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Festival Theatre, Malvern -until 20th June 2026

Reviewed by Courie Amado Juneau

4****

Like most people, I knew Abigail’s Party from the TV version starring Alison Steadman. With such an iconic template, I had high expectations.

Set (and costume) designer Peter McKintosh did a fab job immersing us immediately into the decade that hid behind the sofa of style, evoking that bygone age (and psyches) of our hosts for the evening with a revolting concoction that looked like the inside of a Terry’s Chocolate Orange (or my dear old mum’s kitchen from that era).

Tamzin Outhwaite gave a stylish performance as Bev, host of the party we see and cracked actress with all the surface sheen and glamour of the “thoroughly modern woman” whilst being as frail as gold leaf on the inside. Her opening dance was sensuous and mesmerising in equal measure – reminding me of Tales of the Unexpected – and setting the tone for a truly cringeworthy and fully wonderful portrayal!

Bev frequently lashes out, mostly in her husband Laurence’s direction. The marvellous Kevin Bishop gave an awe inspiring evocation, full of pent up frustration, held in check with just a little escaping through the ever widening cracks. A fine foil and balance to Bev, in a wholly believable couple’s performance a lá George & Mildred.

Guests Angela and Tony provide the perfect audience for Bev to play out her social mobility fantasies. Lauren Patel was tragic (in the best way) as Angela; being wonderfully off kilter, not least in a lack of social awareness! Omar Malik, as husband Tony, was riveting in his boredom. Less is always more with Tony and this was perfectly pitched.

The last guest, Sue, Abigail’s mum who has been ousted from her house so that her daughter can have a party, is hard put upon by life and the overpowering Bev. The mundane in the middle class crass madness. Brilliantly underplayed (and I mean that as a compliment) by Pandora Colin.

Music plays a key role throughout, setting the scene and being used as an allegory for a marriage barely holding together at the seams There was particularly brilliant use of Beethoven’s 5th, the “fate” theme, used to comi-tragic effect.

The tension, drama, pathos and tragedy of the evening unfolded in logical fashion (as far as the 70’s had any logical fashions)! Bev and Angela getting progressively more drunk was a joy to behold through finger covered eyes. This show is mostly about the women, with the men largely being the butt of the jokes, snide comments and largely unwanted (and unwarrented) sexual attention. Blokes bored and desperate to be loved in a world that only seems to value them as breadwinners and DIYers.

Something for everyone for sure; nostalgia for those who remember this car crash decade and fascination and wonderment for other (perhaps younger) viewers at the ghastly fashions, music, decor and attitudes. But from whichever angle you come at it, it’s a fabulous night out being a fly on the wall of this excruciating soirée and one that I would once again recommend to everyone. Great! Now, I just need to dig in the back of the drinks cabinet for the bottles of Advocaat and Babycham and we can toast all involved…

Lyceum Theatre, Sheffield until 20 June 2026

Reviewed by Lauren Fordham

5*****

The Choir of Man is created by Nic Doodson and Andrew Kay. It is a ‘jukebox’ musical, meaning that it incorporates popular songs from other writers rather than original music. It is an all-male show set in a pub called The Jungle, where a cast of characters named for their roles or characteristics sing, with their backgrounds introduced through monologues by ‘Poet’ who is played by Oluwalonimi Owoyemi. 

Ben Norris’s moving monologues are like pliable putty in Owoyemi’s more than capable hands as he narrates tales of love, loss and grief. His rendition of Luther Vandross’s Dance With My Father is as powerful as it is poignant and bravely belies the ‘stiff upper lip’ men often feel that they have to put on. I wish I could have captured and recalled Norris’s monologues more specifically as I loved their melodic poetry and rhyme.

This harkens back to the musical’s association with the male-suicide-prevention organisation Campaign Against Living Miserably (CALM) and Ben Norris’s point that men often still don’t feel able to talk about their mental health, but that pubs, and this show, can encourage them to do so. When this reviewer was describing The Choir of Man plot to my companion, I called it ‘Andy’s Man Club (another male suicide prevention organisation) with music!

But The Choir of Man swiftly sweeps away any preconceived (perhaps pejorative) ideas or misgivings one may have about jukebox musicals like a bartender wipes away dirty glass imprints at the end of a busy shift. Because each song is not shoe-horned in around a shallow plot, but carefully chosen to represent genuine emotion that may be otherwise difficult to express or identify in real life. Not to mention that there is so much that is original about this show.  

The first original thing, as unignorable as a pint of liquid landing in your lap, is Oli Townsend and Verity Sadler’s set design which transforms the stage into a vibrant, visceral bustling pub complete with beer on tap. The show is evocatively lit by Richard Dinnen to look like sun streaming through real stained glass windows, representing the idea that when things look dark there are always glimpses of light (and hope) peeping through.

The ensemble numbers would have benefited from follow spots to light each cast member, however,  as it was not always clear who was singing and that distraction diluted the emotional impact somewhat.

Few other shows feature the cast singing (Red Hot Chilli Peppers’ Under The Bridge) in a urinal, either, another fantastically funny moment.

The fourth wall is not so much fractured in this show as it is destroyed, as theatregoers are invited onstage to drink and be merry from the moment they enter the auditorium.

