered: close friends and family share untold stories
in a groundbreaking new twelve-part podcast
Loving You: The Untold Sondheim
On general release March 2026
In personal celebration of Stephen Sondheim, an unprecedented tribute podcast will be released by Sondheim’s chums Martin Milnes and Peter E. Jones, in association with Jason Caffrey of Creative Kin Ltd, on all streaming platforms on Thursday 5 March 2026.
Loving You: The Untold Sondheim shares exclusive heartfelt recollections from the composer’s longtime close friends, family and esteemed colleagues. Hosts Milnes and Jones have spent two years creating the twelve-part documentary series, gathering Sondheim’s amigos together from Broadway, West End, Hollywood and beyond.
The podcast is an intimate, affectionate and candid portrait of the man behind the myth; each episode exploring different aspects of Sondheim’s life, personality and private passions. It marks the first time in over 25 years that Jones has spoken publicly about his romantic relationship with Sondheim – the composer’s first official partnership – and their subsequent decades-long friendship. Milnes bonded with Sondheim over a shared passion for obscure old movies; Sondheim’s unexpected love of camp glittered in a revealing cross-generational friendship described by Jones as ‘unique’.
The series features informal personal chats with Sondheim’s friends, collaborators and interpreters including Dame Julie Andrews, Jamie Bernstein, Dame Judi Dench, Mia Farrow, Ronan Farrow, Maria Friedman, Adam Guettel, John Kander, James Lapine, Patti LuPone, Maltby & Shire, Lin-Manuel Miranda, Bernadette Peters, Jonathan Tunick, John Weidman and Maury Yeston. Family memories are recalled by Stephen’s half-brother, Walter E. Sondheim.
Many further names are yet to be announced, ranging from Tony-winning original cast members and creatives, through to Sondheim’s personal friends, longtime protégées, household staff, and surprise artistes in guest cameo appearances.
Loving You: The Untold Sondheim is written, devised, directed and co-produced by Martin Milnes. Co-producer Peter E. Jones composed the podcast’s original score. Executive Producer is Jason Caffrey of Creative Kin Ltd.
Martin Milnes said: ‘Our podcast is a valentine to Steve produced by – and made with – those good and crazy people, his friends. In his lifetime, it was often said that ‘Steve’s got his story and he’s sticking to it.’ But in this series, we lovingly portray surprisingly different sides to our friend – shared by those with whom Steve chose to spend time away from the spotlight. Their intimate memories humanise a giant of theatre, highlighting his great sense of fun. Simultaneously, they express how deeply and profoundly Steve’s love transformed so many lives.
‘I am extremely proud to collaborate with my faithful friend Peter E. Jones, whom Steve himself brought into my life. We invite our listeners to discover the untold Sondheim through romantic love, platonic love, his love of children, movies, puzzles, games, mentorship and other passions; and of course, love of his work and the legacy he has left us. We hope our intriguing little social item will entertain you. We’re sure it will make you smile.’
Peter E. Jones said: ‘Yeah. What he said.’
Loving You: The Untold Sondheim will be available on all streaming platforms.
The first two podcast episodes will be released on Thursday 5 March 2026, with the next two on Thursday 12 March, and thereafter one episode released per week.
We are absolutely delighted to announce the joint winners of the Aurora Award 2025 are Sydnie Isitt-Ager and Jess Daley, both of whom starred in Military Wives the Musical.
“Sydney Isitt-Ager, as Sarah, delivered an absolutely incredible portrayal, balancing vulnerability and strength in a way that was both captivating and heartfelt. Her performance felt so true to life that I often forgot I was watching an actress at all“
“Jess Daley, as Jenny, meanwhile, brought endless comic energy to her role. Her timing was impeccable, and she gave the audience much-needed bursts of laughter in between the more poignant moments. Both women anchored the production beautifully, each showcasing different sides of the choir’s story.”
They join the long list of previous winners which started in 2018 with Marlow and Moss the writers of Six, and winners since Kristian Lavercombe, Oscar Conlon-Morrey, Rob Madge, Chloe Hart, SplitLip, Ian Watson and Awkward Productions
