PLAYHOUSE THEATRE, LIVERPOOL – UNTIL SATURDAY 4th JANUARY 2025
REVIEWED BY MIA BOWEN
5*****
The Rocky Horror Show is a vibrant cult musical that first delighted audiences in 1973, crafted by Richard O’Brien. It was later transformed into the iconic 1975 film, The Rocky Horror Picture Show, featuring O’Brien as Riff Raff and Tim Curry as Frank-N-Furter. This film holds the record for the longest-running release in cinema history!
Since its original production, The Rocky Horror Show has been unstoppable and has gone on to perform around the world consistently, with countless UK tours! It has truly earned its place as one of the most cherished musicals, and the more you experience it, the deeper your affection grows! The real draw for the audience is always going to be the musical set-pieces.
The Rocky Horror Show has a distinctive audience, known for their enthusiastic participation. Many attendees come dressed as their favourite characters, and audience interaction is a key part of the experience, with smutty and humorous comments shouted out during the performance. Patrons also commonly join for the ‘Time Warp’ finale. For them this is much more than watching a musical, they are here to be part of the show! Also, the beautiful Playhouse Theatre provides an intimate environment, enhancing the audience’s ability to engage with the show and each other.
The characters are as colourful as the musical itself. At the press evening, Jason Donovan took centre stage as the iconic Frank-N-Furter. His casting was spot on, as he confidently donned every outfit, showcasing his impressive jumps and choreography, all while expertly managing his striking high heels. Donovan brought drama, sass and comedy to the role, always leaving the audience in fits of laughter.
The narrator, portrayed by Pete Price, was undoubtedly the standout feature of the show. Clad in a purple velvet suit, he resembled a charismatic pastor delivering a Sunday service. However, rather than a traditional sermon, he presented a ludicrous, partly improvised tale while engaging in an utterly chaotic “conversation” with the audience. The combination of the serious expression on his face, interspersed with random Everton jokes and cheeky sexual puns, created a truly unforgettable experience!
If you like musical theatre that breaks the norm and adds a touch of excitement, The Rocky Horror Show offers a unique and memorable experience. Overwhelmingly, it’s all about enjoying yourself and having fun, just like the magic of Rocky Horror.
With guests featuring Judi Dench, Stephen Fry, Penelope Wilton, Paul Chahidi, Anne Reid, Robert Lindsay and Derek Jacobi
With Tom Littler’s critically acclaimed production of Twelfth Night currently in performances, Orange Tree Theatre (OT) today announces a special Shakespearean Under the Orange Tree fundraiser celebrating Twelfth Night on Sunday 19th January. The afternoon hosted by Gyles Brandreth will feature guests including Judi Dench, Stephen Fry, Penelope Wilton, Anne Reid, Paul Chahidi,Robert Lindsay and Derek Jacobi in support of the OT’s Primary Shakespeare, which introduces young people to Shakespeare through interactive workshops and performances.
For one afternoon only this cast of legendary Shakespearean actors will look back on their performances in Twelfth Night, Shakespeare’s masterpiece of mistaken identity – all accompanied by Stefan Bednarczyk, currently performing as Feste in Twelfth Night for which he is also composer.
For over 30 years, the OT’s Shakespeare in Schools projects have ignited a love for theatre and Shakespeare, reaching over 10,000 children last year with timeless stories of magic, drama, and inspiration. The proceeds from this event will ensure children across the borough of Richmond and beyond have access to a creative education via workshops and live performance.
Orange Tree Artistic Director Tom Littler said today, “Every child deserves to enjoy a creative education, but years of cuts risk making creativity the preserve of a privileged few. At the Orange Tree, we are redoubling our commitment to our Shakespeare in Schools projects. For thousands of local children every year, our Primary Shakespeare project is their first experience of stepping into a theatre; their first time watching the lights go down; the first time they have encountered the thrill of live performance. With workshops in schools followed by a specially adapted performance at the OT, this project creates joy and laughter, inspires imagination, enriches language, develops empathy, and ignites a spark to last a lifetime. We are so grateful for the generosity of these amazing artists in creating this utterly unique fundraising event. By coming to the Twelfth Night Party, you will help keep these vital projects surviving and thriving.”
Additions to the lineup will be announced shortly. Artist lineup subject to change.
Tickets for Orange Tree Patrons and Ruby Members are now on sale. Tickets for Bronze, Sliver and Gold Members will go on sale at 11am on Tuesday 10 December, before general sale for any remaining seats opening at 11am on Wednesday 11 December, subject to availability.
Tickets are £150, including complimentary fizz on arrival, with proceeds directly supporting OT’s Shakespeare in Schools projects. You can also support the OT further with a £250 pay-it-forward ticket, which also includes complimentary fizz on arrival, as well as supporting access to Shakespeare for an additional six children.
There will be an allocation £35 tickets for Under 30s and standing tickets will be available for £25.
Next year, OT will also present Julius Caesar for Primary school audiences directed by Community Director Francesca Ellis and brought to life in a lively, interactive retelling. The programme includes a two-hour workshop in school and a visit to the Orange Tree Theatre for a performance of Julius Caesar. Full details and how to book can be found via www.orangetreetheatre.co.uk/community
Audio Described Performance: Wednesday 5 March at 7:30pm
Captioned Performance: Tuesday 4 March at 7:30pm
Relaxed and distanced performance: Tuesday 25 February at 7:30pm
OT on screen: Tuesday 11 – Friday 14 March
PLAYHOUSE CREATURES
15 March – 12 April 2025
OT UNDER 30 NIGHT: Friday 28 March
Audio Described Performance: Wednesday 9 April at 7:30pm
Captioned Performance: Tuesday 8 April at 7:30pm
Relaxed and distanced performance: Wednesday 2 April at 7:30pm
OT on screen: Tuesday 15 – Friday 18 April
Touring to:
Yvonne Arnaud Theatre, Guildford
Theatre Royal Bath
BEN AND IMO
19 April – 17 May 2025
OT UNDER 30 NIGHT: Friday 2 May
Audio Described Performance: Wednesday 14 May at 7:30pm
Captioned Performance: Tuesday 13 May at 7:30pm
Relaxed and distanced performance: Wednesday 7 May at 7:30pm
OT on screen: Tuesday 20 – Friday 23 May
IN PRAISE OF LOVE
24 May – 5 July 2025
OT UNDER 30 NIGHT: Friday 20 June
Audio Described Performance: Wednesday 2 July at 7:30pm
Captioned Performance: Tuesday 1 July at 7:30pm
Relaxed and distanced performance: Wednesday 25 June at 7:30pm
OT on screen: Tuesday 8 – Friday 11 July
ABOUT THE ORANGE TREE THEATRE We are a local theatre with a global reputation.