The only criticism I have of the set, and the thing that distinguishes it from most real pubs is the lack of wheelchair access to the stage (or burly men to lift you up!) The cast do offer beer to individuals throughout the show but this diva reviewer wanted her stage moment too!

The audience participation always feels germane to the pub image, with elaborate card games and beer pong. Plus, a lucky older audience member was serenaded by the frankly gorgeous Gustav Melbardis as Maestro in a seductive, slowed-down rendition of Katy Perry’s Teenage Dream, something cheekily copied in 2019 in another aspiring jukebox musical, ‘& Juliet.’ (The Choir of Man is vastly superior, in this reviewer’s opinion, because every day in The Jungle is a sing-a-long-show.) The Choir of Man’s songs feel authentic and the audience can truly empathise with them, not least in Sam Walter’s (AKA The Romantic) passionate performance of Adele’s ‘Hello’ after the breakdown of a relationship, a totally relatable but often, for men, little-spoken-about situation.

Melbardis’ talents do not end with his singing voice, he is also an adept pianist and he is not alone – Rob Godfrey, who plays Beast, plays guitar throughout the show and Ben Mabberley’s Joker also plays a variety of stringed instruments. Oluwalonimi Owoyemi also accompanies himself on the piano when he sings ‘Dance With My Father Again.’ Actor-musicians’ skills always astound me and make for a much more absorbing performance. But every performer and creative contributes a unique and unifying thread to this beautiful tapestry of talent.

Talking of tap, tribute must be paid to the extraordinary athleticism of Jack Skelton who quietly dominates the number ‘Fifty Ways to Leave Your Lover’, his magnetic moves impossible to resist.

Credit is also due to Niall Woodson, the Swing who played the Barman at this production, and his show-stopping performance of Somebody To Love. Should ‘We Will Rock You’ be re-re-revived, this reviewer thinks he’d be a shoe-in for Scaramouche and Galileo. 

Freddie Huddlestone’s complex choreography with plastic cups put the Pitch Perfect movies in the shade too, how the cast coordinated themselves to such perfection is beyond the skills of this reviewer.

This show left the reviewer feeling warm, fuzzy and thoughtful. Forgive the mixing of the musical metaphors, but when it comes near you, heed the bugle call and I guarantee you’ll say, as I did, let’s have another round tonight!

Curve Theatre Leicester – until 20 June 2026

Reviewed by Leanne W

5*****

Matthew Bourne OBE’s The Car Man is one of those rare productions that feels alive from the moment you step into the theatre. Even before the show officially begins, the stage is already humming with activity, and that early spark sets the tone for a night that is bold, sexy, cinematic, and utterly gripping. Bourne’s reimagining of Bizet’s Carmen has always been one of his most daring works, but this revival feels especially confident — a polished, full‑throttle piece of dance theatre that earns its five stars with ease.

The story unfolds in the fictional Midwestern town of Harmony during the 1950s/60s, a place where sweat, grease, and small‑town frustration cling to every surface. Lez Brotherston’s garage‑and‑diner set is so atmospheric you can almost smell the oil and dust. Dancers drift across the stage as the audience arrives, accompanied by the low rumble of engines and the rhythmic grind of tools. It’s a clever way of pulling viewers straight into the world, long before the plot kicks in.

And then Luca arrives. A drifter with dangerous charisma, he strolls into Harmony and answers a “Man Wanted” sign at the garage. From that moment on, the town’s fragile balance begins to crack. Bourne leans into the noir influences here — the stranger who disrupts a community, the simmering sexual tension, the inevitable slide toward violence. What follows is a heady mix of lust, jealousy, betrayal, and revenge, told with the kind of visual flair that has become Bourne’s signature.

The score, built around Rodion Shchedrin’s 1967 Carmen Suite and expanded by Terry Davies, is another driving force. The familiar motifs from Bizet’s opera are still there, but they’re reworked into something darker, more percussive, and more cinematic. The music pulses beneath the choreography like a heartbeat, giving the production a constant sense of momentum. It’s dramatic without being overwhelming, and it blends beautifully with the mid‑century American setting.

The cast is exceptional across the board. Luca — danced by Will Bozier — has the kind of magnetism that makes it completely believable that an entire town would fall under his spell. Cordelia Braithwaite’s Lana is a perfect match for him: seductive, sharp, and simmering with ambition. Leonardo McCorkindale’s Angelo provides the emotional core of the show, delivering a heartbreaking transformation from awkward outsider to hardened survivor. Anna-Maria De Freitas brings a gentle sincerity to Rita, grounding the story with moments of genuine warmth.

Bourne’s choreography is as playful as it is provocative. There are scenes that drip with sensuality, moments of cheeky humour, and sequences that hit with real emotional force. The adults‑only reputation is well earned — there’s nudity, sex, violence and some very dark themes — but none of it feels gratuitous. Bourne handles the material with care, ensuring that every moment, no matter how shocking, serves the story and the characters.

One of the standout elements of this production is Chris Davey’s lighting, which does far more than illuminate the action. It intensifies it. Pools of neon light give the diner a seductive glow, while harsh, angled shadows turn the garage into a pressure cooker. During the more intimate scenes, the lighting softens into warm, hazy tones that make the air feel thick with desire. In moments of violence or confrontation, it snaps into sharp contrasts that heighten the danger. The lighting doesn’t just support the drama — it fuels it, adding to the heat and tension that define the entire show. A perfect example of set and light working in complete harmony.

