Les Miserablés is an iconic musical based on Victor Hugo’s book set in France in the 1800s. The complex plot follows Jean Valjean (played by Tyler Warren), a destitute man who steals a loaf of bread to feed his starving family. Consequently, he is imprisoned and tortured for 19 years. (‘Five years for what you did, the rest because you tried to run.’) When he is paroled, he is stalked by obsessive policeman Javert (Albi Rodriguez) and feels very embittered by his experiences, leading him to steal from a bishop who gives him food and shelter (Jasper Adams Mead). When the police are called, however, he claims to them that the items were gifted to him by the Bishop. To his astonishment the bishop asserts that this is true to the police, so he is granted freedom, provided he now lives an honest Christian life.
Les Mis 2025 from Stage to Screen: The TikTok Call to Arms
But Powerhouse Productions is no ordinary retelling of the classic ‘Les Mis’. Producers Andrew Ashley and Andy Fretwell have brought it into 2025 using the video design skills they are practised at using in shows by their theatre company for adults, Diva Productions, and they have done so with a incisive resonance that pierces to the bone.
The main cast are introduced on a film screen that highlights the disproportionate ‘justice’ doled out to Valjean by paralleling it with images of recent protests like that of the unlawful killing of George Floyd and ‘Black Lives Matter.’ The process of Valjean’s arrest is recorded and enlarged on a screen as if they are carrying body cameras, and credit must be paid to Laura Hancock and Finley Boyle, the camera operators, for coming out from behind the scenes to do this, uniquely, and to great effect.
Similarly, Do You Hear The People Sing, the student soldiers’ call to arms, is live-streamed as though on TikTok. In making this powerful theatrical choice, a powerful statement is made about the performativity of such responses as despite a flood of hearts and likes on the video, the students are left unsupported on the barricade. Are they ‘abandoned by those who still live in fear,’ or ignored by the apathetic youth of today who find it easy to click, but less so to commit to a cause in person?
What cannot be understated is the extraordinary commitment of this young cast who have juggled school and part-time jobs with rehearsals and been just as dedicated and professional, and produced a show that is certainly on par with, if not surpassing the quality of any adult, paid company. It feels unbelievable that this is their first production, as it is so seamless it feels like they have been working together for years.
Amazon as a ‘business of repute’ is an inspired example of theatrical irony thumbing its nose at Jeff Bezos
When Valjean becomes rich from the Bishop’s largesse, the modern ‘factory’ he buys is Amazon with its unmistakable logo emblazoned and I loved the theatrical irony and somewhat breaking of the fourth wall that the line ‘I run a business of repute’ serves as given how highly questionable the ethics of Bezo’s company are.
Warren’s Valjean is not just vocally competent to a level that evokes Colm Wilkinson, the original 1985 production’s star, his acting is superlative spanning bitterness, growth and self-forgiveness as he realises, and articulates to Javert that, ‘I’m a man, no worse than any man.’ Popular West End Valjean, Alfie Boe, could learn a lot from him.
Albi Rodriguez’s performance as Javert is also of a standard that it shocked me that he only has one previous theatre credit to his name, I have no doubt that his future theatrical career will have many.
This brings me on to my only disappointment of the night, but unfortunately it felt big. When Javert is freed by Valjean at the barricade, he cannot mentally cope with the idea of Valjean’s redemption and takes his own life – I was excited to see how Director Andrew Ashley would utilise his videography skills to evoke Javert’s plunge into the Seine. Particularly as the scene was more drawn out, it built a higher sense of expectation. Although Nathan Purcell’s lighting evoked a disappearance, it was a missed opportunity for greatness and felt more like a trick than musical theatre magic.
I was also somewhat disappointed by the blocking choice that had ‘A Little Fall of Rain,’ where Marius comforts the dying Eponine, and Gavroche’s fatal errand collecting bullets, take place in a position that made it difficult to see the characters’ faces, unless you were in the front row. That made their pivotal deaths a little less impactful than they could have been, although Daisy Winbolt-Robertson and Teddy Cooper’s passionate and endearing performances prior to this meant they still brought a tear. As a lifelong Eponine-Marius fan girl since the age of seven, I was gratified by Olli Blakeley’s genuine and extended grief at her death as I often felt it was given lip service in professional performances of the musical and in the film adaptation. I also appreciated Teddy Cooper’s Gavroche visibly grieving Eponine, as their familial relationship is rarely acknowledged in the musical, unlike in Hugo’s book. I’m sure his brand of exuberance and enthusiasm as Gavroche could land him the role of ‘Artful Dodger’ in ‘Oliver’ in future, should he desire it.
The production on the whole was a triumph, and brought out many huge talents with skills far beyond their years, particularly Charlie Scholes and Grace Wassell, who played the Thenardiers. Scholes in particular reminded me of a young James Corden with his self-important swagger. Their ‘chavvy’ characterisation wouldn’t have been as effective without the Creative Team’s clever choices to have them in lurid tracksuits and adult Eponine in moody ‘emo’ black leather though. I chuckled aloud at Charlie Scholes’ improvisation of saying ‘bralette’ instead of Cosette during ‘The Bargain’, as it was not only a clever nod to the modernisation of Wassell’s costume, it was another indicator of his character’s shallow, one-track-mind. I also appreciated the simple yet poignant symbolism of the student-soldiers wearing school jumpers, reminding the audience that ‘they were schoolboys, never held a gun.’ This was further emphasised by the video screens featuring child soldiers.
I also want to credit Mary Collins, who excelled as an ensemble member in early scenes yet commanded authority and the audience’s attention in equal measure when she played Enjolras.
The company has a myriad of female talent, including Esmae Bloomer, who played a Fantine driven to drug abuse by grief for Cosette. In light of that, I’m very excited for Powerhouse’s next teen production, Six the Musical, playing from 11-14th February 2026.
One thing’s for sure, in each and every hardworking cast and crew member, this production of Les Misérables has found and ignited a powerful powder keg of talent, and their flames will never die.
Bard in the Botanics is an annual festival of theatre in Glasgow’s beautiful Botanic Gardens and this production of Romeo and Juliet is one of four plays this season. The director Gordon Barr explains in his programme notes that he has returned to Romeo and Juliet many times over the years and has directed it in a wide variety of styles and periods, and this production, set in an edgy, urban, present day, is a rich interpretation. Glasgow is sadly no stranger to gang feuds and warfare, and the timeless tale of two feuding families (and associates) slots perfectly into this conception of the play.
Heather Grace Currie’s building site set seems to be an intentionally uncomfortable and grim setting for the world’s most famous love story. With a cast of just five actors and limited ability to change the tiny set and stage, the production spills off the stage and into the gardens and amongst the audience which is both a necessity and a wonderful trick to draw the crowd into this familiar story.
Lola Aluko is a joyful and energetic Juliet and brings a sweet youthfulness to the role. I had forgotten that Juliet is only sixteen years old, and Aluko’s headstrong intensity is rightly tempered with a teenage naivety which is not-so-much the case with Sam Stopford’s seemingly older and more ‘experienced’ Romeo. Gordon Barr’s production does not shy away from the ruthlessly controlling nature of Juliet’s father Capulet (Bailey Newsome) and the scenes in which he insists upon her marriage to Paris are violent yet uncomfortably believable.
With such a small cast, every actor plays a multitude of roles and in my view, Newsome and Star Penders steal the show between them, playing nearly all the key roles beyond the titular. Newsome’s Mercutio is the terrifying combination of exceptional (Glaswegian) wit and fury, and as described above, he also brings an unmistakable intensity and violence to Capulet. Penders is the perfect Nurse: indulgent, bawdy, wise and heartbroken by turn, and her loyal and (relatively) even tempered Benvolio provides the necessary contrast to Romeo’s wilful impulsivity.