A show at the Orange Tree is close-up magic: live, entertaining, unmissable. We’re an intimate theatre with the audience wrapped around the stage. We believe in celebrating what it means to be human. We believe in putting people at the centre of the stories we tell. And we believe in the power of a writer’s words, an actor’s voice, and an audience’s imagination to transport us to other worlds and other lives.
We punch above our weight to create world-class productions of new and contemporary drama, revitalise classics and re-discoveries, and introduce children and young people to the magic of theatre.
We are deeply rooted in our local community in South West London. We work with thousands of people aged 0 to 100 in Richmond and beyond through participatory theatre, bringing generations together to build confidence, connection, and joy. Our ground-breaking Primary Shakespeare and Shakespeare Up Close projects pack the theatre with children and ignite a spark to last a lifetime.
We’re a registered charity (266128). With only 180 seats and no support from Arts Council England, we rely on the generosity of our audiences and donors to raise £650,000 a year. These funds support our outstanding work on stage and in the community and invest in the next generation of talent.
Artistic Director Tom Littler Executive Director Hanna Streeter
Based on the 2006 film of the same name The Devil Wears Prada has now been brought to life in London’s West End at the Dominion Theatre, and fans of the film won’t be disappointed! The musical adaptation has kept the majority of the film’s plot, including the classic sarcastic remarks and dry humour, but it is the staging, costumes and talented cast that make this show come to life on the stage.
Everything about the show has been carefully crafted to be as quintessentially ‘fashion’ as possible. From entering the Dominion and seeing beautiful gowns and RUNWAY in big red lights, to the spotlights that surround the stage, this feels like an exclusive fashion show that you’re lucky to have got a ticket to! The background music before the show starts, typical of a runway show, build the excitement and anticipation.
The Dominion is one of the largest theatres in London’s West End and Tim Hatley’s scenic design certainly fills the space, assisted by Bruno Poet’s lighting design. The back of the stage is set to the iconic New York skyline, which turns from day to night, and is supplemented by moving set pieces including Andy and Nate’s apartment, the offices of Runway and the truly spectacular closet at Runway during the infamous make-over scene. When the story takes us to Paris, a dazzling Eiffel tower replaces the New York skyline. Other standout moments include the red carpet and stairs at the Met Gala (alongside the dazzling costumes), and the James Holt runway show in Act 2 where the audience are made to feel part of the action. This is achieved with the flashes of the paparazzi in the audience’s direction, and the use of the aisles as an extension of the runway.
Gregg Barnes’s costume design, which includes pieces from famous fashion brands such as Prada, Tom Ford and Dior, fits the brief with all the cast looking like they just walked straight out of the Runway offices in the mid-00s. The costumes felt authentic to the plot – from the day-to-day work wear at the Runway office, to the stunning red carpet dresses at the Met Gala, to the Paris fashion week outfits in the colours of the French flag.
With music by Elton John, and lyrics by Shaina Taub and Mark Sonnenblick, the songs fit the story well, though none are stand-out numbers that you may expect from a big musical such as this. There’s no Defying Gravity moment; instead, the songs compliment the narrative, bringing emotion – such as in Seen, humour – such as in Bon Voyage, and feel-good show tunes – such as in Dress Your Way Up. The music is quintessentially Elton John with his influence apparent in numbers such as I Only Love You For Your Body, and it is clear throughout that he has taken inspiration not only from his own music career, but also from other classic bands such as Abba. The songs are catchy, fun, and showcase the talent of the cast onstage. This is complimented by Gareth Owen’s sound design which fills the Dominion.
Director and choreographer Jerry Mitchell delivers a fantastic show, with clean and precise choreography that is aligned to the fashion industry. From the clever use of sliding carpets to the ability of the cast to deliver the choreography while wearing Runway-worthy heels, there is skill everywhere. While most of the show is true to the film, one or two jokes have been added, and a sub-plot gives Emily her own romance and happy ending, helping the stage production to feel more complete.
This show is really brought to life by the cast and the large ensemble. Vanessa Williams delivers the classic Miranda Priestly lines with a dead-pan intensity that we expect from the character. While there are one or two moments where her vocal talents are highlighted, it felt that the majority of her songs were spoken rather than sung. While this worked for the production, it is Matt Henry (Nigel), Georgie Buckland (Andy) and Amy Di Bartolomeo (Emily) that stole the show with their vocal talents.
Matt Henry, who plays Nigel, delivered a fantastic performance, including his poignant and moving rendition of Seen, which is reminiscent of his Olivier-award winning performance of Not My Father’s Son in Kinky Boots. Equally, the catchy Dress Your Way Up could be paralleled to other numbers from Kinky Boots which may explain why he felt so at home playing this character. As a big fan of Matt Henry for many years, I was thrilled to see him back on stage delivering a performance that gave me goosebumps!
Georgie Buckland makes her West End debut as Andy and what a debut it is! Arguably the main character with the most challenging vocals, Buckland delivers a standout performance including the brilliant Who’s She?
Meanwhile, Amy Di Bartolomeo is a phenomenal Emily! From the moment she walks on stage at the start of the show to remind the audience to turn off their phones, she absolutely embodies the character. Her performance was funny, charming and utterly captivating, and she expertly delivers vocals, in particular the catchy and humorous Bon Voyage. She even has the opportunity to show her operatic range!
Both Rhys Whitfield (Nate) and James Darch (Christian) deliver great performances. The large ensemble bring together this production with great choreography (avoiding the spotlights built into the stage!) and vocals.
For me, The Devil Wears Prada is a classic film, it’s funny, it’s an easy-watch and it captures a moment in time for the fashion industry in the 00s. The musical adaptation retains the charm of the film with the added pzazz of a West End show that is glitzy and glamorous, delivered by a hugely talented cast. While the songs are usually the stand-out part of a show, for me, the magic of this musical is in the staging and costumes. There are moments that will have you saying ‘wow’ or leave you in awe, and the music compliments this, without detracting, which for a show that is all about fashion, feels appropriate!
THE MONTGOMERY TO BECOME PART OF SHEFFIELD THEATRES FROM JANUARY 2025
Sheffield Theatres and the Montgomery Theatre and Arts Centre announce that the Montgomery will become part of Sheffield Theatres from January 2025.