The Car Man is a show that keeps you hooked from start to finish, blending high drama with irresistible style. By the time the final tragedy unfolds, the audience is left breathless, shaken by the destruction one man can bring to an entire community.

This revival is a five‑star triumph — stylish, steamy, and completely unmissable.

Kings Theatre, Portsmouth – until Saturday 20th June 2026

Reviewed by Sally Lumley

4****

Classic British sitcom Fawlty Towers has made the leap from screen to stage and to the Kings Theatre in Portsmouth. Based on the original scripts by John Cleese and Connie Booth, and adapted by Cleese himself, the production skillfully combines three of the original episodes into one fast-paced evening of chaos, misunderstandings and laugh-out-loud comedy.

Danny Bayne is superb as Basil Fawlty, perfectly capturing his exasperation, pomposity and increasingly desperate attempts to maintain control as the chaos escalates. Bayne has Basil’s mannerisms down to a tee, nailing the slapstick and the ‘german’ walk, yet still makes the role very much his own. Despite Basil’s many flaws, I couldn’t help but be on his side as everything around him descended into complete mayhem.

Mia Austen is fabulous as Sybil, proving the perfect foil for Basil’s escalating chaos. With terse delivery and an instantly recognisable cackle, she captures everything I remembered about the original character.

As in the original TV show, some of the best moments are delivered by the supporting cast. Hemi Yeroham is hilarious as the hapless Manuel, bringing charm and incredible comic timing to the role. Joanne Clifton is the calm in the storm as Polly, keeping an incredibly straight face while surrounded by pandemonium. Paul Nicholas also shines as the Major, earning some of the night’s biggest laughs.

Liz Ascroft’s clever set design instantly transports the audience to 1970s Torquay. It feels like we can see the whole hotel on stage, giving the actors the space to recreate so many of the classic scenes without the need for scene changes, and allowing the comedy to flow.

This stage adaptation brings a fresh look to the classic comedy of Fawlty Towers while remaining just as hilarious as ever. Packed with chaotic laughs, brilliant performances and plenty of nostalgia this is a production that will delight fans while introducing a new generation to one of Britain’s greatest sitcoms.

Paul O’Grady’s Iconic Lily Savage Celebrated in SAVAGE at the Playhouse

Inspired by the life of Paul O’Grady, the new comedy SAVAGE will make its world premiere in 2027, touring to Liverpool Playhouse from Tuesday 16 to Saturday 20 March 2027, with RuPaul’s Drag Race UK winner Danny Beard in the title role.

Liverpool Everyman & Playhouse Theatres Creative Director Nathan Powell said:

“We’re excited to welcome Paul O’Grady’s much-loved Lily Savage to the Playhouse stage, celebrating a character whose wit, warmth and unmistakable spirit have left a lasting mark on audiences across the country.

This season brings together so much of what we value at the Playhouse, powerful drama, exceptional contemporary dance, family favourites and unforgettable one-night events. From award-winning productions to beloved TV stars, the programme celebrates bold, inclusive storytelling and offers audiences from across Liverpool and beyond a great night out.”

Award-winning Circus Zambia and Wake the Beast present Afronauts on Friday 4 September 2026, tells one of Zambia’s most bittersweet yet hopeful stories through a cosmic clash of circus, theatre, music, dance and space exploration, sharply questioning the true meaning of freedom and global equality.

Five-star comedy sensation from the West End and Laurence Olivier Award winner for Best Comedy, Pride & Prejudice* (*sort of), from Tuesday 13 to Saturday 17 October 2026. This is followed by Tracy-Ann Oberman’s return to the Playhouse with a new production of Noël Coward’s Present Laughter, running from Tuesday 20 to Saturday 24 October 2026. 

Audiences looking for a chilling night at the theatre can enjoy two horror productions coming to the Playhouse. The Haunting of Hill House, based on the novel by Shirley Jackson, is adapted for the stage by Olivier and BAFTA Award winner Stef Smith and directed by Sky Arts Award winner Martin Constantine, and runs from Tuesday 3 to Saturday 7 November 2026. Charles Dickens’ nerve-tingling ghostly masterpiece, The Signalman, stars Chris Walker (Doctors, Merseybeat, Playing the Field, The Bill and Coronation Street) and John Burton (Father Brown), alongside James Morley, Bruce and Adam Mort, and comes back to Merseyside from Tuesday 19 to Saturday 23 January 2027.

Internationally acclaimed choreographer Jasmin Vardimon returns to Liverpool with a groundbreaking new production that echoes the emotional depth of her 2003 breakthrough work Lullaby on Friday 9 October, while innovative theatre company imitating the dog brings Remember Romeo, a tender reimagining of Shakespeare’s enduring love story, to the city from Wednesday 10 to Saturday 13 March 2027.

Looking for the perfect half-term treat, families can enjoy Sir Charlie Stinky Socks and the Really Big Adventure by Kristina Stephenson, celebrating the 20th anniversary of the much-loved modern classic. Featuring live music, glorious puppets, interactive storytelling, magical props and plenty of laughs, the show runs from Tuesday 27 to Saturday 31 October 2026. Families can also look forward to the return of Eric Carle’s timeless The Very Hungry Caterpillar Show, featuring a menagerie of more than 75 magical larger-than-life puppets, wiggle their way back to Liverpool from Tuesday 16 to Saturday 20 February 2027.

