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Sheffield Lyceum – until Saturday 12th July 2025

Reviewed by Adam Craddock

3***

In my final trip of the summer to Sheffield Lyceum it was a please to be invited to review the UK Tour of Joseph and the Amazing Technicolor Dreamcoat. The show is one we all know well by now and is an absolute classic of its genre, a particular favourite of my lovely partner too!

Starring Joe McElderry as Pharaoh, this new production was first staged at The London Palladium in June 2019 and has been touring on and off ever since. It features a somewhat stripped back cast, with some notable roles being covered by both the Narrator and the children’s ensemble. I have mixed feelings about how this came off on stage… having a young child playing Potiphar was quite funny and very much fit the primary school production vibe, but it didn’t have the same effect to me when the narrator did the same playing Jacob with a fake beard. I get what they are going for but for me the joke did not land. That isn’t to say the performances were poor at all, just that the intention of the director maybe wasn’t quite what came across on stage.

We were lucky enough to have the fabulous understudy Davide Fienauri on as the eponymous Joseph. Fienauri had a wonderful voice, smooth as caramel when singing the melodic anthem “Any Dream Will Do” and a real soul behind him in the prison scene. His performance of “Close Every Door” gave me goosebumps and had people applauding rapturously. Christina Bianco was fair as Narrator. There were times where I really did enjoy her performance but then other points it did grind on me slightly, with her twangy vocal standing out massively. Joe McElderry was good as Pharaoh, with heaps of energy but just lacking a slight bit of commitment as to how he was playing this character. There were obvious hints at an Elvis like character, but it also seemed like he was playing it as an X Factor style pop star at times, but never fully committing to either way. Both would have been fine in their own rights but the in between fell short slightly. Hugh Cotton was brilliant as Reuben, with a fabulous performance of “One More Angel In Heaven” and Will Haswell was great as Simeon, with exceptional comedic timing and a delicious baritone in “Those Canaan Days”. However the absolute stars of the show for me were the children, all of whom were absolutely fabulous, in particular the young chap who played Potiphar! The children gave massive energy levels all throughout and really made this performance for me, thank you!

In terms of production, the set was absolutely brilliant, with it being bright and vibrant, just like Joseph should be. The feel of a school production carried through the set and props, with the cubes the children sat on and fake beards feeling just like something you would have used at primary school. The sound design and lighting were both great, I particularly liked the use of the horizon on the backdrop.

All in all, while there are some choices in the production that didn’t necessarily land for me, I did have a good night full of nostalgia and came home with a very happy feeling, which to me says it all about this show. Joseph truly is a show for all ages and is the perfect starter for any future theatre fan!

Regents Park Open Air Theatre, London – until 26th July 2025

Reviewed by Celia Armand Smith

4*****

Originally staged in 2007, Dominic Cooke’s RSC adaptation of Malorie Blackman’s iconic 2001 novel Noughts and Crosses comes to the Regents Park Theatre. This groundbreaking work imagines a world where racial power dynamics are flipped, and black “Crosses” get the best education and opportunities and white “Noughts” are marginalised and living on the fringes of society. In a Romeo and Juliet style story, the play follows the relationship between Sephy, a Cross, and Callum, a Nought, as they navigate teenage relationships, privilege, inequality, and family ties.

In Tinuke Craig’s production, Callum (Noah Valentine) is a bright lad with lots of potential, but the fractured world he has been born into has different ideas for him. His childhood friend Sephy (Corinna Brown) goes to the fancy segregated school where only a few Nought scholarship pupils are allowed and Callum is one of them. With pressure from both of their families to toe very different lines, and societal rules that mean they can’t be together, the teens battle to find their voice and their place.

The production is well suited to the large exposed stage at the Open Air Theatre. Colin Richmond’s set of rusted stairs, towers, and floors is the perfect backdrop for the cast as they lurk in the background, draping themselves over walkways and leaning against posts, menacingly watching the world go by. When there is a manhunt, people spring from the undergrowth with torches. In the second act, as the light dims and the tension increases, the increasingly bleak plot unfolds, heading towards a big, grief filled ending.