The Montgomery Theatre and Arts Centre is an important part of Sheffield’s cultural provision. Built in 1886, it has been a home for children and young people to explore creativity and the performing arts, as well as the performance home for many of the city’s community companies, schools and dance schools.
While looking at ways to safeguard the long-term future of the theatre, the Montgomery Board and management approached Sheffield Theatres to explore possibilities for its next chapter. It is planned that Sheffield Theatres will take over operation from 2 January, ensuring the continuation of the activity, strategic direction and ethos of the Montgomery.
Sheffield Theatres is consulting with the Montgomery staff team, with the aim of transferring and integrating all contracted employees to Sheffield Theatres. The Montgomery reopened in October, following a period of capital development, with a programme of events scheduled for the year ahead. All scheduled performances are retained.
Tom Bird, Chief Executive, Sheffield Theatres said, “We’re overjoyed to welcome the Montgomery into Sheffield Theatres, joining the Crucible, Lyceum and Tanya Moiseiwitsch Playhouse. The Montgomery is a much-loved part of the local cultural landscape and a vital creative hub for many. As part of our organisation, it will continue supporting the children and young people of South Yorkshire to unleash their creative potential.”
Linda Bloomfield, Interim Executive Director, The Montgomery Theatre and Arts Centre said, “We’re excited and relieved to have finally opened our doors to the public again after a challenging 16 months’ closure for redevelopment. The charity’s new future, as part of Sheffield Theatres, will ensure the Montgomery can continue to be a home for children, young people and communities for many more years to come. We’re grateful to our funders, partners, audiences and participants for coming on this journey with us, and we can’t wait to welcome you back into the incredible 138 year old building in the new year, which is now accessible for the first time in its history.”
TICKETS AT THE ARTS THEATRE AVAILABLE TO BOOK HERE
The producers of Olivier-nominated international stage sensation THE CHOIR OF MAN are delighted to announce that – due to changes to the timeline of the proposed major redevelopment of the Arts Theatre – the show will be able to return to its current West End home in 2025 for a 5-month engagement until the end of the summer.
The final performance of the current season will remain as 31 December, and then the theatre will close for 10 weeks for some preparatory work ahead of the redevelopment.
Tickets are on sale now for performances from 12 March until 31 August, with casting to be confirmed.
Nic Doodson said on behalf of the producers, “We are absolutely thrilled to be able to go into our fourth year at the Arts Theatre in the heart of the West End. We want to thank our wonderfully loyal and passionate audiences, who have supported us through our journey, by offering free pre-show beers on stage for the first two weeks of performances…”
Louis Hartshorn said on behalf of the Arts Theatre “we are very excited for the redevelopment of the Arts Theatre and the huge opportunity it presents to future-proof our historic theatre. As we work closely with the building owner to finalise plans, we are thrilled to be able to continue presenting this phenomenal hit show for another season.”
Welcome to THE JUNGLE, the best pub in the world.
Here, an (extra)ordinary cast of nine guys combine beautiful harmonies and foot-stomping singalongs with first-rate tap dance and poetic meditations on the power of community.
Brimming with hits from artists such as Queen, Luther Vandross, Sia, Paul Simon, Adele, Guns & Roses, Avicii and Katy Perry to name but a few, this is a pub like no other!
An uplifting celebration of community and friendship with something for everyone – including free beer! Enjoy 90 minutes of feel-good, foot-stomping entertainment unlike anything else in the West End.
The show, which remains virtually sold out for the remainder of 2024, kicked off its West End journey at the Arts Theatre in October 2021. It has welcomed over 280,000 audience members through the doors over 1000 performances.
The current cast is Luke Conner Hall (Bat Out of Hell – International Tour, Australia/New Zealand, Peacock Theatre, QUEENZ: The Show With Balls! – Coventry, Edinburgh Fringe, UK Tour) as ‘Romantic’, Sam Pope (Bat Out of Hell – UK Tour) as ‘Joker’, Rob Godfrey (Choir of Man – Sydney Opera House)as ‘Beast’, Tyler Orphé-Baker (Disney’s The Lion King, Lyceum; The Choir of Man, West End) as ‘Pub Bore’, Shane McDaid (Titanic the Musical, UK/International; The Choir of Man NCL and Chicago) as ‘Poet’, Ifan Gwilym-Jones (The Choir of Man, NCL; Australia and Chicago) as ‘Maestro’, Kristian Morse (The Corn is Green, National Theatre; The Choir of Man, Chicago) as ‘Barman’, George Knapper (Joseph and the Amazing Technicolour Dreamcoat, UK Tour and The Choir of Man NCL; Canada; Australia; Chicago; Florida and West End) as ‘Handyman’ with Bradley Walwyn (We Will Rock You, Royal Caribbean; The Choir Of Man NCL and Australia) as ‘Hardman’ and David Shute (Once: The Musical, Barn and The Choir of Man NCL; Chicago; Tampa; Australia; Edinburgh; Coventry) and Tom Carter-Miles (Frankenstein Illyria; The Choir of Man, NCL and West End), Seán Keany (Once in Concert – West End, China and Japan, The Choir of Man – Korea), and Paul Deegan (The Choir of Man NCL and Chicago) as swings.
The on-stage band has Jacob Evans on drums, Jack Hartigan on guitar, Darius Luke Thompson on violin and Sam Tookey on bass.
THE CHOIR OF MAN previously played three sell-out seasons at the Sydney Opera House and multiple sold-out US and European tours. Following its last run at the Arts Theatre from October 2021 to April 2022, it received an Olivier nomination for Best Entertainment or Comedy Play, and then went on to play in Coventry as part of the City of Culture Assembly Festival season and at the Edinburgh Fringe Festival. The show re-opened at the Arts Theatre in October 2022, and has continued to see many sold-out shows, with loyal audiences returning again and again. In 2023 the show announced partnerships with suicide prevention charity CALM (The Campaign Against Living Miserably), and Big Drop Brewing Co – the world’s first brewer dedicated to alcohol-free beer – as the show’s Official Alcohol-Free Beer Partner.
THE CHOIR OF MAN is created by Nic Doodson and Andrew Kay, directed by Nic Doodson, with Daniel Harnett as associate director and resident director; monologues written by Ben Norris; with musical supervision, vocal arrangements and orchestrations by Jack Blume, with Lee Freeman as resident musical director, and Alistair Higgins as associate musical supervisor; movement direction and choreography by Freddie Huddleston, with Adam Hilton as associate choreographer and movement director; scenic design by Oli Townsend, lighting design by Richard Dinnen, costume design and co-scenic design by Verity Sadler, sound design by Sten Severson, with Liam McDermott as associate sound designer; casting by Debbie O’Brien.
