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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

Leicester Square Theatre – until Sunday 27^th July 2025

Reviewed by Carly 

4****

This production follows Wilko Johnson (Johnson Willis) – Dr Feelgood guitarist and iconic musician who, in early 2013 was told he had just 12 months to live, due to cancer. This managed to fuel his newly energised thirst for life, where Johnson went on a farewell tour which, surprisingly, happened not to be his last. This serves as the storyline for the show as a whole, taking the audience on Johnson’s life story and career.

Seemingly, this show is supposed to be about a man learning to appreciate, value and love life in the face of death – a true story of a man who supposedly had his last tour to say goodbye but his life expectancy was longer than originally anticipated. A fascinating story for all. However, this production isn’t exactly that – the first act only retelling the rock legend’s life before his cancer diagnosis. We don’t actually see him living with the diagnosis until act two. The first act falling slightly flat at times, perhaps even appearing as an excuse to play a few of Wilko’s greatest hits.

On a more positive aspect, Willis delivers a compelling performance as Wilko. Channelling the guitarist with charming precision while simultaneously embodying Wilko’s blend of swagger, vulnerability and eccentricity. Not only is Willis a passionate actor but a skilled guitarist, adding a layer of authenticity to the role. Everyone in the cast was equally impressive, each actor clearly incredibly talented, a strong performer and an accomplished musician.

The production has the unique element of the inclusion of special guest performers at each performance. On the night I attended the show, Simon Johnson – Wilko’s son – performed, having the whole audience up and dancing to the music. The presence of the special guest performers adds a tangible sense of history and legacy to the show that night.

Whether you’re a lifelong fan of Wilko Johnson and Dr Feelgood, or coming to the story for the first time; the show is a fun and upbeat production to see.

Emerald Theatre -until 28 September 2025

Reviewed by Claire Roderick

3***

The Emerald Theatre opens with a crowd-pleasing burlesque extravaganza directed by the legendary Dita Von Teese. With dining options and plentiful bars, the audience can enjoy pre-show live acts and after-show partying through the night.

Unfortunately, rather than a host and a parade of acts, Diamonds and Dust has a framing device of tough Western gal Miss Kitty LeRoy telling the story of her life – multiple husbands, saloons and the capricious Lady Luck. Faye Tozer does her best with the turgid and repetitive book in the role, but this is the weakest part of the show, even with the help of Kitty’s deadly cool card slingers (Lady Lydia and Zoë Marshall) and the appearance of the acts comes as a relief. Tozer thankfully gets to sing and dance in a few numbers and shows her true charisma.

Themed acts relating to events in Kitty LeRoy’s life are where the show sparks to life. Creator and director Tosca Rivola shines as she whips up a storm with a captive audience member and performs on the Cyr wheel with slick nonchalance. Zinzile Tshuma dazzles as the Diamond Dame with stunning aerial work on a saddle above the stage. Manny Tsakanika swings from the chandelier oozing charisma and Candace Cane, Isabelle Bosher, Bethany Chan, Sienna Walker, Nico Wirachman and Cristian Liberti dance up a storm and are all a joy to watch.

The burlesque routines are all coquettishly slick with Matt Nicholson’s choreography full of humour and spectacle. The costumes are gorgeous: with Jenny Packham’s couture designs, footwear from Christian Louboutin, wigs, hair and makeup by Sam Cox and millinery from Hood London the cast are dressed to the nines. Dita Von Teese’s appearances as Lady Luck are the highlights of the show. Whether dressed as a raunchy cowgirl or in a gown straight out of an old school MGM musical, she is absolutely breathtaking and has the audience in the palm of her hands. Her cowgirl routine on a bucking bronco/pink chez longue hybrid is worth the ticket price alone. And that is the major problem with the show – if there were more acts and less of Kitty LeRoy’s narration, this could be a brilliant production. Diamonds and Dust is an ideal show for a fun-filled night out with a chance to see superstars of burlesque.

