Home

LES MIS IS 40!

SPECIAL ANNIVERSARY CAST ANNOUNCED FOR THE WEST END PRODUCTION OF

LES MISÉRABLES

FROM 8 SEPTEMBER FOR 8 WEEKS ONLY

KILLIAN DONNELLY AS JEAN VALJEAN
BRADLEY JADEN AS JAVERT
KATIE HALL AS FANTINE
JAC YARROW AS MARIUS
ADAM GILLEN AS THÉNARDIER
MARINA PRIOR AS MADAME THÉNARDIER
SHAN AKO AS ÉPONINE
JORDAN SHAW AS ENJOLRAS
BEATRICE PENNY-TOURÉ AS COSETTE
and IAN MCINTOSH AS JEAN VALJEAN AT CERTAIN PERFORMANCES

To celebrate the 40^th anniversary of Boublil and Schönberg’s musical sensation LES MISÉRABLES, Cameron Mackintosh is delighted to have put together, for 8 weeks only, a special company of artists who have been part of Les Mis history and are drawn from the West End, International, movie and Arena Spectacular MIZ ROCKS World Tour casts of the show. From 8 September to 1 November 2025 the role of ‘Jean Valjean’ will be played by Killian Donnelly alongside Bradley Jaden as ‘Javert’, Katie Hall as ‘Fantine’, Jac Yarrow as ‘Marius’, Shan Ako as ‘Éponine’, Jordan Shaw as ‘Enjolras’, Beatrice Penny-Touré as ‘Cosette’ and welcoming to the Sondheim Theatre celebrated British actor Adam Gillen as ‘Thénardier’ and Australian theatre legend Marina Prior as ‘Madame Thénardier’. Ian McIntosh will play the role of ‘Jean Valjean’ at certain performances. Details on how to get tickets for the actual birthday performance, Wednesday 8 October, will soon be announced.

Side by side with the anniversary company, Mackintosh is thrilled to introduce the terrific new cast who, from 7 July, will launch the show into its 5^th record-breaking decade. It will be led by Ian McIntosh as ‘Jean Valjean’ alongside Sam Oladeinde as ‘Javert’, Katie Hall as ‘Fantine’, Adam Gillen joins the Company as ‘Thénardier’, Claire Machin as ‘Madame Thénardier’, Thiago Phillip Felizardo as ‘Marius’, Amena El-kindy as ‘Éponine’, Joe Griffiths-Brown as ‘Enjolras’ and Izzi Levine as ‘Cosette’, most of whom will continue in the World’s Longest Running Musical from 3 November 2025 following the 8-week birthday season.

The company is completed by Hollie Aires, Aidan Banyard, Ella May Carter, Nicholas Carter, Matthew Dale, Irfan Damani, Lila Falce-Bass, Sophie-May Feek, Jessica Johns-Parsons, Seán Keany, Chris Kiely, Sam Kipling, Mia Lamb, Sarah Lark, Ollie Llewelyn-Williams, Matthew McConnell, Aaron-Jade Morgan, Adam Pearce, William Pennington, Jordan Simon Pollard, Lewis Renninson, Danielle Rose, Georgia Tapp, Noah Thallon, Imaan Victoria, and Danny Whelan.

Cameron Mackintosh said: “It’s hard to believe that LES MISÉRABLES is already 40 years old and still in the prime of life on Shaftesbury Avenue in London’s West End, packing out the Sondheim Theatre.

What a year it has already been for LES MIS, with the spectacular Arena Tour selling out around the World featuring many of the stars of the stage production, and 11 of the UK’s greatest Amateur Companies presenting their own acclaimed productions in major theatres around the country. Now in London, where it all began in 1985, with the British premiere of the reconstructed version of the show in English in association with the RSC, originally brilliantly staged by Trevor Nunn and John Caird, and then after 25 years, evolving into a new equally acclaimed production directed by James Powell and Laurence Connor with new designs and staging,  keeping the spirit of LES MISÉRABLES revolutionary for the 21st Century. 

Remarkably, even though the first staging of the concept album of LES MISÉRABLES happened in Paris in 1980, directed by Robert Hossein, the French never truly embraced LES MIS until Christmas 2024, when the Châtelet, the National Theatre of France, presented a completely new all-French production of our version – it proved a triumph, deservedly garnering the show’s original creators, Alain Boublil and Claude-Michel Schönberg, the Légion d’Honneur.

