Author: FairyPoweredProductions

FIGS IN WIGS BRING THEIR CRITICALLY ACCLAIMED LITTLE WIMMIN TO SOHO THEATRE WALTHAMSTOW THIS DECEMBER

Figs in Wigs presents

Little Wimmin

Written, directed and choreographed by Figs in Wigs

Set Design by Emma Bailey

Costume Design by Ray Gammon – Additional Costumes by Emma Bailey and Saskia Martindale

Touring Lighting Design by Rachel Sampley (Original Lighting Design by Gene Giron) with Sound Design by Suzanna Hurst and AJ Turner

Video by Suzanna Hurst and Technical Octopus Sorcha Stott Strzala

Wigs and Makeup by Rachel Porter

Dramaturgy by Ursula Martinez

Produced by Jenny Pearce

Production Management by Helen Mugridge

Understudy Marianne Chase

Wednesday 2 & Thursday 3 December 2026 at 7.30pm

“Christmas won’t be Christmas without any presents…”

This December, Figs in Wigs bring their critically acclaimed live art ‘adaptation’ of Louisa May Alcott’s classic novel Little Women to Soho Theatre Walthamstow for two performances only on Wednesday 2 and Thursday 3 December 2026.  

Following acclaimed performances across the UK, the company’s wildly inventive production has earned praise for its fearless collision of absurdist comedy, feminist performance, and environmental apocalypse, transforming one of literature’s best-loved novels into something wildly original, joyfully chaotic and entirely its own.

Wild, irreverent and cosmically comical, Little Wimmin dismantles the traditional literary canon to make way for the doomed future of humankind, asking how we think about the past, what’s wrong with the present and what we’re going to do about the future… if there even is one.

Using Little Women as their very own Trojan horse, Figs in Wigs gleefully send the classic spinning off course before dismantling it entirely, mutating it into an outrageous cartoon catastrophe that ricochets through climate change, astrology and the infinite nature of the universe. P.S. Beth dies.

Celebrating storytelling while joyfully questioning literary tradition, Little Wimmin is a shape-shifting theatrical experience that spirals far beyond its literary origins.  Prepare to laugh at theatre, literary tradition, the climate crisis and perhaps even the end of the world.

Figs in Wigs are Alice Roots, Sarah Moore, Suzanna Hurst, Ray Gammon and Rachel Porter. 

Both performances will be BSL-interpreted by Becky Barry.

Little Wimmin was co-commissioned by HOME Manchester and Cambridge Junction through the Stobbs New Ideas Fund, and funded by Arts Council England. Its creation was also supported by artsdepot Creation Space Bursary, Battersea Arts Centre, Pleasance Theatre, New Diorama Theatre, Metal Southend and Queen Mary University of London.

LISTINGS INFORMATION

Little Wimmin

Soho Theatre Walthamstow

Wednesday 2 & Thursday 3 December 2026

Tickets: Figs in Wigs: Little Wimmin – Soho Theatre

Running time: Approximately 120 minutes

Age guidance: 16+

Both performances are BSL-interpreted by Becky Barry.

Wilton’s Music Hall – July 10^th 2026

Reviewed by Heather Chalkley

5*****

Twelve years of well honed CSI improvisation creates an expectation and excitement in the audience, with returners leading the way. Co-creators Lee Apsey and Sarah Kempton have attracted a stellar cast of improv actors to wet your whistle. No fourth wall here! Fully interactive, the audience calls the shots. In fact, we are one of the players, Detective Cliff. 

The acrobatic dialogue created by the cast does everything it can to trip one another up, develop the plot and keep the audience laughing. Keeping track of the plot is a skill in itself, providing moments of hilarity and genius all at once. James Cann appearing as the family pet sparrow, wandering about the stage and bumping into the back wall, is one such moment that brings belly laughs from the audience. 

The players testing one another’s linguistic ability to grapple accents and long words keeps you fully involved. The creation of ‘my real voice’ certainly tested Kayleigh Cassidy and Nicola Lucey, digging deep to provide comedy in the moment. 