Autumn one-night shows promise plenty of laughs and a great night out. In September, audiences can catch regular guest on BBC Radio 4’s The News Quiz and The Now Show, Scott Bennettwith Stuff on Wednesday 9, followed by the return of the sold-out Mike Wozniak: The Bench on Friday 11 due to huge demand and Sindhu Vee’s Swanky on Saturday 12. Later in the month, Daniel Kitson brings his new comedy show Thrum on Wednesday 16, Taskmaster alumnus John Kearns presents his brand-new stand-up show Tilting at Windmills on Thursday 24, and Henry Paker rounds off the month with

Pencil Case, featuring live illustration, on Wednesday 30 October opens with Rhys James’ Chop Logic on Friday 2, followed by an evening of improvised comedy hosted by two of the UK’s masters of improvisation, Paul Merton and Suki Webster, on Saturday 3. Later in the month, Maisie Adam returns with the brand-new show Whatsherface, while Sir Lenny Henry brings his new live show Still At Large to the Playhouse on Saturday 10.

And the laughs don’t stop there, with plenty more familiar faces heading to the Playhouse in November, including Ivo Graham with Orange Crush on Wednesday 11, Nish Kumar: Angry Humour From a Really Nice Guy on Thursday 12, Flo & Joan’s With Feeling on Friday 13 and Saturday 14, and Mark Thomas celebrating 40 Years in Stand-Up on Friday 20. The fun continues into 2027 with Sue Perkins bringing The Eternal Shame of Sue Perkins on Wednesday 3 March. Whether you’re after razor-sharp stand-up, musical comedy or a great night out with friends, tickets are on sale now at everymanplayhouse.com

Rising Stars Recognised with 2026 Laurence Olivier Bursaries

The Society of London Theatre (SOLT) and the Theatre Development Trust have awarded Laurence Olivier Bursaries to exceptional drama school students, providing them with vital financial support as they enter their final year of training.   

Now in its 39th year, the bursary scheme was established in 1987 to celebrate Laurence Olivier’s 80th birthday and continues to champion the next generation of acting talent. It is awarded to students who demonstrate extraordinary promise but face financial barriers to complete their training.  

In addition to the Theatre Development Trust, this year’s bursaries were made possible by the generous support of the Estate of Sir Peter and Lady Saunders, The Clothworkers’ Foundation, the estate of Carmen Silvera (via Barry Burnett), and The Casting Directors’ Guild.      

Nominees are put forward by drama schools across the UK and invited to audition in central London. Each nominee is also interviewed by a panel of theatre professionals, chaired by SOLT President and Executive Director at Sonia Friedman Productions, Kash Bennett.  

Past recipients include some of the UK’s most celebrated performers, such as Michaela Coel, Denise Gough, Paterson Joseph, Ewan McGregor, and Michael Sheen.  

Bursary recipients: 

Laurence Olivier Bursary

Donated by the Theatre Development Trust 

Bonnie Lowden (Manchester School of Theatre) 

Charlotte Jameson (Bristol Old Vic Theatre School) 

Finley Miller (ArtsEd) 

Jay Gherie (Rose Bruford College) 

The Sir Peter and Lady Saunders Laurence Olivier Bursary  

Donated by the Estate of Sir Peter and Lady Saunders 

Annie McGinn (Royal Welsh College of Music & Drama) 

The Clothworkers’ Laurence Olivier Bursary 

Given in conjunction with the Laurence Olivier Bursary, donated by The Clothworkers’ Foundation 

Jack Wright (The Royal Central School of Speech and Drama) 

Carmen Silvera Bursary   

Given in conjunction with the Laurence Olivier Bursary, donated by the agent Barry Burnett 

Jola Olajide (Guildhall School of Music & Drama) 

Phoebe Douglas (London Academy of Music & Dramatic Art) 

The Casting Directors’ Guild Bursary 

Given in conjunction with the Laurence Olivier Bursary, donated by The Casting Directors’ Guild

Asante Finlay (Urdang) 

Laurence Olivier Bursaries Panel: 

Kash Bennett (Executive Director at Sonia Friedman Productions, SOLT President and Bursary chair)  

Heather Basten (Casting Director and Member of The Casting Directors’ Guild)  

Lee Menzies (Producer and SOLT Member) 

Winnie Imara (Producer & Writer, and SOLT Associate Member)  

MATTHEW BOURNE’S NEW ADVENTURES,

IN PARTNERSHIP WITH FARNHAM MALTINGS,

ANNOUNCES THE RETURN OF

DOORSTEP DUETS

BRINGING FREE DANCE PERFORMANCES TO COMMUNITIES

ACROSS SOUTH-EAST ENGLAND

FROM 14 JULY – 8 AUGUST 2026

Matthew Bourne’s New Adventures, in partnership with Farnham Maltings, is delighted to announce the return of Doorstep Duets, bringing free world-class dance performances to communities across the South-East of England this summer.

Now in its sixth year, Doorstep Duets was born in 2021 to combat social isolation by bringing the magic of live performance right to people’s doorsteps. We offer free, world-class dance-theatre experiences in local parks, town squares, and in partnership with local community organisations. By taking our work out of traditional theatres and directly into everyday spaces, we connect intimately with communities, captivate newcomers, and ensure the joy and wonder of dance is accessible to everyone.