As we go into our remarkable fifth decade, we have found a terrific new cast to continue storming the barricade from 7 July for ‘One Year More’. And in celebration of our 40th Birthday, I have put together, as I have always done for major celebrations, a special cast for eight weeks only, drawn from the outstanding performers of the last decade’s international productions of LES MIS, as well as the current Arena Spectacular and the Oscar winning movie, all of whom have emerged as new theatre stars. This will be the last time that they will all be able to play together in LES MIS as their careers take them onto new stellar paths.

In 1985, Edward Behr in Newsweek predicted that LES MIS would be “a musical that makes history” – it certainly has. A very special Birthday celebration indeed for the World’s longest running musical.

My grateful thanks must first be to the show’s brilliant creators Alain Boublil and Claude-Michel Schönberg, without whom none of us would have a job, and the timeless words of Herbert Kretzmer inspired, as we all have been, by the great Victor Hugo. My eternal gratitude to everyone who has been involved with Les Misérables over the last 40 years both on and off the stage, and lastly thanks to you our audience for continually wanting to Hear The People Sing and ensure that Tomorrow Always Comes for Les Misérables.” 

Boublil and Schönberg’s magnificent iconic score of LES MISÉRABLES with lyrics by Herbert Kretzmerincludes the classic songs, I Dreamed a Dream, On My Own, Stars, Bring Him Home, Do You Hear the People Sing?, One Day More, Empty Chairs at Empty Tables, Master Of The House and many more. Several of its songs have become real life anthems of revolution wherever in the world people are fighting for their freedom.

Les Misérables has been seen by over 130 million people worldwide in 55 countries, 452 cities, and has been translated into 22 languages. It has won over 180 major awards around the world, among which 4 Olivier Awards (including a special recognition award in April 2025), 8 Tony Awards and 5 Helpmann Awards, and the movie won 3 Oscars.

As part of the 40^th anniversary celebrations, Les Misérables The Arena Spectacular is currently on a world tour having sold out venues across the UK, Europe, Abu Dhabi, Australia and is now in Taipei before visiting Kaohsiung, venues across Japan, Shanghai and more cities to be announced.

Last year, Cameron Mackintosh and Music Theatre International announced LET THE PEOPLE SING, a UK-wide amateur theatre project celebrating the 40^th anniversary of Boublil and Schönberg’s worldwide phenomenon throughout 2025. For the first time ever in the UK, 11 leading amateur companies have been allowed to present their own versions of the full production in cities across the United Kingdom. The show, which has never previously been made available to amateur groups in the UK whilst it continues to play to packed houses in the West End, has already been staged in Belfast, Leeds, Glasgow, Porthcurno, Nottingham and Birmingham, and will soon play Norwich, Liverpool, Swansea, Bristol and Brighton.

Last July, Les Misérables featured in the Opening Ceremony of the 2024 Paris Olympic Games, which was watched by over 700 million people around the world. Les Misérables is the longest running and indisputably one of the most popular musicals in the world.

CAST Theatre, Doncaster – Thursday 12th June 2025

Reviewed by Adam Craddock

5*****

Tonight my partner and I had the absolute delight to be invited to review Degrees of Error’s latest tour of Murder She Didn’t Write – the improvised murder mystery and spoiler alert, I have to say this is right up there with my absolute favourite live theatre experiences of my life. This show had me genuinley crying with laughter and struggling to breath and appealed perfectly to my own very British sense of humour.

The extremely talented cast of six experienced improv actors were absolutely hilarious, both individually and when working as a collective. Please bear in mind that what I am about to say about the actors may be entirely different on your night as the entire show is improvised.