The beauty of improv is you can change direction at the flip of a coin, sometimes with one line. Having a ship’s captain scared of water that has a penchant for sinking them, certainly did that, thanks to Cann. Kayleigh Cassidy coined the phrase ‘what happens under water, stays underwater’, an inspired line that framed practically the whole plot. 

There is someone holding it all together, barely keeping up with comedic sobriety is Steve Bond as the detective inspector. He does a sterling job of bringing the cast back into focus, after all we are trying to solve a murder here!

If you love Improv, this is a must see. If you have never experienced improv, this is your chance to witness a masterclass!

Leeds Grand Theatre – until 1st August 2026

Reviewed by Dawn Smallwood

5*****

The Sound of Music has come to the Leeds Grand Theatre, courtesy of Opera North. Opera North is reviving the Curve Production which premiered in November 2025. The Sound of Music is one of the most popular musicals to be staged along with its reputed and lovable 1965 film starring Julie Andrews and Christopher Plummer. The Sound of Music is musically and lyrically engineered by Richard Rodgers and Oscar Hammerstein II on the premise of Maria Augusta Trapp’s The Story of the Trapp Family Singers and the book adaptation by Howard Lindsay and Russell Crouse.

Under the original and revival directions of Nikolai Foster and Ollie Khurshid, The Sound of Music, set in 1938 in Austria, comes alive on stage with excellent portrayals of Maria Rainer by Katie Bird and of Captain Georg von Trapp by Edward Bennett. They and the rest of the cast put in a phenomenal performance which one feels engaged from the beginning when Maria begins her governess role and to the end when the von Trapp family leave Austria because of the Annexation by Nazi Germany.

The production certainly isn’t replicating the 1965 infamous and popular film or an opera but this production brings its intimate and theatrical touches which are usually associated with live theatre. The touches are noticeable particularly with the build up to the Annexation and there is close up staging of each scene gradually unravelling the overall plot.

It is such a thoroughly thought-out production courtesy of the creative team including the choreography by both Ebony Molina and Dale White; the staging and costumes by Michael Taylor; the lighting by Mark Henderson; and the soundscapes by Sebastian Frost. The familiar musical numbers are well performed by the cast under the musical direction by Oliver Rundell and the Opera North Orchestra.

There is something for everyone in The Sound of Music and the musical numbers fit in the appropriate emotive situations; particularly the moving Edelweiss towards end of the Second Act, and is sung by Captain von Trapp (Bennett) who knowingly that he will be leaving Austria that very evening, and his emotions are shown and felt towards his homeland. The human spirit certainly shines through all the numbers including The Sound of Music and Climb E’vry Mountain.

This production of The Sound of Music is certainly a show stopping success and is received victoriously by members of the audience. Congratulations and well done to the cast and creative team for putting on such an unmissable production!

JESSE TYLER FERGUSON TO STAR AS TRUMAN CAPOTE

IN JAY PRESSON ALLEN’S TRU

AT THE MENIER CHOCOLATE FACTORY

PRIORITY BOOKING FOR SUPPORTERS OF THE MENIER OPENS ON 13 JULY

PUBLIC BOOKING OPENS ON 20 JULY

With Midnight at the Never Get about to begin performances at the company’s home base, its critically acclaimed production of Equus to open shortly at Theatre Royal Bath, The Producers running in the West End, and Sabrage at Lafayette, the Menier Chocolate Factory, in association with Seaview, OHenry Productions, and Mickey Liddell & Pete Shilaimon,today announces that multi-award-winning Jesse Tyler Ferguson will make his Menier debut playing Truman Capote in Jay Presson Allen’s play Tru. Directed by the award-winning Rob Ashford, Tru opens on 27 September, with previews from 19 September, and runs until 14 November, following the production’scritically acclaimed New York run earlier this year.

Drawn entirely from Capote’s own words, Tru was originally staged in 1989. Ashford and Ferguson collaborated on this new production in March at House of the Redeemer’s Library.

