Midsomer Murders has been a household name and one of ITV’s biggest hits for decades, demonstrating how much people enjoy both the intricate puzzle of a whodunnit and a giggle provoked by subtle – and not so subtle – tongue-in-cheek humour. Albeit a rather twee take on village life set in the eternal summer of the English countryside, it has carved out a seemingly immovable spot in TV viewing since 1997.
Now, writer and director Guy Unsworth (Joyride, Bring It on, Sweet Smell of Success) has chosen the pilot episode of this long- running series to adapt for the stage. ‘The Killings at Badger’s Drift’ is brimming over with eccentric characters, all dripping with received pronunciation and afternoon teas. Over the course of this two hour production, the audience is blasted with a vast number of characters and plot lines that are almost too much to keep track of. Fortunately, the well designed set provides various methods of invoking snapshots from the past to help refresh your memory.
The cast are excellent, most of them showcase their talents by taking on multiple roles, keeping track of who each of them play is a formidable challenge. Stand out performances include those from John Dougall (The Girl on the Train, The Wars of the Roses, Waking the Dead) and Rupert Sadler (The Deep Blue Sea, Jekyll and Hyde, My Phone Genie) as iris and Dennis Rainbird, the peculiar mother and son duo who take curtain twitching to a professional level, and Chandrika Chevli as Dr Lessiter’s flirty wife, Barbara; between them, these three provide some of the most comic moments of the performance.
Though the cherry on the Bakewell Tart has to be the premium credentials of the leading man, Daniel Casey. The role of the quietly watchful Detective Chief Inspector Tom Barnaby, originally made famous by John Nettles, is perfectly inhabited by Casey (Cluedo, Abigail’s Party, Steel River Blues), as well it might be. Back in 1997, it was Casey who starred alongside Nettles as Detective Sergeant Gavin Troy, and he spent six years in the role. Here, that mantle is bravely taken up by James Bradwell (The Beautiful Future, Bridgerton, Victoria) who very much makes the part of Troy his own. Between them, Barnaby and Troy wade through the twisted mass of interviews and evidence, and piece by piece uncover various murders and the many sordid secrets obscured beneath the thin veil of respectability donned by the residents of Badger’s Drift.
Overall, this is an excellent production, with a brilliantly mobile set, marvellous performances, and enough intrigue to satisfy any murder mystery fan. But where Midsomer Murders proves itself exceptional in the genre is through its caricatures of stereotypical British eccentricity and that, despite the gruesome storylines, it never takes itself too seriously. One wonders if this stage tour is just the start of something as enduring as the TV series.
Mayflower Theatre Southampton – until 29 November 2025
Reviewed by Joanna Huggett
5*****
The English National Ballet’s Sleeping Beauty, directed by Aaron S. Watkin, is a beautifully polished revival that blends Kenneth MacMillan’s choreography with Peter Farmer’s elegant set designs. It stays true to the classical story while feeling fresh and full of life. The whole production was brought to life by the orchestra, whose warm, expressive playing enhanced the performance, giving it energy and emotional depth. The familiar music of Tchaikovsky was brought to the forefront.
The whole company danced superbly, with the male dancers especially standing out for their strength, precision, and perfect synchronisation. The production was filled with lovely solo moments. Aurora’s radiant musicality, the calm authority of the Lilac Fairy, and the sparkling jumps of the Bluebird. As well as the polished duet by the Bluebird and Princess Flourine. The divertissements add real charm, including the playful character dance of Puss-in-Boots and the White Cat, which delighted the audience.
The formations throughout were clean, expressive, and beautifully arranged—MacMillan’s choreography really shines through Watkin’s clear, story-focused direction. The sets drift like a dream, and the Act II wedding scene bursts with colour and celebration.
I attended with my 16-year-old daughter, who studies ballet, and who was especially struck by the costumes—she said they were the nicest she had ever seen in a ballet. It was hard to disagree. They were colourful, rich, and flattering, and they genuinely enhanced the storytelling.
Overall, this Sleeping Beauty is charming, confident, and visually enchanting. A strong, engaging production that highlights the company at its best. A must see!