Stephen Clements guided us through the evening as detective Iva Hunch (exceptional name) and was equally hilarious to watch both when actively engaging with the audience but also when he was just watching the drama unfold, seeing him crack up constantly had me in stitches and was one of my favourite parts of the show. Lizzy Skrzypiec was fantastic as Violet Violet, the chicken academic, or as otherwise referred to… the cock professor! She had exceptional physical comedy skills and her irrational fear of a left turn was hilarious! Peter Baker was superb as Barry Green, the closeted bar proprietor. He had a devious wit about him where he loved throwing his colleagues under the bus with a curveball or a challenge and this made the drama all the funnier. Caitlin Campbell was great as Clitilda Blue, wife of Barry and landlady of the pub. I particularly enjoyed her strong physical comedy skills with her martial arts being a strong highlight. Rachael Proctor-Lane was marvellous as Gloria Gold, 42 year old bride to be on her hen. Proctor-Lane had exceptional timing and did a very good job of bringing it down pace wise when the show started to run whilst not letting the ball drop. Douglas Walker was good as Simon Red, gardener stripper murdered at the end of act 1. I liked the use of flashbacks to see the different motives in his death and his quick wittedness was brilliant, though his stripping left a little to be desired. A special final shout has to go out to “Jerkins”, Iva Hunch’s assistant from the audience who picked the murderer and victim and also got to model a very nice hat.

The set for the show was great, a layered backdrop with multiples entrances that looked a lot more high budget than what I was expecting. You may have also noticed an interesting little tidbit in the character names… Barry GREEN, Simon RED, etc. etc. These were quite clearly based on cluedo characters and this was reflected in their wardrobe which perfectly leant into this vision. I liked the fact that this production seemed to be just as well suited to all spaces and scenarios big or small and this really leant itself to the improv feel. The comedy style was also absolutely perfect in my opinion and I would have absolutely no notes, I can’t recall the last time I laughed this hard.

In conclusion I could not recommend this production in any higher terms. These are truly masters of their craft and this to me is the dictionary definition of “must see”. Please please please see this production when you can on this tour, we are already looking at booking to see it again when we can for a brand new experience.

Jack Studio Theatre – until 14 June 2025

Reviewed by Claire Roderick

4****

Henri Merriam’s intelligent and moving play is an intense portrayal of a coercive relationship. Merriam’s writing and performance are passionate and compelling, creating an intriguingly realised character full of contradictions and insecurities.

Shahaf Beer’s clever design centres around a chest of drawers representing the narrator’s life: memories and emotions hidden and revealed as she opens each drawer, unable to stop herself returning to one that causes anguish.

Merriam’s character looks back on her life and her relationship: the heady early days of her relationship with Tom throw up a few red flags, but the joy of romance trumps everything – even a rather pointed Valentine’s present. Tom appears as a recorded voice, creating a more powerful hold over Merriam than another actor could, as her reactions tell us everything. Tom’s misogynistic views, excused at the beginning, become darker and more hurtful, and his armoury of every slight he’s ever felt, or compromise he’s had to make because of her is weaponised with ruthless efficiency. From the beginning of the play her obsessive tendencies are made clear and there is a growing feeling that some of her own behaviours may not be acceptable as comments from her friends and her own self-criticism reveal details. Tom’s coercive behaviour is obvious and unforgiveable, and questions about whether her behaviour is a survival response or part of her natural character begin to arise. This ambiguity adds further layers to the narrative, but Merriam’s charismatic and humorous performance ensures the audience ‘s sympathy remains with her, even in her darker moments. Merriam uses a microphone to voice her friends’ opinions and comments – both helpful and judgemental – to great effect.

Sophia Capasso’s assured direction creates a visual picture of the messy life to accompany the narrative, swiftly cleared away and rammed back into the drawers as Merriam ends the marriage – whether this is done in a healthy way or not isn’t explored but feels emotionally true. Classical references to women who defied men’s expectations and their punishments become fuel for Merriam’s rage and fear for life after Tom, again leaving her future unclear.

This powerful and emotional play is fantastic entertainment.

Storehouse Deptford – until 20 September 2025

Reviewed by Claire Roderick

3***

Sage and Jester’s new immersive experience is visually stunning.

Staged in the imposing Deptford Storehouse, once storing paper for newspaper production, the design is inspired. Creative director Sophie Larsmon builds the atmosphere brilliantly. On arrival, visitors are given lanyards and guided to different waiting rooms where greeters sign you in and give you your visitor badge as a welcomed trustee of The Storehouse. A newsreel shows today’s news interspersed with mysterious goings-on in Deptford as trustees swear a pledge to consider the evidence and vote on the future of the facility.