There is a lot of ground to cover in this play, and the excellent cast keeps it moving at pace. Kate Kordel and Amanda Bright are fantastic as the mothers of the teens, and Alex Boaden is truly terrifying as Callum’s older brother Jude, full of hatred for a system that has kept him down.

Although originally written 25 years ago, the themes in Noughts and Crosses are all as depressingly relevant today as they were back in 2001. An important watch for the young adults it was originally written for, and the older adults who are steering them through life.

WITH ONLY 167 DAYS UNTIL CHRISTMAS,

MISCHIEF ANNOUNCES CAST FOR ITS

NEW FESTIVE FIASCO

By Henry Lewis, Jonathan Sayer and Henry Shields

Directed by Matt DiCarlo

AT THE APOLLO THEATRE IN LONDON’S WEST END

AND ON TOUR

www.ChristmasCarolGoesWrong.com 

With only 167 days until Christmas, Mischief, the multi award-winning company with two hugely successful shows running concurrently in the West End – The Play That Goes Wrong (now in it’s 11^th year at  London’s Duchess Theatre) and The Comedy About Spies (at the Noël Coward Theatre until 5 September) – today announced the complete cast for their new festive fiasco, Christmas Carol Goes Wrong.West End performances begin at the Apollo Theatre in the West End on 6 December 2025 following a UK tour that kicks off in Salford.

Turning this Christmas classic into chaos are:  Matt Cavendish as Max, Daniel Fraser as Chris, Sasha Frost as Sandra, Chris Leask as Trevor, Henry Lewis as Robert, Jonathan Sayer as Dennis, Greg Tannahill as Jonathan, and Nancy Zamit and Dumile Sibanda will share the role of Annie.  The understudies are: Alex Bird, Will Bishop, Siobhan Cha Cha, Colm Gleeson and Ashley Tucker

Since going on sale in March 2025, over 50% of tickets are now sold for the show’s seven week run in the West End. The Apollo Theatre Box Office have confirmed that 92 Carols, 14 (tiny) Tims, 10 Holly/Hollies and 1 Noel have already booked to see the show.  Producers are hopeful that a Fezziwig will book soon.               

This brand-new Goes Wrong comedy brings the chaos and humour of the Cornley Amateur Drama Society back to the stage. Written by original Mischief members Henry Lewis, Jonathan Sayer and Henry Shields, the production also marks the return of director Matt DiCarlo,following critical claim for his West End directorial debut with The Comedy about Spies.

Christmas Carol Goes Wrong will run at the Apollo Theatre, Shaftesbury Avenue for a limited 7 week run from Saturday 6 December 2025 – Sunday 25 January 2026 with a Gala Performance on Sunday 14 December 2025 at 5pm. 

The show will embark on a short UK Tour from 2 November 2025, opening at the Lowry in Salford before visiting the Cheltenham Everyman Theatre, the Wales Millennium Centre in Cardiff, and Theatre Royal Bath, ahead of its West End run.  The tour will then continue to crash its way around the UK until March 2026, with further dates at Nottingham Theatre Royal, the Aylesbury Waterside Theatre, the Edinburgh Festival Theatre, King’s Theatre Glasgow and finally the Marlowe Theatre in Canterbury, where the run concludes on 1 March 2026.

The Cornley crew battle miscommunication, delays to their set, actors missing in action and a growing feud over who will play the lead. It’s sure to be a disastrous take on the much-loved classic Christmas story of Ebeneezer Scrooge. Will Cornley finally change their ways, or will their misfortunes wreak havoc yet again?

Christmas Carol Goes Wrong is produced by Kenny Wax and Stage Presence. 

Mayflower Theatre – until 12 July 2025

Reviewed by Lucy Hitchcock

4****

The country’s leader for many years, with dedication, unfaltering ambition and excellent fashion choices, Queen Elizabeth II was a force to be reckoned with. But Daisy Goodwin explores the history of our nation’s leader in a way rarely seen in public viewing.

