Author: FairyPoweredProductions

Theatre Royal, Nottingham – until Saturday 25th April 2026

Reviewed by Chris Jarvis

3.33***

2:22 A Ghost Story was written by award-winning writer Danny Robins, creator of Uncanny – the hit BBC Radio 4 podcast which explores real life paranormal and supernatural phenomena. Tonight I was looking forward to testing my own beliefs in such happenings.

Directed by Matthew Dunster and following seven seasons in the West End, a record-breaking tour of the UK and Ireland and thirty productions around the world, my expectations were high for the “adrenaline filled night” of fear and unexplained occurrences that was promised!

As soon as you enter the theatre you are immediately drawn into Anna Fleischle’s set – a partly renovated room in an old house with an original stained-glass door above which a digital clock with large fluorescent red digits attracts your attention. The rest of the room is a modern kitchen/living area with huge patio doors onto the garden.

The play starts quietly with Jenny (Shorvne Marks) finishing off some decorating in the early hours of the morning while her husband Sam (James Bye) is away on business in Sark and her baby daughter sleeping upstairs, monitored by the baby monitor on the table. As Jenny goes to bed for the night and the clock clicks over to 2:22 we hear unexplained noises through the baby monitor, tension builds and the quiet is replaced by the most piercing shriek and total blackness with a vivid fluorescent red strip light surrounding the stage and the audience ‘jumping out of their skin’.

The shriek certainly made me jump and set my teeth on edge, but was I frightened? When this ear-piercing shriek and blackness was used between each act, it lost something for me.

A dinner party hosted by Jenny and Sam on his return from Sark made up most of the remainder of the play and the second act opened with Jenny and their guests Lauren (Natalie Casey) – an American psychotherapist and Ben her partner (Grant Kilburn) – a builder who’d grown up in that area of London. We could hear Sam upstairs via the baby monitor reading a bedtime story to his daughter having arrived home late and unannounced as he’d lost his phone, while Jenny voiced her concerns that the house they were renovating was haunted.

While Sam was in Sark, she’d heard unexplained footsteps in the baby’s bedroom and a man crying, but when Sam joined them for dinner it became obvious that the four characters had different views on whether ghosts exist. Tempers frayed fueled by numerous bottles of wine mostly consumed by Lauren, but tensions built between Sam and Jenny, Lauren and Sam and Sam and Ben – Sam being a common factor despite him not drinking!

Throughout the repeated arguments between the believers and Sam the sceptic time marched on, as the digital clock reminded us. However, there were many hours to go until 2.22 – the time that Jenny said the events occurred. The four agreed to stay together until then and the audience listened to the continued disagreements, revelations from the past, humour and some great one-liners, even a séance suggested by Ben who claimed to have inherited spiritual inclinations from his mother.

I was avidly anticipating the end as I knew there had to be something more to this record-breaking acclaimed play than I’d been watching!

When it came, I was surprised – an ending I hadn’t expected. Despite the great acting, particularly Shvorne, and the clever plot, I think I missed something on the night! Since seeing the final twist, I’ve enjoyed thinking about the whole play and discussing with friends who saw it on the same night and comparing the clues that escaped us during the performance but revealed themselves later.

I think that maybe I should see it again, knowing the ending?

Birmingham Hippodrome – until 25th April 2026

Reviewed by Emma Millward

4****

Barnum – The Circus Musical arrived at Birmingham Hippodrome this week, telling the story of the ‘Greatest Showman’ P.T. Barnum. Directed by Jonathan O’Boyle, with a book by Mark Bramble, lyrics by Michael Stewart, and music by Cy Coleman. From the start the circus comes to life through constant movement, with acrobats and other performers weaving in and out of scenes. This truly adds to the excitement and unpredictability of the show, making it feel alive and dynamic. However, there are times when the sheer amount of action on stage can become a little too much, and it can be hard to pay attention to the narrative.

Lee Mead leads the production with confidence and charm, clearly comfortable in Barnum’s larger-than-life shoes. He brings the expected warmth and charisma to such a well-known role. His portrayal captures the showman side of Barnum, but the more thoughtful aspects of the character don’t always have the same impact, making some parts of the character feel a little underexplored. Alongside him is his wife Charity (Monique Young), who disagrees with his use of “humbug” and hype to further his career. Along the way Barnum introduces us to General Tom Thumb (Fergus Rattigan) and Joice Heth (Dominique Planter), allegedly ‘the oldest woman alive’. He also promotes and begins an ill-advised dalliance with Swedish opera singer Jenny Lind (Penny Ashmore). The three leading ladies all have their chance to showcase their vocal talents, especially Penny Ashmore during the musical number ‘Jenny Lind’s Obbligato’

Lee Newby’s set and costume design are vibrant and eye-catching. Newby’s creative set design makes it easy to move from one scene to the next. Jai Morjaria’s beautiful lighting adds to the sense of spectacle and helps set different moods. Choreographers Oti Mabuse and Matt Nicholson and Circus Director Amy Panter take every opportunity to add dancing and circus craft into the show including an inventive section where a restaurant table is set by the acrobatic performers. Special mention must be given to puppet designers Mervyn Millar and Tracy Waller who brought Jumbo the Elephant to life for a brief, but awe-inspiring moment in the show that clearly wowed the audience. I also enjoyed noticing that Jumbo had his own credit in the show’s programme!

