Author: FairyPoweredProductions

Cambridge Arts Theatre – until Sat 5th September 2026

Reviewed by Steph Lott

5*****

Graham Greene’s classic spy novel “Our Man in Havana” is a satire of Cold War espionage — and this theatrical adaptation at the Cambridge Arts Theatre proves it translates brilliantly to the stage. Clive Francis’s adaptation works really well, capturing the novel’s wit and worldliness for a live audience. What unfolds is a fast-paced, very funny romp that celebrates the sheer fun of theatrical storytelling.

Director Philip Wilson deserves particular credit for the production’s slick energy. His direction maintains a zippy pace throughout, but it’s the lovely little touches of physical humour that truly shine. The four-person cast — Jack Ashton, Bob Barrett, Leon Ockenden and Jodie Steele — don’t merely walk across the stage; they swirl, pirouette and sashay with infectious theatrical flair. This physical comedy adds an extra layer of entertainment to an already engaging production.

There are a lot of theatrical sleights of hand. The small cast performs an impressive feat, playing multiple characters with rapid costume changes and nimble rearrangements of scenery, keeping the audience perpetually on their toes. Julie Godfrey’s set and costume design deserves praise for its effectiveness — she transports us to 1950s Havana, creating atmosphere through clever use of minimal elements that complement rather than compete with the actors’ performances.

The production’s opening moments were a bit tricky. The actors initially speak at such breakneck speed that you struggle to follow who’s who, what’s happening, and what’s being said. It’s disorienting rather than exhilarating, and you worry the entire evening will leave you bewildered. Thankfully, they quickly settle into a more measured rhythm, finding a pace that maintains the zippiness without sacrificing clarity. By the time Wormold’s predicament becomes clear, you’re entirely invested.

The heart of the play — and its funniest moments — belongs to Jim Wormold’s increasingly elaborate fabrications. Desperate for money and cornered by his intelligence handlers, he simply invents the spies and operations they’re demanding from him. Watching him construct these fictional agents, complete with absurd details and wildly implausible scenarios, is comedy gold. The cast milks these scenes for every laugh, and the audience responds enthusiastically. There’s something deeply satisfying about watching a bumbling vacuum cleaner salesman outwit the entire British intelligence apparatus through pure invention and bluffing.

I also appreciated though how the cast navigated the point at which the story takes a dark turn. There are some serious issues at play which were well handled.

What emerges is a thoroughly entertaining evening of theatre. The cast’s obvious enjoyment is contagious, and their dextrous juggling of multiple roles demonstrates real theatrical craftsmanship.

If you enjoy a satirical romp that doesn’t take itself too seriously, this is well worth your time. It’s a slick, satisfying evening that proves Greene’s satirical masterpiece remains as amusing as ever.

BACK ON THE BLOCK!

WEST END ALUMNI CAST RETURN TO CELEBRATE

20 YEARS OF

AVENUE Q

FOR A SPECIAL FINALE REUNION
THURSDAY 17 SEPTEMBER

THE MULTI-AWARD WINNING MUSICAL
MUST END 3 JANUARY 2027
AT THE SHAFTESBURY THEATRE

In celebration of the 20th anniversary of AVENUE Q, West End alumni cast members Julie Atherton, Ann Harada, Siôn Lloyd, Jon Robyns and Giles Terera, will join the current West End company for a special finale performance on Thursday 17 September at the Shaftesbury Theatre. The performance will be dedicated to the memory of Avenue Q’s set designer Anna Louizos. 

There are just 17 weeks left to see the critically acclaimed West End return of AVENUE Q at the Shaftesbury Theatre, where it will play its final performance on Sunday 3 January 2027. The multi-award-winning production returned to London, bringing the original Broadway puppets back to the stage for a limited season to celebrate the 20^th anniversary, and was extended into the new year due to popular demand. 

Producers Kevin McCollum and Jamie Wilson said, “We have been thrilled by the response to AVENUE Q’s return to the West End, and it has been an absolute joy to see a new generation of audiences connect with these outrageously loveable and inappropriate puppets. The show has always celebrated the chaos of growing up, finding your place, and trying to work out what you’re doing with your life, which remains relevant after all these years. We’re enormously proud of this production and hugely grateful to the brilliant company, creatives, crew and audiences who have made this West End run so special. Don’t miss your last chance to take a trip down Avenue Q!”