Starting with Caroline Quentin (The Dresser) mourning the loss of Her Majesty, we are transported back to 1954 where she recounts her memories of being HRH’s right hand woman in fashion and familiarity. Anne Reid, a theatre powerhouse, takes on Queen Elizabeth’s role with utmost elegance, sincerity and stoicism giving a powerful performance that is more like an homage rather than a tribute to the late Queen. These two exchange perfect personal experiences between the characters and show a lighter side to the Queen.

I loved seeing Anne Reid’s embodiment of HRH and was enthralled by her finessed performance. Caroline Quentin, with her quick, sharp witted tongue juxtaposed by her endearing performance was stellar. James Dreyfus and James Wilby as ‘The Milliner’ and ‘The Designer’ respectively were a perfect duo-funny, charming and deeply emotional. Dreyfus offered most of the laughs to the piece, which kept the performance from falling flat – he was superb. As a quartet, this is a powerhouse cast!

Johnathon Femsom’s set design displays the opulence of Buckingham Palace, transporting you right into the heart of the play. The set never changes, but the poignancy of the play is not affected by this. It was a beautiful treat for the eyes.

The piece focuses on the staple clothing worn by Queen Elizabeth, as well as touching on the memorable moments through the years to give you a historical view. You are cordially invited, By Royal Appointment, to step inside the world of Queen Elizabeth and discover how a woman from Wigan became The Dresser of Her Majesty.

Southbank Centre, London – until 11 July 2025

Reviewed by Claire Roderick

4****

Nature Theater of Oklahoma’s debut London show is absolute Marmite. An absurdist dark and daft comedy score running at over 2 hours without an interval is definitely not for everyone – I bloody loved it!

Conceived, written and directed by Pavol Liska and Kelly Copper, No President focusses on the cutthroat world of security. Actors and BFFs Mikey (Ilan Bachrach) and Georgie (Bence Mezei) work as security guards but always find time on the job to develop and practise their special dance routine. Both lusting after their supervisor (Tale Dolven) – who is also the wife of their Big Boss (Gabel Eiben) – they must nevertheless focus on guarding the mysterious curtain for their client. No one has ever looked behind the curtain, but they stand firm protecting it. A rival gang of security guards – all ex-ballerinas – attack them and all hell breaks loose. The story follows Mikey’s spiral into despair, revenge, despotism, enlightenment and redemption – which sounds lovely. But Mikey tends to eat his feelings, and if there aren’t Cheetos handy, then human flesh hits the spot nicely.

Mikey is a narcissistic manchild, but Ilan Bachrach’s tour de force performance endears him to the audience, even as he is chowing down, and as the show progresses and a few points that could be the end of the story occur, you can’t help but hope he finds redemption and the love he craves.

Set to the music of Tchaikovsky’s The Nutcracker, rather than a child dreaming of Christmas goodies, the nonsense of this show is an adult fever dream after one too many bags of Cheetos. Narrated with astonishing verbal dexterity and charm by Robert M. Johanson – who also has cosy chats with Mikey as the Devil – the story is densely written, full of puns, word play and deadpan humour adding layers to what is happening on stage. The cast are mostly silent, leaning into the slapstick stylism of silent film, and the choreography is full of joy and humour, with the corps de ballet (Lisa Fagan, Ida Hellsten, Laron Janus, Raymond Liew Jin Pin, Joana Kern, Hannah Krebs, Marlena Meier, Kadence Neill and Gustavo de Oliveira Leite) merging ballet, drill movements and contemporary with great dynamism. Fights, orgies and cannibalistic frenzies are all performed with knowing glee and overexaggerated facial expressions. This production is all about the cast, but Ansgar Prüwer’s gloriously seedy set, dominated by the red curtain, and Maarten Warmerdam’s atmospheric lighting design create a wonderfully strange world. Coloured cloths and smoke depict body fluids and odours and Jenny Theisen’s costumes have naked bodies with colourful cloth genitalia that adds a childlike and childish air to the unpleasant sexual shenanigans onstage, both human and animal.