Benjamin Keachie’s Tybalt has all the energy of a young gang member: fearsome, ruthless and entirely unforgiving. The fight scene which brings about the demise of both Tybalt and Mercutio is as hot blooded and vicious as any I have seen before, and fight director Robin Hellier deserves serious credit for this scene.
The dramatic and heart rending final part of the last scene was staged on the floor of the stage and was therefore unfortunately almost entirely out of view from where I was sitting and I would guess that this was case for many in the audience, apart from those seated on the ground or right at the front. However, this did not take away from an overall excellent production, the context of which was sadly far too familiar.
GROSVENOR PARK OPEN AIR THEATRE, CHESTER – UNTIL 31ST AUGUST 2025
REVIEWED BY MIA BOWEN
5*****
Under the lovely summer skies of Chester’s Grosvenor Park, we have a fantastic family-friendly version of The Adventures of Sherlock Holmes, adapted by Molly Taylor. This exciting show brings Conan Doyle’s famous detective to life with warmth, humour, and a bit of northern charm! Directed by Ellie Hurt, it mixes fun storytelling with some good mysteries, creating enjoyment for everyone in a vibrant setting.
This isn’t your usual Holmes story. Instead, we find ourselves in a modern mystery set in Chester, seen through the eyes of Dr Jo Watson (Alyce Liburd), who is now a guest speaker at a Crime Con-style event. What begins as a serious panel discussion quickly devolves into an exhilarating case involving a stolen painting, a rather unusual group of suspects (selected from the audience), and a mysterious convent teeming with suspicious nuns. The tone is fun and self-aware, blending slapstick comedy with smart writing. While the first act focuses on broad humour and engaging the audience, the second act develops a more structured plot, maintaining its charm and energy throughout.
Ethan Reid gives a lively performance as Sherlock Holmes, showcasing confidence and an endearing quirkiness. Alyce Liburd as Watson brings a grounded, relatable presence, complementing the humour and emotion in their interactions. Their relationship is key to the show’s appeal, making it sharp, engaging, and a pleasure to watch. The supporting cast also shines brightly, with Victoria Brazier portraying a witty Polly (and Mrs Hudson), while Howard Chadwick impresses as DCI Ray, the weary detective navigating the fine line between competence and comic confusion. His dry wit and hesitant collaboration with Holmes introduce a refreshing sense of realism amidst the chaos. Eddy Westbury and Hannah Baker add flair as the quirky Lord and Lady Westminster. The ensemble enriches the performance, and on press night, Morgan Lewis and Alex James-Mason made a remarkable debut! Among this talented group, Jessica Jolleys truly stands out in her role as Stocky. With her impeccable timing, dynamic physicality, and delightful Scouse accent, Jolleys captivates the audience with every moment she spends on stage.
Set in-the-round, the production creates a relaxed and immersive atmosphere that fully utilises its unique layout. Jess Curtis’s costume design blends contemporary style with subtle references to the detective genre. Additionally, the live music, composed and directed by Paula James, enhances the rhythm and atmosphere of the performance. The fight scenes, directed by Kaitlin Howard, are stylised, swift, and intentionally playful, reminiscent more of a comic book than a crime thriller.
Ultimately, The Adventures of Sherlock Holmes is a vibrant and enchantingly chaotic summer theatrical production that embodies the joy of storytelling in its most authentic form, engaging and welcoming the audience wholeheartedly.
Southwark Playhouse Borough – until 16 August 2025
Reviewed by Phil Brown
4****
This high octane 90 minutes of exceptional drama with music tells the improbable story of how a rebellious teenage rock music fanatic turned fantasy into reality by recognising an opportunity where others did not, and seizing it using his main assets – determination and sheer chutzpah. And the rest is music performance history.
The teenage rebel in question is Simon Parkes and his towering achievement is the Brixton Academy, and we’re not talking educational establishment here, although in some respects it was. The play makes it very clear it was a roller coaster course in people and business management for Simon himself but it also brought quality music and socialist politics to an audience and city in need of more medium sized seatless venues. Simon is very specific – seats do not belong at a rock music gig.
Parkes’ penchant for thinking big and taking serious risks may have come courtesy of his background. His family owned Boston Deep Sea Fisheries – the world’s largest privately owned fishing fleet – and he attended Gordonstoun school in Scotland (where he sat next to Prince Andrew or ponce Andrew as the play has it). But he was nevertheless disadvantaged as a thalidomide baby born without half his left arm. There’s a nice scene in the play where his father’s minder, Mac, tries to prepare him for the brutal experience of life at a boy’s boarding school – “Don’t let anyone get the better of you kid”. Judging by the several times this line is repeated, it seems to have become something of a touchstone for Parkes and one that appears to have rendered him virtually fearless.
With the collapse of the fish business, and cut loose by his old school father, Parkes enters the music business punting records around London when at the age of 23, he spies the abandoned cinema/disco at 211 Stockwell Road, Brixton. With the instinctive audacity that will characterise his subsequent management decisions, he buys the lease for £1 from Watneys, the brewer, on the basis that he will sell only their beer for the next 10 years. Thus, the Brixton Academy was born in 1983.
This brilliantly conceived play is based on Parkes’ 2014 memoir Live at the Brixton Academy: A Riotous Life in the Music Business and with considerable humour chronicles thetwists and turns of making Brixton Academy a going concern and eventually such a success, that Parkes was able to offload it in 1995 for £2.5 million. (What we don’t learn in any detail is how the cash flow actually worked!)
Alex Urwin (writer), John Dinneen (producer) and Bronagh Lagan (director) have turned that material into a dynamic and smartly choreographed two hander (playing multiple parts) that mixes storytelling and dialogue with blasts of music and occasional rave dancing. It works really well in the intimate horseshoe space of the Southwark Playhouse.
The individual performances by Max Runham (playing Simon Parkes amongst others) and Tendai Humphrey Sitima (playing Johnny Lawes – Parkes’ right hand man – and others) are genuinely virtuosic with versatility and fluency plus a naturalness that surely belies the rehearsal that must have gone into this demanding show. Runham in particular is spectacularly adept at switching between characters seamlessly and effectively. Astonishingly, he has the same disability as Parkes yet is still able to play excellent electric guitar. Both performers are accomplished musicians and sing well. The depth of impressive performing talent this country enjoys seems to have no bounds! I thought the well chosen music, sound (Max Pappenheim) and effects hit the spot with possibly room for more. There is an intensity and urgency to the story that properly conveys the excitement of the venture and the nerve jangling, seat of the pants nature of running a potentially precarious business and chasing a dream.
This is a fascinating feel good story of triumph against the odds, or as Simon might say – blagging it, brilliantly realised on stage. One you feel might never be possible again. The Brixton Academy is venerated by punters and performers alike and fully warrants this wonderful, impassioned celebration. It put Brixton on the map for something other than riots. Parkes reckons it pulled a half million people into the area per year – if only that could translate into audience for this superb entertainment. It’s a real blast!
Bring It On tells the charming story of Campbell, a high school cheerleader who, after achieving her dream of becoming cheerleading captain is ripped away from the school and sent to a neighbouring high school. In this rival school, she finds herself an outcast, until she makes friends with the dance crew and, after angst, hatred and jealousy, they compete against her old school in the championship for Cheerleading.
Campbell (Ella Burgos) was superb. It’s not the first show I have seen Burgos in, but she excels herself each time I see her perform. She portrays the perfect balance of emotions and with her exquisite vocals she leads this storyline to completion and with gusto!