There are recurring mentions of Barnum’s ambition, and the risks that come with them, but they aren’t explored as deeply as they could be. Because of this, some of the more important moments don’t have the impact that they could have. The ensemble and supporting cast bring plenty of energy, especially in the bigger musical numbers.  The cast sing and perform (on over 150 instruments) with clear enthusiasm, even if the songs aren’t always the most memorable.

That being said, it’s hard not to get caught up in the show’s energy. The audience is always enthusiastic, and there is a real sense of fun that runs through the performance. It might not be perfect, but it knows how to be entertaining. Barnum is a colourful, energetic show that fully embraces the spectacle of the circus, even if it frequently feels like it’s trying to do too much at once. It’s a fun and enjoyable production that has a lot to offer, even if it doesn’t always reach the emotional depth it appears to be aiming for. Bright, bold, and often a little too busy, Barnum still delivers a delightful night at the theatre, packed with strong performances and theatrical flair.

#BarnumMusical #BirminghamHippodrome #LeeMead #MoniqueYoung #FergusRattigan #DominiquePlanter #PennyAshmore #JonathanOBoyle #MarkBramble #MichaelStewart #CyColeman #LeeNewby #JaiMorjaria #OtiMabuse #MattNicholson #AmyPanter #MervynMillar #TracyWaller

Wycombe Swan, High Wycombe – until Saturday 25th April 2026

Reviewed by Rachel Clark

5*****

The multi award winning musical is in Wycombe! This story was written by Willy Russell in 1981 and first performed as a musical in 1983. The musical is set in the North of England. Willy Russell came from Liverpool and the City of Liverpool appeared in the stage background. This musical tells a story of twin brothers, separated at birth and they grow up leading totalling different lives, one rich one poor. They come together unintentionally but to what cost? Mickey Johnstone and his family represent the working class that were affected by the economic downturn which happened in the 1980’s whilst his brother Edward Lyons grew up with a middle-class family that thrived.

This musical has the luxury of a live orchestra, that you don’t always get and they were superb, the Musical Director being Matt Malone.

It started with the Narrator who was Richard Mundy and he was very good, dressed to impress and he had a clear voice with a slight Liverpudlian accent – ‘Did you ever hear the story of the Johnstone twins?’ Then Mrs Johnstone played by Vivienne Carlyle came on stage, her voice was so clear and projecting she was a wonderful singer. All cast played exceptionally well, Laura Harrison as Mrs Lyons and then we had Mickey, what a character he was played by Sean Jones, you got taken in by believing he was ‘7 nearly 8’. Mickey’s brother Eddie was played by Joe Sleight and Linda was played exceptionally well by Gemma Brodrick. Alex Harland played the teacher as well as the policeman, it made me giggle when one minute he was the teacher at the private school and then the teacher at Mickey’s school and to transform from one part to the other he ruffled his hair!

The set was like a permanent stage, very well done and the props were moved on and off mainly by the narrator, to which you barely noticed.

This is a superb musical so well done that got a standing ovation, a true classic not to be missed and plenty of school children attended the show as it is part of the school curriculum, by the clapping and cheering at the end they thoroughly enjoyed it. There were lots if different age groups in the theatre which is lovely to see, all the different generations enjoying an amazing musical.

Hull New Theatre – until 26th April 2026

Reviewed by Dawn Bennett

5*****

The musical is inspired by the iconic songs of Steps, which alone is reason enough to attend. However, the show offers far more than just nostalgic tunes: the cast, storyline, costumes, lighting and set design all come together to create an unmissable production. The set, designed by Tom Rogers, and the lighting, by Howard Hudson, were especially striking, featuring vibrant pinks and blues that truly captured the audience’s attention.

The story unfolds in the Better Best Bargains supermarket, following the lives of Caz (Lara Denning), Vel (Jacqui Dubois), Neeta (Rosie Singha), and Robbie (Blake Patrick Anderson) as they work with their exasperating boss Patricia (Sally Ann Matthews). Central to the plot, Caz is determined that, before her fiftieth birthday in a few weeks, her friends should “take a chance on a happy ending.” Neeta is encouraged to pursue a relationship with Ben (Ben Darcy), Vel is advised to end things with her partner Lesley (John Stacey), and Ben is urged to find a boyfriend who he won’t dump. Caz’s own marriage to Gareth (Chris Grahamson) seems secure, with their adoption process running smoothly, until Max (Edward Baker-Duly) appears, complicating matters. The arrival of Jem (River Medway) and Tracey (Lauren Woolf) adds further excitement, ensuring the fun never stops.