The show is produced by Immersive Everywhere, Nic Doodson, Andrew Kay, Wendy & Andy Barnes, Gavin Kalin and Hunter Arnold.
Writer Will Brenton, Director and Dame Clive Rowe are celebrating the 25th pantomime at Hackney Empire in style! From traditional elements that happen every year that everyone loves, to up to date gags, that everyone groans at, the pair have packed it all in.
Sarah the Cook (Clive Rowe) has the most superb and outlandish costumes that would be the envy of any panto dame. Rowe balances the fun and appeal to children and families with a sprinkle of adult humour that made every man in the front rows a little nervous!
King Rat (Graham MacDuff) is an exemplar villain, who adds a twist to the tail! MacDuff has a rasp to his voice with a proper heavy rock vibe.
The sweet tones of Dick Wittington (Kandaka Moore) cuts through the bluff and bluster that is the pantomime norm. The music and dance throughout is an unexpectedly high quality that you do not always experience in local panto.
Sniff (Jemima Reeves) and Scratch (Alfie Simmons) bring the childish fun to the stage, with children laughing out loud at their capers, especially when Sniff swoons at the wonderful smell of Scratch’s armpits!
Tommy the Cat (Kat B) is the real hero of the piece, encouraging every child and adult in the audience to have courage and believe in their dreams.
This Panto cast is a well-oiled machine that provides Christmas entertainment at its best.
A huge hit down under, A Very Naughty Christmas brings some rude and raunchy laughs to London this festive season.
Not as filthy as some of the adult pantos in town, this is a fast-paced cabaret filled with burlesque and comedy skits and a talented cast (Alexia Brinsley, Kirby Burgess, Shay Debney, Stephen Hirst, Jack Lark, Rachel MacDougall, Chris O’Mara and Rebecca Rolle), this will make the perfect start to a Christmas night out with your mates.
The show is an irresistible blend of chaos and slickness. With Naughty Santa (the fantastic Stephen Hirst) running the show, familiar Christmas favourites are given a twist – Walking in Women’s Underwear and Santa Loves You Less Because You’re Poor – you get the idea! Musical director Jo King and Lisa Martin provide stellar accompaniment: Kirby Burgess and Jack Lark’s vocals are incredible, and director Daniel Venz’s choreography has the cast shifting between seduction and silliness with ease.
The comedy is VERY Australian, and when it lands, is absolutely brilliant, but some jokes just don’t work, but the cast react in a flash and get the audience giggling again. There’s obviously a Rolf Harris joke (how could they not?) along with an attempt to curb Santa’s non-PC Christmas announcement, and some obligatory audience participation in Santa’s Sacrilegious Storytime as the story of the nativity is retold in chaotic style.
Get yourself on the naughty list this Christmas and have a blast at this cracker of a show.
Regal Entertainment’s Snow White and the Seven Dwarfs is a glittering jewel in the crown of pantomime tradition, proving once again that St Helen’s Theatre Royal knows how to deliver a festive feast for the senses. Brimming with wit, wonder, and a hearty dose of cheeky humour, this production is the epitome of feel-good entertainment, leaving audiences young and old beaming from ear to ear.
The theatre was buzzing with anticipation as families and excitable children filled the seats, eagerly waiting for the curtain to rise. From the moment the first note played, the atmosphere was alive with festive energy. True to panto form, this rendition of the classic tale delivers a perfect blend of tradition and innovation. Snow White’s familiar story is retold with flair, packing every scene with laughter, music, and festive cheer. The narrative whisks the audience on a whirlwind adventure, complete with dazzling twists and audience-pleasing surprises that keep everyone on their toes.
The cast is a powerhouse of talent, each member adding their unique sparkle to the show. Chantelle Morgan shines as Snow White, bringing grace and charm to the role. She embodies the character’s pure-hearted nature with effortless warmth and a voice that melts hearts. Maureen Nolan, of the world-famous Nolan Sisters, is a commanding presence as the Wicked Queen. Her delightfully sinister portrayal is captivating and brings just the right amount of theatrical panache to her villainous antics. Opposite her, Emrhys Cooper’s Prince Frederick exudes charisma and charm, delivering his role with a twinkle in his eye and a sense of genuine affection for his princess.
However, it’s Lewis Devine as Muddles who steals the show. His side-splitting humour and comic timing are a triumph, leaving the audience in fits of laughter. From his hilarious “12 Days of Christmas” skit to his water-pistol escapades, Devine bridges the gap between cheeky adult humour and child-friendly comedy with remarkable ease. The audience, particularly the children, adored him, laughing uproariously at his mishaps and cheeky innuendos. My son, like many others, was in hysterics, shouting along and thoroughly enjoying every silly moment. Richard Aucott’s Nurse Nelly is another standout, clad in increasingly outrageous costumes (designed by himself) and delivering larger-than-life humour that had everyone roaring with laughter. Special mention must also go to Leanne Campbell as the Magic Mirror, whose pre-recorded segments were seamlessly integrated, her witty Scouse humour adding a modern twist to the classic role.
One unique and delightful feature of this production was the celebrity dwarf voiceovers, with a lineup including Johnny Vegas, Pete Price, Joel Ross, Louis Emerick, Craig Phillips, the Queen of Scotty Road, and John May. Their humorous contributions added a star-studded touch to the show, bringing smiles to every corner of the theatre. What’s more, it was heartwarming to learn that most of the celebrities donated their fees to local Merseyside charities, spreading festive goodwill beyond the stage.
Adding even more magic to the evening, Jema Leopold and her impeccably trained Doggy Delights performed a series of fabulous tricks that had the audience “awwwing” in unison. The dogs were an absolute delight, showcasing not only their talents but also the creativity of a production that continually found ways to surprise and charm.
Musical numbers are always a panto highlight, and this production does not disappoint. The songs range from timeless classics to modern pop hits, each performed with infectious energy. The choreography was vibrant and polished, with every number adding excitement and momentum to the show. The ensemble deserves applause for their high-energy routines and the perfect synchronization that brought each scene to life.
Visually, the production is a treat for the eyes. The sets transported the audience from the regal palace to the enchanted forest, dripping with glitter and festive sparkle. Nurse Nelly’s costumes deserve a special mention; each was a work of art, more outrageous and colourful than the last. The attention to detail in the visual design created a magical, immersive world that captivated the audience.