My favourite character in the piece by far was Bridget (Georgie Parsons). Bridget, desperate to become a cheerleader, becomes popular in her new school for her individual style and Parsons delivers the character perfectly. She had perfect comedic timing and when she was up dancing, I was in awe-a brilliant performance. Another stand out, was Jemima Rees, playing the villainous character Eva. With Rees being small in stature, she for sure packs a lot of punch! She had my favourite song in the show ‘Killer Instinct’ and she was fabulous at the dancing and cheerleading!!
Accompanying this stellar cast, was Jessie Leigh Dance and Cheer Academy. Each member of the company was focused, determined and motivated with talent to boot! There was one point, where they had me in tears with pride – and it’s the first time I’ve ever seen them perform!
An absolute special mention to Bobby Watkins – he was a super scene stealer with his poise, grace and excellent dance moves!
There were a few issues with lighting and sound, which is to be expected on the first night, but it didn’t deter from the talent that this show exudes! I couldn’t have been prouder to be in the audience of this incredible show!
Nerds is a brilliantly clever and completely original musical which follows maverick tech moguls Bill Gates and Steve Jobs as they rise to greatness. Reimagining their ‘origins’ story, in the most madcap fashion, we meet the trailblazers at different moments in their lives where they compete, compute and clash as they attempt to revolutionise civilization with their inventions. Not adverse to some underhand tactics, abandoning their friends, and turning the head of IBM into a crackhead, the fame and power is almost all consuming until they finally come to their senses and see the light…saber.
Nerds is hilariously funny, fast paced and fantastically entertaining. With music by Hal Goldberg and book and lyrics by Jordan Allen-Dutton and Erik Weiner, the comedy is perfection. It comes at you in many forms, physical, verbal, nuanced and through the obvious joy which radiates from the small but mighty cast. Every song is a belter and helps move the story forward. Bursting with ballads, tangos, gospel numbers, rap battles and heartfelt duets, the musical elements are as compelling as the comedy. Nick Winston’s directing and choreography are a triumph. Each scene and song are visual delights. What really works is the fact that it’s quite low tec in its presentation. The simplicity of the set and props means that the story and performances shine. Set in front of a giant mother board, the stage has three tower racks chock full of tech which are seamlessly maneuvered by the cast to transform into a variety of locations. Set and costume designer Sophie Pardon works magic by never compromising on quality yet ensuring the cast can execute quick changes which are needed quite regularly throughout the show.
Dan Buckley, as uptight Bill Gates is fabulous. He navigates Gates’ development from nerd to fanatic to despot with flair. His poignant performance of ‘I’m just a Nerd’ stilled the audience. Kane Oliver Parry as hippy lothario Steve Jobs is hysterical. Random unsolicited stretching and the trademark polo neck, his email to God a particular highlight. Keep an eye out for the most glorious cat splits. Their hard-done-by business partners, Steve Wozniak and Paul Allen are played excellently by Ethan Pascal Peters and Elliot Evans. Also doubling as the ensemble, they beautifully balance out their counterparts. They are thrown around, verbally shot down and treated like general dogs’ bodies, both completely convincing in their humiliation. Pascal Peters facial expressions and his relationship with his hamster are particularly enjoyable.
Elise Zavou and Teleri Hughes as love interests Sally and Myrtle, juxtapose wonderfully with the woeful men. While the men are obsessed with possessing more and more, the women want to make meaningful changes to the world and hold on to morality in the face of money. Their duet about the crazy code of love is incredible. Using binary code as harmony is genius. Julie Yammanee as the afore mentioned head of IBM – Tom Watson, and various other roles is a joy to watch. She embodies every character with aplomb. Curtis Patrick as Dustin/Henchman and Ensemble guy is a hoot, efforting endlessly to give his all to every bit part, thus bringing the production together. The cast as a whole are tremendous. Faultless in their performances and banding together dexterously as a team to pull off this speedy show. It’s such a delight to watch something new and so well put together.
With flavours of Hamilton, Book of Mormon and Operation Mincemeat, yet completely holding its own, this show is a smash hit. Performances on point, sublime singing voices, and did I mention it was funny? I was left wanting more. Nerds heads to Edinburgh Fringe after this limited run, I truly hope this production is expanded and tours as there are plenty of easter eggs and relentless gags that warrant a second byte, or even a third.
If you thought the drama at Pemberley ended when Elizabeth Bennet finally said yes to Mr Darcy, think again! In this delightfully dark and wonderfully staged production of Death Comes to Pemberley, at the Theatre Royal Windsor, murder most foul meets Austenian charm—and the result is a thoroughly enjoyable evening of mystery, manners, and mayhem.
Adapted from P. D. James’s murder mystery sequel to Pride and Prejudice, this stage version (penned by Duncan Abel and Rachel Wagstaff) wastes no time plunging us into chaos. Elizabeth Bennet (played by Jamie-Rose Duke) and Fitzwilliam Darcy (played by James Bye – formerly Martin from Eastenders) have been happily married for a few years now and are preparing for the annual Pemberley Ball when—shock! horror!—Lydia Wickham (played by Mogali Masuku) bursts in, shrieking about a murder in the woods. From there, the drama unfolds like a regency episode of Midsomer Murders, with secrets, scandals and just enough wit to keep things lively.
The Windsor stage has been transformed into a moody, candlelit Pemberley, with clever lighting and elegant set pieces that capture the grandeur of the estate without going full Downton. A particularly eerie woodland scene (complete with flickering firelight and ominous mist) sets the tone nicely—yes, this isn’t the Austen you read at school!
The prime suspect, George Wickham (played by Sam Woodhams), is a standout as the ever-charming, ever-suspect, one minute dashing and the next downright dodgy. He’s joined by a strong supporting cast including Sean Rigby as Colonel Fitzwilliam and Todd Boyce (from Coronation Street), as Sir Selwyn Hardcastle, Sarah Berger as Lady Catherine, Paul Jerricho as Mr Bidwell and Louise Faulkner as Mrs Young. Exemplary performances throughout, especially considering so many of them had two or three parts in the play. See if you can work out who plays Will without checking the programme!
We were particularly impressed with the performances of Celia Cruwys-Finnigan (playing Elizabeth’s sister Georgina) and Joe Bence (playing Henry Alveston) who both provided the musical backdrop to each scene live on the piano, throughout. David was also the play’s musical director/arranger.
Though the plot is a murder mystery, the production never takes itself too seriously. There are moments of genuine tension, yes—but also little winks to the audience, nods to Austen’s sharp social commentary, and a few chuckles courtesy of Lydia’s dramatic flailing. Exceptional acting and thoroughly entertaining throughout, do not miss it.
London, Friday 25 July 2025: The hit West End production of the internationally acclaimed musical MJ will make a final extension to its run at the Prince Edward Theatre in London, with performances booking through until Saturday 28 February 2026. www.mjthemusical.com
The show, which won the Olivier Award for Best Choreography as well as being nominated for the prestigious Best New Musical, will follow its two-year London run by embarking on a major UK Tour in 2027, bringing the electrifying production to audiences across the country.
At the same time, the musical also announces today the first ever international Asian tour of the global sensation, set to launch in October 2026 and travelling to major cities around the world for an initial two-year period. Both UK and International Asian Tour details will be revealed in the coming months.
The UK and International Asian Tour announcements mark further milestones in the continued global success of MJ, which has been experienced by more than 5 million people through its acclaimed productions on Broadway, in London’s West End, Hamburg, Sydney, the U.S. National Tour, and, later this year, Melbourne.
Featuring over 25 of Michael Jackson’s most iconic hits, the production has been praised for its innovative storytelling, high-octane performances and celebration of one of the most influential entertainers of all time.
The London production stars Jamaal Fields-Green in the role of MJ, who has the distinction of being the only performer to have played the role in three of the global productions of the show, receiving standing ovations on Broadway, on the US national tour and also at the Prince Edward Theatre in London.