The narrative is moving at times, with Lara Denning’s storytelling and solo performances standing out as particularly stunning moments within the production.

Vocally, the cast excelled; the singing throughout was exceptional, with clear voices and impressive harmonies that highlighted the talent on stage.

The ensemble deserves special mention for their outstanding abilities. Their dancing, choreographed by Matt Cole, was outstanding and energetic, adding a dynamic element to the performance.

The show’s finale, a medley of Steps hits, brought the audience to its feet. It was a vivid reminder of the group’s extensive and brilliant musical legacy and capped off a fantastic night at the theatre.

WAGNER JOHNSON PRODUCTIONS, WESSEX GROVE, SONIA FRIEDMAN PRODUCTIONS, RUNYONLAND, SPARK PRODUCTIONS, JOHN MARA JR. AND THE ROYAL COURT THEATRE

ANNOUNCE

THE WEST END TRANSFER OF

KIMBERLY BELFLOWER’S

JOHN PROCTOR IS THE VILLAIN

DIRECTED BY TONY AWARD-WINNER

DANYA TAYMOR

AT WYNDHAM’S THEATRE

FOR A STRICTLY LIMITED 12-WEEK SEASON

FROM 2 FEBRUARY UNTIL 24 APRIL 2027

TICKETS ON SALE AT 2.00PM TOMORROW,

TUESDAY 21 APRIL 2026

The producers of Kimberly Belflower’s JOHN PROCTOR IS THE VILLAIN, directed by Tony Award-winner Danya Taymor, are delighted to announce that following a critically acclaimed, sold out run at the Royal Court Theatre, the production will transfer to the West End. It will play a strictly limited 12-week season at Wyndham’s Theatre,a Delfont Mackintosh Theatre, from Tuesday 2 February until Saturday 24 April 2027 with tickets on sale at 2.00pm tomorrow, Tuesday 21 April 2026. Sign up for priority access at johnproctoristhevillain.com. Casting for the West End transfer is to be announced.

Kimberly Belflower and Danya Taymor said today:

“Bringing John Proctor is the Villain to the West End is a true honour and profound joy for us, especially on the heels of its very witchy UK debut in the Royal Court’s 70th anniversary season. The play has been igniting London audiences, and we have fallen deeply in love with this great city. We are so grateful that our spells worked and more people will be able to see the play here—and come back again and again—at the incredible Wyndham’s Theatre in 2027.”

One small town. A soundtrack of pop, adrenaline and barely-contained rage, five young women reveal something darker is stirring. As long-buried truths rise to the surface, they begin to question everything and take control of the narrative for themselves.

Heralded as one of the most compelling new plays of recent years, the production offers a poised and piercing exploration of girlhood, power, and the courage to question what we think we know.

JOHN PROCTOR IS THE VILLAIN premiered on Broadway in March 2025 at the Booth Theatre, where it was nominated for seven Tony Awards, including Best Play. It had its London premiere at the Royal Court Theatre on 20 March 2026 where it continues to play to sold out audiences until this Saturday 25 April. Critical acclaim from its run at the Royal Court includes:

Financial Times ★★★★★

‘a joyous, blazingly intelligent play’

London Theatre ★★★★★

‘It’s not just a drama: it’s a revolution.’

WhatsOnStage ★★★★★

‘Absolutely essential… this is art that helps us to understand life’

Time Out ★★★★

‘The hype is real’

Scenography is by AMP, featuring Teresa L. Williams, the costume design is by Sarah Laux, the lighting design is by Natasha Katz, the sound design and original composition is by Palmer Hefferan, projection design is by Hannah Wasileski and movement direction is by Tilly Evans-Krueger. The Voice and Dialect Coach is Gigi Buffington, the Casting Director is Julia Horan, CDG, with dramaturgy by Lauren Halvorsen.

JOHN PROCTOR IS THE VILLAIN is presented by Wagner Johnson Productions, Wessex Grove, Sonia Friedman Productions, Runyonland, Spark Productions, John Mara Jr. and the Royal Court Theatre.

THEATRE ROYAL WINDSOR 

ANNOUNCES

ALL-STAR CASTING FOR THE MARQUISE

ORIGINATING IN WINDSOR AND TOURING THE UK IN 2026 FROM 27 MAY

Tickets on sale now.