Audience participation is, of course, at the heart of any pantomime, and this production excelled in involving the crowd. Children shrieked with delight as they booed the Wicked Queen at every opportunity. Even the parents couldn’t resist joining in, creating a lively, communal atmosphere that’s uniquely panto.
In every way, Snow White and the Seven Dwarfs is a triumph. Regal Entertainments has once again demonstrated its mastery of the pantomime art form, blending comedy, music, and festive spirit into a production that’s impossible not to love. Under the expert guidance of Jane Joseph and Chantelle Nolan, this show sparkles with joy and professionalism, ensuring a magical experience for all.
St Helen’s Theatre Royal is a cozy, family-friendly venue with helpful staff and easy parking, making it the perfect place to start your Christmas celebrations. Whether you’re a panto veteran or a first-timer, this production is an enchanting experience not to be missed.
Verdict: A five-star festive extravaganza that will leave you laughing, clapping, and brimming with Christmas cheer. Book your tickets before the curtain falls on 15 January 2025—you won’t regret it!
In a streamed event, My Fair Lady stars Molly Lynch, David Seadon-Young and Minal Patel today announced the nominations for the 25th Annual WhatsOnStage Awards in association with AudienceView, the only major theatre prize giving decided by the theatregoers themselves. The announcement of the nominations marks the opening of the final stage of voting (until 9 January 2025), with winners to be revealed at the annual Awards ceremony held on 9 February 2025 at The London Palladium.
WhatsOnStage’s Darius Thompson and Alex Wood said today: “We were blown away by the sheer volume of nominations that came in for this year’s WhatsOnStage Awards for our silver anniversary. What has emerged is a shortlist that reflects the vibrancy and excitement of the UK theatre ecosystem. Locations like Plymouth, Nottingham, Chichester, Sheffield and Manchester have all been recognised on this shortlist, and it’s been heartening watching organisations across the nation campaigning and championing local, established and emerging talents. In a time when venues and companies are facing increased costs and cuts to local funding, the WhatsOnStage Awards are a vital reminder of theatre’s power to bring communities together in a shared, enriching space.”
The hit revival of Andrew Lloyd Webber’s Starlight Expressleads nominations this year with nine nods including Best Musical Revival, Best Supporting Performer in a Musical for Jaydon Vijn, Best Professional Debut for Jeevan Braich, Best Set Design (Tim Hatley), Best Lighting Design (Howard Hudson), Best Sound Design (Gareth Owen), Best Video Design (Andrzej Goulding), Best Costume Design (Gabriella Slade) and a nomination for Jackie Saundercock and Campbell Young Associates in the new category for Best Wigs Hair and Make-up Design. Also featuring strongly in the Musical Theatre categories are The Artist at Theatre Royal Plymouth with six nominations and Oliver! at Chichester Festival Theatre with five nominations.
Leading the straight play categories with six nominations is the Donmar Warehouse’s production of Macbeth starring David Tennant and Cush Jumbo, currently running at the Harold Pinter Theatre, with both lead actors nominated for Best Performer in a Play alongside nominations for Best Play Revival, Best Sound Design (Gareth Fry), Best Musical Direction/ Supervision (Alasdair Macrae) and Best Casting (Anna Cooper). In terms of straight plays Spirited Away closely follows with five nominations.
Completing the gender-free performance categories, in the Best Performer in a Play category – facing David Tennant and Cush Jumbo – are Emma D’Arcy for The Other Place, Tom Holland for Romeo & Juliet, Anne Odeke for Princess Essex and Michael Sheen for Nye. Best Supporting Performer in a Play nominees are Freema Agyeman for Romeo & Juliet, Romola Garai for Giant, Julie Hesmondhalgh for Punch,Teddy Hinde for The History Boys, Atsuki Mashiko for Spirited Away and Sharon Small for Nye.
The Best Performer in a Musical category sees a double nomination for Why Am I So Single? with Jo Foster and Leesa Tulley both recognised. They will face Georgina Castle for Mean Girls, Myles Frost for MJ the Musical, Imelda Staunton for Hello, Dolly! and Vanessa Williams for The Devil Wears Prada; and in the Best Supporting Performer in a Musical category, Jaydon Vijin’s fellow nominees are Siobhan Athwal for Bhangra Nation, Amy Di Bartolomeo for The Devil Wears Prada, Melanie La Barrie for Hadestown, Grace Mouat for Mean Girls, and Tom Xander also for Mean Girls.
Best Takeover Performance sees a double nomination for Cabaret for both Cara Delevingne and Layton Willams. They are joined by Zoe Birkett for TINA – The Tina Turner Musical, Craig Ryder for Moulin Rouge!, Alex Sawyer for Hamilton and Tobias Turley for Mamma Mia!. Joining Jeevan Braich in the Best Professional Debut Performance category are Esme Bowdler for Heathers the Musical, Stevie Doc for Mamma Mia!, Vasco Emauz for Back to the Future the Musical, Mia Kobayashi for Your Lie in April and Gerardine Sacdalan for & Juliet.
Best New Musical is closely contested with Babies, The Curious Case of Benjamin Button, The Devil Wears Prada, MJ the Musical, Mean Girlsand Why Am I So Single?in the running. Starlight Expressis joined in the Best Musical Revival category by Dear Evan Hansen, Hadestown, Hello, Dolly!, Kiss Me, KateandOliver!.
Best New Play sees nominations for Giant, Kyoto, Princess Essex, Punch, Slave Playand Spirited Away, while Macbethgoes up against A Raisin in the Sun, The Crucible, Oedipus, Romeo & Julietand Waiting for Godotfor Best Play Revival.
Last year’s winner for Best New Musical Operation Mincemeatjoins Cabaret, Hamilton, Les Misérables, Mamma Mia!and SIXto battle it out for Best West End Show. Nominations for Best Regional Production are 42 Balloons, The Artist, Becoming Nancy, Brassed Off, Dear Evan Hansen and Oliver!. This year’s awards will see the inclusion of the Best Studio Production for the first time, BRACE BRACEat Royal Court Theatre, Dear Young Monster at Bristol Old Vic Weston Studio, Diary of a Gay Disaster at Underbelly Cowgate and Arcola Theatre, KENREX Tanyaat Moiseiwitsch Playhouse Sheffield, Mulatto Boy at Omnibus Theatre and Some Mothers Do ‘Ave ‘Em at Barn Theatre are all up for the inaugural award.