Jesse Tyler Ferguson said today, “I’m thrilled to bring this intimate production of Tru to the Menier following its successful New York run. The audience response to this unique theatrical experience, and the chance to encounter Truman Capote up close, was incredibly rewarding. I’m delighted that Rob Ashford and I now have the opportunity to share what we’ve created with London audiences.”

Rob Ashford added, “I had the great pleasure of directing Jesse in a staged reading of Tru as a one-night-only charity benefit in Tangier, Morocco, in the summer of 2024. He was mesmerizing! He captured the truth of the man, his humour and heartbreak. I’m thrilled that we get the opportunity to further explore this great pairing of actor and character in London.”

Priority booking for supporters of the Menier Chocolate Factory opens on Monday 13 July, with public booking opening on Monday 20 July.


The Menier Chocolate Factory presents

in association with Seaview, OHenry Productions, and Mickey Liddell & Pete Shilaimon

TRU
By Jay Presson Allen

19 September – 14 November 2026

Cast: Jesse Tyler Ferguson as Truman Capote

Director: Rob Ashford; Designer: Paul Farnsworth

It’s December 1975 and Truman Capote is alone in his New York apartment, reeling from a crisis that cost him friendship of the elite social circle he adored. Drawn entirely from Capote’s own words, this funny and heartbreaking play is an unflinching portrait of an artist at his breaking point, confronting the consequences of his most scandalous work.

Jesse Tyler Ferguson is a Tony-Award winning actor, author, producer and host known not only for his creative work but, for his ongoing advocacy in the LGBTQIA+ community. On stage, Ferguson is currently playing King Herod in Jesus Christ Superstar at The London Palladium; and recently made his West End debut starring in Stephen Sondheim’s final work, Here We Are, at the National Theatre. This past summer he helped reopen NYC’s famed Delacorte Theatre in Central Park with a star-studded production of Twelfth Night. For his turn as accountant Mason Marzac in the revival of Richard Greenberg’s Tony-winning play Take Me Out, he earned a Tony Award in the category of Best Performance by an Actor in a Featured Role in a Play. The acclaimed performance also earned him the Outer Critics Circle Award and a Drama League Distinguished Performance Award nomination.

Ferguson currently serves as producer and host of the podcast Dinner’s on Me, now in its third season from Sony Music Entertainment. He was featured in Universal’s Cocaine Bear directed by Elizabeth Banks, and his scripted podcast Gay Pride & Prejudice was released exclusively on Spotify. Ferguson also produced the documentary Broadway Rising which premiered at the Tribeca Film Festival in 2022. In addition, Ferguson served as an executive producer on David France’s BAFTA-winning and Emmy-nominated documentary, Welcome to Chechnya, based on the anti-gay purges in Chechnya of the late 2010s. Ferguson also released his first cookbook in 2021, Food Between Friends.

Ferguson starred as the widely beloved character Mitchell Pritchett on the award-winning ABC comedy Modern Family, which ran for an impressive 11 seasons. The show earned five Emmy Awards for Outstanding Comedy Series, a Golden Globe Award for Outstanding Comedy Series and four Screen Actors Guild Awards for Outstanding Performance by an Ensemble in a Comedy Series. Ferguson has also received five Emmy Award nominations and four People’s Choice Award nominations on behalf of the show.

Ferguson made his Broadway debut at the age of 21 as Chip in George C. Wolfe’s revival of On the Town. He later went on to originate the role of Leaf Coneybear in the Tony Award—winning Broadway musical The 25^th Annual Putnam County Spelling Bee. He has also worked extensively with The New York Public Theatre’s Shakespeare in the Park in various notable productions.

A longstanding advocate for marriage equality and LGBTQIA+ rights, Ferguson co-founded Pronoun, previously known as Tie the Knot, in 2012 with his husband Justin Mikita. The organization has proudly raised over $1.5 million and has supported important and impactful LGBTQIA+ organisations across the nation.