The Storehouse was founded in 1983, when the internet originated. An archive of every piece of information ever produced built to evolve alongside the digital world – an Arkive. The founders believed that on the first of January 2025, The Great Aggregation would see the Arkive reach its threshold of information, heralding a transformation and the beginning of Truthtopia. Six months later, trustees must investigate this failure.

Guided through rooms by the cast, the daily routine of the Storehouse and the roles its inhabitants have been assigned become clearer, and one group appear to have come up with a solution themselves.

In such a vast building, the limited amount of rooms used is puzzling at first, but the rooms and actions are replicated in 4 areas, with the true expanse and impact of the space only revealed in the experience’s gorgeous CODA as the trustees rise and return to the above. Unfortunately, this synchronised performance means that some unscripted and entertaining interactions with the cast need to be curtailed briskly to get groups and their cast members to arrive at the final room together for the final scene.

Dramaturg Sophie Drake has a tough job realising the ideas of a writers’ room made up of Katie Lyons, Tristan Bernays, Sonali Bhattacharyya, Kathryn Bond, Caro Murphy and Rhik Samadder. The overarching message of the danger of misinformation is not new, and in the hands of so many writers, becomes trite and preachy at times. Even the backstories of the characters seem written by numbers – retreating to this isolated environment because of personal loss and the prejudices of the 1980s.

The cast that I saw did wonders with the script: Chris Agha full of nervous intensity and Harriett O’Grady charming and reasonable as they both explained the workings of the Storehouse and their lack of aging since 1983. This conceit gives Julie Belinda Landau free rein to create wonderful colourful costumes reminiscent of children’s TV presenters. This gives the experience aesthetics like The City of Ember as a closed society narrative, and much closer to that story than Snowpiercer or the Wool trilogy in the jeopardy stakes.

Visually, Storehouse is magnificent. From the beige silos and pillars and corporate waiting room to the cluttered cell where the information is bound – fully leaning into the hive mind/structure idea – to the ethereal stacks, Alice Helps’ design is beautiful. Natural materials like wool, silk and willow emphasise the organic nature of the Storehouse and there are interesting tiny details everywhere you look. Ben Donoghue’s lighting design and James Bulley’s sound design enhance the claustrophobic and otherworldly atmosphere. Constant announcements from the founders of the Storehouse – voiced by Billy Howle, Kathryn Hunter, Toby Jones, Meera Syal have taken on spiritual meaning to the workers, and these moments of recitation and genuflection become slightly creepy as they continue: something the writers could have explored more to create a more satisfying confrontation.

Well-intentioned but slightly too expositional and preachy, Storehouse is well worth a visit for its stunning design and atmosphere.

Playhouse East – until 28 June 2025

Reviewed by Claire Roderick

5*****

Lily Sinko has created a brilliantly bonkers survivor in this hilarious comedy, and her tour de force performance is unmissable.

Beginning as a seemingly world-weary recount of life, soon Sinko’s Magdalena is leaping and prowling around the stage, recounting bizarre encounters from Paris to Mount Everest – the Baron Munchausen of prostitutes.

Sinko’s writing and performing are sublime – clowning, skilfully handled audience interaction (and terrorising) and exquisite comic timing build a superbly realised character. A life of neglect, abuse and brutality becomes almost Enid Blytonesque in Magdalena’s memories (but with much more sex.) Magdalena wistfully recounts her childhood in Marseilles, talking about her “homeschooling” with her father and their arts and crafts sessions with charming naivety. Although her undying love for her father is never reciprocated, he remains her hero. Every callous act is changed into a fun game in her mind as she is sent to a very unusual boarding school. Magdalena encounters first love, friendships and betrayals before leaving the school in dramatic and implausible circumstances before finding sanctuary. Here, the imagery becomes more medieval Catholic guilt and fiery pits of hell. With a twisted idea of love drawn from her childhood but very aware of her potent sexuality, Magdalena is looking for love and acceptance – fighting against, and using, religion and power to find her place in the world.

That is a very brief synopsis, as this show needs to be seen to be believed. Daniel Kettle’s direction allows everything to appear off the cuff and Sinko’s inspired writing creates a roller coaster of chaotic energy that leaves the audience breathless and begging for more. Exactly what Magdalena wants.

