Author: FairyPoweredProductions

NOMINATIONS ANNOUNCED FOR THE

26^TH ANNUAL WHATSONSTAGE AWARDS

PADDINGTON THE MUSICAL RECIEVES A RECORD-BREAKING 14 NOMINATIONS

THE IMPORTANCE OF BEING EARNEST LEADS THE STRAIGHT PLAY CATEGORIES

WITH 5 NOMINATIONS

SONIA FRIEDMAN PRODUCTIONS RECIEVES 23 NOMINATIONS

IN A STRONG YEAR FOR THE COMPANY

BRAND NEW AWARD FOR BEST CHILD PERFORMANCE ANNOUNCED

SUPPORTED BY GO LIVE THEATRE,

THE OFFICIAL CHARITY PARTNER OF THIS YEAR’S AWARDS

Hana Ichijo, Gabrielle Lewis-Dodson and Gracie McGonigal today announced the nominations for the 26^th Annual WhatsOnStage Awards, the only major UK theatre prize-giving decided by the theatregoers themselves. The announcement of the nominations marks the opening of the final voting stage (until 22 January), with winners revealed at the annual awards ceremony held on 8 March 2026 at The London Palladium.

WhatsOnStage’s Darius Thompson and Alex Wood said: “UK theatre really has looked after the bear! It was no shock to see Paddington The Musical break the record for most nominations after the musical and technological marvel captured hearts and audiences after its Savoy Theatre debut.

“More broadly, we’re thrilled to see the awards reflecting a diverse geographic spread, with nominees being recognised in places like Dundee, Cirencester, Mold, and Sheffield. While the West End often captures the spotlight, the unwavering support from local communities for their shows is always heartwarming to witness – and much deserved!”

The newly opened critically acclaimed smash-hit Paddington The Musical leads the field with a record-breaking 14 nominations – the most in WhatsOnStage Awards history. They receive nominations for Best New Musical; Best Performer in a Musical for jointly nominated James Hameed and Arti Shah who bring the beloved bear to life; Best Supporting Performer in a Musical for Victoria Hamilton-Barritt; Best Professional Debut Performance for Timi Akinyosade; Best Direction for Luke Sheppard; Best Choreography for Ellen Kane – who is also nominated for the National Theatre’s Ballet Shoes; Best Set Design for Tom Pye; Best Costume Design for Gabriella Slade and Tahra Zafar – the latter, who designed the bear; Best Lighting Design for Neil Austin; Best Sound Design for Gareth Owen; Best Video Design for Ash J Woodward; Best Wigs, Hair and Make-Up Design for Campbell Young Associates; Best Music Supervision/Direction for Matt Brind; and Best Casting Direction for Natalie Gallacher CDG for Pippa Ailion and Natalie Gallacher Casting, Nick Hockaday and Annabelle Davis. Other major contenders in the musical categories include Evita with 9 nominations, and The Great Gatsby with 6 nominations.

Leading the straight play categories is The Importance of Being Earnest, currently running at the Noël Coward Theatre having transferred from the National Theatre, receiving 5 nominations – Best Play Revival; Best Supporting Performer in a Play for Stephen Fry; Best Costume Design for Rae Smith; Best Wigs, Hair and Make Up-Design for Rae Smith, with Kate Elizabeth, Campbell Young Associates and Adele Brandman; and Best Casting Direction for Alastair Coomer. Snapping at their heels are Much Ado About Nothing, Clarkston, Born With Teeth, The Seagull and Stereophonic, all with 4 nominations respectively.

In a strong year for Sonia Friedman Productions, the company receive 23 nominations from productions including Paddington The Musical, The Importance of Being Earnest – which they are co-producing in the West End with the National Theatre, and Stereophonic; with Jamie Lloyd Productions receiving 13 nominations and the National Theatre and RSC tying with 10 nominations apiece.

In the Best Performer in a Musical category, Hameed and Shah face stiff competition from Rachel Zegler and Diego Andres Rodriguez both for Evita, Jamie Muscato for The Great Gatsby, Lucie Jones for 13 Going on 30 The Musical, and Lauren Drew for Titanique. In the Best Supporting Performer in a Musical category, Hamilton-Barritt is nominated alongside Strictly favourite Amber Davies for The Great Gatsby, Bella Brown for Evita, Layton Williams for Titanique, Grace Mouat for 13 Going On 30 The Musical, and the mighty Muses from Hercules jointly nominated – Candace Furbert, Sharlene Hector, Brianna Ogunbawo, Malinda Parris, and Robyn Rose-Li.

Completing the gender-free performance categories are Best Performer in a Play, which sees previous WhatsOnStage Award winner Tom Hiddleston nominated for Much Ado About Nothing, facing off against fellow Shakespearean performer Jonathan Bailey for Richard II, and a host of new play nominees with Rosamund Pike for Inter Alia, Maxine Peake for The Last Stand of Mary Whitehouse, Ncuti Gatwa for Born With Teeth, and Joe Locke for Clarkston. For Best Supporting Performer in a Play the nominations are ‘Big Dog’ Stephen Fry for The Importance of Being Earnest, Joe Alwyn for The Lady from the Sea, Emma Corrin for The Seagull, Yerin Ha for The Maids, Sophie Meliville for Clarkston and Mason Alexander Park for Much Ado About Nothing.