Jay Presson Allen (1922-2006) was a playwright, novelist and screenwriter. Her first novel, Spring Riot, was published in 1948. Her plays include The First Wife which was turned into the 1963 film Wives and Lovers; and for television, Family and Hothouse. Her adaptations include The Prime of Miss Jean Brodie – produced in the West End, on Broadway and on screen with Maggie Smith winning the Oscar for her role; Forty Carats – for which Julie Harris won a Tony Award and was later filmed; Travels With My Aunt directed by George Cukor and starring Maggie Smith; the film version of Cabaret, directed by Bob Fosse for which she received an Academy Award nomination; Marnie directed by Alfred Hitchock.  She also wrote the screenplay for Funny Lady.  She adapted her 1969 novel Just Tell Me What You Want for film director Sidney Lumet.  They also collaborated on her adaptation of Robert Daley’s novel Prince of the City, for which she was nominated for an Oscar, and the screen adaptation of Ira Levin’s play Deathtrap.

Director Rob Ashford is an award-winning director and choreographer. London credits include The Winter’s Tale, Romeo & Juliet, The Entertainer, Harlequinade, Macbeth, A Funny Thing Happened on the Way to the Forum and the Olivier Award-winning productions of Anna Christie, A Streetcar Named Desire and Parade. Broadway credits include Cat on a Hot Tin Roof; Frozen; How To Succeed in Business Without Really Trying; Promises, Promises; Evita; Thoroughly Modern Millie (Tony Award for Best Choreography); Shrek;  Cry-Baby (Drama Desk and Outer Critics Circle Awards for Best Choreography); Curtains and The Wedding Singer. He directed and choreographed NBC’s Sound of Music Live! and Peter Pan Live!. He directed and choreographed Carousel, Carmen, and The Barber of Seville for Chicago Lyric Opera and Houston Grand Opera and choreographed Candide at La Scala, ENO, and the Châtelet in Paris. He choreographed and staged the 2009, 2013, 2014, and 2015 Academy Awards, winning an Emmy for his work on Baz Luhrmann’s 2009 production number featuring Hugh Jackman and Beyoncé. He has staged the Tony Awards for eight years and has also staged tributes at The Kennedy Center Honors for Barbra Streisand, Andrew Lloyd Webber, Jerry Herman, Barbara Cook, Tom Hanks, Shirley MacLaine and Meryl Streep. Films include choreography for Disney’s Cinderella, Beyond the Sea, A Million Ways to Die in the West, Ted 2, Murder on the Orient Express and Death on the Nile.

LISTINGS INFORMATION 

MENIER CHOCOLATE FACTORY

MIDNIGHT AT THE NEVER GET

11 July – 12 September

TRU

19 September – 14 November

MENIER ELSEWHERE

EQUUS

Theatre Royal Bath

14 – 25 July

THE PRODUCERS

Garrick Theatre

Booking until 19 September

SABRAGE

Lafayette London

Currently booking until 6 September

Box Office: 020 7378 1713 (£2.50 transaction fee per booking)

Website: www.menierchocolatefactory.com (£1.50 transaction fee per booking)

www.menierchocolatefactory.com

Instagram: @menierchocolatefactory

ROYAL SHAKESPEARE COMPANY’S

MULTI-AWARD WINNING MUSICAL

ANNOUNCES NEW

YOUNG PERFORMERS JOINING

ITS UK & IRELAND TOUR OF

NEW YOUNG CAST MEMBERS JOIN SHOW

AT BIRMINGHAM HIPPODROME

NEW PHOTOGRAPHS OF THE YOUNG PERFORMERS

RELEASED TODAY

Friday 10  July  2026 –  New casting of the young performers for the hugely successful UK and Ireland tour of the Royal Shakespeare Company’s production of Matilda The Musical was announced today.  The production, which has now been seen by 13 million people in over 100 cities world-wide, last week opened at Birmingham Hippodrome where it will run until 2 August.  The next stop, from 6 August, is Norwich Theatre Royal.

Felicity Brown, Petra Hutchings and Caroline Ravansari join current company members Mollie Hutton, and Sanna Kurihara to share the title role of Matilda.