Gypsy the Musical in Concert, I Am Harvey Milk, Pippin – 50th Anniversary Concert, Something Rotten! – In Concert, Sondheim on Sondheimand Spring Awakening: 15th Anniversary Concertmake up the competitive field forBest Concert Event.
The Best Direction category is dominated by plays with Eline Arbo for The Years, Robert Icke for Oedipus, Anthony Lau for The Crucible, James Macdonald for Waiting for Godot and Wise Children’s Emma Rice for The Buddha of Suburbia, with Drew McOnie being the only musical nominee for The Artist. McOnie also receives a nomination for Best Choreography, facing tough competition from Matthew Bourne for Oliver!, Julia Cheng for Fiddler on the Roof, Rujuta Vaidya for Bhangra Nation, Anthony Van Laast for Kiss Me, Kate, and Christopher Wheeldon for MJ the Musical.
For Set Design, up against Tim Hatley for Starlight Express are Jon Bausor and Toby Olié for Spirited Away, Miriam Buether for Kyoto, Es Devlin for Coriolanus, Kenneth MacLeod for Maggie and Me, and Tom Scutt for Fiddler on the Roof; and Costume Design, Gabriella Slade’s fellow nominees are Sachiko Nakahara for Spirited Away, Lez Brotherston for Oliver!, Marg Horwell for The Picture of Dorian Gray, Rae Smith for Hello, Dolly!, and Tom Scutt, again for Fiddler on the Roof.
Joining Starlight Express’ Howard Hudson in the Best Lighting Design category are Paule Constable for Oliver!, Jessica Hung Han Yun for Minority Report, Tim Lutkin for Coriolanus, Bruno Poet for Waiting for Godot, and Zoe Spurr for The Artist; and against Macbeth’s Gareth Owen for Best Sound Design are Paul Arditti for BRACE BRACE, Susan Bear for Maggie and Me, Nicola T Chang for Minority Report, and double nominations for Gareth Fry for Viola’s Room, as well as Macbeth. Best Video Design sees Starlight Express’ Andrzej Goulding face David Bergman for The Picture of Dorian Gray, Grant Gee and Ellie Thompson for Bluets, Tal Rosner for Minority Report, and another double nomination for Ash J Woodward for The Artist and FANGIRLS.
In another first for this year’s ceremony, an award will be given for Best Wigs, Hair and Make-Up Design for which the nominees are Campbell Young Associates for The Devil Wears Prada, Marg Horwell for The Picture of Dorian Gray, Betty Marini for The Cabinet Minister, Hiroaki Miyauchi for Spirited Away, Georgia Nosal for The Artist, and Starlight Express’ Jackie Saundercock and Campbell Young Associates.
For Best Musical Direction/Supervision, Macbeth’s Alasdair Macrae is in competition with Mark Aspinall and Dan Turek for Fiddler on the Roof, Niraj Chag and Simon Baker for The Buddha of Suburbia, Darren Clark and Mark Aspinall for The Curious Case of Benjamin Button, Matthew Malone for Brassed Off, and Liam Robinson and Tarek Merchant for Hadestown; and completing the categories is Best Casting Direction with Macbeth’s Anna Cooper up against Amy Ball for The Years, Harry Blumenau and Sarah-Jane Price for Why Am I So Single?, Stuart Burt for Fiddler on the Roof, Alistair Coomer and Chloe Blake for Till the Stars Come Down, and Lottie Hines for A Raisin in the Sun.
In addition to seeing winners crowned across a range of categories, theatregoers will also enjoy a host of exclusive live performances from top stage talent, accompanied by a 24-piece orchestra in a one-night-only showcase co-produced with creative directors Alex Parker and Damian Sandys.
WhatsOnStage would like to take this opportunity to thank the 2025 awards ceremony sponsors: 5RB, Above Title Finance, AKA Promotions Ltd, AudienceView, Avalon, Boulevard Events, Concord, Dewynters, Disney’s Hercules, Edwardian Hotels, Hexagon Print, Go Live Theatre Projects, LOVEtheatre, Music Theatre International, Newman Displays, Outernet Venues, Preevue, PRG, Re:Water, RSVP-ify, SINE Digital, Steeldeck Rentals, Tandem Marketing, Theatrical Rights Worldwide, Ticketmaster, TikTok, Travelzoo and White Light.
Tom Holland, Romeo & Juliet, Duke of York’s Theatre
Cush Jumbo, Macbeth, Donmar Warehouse and Harold Pinter Theatre
Anne Odeke, Princess Essex, Shakespeare’s Globe
Michael Sheen, Nye, National Theatre and Wales Millennium Centre
David Tennant, Macbeth, Donmar Warehouse and Harold Pinter Theatre
BEST PERFORMER IN A MUSICAL SPONSORED BY TICKETMASTER
Georgina Castle, Mean Girls, Savoy Theatre
Jo Foster, Why Am I So Single?, Garrick Theatre
Myles Frost, MJ the Musical, Prince Edward Theatre
Imelda Staunton, Hello, Dolly!, The London Palladium
Leesa Tulley, Why Am I So Single?, Garrick Theatre
Vanessa Williams, The Devil Wears Prada, Theatre Royal Plymouth and Dominion Theatre
BEST SUPPORTING PERFORMER IN A PLAY
Freema Agyeman, Romeo & Juliet, Duke of York’s Theatre
Romola Garai, Giant, Royal Court Theatre
Julie Hesmondhalgh, Punch, Nottingham Playhouse
Teddy Hinde, The History Boys, UK tour
Atsuki Mashiko, Spirited Away, The London Coliseum
Sharon Small, Nye, National Theatre
BEST SUPPORTING PERFORMER IN A MUSICAL SPONSORED BY NEWMAN DISPLAYS
Siobhan Athwal, Bhangra Nation, Birmingham Rep
Amy Di Bartolomeo, The Devil Wears Prada, Theatre Royal Plymouth and Dominion Theatre
Melanie La Barrie, Hadestown, Lyric Theatre
Grace Mouat, Mean Girls, Savoy Theatre
Jaydon Vijn, Starlight Express, Troubadour Wembley Park Theatre
Tom Xander, Mean Girls, Savoy Theatre
BEST TAKEOVER PERFORMANCE
Zoe Birkett, TINA – The Tina Turner Musical, Aldwych Theatre
Cara Delevingne, Cabaret, Kit Kat Club at the Playhouse Theatre
Craig Ryder, Moulin Rouge! the Musical, Piccadilly Theatre
Alex Sawyer, Hamilton, Victoria Palace Theatre
Tobias Turley, Mamma Mia!, Novello Theatre
Layton Williams, Cabaret, Kit Kat Club at the Playhouse Theatre
BEST PROFESSIONAL DEBUT PERFORMANCE SPONSORED BY AKA
Esme Bowdler, Heathers the Musical, @sohoplace and UK tour
