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Crucible Theatre, Sheffield – July 15th 2025

Reviewed by Sharon Farley

5*****

Those of us old enough to remember Kate Bush bursting onto our screens in 1978 with the now iconic ‘Wuthering Heights’ will recall how very striking everything about it was; the lyrics, the theme, the theatrical performance was all a world away from the prog rockers and disco divas we were accustomed to seeing top the charts. It was strange and wonderful, and Bush herself was enigmatic and did not linger in the public eye. Despite a career that spans five decades, Bush’s live performances have been extremely rare, leaving a hunger that fans have been eager to satiate.

Enter stage left An Evening Without Kate Bush, performed by Sarah-Louise Young (Julie Madly Deeply, Fascinating Aïda, Cabaret Whore) and created with Russell Lucas (Third Class: A Titanic Story, The Fat Man’s Wife, The Understudy), respectively. Although the show was conceived to provide Bush fans with an opportunity to enjoy live renditions of her work, this is by no means a mere tribute act. Instead it is a delightfully silly communal celebration of all things Bush – the myth and the music. Young’s boundless energy fills the room, drawing in one and all, whether lifelong Bush fans, the newly converted, or just casual listeners.

Having toured internationally since 2019, this award-winning show has itself become something of a cult classic, approved and followed by the ‘Fish People’, as Bush fans are known. The hour and a half of stage time is packed full of Bush trivia, audience participation, creative costume changes, artistic analysis, and, of course, performances of both popular favourites and rare bootlegs. It is very much a mutual experience; Young leads and the audience willingly follows. Her enthusiasm for the role and performance is contagious, resulting in not just a highly entertaining evening, but also the collective pulse of kinetic shared enjoyment.

Ultimately, it is a visceral demonstration of the unifying power of music; whether your particular flavour is the throbbing pace of Black Sabbath or the eclectic creations of a unique artist such as Kate Bush, music brings humans together like nothing else. Frankly, after seeing this, I’m surprised there aren’t more such shows. Young and Lucas have tapped into something special that’s as much fun as dancing on your kitchen floor with your best friend. I don’t know how they did it, but I’m glad they did.

Catch this performance on its current UK tour until November.

Theatre Royal Haymarket – until 27 September 2025

Reviewed by Claire Roderick

5*****

Transferring to the West End after a sell-out run at the National last year, Beth Steel’s brilliant portrayal of family and culture clashes loses none of its bite and soul.

Set in a Nottinghamshire town that was once a mining community but now relies on a huge warehouse for jobs, Steel addresses political issues and prejudices with a deft touch as these instantly recognisable and relatable characters interact. It’s the day of Sylvia (Sinéad Matthews) and Marek’s (Julian Kostov) wedding, and her family are preparing for the big bash. Rumblings of resentments old and new are ever-present amongst the usual pre-wedding nervousness and hilarity between Sylvia and her two sisters.

The action then skips to the reception – where Aunty Carol’s (Dorothy Atkinson) outrage at not being on the top table is the least of the drama, as the drink flows and the casual xenophobic barbed comments that Sylvia lets pass begin to rile Marek. Marek is Polish, and most of the warehouse and manual workers in the town are also Polish, while Hazel’s (Lucy Black) husband has been let go and can’t find a job. Marek’s descriptions of the horrible jobs he’s had to earn enough to start his own business don’t go down well with Hazel and his offer of a job to John is, to her, the final insult. The brilliant line from Marek that she can be a victim or superior, not both sums up the frustration of facing this prejudice on a daily basis.

As well as the politics of post-industrialisation and immigration, Steel also reminds us of the scars from the past – Sylvia’s father and uncle haven’t spoken for decades – and the effects of secrets and lies on the present as teenager Leane (Ruby Thompson) unthinkingly punishes herself and her family, leading to a devastating final scene when truths are finally shared. The oh so familiar drunken shenanigans at the wedding are immediately relatable – it’s England, so rain obviously forces a change of plans. Skilfully directed by Bijan Sheibani, the onstage seating helps with the intimacy of the play – making the audience feel that we are guests at the wedding, and the faux pas, accusations and revelations even more shocking.