Upstairs at the Gatehouse – until 8 June 2025

Reviewed by Claire Roderick

4****

The Crooked Billets present Peter Mottley’s wonderful double bill of plays focussing on the seedier characters from Shakespeare’s Henry IV and V which create an earthier, more dangerous picture of life in Henry’s England. Both plays are monologues, expertly and entertainingly delivered by Arthur Drury and Gareth David Lloyd and directed skilfully by Paul Olding.

A boy actor (Arthur Drury) is getting ready to perform in Shakespeare’s new play – Henry V. As he dresses, he talks about life as a boy actor, wistfully describing how he had a voice like a nightingale and played Juliet and Rosalind. Now that his voice has broken, he is deemed fit only to play the middle-aged women so is donning the costume of Mistress Nell Quickly. As he dresses, the boy relates his own mother’s life to Quickly’s. Brought up in the tavern where his mother worked, he watched her taking clients upstairs, being beaten and abused until the arrival of Lemuel: “of all my dads – he was my favourite.” Unfortunately, like Pistol, war takes him away.

Playing the younger women has made the boy realise that life is not easy for women – especially those not born to money, and Drury effortlessly captures the mixture of despair, disgust, acceptance and overwhelming love the boy feels for his mother and his favourite dad, beginning to realise and understand the sacrifices and compromises they had to make just to survive in a brutal and unforgiving London. Drury’s thoughtful and humane performance brings Mottley’s empathetic writing to life brilliantly.

The second play sees Nell Quickly’s husband, Pistol (Gareth David Lloyd) sitting in a tavern seven years after the battle of Agincourt. Pistol is still a blowhard, but the events of that French campaign have scarred him mentally. As he gets more drunk, his bitterness towards Henry V spews out. Unable to forgive “young Henry” for his abandonment of Falstaff and the Cheapside companions of his wayward youth, Pistol spits out Shakespeare’s line “I know thee not” as he recounts Falstaff’s death and the execution of Nym and Bardolph for theft in France. Pistol’s view of the French campaign as one of the grunts rather than the lofty heights of the nobility is visceral and horrifying. Pistol rants about the stupidity of his friends, getting killed for not following his rules for plundering efficiently and of the stupidity of the nobles leading the war – following the rules of war no matter how many lives are lost needlessly. The descriptions of the horrors of the army dying from dysentery and the mad bloodlust and butchery of Agincourt are interspersed with sarcastic impressions of Henry giving inspirational speeches. Gareth David Lloyd is phenomenal conveying the constantly shifting and confused emotions of Pistol – heartbreakingly devastated at the death of the young boy who had come to France with him, and full of bitter hatred for Henry. David Lloyd portrays the torment of PTSD brilliantly. The madness in his eyes as he describes the antics of the archers is something to behold, as is the effort to bring himself back to “good old Pistol” as he realises that he is being watched. An unforgettable portrayal of the true horrors of war.

Before Nell/ After Agincourt is an unmissable double bill. Insightful and clever writing performed with heart and searing intensity.

Arches Lane Theatre – until 29 June 2025

Reviewed by Claire Roderick

2**

Stories about the fallout from scandals and crimes are always interesting – what happens to those left behind?

Writer and director Roger Steinmann imagines the life of Ruth Madoff, widow of the Ponzi fraudster Bernie Madoff. Was she complicit in his schemes or an innocent wife. Does she know where the missing billions are?

The publicity encourages fans of real-life dramas with a touch of Blanche Dubois and Norma Desmond to see this show, but although Ruth is written as an emotionally unstable recluse alone with her grief, unfortunately there is no dramatic tension or credible arc to her story.

Alone in her luxury apartment, with huge portraits of her husband and two sons creating a shrine-like atmosphere, Ruth’s mind/story lurches around in time as she first imagines a family meal and gets confused about where her family are before traumatic key events since Bernie’s arrest are revisited. This may be meant to show the discombobulating effect of being alone but the discombobulation spreads to the audience as well. As Ruth (Emily Swain) remembers the deaths of her sons – one from cancer, one by suicide – their chairs are removed from the stage in a misguided act of symbolism that misfires. In the corner of the stage is a pile of pizza boxes, the result of Ruth’s fantasist obsession with Italian delivery boy Marco (Evan Emanuel). This storyline seemed superfluous as an overwrought way to hammer home Ruth’s need to escape and facilitate a confrontation with one of Bernie’s victims later in the play.