The final performance categories are for Best Professional Debut which see Akinyosade compete against Mia Carragher for The Hunger Games on Stage, Hannah Dodd for Cabaret, Ruaridh Mollica for Clarkston and both Jess Foley and Asha Parker-Wallace for Burlesque The Musical; and Best Takeover Performance, which once again features a strong showing from Cabaret with both Rob Madge and Eva Noblezada nominated, alongside Karis Anderson for Moulin Rouge! The Musical, Stevie Doc for The Devil Wears Prada, Emma Kingston for Wicked and Alex Young for Operation Mincemeat.

Best New Musical is always a closely fought category, which sees Paddington The Musical take on Hercules, The Great Gatsby, Here and Now, Shucked and Titanique; and Best Musical Revival features two Lloyd Webber nominees in Evita and Jesus Christ Superstar up against The Producers, My Fair Lady, Little Shop of Horrors and Brigadoon.

The Best New Play category sees an eclectic mix of new work – The Comedy About Spies from WhatsOnStage Awards favourites Mischief Theatre, Inter Alia, Stereophonic, Clarkston, Through It All Together and Born With Teeth. In Best Play Revival, The Importance of Being Earnest faces stiff competition from Much Ado About Nothing, The Seagull, The Lady from the Sea, Richard II, and A Streetcar Named Desire.

In the Best Direction category, Sheppard is up against Tim Sheader for Natasha, Pierre & the Great Comet of 1812, Lynette Linton for Intimate Apparel – both at the Donmar Warehouse, Tamara Harvey for The Constant Wife, Jamie Lloyd for Much Ado About Nothing and Thomas Ostermeier for The Seagull.

Best West End Show sees the fan favourites battle it out – with Wicked, Cabaret, Hadestown, Les Misérables, Oliver! and Operation Mincemeat all in contention. Best Concert Event once again sees Rachel Zegler nominated up against Jeremy Jordan, Songs for a New World, Gravity, The Hunchback of Notre Dame, and The Book Thief.

Best Regional Production nominees are Jesus Christ Superstar, 13 Going On 30 The Musical, Come Fall in Love – The DDLJ Musical, Krapp’s Last Tape which saw Gary Oldman return to the stage after 40 years, Pride and Prejudice and Through It All Together; with Best Studio Production nominees including Be More Chill, Brixton Calling, Cul De Sac, The Frogs, The Last Five Years, and Young Frankenstein.

For the first time this year, in association with Go Live Theatre – a charity that uses the power of theatre to create inspiring experiences and unlock possibilities for children and young people and the official charity partner of this year’s WhatsOnStage Awards – there will be the inaugural Best Child Performance category. Nominees will be announced in January, with the winner chosen by Go Live Theatre.

Now in their 26th year, the WhatsOnStage Awards remain the only major UK theatre awards decided by the theatregoers themselves. WhatsOnStage readers will be able to nominate and vote across a range of categories. 

The 2026 ceremony will begin at 6.30pm and will see winners crowned across a wide range of categories. Audiences can expect a spectacular line-up of exclusive live performances from leading stage talent. The event is co-produced with creative directors Alex Parker and Damian Sandys. Tickets are now on sale via LW Theatres: https://lwtheatres.co.uk/.

The 26th Annual WhatsOnStage Awards are supported by a wide range of partners from across the industry and beyond, including AKA Promotions Ltd, AudienceView, Boulevard Events, Brent Carpets, Concord, Dewynters, Disney Theatrical, Go Live Theatre, John Good, London Theatre Direct, Outernet Venues, Preevue, Re:Water, RSVP-ify, SINE Digital, Tandem Marketing Worldwide, Theatrical Rights Worldwide, The Londoner, Ticketmaster, Travelzoo and White Light.

@whatsonstage

www.whatsonstage.com

THE NOMINATIONS IN FULL

THE SINE DIGITAL BEST PERFORMER IN A PLAY

Jonathan Bailey, Richard II, Bridge Theatre

Ncuti Gatwa, Born With Teeth, Wyndham’s Theatre

Tom Hiddleston, Much Ado About Nothing, Theatre Royal Drury Lane

Joe Locke, Clarkston, Trafalgar Theatre

Maxine Peake, The Last Stand of Mrs Mary Whitehouse, Nottingham Playhouse

Rosamund Pike, Inter Alia, National Theatre

BEST PERFORMER IN A MUSICAL – SPONSORED BY TICKETMASTER

Lauren Drew, Titanique, Criterion Theatre

James Hameed and Arti Shah, Paddington The Musical, Savoy Theatre

Lucie Jones, 13 Going On 30 The Musical, Manchester Opera House

Jamie Muscato, The Great Gatsby, London Coliseum

Diego Andres Rodriguez, Evita, The London Palladium

Rachel Zegler, Evita, The London Palladium

BEST SUPPORTING PERFORMER IN A PLAY

Joe Alwyn, The Lady from the Sea, Bridge Theatre

Emma Corrin, The Seagull, Barbican Theatre

Stephen Fry, The Importance of Being Earnest, Noël Coward Theatre

Yerin Ha, The Maids, Donmar Warehouse

Sophie Melville, Clarkston, Trafalgar Theatre

Mason Alexander Park, Much Ado About Nothing, Theatre Royal Drury Lane

BEST SUPPORTING PERFORMER IN A MUSICAL – SPONSORED BY NEWMAN DISPLAYS

Bella Brown, Evita, The London Palladium

Amber Davies, The Great Gatsby, London Coliseum

Candace Furbert, Sharlene Hector, Brianna Ogunbawo, Malinda Parris, Robyn Rose-Li, Hercules, Theatre Royal Drury Lane