Michael Harrison and David Ian are delighted to announce that La Voix will star as Miss Hannigan, alongside Alex Bourne as Oliver Warbucks, in the UK and Ireland tour of the musical ANNIE, opening at New Wimbledon Theatre on Saturday 23 May 2026. La Voix will play the role in Wimbledon, Birmingham, Manchester, Plymouth and Canterbury, with casting for the role of Miss Hannigan from Cardiff onwards, and full company, to be announced soon. Tour schedule and on sale details below with further dates to be announced. www.anniethemusicaltour.uk
La Voix was most recently a participant in Series 23 of Strictly Come Dancing. She previously appeared on Season 6 of RuPaul’s Drag Race UK, reaching the grand finale and being awarded runner up. Her other TV credits include appearances on ITV’s Queens For The Night, becoming a semi-finalist on Britain’s Got Talent, and her film credits include Absolutely Fabulous: The Movie. With her live show, La Voix Meets, she’s interviewed legends such as Dawn French, Joanna Lumley, Su Pollard, and Vanessa Feltz, and performed for the British Royal Family at their exclusive New Year’s Eve ball.
She recently released her debut original pop single, The Show Isn’t Over, followed by her second original single, Hitchcock Blonde. Her hotly anticipated EP The Show Isn’t Over was released in autumn of 2025 alongside a UK tour of the same name, with dates in London’s West End as well as Glasgow, Manchester, Cornwall, Brighton and more.
Alex Bourne returns to Annie as Oliver Warbucks, having played the role in the West End, in Toronto and on a UK Tour. His other theatre credits include The Wizard in The Wizard of Oz at the Gillian Lynne Theatre and on a UK Tour, Edna Turnblad in the UK Tour of Hairspray, Sam Carmichael in the UK Tour of Mamma Mia!, Khashoggi in We Will Rock You at the Dominion Theatre, Billy Flynn in Chicago at the Adelphi Theatre and on an international tour, and Lex Hogan in Eugenius! at The Other Palace. He also played Fred Graham in Kiss Me, Kate at the Chichester Festival Theatre and the Old Vic Theatre, for which he was nominated for the Olivier Award for Best Actor in a Musical. On film he can be seen in Sony Pictures’ Cinderella.
Set in 1930s New York during The Great Depression, brave young Annie is forced to live a life of misery and torment at Miss Hannigan’s orphanage. Her luck soon changes when she’s chosen to spend a fairytale Christmas with famous billionaire, Oliver Warbucks. Meanwhile, spiteful Miss Hannigan has other ideas and hatches a plan to spoil Annie’s search for her true family…
With its Tony® award-winning book and score, this stunning production includes the unforgettable songs ‘It’s the Hard Knock Life’, ‘Easy Street’, ‘I Don’t Need Anything But You’ and ‘Tomorrow’.
ANNIE has Music by Charles Strouse, Lyrics by Martin Charnin and a Book by Thomas Meehan. It is directed by Curve’s Artistic Director Nikolai Foster with set and costume design by Colin Richmond, choreography by Nick Winston, lighting by Ben Cracknell and sound design by Richard Brooker.
ANNIE is produced by Michael Harrison and David Ian. This tour was licensed by Music Theatre International (MTI).
Aylesbury Waterside – until Saturday 29th November 2025
Reviewed by Rachel Clark
3***
Based on an Iconic TV Detective Series
Inspector Morse was a British TV Drama based on novels by Colin Dexter, based in Oxford with Inspector Morse played by the great John Thaw and Lewis played by Kevin Whatley. The series ran from 1987 to 2000 and is still playing on catch up TV. It is an iconic detective series. So I was looking forward to what this show would bring.
The show was brought to the Aylesbury Waterside by Melting Pot and Birmingham Rep, Melting Pot is an independent theatre and film production company that have won Academy Awards and Baftas, and one one their productions was the film The Father starring Anthony Hopkins whilst the Birmingham Rep is well known for the production of The Snowman at London Theatres.
The initial start of the show wasn’t the best, it was set in the theatre at a production of Hamlet, Justin played by Spin Clancy seemed to mumble his first lines and you were then expecting a voice to boom out of him but it didn’t and he didn’t have the most clear of voices nor the volume, I didn’t feel his character was as strong as it could/should have been, throughout the show.