Curve Theatre, Leicester – until 19 July 2025

Reviewed by Leanne W

4****

This brand-new musical explores the relationships of three generations of women and their coming back together after a period of separation. Elaine (Lisa Maxwell is diagnosed with Alzheimer’s and moves in with her daughter Beverley (Rebecca Trehearn) and husband Rick (Nuno Queimado). As the family are starting to adjust Beverly’s daughter Emma (Katie Cailean) – a non-speaking autistic teenager with synaesthesia – also unexpectedly moves in under tragic circumstance. This is a story of confronting the past in order to create a future for all of the family.

The set for this production (Andrzej Goulding) is fabulous, a neutrally coloured living room and kitchen space which, by way of projections, explores Emma’s colourful world. The use of this was done very well, without the need to share a picture to bring a scene to life (a pet hate of mine). Additionally, the moving of the staging created areas simply and effectively to become areas outside of the home. Dotted around are blank canvases which are used effectively as the show progresses.

Katie Cailean was able to capture the neuro-diverse and non-verbal character very authentically and seamlessly slipped to her songs where she gave us a glimpse of Emma inside her mind. I enjoyed that the role of Elaine was played to be fun and vibrant aging woman, and not as a doddery old lady as it might have been. Lisa Maxwell capturing the spirit of the woman and her frustration at her deteriorating in her condition. Rebecca Trehearn played well the role of Beverly, caught in the middle, however with this only being a single act musical she was unable to fully develop the role as the story moved too quick for us to see the dept of her journey to this point in time. Husband Rick, played by Nuno Queimado, who finds his home filling up around him is the bringer of some nice moments of comic relief. Supported by young and fun Hugo Rolland as Tyler and homely social worker Alicia, Tania Mathurin.

The music however is what lets this musical down, it would work better as a play. The music wasn’t memorable and, other than providing Emma with her platform to speak and invite us into her silent world, adds little to the story.

The story moves quickly and is, for the most part, believable, however it could benefit from some further development. In particular, developing the role of Beverley, allowing us to empathise with the character more. A few moments where some additional research into the conditions of the characters may also benefit the story some more.

In all, I did enjoy the show. I don’t think it will make any great waves, but it was a pleasant story with excellent visuals and a nice message behind it.

JOHANNES RADEBE

TO MAKE WEST END MUSICAL DEBUT IN

KINKY BOOTS

AT LONDON COLISEUM

17 MARCH 2026 – 11 JULY 2026

Following a record-breaking UK, Ireland and European tour, ROYO, Runaway Entertainment and Curve are delighted to announce Johannes Radebe will make his West End debut, reprising the role of Lola, in the brand-new production of the Olivier, Tony® and Grammy® Award-winning KINKY BOOTS The Musical, which will strut into the spectacular London Coliseum for 17 weeks from 17 March 2026 to 11 July 2026, with a week of previews at Curve, Leicester from 3 March 2026. Tickets will go on sale on 15 July 2025.

KINKY BOOTS The Musical features a book by Harvey Fierstein and a score by Cyndi Lauper. It will be directed by Curve’s Artistic Director Nikolai Foster (My Fair Lady, A Chorus Line, Billy Elliot).

KINKY BOOTS The Musical is a Broadway and West End phenomenon based on a true story and movie of the same name released in 2005.

When Charlie Price inherits his family’s failing shoe factory, saving the company – and his love life – feels like an impossibly tall order. Until, that is, he meets Lola, the sparkling, larger-than-life drag queen with the unlikeliest of answers. Can they work together to reboot the business and save the day? Perhaps they just need to help each other – and everyone around them – to stand a little taller…

A glorious celebration of friendship and individuality, let Kinky Boots raise you up higher than ever at the legendary London Coliseum for 17 weeks only.

Johannes Radebe said: I left my township in Zamdela at the age of 21 to dance in the ensemble on a cruise ship. Every night we did ABBA. That was my dream come true. Never then, nor since then, was it in my wildest dreams that I would have the opportunity to star in a musical in London’s West End. And not just any musical – my favourite musical. Kinky Boots. My involvement in Kinky Boots has been six years in the making, and Lola was the only role I ever wanted to play. Harvey Fierstein and Cyndi Lauper have written a show about accepting people for who they are, and the love our production has received across the UK has been overwhelming, beautiful and life changing. The theatre community has welcomed me, and I am having the time of my life. It is the greatest honour and responsibility to bring this show to the world famous, iconic London Coliseum. I’ll be walking in the footsteps of theatre and entertainment giants who have performed on that stage, and I’ll be doing it in my own sequined pair of red leather Kinky Boots. I cannot wait! Thank you and see you next year.