With the narrator making many arch comments about the nature of art and artistic merit, Nature Theater of Oklahoma know exactly what they are doing challenging their audience with this surreal and silly show. It takes an incredible amount of work and rigour to create the hilarious choreographed chaos of No President. This weird and wonderful production is a rare chance for London audiences to see this amazing company at their absolute best. Grab a ticket now!

Nature Theater of Oklahoma: No President plays at the Southbank Centre’s Queen Elizabeth Hall until Friday 11 July. southbankcentre.co.uk

Bread & Roses Theatre – until 12 July 2025

Reviewed by Claire Roderick

4****

Arif Silverman’s spellbinding storytelling weaves a timeless tale of love and war.

Told by the last survivor of his people, the chapters of the story are marked by 3 objects placed around the stage.

A quill signals the story of a young boy, full of love and joy for the world around him – breathless descriptions of the marketplace and later, even the battleground, highlight this boy’s artistic vision. After hearing a master speak, he vows to work on his writing to devise a piece to gain entry to the school of revered writers and storytellers. He falls in love with a girl who has fled from her country after an invasion by an unnamed but brutal enemy, which gives his words added fervour, but is not accepted. In this section, the plight of refugees, and their acceptance by their new neighbours is broached with a delicate touch – this is a naïve young boy asking about why a religion and nation is persecuted and annihilated. The gentle acceptance as villagers help build the refugees a new temple is beautifully told.

Silverman’s narrator then takes a wooden staff – the sword – and the story of how the enemy’s approach to the nation’s borders makes them take up the sword and defend themselves begins. A people who admire and value artistry in words begin to admire the artistry of the warrior, until the reality and brutality of war is revealed in poetically bloody detail.

The final object – a pendant, is the necklace the girl wears to remind herself of her father, killed by the enemy. Silverman puts this on as the narrator tells of the only seasoned warrior’s despair as she tells the nation that all is lost as the people question where the gods are.

Directed with a delicate touch by Kazeem Akinsanya and Neha Hemachandra, Aaron Molloy’s atmospheric lighting enhances the mystical aura. The themes of love, loss, religion, persecution and the inhumane brutality and futility of war all weave together to create an otherworldly but familiar landscape and saga for our narrator to share. Told in iambic pentameter, using lyrical and charismatic language, the story soars to heights of ecstasy and plumbs the depths of the horrors of war with style and flair. Silverman is an engaging writer and storyteller, moving around the stage and making searing eye contact with the audience as he performs this captivating story.

Fortune Theatre, London – until 28 February 2026

Reviewed by Phil Brown

5*****

If you haven’t already noticed, Operation Mincemeat is already a hit show.  In spades.  Having already garnered two 2024 Oliver Award wins including Best New Musical from six nominations, and a 2025 Tony Award for Best Musical, it enters its third year with a new cast, an extension til end February 2026 in London, and a landmark world tour.  It is also running simultaneously in New York.  

It seems almost ironic that the marketing and roll-out campaign behind Operation Mincemeat (the musical) seems a far better planned and resourced military operation than even the wartime project that spawned it.  To paraphrase  a line from a well known war film, it feels like… victory. 

Set in 1943, Operation Mincemeat is a true story.  It has been the subject of an excellent book by Ben Macintyre and a rather plodding film in 2022 (despite using some top class British acting talent).   In essence, it was a cleverly devised “sting” or deception, run by MI5 with the Admiralty, to convince the German military command that a forthcoming allied invasion of Europe would initially target Sardinia and Greece rather than Sicily.  It involved seeding the lie via a supposedly crashed, dead pilot carrying secret plans, washed ashore in Spain rife with German spies.  