AVENUE Q stars Emily Benjamin as Kate Monster and Lucy The Slut, Noah Harrison as Princeton and Rod, Meg Hateley as Mrs T and Bad Idea Bear, Oliver Jacobson as Brian, Charlie McCullagh as Nicky, Trekkie Monster and Bad Idea Bear, Amelia Kinu Muus as Christmas Eve and Dionne Ward-Anderson as Gary.

The company is completed by Jasmine Beel, Jonathan Carlton, Angelis Hunt, Lesley Lemon, Jessica Niles Kadi and Joshua Williams-Ward.

The anniversary production is directed by the original award-winning Broadway director Jason Moore, has music & lyrics by Robert Lopez and Jeff Marx and book by Jeff Whitty, music orchestrations and arrangements by Stephen Oremus, original Broadway puppets, conceived and designed by Rick Lyon and set design by Anna Louizos. Alongside choreography by Ebony Molina, costume design by Jean Chan, lighting design by Tim Lutkin, sound design by Paul Groothuis, video design by Nina Dunn for PixelLux, musical direction by Benjamin Holder, puppetry coaching by Iestyn Evans and Andy Heath forTalk to the Hand Puppets, hair & makeup design by Jackie Saundercock, casting by Pearson Casting CDG and original West End company member, Julie Atherton,  as Associate Director.

Fresh out of college and searching for his purpose, Princeton ends up in a shabby apartment on New York’s rundown Avenue Q. He quickly meets his new and colourful neighbours where together they navigate the life struggles of work, love and paying the bills in their own hilarious way. 

Irreverent and irresistible, AVENUE Q is the mischievous and charming musical full of infectious songs and loveable characters that will leave you smiling for days.  

AVENUE Q first opened in the West End in 2006 at the Noël Coward Theatre, before transferring to the Gielgud Theatre, followed by the Wyndham’s Theatre, where it played its final performance on 30 October 2010. A special concert production was performed at the Sondheim Theatre in 2024 to celebrate the show’s 18^th anniversary.

AVENUE Q is produced by Kevin McCollum and Jamie Wilson Productions.

Fresh from its acclaimed run at London’s Old Vic and following its triumph as Best New Musical at the Black British Theatre Awards, Sylvia: A Musical Revolution arrives at Leicester’s Curve Theatre carrying all the urgency, energy and innovation that has made it one of the most talked-about musicals of recent years. At the center of this radical retelling of the women’s suffrage movement stands Beverley Knight MBE, reprising her Olivier Award-winning performance as Emmeline Pankhurst. Catching up with her between rehearsals, Knight radiates warmth, greeting me with bright eyes, a luminous smile and a palpable zest for both the role and the story she is helping bring to life for audiences across the UK.

A Revolutionary Spirit

For Knight, the spirit of militancy championed by Emmeline Pankhurst is not about confrontation for its own sake. Instead, she reflected on a lifetime of refusing to accept limitations and expectations imposed by others. Her own form of everyday activism, she explained, lies in showing up, excelling and challenging efforts to typecast her by continually breaking barriers and always staying, in her words, “10 toes down”.

Throughout her career, she has consistently pushed back against attempts to define what she can or cannot do because she is Black and because she is a woman. Unapologetically committed to opposing suppression, rejection or underestimation, that determination is central to her journey, whether carving out a groundbreaking singing career or stepping onto the West End stage. Reflecting on Sylvia, she recalls being questioned about her casting and ‘why a Black woman was portraying a historical white figure?’. Yet, as she observed, this is a production that reimagines history through contemporary forms of music and dance, blending hip-hop, soul and modern movement with historical storytelling. The show itself embraces rebellion, and its casting embodies that same essence.

Rooted in Identity, Powered by Empathy

Knight’s British Jamaican heritage and Wolverhampton upbringing continue to shape every role she inhabits. She spoke with pride about her identity as a Black British woman and about the musical influences that surrounded her from childhood. Growing up in multicultural Wolverhampton also instilled something equally important: an understanding of shared humanity. While cultures, faiths and backgrounds may differ, she emphasised that ‘People are often united by common struggles, aspirations and emotions’. For Knight, theatre at its best broadens perspectives rather than narrowing them. She is propelled by a desire to tell stories through multiple lenses and ensuring that ‘women’s experiences are seen, heard and preserved’. It is one of the reasons Sylvia resonates so strongly with her. Far from viewing the suffragettes as distant historical figures, she believes their fight is alarmingly relevant. The struggle for equality, she suggested, is not a completed chapter but an ongoing conversation, making the themes of the musical as urgent today as they were over a century ago.