Victoria Hamilton-Barritt, Paddington The Musical, Savoy Theatre

Grace Mouat, 13 Going On 30 The Musical, Manchester Opera House

Layton Williams, Titanique, Criterion Theatre

BEST PROFESSIONAL DEBUT – SPONSORED BY AKA

Timi Akinyosade, Paddington The Musical, Savoy Theatre

Mia Carragher, The Hunger Games on Stage, Troubadour Canary Wharf Theatre

Hannah Dodd, Cabaret, Kit Kat Club at the Playhouse Theatre

Jess Folley, Burlesque The Musical, Savoy Theatre

Ruaridh Mollica, Clarkston, Trafalgar Theatre

Asha Parker, Burlesque The Musical, Savoy Theatre

BEST TAKEOVER 

Karis Anderson, Moulin Rouge! The Musical, Piccadilly Theatre

Stevie Doc, The Devil Wears Prada, Dominion Theatre

Emma Kingston, Wicked, Apollo Victoria Theatre

Rob Madge, Kit Kat Club at the Playhouse Theatre

Eva Noblezada, Kit Kat Club at the Playhouse Theatre

Alex Young, Operation Mincemeat, Fortune Theatre

BEST NEW PLAY – SPONSORED BY DISNEY ON STAGE

Born With Teeth, Wyndham’s Theatre

Clarkston, Trafalgar Theatre

The Comedy About Spies, Noël Coward Theatre

Inter Alia, National Theatre

Stereophonic, Duke of York’s Theatre

Through It All Together, Leeds Playhouse

THE TRAVEL ZOO BEST NEW MUSICAL AWARD

The Great Gatsby, London Coliseum

Hercules, Theatre Royal Drury Lane

Here and Now, UK Tour

Paddington The Musical, Savoy Theatre

Shucked, Regent’s Park Open Air Theatre

Titanique, Criterion Theatre

THE LONDONER BEST PLAY REVIVAL AWARD

The Importance of Being Earnest, National Theatre / Noël Coward Theatre

The Lady from the Sea, Bridge Theatre

Much Ado About Nothing, Theatre Royal Drury Lane

Richard II, Bridge Theatre

The Seagull, Barbican Theatre

A Streetcar Named Desire, Sheffield Theatres

BEST MUSICAL REVIVAL – SPONSORED BY CONCORD THEATRICALS

Brigadoon, Regent’s Park Open Air Theatre

Evita, The London Palladium

Jesus Christ Superstar, The Watermill Theatre

Little Shop of Horrors, Sheffield Theatres

My Fair Lady, Curve, Leicester

The Producers, Menier Chocolate Factory / Garrick Theatre

BEST WEST END SHOW – SPONSORED BY DEWYNTERS

Cabaret, Kit Kat Club at the Playhouse Theatre

Hadestown, Lyric Theatre                                    

Les Misérables, Sondheim Theatre

Oliver!, Gielgud Theatre

Operation Mincemeat, Fortune Theatre

Wicked, Apollo Victoria Theatre

BEST REGIONAL PRODUCTION

13 Going on 30 The Musical, Manchester Opera House

Come Fall in Love – The DDLJ Musical, Manchester Opera House                                 

Jesus Christ Superstar, The Watermill Theatre

Krapp’s Last Tape, York Theatre Royal

Pride and Prejudice, UK Tour

Through It All Together, Leeds Playhouse

BEST CONCERT EVENT

The Book Thief in Concert, Prince of Wales Theatre

Gravity, Theatre Royal Drury Lane

The Hunchback of Notre Dame in Concert, Prince Edward Theatre

Jeremy Jordan: Live at the Royal Albert Hall, Royal Albert Hall

Songs For a New World, Eventim Apollo Hammersmith

Rachel Zegler: Live at The London Palladium, The London Palladium

BEST STUDIO PRODUCTION – SPONSORED BY THEATRICAL RIGHTS WORLDWIDE

Be More Chill, Old Joint Stock Theatre                          

Brixton Calling, South Playhouse Borough     

Cul de Sac, Omnibus Theatre

The Frogs, South Playhouse Borough

The Last Five Years, Barn Theatre Cirencester and Reading Rep

Young Frankenstein, Hope Mill Theatre                         

BEST DIRECTION – SPONSORED BY LONDON THEATRE DIRECT

Tamara Harvey, The Constant Wife, RSC

Lynette Linton, Intimate Apparel, Donmar Warehouse

Jamie Lloyd, Much Ado About Nothing, Theatre Royal Drury Lane

Thomas Ostermeier, The Seagull, Barbican Theatre

Tim Sheader, Natasha, Pierre & the Great Comet of 1812, Donmar Warehouse

Luke Sheppard, Paddington The Musical, Savoy Theatre

BEST CHOREOGRAPHY – SPONSORED BY LaDUCA SHOES

Fabian Aloise, Evita, The London Palladium

Ellen Kane, Ballet Shoes, National Theatre

Ellen Kane, Paddington The Musical, Savoy Theatre

Lorin Latarro, The Producers, Menier Chocolate Factory / Garrick Theatre

Drew McOnie, Brigadoon, Regent’s Park Open Air Theatre

Jennifer Weber, 13 Going on 30 The Musical, Manchester Opera House

THE PREEVUE BEST SET DESIGN AWARD

Frankie Bradshaw, Ballet Shoes, National Theatre

Lizzie Clachan, The Lady From the Sea, Bridge Theatre

Tom Pye, Paddington The Musical, Savoy Theatre

Paul Tate dePoo III, The Great Gatsby, London Coliseum

Michael Taylor, My Fair Lady, Curve Leicester

David Zinn, Stereophonic, Duke of York’s Theatre

BEST COSTUME DESIGN

Alex Berry, Intimate Apparel, Donmar Warehouse                  

Linda Cho, The Great Gatsby, London Coliseum                       

Colin Richmond, The Red Shoes, RSC

Gabrielle Slade and Tahra Zafar, Paddington The Musical, Savoy Theatre

Rae Smith, The Importance of Being Earnest, National Theatre / Noël Coward Theatre