This year, a brand-new piece called THE BENCHhas been created by choreographer Glenn Graham and will be performed by stars of Matthew Bourne’s New Adventures, Mark Austin, Benjamin Barlow Bazeley, Rosanna Lindsey, Mami Tomotani and Daisy West. Performances will begin on 14 July at Farnham Maltings, before visiting Surrey, Essex, Suffolk, Faversham, Canterbury, Dover, Margate, Ramsgate and Crawley.

Have you ever sat on a park bench and wondered who came before you, what they were thinking, and what hopes and fears they were hiding? The Bench tells the story of three people whose lives overlap in unexpected ways. It is a poetic and moving exploration of memory, connection, and the quiet moments that shape us. 

Choreographer Glenn Graham said, “Returning to choreograph for Doorstep Duets for a second time is a massive privilege. This project is incredibly close to my heart because it breaks down barriers, bringing high-quality dance theatre directly to communities who might otherwise never experience it. If this initiative had come to my hometown when I was growing up, I would have been introduced to this amazing art form sooner, giving me access to a whole new world.

With The Bench, I wanted to explore the shared histories and growth across different decades. It’s a beautifully relatable piece, and I’m so grateful to apply everything I learned from my first time around to create something that provokes thought, sparks the imagination, and makes everyone feel included in the magic of theatre.”

New Adventures is thrilled to be working with its 2026 partners: Farnham Maltings, The Children’s Trust, Mercury Theatre Colchester, Dance Network Association, Latitude Festival, The Alex in Faversham, Marlowe Theatre Canterbury, Future Foundry, ARK Cliftonville, Creative Crawley and Surrey Libraries.

Created with support from Arts Council England, The Backstage Trust and The Head Family.

Find out more www.new-adventures.net/doorstep-duets 

PERFORMANCE LISTINGS 2026

Farnham Maltings                               14 – 16 July

The Children’s Trust in Surrey                17 July

The Mercury Theatre in Essex               21 – 22, 24 July

Dance Network Association, Essex     23 July

Latitude Festival                                  25 July

The Alex in Faversham                        28 July

Marlowe Theatre in Canterbury          29 July

Future Foundry Dover                          30 July

Ark Cliftonville in Margate                   31 July

Ark Cliftonville in Ramsgate                1 August 

Creative Crawley                                3 – 4 August

Surrey Libraries                                     5 – 8 August

Please check the website for full performance times, including details of public performances: www.new-adventures.net/doorstep-duets

MYRA DUBOIS TO BOARD SHIP OF DREAMS AS RUTH IN OLIVIER AWARD WINNING

STARRING FOR 6 WEEKS FROM 1 SEPTEMBER – 11 OCTOBER

AT CRITERION THEATRE

london.titaniquemusical.com

Producers Eva Price and Michael Harrison are delighted to announce further casting news for their must sea, splash hit, Olivier Award Winning Titanique at the Criterion Theatre. Self-declared South Yorkshire Siren Myra DuBois is set to board the ship of dreams and star as Ruth for 6 weeks from 1 September to 11 October 2026. Prior to that, William Hanson extends his current run to Sunday 26 July due to popular demand and beloved original West End Ruth Stephen Guarino returns for 5 weeks from 28 July to 30 August 2026.

The critically acclaimed hit is currently booking through until January 2027 with tickets on sale at london.titaniquemusical.com.

Myra DuBois is a multi-award-winning comedian, singer and actress. She reached the semi-finals of Britain’s Got Talent and her screen credits include the feature film Everybody’s Talking About Jamie and ITV1’s Queens For The Night, on which she was the winning mentor. Her theatre work includes Death Drop at the Garrick Theatre, and her solo shows have played everywhere from the Edinburgh Fringe to Sydney Opera House.

Myra DuBois commented:“How thrilled I am to be joining the cast of Titanique in London’s glittering West End! I saw the show a few weeks back and had one of the best nights out in the theatre I’d had in a long time; gales of laughter from start to finish. And Ruth is the role of a lifetime. I can’t wait to sink my teeth into the character and give the part the dramatique gravitas, levity, brevity and integrity that this script is calling out for!”

William Hanson is an etiquette coach and co-host of award-winning podcast ‘Help I Sexted My Boss’, which has over 100 million streams. He is the author of five books, including the Sunday Times bestseller Just Good Manners, and in 2025, he completed his first solo tour, Solitary Refinement.

Stephen Guarino is a three-time Emmy-nominated American actor and comedian. His television credits include Happy Endings, I’m Dying Up Here and EastSiders. He is also the creator of the Off-Broadway cult hit improvised musical The Nuclear Family and a former Director of the CBS Diversity Showcase.

They join shipmates Lewis Francis as The Iceberg, Rose Galbraith as Rose, Astrid Harris as Céline Dion, Freddie King as Jack, Cameron Vear as Cal, Michael Vinsen as Victor Garber / Luigi and Nikki Wheeldon as Molly Brown; with AJ Lewis, Joi Lurrie and Corrine Priest as on-stage background vocalists. Finton Flynn, Josh Lovell and Charlotte Soo complete the cast as offstage understudies.

Further casting for Ruth from 11 October is to be announced. 