Then there is a death, and Morse (played my Tom Chambers) who was in the audience of Hamlet with his friend Ellen (played by Teresa Banham), gets involved with solving the murder.
Tom Chambers is known for playing many parts including Father Brown, Midsomer Murders, Casualty to name a few and even Strictly Coming Dancing, whist Teresa Banham has also played in many TV and Films to include The Crown, Dr Who and Call the Midwife.
Tom Chambers played Morse well and got some of Morses characteristics right, but you couldn’t help but warm to Lewis played by Tachia Newall, he was very good and a clear voice so you could hear everything said he, and he made you chuckle with the odd bits of Lewis wit, he also has been in many TV shows to include Dr Who and he played the character well , having to put up with Morse.
The one character I did enjoy watching was Verity played exceptionally well by Charlotte Randle another actor from Father Brown and Call the Midwife – in her scene she was slightly drunk at the bar with Morse and Lewis made you smile if not let out a giggle.
Lawrance was played by Josh Katembala and was played well BUT he also played Paul with no different wig other than a change of clothes and glasses and in the beginning I was confused as I had missed some of the comment, as you did have to concentrate to get all the clues and information, I unfortunately I had cougher near me, who seemed to cough at that crucial points.
One very positive thing I will say about the show is you haven’t a clue on who did the crime or crimes even until the very end, some of the audience were discussing and guessing in the interval but I wasn’t aware of anyone who got it right ! and I felt the second half was better than the first half, but this was also due to the volume being slightly increased so you could hear clearer – this was thanks to the feedback of some of the Audience that the theatre quickly acted on and took the feedback and reacted immediately.
The sets were cleverly changed between scenes by the actors themselves, and the set was simple and effective , I liked the way you were at one point on the stage looking into the audience.
Festival Theatre, Malvern – until 29th November 2025
Reviewed by Courie Amado Juneau
5*****
Anyone who grew up in the 90’s (and millions since) will remember Friends fondly or be unfashionably in the minority! Personally, I loved the show, so was really looking forward to Friends The Musical Parody.
After “warm up guy” played by Edward Leigh had whipped up the crowd, the show literally exploded with “Friends Like Us” and “Typical Day at Central Perk” setting the scene nicely – basically replaying lots of moments from the show in roughly the original story arc, though in highly condensed form, hitting many key points.
The writers Bob and Tobly McSmith must be massive fans as they weaved in some clever allusions to what the audience thought (or critics perhaps mentioned – such as in the song “495 Grove Street”; a song about suspending disbelief in the show’s premise. This song, btw, gave Alicia Belgarde (playing Monica) the chance to display a vocal performance that was stratospheric – what a rock voice!
All the cast were spot on with their characterizations. Amelia Atherton captured Pheobe’s weirdness, Enzo Benevuti got Ross’s geekyness, Ronnie Burden inhabited Joey’s special brand of charm and Eva Hope was a dead ringer for Rachel. But Daniel Parkinson… Wow! As Chandler, he really captured the character’s mannerisms – to an incredible extent.
The first half was good, the second even better. Launching with another superb song based around a very familiar catchphrase “We Were On A Break”, this song served to fast forward through the series. Edward Leigh again proved himself a crowd pleaser, this time in a rather fetching “outfit” with “I Am Marcel”, which had us in stitches.. There was also some very clever fleshing out of Gunther’s character with a fantastic song which broke the heart; “Part of Their Gang” (by Jake Brunger and Pippa Cleary). If I were in this show, Leigh’s parts are the ones I would crave – either that or Chandler, whose actor returned in “OMG It’s Janice”, this time to even more hilarious effect than before since he was accompanied by a killer track and a winning dance routine on. Undoubtedly one of the highlights of the entire show!
I hope I’ve given enough examples of the thrilling spectacle on offer in this show but, in case not… With so many wonderful moments from the show making an appearance – some fleeting (like 7 erogenous zones popping up in song) and some (like Ross’s leather pants) that have more stage time; but all wonderful… If you still have doubts then the touching ballad “Could I Be Any More In Love With You” is all you’d need – believe me, it’s worth seeing the show just for that track alone!
I loved the way the show’s creative team (including composer Assaf Gleizner) weaved the title song into the show at various points – sometimes using just the opening line of the lyrics to launch off into an original lyric. Very inventive.