The Women Who Lit the Way

When discussing the women who inspired her own journey, her thoughts immediately turned to home.

Her mother, grandmother and older sister are her greatest role models, and she spoke about them with immense warmth and respect. She recalls her family’s courage, their remarkable journey from Jamaica to Britain and the adversity they encountered upon arrival. Despite facing hardship and prejudice, her grandmother and mother persevered with extraordinary resilience.

Her mother went on to build a career in nursing while simultaneously caring for the home, embodying both compassion and determination. Knight reflected that whenever she is faced with obstacles in her own life, she measures them against the difficulties faced by her elders. In comparison, many of her challenges seem far less daunting.

Family, she noted, also sits at the heart of Sylvia. The musical explores the complex relationship between Emmeline and Sylvia Pankhurst, where personal, political and ideological differences threaten to fracture domestic bonds. She finds those tensions profoundly relatable, observing that families everywhere can struggle when outside pressures and internal disagreements collide. Yet she believes balance, understanding and perspective are essential.

Perhaps most touching was the affection with which she describes her sister. While sibling rivalries often dominate popular narratives, she emphasised that their relationship is built on admiration, encouragement and love.

Together, these powerful women gifted her a childhood filled with support and empowerment, laying the foundation for Knight’s pathway to success.

Representation Beyond the Spotlight

Despite her status as one of Britain’s most celebrated performers, Knight is still strikingly humble. When asked about her influence on aspiring performers of colour, she repeatedly shifted attention away from herself and toward the talented women surrounding her within Sylvia.

She highlighted the contributions of director, choreographer and co-writer Kate Prince, co-writer Priya Parmar, and fellow cast members including Naomi Katiyo, Kelly Agbowu, Ellena Vincent and Kirstie Skivington. Their collective achievements, she argued, demonstrates the importance of women occupying positions of creative leadership throughout the industry.

Representation, for Knight, cannot begin and end with casting. She stressed the importance of diversity across every stage of a production’s life, from writing and directing to design and development. True inclusion means ensuring women and people of colour are present and influential throughout the creative process rather than appearing solely in front of an audience.

Supporting others, championing talent and opening doors are simply extensions of what she loves doing. Empathy, encouragement and empowerment come naturally to her.

Dream Roles

Among her dream roles, Maria in West Side Story remains high on the list because of her enduring love for the musical. She also expressed a hankering for the role of Mrs Johnstone in Blood Brothers, drawn to its emotional depth and heartbreaking complexity. Another aspiration is to tackle the role played by Viola Davis in Doubt, a character whose impact far outweighs her screen time.

An Unstoppable Force

Behind the awards and acclaim is someone whose warmth is entirely genuine. As rehearsals intensify and opening night approaches, her down-to-earth nature shows up in the simple moments. When she talks about how the cast’s most pressing concern is deciding where everyone is going to eat, Knight’s infectious, melodic laughter rings out effortlessly. For all the accolades and achievements, it is this humanity and kindness that lingers most after spending time with her.

Looking ahead, Knight shows no sign of slowing down. With exciting film work and a host of creative projects on the horizon, she continues to embrace the future with an astonishing, energetic curiosity. For anyone interested in stories of courage and change, this production promises to be an electrifying night at Curve. Knight brings both passion and purpose to her performance, ensuring Emmeline Pankhurst emerges not as a distant historical figure but as a living reminder of the power of collective action.

And if her boundless enthusiasm is any indication, this revolution is one audiences will not want to miss.

Sylvia: A Musical Revolution opens at Curve Theatre on 24 September 2026.

Curve Theatre Leicester – until 5th September 2026

Reviewed by Amarjeet Singh

3***

Forty-five years after its Broadway debut, Barnum The Circus Musical is still a curious piece of musical theatre. Part biographical portrait, part circus event, it follows the rise of nineteenth-century showman P.T. Barnum, charting his journey from ambitious entrepreneur to global impresario. This touring production, directed by Jonathan O’Boyle with choreography by Oti Mabuse and Matt Nicholson, leans heavily into the latter, presenting a visually rich evening where spectacle often takes centre stage.

What strikes you most is the sheer scale of what is being attempted. Visually, the production is rich and detailed. Lee Newby’s set and costume designs evoke the world of a nineteenth-century circus through deep colours, ornate detailing and a sense of handcrafted showmanship. Jai Morjaria’s lighting complements the action, while Tom Marshall’s sound design ensures that music, vocals and effects remain clear despite the constant activity on stage.