Jamaal is joined in the cast by Matt Mills as Joseph Jackson / Rob, Mitchell Zhangazha as Michael, Philippa Stefani as Rachel, KoKo Alexandra as Katherine Jackson / Kate, Joshua C Jackson as Berry Gordy / Nick, Rohan Pinnock-Hamilton as Tito Jackson / Quincy Jones, Matt Gonsalves as Alejandro, Michael Conley as Dave, Kieran Alleyne as MJ Alternate and Standby for Michael, and Johnny Bishop and André Phipps as Standby for MJ and Standby for Michael.
The cast is completed by Milan Cacacie, Filippo Coffano, Tevin Daniel, Gabrielle de Souza, Hanna Dimtsu, Aden Dzuda, Ike Fallon, Christopher Gopaul, Kalisha Johnson, Wilson Kiiru, Darnell Mathew-James, Buna McCreery-Njie, Jenay Naima, Nay-Nay, Rishard-Kyro Nelson, George Ross, Lydia Sterling, Fraser Stewart, Charlotte-Kate Warren, and Tavio Wright, alongside Ari Adebiyi, Zane Chaba, Cristiano Cuino and Zayne Tayabali as Little Michael and Miles Jabbie, Kristiano Ricardo, Ashton Robertson and Asher Swaray-Gray as Little Marlon.
The internationally renowned creative team for MJ, helmed by two-time Pulitzer Prize® winning writer Lynn Nottage (Ruined, Sweat) and two-time Tony Award® winning Director & Choreographer, and Royal Ballet Associate Artist Christopher Wheeldon (MJ, An American in Paris), includes Scenic Design by two-time Tony Award® and two-time Emmy Award® winner Derek McLane (Moulin Rouge! The Musical), Lighting Design by six-time Tony Award® winner Natasha Katz (Once), Costume Design by Tony Award, Emmy Award and Academy Award winner Paul Tazewell (Hamilton, Wicked), Sound Design by Tony Award® and Olivier Award winner Gareth Owen (Come From Away), Projection Design by two- time Tony Award® nominee Peter Nigrini (Dear Evan Hansen), and Wig & Hair Design by two-time Emmy Award nominee Charles G. LaPointe (The Color Purple). Musical Supervision is by Tony Award® nominee David Holcenberg (Matilda), and the Orchestrations and Arrangements are by David Holcenberg and Tony Award® winner Jason Michael Webb (The Color Purple). UK Casting is by Pippa Ailion CDG and Natalie Gallacher CDG and UK Young Performer Casting is by Amy Beadel for Grindrod Burton Casting.[SB1]
For all show information and to buy tickets, go to mjthemusical.com
Regent’s Park Open Air Theatre today announces the role of Fiona MacLaren will be shared by Danielle Fiamanya and Georgina Onuorah who joins the cast of Brigadoon. The book and lyrics are by Alan Jay Lerner and music by Frederick Loewe, in a new adaptation by acclaimed Scottish playwright Rona Munro and directed and choreographed by Drew McOnie. The captivating Scottish Highlands come to the magical outdoor setting of Regent’s Park in this major London revival for the first time in over 35 years. The production runs from 2 August – 20 September 2025.
The cast also includes Jasmine Jules Andrews (Jean MacLaren), Elizabeth Armstrong (Ensemble), Edward Baruwa (Andrew MacLaren), Norman Bowman (Archie Beaton), Taylor Bradshaw (Ensemble), Chrissy Brooke (Maggie Anderson & Ensemble), Tanisha-Mae Brown (Ensemble), Cavan Clarke (Jeff Douglas), David Colvin (Ensemble & Piper), Adam Davidson (Ensemble), Louis Gaunt (Tommy Albright), Tim Hodges (Ensemble), Shoko Ito (Ensemble), Gilli Jones (Charlie Dalrymple), Christian Knight (Ensemble & Dance Co-Captain), Anne Lacey (Lundie), Robin Mackenzie (Ensemble), Owen McHugh (Onstage Swing), Nic Myers (Meg Brockie), Danny Nattrass (Harry Beaton), Jessie Odeleye (Offstage Swing), Eve Parsons (Onstage Swing), Bethany Tennick (Ensemble), Dale White (Offstage Swing & Dance Co-Captain), and Liam Wrate (Ensemble).
Drew McOnie said: “I’m delighted that Georgina Onuorah is returning to Regent’s Park to join the company of Brigadoon alongside Danielle Fiamanya in the role of Fiona McLaren. I’m so excited to see how these two brilliant performers develop the job share of this role together. The rehearsal process for Brigadoon has been thrilling and I can’t wait for audiences to enjoy this gorgeous classic of musical theatre once again on a London stage.”
Creatives include Laura Bangay (Musical Director); Basia Bińkowska (Set Designer); Will Burton (Casting Director); Sami Fendall (Costume Designer); Carol Hancock (Associate Wigs, Hair & Makeup Designer & Supervisor); Alessandra Davison (Associate Director); Hazel Holder (Voice Coach); Jessica Hung Han Yun (Lighting Designer); Nick Lidster for Autograph (Sound Designer); Ingrid Mackinnon (Intimacy Director); Drew McOnie (Director & Choreographer); Ebony Molina (Associate Choreographer); Morag Stark (Dialect Coach); Sarah Travis (Music Supervisor & Orchestrator).
Saturday 2 August – Saturday 20 September 2025
‘Brigadoon, Brigadoon,
There my heart forever lies’
From the writers of My Fair Lady, Camelot and Gigi, let the magical outdoor setting of Regent’s Park Open Air Theatre transport you to the captivating Scottish Highlands for this major new production of Lerner & Loewe’s musical classic, Brigadoon.
Crash landed in the Highlands of Scotland, WW2 fighter pilots Tommy and Jeff are searching for a way home, whilst just beyond the hills, sisters Fiona and Jean are preparing for a wedding. Over the course of one chance day in the dreamlike village of Brigadoon, their stories entwine. But can love endure in this enchanting place where everything is not quite as it seems?
Not seen in London for over 35 years, Brigadoon features soaring songs including ‘Almost Like Being in Love’, ‘Waitin’ for My Dearie’ and ‘TheHeather on the Hill’. In a new adaptation by leading Scottish playwright Rona Munro (The James Plays (Evening Standard Award), Frankenstein), this revival of a theatrical classic is directed and choreographed by Olivier Award winner Drew McOnie (Jesus Christ Superstar) in his first production as Artistic Director of Regent’s Park Open Air Theatre.
Presented by arrangement with Music Theatre International.
Alan Jay Lerner |Book and Lyricistand Frederick Loewe | Composer
Lerner and Loewe wrote some of the American theatre’s most memorable musicals, including My Fair Lady, Camelot, Brigadoon, Paint Your Wagon, and Gigi. Lerner was born in New York City in 1918 and attended Choate and Harvard. Loewe was born in Berlin in 1901 to Viennese parents, made his piano debut with the Berlin Symphony Orchestra at the age of 13 and came to the United States in 1924. The two met in 1942 at the Lambs Club in New York City when Loewe approached Lerner about collaborating on a show. In 1947, they had their first Broadway hit, Brigadoon, followed in 1951 by a second success with Paint Your Wagon. In 1956, My Fair Lady, with Rex Harrison and Julie Andrews, opened on Broadway. Often called the “perfect musical,” the show ran for 2,717 performances and the cast album sold more than five million copies. Their 1958 film musical, Gigi, won nine Academy awards and, in 1960, came the last great success of their partnership, Camelot, starring Richard Burton and Julie Andrews. In 1974, Lerner lured Loewe out of retirement to work on their last venture together: a film version of Antoine de St Exupéry’s The Little Prince. Lerner went on to collaborate with other composers including Burton Lane, Leonard Bernstein, and Andre Previn. He died in 1986 at the age of 67. Loewe died two years later at the age of 86.