The other young performers joining the company today are:  Sophia Aina, Dalia Al Nagar, Jett Austin-Richards, Rio Chigwedere, Beatrice Clark, Isaac Cruickshank, Rupert Dunne, Polly Florence, Rahsaan Higgins, Kobi Lau, George Montgomery, Jacob Nolan, Thomas Rankin, Kaiheim Ricketts, Zienna-Rose Sterling, Cory Trimble, Martha Tutill and Aaron Zicman.  They join current company member John Johnson.

The new cast members, many of whom live in and around the West Midlands, made a special visit to Touchwood Mall in Solihull to pose alongside Miss Trunchbull’s chair.

For the adult cast:  Richard Hurst continues to play Miss Trunchbull, with Tessa Kadler as Miss Honey, Adam Stafford as Mr Wormwood and Rebecca Thornhill as Mrs Wormwood.

They are joined by Scotty Armstrong, Sam Holden, Portia Jefferies, Caoimhe Judd, Brooke Kelly, Ryan Lay, Cassandra Lee, Samuel Leon, Jordan Maisuria-Wake, Nicole Manumbre, Lizzie Nance, Esther Niles, Jordan Ricketts, Josh Singleton, Bradley Trevethan, Ella Tweed, Ben Tyler and Karen Walker.

Matilda The Musical continues its run at Birmingham Hippodrome until 2 August 2026, then plays at  Norwich Theatre Royal from 6 August until 6 September, Bord Gais Energy Theatre in Dublin from 15 September to 18 October, Milton Keynes Theatre from 28 October to 14 November, Glasgow Theatre Royal from 18 November to 5 December and completes its tour at Wales Millennium Centre in Cardiff for a festive run from 9 December to 17 January 2027.

The internationally renowned musical, which celebrates its 15^th Anniversary this year,  continues to play to packed houses in the West End at the Cambridge Theatre.

For all tour booking and further casting information visit www.matildathemusical.com.

This anarchic production, about a strong and determined heroine with a vivid imagination, has won over 100 global awards, including 25 for Best Musical.  A film adaptation made by the core creative team received its World Premiere at the London Film Festival in October 2022 and can now be watched on Netflix and BBC IPlayer.

Written by Dennis Kelly, with music and lyrics by Tim Minchin and developed and directed by Matthew Warchus, the production is designed by Rob Howell, with choreography by Peter Darling, orchestrations, additional music and musical supervision by Christopher Nightingale, lighting by Hugh Vanstone, sound by Simon Baker and special effects and illusions by Paul Kieve.

Social Media:

Facebook: @MatildaTheMusical
Instagram: @MatildaTheMusical

TikTok: @thersc

#TimeToBeRevolting

Theatre Royal Windsor – until Saturday 11th July 2026

Reviewed by Andrew and Kate Lawrence

5*****

“A funny story, made so much funnier”

Whilst we’re not about to complain about the inhuman, unbearable heat of these barmy summer evenings, the thought of spending a Wednesday night inside a historic Grade II-listed theatre with no air conditioning did fill us with some trepidation. Fortunately, by the time we arrived at the Theatre Royal Windsor for Our Man in Havana, our Hawaiian shirts, chino shorts and open-toe sandals felt entirely appropriate for an evening in 1950s Cuba.

Originally a novel by Graham Greene and adapted for the stage by Clive Francis, Our Man in Havana transports us to pre-revolutionary Havana. James Wormold (Jack Ashton) is a struggling vacuum cleaner salesman who is unexpectedly recruited by the British Secret Service. Reluctant by nature and keen to avoid conflict—even with his own daughter—Wormold is tempted by the generous salary on offer. Rather than become a genuine spy, he decides to fabricate intelligence reports, inventing a network of fictional agents and passing off imaginary stories as fact. What begins as a harmless deception soon spirals beyond his control, as his inventions start to take on a dangerously real life of their own.

The production makes excellent use of a deceptively simple set, cleverly transformed into a variety of locations through the seamless movement of rolling panels and furniture. In much the same way, the story features more than thirty characters, but the entire production is performed by just four exceptional actors: Jack Ashton, Bob Barrett, Leon Ockenden and Jodie Steele.