Ruth yoyos wildly from blissfully unaware devoted loving wife to bitter victim of a cowardly bully, to venal partner in crime with moments of unintentional humour, but the unchanging backbone of Steinmann’s version of Ruth is a narcissistic humblebragging snob ready to attack anyone who dares threaten her privileged life, even now when it lies in ruins. It is only in the last stage of the show where some semblance of self-awareness flickers before being swatted away by the disembodied voices of her sons and husband as the latter tries to guide her to hell with him and her sons try to guide her to the pearly gates. This is probably supposed to be Faustian, but the arguments are psychobabble that sound as if the characters are reading them cold from a cheap self-help book.

Emily Swain’s heartfelt performance is let down by her character being written as a woman who has no identity other than as a mother and wife. And although grief can strip a person of their identity, this play gives no insight or sense of being to Ruth and it is exceedingly difficult to connect or care about the character, despite Swain’s praiseworthy efforts.

Roger Steinmann’s intention is admirable, but at this stage of its development, Ruthless is muddled and vague, not telling Ruth’s story with clarity and insight. This could be a fascinating story with further work. Collaboration with another writer/dramaturg and perhaps cutting the running time could develop a portrait of Ruth Madoff with more humanity, whether as victim or villain.

Birmingham Hippodrome – until 14th June 2025

Reviewed by Emma Millward 

4****

Peaky Blinders: The Redemption Of Thomas Shelby returns to Birmingham Hippodrome for the third and final time. The production brings together Steven Knight’s characters from the acclaimed BBC show with the exciting choreography of Rambert Dance Company. The show made its world premiere in Birmingham in 2022.  The production is a prequel/re-imagining of the TV show. Told entirely through dance, except for the late Benjamin Zephaniah’s occasional narration, it shows the earlier years of Tommy Shelby (Conor Kerrigan), his brothers John (Tom Davis-Dunn) and Arthur (Dylan Tedaldi) and just how they came to be the Peaky Blinders.

The show opens in the World War 1 trenches of Flanders. We see the Shelby brothers amongst the soldiers twitching in the mustard gas-filled air. Although they survive the war, Zephaniah’s sombre voice-over tells us they are ‘all dead. Not counted among the dead, because your bodies were not buried with the dead. But dead inside..’. In Act 1, we follow their return to Birmingham, where the gang descend into a life of robbery and violence. The first act very loosely follows the plot of the first three seasons of the TV show. Tommy becomes the leader of the Peaky Blinders, and falls in love with Grace (Seren Williams), who is portrayed here as a nightclub singer. Her demise during their wedding at the hands of Tommy’s rival Widow Changretta (Naya Lovell) happens a lot later in the TV show’s storyline, but with six seasons of possible plot lines to fit into a two hour show, these changes are to be expected. Act 2 is a more abstract interpretation of the events that follow Grace’s murder as Tommy retreats to an opium den and considers whether to take his life as he is haunted by visions of those he’s loved, lost and murdered. The second act loses a bit of momentum, as the action slows down. I found the opium den scene visually beautiful, although a little overlong. 

Director Benoit Swan Pouffer’s choreography manages to convey the range of emotions the characters are feeling. The fight scenes have a visceral energy and the dancers bring the swagger of Peaky Blinders to the stage perfectly. The lighting (Natasha Chivers) is moody and atmospheric. Richard Gellar’s costume design includes all the instantly recognisable Peaky outfits, but also has cleverly used outfits such as the brown leather masks used to portray the police dogs that chase down the gang. The set design by Moi Tran cleverly uses a unique trenched stage that offers various platforms and levels for the dancers to perform, and occasionally disappear behind. The live band are also on a raised platform at the back of the stage to perform both specially commissioned music by Roman GianArthur, and a selection of iconic Peaky tracks from Radiohead, The Last Shadow Puppets, Black Rebel Motorcycle Club, and , of course, Nick Cave and The Bad Seeds ‘Red Right Hand’ that always gives me goosebumps when I hear it.