Theatre Royal Windsor, one of the only unsubsidised producing theatres to operate all year round in Britain, today announces the star casting for Noël Coward’s witty romantic comedy The Marquise. The show gets a vibrant 1930s twist in this new production originating at Theatre Royal Windsor, from Wednesday 27 May – Saturday 6 June 2026, before touring to Oxford Playhouse (Tuesday 9 – Saturday 13 June), Theatre Royal Bath (Tuesday 16 – Sunday 20 June), Yvonne Arnaud Theatre Guildford (Tuesday 23 – Saturday 27 June) and The Arts Theatre Cambridge (Tuesday 30 June – Saturday 4 July)

When a widowed Count tries to marry off his daughter to the son of his best friend, it seems like a perfectly sensible plan. But with both young lovers secretly pining for others, their entangled affections cause chaos. Just as their scheme to break free begins, the Countess Raoul’s former lover, the spirited Marquise Eloise de Kestournel, bursts back into their lives, wielding her wit and charm and turning their carefully laid plans upside down.

The all-star cast features BAFTA Award-winning Juliet Aubrey (Middlemarch, BBC; Primeval, BBC) as ‘The Marquise Eloise de Kestournel’, Simon Shepherd (Peak Practice, ITV; Casualty, BBC) as ‘Raoul de Vriaac’, Tristan Gemmill (Coronation Street, ITV; Casualty, BBC) as ‘Esteban el Duco Santaguano’, Albie Marber (Scenes on the Sand, Arcola, Donkey Heart, Old Red Lion / Trafalgar Theatre) as ‘Jaques Rijar’, Eva O’Hara (Hollyoaks, Channel 4; The Great Gatsby, Theatre Royal Windsor) as ‘Adrienne’. They are joined by Martin Carroll (Richard II, The Bridge Theatre; Birdsong, UK Tour) as ‘Father Clement’, Barnaby Tobias (The Great Gatsby, Theatre Royal Windsor; Cymbeline, Royal Shakespeare Company) as ‘Miguel’, Lee Peck (Filumena, Theatre Royal Windsor; Sleuth, Bill Kenwright Ltd) as ‘Hubert / Understudy Jaques and Miguel’, and Holly Smith (Just Between Ourselves, UK Tour; Killing Eve 2, Sid Gentle Films Ltd) as ‘Alice / Understudy Marquise’, James Smalley (Cinderella, Theatre Royal Windsor; Romeo and Juliet, UK Tour’ as ‘Understudy Hubert and Father Clement’, and Amy Utting (The Secret Garden, The Ambassadors Theatre; Honk, Alexandra Theatre) as ‘Understudy Alice and Adrienne’.

A sparkling and sophisticated tale of old secrets, impulsive passion and eternal youth, the production is directed by Philip Wilson, with set and costume design by Colin Falconer, lighting design by Nick Richings, Sound Design by Andy Graham, and Associate Sound Design by Pierre Flasse.

The Marquise forms part of the Theatre Royal Windsor Season on Tour, comprising three productions originating at the theatre and touring the UK in 2026. It joins Graham Greene’s Our Man in Havana, opening in July 2026, and the return of Royce Ryton’s acclaimed thriller The Anastasia File, which opens in September 2026, before touring across the UK.

Theatre Director and Head of Venues for Bill Kenwright Ltd, Anne-Marie Woodley said, “We are proud to present our fifth consecutive Season, which has grown far beyond its Windsor beginnings and continues to attract increasing demand to tour. We are thrilled to welcome Philip Wilson as our Director for The Marquise, and we are especially excited by the exceptional calibre of our cast and creative team. With acclaimed performers including Juliet Aubrey, Simon Shepherd, Tristan Gemmill, and Eva O’Hara, supported by a superb ensemble of both returning and new talent, The Marquise is a production not to be missed!”

Theatre Royal Windsor sits at the heart of the town, carrying over 200 years of history behind its doors.

It is one of the UK’s only year-round producing theatres operating without public funding. As part of The Bill Kenwright Group, Theatre Royal Windsor has built a reputation for standout productions and an ability to attract top tier talent to its stage — solidifying its position as one of Britain’s leading regional theatres.

https://theatreroyalwindsor.co.uk

Full tour dates for the three shows can be found via https://www.kenwright.com/ 

OLIVIER AWARD-NOMINATED STAR

MARISHA WALLACE

JOINS THE PREVIOUSLY ANNOUNCED

JASON MANFORDANDRICHARD FLEESHMAN

IN

SOMETHING ROTTEN!

THE UK PREMIERE OF AWARD-WINNING COMEDY MUSICAL

OPENING IN MANCHESTER THIS JUNE

IN A WORLD WITHOUT MUSICALS,
TWO BROTHERS DARED TO DREAM A DREAM.

somethingrottenthemusical.com

Olivier Award nominated star Marisha Wallace is today announced to join the company of the highly anticipated UK premiere of award-winning comedy musical Something Rotten!.