★★★★★
The Times, Daily Mail, Sunday Express, Sunday Mirror, Gay Times, London Theatre

 Titaníque is the hysterical musical comedy bursting with nostalgia, non-stop laughs and killer vocals. Featuring all your favourite Céline Dion hits, including My Heart Will Go On, All by Myself and To Love You More, all backed by a sensational live band. 

Celebrated as ‘The West End’s Funniest Musical’ (Smooth Radio), Titaníque is brilliant and bonkers fun. ‘If you love the film Titanic or Celine Dion, you’ll love Titaníque. Hell, if you couldn’t care less about them, you’ll love it’ (Mail on Sunday). 

It’s the musical that’s making hearts go on… and on, so get on board as this ship of dreams is one voyage you simply can’t miss!

Co-written by Tye Blue, Marla Mindelle and Constantine Rousouli, Titanique celebrated its Off-Broadway premiere in June 2022 at Asylum Theater, starring the musical’s co-authors Mindelle and Rousouli as Céline Dion and Jack Dawson. After several sold-out extensions, the musical transferred to the Daryl Roth Theatre on 20 November 2022 where it played until 15 June 2025. As well as New York and London, the musical comedy has had smash hit runs in Paris, Sydney, Montreal and Toronto. Titanique made its Broadway debut at the St. James Theatre in March 2026, receiving four Tony Award Nominations including Best Musical.

Titanique is directed by Tye Blue and choreographed by Ellenore Scott. Music Supervision, Arrangements and Orchestrations are by IRNE Award-Winner Nicholas James Connell,Scenic Design is by Gabriel Hainer Evansohn and Grace Lauchbacher for Iron Bloom Creative Production; Costume Design is by Alejo Vietti; Lighting Design is by Paige Seber; and Sound Design is by Lawrence Schober with casting by Pearson Casting CDG and Richard Johnston (for cast joining from 9 June).

In addition to its 2026 Tony Award Nominations and 2025 Olivier Award for Best New Comedy, Titanique won seven major awards during the 2022/23 theatre season, including three Lucille Lortel Awards, the Off-Broadway Alliance Award for Best New Musical, Las Culturistas Culture Award for Best Indoor Performance and two Dorian Awards.

The London production of Titaniqueis produced by Eva Price and Michael Harrison.

Charlie Brooks & Max Brown

in the world premiere of

The Hidden Dangers of Camping

EastEnders legend, Queen of the Jungle and Strictly Come Dancing Christmas winner Charlie Brooks (The Ocean at the End of the Lane, A Streetcar Named Desire) will star alongside Max Brown (Downton Abbey, The Tudors, The Sister Boniface Mysteries) in the world premiere of The Hidden Dangers of Camping, a new play by Liesl Wilke, directed by Bronagh Lagan (Oliver-nominated Cruise in the West End).

One family. One weekend. Everything changes. When Casey’s life is shaken by her daughter’s choices, she’s pulled back to a childhood camping trip that wasn’t as perfect as it seemed. As past and present collide, long buried truths surface.

The Hidden Dangers of Camping, at Windsor Theatre Royal, 

Friday 17 July – Saturday 25 July, minis a gripping, emotional drama about family, secrets, and growing up too soon. Funny, honest, and quietly heartbreaking.

The cast also features:
Polly Allen (Hetty Feather, BBC)
Alix Dunmore (The Sister Boniface Mysteries, BBC)
Sandra James-Young (Small Island, National Theatre)
Sophie Mensah (The Cage, BBC)
Scarlett Nunes (The Crucible, Shakespeare’s Globe)
Stephen Rahman-Hughes (The King’s Speech, The Watermill Theatre)
Olivia Woolhouse (Noises Off, Stephen Joseph Theatre)
Jess Nesling (The Constant Wife, RSC)

Creative team:
Writer Liesl Wilke
Director Bronagh Lagan
Casting Director Rob Kelly
General Management: Thomas Hopkins Productions
Producer: Thomas Hopkins

Bronagh Lagan – Director
Bronagh Lagan is an award-winning theatre director who has directed across the West End, major UK regional theatres and international opera houses. Bronagh directed the Olivier-nominated Cruise by Jack Holden, the first new play to reopen the West End following the pandemic, at both the Duchess and Apollo Theatres. She later directed the filmed version at Shoreditch Town Hall, which won the ONCOMM Award for Best Recorded Show. She directed the London premiere of Flowers for Mrs Harris starring Olivier Award-winner Jenna Russell, reimagined Rags by Charles Strouse and Stephen Schwartz in collaboration with Schwartz for a new actor-musician production, and directed the world premiere of Umm Kulthum & the Golden Era, the first bilingual English-Arabic musical of its kind, staged at the London Palladium, the National Theatre of Bahrain and Dubai Opera House.