The dance company is outstanding, but special mention must be given to Simone Damberg Würtz as Aunt Polly and Conor Kerrigan as Tommy. Although there was a lot of action happening, I found my eyes were always drawn to them. There may be a few tiny flaws, but Rambert has produced an exhilarating and memorable production that I urge you to see while it is still on tour.

York Theatre Royal – until Saturday 14th June 2025

Reviewed by Michelle Richardson

4****

After a successful 2023 Yorkshire tour, John Godber’s “Do I Love You?”, is currently touring a bit more of the UK. This week it is back in Yorkshire playing at York Theatre Royal. Set to the rhythm of Northern Soul, a music and dance movement that emerged in the north of England and the Midlands in the early 1970’s. It developed from the British Mod scene, based on soul music with a heavy beat and fast tempo.

Post-covid, three twenty something year olds from Hull, are struggling to find their way in life, and failing abysmally. Sally (Martha Godber) gained the most A levels but didn’t graduate, and now looks after her gran, childhood and best friend Kyle (Emilio Encinoso-Gil) has a degree but doesn’t know what to do with it, and finally Nat (Chloe McDonald), completing the trio of friends, who they met at college, is being pressurised by her mother to work in the NHS. They are all disillusioned with the grim realities of life, battling unemployment, living costs and lacking purpose, no job, no money, no life. Finally, Kyle gets a job working at a fast-food kiosk, and the other two follow suit.

Sally’s gran, played by McDonald with a scarf around her head and a cigarette between her fingers, is full of Irish spirit. After Sally comes across some old vinyl in her gran’s attic, a gift from Marvin, who we come to believe she had an illicit affair with, she is enthralled with stories about the world of Northern Soul and it becomes her obsession.

All three friends, after a bit of a hiccup, fall in love with the music and dance. They learn the energetic dance moves, kicks, stomps, twist and spins, travelling all over in search of venues. Blackpool is their ultimate aim, as long as they get the spirit of the dance, and it becomes part of their soul.

Through their performances, the cast captures the essence of Northern Soul with their palpable energy. They are all on stage for whole performance and their chemistry is evident for all to see. Throughout they are wearing “Keep The Faith” branded polo shirts, a phrase associated with the movement, signifying the dedications and spirit of the subculture. The scenes throughout are intertwined with snippets of classic tracks and spirited footwork, thanks to choreography by Sally Molloy (World Northern Soul Dance champion 2022).

The set is very simple, the lighting moodful. At times I found the dialogue a bit clunky and repetitive. The cast, music and dancing are the stars of the show. I would have loved to have heard more and seen more. I enjoyed watching the freedom, the energy and the abandonment of everything, whilst they slid across the floor, lost in a moment.

Do I Love You? though packed with humour and energy, begs the question, has anything changed since the 70’s? We are still struggling with rising prices, unemployment and finding a sense of belonging. This socially aware comedy bridges generations, captivating both loyal fans and newbies to the movement that is Northern Soul.

Keep the faith! And catch this whilst you can.

ORE ODUBA

TO STAR AS

DR FREDERICK FRANKENSTEIN IN

MEL BROOKS’

YOUNG FRANKENSTEIN THE MUSICAL

AT HOPE MILL THEATRE

FROM 10 OCTOBER 2025

Hope Mill Theatre are delighted to announce that Ore Oduba will star as Dr Frederick Frankenstein in Mel Brooks’ YOUNG FRANKENSTEIN THE MUSICAL which will have its regional premiere at Hope Mill Theatre from 10 October to 30 November 2025, with a press night on 15 October. YOUNG FRANKENSTEIN will be directed and choreographed by Nick Winston.

Ore Oduba is an actor and broadcaster whose stage credits include Caractacus Potts in Chitty Chitty Bang Bang, Happy Man/Mr Thompson in Pretty Woman: The Musical and Brad Majors in the 50th anniversary production of The Rocky Horror Show. Ore has also played Teen Angel in Grease, and this summer starred in the principal role of Stuart Piper in the world premiere of the Peter James’ thriller Picture You Dead.

Ore made his screen acting debut in BBC One primetime drama Noughts + Crosses. Meanwhile as an experienced and versatile presenter, familiar to audiences of This Morning, The One Show and BBC Radio 2, he has fronted some of the biggest national events live to millions. Ore won the 14th season of Strictly Come Dancing in 2016.