Rona Munro | Adaptation
Theatre includes:My Name Is Lucy Barton (Bridge Theatre London and Manhattan Theatre Company on Broadway, New York.); The James Plays trilogy (National Theatre of Scotland, The National Theatre of Great Britain and the Edinburgh International Festival); The Queen of the Fight- James IV (Raw Material and Capital theatres); Mary (Hampstead Theatre); Katherine (Raw Material and Capital theatres); Little Eagles, The Indian Boy (RSC); The Last Witch (Edinburgh International Festival and Traverse Theatre).
TV & Film includes:Oranges and Sunshine (directed by Jim Loach); Ladybird, Ladybird (directed by Ken Loach); Rehab (Antonia Bird); Dr Who (BBC).
Drew McOnie | Director & Choreographer
For Regent’s Park as Director/Choreographer:On The Town (Oliver Award Nominee, Best Musical Revival; What’s On Stage Award Nominee, Best Theatre Choreography).
For Regent’s Park as Choreographer:Jesus Christ Superstar (Evening Standard Award Winner, Best Musical; Olivier Award Winner, Best Musical Revival; Oliver Award Nominee, Best Theatre Choreography), Carousel (What’s On Stage Awards Nominee, Best Theatre Choreography).
For McOnie Company:The Artist (Theatre Royal Plymouth – UK Theatre Award Winner, Best Direction; What’s On Stage Award Nominee, Best Direction, Best Theatre Choreography, Best Regional Production); Nutcracker (Southbank Centre – National Dance Award Winner, Best Independent Company; National Dance Award Nominee, Best Contemporary Choreography); Jekyll and Hyde (Old Vic Theatre – Broadway World Award Winner, Outstanding Achievement in Dance); DRUNK (Bridewell Theatre); Making Midnight (Jermyn Street Theatre and Latitude Festival).
Additional Theatre as Director/Choreographer Includes:King Kong (Broadway Theatre – Broadway); Strictly Ballroom (Piccadilly Theatre – West End – What’s On Stage Award Nominee, Best Theatre Choreography); The Wild Party (The Other Palace); Torch Song Trilogy (Turbine Theatre).
Additional Theatre as Choreographer Includes:In the Heights (Southwark Playhouse and Kings Cross Theatre – Olivier Award Winner, Best Theatre Choreography; Offie Award Winner, Best Theatre Choreography); Hairspray (Broadway World Award Winner, Best Theatre Choreography); Oklahoma (UK National Tour); Bugsy Malone (Lyric Hammersmith and UK National Tour); The Lorax (Old Vic Theatre); Sound of Music (Curve Leicester); Chicago (Curve Leicester).
Choreography for Film Includes:Greatest Days – The Official Take That Movie.
Ballets Include:Merlin (Northern Ballet – National Tour); XYZ (Classical Creative Project); Little Red (NYB- Hackney Empire); Old Man of Lochnagar (NYB- Sadlers Wells).
Drew McOnie became the Artistic Director and Joint Chief Executive of Regent’s Park Open Air Theatre in January 2024. He is also the Artistic Director of The McOnie Company.
Jasmine Jules Andrews | Jean MacLaren
Training: The Urdang Academy.
Theatre includes: Jesus Christ Superstar (UK Tour); The Cher Show (Original UK Tour); The Diary of Attica Lehane (Sheffield); Dick Whittington (Greenwich Theatre); Legally Blonde (The Urdang Academy).
Elizabeth Armstrong | Ensemble
Training: The Urdang Academy.
Theatre includes:Hamilton (Victoria Palace Theatre); Hairspray (UK Tour); Jack & The Beanstalk (Parkwood Theatres); Broadway to Hollywood (Festival Jardins Pedralbes, Barcelona); West End Does (Fortune Theatre & Cadogan Hall).
TV includes: Blue Peter (Hairspray); Boots (Commercial).
Other credits:The Lobster Ball (Cece Penniston, Crystal Waters, Julie McKnight & Robin S); Tropic Skincare (NEC Birmingham); Colour and Light (The Tellers Company); The After School Death Day Club (Evans & Ives – R&D).
Edward Baruwa | Andrew MacLaren
Training: London Guildhall University.
West End includes:The Book of Mormon (Prince of Wales); Five Guys Named Moe (Marble Arch); Motown (Shaftesbury); Dessa Rose (Trafalgar Studios); Avenue Q (Noel Coward /Gielgud); Les Misérables (Queens); Porgy and Bess (Savoy); Dancing in the Streets (Aldwych); Jerry Springer The Opera (Cambridge).
Theatre includes:Motown (UK Tour); Heathers (The Other Palace); National Theatre: 50 Years on Stage (National Theatre/BBC); Little Shop of Horrors (Aberystwyth); The Night of 1000 Voices (The Royal Albert Hall); Sister Act (UK Tour); Smokey Joe’s Cafe (Landor); Rent (English Frankfurt Theatre); The Rocky Horror Show (European Tour); Miss Saigon (UK Tour); The Wiz (Hackney Empire).
TV & Film includes:Matilda (Poppet Productions); London Road (Cuba Pictures); Florence Foster Jenkins (Pathe/BBC Films); The T Boy Show (Online Sitcom); Jerry Springer The Opera (BBC.)
Norman Bowman | Archie Beaton
For Regent’s Park: Lady Be Good, A Midsummer Night’s Dream.
Theatre includes: Twelfth Night (RSC); The Bodyguard (Ljubljana Festival); Mamma Mia (Novello Theatre); Kiss Me Kate (Lyric Belfast); 42nd Street (Drury Lane); Murder Ballad (Arts Theatre); King Lear (Manchester Royal Exchange); Of Mice & Men (Birmingham Rep); Henry V (Noel Coward Theatre); Macbeth (Manchester International Festival & Park Armoury, New York); Finding Neverland (Leicester Curve); Mack & Mabel (Southwark Playhouse); End of The Rainbow (UK No 1 Tour); Mamma Mia (Prince of Wales); Twelfth Night (Donmar/Wyndhams Theatre); High School Musical (Hammersmith Apollo); Parade (Donmar Warehouse); Carousel (Chichester Festival Theatre); Guys & Dolls (Donmar/West End); Grease (UK No. 1 Tour), Cats (UK No. 1 Tour), Sunset Boulevard (UK No. 1 Tour), West Side Story (UK No. 1 Tour), Masterclass (UK No. 1 Tour), Pirates of Penzance (UK No. 1 Tours), Les Miserables (West End and UK Tour).
TV includes: Poldark (BBC); The Spanish Princess (Starz); Mr. 11 (Tiger Aspect); Holby City (BBC); Don’t Look Back (Undercover Productions); Los Dos Bros (Hat-Trick); The Saint pilot (Castel Film).
Film credits include: Firebrand, The Hessen Affair
Taylor Bradshaw | Ensemble
Training: The Arts Educational School.
For Regent’s Park: La Cage aux Folles.
Theatre includes:Hamilton (National Tour); How To Succeed in Business Without Really Trying (Southwark Playhouse); 42nd Street (Théâtre du Châtelet, Paris); Spring Awakening (Almeida Theatre); South Pacific (Chichester Festival Theatre); Mamma Mia! (Novello Theatre).
Workshops include:Clueless the Musical (Trafalgar Entertainment).
Film includes: Barbie (Mattel Films/Warner Bros. Pictures).
Chrissy Brooke | Maggie Anderson & Ensemble
Training: Anna Du Boisson, Laine Theatre Arts.
For Regent’s Park: Carousel.