Liesl Wilke – Playwright
Liesl Wilke is a North Carolina-native writer of novels, short stories, screenplays and stage plays. She holds a sociology degree from Princeton University and a law degree from the University of North Carolina. Her work for the stage includes Stalled the Musical (King’s Head Theatre), alongside award-winning novels Circle of Three (Writer’s Digest) and Unfurling Lily (PNWA). Her short fiction – including Ordinary Commerce, Of Crab Traps and Fisherwomen, and Stalled Symphony (winner of the 2011 Raymond Carver Short Story Contest) – has been widely recognised and published in journals such as G.W. Review, Short Story, and Narrative Magazine. Stalled Symphony has also inspired further screen and musical adaptations. She is currently developing a slate of television and film projects including her award-winning short film Lines (writer-producer). Her producing credits include Lines, as well as projects such as The Rebel Girls, One For The Team, and The Gymnast. Alongside her writing, she is an active theatre investor and producer, with credits including Rose, Drag! The Musical, Your Lie in April: The Musical, and Real Women Have Curves, and continues to support the development of new work including Missing Peace (NAMT) and Distant Thunder.

Thomas Hopkins Productions (THP) – Producer
Thomas Hopkins Productions (THP) was founded in 2019 by award winning theatre, film,television and radio producer Thomas Hopkins. Since its inception, THP has worked on hundreds of live theatrical productions, as well as numerous projects created and filmed specifically for platforms including Sky, BBC, Amazon Prime, BroadwayHD, Broadway On Demand, and Digital Theatre Plus.

THP is recognised as an industry leader, specialising in transatlantic partnerships and supporting productions through its full service organisation.

THP’s Broadway credits include Robert Icke’s Oedipus, the new musical Two Strangers (Carry a Cake Across New York), Liberation, KENREX, Data, and Prince Faggot.

In the UK, THP’s work includes the return of the critically acclaimed tour of The Talented Mr Ripley, and Allegra starring Dame Maureen Lipman. In London, THP will produce the UK premiere of The Jonathan Larson Project. In 2025, THP produced This Bitter Earth, directed by Grammy, Emmy and three time Tony Award-winning Billy Porter at Soho Theatre in the West End, alongside the highly regarded Rose, starring Dame Maureen Lipman at the Ambassadors Theatre.

THP is passionate about creating new theatrical experiences and producing ambitious work at the highest level.

Current projects in development include a major new version of Boy George’s autobiographical musical Taboo, with a new book by Boy George and Olivier Award winner Jack Holden, planned for 2027. THP will also produce a major UK revival of Alan Menken and Howard Ashman’s Little Shop of Horrors, directed by Tony nominated Carrie-Anne Ingrouille, opening at Hope Mill Theatre for a 10-week run followed by a six-week run at Liverpool Playhouse.

www.thproductions.co.uk

Thomas Hopkins
presents

THE HIDDEN DANGERS OF CAMPING
by Liesl Wilke

Directed by Bronagh Lagan

Theatre Royal, Windsor
32 Thames Street,
Windsor
SL4 1PS

Friday 17 July – Saturday 25 July

Monday – Saturday
at 7.30pm

Thursday & Saturday
at 2.30pm

Tickets from £15

The first 2 performances
are previews

Box Office
01753 853888

MARK GOLDTHORP WILL PLAY THE ROLE OF ‘BILL’ IN

“MAMMA MIA!” AT THE NOVELLO THEATRE

FROM MONDAY 24 AUGUST 2026

Mark Goldthorp will play the role of Bill from Monday 24 August in the global smash hit musical MAMMA MIA! at London’s Novello Theatre, a Delfont Mackintosh Theatre.  He is replacing Tamlyn Henderson, who leaves to appear in Thelma and Louise at the Young Vic.

Mark Goldthorp is appearing as Bill in the current UK Tour of MAMMA MIA!.  Other theatre credits include A Christmas Carol (Old Vic), Mary Poppins (Prince Edward Theatre), Sunset Boulevard (London Coliseum), Matilda (Cambridge Theatre), Into the Woods (Regent’s Park Open Air Theatre), Avenue Q (Noel Coward and Gielgud Theatres), The Drowsy Chaperone (original London cast, Novello Theatre), The Woman in White (original London cast, Palace Theatre) and Les Misérables (Palace Theatre).

MAMMA MIA! celebrated its 27^th birthday on 6 April 2026 and is the third longest running West End musical of all time.

Since premiering in London’s West End in 1999, the exhilarating smash-hit has become a global phenomenon, with over 70 million people having seen it worldwide. The musical returned to Broadway, at the musical’s original home, the Winter Garden Theatre, on 2 August 2025 for a highly successful limited six-month run until 1 February 2026.  Originally opening in New York in 2001, the production played for a record-breaking 14 years at the Winter Garden and then at the Broadhurst Theatre, making it Broadway’s ninth longest-running show of all time.  A new UK Tour began on 24 October 2025 and will run through to 30 January 2027.

The sunny, funny tale of a mother, a daughter and three possible dads on a Greek island idyll, all unfolding to the magic of ABBA’s timeless pop masterpieces, has been seen in over 50 productions in 16 different languages, grossing more than £4.5 billion at the box office, and turned into two record-breaking movies – MAMMA MIA! The Movie and MAMMA MIA! Here We Go Again.

The London cast stars Sara Poyzer as Donna, Kate Graham as Tanya, Nicky Swift as Rosie, Richard Standing as Sam, Daniel Crowder as Harry, Tamlyn Henderson as Bill, Ellie Kingdon as Sophie, George Maddison as Sky, Chloe Gentles as Ali, Foxy Valentine as Lisa, Joshua de La-Garde as Eddie and Benjamin Dawson as Pepper, with Emma Odell playing Donna at certain performances.  Also in the cast are Franky Attard, Matthew Barrow, Ella Beaumont, Jack Bromage, Maddy Cameron, Dennis Cousins, Joseph Craig, Josh Crowther, Andrew Gallo, Lawrence Guntert, George Hinson, Genevieve Jameson, Laura Jayne-Hardie, Deena Kapadia, Matthew Mori, Tom Parsons, Meghan Peploe-Williams, Emily Squibb, Ria Turner and Maisie Waller. 