Jeevan Braich, Starlight Express, Troubadour Wembley Park Theatre
Stevie Doc, Mamma Mia!, Novello Theatre
Vasco Emauz, Back to the Future the Musical, Adelphi Theatre
Mia Kobayashi, Your Lie in April, Harold Pinter Theatre
Gerardine Sacdalan, & Juliet, UK tour
BEST NEW MUSICAL SPONSORED BY TRAVELZOO
Babies, Music and lyrics by Jack Godfrey and book by Martha Geelan, The Other Palace
The Curious Case of Benjamin Button, Music and lyrics by Darren Clark and book and lyrics by Jethro Compton, Ambassadors Theatre
The Devil Wears Prada, Music by Elton John, lyrics by Shaina Taub and Mark Sonnenblick and book by Kate Wetherhead, Theatre Royal Plymouth and Dominion Theatre
MJ the Musical, Music and lyrics by Michael Jackson and book by Lynn Nottage, Prince Edward Theatre
Mean Girls, Music by Jeff Richmond, lyrics by Nell Benjamin and book by Tina Fey, Savoy Theatre
Why Am I So Single?, Music, lyrics and book by Toby Marlow and Lucy Moss, Garrick Theatre
BEST MUSICAL REVIVAL SPONSORED BY CONCORD THEATRICALS
Dear Evan Hansen, Nottingham Playhouse and UK tour
Hadestown, Lyric Theatre
Hello, Dolly!, The London Palladium
Kiss Me, Kate, Barbican Theatre
Oliver!, Chichester Festival Theatre
Starlight Express, Troubadour Wembley Park Theatre
BEST NEW PLAY SPONSORED BY GO LIVE THEATRE
Giant, Mark Rosenblatt, Royal Court Theatre
Kyoto, Joe Murphy and Joe Robertson, RSC’s Swan Theatre
Princess Essex, Anne Odeke, Shakespeare’s Globe
Punch, James Graham, Nottingham Playhouse
Slave Play, Jeremy O’Harris, Noël Coward Theatre
Spirited Away, Adapted by John Caird and co-adapted by Maoko Imai, The London Coliseum
BEST PLAY REVIVAL SPONSORED BY EDWARDIAN HOTELS – OFFICAL HOTEL PARTNER
A Raisin in the Sun, Leeds Playhouse, Oxford Playhouse, Lyric Hammersmith Theatre and Nottingham Playhouse
The Crucible, Sheffield Crucible
Macbeth, Donmar Warehouse and Harold Pinter Theatre
Oedipus, Wyndham’s Theatre
Romeo & Juliet, Duke of York’s Theatre
Waiting for Godot, Theatre Royal Haymarket
BEST WEST END SHOW SPONSORED BY DEWYNTERS
Cabaret , Kit Kat Club at the Playhouse Theatre
Hamilton, Victoria Palace Theatre
Les Misérables, Sondheim Theatre
Mamma Mia!, Novello Theatre
Operation Mincemeat, Fortune Theatre
SIX, Vaudeville Theatre
BEST REGIONAL PRODUCTION SPONSORED BY MUSIC THEATRE INTERNATIONAL
42 Balloons, The Lowry, Salford
The Artist, Theatre Royal Plymouth
Becoming Nancy, Birmingham Repertory Theatre
Brassed Off, Theatre by the Lake, Stephen Joseph Theatre and Octagon Theatre Bolton
Dear Evan Hansen, Nottingham Playhouse and UK tour
Oliver!, Chichester Festival Theatre
BEST STUDIO PRODUCTION SPONSORED BY THEATRICAL RIGHTS WORLDWIDE
BRACE BRACE, Royal Court Theatre
Dear Young Monster, Bristol Old Vic Weston Studio
Diary of a Gay Disaster, Underbelly Cowgate and Arcola Theatre
KENREX, Tanya Moiseiwitsch Playhouse, Sheffield
Mulatto Boy, Omnibus Theatre
Some Mothers Do ‘Ave ‘Em, Barn Theatre
BEST CONCERT EVENT
Gypsy the Musical in Concert, Hope Mill Theatre at Opera House, Manchester
I Am Harvey Milk, Cadogan Hall
Pippin – 50th Anniversary Concert, Theatre Royal Drury Lane
Something Rotten! – In Concert, Theatre Royal Drury Lane
Sondheim on Sondheim, Alexandra Palace Theatre
Spring Awakening: 15th Anniversary Concert, Victoria Palace Theatre
BEST DIRECTION SPONSORED BY LOVETHEATRE
Eline Arbo, The Years, Almeida Theatre
Robert Icke, Oedipus, Wyndham’s Theatre
Anthony Lau, The Crucible, Sheffield Crucible
James Macdonald, Waiting for Godot, Theatre Royal Haymarket
Drew McOnie, The Artist, Theatre Royal Plymouth
Emma Rice, The Buddha of Suburbia, RSC’s Swan Theatre and Barbican Theatre
BEST CHOREOGRAPHY SPONSORED BY LADUCA SHOES
Matthew Bourne, Oliver!, Chichester Festival Theatre
Julia Cheng, Fiddler on the Roof, Regent’s Park Open Air Theatre
Drew McOnie, The Artist, Theatre Royal Plymouth
Rujuta Vaidya, Bhangra Nation, Birmingham Rep
Anthony Van Laast, Kiss Me, Kate, Barbican Theatre
Christopher Wheeldon, MJ the Musical, Prince Edward Theatre
BEST SET DESIGN SPONSORED BY PREEVUE
Jon Bausor and Toby Olié, Spirited Away, The London Coliseum
Miriam Buether, Kyoto, RSC’s Swan Theatre
Es Devlin, Coriolanus, National Theatre
Tim Hatley, Starlight Express, Troubadour Wembley Park Theatre
Kenneth MacLeod, Maggie and Me, UK tour
Tom Scutt, Fiddler on the Roof, Regent’s Park Open Air Theatre
BEST COSTUME DESIGN
Sachiko Nakahara, Spirited Away, The London Coliseum
Lez Brotherston, Oliver!, Chichester Festival Theatre
Marg Horwell, The Picture of Dorian Gray, Theatre Royal Haymarket
Tom Scutt, Fiddler on the Roof, Regent’s Park Open Air Theatre
Gabriella Slade, Starlight Express, Troubadour Wembley Park Theatre
Rae Smith, Hello, Dolly!, The London Palladium
BEST LIGHTING DESIGN SPONSORED BY WHITE LIGHT
Paule Constable, Oliver!, Chichester Festival Theatre
Howard Hudson, Starlight Express, Troubadour Wembley Park Theatre
Jessica Hung Han Yun, Minority Report, Nottingham Playhouse, Birmingham Rep and Lyric Hammersmith Theatre
Tim Lutkin, Coriolanus, National Theatre
Bruno Poet, Waiting for Godot, Theatre Royal Haymarket
Zoe Spurr, The Artist, Theatre Royal Plymouth
BEST SOUND DESIGN SPONSORED BY HERE @ OUTERNET
Paul Arditti, BRACE BRACE, Royal Court Theatre
Susan Bear, Maggie and Me, UK tour
Nicola T Chang, Minority Report, Nottingham Playhouse, Birmingham Rep and Lyric Hammersmith Theatre
Gareth Fry, Macbeth, Donmar Warehouse and Harold Pinter Theatre
Gareth Fry, Viola’s Room, Woolwich Works
Gareth Owen, Starlight Express, Troubadour Wembley Park Theatre
BEST VIDEO DESIGN SPONSORED BY TIKTOK
David Bergman, The Picture of Dorian Gray, Theatre Royal Haymarket
Grant Gee and Ellie Thompson, Bluets, Royal Court Theatre