On joining the cast of YOUNG FRANKENSTEIN, Oduba said: “What a dream come true. Mel Brooks is a genius of comedy and Young Frankenstein is as iconic a title as it gets. I watched the most recent production in the West End through tears of laughter! Can’t wait to start ‘Putting on the Ritz’ with our talented cast, crew and creatives. And in such a renowned venue as the Hope Mill Theatre, it’s going to be an unforgettable 8 weeks in Manchester.”

Joining Ore for YOUNG FRANKENSTEIN will be Jessica Martin (Spitting Image, Doctor Who) as Frau Blücher, Rhiannon Chesterman (I Wish You Well, West End) as Elizabeth Benning, Pete Gallagher (Fisherman’s Friends The Musical, UK tour/Toronto) as The Monster, Curtis Patrick (Pretty Woman UK Tour) as Igor, Simeon Truby (Wicked, West End) as Inspector Hans Kemp/Harold the Hermit and Julie Yammanee (Jerry’s Girls, Menier Chocolate Factory)as Inga. The cast is completed by Belle Kizzy Green (Chitty Chitty Bang Bang, UK Tour), Robin Kent (Chicago, UK Tour), Bryan Mottram (Back To The Future The Musical, West End), Alanna Panditaratne (Peter Pan, Victoria Theatre Halifax), Oliver Ramsdale (Chicago, UK Tour), Hakeem Tinubu (Singin’ in the Rain, International Tour), Patricia Wilkins (Back To The Future The Musical, West End) and Jessica Wright (42^nd Street, Sadler’s Wells/UK Tour/ Toronto).

Adapted by Mel Brooks from his legendary 1974 film starring Gene Wilder, YOUNG FRANKENSTEIN tells the story of the grandson of the infamous Victor Frankenstein, Frederick Frankenstein (pronounced “Fronk-en-steen”) who inherits his family’s estate in Transylvania. With the help of a hunchbacked sidekick, Igor (pronounced “Eye-gore”), and a leggy lab assistant, Inga (pronounced normally), Frederick finds himself in the mad scientist shoes of his ancestors. “It’s alive!” he exclaims as he brings to life a creature to rival his grandfather’s. Eventually, of course, the monster escapes and hilarity continuously abounds.

YOUNG FRANKENSTEIN marks the 10th Anniversary year of Hope Mill Theatre, which opened its doors in October 2015. Founded by Joseph Houston and William Whelton the Award-Winning venue has gained a reputation Nationally and Internationally for its in-house musical productions.

Every bit as relevant to audience members who will remember the original as it will be to newcomers, YOUNG FRANKENSTEIN has all the panache of the screen sensation with a little extra theatrical flair added. It will surely be the perfect opportunity for a production company to showcase an array of talents. With such memorable tunes as The Transylvania Mania, He Vas My Boyfriend and Puttin’ on the Ritz by Irving Berlin, YOUNG FRANKENSTEIN is scientifically proven, monstrously good entertainment.

Mel Brooks’ YOUNG FRANKENSTEIN has a book by Mel Brooks and Thomas Meehan, with music and lyrics by Mel Brooks, orchestrations by Doug Besterman & Mark Cumberland and original direction and choreography by Susan Stroman. This production will have direction and choreography by Nick Winston, musical direction and co-musical supervision by Francesca Warren, set design by Sophia Pardon, orchestration and co-musical supervision by Charlie Ingles, sound design by Ben Harrison, lighting design by Aaron J Dootson, video and projection design by Matt Powell, costume design by Lorraine Parry, wigs and make-up design by Nicola Thorp, associate choreography by Lauren Kate Hampton and casting by Jim Arnold.

Website: hopemilltheatre.co.uk/event/young-frankenstein

Facebook: @HopeMillTheatre

X: @hopemilltheatre

Instagram: @hopemilltheatre

LISTINGS INFORMATION

10 October 2025 – 30 November 2025

Hope Mill Theatre

113 Pollard St

Manchester

M4 7JA

Preview Performances: 10 – 14 October 2025.

Performances: Tuesday to Saturday/ 7.30pm & 2.30pm/ Sundays 2pm, 3pm or 6pm

Tickets from: £27

Box Office: 0161 275 9141