Michael Taylor, My Fair Lady, Curve Leicester

THE WHITE LIGHT BEST LIGHTING DESIGN AWARD

Neil Austin, Born with Teeth, Wyndham’s Theatre

Neil Austin, Paddington The Musical, Savoy Theatre

Jon Clark, Evita, The London Palladium

Paule Constable, The Unlikely Pilgrimage of Harold Fry, Chichester Festival Theatre

Howard Hudson, Natasha, Pierre & the Great Comet of 1812, Donmar Warehouse

Jessica Hung Han Yun, Hamlet Hail to the Thief, RSC

BEST SOUND DESIGN – SPONSORED BY HERE AT OUTERNET

Adam Fisher, Evita, The London Palladium

Tony Gayle, Wild Rose, The Royal Lyceum Theatre Edinburgh

Tom Gibbons, The Seagull, Barbican Theatre

Gareth Owen, Paddington The Musical, Savoy Theatre

Ryan Rumery, Stereophonic, Duke of York’s Theatre

Gareth Tucker, Natasha, Pierre & the Great Comet of 1812, Donmar Warehouse

BEST VIDEO DESIGN – SPONSORED BY STUDIO 20

Will Duke, Hamlet Hail to the Thief, RSC

Andrzej Goulding, Born with Teeth, Wyndham’s Theatre

Luke Halls, Sing Street, Lyric Hammersmith

Zakk Hein, The Maids, Donmar Warehouse                               

Jamie Lloyd, Nick Ward, David Anderson, Evita, The London Palladium

Ash J Woodward, Paddington The Musical, Savoy Theatre

WIGS, HAIR AND MAKE-UP

Valerie Atkinson, Little Shop of Horrors, Sheffield Theatres

Campbell Young Associates, Paddington The Musical, Savoy Theatre

Rae Smith, with Kate Elizabeth, Campbell Young Associates and Adele Brandman,

The Importance of Being Earnest, National Theatre / Noël Coward Theatre

Charles G LaPointe, Rachel Grier and Ashley Ryan, The Great Gatsby, London Coliseum

Mia M Neal, Kirk Cambridge-Del Pesche, Hercules, Theatre Royal Drury Lane

Grace Smart, Cyrano de Bergerac, RSC

BEST MUSIC DIRECTION / SUPERVISION

Tom Brady, Hamlet Hail to the Thief, RSC

Matt Brind, Paddington The Musical, Savoy Theatre

Justin Craig, Stereophonic, Duke of York’s Theatre

Stuart Morley, Jesus Christ Superstar, The Watermill Theatre

Sarah Travis, Davey Anderson, Ali Roocroft, Wild Rose, The Royal Lyceum Theatre Edinburgh

Alan Williams, Evita, The London Palladium

BEST CASTING DIRECTION

Pippa Ailion CDG for Pippa Ailion and Natalie Gallacher Casting, Natasha, Pierre & the Great Comet of 1812, Donmar Warehouse

Stuart Burt, Make It Happen, Dundee Rep Theatre and Edinburgh International Festival

Alastair Coomer, The Importance of Being Earnest, National Theatre / Noël Coward Theatre

Natalie Gallacher CDG for Pippa Ailion and Natalie Gallacher Casting, Nick Hockaday, Annabelle Davis,

Paddington The Musical, Savoy Theatre

Bryony Jarvis-Taylor, Here We Are, National Theatre

Pearson Casting, Titanique, Criterion Theatre

King’s Head Theatre – until 3 January 2026

Reviewed by Claire Roderick

5*****

Awkward Productions ensure Christmas is merry and gay at the King’s Head this year as they bring their 5-star Edinburgh smash to London slicker and sillier than ever. This gloriously knowing and daft send up of Hallmark and royal romance movies is cheesy, camp and extremely clever. Linus Karp and Joseph Martin’s previous shows involve digital appearances, catchy music by Leland, pop culture references and audience members taking on guest roles. The Fit Prince tests all of these elements to the limit, and the result is hilarious – there aren’t enough stars to award to this pair!

The King of Swedonia is dead, and at his funeral the mourners are reminded that for Prince Elian (Linus Karp) to be crowned, he must marry before Christmas. While Elian unenthusiastically surveys suitable consorts, the action switches to New York. Here baker Aaron Butcher (Joseph Martin), recently dumped, is drifting through daily routines until fellow baker and pushy puppet Jenny’s badgering of Swedonian officials somehow sets him off on the long, multi-vehicle journey to Swedonia. Of course, he bumps into Prince Elian, and they take a tour around the countryside, visiting Gerta McMurder’s House of Orphans (merchandise available!) As someone old enough to have seen The Dark Crystal on the big, terrifying, screen in the 1980s, Gerta’s first entrance was slightly (EXTREMELY) traumatic, but Joseph Martin’s puppetry and characterisation soon had me howling with laughter rather than fear. Hilarious – it’s just a shame Aaron is always in the bathroom and never gets to meet her.