The idea of turning this story into a hit musical seems a huge leap for even the most extravagant left field thinker.  As far as I know, the Dam Busters or Sink the Bismark have not been made such a transition!  So it would take some desparate veterans of the Edinburgh Fringe – the Splitlip dream team (David Cumming, Felix Hagan, Natasha Hodgson, and Zoë Roberts) – to believe they could also pull off something as significant as Operation Mincemeat.  Their first big win was getting the backing of New Diorama Theatre and The Lowery.

Today, Operation Mincemeat (the musical) must surely represent the summit of British theatrical creativity, ingenuity and expertise.   Every aspect of this production is superlative.   Aside from the brilliantly clever Pythonesque script, which takes every opportunity to send up the officer classes, possibly the most innovative element of an ultra high voltage show is the wonderfully eclectic mash up of styles and forms of theatre, music and dance that mesh beautifully into a highly polished masterpiece.  In many ways, it feels like a show conceived in the spirit of ENSA  (Entertainments National Service Association) – something they might have dreamt up if only it had had access to the facilities and technology of today (director – Robert Hastie).

The action morphs dynamically and smoothly between typical musical fare, revue, pantomime, end of the pier, farce, slapstick and melodrama amongst other forms.  The 20 excellent songs range from traditional musical stylings to anthemic, rap, electronic and K-Pop (music director – Joe Bunker) whilst the imaginative dance routines incorporate some intricate moves with corded telephones as well as modern moves made famous by Ed Balls on Strictly (choreographer – Jenny Arnold).   A word on the set – unfussy but cleverly designed and extremely effective (Ben Stones) and the costumery was equally ingenious (Lydia Hardiman).

It’s truly astonishing that such an ambitious and high energy endeavour can be so well delivered (on stage at least) by just 5 actors playing multiple roles and a four piece band – all displaying seemingly incomprehensible levels of versatility, mental capacity and stamina along with extraordinary timing and coordination.  Teamwork and the performing arts at its most professional.

In line with the ‘do the unexpected’ ethos of the show, senior commanders are played by female actors – Alex Young (playing the gung-ho Lt-Commander Ewen Montagu who jointly developed the Operation Mincemeat plan) and Chlöe Hart (playing the sceptical Colonel Johnny Bevan who oversees the project ) – with conversely, Danny Becker taking on the key female role (playing a marvellously prim Hester Leggatt, a senior MI5 clerk on the team).   Peter McGovern (playing the reticent Charles Cholmondeley, a scientist who originated the Operation Mincemeat concept) and Roshani Abbey (playing Jean Leslie, another MI5 clerk) complete the cast for this particular performance.  (There is a second pre-existing cast (Madeleine Jackson-Smith playing Ewen Montagu and Jean Leslie, Geri Allen – Johnny Bevan, Jason Kajdi – Hester Leggatt, and George Jennings – Charles Cholmondeley)).

It seems unfair to single out individuals in such a wonderful set of complete performances by the cast, but for me, Danny Becker stood out, not only as the demonic coroner required to provide the dead airman central to the plot, but particularly as Hester Leggatt performing a very moving song, “Dear Bill” in creating a realistic love letter to reinforce the ‘legend’ of the dead airman.  He demonstrated impressive all round artistry in the second act as an American pilot singing “The Ballad of Willie Watkins”. 

It is a nice touch at the end to acknowledge the role played by Glendwyr Michael who as Acting Major William Martin was the dead pilot in the deception..

Despite the nature of the subject matter, Operation Mincemeat is a cracking story, brilliantly transformed into two hours of sustained high quality humour and delivering richly intelligent entertainment and some of the slickest fun ever.  It sets a very high bar for future musicals.  Put simply, 79 (and counting) five star reviews simply don’t lie.  

Live Theatre, Newcastle – until 11 July 2025

Reviewed by HRH Lindsay, the Spectacular Princess of the Orphans

5*****

Last night, I finally managed to see a show I have been desperate to see for ages – Untrue Diana from the Aurora award-winning Awkward Productions.