The company are not simply actors performing musical numbers. They sing, dance, play instruments, juggle, balance, climb and execute aerial routines, often within the same sequence. Mabuse’s choreography injects kinetic energy throughout, making the ensemble the undeniable highlight of the evening. The circus elements are undeniably impressive. Aerial work, hoop routines, balancing acts, juggling, physical comedy and a memorable puppet elephant all contribute to an evening filled with visual invention. It is impossible not to admire the concentration and stamina required to sustain performances of this caliber.

Yet once the acrobats stop spinning and the musicians stop playing, the production reveals a hollow interior, trapped inside a muddled script that actively sabotages its own characters. Mark Bramble’s book forces the titular showman to explain the plot directly to the audience rather than allowing events to unfold naturally, transforming a supposed biography into a series of shallow, disjointed snapshots. The timeline in the second half collapses into a rushed jumble. Decades of personal, romantic and political milestones fly by without context, reducing monumental life choices to minor historical footnotes.

This structural weakness leaves the central characters feeling like cardboard cutouts. Matt Rawle works tirelessly in the lead role, singing with conviction and tackling the exhausting demands with charm. However, the writing frames the legendary showman not as a dreamer but as a self-centered, money-focused egotist who shows little real regard for the performers he recruits or the people in his life. Narrative progression is rushed, emotional moments arrive and depart quickly, and several supporting characters are introduced before disappearing almost as rapidly. We barely glimpse the human beings behind his exhibits, with figures such as Tom Thumb and Joice Heth reduced to fleeting appearances, never to be seen again. The treatment of the female leads is particularly frustrating. Monique Young brings grounded vocal strength to Charity, but the character is trapped in a one-note loop of marital disapproval and sudden changes of heart when charmed by Barnum. Charity spends most of the play begging for stability but acquiesces to her husband’s whims in the blink of an eye. Her instantaneous decision to overlook Barnum’s behaviour without apology, atonement, or explanation is ridiculous. Her development is handled with utter callousness. Cy Coleman’s rousing score stays pleasant. Songs including Come Follow the Band, Join the Circus, The Colours of My Life and Love Makes Such Fools of Us, provide welcome momentum, and the multi-talented company works overtime to elevate the material. They deliver moments of genuine wonder that deserve high praise.

However, impressive circus routines alone do not create a convincing piece of musical theatre. Sadly, Barnum The Circus Musical leaves you feeling exactly like one of the showman’s nineteenth-century patrons: dazzled by the razzmatazz but entirely humbugged by the lack of story.

Royal Concert Hall, Nottingham – until 6 September 2026

Reviewed by Lauren Fordham

5*****

‘Annie’ is a story from 1924 about an endearing red-headed orphan in New York whose cruel, impoverished life is transformed when she becomes the beneficiary of the billionaire businessman ‘Daddy’ Warbucks. Warming to her when she is invited to spend the Christmas period at his house, Warbucks vows to help her find her birth parents, who left a locket and a letter saying that they always intended to come back for her. Unfortunately, Annie (played by June Young) almost falls victim to a scam by her former foster mother Miss Hannigan (Claire Sweeney) and her brother Rooster (Elliot David Parkes) and his girlfriend Lily (Amber Kennedy) where the latter pretend to be her parents for a substantial cash reward. The story was made into a musical in 1977. This production is directed by Nikolai Foster.

Colin Richmond’s set design is simple but simultaneously rich in metaphor – lots of jigsaw puzzle pieces are hanging on the stage, perhaps symbolising Annie’s search for the missing piece of her life’s puzzle, her parents. The pieces also look a bit like snowflakes when they are lit in the song ‘A New Deal for Christmas.’

The stage is also made up of a map of New York which Annie and Daddy Warbucks are whisked around through the power of cinema. This lack of unwieldy distracting set pieces encourages the audience to focus on and admire Nick Winston’s choreography, Richmond’s costumes, and the ensemble’s slick moves as yellow-clad cabbies and sailors dance Rockette-style in the number ‘NYC.’

Ben Cracknell adeptly crafts his lighting design to be symbolic and meaningful, from the dreary lighting in the shanty echoing the sardonic song of the homeless people ‘We’d Like to Thank You Herbert Hoover’ to the bright,welcoming lights of NYC and Daddy Warbucks’ home.