In short, this is a brilliant musical that will appeal to everyone – particularly if you loved the original show. I wholeheartedly recommend it. Indeed, why not take your Friends along? You (and they) won’t regret it.
New Wimbledon Theatre, Wimbledon– until 29 November 2025
Reviewed by Phil Brown
4****
A welcome ray of sunshine to brighten 2025 UK – the brilliant KInks musical, Sunny Afternoon returns! Having premiered at the Hampstead Theatre in 2014, spending two successful years in London’s West End and completing a sensational first UK and Ireland tour, the OIivier award winning Best New Musical is erupting once again onto UK stages. As the most literate of all UK bands, and deeply rooted in British culture, the Kinks are as iconic as red phone boxes, black cabs and Carnaby Street. By rights, they should never have been away…
This well produced two act musical, which covers The Kinks’ early years – 1964 through to around 1970 – makes the compelling case for the band to be the equals of the Beatles and the Stones in the pantheon of British rock gods, courtesy of Ray Davies’ unique ability to combine musical-rhythmic intelligence with his sometimes caustic pinpoint reflections of real life. There is nothing confected about Davies’ songwriting – it is painfully honest but laced with humour and clever observation. A sample rhymes “regatta” with “get at her”. (I’ve heard of yacht rock, but how many times does “regatta” feature as a lyric in a rock song?)
Ray Davies is credited not only with music and lyrics, but also the original story for this musical. (He’s no stranger to musicals – this is his fourth project). That probably explains the intense focus on his concerns and perception of events whilst the other members of the Kinks feature less. Nevertheless, I think the script (Joe Penhall) does a skilful job of balancing the different personalities and it certainly weaves an absorbing story of the band’s progression, linking the different musical numbers cleverly and as smoothly as the lacquering on Ray’s Fender Telecaster. Even for fans of the Kinks, there are some revealing insights, decent jokes, great lines, and apart from the rather corny opening scene, the dialogue with management, promoters, other parasites (as Ray Davies might think of them) and between the band feels properly authentic.
But it’s the performers who have turned this story of a working class North London band into something rather special. I can’t praise the performance highly enough. It’s engrossing, moving and infectious. Director Edward Hall has pitched this well paced show perfectly with well timed moments of high energy, introspection and vulnerability. When the band is performing the musical numbers, it has all the thrill of a real gig and the performers are on superb form.
Casting Director Natalie Gallacher has played a blinder with the two leads – Danny Horn (Ray Davies) and Oliver Hoare (Dave Davies) mesh like real brothers. Both are consummate musicians and portray the contrasting personalities so convincingly, you can feel the sibling rivalry and tension between them.
Ray is a driven man who tries desperately not to be steamrollered. He is principled with experience of life’s ups and downs (like the death of an older sister who gave him his first guitar), but feels weighed down by the relentless pressure to feed the monster that is the music business. At the same time he can be surprisingly sensitive. Lead guitarist Dave on the other hand is an underage teenager in 1964 and a bit of a tearaway.
The other members of the band Harry Curley (bassist Pete Quaife) and Zakarie Stokes (drummer Mick Avory) provide sterling support in both acting their parts and as members of the band which is suitably raw and seriously rocking. Stokes plays an extended drum solo early in Act 2 ( a feature of most acts in those days) and does not miss the opportunity to impress working through an interesting repertoire of skills with precision and crucially not outstaying his welcome (not a feature of drum solos in those days…). Curley gets his chance to solo trying out the bass line to “Waterloo Sunset”.
The story has other key parts: the Kinks’ many managers including the infamous Allen Klein (a brilliant James Chisholm) and the original two, played rather as contenders for upper class twit of the year; Rasa (Lisa Wright), Ray Davies’ first wife has a big presence in the story but a relatively small role, doubling up well as a backing singer; and the Davies family make brief appearances with Dad memorably saying that “Dave’s got straight fingers, good strong hands, but Ray, he boils at a different temperature”.
The stage set is simple but imaginatively appropriate (Miriam Buether) – three walls lined with various speaker cabinets and a studio control room behind visible from time to time. Sound (Matt McKenzie) is superb and the “on stage Kinks” are well accompanied by Michel Cullen (Music Director) and various brass instrumentalists from the cast.