The incredible cast are utterly believable as the fractured family. Lucy Black is bristling with anger, fear and frustration as Hazel – just doing the right thing and holding everything together for the family. Aisling Loftus is phenomenal as Maggie, the black sheep of the family, returning after a mysterious disappearance, burning with love for her sisters but carrying a huge amount of guilt and pain. Sinéad Matthews is wonderful as the sweet and pliant Sylvia, and Dorothy Atkinson steals the show as mad Aunty Carol – there’s one in every family! – brilliantly showing more glimpses of her lonely soul as she gets more and more drunk and more and more outrageous.

Beth Steel’s modern masterpiece is hilarious and heartbreaking: beautifully paced as emotions heighten and staged with flair. Political and personal, making you gasp in horror and cry with laughter, this is a wedding you shouldn’t miss.

Southwark Playhouse – until 16 August 2025

Reviewed by Claire Roderick

4****

Steven (Ed Coleman) is working successfully in theatre, thinking that he is managing his day drinking and fooling everybody around him, until eventually he can’t. Sean Daniels’ autobiographical play about alcoholism is hard hitting and very funny – Daniels states that he wants to destroy shame through comedy – as Steven relates the events of his life.

From growing up in a Mormon family and his first drink, through teenage drunken scrapes that he just about got away with, through college keggers to landing his job, Steven’s model of how to manage his drinking and his work seemed to have been perfected. He needs a drink to be social, to be confident, to have sex – he doesn’t understand how people can put themselves out there without the help of alcohol. Colleagues and friends who know his addiction cover for him as he promises to get help, but he keeps hitting a wall at 70 days and eventually returns to AA for yet another white chip – acknowledging a commitment to start or renew a commitment to sobriety.

Car crashes, blackouts, lost days and opportunities are all portrayed with dark humour and a matter-of-factness that makes the horror of what is happening even worse. Steven’s relationships with friends and family are all thrown away, and his sense of loss is palpable, but only increases his need to drink. As he finally hits rock bottom the sigh when the audience realise who he reaches out to is wonderful to hear – Daniel’s writing, even taking us at such breakneck speed through Steven’s life, has created a beautifully broken character that we want to see heal. When the science of addiction is actually explained to him Steven takes his first real steps towards recovery.

Ed Coleman is dynamic and charismatic as Steven, plumbing the depths and capturing the euphoria of the character brilliantly. Mara Allen and Ashlee Irish play multiple people in Steven’s life, and the voices in his head, with great skill and characterisation.

Slickly directed by Matt Ryan, this stripped back production directs all focus on the actors – and the stage manager (Rosie Morgan), sitting onstage and hitting or missing cues depending on Steven’s state of mind. Jamie Platt’s lighting and Max Pappenheim’s sound design mark Steven’s spirals brilliantly. Lee Newby’s set design has stacks of chairs are lined up against the wall – perhaps symbolising the number of futile meetings that Steven has attended – as Mara Allen and Ashlee Irish set up circles of chairs throughout the play.

Sean Daniels’ play is remarkably frank and funny. A sharp and clever account of alcoholism that will make you laugh and think. A must-see production.

BARD IN THE BOTANICS FESTIVAL, GLASGOW – UNTIL 2 AUGUST 2025

REVIEWED BY RACHEL FARRIER 

5*****

Bard in the Botanics is a Glasgow institution, a month long festival of theatre in Glasgow’s beautiful botanic gardens, with at least two Shakespeare plays each year. A tree-framed stage was the perfect setting for this year’s production of A Midsummer Night’s Dream. As the long light of a Scottish evening slowly faded, the fairy-light laden staged created an intimate and magical space for a glorious performance. Benjamin Keachie’s Puck welcomed us in with the perfect blend of mischief and wit as he snuck and leapt his way amongst the audience throughout (nabbing snacks from audience members along the way). His costume, and those of all the fairy characters, are beautifully reflective of the natural surroundings. 