Alex Bourne deftly demonstrates Warbucks’ transition from grumpy, narrow-minded, misogynistic loner, believing ‘orphans are boys’ to warm, compassionate father figure, a far cry from the last time I saw him in the West End in 2011, as as ‘We Will Rock You’s dastardly Captain Khashoggi.

Bourne has a great rapport with June Young, who plays Annie, particularly as they dance prior to her adoption, singing ‘Something Was Missing.’ Thematically and lyrically this recalls ‘The King and I’s’ ‘Shall We Dance?’ and the Siamese king is definitely a role that would suit Bourne, should he desire it in the future.

I also want to pay tribute to Tanisha-Mae Brown who plays Grace Farrell, as her operatic vocals evoked Audra McDonald. She could also make easy work of the vocals required of Tuptim in The King and I.

Claire Sweeney makes an endearing villain of  Miss Hannigan, and she showed great movement and rapport with Christian Cooper and Amber Kennedy, particularly in the high-kicking ‘Easy Street.’

Last and certainly not least, June Young is a captivating Annie and clearly has a very sunny future on the stage, as do all the child actors.

As a deaf reviewer, I would have appreciated the cast’s diction being clearer and volume louder to reach the back of the stalls where the wheelchair spaces are but  hopefully that will improve since last night’s preview. Furthermore, I would like to see more real life wheelchair using-actors in wheelchair-user roles like President Franklin Delano Roosevelt. I was also a little disappointed that the gorgeous Amber, who played Annie’s dog Sandy at this performance, didn’t get a curtain call alongside her.

On the whole, this was a fantastic production which definitely cleared away the autumn cobwebs from my brain. Don’t hang on till tomorrow, take the easy street to grab yourself a ticket now,  and you will be smiling from ear to ear, and humming with happiness from head to toe!

Singer, actor and dancer Lou Henry sat down with fairypowered to answer 20 questions.

Lou is currently in Heathers.  Currently on tour around the UK  – in Leeds until 5 September, get tickets here

Let’s start with a few favourites

Favourite show (whether you have been in it or not)? 

Les Miserables

Favourite Book

Tuesdays with Morrie by Mitch Albom. Humans by Matt Haig. Delirium by Lauren Oliver

Favourite theatre? 

The DeLaMar in Amsterdam 

Favourite song? 

August by Flipturn 

Favourite music? 

Paolo Nutini, Michael Buble, Etta James  

Favourite food? 

Italian

Favourite drink? 

Coffee. Or champagne

What is your favourite role? 

Hard to say. Audrey in Little Shop has a great arc. Anything Julie Andrew’s has played. The Grinch.  

What was your first role? 

Professionally: Katharine Howard in Six 

And what role would you really like to play? 

Fantine in Les Mis 

If you weren’t a performer , what would you be? 

Something creative. I love cooking and buildings. Anything crafty or architectural. 

What made you decide to be a performer? 

I’m an attention seeker and was brought up on all the golden oldies. Julie Andrew’s in Sound of Music

Do you enjoy touring? 

Yes! I love exploring new places and feeling like I’m on a holiday staying in different accommodation every week

What advice would you give the 16-year-old you?

If you don’t try you’ll never know!!! The world will keep turning regardless

Do you fancy branching out in Producing or Directing? 

I’d love to direct! Maybe in the future  

What was the last stage show you saw and really enjoyed? 

Pride at the National. 5/5

Favourite line from any show?

I love overhearing adlibs that make their way into cast recordings. Hamilton has some GREAT ones!

If you could be anyone else for the day, who would it be? 

Probably one of the gazillionaires and I’d donate all their money  

What are the nicest/weirdest things you have ever received from fans? 

Someone crocheted me a gilet which is just incredible. She also made me a fish keyring which I love.

Can you tell us what you will be up to next? 

I’ll be on tour with Heathers until September 2027! This industry hardly ever works beyond the next year of your life. So come catch us on tour!

Lou Henry stars in Heathers on tour in Leeds until Saturday 5 September – more details here

Leeds Grand Theatre – until 5^th September 2026

Reviewed by Katie Brewerton

5***** 

Heathers, has accrued a huge cult following and it’s easy to see why. This was my second time seeing the show and it was equally as good the second time and is a show I would happily watch again and again. Based on the 1989 film of the same name, Heathers has a Mean Girls vibe just much darker. 