Elian and Aaron ride horses, take a sauna, and go to a BAAB concert. BAAB’s appearance is the sequinned highlight of the show. The most famous group in Swedonia, we are treated to a medley of BAAB’s greatest hits: Dunkirk, Movement King, Is Your Father Aware – you get the gist. Simply brilliant. While Elian is away, his doppelganger keeps things running at the palace. But the doppelganger has nefarious plans – can Elian and Aron foil his fascist plot, and will they find true love? Well, obviously, yes – as Jenny Puppetson screams – “This is THEATRE!”

The show begins with just audience members on stage – madness, but it works brilliantly. Scene breaks are accompanied by clips of the Swedonian national anthem – a real earworm – with different lyrics explaining the plot. Various world dignitaries chip in on royal and diplomatic matters – Michelle Obama (Yshee Black), Angela Merkel (Kate Butch) and The Queen of England (Geri Allen) – and hot, unsuitable suitors court Elian, including Sebastian Croft as Prince Balthazar of Bashington. On press night, Croft was in the audience and was playing the doppelganger, resulting in a wonderfully chaotic scene where he was marrying himself.

Karp and Martin are as endearing and exciting performers as they are writers and you can’t help but get swept along with the joyful onstage nonsense. The Fit Prince is an unmissable Christmas treat – supremely silly and hilariously uplifting. Grab a ticket while you can – you could be lucky enough to play the monstrous corpse of the king!

St Philips Cathedral, Birmingham -10th December 2025

Reviewed by Emma Millward

5*****

St Philip’s Cathedral provided a breathtakingly atmospheric setting for Songs of the Season-A Celebration of Joy. The beautiful Baroque building can be found in Cathedral Square, or Pigeon Park, as locals usually refer to it. The Cathedral had been illuminated for the occasion and was looking particularly festive. The lights from the craft market outside were also shining through the intricate stained-glass windows, adding even more sparkle to proceedings.

The event was hosted and performed by the ever-charismatic James Edge. Edge is the founder of West End Best Friend Productions, which has organised this show, and he is also the theatre manager at The Old Joint Stock Theatre, which is just over the road from the Cathedral. Edge guided the audience through the show with ease, offering gentle humour and storytelling that made the show feel more intimate despite the grandeur of its setting. His opening performance of Christmas (Baby Please Come Home) really captured the show’s playful energy and set the tone for the evening to come. Joining him were featured performers Caprice Lane and Jack Carr, each bringing their own distinctive style and flair to the show. Lane’s beautifully clear soprano vocals suited both the contemporary arrangements and traditional carols. Jack Carr’s shy demeanour made his amazing voice all the more surprising when he started belting out such festive classics such as ‘Winter Wonderland’ and ‘Jingle Bells’.

A vital creative force behind the evening was musical director Callum Thompson, whose arrangements were nothing short of spectacular. Thompson has worked on many shows I have seen at the Old Joint Stock Theatre, and his ability to add his own twist and create something new from well-known songs never fails to amaze me. Some of the songs are currently appearing in The Old Joint Stock Theatre’s Christmas show ‘Sleigh Miserables’. One such number was an epic medley combining ‘I’ll Be Home for Christmas’ and ‘Bring Him Home’ from Les Misérables, sung with power and control by Jack Carr. Caprice Lane brought an extra bit of Christmas magic to the show with a mash-up medley of ‘When She Loved Me’ from Toy Story 2 blending seamlessly into Wham’s ‘Last Christmas’. The bittersweet nostalgia created something genuinely beautiful and fresh.

A huge highlight of the evening came from the talented students of the School of Theatre Excellence (SOTE). Their energy was infectious, and their professionalism was clear to see. Their rendition of ‘Carol of the Bells’ was exhilarating to hear in such a grand venue. They also performed the show-stopping ‘Seasons of Good’, another outstanding arrangement from Callum Thompson that blended ‘For Good’ from Wicked with ‘Seasons of Love’ from Rent. Though neither song feels particularly festive, when combined they seem very fitting for this time of year.

Songs of the Season was created with the hope that it would become a new annual tradition in Birmingham’s festive calendar, and I think all involved have achieved this goal. It is not only a concert of superb performances, but also a celebration of community, creativity and festive spirit. It reminds us how music really can bring people together at Christmas.

Songs of the Season will return for another performance on 21st December 2025.

Kings Theatre Portsmouth – until 31 December 2025

Reviewed by Lucy Hitchcock

4**** 

Pompey Panto presents ‘Aladdin’ for their Christmas entertainment extravaganza of 2025, and it is certainly a must see. 

Shaun Williamson and Rustie Lee join the seasoned Jack Edwards for this performance and there are certainly some surprises in store. Following the traditional plot of the Disney classic, we follow Aladdin through his journey to wed Princess Jasmine, but he gets tricked by the mysterious Aba’Barry’Nazer (Shaun Williamson), giving away his lamp and most importantly his genie (Rustie Lee). Widow Twanky and Wishee Washee (Jack Edwards and Joe Pollard) hilariously accompany this journey, with their delightful pantomime classic pantomime antics. Accompanied by Esme Bowdler as the Spirit in the Ring, this is a great show. With a chorus of dancers and younger members, this is a feast for the eyes. Every member of the company were superb, however there is always one member of the chorus stands out-and for us it was Bobby Watkins. He was engaging and really expressed his passion and talents. 