There is a brief initial period of adjustment as the actors repeatedly reappear in different costumes, accents and personalities, but it quickly becomes part of the fun. Before long, you find yourself admiring not only the versatility of the performances but also the astonishing speed of the costume changes—Jodie Steele manages one such transformation in around three seconds, which felt nothing short of miraculous.

The original book by Green is a funny story, made so much funnier by the adaption to the stage by Clive Francis using just the four actors and maximised by the superb comedy acting quartet.

We left the theatre elated, grinning from ear to ear, and maybe just a little sweaty from an evening spent in Havana. Another must-see play in Windsor, it closes on Sat 11th July, go see it.

York Theatre Royal – until 11 July 2026

Reviewed by Sal E Marino

5***** 

If you’ve ever thought Shakespeare was intimidating, overly serious or simply not for you, The Complete Works of William Shakespeare (abridged) is here to prove you spectacularly wrong. The Reduced Shakespeare Company’s iconic comedy, written by the immensely talented Adam Long, Daniel Singer and Jess Winfield, transforms the Bard’s entire canon into a whirlwind of outrageous comedy, quick-fire wit and infectious fun. Under the brilliant direction of Adam Long, this production at York Theatre Royal is an absolute triumph from start to finish.

Performed by the extraordinary trio of Woogie Jung, Tom Pavey and Kiran Raywilliams, this is Shakespeare presented in a completely new light. Bursting onto the stage with boundless energy, impeccable comic timing and seemingly limitless enthusiasm, the three performers take on the impossible challenge of presenting all 37 plays and the sonnets in just over ninety minutes. The result is nothing short of theatrical magic.

There are no rules here and certainly no limits to the imagination. Shakespeare’s greatest works are hilariously reimagined through songs, poems, sketches, lightning-fast costume changes, improvised moments, audience participation and plenty of wonderfully absurd theatrical invention. Every scene brings another surprise, and just when you think they’ve reached peak silliness, the company somehow raises the stakes again.

Jung, Pavey and Raywilliams have truly set the bar high when it comes to delivering dynamic, intelligent and side-splittingly funny performances. Their chemistry is exceptional, feeding effortlessly off one another whilst maintaining the show’s relentless pace. The physical comedy is superb, the wordplay razor sharp, and every member of the audience is swept along by their infectious enthusiasm. Their willingness to embrace every ridiculous idea with complete commitment is what makes this production such a joy to watch.

The audience becomes as much a part of the performance as the cast themselves, creating the atmosphere of one giant celebration rather than a traditional theatre production. Whether you’re a lifelong Shakespeare enthusiast or someone encountering his work for the very first time, the show has something for everyone. The cleverness lies in the fact that beneath all the chaos and comedy, there remains a genuine affection and respect for Shakespeare’s extraordinary writing.

The show’s unforgettable finale, an utterly bonkers retelling of Hamlet, is undoubtedly one of its greatest highlights. Involving the audience in increasingly ridiculous ways, it somehow manages the impossible: making one of Shakespeare’s most complex tragedies not only hilarious but surprisingly enlightening. As daft as the concept sounds, you genuinely come away with a deeper appreciation and understanding of the play, all while laughing harder than you thought possible.

The production is brought to the stage by producers John Terry and Rachel Jermy for Theatre Chipping Norton, alongside Sarah Crompton-Howes, Joe Brown and Kat Lepik for Selladoor Worldwide, who have assembled a first-class creative team and cast that deliver entertainment of the highest calibre.

Fast-paced, fearless and gloriously chaotic, The Complete Works of William Shakespeare (abridged) is a masterclass in comic theatre. It celebrates the genius of Shakespeare while never taking itself too seriously, reminding us that theatre should, above all else, be entertaining. It is zany, clever, brilliantly performed and packed with laugh-out-loud moments from beginning to end. Whether you’re a Shakespeare scholar or someone who’s never opened one of his plays, this production is guaranteed to leave you smiling.

Quite simply, this is one of the funniest nights at the theatre you’ll have all year. Don’t miss it.