The 3 ‘Heathers’ rule the school at Westerberg High, with Heather Chandler (Liberty Stottor) and her minions Heather Duke (Jessica Ibadin) and Heather McNamara (Lou Henry) having full control. Veronica (Gerardine Sacdalan), offers her services as an excellent note forger in exchange for sitting with the ‘Heathers’ at lunch in order to raise her social status in her senior year of High School. She soon realises spending time with them will be a challenge as they continuously make fun of and pick on her classmates, especially her closest and oldest friend Martha (Sophie Manners).

After a particularly difficult night for Veronica in which the Heathers play a particularly cruel prank on Martha, Veronica finally stands up to them and is threated with social ruin. She seeks comfort in the arms of new kid J.D. (Louis Hearsey) who is more than happy to offer a shoulder to cry on. As Veronica and J.D.’s relationship develops Veronica learns of his darker side and just how far he’s willing to go to ensure no one hurts her. 

Heathers explores a host of harrowing themes including, suicide, abuse and rape. Yet, still remains witty and a lot of fun. With fantastic music and lyrics by Kevin Murphy and Laurence O’Keefe including Seventeen, Candy Store and My Dean Gay Son. The show manages to address serious themes and shows what teenagers go through, which are still prevalent today despite the show being set almost 50 years ago. 

The cast gave this show something extra, the whole ensemble was fantastic. Sacdalan and Hearse have undeniable chemistry and their happy, fun dynamic makes it easy to see why Veronica is left in such a predicament and why J.D. continues to win her over despite his more and more questionable behaviour. Stottor and Ibadin nailed the ‘Bitch’ role and special mention also must go to Markus Sodegren and Beau Jackson’s portrayal of Kurt and Ram, the arrogant, abusive jocks who have to spend half the show in their underwear. They played the foolish, bullies so well you almost feel they deserve what they get. 

The story of Heathers is clever and has become universally loved by so many, I have never seen such a long queue for the Merchandise stand before a show. If you get the chance to go se Heathers don’t hesitate, get your ticket and you won’t regret it. 

Aylesbury Waterside Theatre – until Saturday 5th September 2026

Reviewed by Rachel Clark

5*****

Exhilarating! I didn’t know what to expect for this, looked at a trailer or two but hadn’t worked out exactly how it worked and the story etc, they really under sell themselves!

This is a breath of fresh air, totally different, it isn’t a musical or a play it is pure fun and if you had a bad day in the office, you would soon forget it and start clapping, feet tapping it is a pure delight! Created by Nic Doodson and Andrew Kay. This was first performed at Edinburgh Fringe in 2017.

This is set in a pub – The Jungle Arms, when you first arrive at the theatre there are chosen audience members on stage drinking beer and you think – has it started? What is happening? The audience clear the stage and then we are introduced to the cast members – there was 9 on the stage and all brought something to the stage. Their voices were incredible and diverse, and complete range of songs and the musical instruments, and not forgetting the amazing tap dancing by Jack Skelton and amazing is an understatement.

Oluwalonimi Owoyemi was the storyteller/poet and his Luther Vandross number brought me to tears it was so emotional and not expected after the live jolly music, it was like being in an Irish bar at the weekend so vibrant and there was humour.

Gustav Melbardis was good at encouraging the audience participation over emphasising the clapping etc I found I was watching him as I loved his enthusiasm.

Beast – Rob Godfrey played the guitar superbly and sung as good, another singer with a most amazing voice was the Barman – Joshua Lloyd.

Everyone was awesome and they gave out beer and crisps.

This is different not the average show and you wouldn’t expect average from Aylesbury Waterside as they always have top performances. This is a must if you fancy the not normal musical/show – it is a feel good performance, I was buzzing after the show and still am the following day, so glad I got to see it and I would see it again.

Hull New Theatre – until 5th September 2026

Reviewed by Dawn Bennett

5*****

When you mix a fabulous story, great music, a very talented cast and an appreciative audience you get the brilliant show that is Waitress.

This was my second time seeing the show, and it was every bit as enjoyable as the first. It is funny and heartwarming, with poignant moments that add real depth.

Jenna (Emma Lucia) works as a waitress in a pie diner, where she dreams of escaping her abusive husband, Earl (Mark Willshire). When she discovers she is pregnant, however, that hope begins to feel out of reach. Diner owner Joe (Dan O’Brien) encourages her to enter a pie-making contest with a $20,000 prize, offering Jenna a possible route to independence if she can win.