The interval posed much excitement from the audience, as there was talk of toilet paper buzzing around the room. As a first time viewer of a Pompey Panto, this was confusing for me, but it all became clear in the ‘12 Days of Christmas’-I was totally blindsided and found myself feeling faint from how much I was laughing! It was bliss to hear the excitement of the children in the audience as the perfectly choreographed scene began. Also, the ‘Ghost’ song had me again, crying with laughter-it was a joy to behold. 

This is a stellar piece of theatre, one I will be talking about to everyone I meet and I am excited to see what 2026 brings for Pompey Panto!!! 

JW3 – until Sunday 4th January 2026

Reviewed by Laura Mobilia

5*****

Cinderella and the Matzo Ball is a vibrant and refreshing reimagining of the classic fairy tale, delivered with humour, cultural flair and the unmistakable spirit of British pantomime. While it includes all the traditional elements — audience interaction, lively dance routines and recognisable musical numbers — it also offers a distinctive twist, presenting Cinderella’s story through a joyful blend of Jewish and British identities.

One of the production’s strongest assets is the sheer calibre of its cast. Every performer brings exceptional talent, commitment and charm to the stage. Their character work is finely tuned, with expressive physicality, confident delivery and a clear sense of play. As a result, the audience remains fully engaged from start to finish, drawn in by the energy and cohesiveness of the ensemble.

The musical choices are particularly memorable. Alongside familiar hits such as I Don’t Wanna Miss a Thing by Aerosmith and Wilkommen from Cabaret, the show incorporates Jewish songs including Yasis Alayich by Rabbi Ben Zion Shenker and Moshiach by Mordechai Ben David. These numbers create warm, celebratory moments, encouraging the audience to join in and adding a unique cultural richness to the evening.

Described by its writer as “unforgivingly Jewish and undeniably British,” the production embraces its identity without hesitation. It knows its audience and speaks directly to those who appreciate the fusion of these two worlds. Rather than aiming for broad universality, it celebrates specificity — and does so with pride.

The cast features excellent performances from Michael Cowan, Lilith Freeman, Libby Liburd, Talia Pick, Ronan Quiniou, Talya Soames and Rosie Yadid. The onstage band — Oliver Presman, Migdalia Van Der Hoven and musical director Josh Middleton — adds vitality and rhythm, positioned cleverly within the set, so they become an active part of the storytelling rather than a hidden backdrop. Special guest appearances by Emma Barnett as the News Reporter and Debbie Chazen as the Fairy Cake add further humour and delight.

Directed by Abigail Anderson and written by Nick Cassenbaum, Cinderella and the Matzo Ball brings together a creative team working seamlessly in harmony, including strong contributions from Amy Daniels (lighting), Yael Loewenstein (choreography), John Fiber (sound), Laura Hopkins (set and costumes), Beth Qualter-Buncall (associate costume), Lauren Connolly (puppet maker) and Plotnek Productions in association with JW3.

This exuberant Jewish pantomime blends music, comedy and cultural celebration into an evening full of warmth, joy and charm — a festive treat that stands proudly apart from more conventional seasonal offerings.

The Epstein Theatre – until 4th January 2026

Reviewed by Jennifer Daley

5****

On a wet, windswept Liverpool night, the Epstein Theatre proved that a little rain is no match for a lot of sparkle. Their production of Cinderella burst onto the stage in a riot of sequins, satin and sheer showmanship—an unapologetically glitter-drenched panto that delivered everything the genre promises and then some.

From the moment the curtain rose, producer Chantelle Joseph served up the full festive feast: dazzling costumes, immaculate makeup, powerhouse vocals, and a generous helping of cheeky adult innuendo layered beneath child-friendly chaos. In a world where “6/7” may no longer be cool (if it ever was!) this show leaned joyfully into pure, unfiltered fun.

What really elevated the evening was the cast’s infectious energy. They didn’t just perform a panto, they lived it. Connor Barrie’s Dandini ricocheted around the stage with such ferocious enthusiasm that the audience felt breathless just watching him. His quick-witted ad-libs landed perfectly, keeping both cast and crowd deliciously on edge.

Leanne Campbel, a familiar voice to Liverpool radio listeners, brought a sensational, surprising vocal punch as the Fairy Godmother. She flipped effortlessly between ethereal enchantress and sharp-tongued Scouse auntie, delivering each line with irresistible local sass.

Buttons, played with heart-melting warmth by Kevinn Duala, balanced tenderness with daring innuendo, charming both children and adults in equal measure. His rapport with the audience felt authentic, never forced, exactly what a panto sidekick should be.

Then came the Ugly Sisters, and it’s no exaggeration to say they stole the show. Rechristened Mounjaro (Shania Pain) and Ozempic (Brenda LaBeau), this dynamic duo blasted onto the stage in a whirlwind of camp, cruelty and couture. Their comedy was outrageous, their timing razor-sharp, and their costumes? Worth a standing ovation on their own. If ever brows deserved their own billing, it was here.

One of the evening’s undeniable highlights was an utterly anarchic rendition of “The 12 Days of Christmas”, a scene so chaotic, so carnage-filled, and so gloriously silly that it deserves instant entry into the Panto Hall of Fame. For those planning to attend: bring a shower cap. In this production, dodging Nerf gun crossfire is practically a rite of passage.

And of course, at the heart of the madness was Cinderella herself, travelling to the ball in the fluffiest unicorn-drawn carriage imaginable. Her romance with Prince Charming (Michael Nelson) unfolded with storybook sweetness, delivering the happily-ever-after the audience had been rooting for since curtain rise. By the finale, goodness gleamed brighter than the fairy lights and anyone over 16 was once again reminded that we truly have no idea what “6/7” means.