Andrzej Goulding, Starlight Express, Troubadour Wembley Park Theatre
Tal Rosner, Minority Report, Nottingham Playhouse, Birmingham Rep and Lyric Hammersmith Theatre
Ash J Woodward, The Artist, Theatre Royal Plymouth
THE WOMEN’S PRIZE FOR PLAYWRITING RETURNS FOR 2025 WITH FIRST PRIZE OF £20,000
including a new partnership with Sheffield Theatres
The Women’s Prize for Playwriting, produced by Ellie Keel and Paines Plough, today announces its return for 2025. This year sees the largest ever prize fund for WPP with a first prize of £20,000. The judging panel for this year’s Prize will be chaired once again by incoming Director and Co-Chief Executive of the National Theatre Indhu Rubasingham.
Launched in 2019, the Prize celebrates and supports exceptional female and non-binary playwrights, and campaigns for their plays to be presented on national stages in the UK and Ireland. The Prize is for a full-length play (defined as over 60 minutes in length), written in English. The First Prize-winning play receives £20,000 in respect of an option for Ellie Keel Productions, Paines Plough and Sheffield Theatres to co-produce the play. The prize is sponsored by Samuel French Ltd, a Concord Theatricals company, who are the official publishing partner of the prize.
Sheffield Theatres is announced as ‘Theatre Partner’ for the 2025 Prize. Created with Artistic Director of Sheffield Theatres, Elizabeth Newman, this partnership means that Sheffield Theatres will have first right of refusal to co-produce the world premiere of the prize’s winning play.
Chaired by Indhu Rubasingham, the judging panel will also include Producer at Wessex Grove Emily Vaughan-Barratt,directors Milli Bhatia and Alice Hamilton, actress Romola Garai,Literary Agent Mel Kenyon, Artistic Director of Bristol Old Vic Nancy Medina, the National Theatre’s Director of New Work Nina Steiger, and Guardian Editor-in-Chief Katharine Viner.
Also announced today The Women’s Prize for Playwriting has become a registered charity, and Charlie Coulthard will become Literary Manager. Ellie Keel, Founder Director of The Women’s Prize for Playwriting, today said, “I’m thrilled that the Women’s Prize for Playwriting is returning in a bigger and bolder form than ever, with a significant increase in prize money and our first Theatre Partnership with the brilliant Sheffield Theatres. These developments will allow WPP to build on our track record of creating tangible and lasting change, not only for the careers of our winning playwrights but within the theatre industry as a whole. I’m delighted that Indhu Rubasingham is continuing as Chair of our exceptional judging panel, whose difficult task it will be to choose one winner in autumn 2025! This year we also took the step of becoming a registered charity to help secure the Prize’s future for many years to come, driving change and championing equality in the historically male-dominated theatre industry.”
Katie Posner and Charlotte Bennett, Joint Artistic Directors of Paines Plough,added “It’s a huge honour, in our 50th birthday year, to be announcing the fourth year of this playwriting prize with Ellie Keel. Since 2019 we’ve been consistently blown away reading so many thrilling plays, and we’re ready to be blown away once again. It is a privilege and a joy to lead this prize with Ellie and we can’t wait to now also work alongside the powerhouse that is Sheffield Theatres to discover and nurture more female and non-binary playwrights. Our continued work with the prize will set the tone for the next 50 years of Paines Plough’s work: to fight for playwrights, for new writing, and for representation in the voices on stages around the country. We can’t wait to get reading!”
Elizabeth Newman, Artistic Director of Sheffield Theatres, commented “I am thrilled we are becoming the Theatre Partner of The Women’s Prize for Playwriting. Sheffield Theatres has a long-standing reputation for being committed to producing exceptional new work and, as I begin my tenure as Artistic Director, I want to make it clear that we will continue this mission and develop our reputation of being an exciting place that fosters exceptional talent. As we begin to write the next chapter for Sheffield Theatres, we will focus on discovering, developing, and celebrating outstanding new plays written by women and non-binary playwrights. Being part of the Prize offers us the opportunity to play a crucial role in addressing gender disparities in theatre by offering tangible support and recognition to those whose voices have been historically marginalised. Furthermore, and importantly, we aim to produce the winning play at Sheffield Theatres because, to make a lasting difference to the momentum of a writer’s career (and to raise the profile of women and non-binary playwrights), plays need to be put to an audience. This is the best way for a dramatist to learn and grow. The Women’s Prize led by Ellie, Katie and Charlotte has achieved incredible things since it was launched and I cannot wait for Sheffield Theatres to join this incredible endeavour. I am also very excited to share news soon of our first co-production.”
Vivien Goodwin, Senior Vice President of Concord Theatricals, also said “We’re thrilled that the awards are going from strength-to-strength and are becoming vital in cultivating and elevating women’s voices. We’re honoured to continue being the Prize’s publishing and licensing partner and look forward to supporting these exciting, bold, and unique pieces into the future. I’m fascinated to see what this year brings!”
Submissions will open on Monday 13th January and close on Tuesday 22nd April. More information on the award can be found at https://womensprizeforplaywriting.co.uk/.