MAMMA MIA! originally opened in London at the Prince Edward Theatre on 6 April 1999, before transferring to the Prince of Wales Theatre in 2004, and then to the Novello Theatre in 2012.  The London production of MAMMA MIA! has been seen by over 11 million people, played over 10,000 performances and has broken box office records in all three of its London homes.  In February 2024, it set a new record for the highest ever weekly gross in the musical’s London history and, on 28 December 2024, achieved the production’s highest ever grossing performance.  As part of MAMMA MIA!’s 25^th year celebrations, Judy Craymer was Executive Producer of ITV’s MAMMA MIA! I Have a Dream, which searched for new young talent to join the stage musical.  One of the finalists, Maisie Waller, joined the London company in 2024 and has now been promoted to first cover for Sophie.

Produced by Judy Craymer, MAMMA MIA! The Movie became the highest grossing live action musical film of all time upon its release in 2008.  A second film, MAMMA MIA! Here We Go Again, opened in 2018 and is the most successful live musical movie sequel of all time. Both films starred Meryl Streep, Christine Baranski, Julie Walters, Pierce Brosnan, Colin Firth, Stellan Skarsgård, Amanda Seyfried and Dominic Cooper, with Lily James, Andy Garcia and Cher joining them in the second film.

With music & lyrics by Benny Andersson & Björn Ulvaeus, MAMMA MIA! is written by Catherine Johnson, directed by Phyllida Lloyd and choreographed by Anthony Van Laast. The production is designed by Mark Thompson, with lighting design by Howard Harrison, sound design by Andrew Bruce & Bobby Aitken, and musical supervision, additional material & arrangements by Martin Koch.

MAMMA MIA! is produced by Judy Craymer, Richard East & Björn Ulvaeus for Littlestar in association with Universal Music Group.

LISTINGS INFORMATION

Novello Theatre

Aldwych

London WC2B 4LD

Ticket Prices: from £17.50*

*Tickets priced £50 and under will include a £2.50 booking fee and tickets over £50 will include a £3.50 booking fee, with all ticket prices including a £1.90 restoration levy.

Early Bird Pricing – anyone booking 12 weeks or more in advance of the performance they are attending (Monday to Thursday performances only) will save £20 on Band B, Band A and Premium tickets, but only through Delfont Mackintosh Theatres, either online or by calling the Novello Theatre Box Office.

Family Ticket Rate – £199 for a group of four on Band B or Band A tickets (up to a saving of £151), OR £99 for a group of four on Band D and Band C tickets (up to a saving of £111), for Monday to Thursday performances, excluding peak performances, but only through Delfont Mackintosh Theatres, either online or by calling the Novello Theatre Box Office.

Seniors Ticket Rate – people aged 60 and above can purchase tickets up to £98.50 each reduced to £37.50 (including booking fee) for valid Thursday matinees.  Exclusions: 30 March – 11 April, 25-30 May, 20 July – 31 August and 26-31 October 2026, 21 December 2026 – 2 January 2027 and 15-20 February 2027.

Group Rate for groups of 10+: Band A £80, Band A £95, Band B £65, Band B £75, Band C £50, Band C £60 (Stalls, Dress Circle and Gand Circle) all priced at £42.50 each, valid on Monday to Friday performances.  Exclusions apply.

Group Rate for groups of 20+: Band A £80, Band A £95, Band B £65, Band B £75, Band C £50, Band C £60 (Stalls, Dress Circle and Gand Circle) all priced at £39.50 each, valid on Monday to Friday performances.  Exclusions apply.

Performance Times:

Monday – Saturday 7.30pm

Matinees – Thursdays & Saturdays 3.00pm*

*Extra Tuesday 3.00pm matinees on 7 April, 30 June, 11 August, 27 October 2026 and 16 February 2027.

Captioned performance (StageText): 3.00pm, 16 January 2027

Audio described performance (and touch tour) (VocalEyes): 3.00pm, 23 January 2027

Christmas 2026/27 Performance Schedule

Monday 21 December                                3.00pm and 7.30pm

Tuesday 22 December                               7.30pm

Wednesday 23 December                         3.00pm and 7.30pm

Thursday 24 December                              NO PERFORMANCE

Friday 25 December                                   NO PERFORMANCE

Saturday 26 December                              7.30pm

Sunday 27 December                                 3.00pm and 7.30pm

Monday 28 December                                NO PERFORMANCE

Tuesday 29 December                               3.00pm and 7.30pm

Wednesday 30 December                         3.00pm and 7.30pm

Thursday 31 December                             2.00pm

Friday 1 January 2027                               3.00pm and 7.30pm

Saturday 2 January                                    3.00pm and 7.30pm

Sunday 3 January                                      NO PERFORMANCE

Booking to 13 March 2027

The performance lasts 2 hours and 35 minutes (including a 15-minute interval)

Box Office: 0344 482 5151

http://www.mamma-mia.com/

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