Theatre includes: Minority Report (Birmingham Rep, Nottingham Playhouse & Lyric Hammersmith); Dr Semmelweis (Harold Pinter Theatre); Dirty Dancing (Dominion Theatre); Strictly Ballroom (Piccadilly Theatre); An American in Paris (Dominion Theatre); Wicked (UK Tour); Phantom of the Opera (His Majesty’s Theatre).
TV includes: D-Day (TBI Media/ITV); Royal British Legion Festival of Remembrance (BBC); Harry Potter Reunion (ITV); The Royal Variety Performance (ITV); Bridgerton (Shondaland/Netflix); Dance Dance Dance (ITV); Ant and Dec’s Saturday Night Takeaway (ITV); The Brit Awards (ITV Studios).
Film includes: Disenchanted (Disney); Wait For Me (Sam Cassidy); Apartment 7A (Paramount Pictures); Snow White (Marc Platt Productions/Disney); Wonka (Warner Bros); Cats (Working Title Films); Eurovision: Fire Saga (EBU/Netflix); Ready Player One (Warner Bros).
Tanisha-Mae Brown | Ensemble
Training: ArtsEd.
Theatre includes:Guys and Dolls (Bridge Theatre); Evita (Leicester Curve); The Lion King (UK and Ireland Tour); A Mother’s Song (The Lowry); Chicago (UK and Ireland Tour); Pippin (Gate Theatre).
Other credits include:West Side Story, On The Town (BBC Proms); 2019 Olivier Awards.
Cavan Clarke | Jeff Douglas
Training: Rose Bruford.
For Regent’s Park: Romeo and Juliet.
Theatre includes: Small Island, My Country, The Plough and the Stars (National Theatre); The Cherry Orchard (Young Vic); Wendy & Peter (RSC); Last of the Boys (Southwark Playhouse); The Acedian Pirates (Theatre503); The Colleen Bawn (Lyric Theatre, Belfast).
TV includes:Bridgerton (Netflix); Franklin (Apple TV+); Casualty (BBC); Doctors (BBC).
David Colvin | Ensemble & Piper
Training: Royal Academy of Music.
Theatre includes: Macbeth (English Touring Theatre); Thunderstruck (Scottish and Australian Tour); Macbeth (Stafford Gatehouse Theatre); We’re Only Here Today (Talking Birds); Tom O’Shanter (Communicado); We Love You City (Belgrade Theatre); Hamlet (Northern Broadsides’).
TV includes: Casualty (BBC); Black Watch (BBC/National Theatre of Scotland); Nightsleeper (BBC).
Radio includes: Donald and Benoit.
Adam Davidson | Ensemble
Training: Laine Theatre Arts.
Theatre includes:Cry Baby (Arcola Theatre); Grease (UK & Ireland Tour); White Christmas (Sheffield Crucible); Strictly Ballroom (UK & Ireland Tour); Mary Poppins (Prince Edward Theatre); Mamma Mia! (Novello Theatre); Mary Poppins (Stage Entertainment, Germany).
Danielle Fiamanya |Fiona MacLaren
Training: The Guildford School of Acting.
Theatre includes:Otherland (Almeida Theatre); Macbeth (Wessex Grove); The Secret Life of Bees (Almeida Theatre); Mandela (Young Vic); Frozen, & Juliet (West End); The Color Purple (Curve Theatre, Leicester/ Birmingham Hippodrome Theatre, The Stage Debut Award for Best Actress in a Musical).
TV & Film includes:The Crown (Netflix); Halo (Paramount); Lucid.
Louis Gaunt | Tommy Albright
Training: Laine Theatre Arts.
Theatre includes: Peter Pan, The Wizard of Oz, Jack and the Beanstalk (London Palladium); Mary Poppins (Prince Edward Theatre); Piaf, Sweet Charity (Nottingham Playhouse); Gypsy (Royal Exchange Theatre); Grease (National Tour); The Happy Prince (The Place); Standing at the Sky’s Edge (Sheffield Crucible); Oklahoma! (Grange Park Opera).
TV includes: Bridgerton (Netflix); The Larkins (ITV).
Tim Hodges | Ensemble
Training: Woollard Tiffin School of Performing Arts, Tring Park.
For Regent’s Park: Carousel
Theatre includes: The Artist (Theatre Royal Plymouth); The Nutcracker (Southbank Centre); Strictly Ballroom (Piccadilly Theatre); Half A Sixpence (Chichester Festival and The Noel Coward Theatre); Jekyll and Hyde (The Old Vic); Oliver (Curve Theatre); Matthew Bourne’s New Adventures – The Car Man (UK, Ravenna and Sadler’s Wells); Edward Scissorhands (UK, International Tour and Sadler’s Wells); Swan Lake (UK, Sadler’s Wells and Tel Aviv); Making Midnight (Latitude Festival); Singin’ In The Rain (Palace Theatre and the Princess of Wales Theatre, Toronto); Dirty Dancing (Piccadilly Theatre and Original UK Tour); Chicago (Cambridge and Phoenix Theatres, Chicago UK Tour, Trieste and Marrakech); Cats (UK and Portuguese Tour) We Will Rock You (Dominion Theatre); Murderous Instincts (Savoy Theatre).
Workshops include:The Artist (McOnie Company); King Kong The Musical.
TV and Film includes:Barbie; The Greatest Days;John Lewis Christmas Advertising Campaign; Black and Gold (Sam Sparro’s music video); Don’t Stop The Music (The Pippette’s music video); Grease Is The Word (ITV).
Shoko Ito | Ensemble
Training: Tring Park School for the Performing Arts.
Theatre includes:Wicked (UK and Ireland Tour); The Garden Of Words (Park Theatre); Matthew Bourne’s Sleeping Beauty (UK & International Tour); Matthew Bourne’s The Car Man (The Royal Albert Hall); Matthew Bourne’s Nutcracker! (UK Tour); Matthew Bourne’s Swan Lake (UK & International Tour) Film includes:Matthew Bourne’s Sleeping Beauty; Matthew Bourne’s Nutcracker!; Matthew Bourne’s Swan Lake.
Other credits include: Tannery Series 002 campaign (2022, Ecco Japan); Short dance film Resilience (2021, Tracing Movement directed and choreographed by Stuart Winter).
Gilli Jones | Charlie Dalrymple
Brigadoon is Gilli’s professional stage debut.
Training: Royal Conservatoire of Scotland.
Theatre includes:Les Misérables (Movies to Musicals); Club Life (Fred Deakin @ Edinburgh Festival Fringe).
TV includes:Summerwater (Channel 4).
Christian Knight | Ensemble & Dance Co-Captain
Training: Addict Dance Academy, Dupont Dance.
Theatre includes:Hamilton (Victoria Palace Theatre); Wicked (Apollo Victoria Theatre); The Prince Of Egypt (Dominion Theatre); Romeo & Juliet (Curve); Evita (De Montfort Hall); Joseph & the Technicolour Dream Coat (Curve & De Montfort Hall).
TV includes: Taking the Next Step (CBBC).
Film includes: The Prince Of EgyptMusical (Universal); A London Dream (SKY TV).
Workshops include: Anasa O’Neill; The Wizard of Oz; The Wiz; The Prince Of Egypt.
Other credits includes: An Officer and A Gentleman (Associate Choreographer – UK Tour); Rhythm of Life NHS (Advert); Anasa O’Neill (Music Video)The Prince Of Egypt (Original West End Cast Album), London Fashion Week X Richard Quinn; The British Fashion Awards 2021.