The side-splitting mash-up of song, dance and Elizabethan absurdity that tells the story behind the creation of the world’s very first musical, will open at the Manchester Opera House from 16 June to 19 July 2026, ahead of a West End run.

Actress and singer Marisha Wallace, acclaimed for her performances in shows includingGuys and Dolls, Oklahoma!, Waitress and Dreamgirls, will star as the musical’s leading lady Bea, having performed in Something Rotten! on Broadway before moving to UK.

She said: “I’m beyond thrilled to have been cast in the UK premiere of Something Rotten! It was pure joy to be a part of this hilarious musical on Broadway a decade ago – so now, to be joining this incredible company for the first time that UK audiences will get to see it, is a full-circle moment in the best way. I can’t wait to dive back in!”

Wallace joins the previously announced comedy, TV and musical theatre icon Jason Manford (Sweeney Todd, The Producers, Chitty Chitty Bang Bang) as Nick Bottom and  star of stage and screen Richard Fleeshman (Company, Ghost the Musical, Legally Blonde The Musical, Coronation Street) as William Shakespeare

Full cast is to be announced.

The ‘90s are back! The 1590s, that is. Brothers Nick and Nigel Bottom are desperate to write a hit play but remain stuck in the shadow of that pompous Renaissance rockstar Will Shakespeare. When a quirky soothsayer foretells an outlandish future for theatre – full of acting, singing and dancing all at the same time – Nick and Nigel set out to write this strange new creation called A MUSICAL! But amidst the scandalous excitement of Opening Night, the Bottom Brothers discover that reaching the top means being true to thine own self… and all that jazz.

Created by the award-winning team behind Mrs. Doubtfire: The Musical: Grammy award-winning songwriter Wayne Kirkpatrick (Change the World, Every Heartbeat), screenwriter Karey Kirkpatrick (Chicken Run, Over the Hedge,  James and the Giant Peach) and best-selling author and comedy scriptwriter John O’Farrell (Spitting Image, Have I Got News for You, Just For One Day), Something Rotten! was the toast of Broadway where it received 10 Tony Award nominations. 

This new production, which follows the acclaimed 2023 WhatsOnStage Award-winning concert version, is directed and choreographed by Tim Jackson (Merrily We Roll Along, Two Strangers Carry a Cake Across New York) and presented by Broadway and West End producers, Kevin McCollum of Alchemation and Joshua Andrews of JAS Theatricals. This production is licensed by Music Theatre International. 

Manchester Abid has supported the Opera House’s Manchester Gets it First programme to help bring Something Rotten! to Manchester.

LEICESTER’S GOT THE GOLDEN TICKET!

CURVE ANNOUNCES NEW PRODUCTION OF

ROALD DAHL’S

CHARLIE AND THE CHOCOLATE FACTORY

DIRECTED BY NIKOLAI FOSTER

RUNNING THIS CHRISTMAS

21 NOVEMBER 2026 – 9 JANUARY 2027

Leicester’s got the golden ticket this Christmas as Curve has announced a brand-new production of Roald Dahl’s CHARLIE AND THE CHOCOLATE FACTORY will run 21 November 2026 to 9 January 2027.

Directed by the theatre’s Artistic Director Nikolai Foster (KINKY BOOTS, LEGALLY BLONDE, THE SOUND OF MUSIC) with set design by Leslie Travers (ROAD, Royal Exchange Theatre, NATASHA, PIERRE AND THE GREAT COMET OF 1812, Donmar Warehouse), the musical is based on Roald Dahl’s beloved tale of Charlie Bucket’s magical adventure to Willy Wonka’s Chocolate factory.

This new production has a book by David Greig, music by Marc Shaiman, lyrics by Scott Wittman and Marc Shaiman, as well as the iconic songs from the 1971 film, WILLY WONKA & THE CHOCOLATE FACTORY, by Leslie Bricusse and Anthony Newley.

Speaking about the production, Curve’s Chief Executive Chris Stafford and Artistic Director Nikolai Foster said:

“CHARLIE AND THE CHOCOLATE FACTORY has long been a favourite novel for so many of us – possibly the first book to fire our imaginations and introduce us to the beauty of a world filled with pure imagination.

“Christmas is always such a magical time at Curve and with this scrumdiddlyumptious musical, it promises to be another golden year for families and friends of all ages to enjoy the power of live theatre together.

“This delicious musical celebrates the great songs from the Gene Wilder film, alongside sensational new songs from the hit-makers behind HAIRSPRAY, Tony award winners Marc Shaiman and Scott Wittman. And with a script by the acclaimed writer David Grieg, it’s a mouth-wateringly scrumptious recipe; we are looking forward to bringing the wonder of Wonka’s wonderful chocolate factory to life, in one of our most ambitious shows to date.”