Lyceum Theatre, Sheffield – until 11 July 2026

Reviewed by Alison Beaumont

5*****

The Karate Kid The Musical is based on the iconic 1984 film, adapting it for the stage. It focuses on the mentorship between teenager Daniel LaRusso and the master of martial arts Mr Miyagi.

Daniel is the new kid in town and develops a romance with Ali much to the annoyance and jealousy of Ali’s ex boyfriend Johnny. Johnny targets Daniel and beats him up trying to warn him off Ali. Daniel is entered into a Karate tournament where Johnny and Daniel will compete for victory. Mr Miyagi teaches Daniel that Karate is about resilience, balance and inner strength rather than physical aggression.

Tonight Daniel LaRusso played in the original film by the famous Ralph Macchio was played by Isaac J Lewis. He fitted into the part really well. I would have liked his vocals to have been a little bit more powerful but this is my only slight criticism. He had a connection with Abigail Amin who took on the role of Ali Mills.

Bad boy Johnny Lawrence (Joe Simmons) shows confidence and brings the role to life.

The star of the show for me was Adrian Pang who was the eccentric Mr Miyagi, he was without a doubt amazing. He was funny and very much like My Miyagi in the movie and was the perfect fit for the role. There were many one liners which had the audience laughing. The scene when Mr Miyagi was drunk was very emotional and touched with sadness. Ria Tanaka made an entrance as Mr Miyagi’s deceased wife Kiyoko and sang an emotional ballad.

The lighting for the Cobra Kai scenes was low and dark to provide the perfect setting and the fight choreography is genuinely impressive. It had speed, precision and was so believable. The moves looked like they were making physical contact. It really was captivating.

The ensemble were all very talented dancers and were in sync with each other. Throughout all the choreography was fitting for the scenes mixing karate moves with dance (choreographed by Keone and Mari Madrid).

The scenes were simple but effective, moving seamlessly from one scene to another.

There are a few swear words during the show which I don’t think are necessarily needed to be used especially as the show is not just for an adult audience.

This is one of the best shows I have recently seen and is definitely one not to be missed.

All I can say to end is “Wax on Wax off”, “Breath in Breath Out”.

Hull New Theatre – until 11th July 2026

Reviewed by Dawn Bennett

5*****

Having seen and reviewed many musicals over the past few years, I can confidently say that Operation Mincemeat is the best I have had the pleasure to watch.

The cast (Christian Andrews, Charlotte Hanna-Williams, Seán Carey, Jamie-Rose Monk and Holly Sumpton) were outstanding, with each performer taking on multiple characters with remarkable skill. Their quick changes were impeccable, whether signalled by a hat, a skirt, or simply a subtle shift in stance.

What impressed me most was how convincingly they managed to change character with ease bringing energy, and precision to each role they played.

Operation Mincemeat tells the true story of “the man who never was.” Set in 1943, it follows MI5 as they are tasked with creating an extraordinary deception plan during the Second World War.

The operation involved using the body of Glyndwr Michael, a homeless man, and disguising him as a Royal Marine officer named Major William Martin. To make the identity convincing, MI5 created a detailed backstory, complete with theatre receipts, love letters, and “Top Secret” correspondence between Allied generals.

After being released from a submarine, the body was found off the coast of Spain. The aim was to mislead the Germans into believing that Sardinia and Greece were the intended Allied invasion targets, rather than Sicily. The plan worked—and helped save many lives.

Operation Mincemeat is a hilarious and, at times, poignant musical, brilliantly performed by a very talented cast.

The songs are a real highlight, and the band brought them to life with energy and skill. Ella Ingram, Dan Wild, and James Smyth, led by Musical Director Sam Sommerfield, delivered a vibrant and polished performance.

This is a musical not to be missed. The production thoroughly deserved the standing ovation it received last night. It has quickly become my favourite musical—so much so that I am going back to watch it again on Saturday afternoon!

Curve Theatre Leicester – 4th July 2026

Reviewed by Amarjeet Singh

2**

Mrs Kapoor’s Daughter’s Wedding 3: The Murder Mystery arrives with an appealing premise. The third instalment of Archana Kumar’s popular British Asian comedy series promises an immersive evening in which the audience becomes detective, questioning suspects, examining clues and solving a murder that interrupts a lavish family wedding. On paper, it sounds like a lively blend of comedy, mystery and audience participation, but in reality, the show struggles to deliver on any of these promises.