Utter hysterical madness from Linus Karp and Joseph Martin (who we hope gets well soon). Before Diana arrives down from heaven, Martin hands out the extra onstage and offstage parts. Such roles as Archbishop of Canterbury, Diana’s nanny, various teachers and her parents.

Once Diana appears on stage – straight after being born – we follow a riotous, unhinged, queer retelling of the untold and untrue story of the Queen of Hearts, the People’s Princess, Lady Di, all told to us by Diana (Linus Karp) herself.

Her meeting with Prince Charles, the wedding, giving birth to William and Harry and then we meet the beast from hell, who wrecked her perfect life, Camilla.

With interactions from the Queen, Mother Teresa, and God amongst others, the show gleefully lampoons everything from royal protocol to media sensationalism, all while inviting us to celebrate Diana as a symbol of rebellion, compassion, and a queer and fashion icon.

Karp’s performance is magnetic, blending clowning, comedy, and sincerity in equal measure. Audience participation adds a wild, unpredictable energy that keeps every performance fresh and fiercely alive. A huge shout out to last night’s ‘Diana’s Dad’ – you were amazing.

If you’re looking for a show that’s bold, bizarre, and brilliantly original, Diana: The Untold and Untrue Story is unmissable. Prepare to laugh until you cry, “Whatever laugh until you cry means”

Tove Lo, Sebastian Croft, Malte Gårdinger, Joshua Whitehouse and more join the digital cast of The Fit Prince (who gets switched on the square in the frosty castle the night before (insert public holiday here))

The latest queer romcom from Awkward Prods announces a starry video cast of Heartstopping Young Royals that’s 2 Die 4.

Awkward Prods today reveal a glittering line-up of video appearances for their upcoming Edinburgh Fringe spectacular The Fit Prince (who gets switched on the square in the frosty castle the night before (insert public holiday here)), playing at the Edinburgh Festival this August before transferring to London’s King Head this winter.

Whilst the story unfolds live on stage, performed by Linus Karp & Joseph Martin, a parade of multimedia guest stars will add lashings of extra sparkle, chaos and camp to the already outrageous love story. Featuring pop royalty, cult TV stars and drag icons, this supporting digital cast includes:

• Tove Lo (Grammy-nominated pop star, “Habits”, “Cool Girl”, “2 Die 4”) as The Prime Minister of Swedonia – marking her first theatrical role with a delightfully surreal digital cameo.
• Sebastian Croft (Heartstopper, Game of Thrones, Horrible Histories) as Prince Balthazar of Bashington
• Malte Gårdinger (Young Royals) as Prince Carsten of Markden
• Joshua Whitehouse (The Knight Before Christmas, Poldark) as Simon, Jacob’s Fiancé
• Misia Butler (Kaos, Everything I Know About Love) as Prince Henry of the United Kingdom
• Jeremy McClain (Pose) as Prince Laurie of New York City
• Kate Butch (RuPaul’s Drag Race UK) as Angela Merkel
• Geri Allen (Operation Mincemeat) reprises her acclaimed role as The Queen of England from Diana: The Untold and Untrue Story
• Julia Bender (Swedish screen actor) as Princess Tonelia
• Max Lindsay as Gay Fan 3
• Kate Marlais as Orphans and BAAB Vocalist
• Sam Carlyle as BAAB Vocalist

This stellar line-up brings together a mostly queer and delightfully pan-global mix of talent including trans and non-binary performers, Swedish royalty (of the pop and screen variety – a fitting nod to Linus Karp’s home country and the fictional setting of Swedonia), and fan-favourite faces from some of the internet’s most beloved TV moments.

On her digital appearance, Tove Lo commented “I’m The Prime Minister of Swedonia, bitch.”