A sparkling, side-splitting, sequin-soaked triumph. The Epstein’s Cinderella is everything a Christmas panto should be: heart-warming, hilarious, and brimming with community spirit.

Aylesbury Waterside – until Sunday 4th January 2026

Reviewed by Rachel Clark

5*****

FUN, FUN, FUN – AMAZING! A MUST SEE PANTO!

What an amazing pantomime, from the 1st second to the end, fun, vibrant, exciting, if I could give it more than 5 stars I would. I’ve been going for years to the Aylesbury Waterside panto’s and each year they get better and this was no exception it was the best they have ever done – Well Done Aylesbury Waterside, I am still buzzing from it!

The cast is relatively small for a powerful panto and all had such clarity, you could hear every word spoken clearly, along with every word in the songs and jokes.

The baddie Fleshcreep played by Nigel Harman – know for Dr Max Cristie was awesome, he was really into the role and has some great dance moves! The Aylesbury Waterside panto won’t be the same with Andy Collns who again gave it his awe as Silly Simon, (Andy Collins is a BBC 3 Counties Radio presenter) Jacks brother. Leon Craig played the Dame – Dame Dot Trott it is his 20th year as a Dame in pantoland, and the inneundo’s kept coming, whilst wearing numerous eccentric costumes and wigs a great character.

You could feel the great rapport they all had, all the cast were smiley and vibrant and looked like they were all having as much fun as the audience. The Ensemble were foot perfect along with the children that were faultless. The audience were shouting back, laughing and just having a great time, which is what panto is about.

Jack Trott wasn’t a stranger to the Aylesbury Waterside, Jack was played superbly by Joe Sleight, Joe was back after playing Eddie in Blood Brothers early in the year. We also had Jill Pickle played by Emma Crossley who has plenty of theatre credits and then we had brilliant The Spirit of the Beans – Shani Cantor, couldn’t fault her performance and she was definitely full of beans herself – perfect for the part, she was very professional, fun and dressed in her glamorous but over the top, but right for the part fairy outfit and of course had a wand.

The second half you were provided 3D glasses, and oh wow the effects were brilliant causing squeals and laughter, 100% for the graphics. Make sure you take a raincoat unless you want to get wet as you definitely need it for the second half of the panto and bring a water pistol . Then of course we had the 12 Days of Christmas song always causing great chaos.

It is a bang up to date panto with songs from Ps and K-Pop Demon Hunters which all the children will know and love.

A big shout out to all the production team, creative, wardrobe (outfits were brilliant), orchestra that all made it happen and not forgetting all the staff, ushers, bar staff, security , marketing, management they all worked together to put on a great panto.

Fe Fi Fo Fum this panto was packed full of FUN.

Lyceum, Sheffield – until 5th January 2026

Reviewed by Alison Beaumont

4****

Get yourself ready for an evening of fun and laughter for this year’s panto, Aladdin.

You are greeted with a small welcome and Christmas warm up by the enthusiastic and talented musical director James Harrison. You will not find anyone with as much passion for panto’s as this man.

I felt the panto was a little slow in getting people warmed up, the first half felt a little bit too rehearsed and scripted rather than the funny ad-libbing that comes with pantos. As with all pantos the flow of them is helped along by audience participation and this was lacking a little at first. The second half however was much better, the cast seemed more relaxed and the audience were getting more involved and the hilarities were flowing.

Sheffield’s very own panto legend Damian Williams plays Dame Dolly, and as in previous years does a great performance.

Strictly Come Dancing star Kevin Clifton plays the villain of the show, Ivan Tochacha, and there were references to Strictly throughout. Kevin as always amazes with his dancing but who knew that he could also sing.

Evie Pickerill who the kids will know from Cbeebies took on the part of the Spirit of the Ring. She had an element of funniness about her as well as impressive vocals.

Aladdin himself was played by Sario Solomon and Princess Jasmine by Lauren Chia. I loved Lauren’s vocals and she certainly looked the part. The pair performed well together and showed a good connection.

You had to laugh at the Policeman, if only for his name “PC World” which made me chuckle every time, played by George Akid returning after doing an amazing performance in last year’s Panto.

When Aladdin flies on the magic carpet, this is cleverly done with the use of projection and lighting.

The costumes were vibrant and bright and how Dame Dolly manages all the costume changes is beyond me.

There was a range of songs throughout and I especially like the part when the cast press the buttons and little snippets of different songs are played as a funny conversation type scene.

There is reference to the 6-7 viral meme, that for the older generation probably goes over your head, but this made the younger generation laugh.

The show ended with the classic fairytale wedding, and everyone got up to have a bit of a dance and you were invited to take photos and videos.

Christmas is not Christmas without having seen a panto and you are never too old to shout out and get involved.

DUTCH ACTOR AND SINGER JOY WIELKENS TO JOIN THE
WEST END PRODUCTION OF HADESTOWN AS ‘PERSEPHONE’ FOR 7 WEEKS ONLY

NICOLA ROBERTS’ FINAL PERFORMANCE IN THE ROLE WILL BE SUNDAY 18 JANUARY 2026

uk.hadestown.com

Dutch actor and singer Joy Wielkens will join the critically acclaimed West End production of Hadestown as Persephone from 20 January until 8 March 2026. She joins the London production having performed the role at the Royal Theatre Carré in Amsterdam earlier this year where the AD hailed “Weilkens blows the audience away with her soulful voice that cuts straight to the Heart.” Other credits in the Netherlands include Beneatha’s Place, Billie!, A Raisin in the Sun, The Mountaintop, and Dear Winnie.