Anne Lacey | Lundie
Theatre includes: Medea (NT Scotland); Dracula: Mina’s Reckoning (NT Scotland); The Man in the Submarine (Perth Theatre); Earthquakes In London (National Theatre); Bad Roads (Royal Court); The House of Bernarda Alba, Dear Scotland (NTS); The Lying Kind, A Most Civil Arrangement (Tron Theatre); Cuttin’ A Rug, Thérèse Raquin, The Killing of Sister George (Glasgow Citizens); Uncle Vanya (West Yorkshire Playhouse); The Pearl Fisher, All this Will Come to Nothing, Dark Earth, The Straw Chair, Bondagers, The Silver Sprig, Shetland Saga, Distracted (Traverse); Disturbed, Margaret and Ken and the End of the World, King John, The Dacha, Happy Hour, A Dead Man’s Dying (Oran Mor); Men Should Weep (Oxford Stage); Victoria (Royal Shakespeare Company); Shining Souls (Old Vic); Mary Queen of Scots Got Her Head Chopped Off (Donmar Warehouse); The House with the Green Shutters, The Cone Gatherers, Tall Tales and Jack Tamson’s Bairns (Communicado).
Film includes: The Secret Garden, Harry Potter and the Goblet of Fire, The Hide, The Seeker, This Year’s Love, Wiyuld, My Life So Far, Strictly Sinatra, And Then I Was French, Mirror Mirror, Nan, Fishy, The Bedfords.
TV includes: Hamish Macbeth, Shetland, Silent Witness, Monarch of the Glen, Molly and Mack, Holby City, Tinsel Town, Stacey Stone, Doctor Finlay, Deacon Brodie, Sweet Nothings, Wildflowers, The Real Thing, Knowing the Score, Rab C. Nesbitt.
Radio credits: Preserved, Tender is the Night, Hunger, Gold, The Breach, Keeping Mum, Reacher’s Point, Blown Away, The Cherry Blossom Whiskey Company, Sullom Voe, Quartet, and Mr Anwar’s Farewell to Stornaway (BBC Radio).
Robin Mackenzie | Ensemble
Training: The Royal Conservatoire of Scotland.
Theatre Include: Andy’s Man Club: The Musical (Genesis Theatre Productions); Ya Wee Dickie McWhittington (King’s Theatre Kirkcaldy); Ceilidh (Foresight Theatre); ENCORE! (Cumbernauld Theatre); Ya Wee Beauty and the Beastie (King’s Theatre Kirkcaldy); Ya Wee Sleeping Beauty (King’s Theatre Kirkcaldy); Hamish and Garia (Glasgow Life).
Owen McHugh | Onstage Swing
Training: Laine Theatre Arts, The Dance School of Scotland.
Theatre includes: Why Am I So Single? (Garrick Theatre); Clueless the Musical (Churchill Theatre, Bromley); Symphony of Sorrowful Songs (English National Opera — London Coliseum); White Christmas (UK Tour); But I’m a Cheerleader (The Turbine Theatre); Beauty and the Beast (Civic Theatre); Memories of the Musical (Kilworth); The Snowman (UK Tour & Peacock Theatre London); Me And My Girl (Frinton Summer Theatre); Joseph and the Amazing Technicolour Dreamcoat (Kilworth House); Doctor Dolittle The Musical (UK Tour); Peter Pan (Hull New Theatre); Cinderella (Wyvern Theatre).
Workshop includes:Why Am I So Single?.
TV includes:BBC Children in Need (BBC).
Other credits include:Self Esteem (Girl Crush Music Video).
Theatre includes:Cruel Intentions (UK Tour); White Christmas (The Mill at Sonning); Cabaret (West End); Cabaret (LIDO Paris); Back To The Future (Adelphi Theatre).
Workshops include: Bliss.
Other credits include:Ordinary Days (The Theatre Cafe); Worlds Apart, Soapdish, West Side Story, On The Town (BBC Proms); The Olivier Awards.
Danny Nattrass | Harry Beaton
Training: The Arts Educational School.
Theatre includes:Grease (European Tour); Close Up – The Twiggy Musical (Menier Chocolate Factory); We Will Rock You (London Coliseum); Pump Up The Volume (Turbine Theatre); The Osmonds: A New Musical (National Tour); Pantoland at the Palladium,Joseph and the Amazing Technicolor Dreamcoat (London Palladium); Mamma Mia! (Novello Theatre).
TV includes:The National Lottery’s Big Night of Musicals (BBC); All Star Musicals (ITV).
Jessie Odeleye | Offstage Swing
Training: Emil Dale Academy.
Theatre credits include:Mamma Mia (Novello Theatre); Grease Das Hit Musical (European Tour) Dick Whittington (Panto).
Georgina Onuorah | Fiona MacLaren
For Regent’s Park: Shucked
Training: ArtsEd (Awarded the Andrew Lloyd Webber Foundation Scholarship).
Theatre includes: Little Shop Of Horrors (Sheffield Crucible); Kiss Me, Kate (Barbican); Hamilton (Victoria Palace Theatre); Oklahoma! (Wyndham’s Theatre); Dick Whittington (National Theatre); Bad Cinderella (Gillian Lynne Theatre); MILLENNIALS (The Other Palace); The Wizard of Oz (London Palladium).
Workshops include: The Children’s Inquiry (National Theatre Studio); The Enormous Crocodile (Roald Dahl Story Company); Mandela (The Young Vic).
Film includes: Wicked: Part 2 (Universal Pictures).
Georgina was nominated for Best Recent Graduate at the 2021 Black British Theatre Awards.
Eve Parsons | Onstage Swing
Training: The Dance School of Scotland, Performance Preparation Academy.
Theatre includes: Singin’ In The Rain (Dubai & China Tour); Beetlejuicethe Musical (NCL); Summer: The Donna Summer Musical (NCL); Cinderella (Lyceum, Crewe); L.O.L Surprise Live VIP Party (UK Arena Tour); Sleeping Beauty (Yvonne Arnaud).
Bethany Tennick | Ensemble
Training:Royal Conservatoire of Scotland.
Theatre Includes: Islander (National Tour, off West End, off Broadway); A Mother’s Song (Macrobert Arts Centre); Mother Goose (Perth Theatre); Babs (A Play, a Pie, and a Pint/Traverse Theatre); Cinderella, Jack and the Beanstalk, Sleeping Beauty (Ayr Gaiety); LAND (Gilded Balloon); Armour, Burns: A Lost Legacy (Gilded Balloon); HYSTERICA (Pitlochry Festival Theatre/Capital Theatres).
Films include:Our Ladies.
Dale White | Offstage Swing & Dance Co-Captain
For Regent’s Park: Jesus Christ Superstar.
Theatre credits include:Aida (Royal Opera House); Guys & Dolls (Bridge Theatre); West Side Story (Leicester Curve); Grease (UK Tour); Merry Widow (ENO); Aladdin, Jack and the Beanstalk (Hackney Empire); Strictly Ballroom (Piccadilly Theatre, Mirvish Theatre (Toronto) and West Yorkshire Playhouse); Bugsy Malone (Lyric Hammersmith); Starlight Express (Bochum Germany); Homo Alone (The Other Palace); What’s New Pussycat (Birmingham Rep); Grease (The Dominion).
TV includes: Olivier Awards 2016 (Royal Opera House); Sunday Night at the Palladium; The One Show.
Liam Wrate | Ensemble
Training: The Dance School of Scotland, Millennium Performing Arts.
Theatre includes: Singin’ in the Rain (International Tour); Hello, Dolly! (London Palladium); Crazy For You (Gillian Lynne Theatre); 42nd Street (Théâtre du Châtelet, Paris); Anything Goes (Barbican); Mame (Hope Mill Theatre); On the Town (Japan); Follies (National Theatre); 42nd Street (Theatre Royal Drury Lane); My Fair Lady (Teatro di San Carlo, Naples); An American in Paris (Dominion Theatre & Théâtre du Châtelet, Paris); Kiss Me, Kate (Grand Theatre, Luxembourg); Guys and Dolls (Savoy & Phoenix Theatre); Wicked (Apollo Victoria); The Book of Mormon (Prince of Wales – Original Cast); White Christmas (The Lowry, Salford); Call Me Madam (Union Theatre); Wonderful Town (UK Tour); The Wizard of Oz (London Palladium – Original Cast); Chicago (Cambridge Theatre); Mary Poppins (UK Tour); Cats (UK Tour); Me and My Girl (UK Tour); Anything Goes (UK Tour); Billy Elliot (Victoria Palace); On the Town (London Coliseum).