At the diner, Jenna’s colleagues Becky (Bernadette Bangura) and Dawn (Evie Hoskins) urge her to see that she does not need to win the contest to leave Earl; they are ready to help and support her. Jenna, however, remains unconvinced. Meanwhile, diner boss Cal (Will Arundell) is far less sympathetic: he simply needs his waitresses to get on with waitressing.

When Jenna visits Dr Pomatter (Dan Partridge), there is an instant attraction that complicates her life even further. Add in Dawn’s new boyfriend, Ogie (Mark Anderson), and Becky’s own relationship challenges, and the result is a series of very funny scenes.

The whole cast are strong performers, with outstanding singing, acting, and dancing throughout. The talented musicians, led by musical director Francesca Warren, performed onstage and added real energy, helping to bring the production vividly to life.

The set design by Scott Pask and lighting design by Ken Billington were among the best I have seen. The stage moved effortlessly from Joe’s Diner to Dr Pomatter’s office and then to Jenna and Earl’s house, creating a strong sense of atmosphere. It was cleverly designed and beautifully executed.

With an excellent production and a fabulous cast, Waitress is a show well worth seeing.

Theatre Peckham announces Young, Gifted & Black 2026 as part of its landmark 40th anniversary year

As Theatre Peckham celebrates 40 years of being the place where talent meets opportunity, the South-East London theatre today announces the return of its acclaimed Young, Gifted & Black season, a month-long celebration of young Black British creativity taking place throughout Black History Month 2026. 

Running from 1 to 30 October across Theatre Peckham and Canada Water Theatre, the eighth Young, Gifted & Black season is supported by Southwark Council to present bold new theatre, spoken word and performance that explores identity, belonging, friendship, mental health, migration and community. Young, Gifted & Black is presented within Black History Month’s 2026 theme of Honouring Our Communities, which invites us to recognise the role of Black communities in shaping British society.

In its 40th anniversary year, Theatre Peckham celebrates the voices of today and the generations of young people who have gone on to shape creative culture across the UK. It is a powerful reflection of Theatre Peckham’s belief that when talent meets opportunity, life-changing things happen. 

Speaking about the season Theatre Peckham’s CEO and Artistic Director Suzann McLean says “As we celebrate our 40th year and start our new long-term management of Canada Water Theatre we enable young artists from Southwark to create work that reveals the richness of Black British life. Theatre Peckham has long been a place where young people discover their voice, and Young, Gifted & Black demonstrates what happens when they are given the stage.”

The season opens with a Young Peckham production of A Midsummer Night’s Dream (1-3 October). Set during Notting Hill Carnival, the production reflects a generation of Young Peckham creatives who are no longer asking where they fit within the theatrical canon. Confident in their place on the stage, they bring Black British culture, identity and creativity to the forefront, creating a bold interpretation of Shakespeare that speaks directly to their peers. As artists with every right to see their experiences reflected on stage, the cast unapologetically reimagine this play. Their vision creates a fresh and joyful production that celebrates the power of young people to make timeless stories relevant to a new generation and tell them in their own voice. 

From spoken word plays Her and the Voice in Her Head by Lorraine Adeyefa and Ryan Dre Sinclair’s No Photos, to Intrusive Theatre’s In My Head, several productions examine the internal worlds of young people navigating self-image, relationships and mental wellbeing. 

Questions of migration, memory and place run throughout the season. Greener Pastures reflects on migration and expectation, while X Marks the Spot explores gentrification and belonging through the changing landscape of Elephant and Castle. A Collection of Conversations captures the experiences of young Black women negotiating identity and adulthood. 

Tobi King Bakare returns to Theatre Peckham with his prequel Before I Go: Marcel; Mo Korede returns with comedy In Her Eyes I’m a Good Man; and schools’ audiences will enjoy the interactive forum theatre play Don’t Write Me Off. Together these plays examine friendship, responsibility, resilience and the choices people make when navigating unequal systems.  

Theatre Peckham’s commitment to developing artists is highlighted through the Alex Wheatle Witness Writing Project, delivered in partnership with Manchester Metropolitan University and Words of Colour, which showcases ten new playwrights inspired by the legacy of award-winning writer Alex Wheatle. Meanwhile, Poetry Foyer, championed by the Esmee Fairbairn foundation returns with its Black History Month edition as part of the Elevating Spoken Word Theatre project. 