The central problem is that the production never quite comes together as a coherent whole. As both director and scriptwriter, Archana Kumar struggles to maintain narrative clarity, resulting in a show that feels remarkably unfocused. The script is poorly structured, with scenes often appearing disconnected from one another and key plot points either underdeveloped or forgotten entirely. Story continuity is inconsistent throughout. Faheem Mohammad’s Mr Kapoor much-publicised disco toilet functions enthusiastically when a joke requires it yet becomes an ordinary toilet whenever the plot moves elsewhere. Similarly, Bhavna Patel’s Mrs Kumar confiscates everyone’s phones, only for certain characters to seemingly regain access to them later without explanation. Manju, played by Vallisa Chauhan, is built almost entirely around taking selfies and obsessively talking about social media. While there is comic potential in satirising influencer culture, the joke never develops beyond the same recurring gag and offers no clues. These may sound like small details, but in a murder mystery, internal logic matters. When the audience is expected to pay close attention to evidence, visible inconsistencies quickly become distractions.

That issue extends to the mystery itself. If clues were present, they were often as difficult to follow as the plot. During the audience participation section, when spectators were invited to identify the culprit, one audience member confidently shouted “Manoj”, despite there being no character by that name. It was a moment that unintentionally summed up the confusion in the room. Rather than building suspense or rewarding attentive viewers, the script leaves audiences struggling to distinguish genuine clues from narrative loose ends.

Comedy is equally hit and miss. Some jokes generate warm laughs, but many are stretched far beyond their natural lifespan. Repeated references to Keir Starmer and the Royal Family quickly lose their impact through overuse. Timing is another challenge. Several punchlines are rushed, with performers moving straight into the next line before the audience has processed the previous one. As a result, jokes that might have landed instead drift past unnoticed.

Special effects are deployed so frequently that they cease to feel special. Video screen sequences add further clutter yet contribute little to the storytelling. Their amateur editing and unclear purpose make them feel detached from the stage action. Likewise, the dubbed voice-over sections are muffled and confusing, creating unnecessary obstacles to following an already complicated narrative. Rather than tightening the show, the direction often seems to amplify its weaknesses, layering distractions onto an already overcrowded script. The characters themselves rarely progress beyond broad caricature. Mrs Kapoor, played by Manoj Kerai, is a one-note figure punctuated by jarring tuts. Unfortunately, much of the humour rests on those limited traits. Vinesh Barber’s Groom and Bavine Baichande’s Detective are similarly defined by exaggerated characteristics rather than meaningful development. The cast work hard throughout and there is enough commitment on stage to suggest stronger material could produce far better results.

The evening’s saving grace comes from its musical elements. The tabla and harmonium players are exceptional. The dance sequences are a particular highlight, performed with skill, confidence and infectious joy. Archana Kumar’s choreography is polished and engaging, providing some of the show’s most memorable moments. Admittedly, these sequences often feel detached from the surrounding narrative and occasionally emerge without warning, but they are consistently entertaining.

As an interactive murder mystery, there is surprisingly little meaningful audience interaction. As a comedy, the pacing is uneven. As a mystery, the plot is difficult to follow. Despite the evident effort of the cast, musicians and dancers, the show is undermined by a weak script and unfocused direction. Most disappointing of all is the ending, which abandons any sense of carefully constructed intrigue in favour of a hurried explanation that feels both nonsensical and unearned. New elements are thrown into the mix at the last moment simply to connect the dots somehow, creating the impression that the writers are scrambling to reach a conclusion rather than naturally arriving at one. Rather than rewarding the audience for following the story, the finale raises further questions and leaves the resolution feeling arbitrary. A sharper editorial hand, clearer storytelling and greater attention to continuity could transform it. In its current form, this well-meaning wedding celebration leaves too many guests searching for answers that never arrive.