The quartet of thwarted and unrequited lovers bring a tonne of youthful energy to their characters and Star Penders debut as a lovelorn and then suitably outraged Helena was a stand-out performance; she brought a hilarious Scottish lassie vibe to the role. 

Gordon Barr’s production sparkles with a nicely local take on Shakespeare’s classic and he shakes things up in a number of ways, including having Oberon fall in love/lust with Bottom, rather than Titania. James Boal as Oberon and Alan Steele at Bottom are a hilariously over the top pairing. Both actors are Bard in the Botanics regulars and Alan Steele, as usual, stole the show on a number of occasions with his ridiculous, pompous Bottom – I was not the only audience member weeping with laughter at his consideration and then sudden acceptance of Oberon’s enthusiastic advances. 

I have often felt that the play-within-a-play of Pyramus and Thisbe towards the end can be slightly tedious, but it was anything but that in this version; Hana Nadira’s performance of Robin Starvelings’s ‘Wall’ will not be forgotten for some time, and I especially enjoyed Noëlle Paterson’s take on the unwilling Francis Flute, in particular their irritable representation of the moon.

Whilst Carys Hobbs’ set is compact and beautifully natural, the use of the surrounding gardens are used to wonderful effect, especially during the scenes that are in the fairy-realm. As night falls, it felt as if the audience had merged to become part of this sparkling, magical production. There are only a handful of performances left, but get yourself a ticket if you can for an absolute midsummer treat, and check out the company’s other plays in the coming weeks. 

Birmingham Hippodrome – until 12th July 2025

Reviewed by Emma Millward

5*****

The Addams Family Musical embarks on a mini UK tour, with its first stop being Birmingham Hippodrome. Based on the 1938 comic strip by Charles Addams, it tells the story of a macabre American family. Although there have been numerous film and TV reboots, this show marked the first time it was turned into a musical. The show first opened on Broadway in April 2010, with music and lyrics by Andrew Lippa and book by Marshall Brickman and Rick Elice. This production is directed by Matthew White.

From the moment the audience was seated, we were waiting to hear the iconic clicks of the classic theme tune. When the moment finally arrived, the infamous disembodied hand ‘Thing’ appeared, and everybody joined in and clicked to the beat. We meet the entire Addams clan in a graveyard for their annual gathering of “The living, dead and undecided”. Gomez (Ricardo Afonso) and Morticia (Alexandra Burke) introduce us to the family with the hilarious ‘When You’re An Addams’, complete with a fun dance section. Uncle Fester (Clive Rowe) tells us that Wednesday (Lauren Jones) has fallen in love with a ‘normal’ boy, Lucas (Jacob Fowler) and he stops the Ancestors from returning to their graves, so they can help him at the dinner party that Wednesday has planned with Jacob’s parents, Mal Beineke (Dale Ripley) and Alice Beineke (Kara Lane). Wednesday soon confesses to Gomez that she intends to marry Lucas, but Gomez becomes caught in a web of lies when Wednesday insists that he doesn’t tell Morticia. Pugsley (Nicholas McLean), the youngest Addams child, is concerned that he will lose his beloved sister and, hoping to break up the couple, steals an Acrimonium serum from Grandma (played with exceptionally dark glee by Lesley Joseph). Unfortunately, he ends up giving the potion to Alice, who declares the truth about her loveless marriage to Mal, in the showstopping song ‘Waiting’, where Kara Lane showcases her amazing vocals as the repressed Alice.

The Addams Family isn’t complete without Lurch (Dickon Gough), the towering, monosyllabic Butler. Gough had the audience in stitches from his first grunt! His exaggerated slow steps and movement around the stage just added to the comedy. Although Gough is a man of few words in the show, he became one of my favourite characters to watch, even when he was just in the background. The whole cast works so well together. The chemistry between Ricardo Afonso and Alexandra Burke is sizzling. Lauren Jones and Jacob Fowler are excellent at portraying the slightly awkward, but touching connection between Wednesday and Lucas. Clive Rowe gives an outstanding performance as Uncle Fester, especially during his heartfelt ballad to his beloved moon.