The season concludes with Legacy After Dark, bringing together some of London’s most exciting young Black artists. Produced by Legacy in Motion, founded by Shakeil Edwards and Tyrese Walters, the showcase celebrates the creative ambition and talent driving the next generation of Black culture. Through music, dance, rap and spoken word, it provides a platform for artists to gain visibility and build the networks and recognition needed to thrive. 

In Theatre Peckham’s 40th year the Young, Gifted & Black season honours the communities that have shaped Black British life while championing the artists who will shape its future. It is a powerful expression of Theatre Peckham’s anniversary theme: Your Stage, Your Story, Your Theatre Peckham. 

Listings

A Midsummer Night’s Dream – A Young Peckham Production 1-3 October at Theatre Peckham. Set during Notting Hill Carnival season, the Shakespearean classic is reimagined with an unapologetic Black British lens, celebrating Black art, cultural authenticity, and the full, multifaceted brilliance of the talented cohort.  

Her and the Voice in her Head by Lorraine Adeyefa 2-3 October at Theatre Peckham. A solo performance piece that follows a woman in her mid-20s in the aftermath of a recently ended situationship, where heartbreak and self-doubt give way to the first fragile steps towards healing. 

A Collection of Conversations by Munashe Danga 2-3 October at Canada Water Theatre. The lives of three young Black women at university as they navigate friendship, identity, ambition, relationships and the uncertainty of becoming adults. 

No Photos by Ryan Dre Sinclair 8-9 October at Theatre Peckham. A spoken word play that explores social anxiety, self-image, and visibility through the lens of a man who never wants to be in the picture. Rooted in humour, rhyme, and storytelling, the show explores the inner life of a young man who avoids the camera at all costs.  

Greener Pastures by Nana Adjoa Baidoe-Ansah 8-9 October at Canada Water Theatre. When Kukuwa arrives in 1980s London from a privileged life in Ghana, she expects a new life filled with opportunity. But she soon realises that London is not quite what her sister had written about in her letters. 

X Marks the Spot by Joy Kirigo 10-11 October at Canada Water Theatre. A teenage graffiti artist on the run from the police suffers a head injury that leaves him with memory loss. As he retraces his steps through the now-gentrified Elephant and Castle, he is forced to confront what remains of a place being erased around him – and whether home is a building, a community, or something carried within us. 

In My Head by Intrusive Theatre 15-16 October at Canada Water Theatre. A powerful psychological play exploring the hidden thoughts that shape our lives. Challenging perceptions of mental health, the production invites audiences to confront what often remains unspoken and unseen. 

Don’t Write Me Off by Actively SEEK.I.N.G 16 October at Theatre Peckham. The interactive forum theatre play is for young people aged 13+ and follows Jubal, a Black teenager from London who dreams of becoming a professional musician and entrepreneur. Through Jubal’s story, the play explores the pressures young people can face at home, at school and among their peers. 

The Alex Wheatle Witness Writing Project Sharing 17 October at Canada Water Theatre. Showcasing the work of ten new playwrights developed through an intensive programme led by Roy Alexander Weise and guest playwright Roy Williams, offering audiences an exclusive first look at a new generation of playwrights. Presented in partnership with Theatre Peckham, Manchester Metropolitan University and Words of Colour. 

In Her Eyes I’m a Good Man by Mo Korede, produced by Imagiphoria Productions 22-23 October at Theatre Peckham. The moving and hilarious coming-of-age story exploring loyalty, healing and the courage it takes to choose the people who truly see you. Lifelong best friends discover what it really means to stand by someone. 

Before I Go: Marcel by Tobi King Bakare 25 October at Theatre Peckham. Marcel is offered a way out of a life sentence for a crime he did not commit – but it involves snitching. The show playfully jumps between verse and prose, featuring a live band that guides the audience through the rhythmic language. It is an exposing, electric and provocative play that speaks to our community values. 

Poetry Foyer: Black History Month Edition 29 October at Theatre Peckham. A monthly spoken word event that celebrates poetic talent. A joyful gathering of Black brilliance to honour legacy, uplift each other and celebrate a future full of promise through words and rhythm. Open mic sign-up is available on the door. 

Legacy After Dark produced by Legacy in Motion 30 October at Theatre Peckham. The flagship talent showcase led by Shakeil Edwards and Tyrese Walters celebrates talented young Black artists across London. Featuring singing, rap, dance and spoken word, it provides a professional platform to build confidence, gain exposure, and connect with audiences while championing the next generation of creative talent.