The Fit Prince (who gets switched on the square in the frosty castle the night before (insert public holiday here)) is the latest unhinged creation from Awkward Prods – the team behind cult Fringe hits Gwyneth Goes Skiing and Diana: The Untold and Untrue Story. A camp, chaotic romcom set in the fictional kingdom of Swedonia, it’s a queer parody of the holiday movie genre – with real-life couple Linus Karp and Joseph Martin (who are also getting married for real at the Festival, in front of a live audience) playing a prince in need of a spouse and the reluctant New York baker drafted in to make his wedding cake. It’s the first time the pair have played romantic leads opposite each other on stage. The show features original music by Leland, whose credits include work with Troye Sivan, Kylie Minogue and Selena Gomez, as well as being the resident songwriter and producer for RuPaul’s Drag Race.

HOPE MILL THEATRE

WITH LOWRY

TO PRODUCE

DISNEY’S HIGH SCHOOL MUSICAL

AT LOWRY, SALFORD

OPENING 21 AUGUST 2026

FOR A LIMITED RUN

Hope Mill Theatre and Lowry are delighted to announce that 20 years after the iconic movie, Disney’s HIGH SCHOOL MUSICAL will have its first UK non-replica production at Lowry, Salford, opening 21 August 2026 and running until 13 September 2026. Tickets will go on general sale from 18 July 2025.

HIGH SCHOOL MUSICAL has a book by David Simpatico with music adapted, arranged and produced by Bryan Louiselle and will be co-directed by Hope Mill founders Joseph Houston and William Whelton.

Further creatives and casting to be announced.

The Lyric Theatre at Lowry will be completely transformed into an immersive basketball court, with on stage seating and an extended stage, bringing audiences into the world of East High.

Featuring classic songs such as: Breaking Free, We’re All In This Together, Get’cha Head in the Game, Stick to the Status Quo and many more.

Based on the hit Disney Channel Original movie, that inspired a generation, HIGH SCHOOL MUSICAL had its world premiere production at Stagedoor Manor Summer Theatre Camp in 2006. It then went to The Theatre of Stars in Atlanta, Georgia for its first professional staging before Disney Theatrical staged a national tour in 2007. The musical has enjoyed significant success in regional theatres around the world and had its London premiere at the Hammersmith Apollo Theatre in January 2008.

Producers and co-directors Joseph Houston and William Whelton said: “HIGH SCHOOL MUSICAL is a show that is loved and adored across generations. From its first explosion into the world in the 2006 movie, there is no denying the impact that this phenomenon has had on people across the globe, including ourselves. It was our ambition to create a brand-new stage production of HIGH SCHOOL MUSICAL and bring together those generations old and new to experience the live spectacle, in a completely fresh and unique way. Having recently created A Christmas Carol and Nine at Lowry, this is the perfect space to be bringing this incredible show back to the stage and to Manchester.

Matthew Eames, Co-Head of Theatres (Contemporary & Commissioning) at Lowry said: “Following A Christmas Carol, we are delighted to be working again with Hope Mill Theatre. We all felt there was a real opportunity to build on the success of that show by working together more closely, identifying musical projects that we feel our collective audiences will be excited to experience on our Lyric stage. HIGH SCHOOL MUSICAL is the first of these. It’s a truly iconic show that launched the careers of some huge stars. We can’t wait for the East High Wildcats to come to Salford!”

HIGH SCHOOL MUSICAL is produced by Hope Mill Theatre with Lowry.

Website: hopemilltheatre.co.uk

Facebook: @HopeMillTheatre

X: @hopemilltheatre

Instagram: @hopemilltheatre

LISTINGS INFORMATION

21 August 2026 – 13 September 2026

Lowry

Pier 8, The Quays

Salford

M50 3AZ

Performances:

21 August – 6 September: Wednesday – Sunday 2pm & 7pm

Please note there will be no 7pm performance on Sunday 23 August and no 2pm performance on Friday 28 August.

8 – 19 September: Tuesday – Saturday 7pm, Saturday – Sunday 2pm

Please note there will be matinees on Wednesday 9 September & Thursday 17 September at 2pm

Tickets from: from £26

Box Office: 0161 876 2000