The haunted mansion set design by Diego Pitarch combined with lighting by Ben Cracknell was deliciously Gothic and atmospheric. The choreography by Alistair David was always tight and precise, especially during Gomez and Morticia’s exquisite tango. The music from the live orchestra produced a beautiful score, with songs I am sure I will have stuck in my head for days to come!

There are a few moments where the jokes are a little risqué, but I think most of these will go over the heads of any children watching the show. During this performance, an audience disruption occurred during the second act, Ricardo Afonso and Lauren Jones, who were onstage at the time, and the Hippodrome team handled the situation professionally and restarted the scene as soon as possible. Overall, this fun-filled, laugh-out-loud production is enjoyable for the whole family this summer.

– The UK tour continues onto Leicester, Salford, Canterbury and Blackpool. 

GROSVENOR PARK OPEN AIR THEATRE – UNTIL 31ST AUGUST 2025

REVIEWED BY MIA BOWEN

4****

This summer, the Grosvenor Park Open Air Theatre is celebrating the 250th anniversary of Jane Austen with the return of the beloved production, Pride and Prejudice. Due to popular demand, Deborah McAndrew and Conrad Nelson have once again collaborated following their successful run in 2021. This adaptation combines heartfelt performances and imaginative direction to deliver an unforgettable theatrical experience.

Originally published in 1813, it is regarded as one of the most cherished pieces of English literature, celebrated for its sharp wit, insightful social commentary, and well-crafted characterisation.

As soon as the show begins, the intimate, in-the-round staging immerses the audience in the vibrant world of the Bennet family and their social circle. The story centres on Elizabeth Bennet, one of five daughters from a country gentleman, as she navigates the challenges of love, societal expectations, and personal growth. When the wealthy Mr. Darcy enters the scene, Elizabeth’s early feelings of dislike begin to change as she learns more about him. Through this journey, Austen delves into the pressure to marry and the pitfalls of allowing pride and prejudice to influence our decisions.

This production features an exceptional ensemble, expertly blending experienced actors with emerging talent to create a vibrant and entertaining experience. In last night’s performance, Ella Clancy and Amy Hope-Thompson made an impressive debut. The entire cast delivered a lively and versatile performance, showcasing remarkable interpretations that truly capture the complexities of Austen’s characters.

Howard Chadwick shines as Lady Catherine de Bourgh in a creative gender-swapped portrayal that has been well received. This innovative casting adds a unique comedic twist to the role. Chadwick embraces the character’s high-handed nature, presenting Lady Catherine as an over-the-top figure who commands attention on stage. The performance is full of energy and humour, ensuring that the character stands out and remains entertaining for the audience throughout the show.

Another memorable performance was Ethan Reid’s portrayal of Mr Collins. Reid deliberately exaggerates his character, infusing it with comedy that contrasts sharply with his interpretation of the reserved Mr Darcy. Reid’s dual role demands that he transitions seamlessly between the stiff, pompous Collins and the restrained Darcy, demonstrating a delivery that is both technically skilled and charismatic.

Jess Curtis’s costume design exemplifies a masterful blend of Regency authenticity and theatrical practicality. Director Conrad Nelson adopts a playful yet respectful approach to Austen’s original social satire, skillfully incorporating music and humour into the narrative.

Every summer, I eagerly anticipate the vibrant atmosphere of Grosvenor Park, which comes to life with live theatre under the stars. Nestled within its lush Victorian grounds, the intimate in-the-round wooden theatre is encircled by trees and natural beauty. The addition of fairy lights, canopy seating, and the surrounding parkland creates a captivating atmosphere that enhances the intimacy and immediacy of the storytelling. The natural surroundings further contribute to the charm of the English countryside.

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.