Wielkens takes over the role in London from BRIT Award-winning Girls Aloud star Nicola Roberts whose last performance in the production will be on Sunday 18 January 2026, as previously announced.

Wielkens joins Desmonda Cathabel as Eurydice; Chris Jarman as Hades; Cedric Neal as Hermes; and Dylan Wood as Orpheus.

Melanie Bright, Allie Daniel and Lauran Rae play the Fates; Femi Akinfolarin, Michelle Andrews, Ollie Bingham, Laura Delany and Sebastian Lim-Seet play the Workers, with Lucinda Buckley, Juan Jackson, Oisín Nolan-Power, Lindo Shinda and Jasmine Triadi as Swings.

Hadestown is currently booking until 27 September 2026, at the Lyric Theatre, London. Casting for performances from 10 March 2026, will be announced soon.

Blending American songwriting traditions, from indie folk, to pop, blues, and New Orleans-inspired jazz, Hadestownhas music, lyrics, and book by acclaimed Tony® and Grammy®-winning singer-songwriter and BBC Radio 2 Folk Award-winner Anaïs Mitchell whooriginated Hadestownas anindie theatre project and acclaimed album, before transforming the show into a genre-defying new musical alongside artistic collaborator and Tony® Award-winning director Rachel Chavkin.

Hadestowntakes you on an unforgettable journey to the underworld and back, intertwining two mythic love stories – that of young dreamers Orpheus and Eurydice, and that of King Hades and his wife Persephone.  A deeply resonant and defiantly hopeful theatrical experience, Hadestowninvites you to imagine how the world could be.

The Hadestown creative team includes David Neumann (Choreography), Rachel Hauck (Scenic Design), Michael Krass (Costume Design), Bradley King (Lighting Design), Nevin Steinberg and Jessica Paz (Sound Design), Liam Robinson (Music Supervision and Vocal Arrangements), Michael Chorney and Todd Sickafoose (Arrangements and Orchestrations), Ken Cerniglia (Dramaturgy), Maria Crocker (UK Associate Director), and Tarek Merchant (Musical Director & Associate Music Supervisor). Casting by Jacob Sparrow. Additional casting by Rob Kelly.

Hadestownis produced in London by Mara Isaacs, Dale Franzen, Hunter Arnold, Tom Kirdahy and the National Theatre in association with JAS Theatricals.

All biographies for the cast, as well as information on Hadestown and how to buy tickets, can be found at uk.hadestown.com

CAN’T FIGHT THE MOONLIGHT…..

THE WORLD PREMIERE OF

COYOTE UGLY – A NEW MUSICAL

TO HIT THE WEST END IN 2027

WITH ORIGINAL MUSIC & LYRICS BY THE GRAMMY AWARD WINNING AND 16 TIME ACADEMY AWARD NOMINATED 

SONGWRITER DIANE WARREN

WITH A STAGE ADAPTATION BY ORIGINAL FILM SCREENWRITER 

GINA WENDKOS

ALONGSIDE OLIVIER AWARD WINNING 

VIKKI STONE

AND DIRECTED & CHOREOGRAPHED BY THE MULTI TONY AWARD WINNING JERRY MITCHELL

Jamie Wilson Productions (JWP) alongside Nederlander Studios will bring to the West End in 2027 the musical stage adaptation of the cult hit film Coyote Ugly, based on the iconic New York Coyote Ugly Saloon bar, with the original multi award winning team behind the music, lyrics and script.

The film, Coyote Ugly, was released in the year 2000 and became an instant cult smash hit, making over 113 million dollars at the worldwide Box Office. It was directed by David McNally and produced by Jerry Bruckheimer and Chad Oman. The film was based on Elizabeth Gilbert’s 1997 GQ article, The Muse of the Coyote Ugly Saloon, about her experiences as a bartender at the renowned bar.

Diane Warren, the multi award winning original songwriter, will bring to the musical the iconic tracks she wrote for the film; Can’t Fight The Moonlight, Please Remember, The Right Kind of Wrong and But I Do Love You, as well as writing original new songs for the production.

The original film screenwriter, Gina Wendkos (The Princess Diaries 1 & 2), will be writing the book alongside Olivier Award winning writer Vikki Stone (Caroline, Hey Duggee) with musical theatre impresario, Jerry Mitchell (Hairspray, Legally Blonde, Kinky Boots) directing and choreographing, following his enormous success with The Devil Wears Prada, one of the biggest hits in the West End in recent years. 

Diane Warren said, “For over 20 years I’ve been saying someone needs to do a Coyote Ugly musical. I’m so excited it is finally happening and that I will be a part of it! Both the movie and the soundtrack are guilty pleasure classics and now a fun guilty pleasure musical just when we need it most!”

Jamie Wilson, on behalf of the Producers said “We are incredibly proud to collaborate with such an exceptional, award-winning creative team to bring a new musical stage adaptation of this cult-classic to the West End in 2027.

We are thrilled that the production will feature not only Diane Warren’s iconic tracks from the original film, but also an unparalleled slate of brand-new songs written exclusively by Diane for the stage.

We’re inviting audiences to join the coyotes for a wild theatrical experience, where the music will capture all the heart and heat of the original story whilst igniting it anew for the next generation.”

Coyote Ugly is presented with special permission from Buena Vista Theatrical Group Ltd.