Film credits include: Man and Witch.
BOX OFFICE INFORMATION
Box Office 0333 400 3562* | openairtheatre.com
Inner Circle, Regent’s Park, London, NW1 4NU
* Lines open Monday – Sunday, 10am – 4pm. A £1.50 per transaction booking fee applies. 0333 numbers are charged at the same rate as calls to 01 and 02 numbers as regulated by Ofcom. Please check with your provider for further details.
Visit openairtheatre.com for latest ticket prices, concessions and discounts.
Originally co-produced by Regent’s Park Open Air Theatre, Roald Dahl Story Company and Leeds Playhouse
The family musical based on Roald Dahl’s
THE ENORMOUS CROCODILE
Friday 15 August – Sunday 7 September 2025
Access Performances:
BSL Interpreted: Wednesday 27 August, 2pm
Audio Described: Sunday 7 September, 2pm
Relaxed: Sunday 31 August, 10.30am
Age Recommend: 3+
Tickets from: £15
OPEN AIR THEATRE FESTIVAL: COMEDY TAKEOVER
Sunday 14 September 2025
OPEN AIR THEATRE FESTIVAL: MUSIC TAKEOVER
Tuesday 23 – Saturday 27 September 2025
WEST END/ON TOUR
David Ian for Crossroads Live and Work Light Productions present
The Regent’s Park Open Air Theatre production of
JESUS CHRIST SUPERSTAR
Australia Tour until July 2025
Trafalgar Theatre Productions, Regent’s Park Open Air Theatre and AF Creative Media
in association with the Barbican present
The Regent’s Park Open Air Theatre production of
FIDDLER ON THE ROOF
UK & Ireland Tour until January 2026
Runaway Entertainment present
101 DALMATIANS
Reimagined from the 2022 Regent’s Park Open Air Theatre production
Until Saturday 30 August 2025
Eventim Apollo, London
ABOUT REGENT’S PARK OPEN AIR THEATRE
Established in 1932, the multi-award-winning Regent’s Park Open Air Theatre is one of the largest theatres in London (at a capacity of 1,304). Passionate about producing popular, enriching and unexpected theatre that provides a lens into the here and now, the scale and ambition of our productions together with our magical outdoor setting, makes us unique in the capital’s cultural landscape. In 2024 we welcomed over 180,000 people to our 27-week summer season.
Drew McOnie assumed the role of Artistic Director in January 2024, and James Pidgeon was appointed Executive Director in 2021.
Over the last fifteen years, our productions have won ten Olivier Awards, ten WhatsOnStage Awards, and four Evening Standard Awards. We were named London Theatre of the Year in 2017 by The Stage, and received the Highly Commended Award for London Theatre of the Year in 2021. Our productions have toured the UK, and have transferred to both the West End and the United States. Our 2016 revival of Jesus Christ Superstar has just finished tours of both the UK and North America and is currently touring Australia. Our Olivier Award-winning revival of Fiddler on the Roof following its run at the Barbican Centre, is playing a UK & Ireland tour.
As a registered charity that receives no regular public subsidy, we rely entirely on earned income and charitable contributions. Nevertheless, we have maintained 36,000 tickets at £15 across the whole of 2025’s summer season, our BREEZE scheme enables those aged 18-25 to buy tickets for £10, and we regularly work with local charities. Each year, on average, we subsidise tickets for 6,000 school pupils.
Food and drink plays a significant role in the Open Air Theatre experience, with our in-house bars and restaurants including Covered Dining (certified as a Sustainably Run Restaurant), The Grill and The Pizza Oven. We also have our own picnic lawn and the West End’s longest bar!
Regent’s Park Open Air Theatre has become one of the most independently sustainable and financially successful producing theatres in the country, and we’re proud to embark on the next stage of our vision with ever-increasing artistic ambition and entrepreneurial spirit.
Eventim Apollo Theatre, London – until 30th August 2025
Reviewed by Ava Clarkson
3***
The Eventim Apollo is used to being the venue for large crowds, big names and big productions. Opened in 1932, this Art Deco venue seats 3,487 and has seen the likes of The Beatles, Bob Marley and BBC’s Live at the Apollo grace its stage. Tonight in a flurry of black and white spots, the musical version of Dodie Smith’s much loved book, The 101 Dalmatians, comes to life.
This new musical has been written by Douglas Hodge and Johnny McKnight from a stage adaptation by Zinnie Harris and directed by Bill Buckhurst. The musical version stays true to the storyline with the main character and villain of the play, Cruella De Vil (Sydnie Christmas) stealing all the puppies in town to make a fur coat. She is helped in her plan by her hapless nephews Casper (Jeff Brazier) and Jasper (Aston Merrygold) as they target local couple Danielle (Laura Baldwin) and Tom (Samuel Thomas) as their dogs Perdi (Emma Thornett) and Pongo (Linford Johnson) have 15 adorable dalmatian puppies.
The opening number “Take me home” introduces us to the amazing puppets designed by Jimmy Grimes. They are bright and colorful and each operated individually by a singing performer. The location of the dog’s home is where we meet Danielle, who rescues Perdi from the pound. The hand controlled dalmatian puppets move fluidly around the stage and are surprisingly expressive in their movements. The children in the audience delight in the “bum sniffing” as each dog meets each other and ask them to “check out the under-carriage”.
We are soon introduced to the villain of the story – Cruella. Sydnie Christmas is outstanding in this role. The previous Britain’s Got Talent winner in 2024, she owns the stage with her baddie in animal print campness. She is loud and brash and her voice is breathtaking. Her facial expressions, the determined movement around the stage and her over-the-top take on Cruella is the stand out performance of the show. Unfortunately her nephews appear lost on stage and child-like in a foolish and silly kind of way. Their jokes seemed ineffective and fell flat on the audience.
The set and the costumes designed by David Woodhead and Sarah Mercade are rich in colour and move easily between Danielle and Tom’s comfy home, to Cruella’s lair via a charming country pub setting “The Hair of the Dog”. Scenes where Cruella drives and crashes her car on stage and a group of dogs on a roof looking for the stolen puppies are clever in their delivery and the props are a triumph throughout.
As the show progresses, we are sung the story by the puppeteers. There are no catchy tunes and the words are hard to understand. This tarnishes the second half throughout to the point it is difficult to follow and we are reliant solely on the movement around the stage. The choreography by Lucy Hind guides us as we see the chaos 101 puppies bring. The puppeteers are skillful in their craft, as they weave the giant dogs between each other, leaping and moving with a dog-like demeanour.
As the show concludes, the evil Cruella is defeated in spectacular on stage fashion and the puppies are returned to their rightful place. As a bonus treat, a beautiful doe-eyed real life puppy is brought briefly on stage to the oo’s and ah’s of the entire audience.
This production is set to run for 6 weeks. If you are a fan of the book, animated film or the 1996 Disney film, the story is true to the script. The children in the audience were captivated, indeed a small child in front of me was close to tears and then full of joy leaping off his seat. This does not have the pedigree to become a long running west end play, the production seemed overshadowed by the lack of understanding the singing, the songs were not catchy and the cast seemed laboured at times. But if you wanted to stray in and see a light hearted show with an outstanding thoroughbred villain, this is the pawfect night out.