Come with me and you’ll be in a world of Curve’s imagination.

Roald Dahl’s magical and much-loved story of CHARLIE AND THE CHOCOLATE FACTORY is spectacularly brought to life this Christmas in our thrilling new Made at Curve production.

Join Charlie Bucket, Grandpa Joe, Augustus Gloop, Veruca Salt, Violet Beauregarde, Mike Teavee and the Oompa-Loompas as we step through the gates of Willy Wonka’s marvellous chocolate factory into a world of pure imagination. From the banks of a scrumdiddlyumptious chocolate river to the dizzying heights of the Great Glass Elevator, nothing is quite as it seems in this wonderful Wonka wonderland.

Directed by Curve Artistic Director Nikolai Foster (KINKY BOOTS, LEGALLY BLONDE, THE SOUND OF MUSIC) and featuring songs including ‘The Candy Man’, ‘The Oompa Loompa Song’ and of course, the unforgettable ‘Pure Imagination’, this timeless classic is a dazzling mix of theatrical magic and sweet nostalgia for all the family, creating memories lasting longer than an Everlasting Gobstopper.

Book your Golden Tickets for the festive event of the year this Christmas at Curve.

Accessible performances will take place across the run, including British Sign Language interpreted (4 December, 7:15pm), Captioned (12 December, 7:15pm and 17 December, 2pm), Dementia Friendly (16 December, 2pm), Audio Described and Touch Tours (19 December, 2pm and 6 January, 7:15pm) and Relaxed (7 January, 2pm).

This new Made at Curve production will be complemented by wraparound learning and engagement activity delivered by Curve’s Creative Programmes team, including a free digital Education Pack and bespoke workshops for school groups, as well as a Theatre Day on 10 December, where school groups and audience members of all ages will be able to learn more about the creation of the production and behind the scenes insights from the show’s team.

CHARLIE AND THE CHOCOLATE FACTORY will run at Curve 21 November 2026 to 9 January 2027. Tickets will be on sale to Made at Curve Circle, Champions and Patrons from 22 April, to Curve Friends from 23 April, to Curve Loyalty Pass holders, Groups and Access Register customers from 24 April and on general sale from 28 April, all at 12pm midday. To find out more, visit www.curveonline.co.uk, call the Box Office on 0116 242 3595, or visit in-person.

ROALD DAHL’s

CHARLIE AND THE CHOCOLATE FACTORY

Book by DAVID GREIG Music by MARC SHAIMAN Lyrics by SCOTT WITTMAN & MARC SHAIMAN

Based on the novel by ROALD DAHL

Songs from the Motion Picture by LESLIE BRICUSSE and ANTHONY NEWLEY

Presented by arrangement with Music Theatre International

The UK Pantomime Association announces the winners of
The Pantomime Awards 2026
with designer Terry Parsons awarded for Outstanding Achievement
and the inaugural Panto Icon Awards presented to
Brian Conley and Lesley Joseph

On Sunday 19 April, the winners of The Pantomime Awards 2026, staged in partnership with Trafalgar Entertainment and ATG Entertainment (ATGE), were announced by the UK Pantomime Association at a star-studded ceremony at Wycombe Swan in High Wycombe, presented by Vernon Kay.

The Special Recognition Awards, which celebrate productions and individuals representing the values that the Association seeks to promote, were presented to:

• Terry Parsons who received the Award for Outstanding Achievement in Pantomime. Terry is a designer whose imaginative and iconic work, from Cinderella with Stanley Baxter to Mother Goose with Danny La Rue and Dick Whittington with Barbara Windsor, has shaped the look, spirit and craft of British pantomime for more than fifty years. 
• The first ever Panto Icon Awards were presented to Brian Conley, whose tireless energy, definitive Buttons performances and unrivalled connection with audiences have made him one of the most recognisable figures in the form and Lesley Joseph, celebrated for her star presence and for consistently delighting audiences as a leading Fairy and Villain across the UK’s major pantomime stages. This category was introduced this year to recognise the sustained commitment to the artform, mastery of its unique craft, recognition and affection from audiences, and a consistently high standard of performance over many years.
• Johnny McKnight, who received the award for Achievement in Innovation, and whose brilliance as a writer, director and performer over more than twenty years has joyfully transformed pantomime through groundbreaking productions, bold inclusivity and creative courage.
• Keith Simmons, who received the Nigel Ellacott Special Recognition Award for Pantomime History, Tradition and Heritage. Keith is a leading performer, writer and director who has helped shape, preserve and pass on the traditions of British pantomime for more than fifty years. 