Book writer Harvey Fierstein said: Just knowing that Kinky Boots is returning to its birthplace gives me goosebumps! Since launching this show I’ve seen dozens of performances in multiple iterations spread its magical joy to hundreds of thousands of theater goers and the anticipation of this new production has me hanging from the edge of my seat. I can’t wait!

Composer and lyricist Cyndi Lauper said: I’m so thrilled that Kinky Boots is returning home to London!  When audiences leave the show, they feel happy and uplifted, and that’s something the world could really use right now. It’s so wonderful that this musical keeps bringing joy and acceptance to people around the world.

Born and talent-nurtured in Zamdela Sasolburg, Johannes Radebe started dancing at the tender age of 7, fascinated by the discipline and the glamour of Ballroom and Latin. At the age of 21, Johannes left South Africa to work on the internationally renowned Italian cruise liner Costa and in 2018, he was invited to join the debut season of the international hit show, Dancing With The Stars, in South Africa.

Johannes toured the world in International dance show Burn The Floor before being head-hunted by Strictly Come Dancing in the UK and moved to London to dance on the flagship BBC show, from which he has become the breakout star. In 2021, he was partnered with John Whaite and together reached the final in this groundbreaking same-sex partnership. Johannes and John won ‘Media Moment of the Year’ for their stunning series at the LGBT Awards and the ‘Game Changer Award’ at the Attitude Awards. Johannes was also awarded ‘The Inspirational Public Figure Award’ at the Ethnicity Awards.

His debut solo UK Tour Freedom and follow-up show Freedom Unleashed sold out across the UK, including a week in London’s West End at the Peacock Theatre, whilst his 2024 UK tour, House of Jojo, played to packed houses including 2 shows at the London Palladium.

2022 saw his film choreography debut with the feature Pretty Red Dress (Teng Teng Films, in collaboration with the BFI, BBC Film, and the Sundance Institute) which premiered at London Film Festival. In 2023, he also was asked to be a Co-Producer on the Olivier nominated A Strange Loop at The Barbican.

His first book Jojo: Finally Home was published on 7 September 2023 and became a Sunday Times best-seller. South African film company Arrested Industries run by Anthony Kimble, Argo Films and Oscar-nominated Helena Spring Films, have optioned Jojo: Finally Home for a film.

Johannes made his musical theatre debut earlier this year playing the iconic role of Lola in KINKY BOOTS, which is currently touring the UK and Ireland.

KINKY BOOTS is directed by Nikolai Foster with choreography by Leah Hill, set and costume design by Robert Jones, Lola and the Angels’ costume design by Tom Rogers musical supervision by George Dyer, lighting design by Ben Cracknell, sound design by Adam Fisher, casting by Harry Blumenau CDG CDA, wigs, hair and make-up design by Campbell Young Associates, with production management by Setting Line.

KINKY BOOTS is produced by ROYO, Runaway Entertainment and Curve.

Website: KinkyBootsLondon.com

Socials: @kinkyboots_uk

KINKY BOOTS  

Book by Harvey Fierstein

Music And Lyrics by Cyndi Lauper  

Original Broadway Production Directed and Choreographed by Jerry Mitchell  

Based on the Miramax motion picture Kinky Boots Written by Geoff Deane and Tim Firth 

Presented by arrangement with Music Theatre International

LISTINGS INFORMATION

17 March – 11 July 2026

London Coliseum

St Martin’s Lane

London

WC2N 4ES

Curve preview performances: Tuesday – Saturday 7:30pm

Preview performances: Tuesday – Saturday 7:30pm, Thursday and Saturday 2:30pm

Performances: Monday – Saturday 7:30pm, Thursday and Saturday 2:30pm

Tickets from: £20

Box Office: 020 7845 9300