Apparently there are 30 songs crammed into Sunny Afternoon. The show band works almost as hard as the actual Kinks did!Mostly the hits but all are top quality – highly original and superbly crafted. The very helpful Kinks discography in the programme shows how productive they were in the seven years up to the single “Lola” which is the final song of the show. No wonder Ray Davies felt over worked and under rewarded. All songs hit the spot but particularly stand out performances include “You Really Got Me”, “This Strange Effect”, “Sunny Afternoon”, “A Rock and Roll Fantasy”, the beautiful acapella “Days” and of course “Waterloo Sunset”.
This is a proven hit show that most definitely warrants revisiting. It reminds us The Kinks were an essential part of the soundtrack of the 60s and 70s. But it’s neither a soulless run through of The Kinks’ discography nor a particularly feel good story – there is an undercurrent of sadness starting with the death of Ray’s sister, and continuing with the long periods away from home and Rasa, not helped by business struggles, the work schedule, run-ins with publishers and unions and inter band dissatisfaction.
As the final chords of “Lola” ring out and the spotlight fades — you marvel at the passion shown by the performers for the genius of Ray Davies and an incredible body of work and thrill at seeing it performed live. For fans of The Kinks, or of ’60s rock in general, this remains a wonderfully nostalgic and deeply satisfying ride.
Indigo Productions and Crossroads Live, in association with Curve, are thrilled to announce a new chapter in the legacy of The Silence of the Lambs, as the global cultural phenomenon prepares to make its world stage play premiere in 2026. Acclaimed television writer and playwright Gina Gionfriddo (Law & Order (NBC), Rapture, Blister, Burn) brings Thomas Harris’ gripping literary masterpiece to the stage in a new modern adaptation directed by Nikolai Foster. This electrifying new production will open at Leicester’s Curve theatre, where it plays from Saturday 01 August – Saturday 15 August 2026, ahead of a major UK and Ireland tour.
When FBI trainee Clarice Starling is sent to interview the psychiatrist and infamous murderer Hannibal Lecter, it’s hoped his brilliant mind will help catch sadistic new serial killer, Buffalo Bill. Another girl is missing, and time is running out. But Dr Lecter has questions of his own, and now Clarice must decide: keep a safe distance, or let Hannibal ‘The Cannibal’ into her head?
Gina Gionfriddo’s theatrical adaptation delves into the psychological tension of Thomas Harris landmark novel, drawing the audience deep into Clarice and Lecter’s intelligent, intricate, and bone-chilling game of cat-and-mouse, as the FBI scramble to catch Buffalo Bill, a serial killer still at large. Gionfriddo’s screenwriting credits include Law & Order, Law & Order: Criminal Intent (NBC), Cold Case (CBS), House of Cards (Netflix) and The Alienist (Netflix). Her plays Becky Shaw and Rapture, Blister, Burn were finalists for the Pulitzer Prize for Drama in 2009 and 2013, respectively.
Thomas Harris’ quartet of Lecter novels, Red Dragon (1981), The Silence of the Lambs (1988), Hannibal (1999) and Hannibal Rising (2006) have sold over 50 million copies worldwide and have influenced countless modern thrillers. Famed for his scalpel-sharp prose, Harris created in Hannibal Lecter an erudite and urbane serial killer who continues to fascinate the cultural imagination. Clarice Starling remains one of our most compelling fictional heroines — a woman who steps into the darkness to see justice served, armed with intellect, empathy, and unshakable resolve. Harris’ four novels have been adapted into multiple film and TV adaptations featuring acclaimed performances by Brian Cox, Anthony Hopkins, Mads Mikkelsen, Jodie Foster, Julianne Moore and directorial masterclasses by Jonathan Demme and Ridley Scott.