In full, here is the list of The Pantomime Awards 2026 winners:

BEST CHOREOGRAPHY

Claire Cassidy: Sleeping Beauty, Harlow Playhouse (KD Theatre Productions)

BEST LIGHTING (SPONSORED BY PRODUCTION LIGHT AND SOUND)

Nic Farman: Sleeping Beauty, Assembly Hall Theatre, Tunbridge Wells (Little Wolf Entertainment)

CARMEN SILVERA AWARD FOR BEST MAGICAL BEING (SPONSORED BY BARRY BURNETT)

Joe McElderry: Aladdin, Newcastle Theatre Royal (Crossroads Pantomimes)

BARBARA WINDSOR AWARD FOR BEST PRINCIPAL LEAD (SPONSORED BY SCOTT MITCHELL)

Sario Solomon: Aladdin, Lyceum Theatre, Sheffield (Evolution Productions and Sheffield Theatres)

BEST SCRIPT

Andrew Pollard: Beauty and the Beast, Lawrence Batley Theatre, Huddersfield (In-House)

BEST SECONDARY LEAD

Ruth Betteridge: Jack and the Beanstalk, Festival Theatre, Malvern (UK Productions)

BEST VILLAIN (SPONSORED BY BRECKMAN AND COMPANY)

Nigel Harman: Jack and the Beanstalk, Aylesbury Waterside Theatre (UK Productions)

BEST COMIC (SPONSORED BY THE TWINS FX)

Jez Edwards: Sleeping Beauty, Carriageworks Theatre, Leeds (Paul Holman Associates)

BEST COSTUMES

James MacIver: Sleeping Beauty, Belgrade Theatre, Coventry (Belgrade Theatre and Imagine Theatre)

STANLEY BAXTER AWARD FOR BEST DAME (SPONSORED BY JOHN GOOD)

Allan Stewart: Jack and the Beanstalk, Festival Theatre, Edinburgh (Crossroads Pantomimes)

BEST DIRECTION

Gary Wilmot, Cinderella, Richmond Theatre, London (Crossroads Pantomimes)

BEST ENSEMBLE (IN PARTNERSHIP WITH ARTS 1)

Lianha Cooke, Gemma Davis, Chloe Davies, Olly Gooch, Thomas Marc Toombs, Richard Womersley, Erin Harrison and Finlay Tozer: Goldilocks and the Three Bears, Tivoli Theatre, Wimborne (Made to Measure Productions)

BEST CONTRIBUTION TO MUSIC

James Harrison: Aladdin, Lyceum Theatre, Sheffield (Evolution Productions and Sheffield Theatres)

BEST SET (SPONSORED BY BLUE-I THEATRE TECHNOLOGY)

Kenny Miller: Gallus in Weegieland, Tron Theatre, Glasgow (In-House)

BEST SISTERS

Hannah Roberts and Fran Cottington aka Han and Fran: Cinderella, Venue Cymru, Llandudno (Imagine Theatre)

BEST SOUND (SPONSORED BY ORBITAL SOUND)

Conrad Kemp: Dick Whittington, St Helens Theatre Royal (Regal Entertainment)

BEST SUPPORTING ARTIST

Ada Campe: Growled: Beauty and the Beast continues…, Royal Vauxhall Tavern, London (In-House)

BEST NEWCOMER TO PANTOMIME

Jeevan Braich: Cinderella, Norwich Theatre Royal (In-House)

BEST NEWCOMER TO INDUSTRY

Caitlin O’Shea: Sleeping Beauty, Central Theatre, Chatham (Jordan Productions)

BEST PANTOMIME (UNDER 550 SEATS) (SPONSORED BY KB EVENT)

Weans in the Wood, Macrobert Arts Centre, Stirling (In-House)

BEST PANTOMIME (550 TO 950 SEATS) (SPONSORED BY SHOWTIME, PART OF HOWDEN)

Sleeping Beauty, The Arts Theatre Cambridge (In-House) 

BEST PANTOMIME (OVER 950 SEATS) (SPONSORED BY UNUSUAL RIGGING)

Sleeping Beauty, Wolverhampton Grand Theatre (In-House)

PANTO ICON 

Lesley Joseph

PANTO ICON

Brian Conley

ACHIEVEMENT IN INNOVATION

Johnny McKnight

NIGEL ELLACOTT SPECIAL RECOGNITION AWARD FOR PANTOMIME HISTORY, TRADITION AND HERITAGE

Keith Simmons

OUTSTANDING ACHIEVEMENT IN PANTOMIME

Terry Parsons 

Anita Harris, President of the UK Pantomime Association, said: “I am delighted to join in celebrating this year’s nominees and winners at The Pantomime Awards 2026, whose talent and dedication shines through. It is a privilege to honour those who bring magic to audiences across the UK. I am especially thrilled to see my dear friend Terry Parsons recognised with the Outstanding Achievement Award. I have had the joy of working alongside Terry for decades and have been blessed with him designing my principal boy costumes for Dick, Jack, Aladdin and Robinson Crusoe and many more. His extraordinary imagination and artistry have helped define the very heart of pantomime as we know it. As we mark the fifth anniversary of The Pantomime Awards, it is wonderful to reflect on how they have grown into such a meaningful celebration of our unique and beloved artform. My warmest congratulations to all those recognised this year.”