Nikolai Foster is Artistic Director at Curve, Leicester, one of the UK’s leading regional theatres, described as “world class” by The Daily Telegraph and a “powerhouse” by The Times. Born in Copenhagen, Denmark, Nikolai grew up in North Yorkshire and trained at Drama Centre London and at the Crucible, Sheffield. He has created work for many of the UK’s major producing theatres, touring houses and international venues. Nikolai has been director on attachment at the Sheffield Crucible, the Royal Court Theatre and National Theatre Studio and served as an Associate Director at Leeds Playhouse. In 2024, Nikolai was awarded an Honorary Doctor of the Arts by Leicester’s De Montfort University for his contribution to theatre in Leicester. At Curve, Nikolai has worked on numerous musical revivals, new plays, musicals and championed emerging artists. Many of the Made at Curve productions Nikolai has directed have transferred to London, toured the UK and internationally.
Playwright Gina Gionfriddo says: “Thomas Harris’ novel speaks so eloquently to the interior terrors that fuel his iconic characters – both the monsters and the heroes who slay them. What a privilege it has been to bring these stories to the stage.”
Director Nikolai Foster continues: “We’ve long wanted to present a Made at Curve thriller onstage in Leicester, and The Silence of the Lambs is surely the most electrifying and frightening of this genre. At the heart of this play is the remarkable relationship between Clarice Starling and Hannibal Lecter; through their gripping meetings, these two fascinating characters develop a compelling relationship. Harris’ novel is filled with stunning iconography and imagery that is ripe for theatrical invention. We can’t wait to see it burst to life onstage.”
Producers for Indigo Productions and Crossroads Live, James Lane and Ed McGovern conclude: “We are deeply honoured to have been entrusted with Thomas Harris seminal story and iconic characters. Gina and Nikolai have crafted something truly thrilling for the stage, and we cannot wait to welcome audiences into Hannibal Lecter’s cell to witness it first hand for the very first time.“
Full creative team and cast to be announced.
The Silence of the Lambs is produced by Indigo Productions and Crossroads Live in association with Curve.
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Producer, Brian Fenty, is delighted to announce that Agatha Christie’s iconic thriller and the world’s longest running play, The Mousetrap will embark on a major UK tour from September 2026 running through to 2027. The tour forms part of wider plans to celebrate The Mousetrap’s 75th anniversary year with more exciting celebrations to be announced. The West End production will also extend booking into its 75th year to 3 January 2027.
Full casting and creative team for the tour to be announced in due course.
SOLVE THEATRE’S MOST FAMOUS MYSTERY.
Since 1952, Agatha Christie’s The Mousetrap has captivated the world with silent clues, shifting shadows and the best kept secret in theatre history. Now, the record-breaking classic embarks on its 75th Anniversary Tour across the UK and Ireland.
A shocking murder rattles London. Far from the chaos, a remote country guesthouse welcomes seven strangers seeking refuge. But when a police sergeant battles through a deadly snowstorm with a warning no one expects, it becomes clear the threat is already within their walls.
Every whisper hides a clue. Every story masks a lie. And as suspicion tightens its grip, one question chills the room: Who among them is capable of murder?
Step inside, and solve the greatest murder mystery that has kept the world guessing for generations.
THE MANOR AWAITS.
Earlier this year the play celebrated its 30,000th performance in the West End and was presented with a Guinness World Records certificate for the record title longest theatrical run. The genre-defining murder mystery opened in 1952 and continues to enthral audiences at London’s St Martin’s Theatre, now booking into its 75th year in 2027.
The Mousetrap is produced by Brian Fenty.
The London production at St Martin’s Theatre is directedby Ola Ince with artistic direction by Denise Silvey.
Murder She Didn’t Write, the improvised murder-mystery comedy by Degrees of Error, has arrived at the Duchess Theatre in London, and it is an absolute riot from start to finish. Combining the structure of an Agatha Christie-style whodunnit with complete improvisation, the show delivers a uniquely unpredictable night that feels both comfortingly familiar and wildly inventive.
At the helm of the chaos is Agatha Crusty, the fictional detective who guides the entire mystery with sharp wit and theatrical confidence. She’s joined by her loyal but entirely unpredictable sidekick, Jenkins—played each night by a brave volunteer plucked straight from the audience. Their dynamic is one of the show’s standout elements, as Crusty navigates the plot while Jenkins brings spontaneous, often hilariously off-script reactions.