This year’s Awards marked the second year of the sponsorship partnership with Trafalgar Entertainment and ATG Entertainment (ATGE).  

Chris McGuigan, Group Commercial Director for Trafalgar Entertainment, said: “Congratulations to all the winners and nominees at this year’s Panto Awards. Trafalgar is proud to co-sponsor this gloriously glittery evening as part of our ongoing commitment to pantomime as a genre. The ‘joyful chaos’ of panto season is a vital component of the regional theatre sector – and so it’s wonderful to celebrate it alongside many of the talented artists, acts, entertainers, writers, creatives, tech teams and producers who make it all happen.  We’ve loved hosting this year’s event at Wycombe Swan!”

Claire Dixon, Business Director for ATG Entertainment, said: “It’s been another fantastic year co-sponsoring the Pantomime Awards, and on behalf of ATG Entertainment I’d like to extend our warmest congratulations to all the nominees and winners. These awards shine a light on the vital role pantomime continues to play in the UK’s cultural landscape, and we are proud to support and celebrate the extraordinary creativity, talent and dedication that goes into bringing this beloved artform to life.’’ 

The Awards ceremony featured special guest performances from some of pantomime’s biggest stars, alongside other exceptional talent from across the industry including the stand-up comedian Steve Royle, pantomime Dame Michael J Bachelor and singer and actress Wendi Harriott, as well as performers from Milton Keynes based Arts1 theatre school.

Founded in 2021, the UK Pantomime Association (UKPA) is a charity that explores, shares and celebrates pantomime by investigating the genre’s rich past, engaging with contemporary practice and inspiring the future. During the 2025-26 pantomime season, the fifth year in which the Awards have taken place, The Pantomime Awards’ 64 Judges collectively visited 234 venues to see over 603 performances, far and wide across the UK.

The nominees exemplify the breadth of talent, skill, enthusiasm and hard work from the creative forces, production teams and cast members who work tirelessly year-round to deliver outstanding entertainment to theatres across the country. For more details, visit the UK Pantomime Association website: www.pantomimeassociation.co.uk.

Live Theatre Newcastle – until Saturday 18th April 2026

Reviewed by Sandra Little

4****

Boiler Room Six is written by Tom Foreman and is a one hour solo performance by Charlie Sheepshanks. The play, which uses a narrative format, gives an interesting and quite different perspective on the story of the sinking of the Titanic. It is based on the true story of evidence given to an inquiry by a stoker called Frederick Barrett. Frederick was a stoker in charge of boiler room six on the Titanic’s maiden voyage.

The story begins with a detailed description of how the men in the boiler room worked in teams to shovel coal into the boilers of the Titanic, thereby making sure that the engines of this mighty ship were kept turning throughout the voyage. Throughout the play, Charlie plays the main character of Frederick but he also seems to effortlessly change his voice and mannerisms to take on several other parts; these include other stokers, an engineer and a young 17 year old called Arthur. We learn that Arthur lied about his age in order to be employed and has no experience whatsoever which results in a nasty injury. This range of characters, included in the narrative, gives the audience a flavour of the personalities and experiences of the men working below deck.

As the realisation dawns that this mighty “unsinkable” ship is in fact sinking, the dreadful experiences of the stokers continues to be the main emphasis of this play. The chaos, distress and loss of life are all narrated by Charlie with a great deal of impact.

Frederick ( Charlie) eventually leaves the boiler rooms behind and also has to leave colleagues who he knows will drown. He describes to the enquiry the scenes on deck when he meets passengers from the ship for the first time. This heartbreaking description of stranded passengers also includes a very detailed technical description of how some of the passengers, including Frederick, are lowered into lifeboats. The play ends with thoughts from Fredrick regarding survivor guilt and information about his life after his experience of working on the Titanic.

The very effective telling of this dramatic story is enhanced using simple props namely two very plain benches. The clever use of sound also adds a great deal to the atmosphere and drama of the situation. Such a powerful story as this does not need elaborate props as it is told so effectively through detailed narrative written by Tom Foreman and very convincing acting from Charlie Sheepshanks.I found the telling of this tale through the experiences of the stoker was quite fascinating and I was very impressed with the detailed research undertaken by Tom Foreman to enable him to write this play.

This play is now taking on a national tour following sell out performances at Edinburgh Fringe in 2024. It is being performed in a wide range of locations throughout the country.