The audience shapes the mystery too, selecting both the setting of the murder and the murder weapon. Suggestions range from the brilliantly imaginative to the outright bizarre—one moment the crime takes place at a Titanic support group, the next on a group trip to Bradford. Even the murder weapons take a wonderfully absurd turn, with items like an orange wooden leg being offered up and enthusiastically embraced by the cast. These unexpected ingredients send the performers vaulting into unpredictable scenarios, yet they adapt with effortless quick-thinking and impeccable comedic timing.
What makes the show so consistently entertaining is the ensemble’s ability to balance narrative coherence with joyful chaos. Even when the story veers into outrageous territory, the cast stays entirely committed to their characters and the world they’re building. Their knack for weaving callbacks, running jokes, and improvised character arcs into a “coherent” mystery is astounding.
Each performer shines through their eccentric portrayals, from pompous aristocrats to suspicious boiler room operatives and misleading red herrings. Their chemistry is seamlessly collaborative; they listen to one another, support each improvised choice, and transform even the smallest slip-up into comedy gold.
Audience involvement—warm, inviting, and never intimidating—adds a sense of collective creativity. There’s genuine delight in watching your own absurd suggestion become a crucial clue or an exquisitely silly dead end.
The Duchess Theatre’s intimate space amplifies the show’s lively energy, making the audience feel truly part of the performance.
Murder She Didn’t Write is a sharp, joyful, and completely unique theatrical experience. If you love improv, mysteries, or simply a night of clever, unpredictable comedy, it’s absolutely worth seeing—especially since no two performances are ever the same.
Queens Theatre, Hornchurch – until 3rd January 2026
Reviewed by Bobbi Fenton
4****
There’s nothing quite like a pantomime to mark the start of the festive season, and Jack and the Beanstalk at Queen’s Theatre, Hornchurch is the perfect example of why panto remains a firm family favourite. Bursting with energy, dazzling costumes, and more jokes than you can shake a magic bean at, this show delivers the full package — from groan-worthy puns to pop culture references that had the audience roaring with laughter.
This fresh take on the classic tale follows the ever-hopeful Jack (Toby De Salis), who dreams of helping his mum, Dame Trott (Fred Broom) pay off their debts, only to find himself climbing a giant beanstalk with his mother Dame Trott (Fred Broom), best friend Jill (Inés Ruiz) and Green Fingered George (Beth Hinton-Lever. While atop the Beanstalk in Cloudland, they manage to rescue adorably clueless Pat the Cow (Lauren Chinery) from becoming a meal for the Giant. The cast bring the story to life with infectious enthusiasm, winking knowingly to the adults while keeping the children utterly enthralled. The script is packed with topical gags, local references, and a few cheeky double entendres that perfectly toe the line, everything a true panto lover could ask for.
Of course, no pantomime would be complete without a larger-than-life Dame, and this production’s Dame is nothing short of sensational. From the moment she steps on stage, she commands attention with her outrageous humour, brilliant comic timing, and an endless parade of fabulous costumes that seem to get bigger, brighter, and more ridiculous with every scene. Each entrance brought a fresh wave of laughter from the audience, whether it was thanks to a sparkling sequin number, a towering hat, or a dress so over-the-top it deserved its own applause. Fred Broom’s quick wit and playful banter with the audience perfectly captured that classic panto magic.
The villain of the piece, Fleshcreep (Roddy Lynch) absolutely stole the show for me. With a commanding stage presence and a truly incredible singing voice, his big number was easily my personal highlight of the evening. It’s rare that a baddie makes you want to cheer and boo at the same time, but his vocals were so good that I couldn’t help but be impressed.
Equally deserving of praise is Beth Hinton-Lever, whose voice is nothing short of stunning. Her performances added a real touch of magic and warmth to the production, balancing out the mischief and mayhem with genuine heart.
One particularly special element of the evening was the inclusion of a BSL interpreter, who seamlessly brought the magic of the show to Deaf and hard-of-hearing audience members. It was wonderful to see accessibility embraced in such a joyful way, and the interpreter’s expressive delivery added an extra layer of fun for everyone watching.
Overall, Jack and the Beanstalk at Queen’s Theatre, Hornchurch is everything you could wish for in a pantomime: big laughs, brilliant performances, catchy songs, and plenty of heart. It’s the perfect mix of old-school tradition and modern sparkle — a magical night out for audiences of all ages. Don’t miss it!
