Home

FULL CAST ANNOUNCED

AS THE CRITICALLY ACCLAIMED BROADWAY AND WEST END PRODUCTION OF HARPER LEE’S

TO KILL A MOCKINGBIRD

EMBARKS ON ITS FIRST EVER TOUR OF THE UK AND IRELAND
FROM SEPTEMBER 2025

RICHARD COYLE RETURNS TO THE ROLE OF ATTICUS FINCH
FOLLOWING A CELEBRATED RUN IN THE WEST END

ADAPTED FOR THE STAGE BY THE OSCAR-WINNING AARON SORKIN

DIRECTED BY TONY AWARD-WINNING BARTLETT SHER

mockingbirdplay.com

Full casting is announced today for the first ever UK & Ireland tour of Aaron Sorkin’s riveting stage adaptation of Harper Lee’s To Kill a Mockingbird, the seminal American novel about racial injustice and childhood innocence that became a Broadway and West End sensation with sell-out seasons on both sides of the Atlantic.

Acclaimed stage and screen actor Richard Coyle (The Player Kings, Macbeth, Fantastic Beasts: Secrets of Dumbledore) returns to this iconic production as Atticus Finch, reprising the role he played to great critical acclaim in the 2022 West End Production.

Coyle will be joined by Anna Munden as Scout Finch, Gabriel Scott as Jem Finch, Dylan Malyn as Dill Harris, Andrea Davy as Calpurnia, Stephen Boxer as Judge Taylor, Aaron Shosanya as Tom Robinson, Oscar Pearce as Bob Ewell, Evie Hargreaves as Mayella Ewell, Richard Dempsey as Horace Gilmer, Sarah Finigan as Mrs. Dubose, Phillipa Flynn as Miss Stephanie / Dill’s Mother, Harry Attwell as Mr. Cunningham / Boo (Arthur) Radley, Colin R Campbell as Sheriff Heck Tate and Simon Hepworth as Link Deas, with Paul Albertson, James Mitchell, Jonathan Rubin, Cheryl Burniston, Charlotte Luxford, Oyin Orija, Tiwai Muza, Tom Brace-Jenkins, and John J. O’Hagan.

Opening at Leeds Playhouse where the production will play from 8 September – 4 October 2025, this riveting courtroom drama will tour to Nottingham, Edinburgh, Leicester, Glasgow, Bath, Cardiff, Eastbourne, Salford, Sheffield, Dublin, Belfast, Plymouth, Canterbury, Southampton, Birmingham, Newcastle, Norwich, Liverpool, and Milton Keynes.

For a full tour schedule and cast biographies, see mockingbirdplay.com

★★★★★
‘ALL RISE for this powerfully uplifting theatrical event’
Evening Standard

★★★★★

‘Mockingbird soars anew in Sorkin’s blistering adaptation. SPELLBINDING’
Daily Mail

★★★★★
‘POWERFUL. IMPORTANT. DEEPLY MOVING. I wept as I rose at the end’
Sunday Express

Set in 1934 Alabama, To Kill a Mockingbird was inspired by novelist Harper Lee’s own childhood and has sold more than 45 million copies worldwide. It won the Pulitzer Prize for Literature and was long at the top of the banned book lists.

Oscar winning writer Aaron Sorkin‘s stage adaptation of To Kill A Mockingbird is paired with Bartlett Sher’s visionary direction.

Aaron Sorkin has had many years of great success on stage and screen. He is perhaps best known as the creator and screenwriter of hit TV series The West Wing, and as the screenwriter for The Social Network, for which he received an Academy Award, Golden Globe, BAFTA and Writer’s Guild Award. He is also the writer-creator of The Newsroom and the author of the Academy Award-winning film A Few Good Men.

Bartlett Sher spent over ten years as Director of New York’s Lincoln Center Theater and has also headed acclaimed productions such as My Fair Lady, The King and I and South Pacific.

The creative team for To Kill a Mockingbird is completed by Louisa Muller (Associate Director), Miriam Buether (Set Designer), Ed Pierce (Design Supervisor), Ann Roth (Costume Designer), Jennifer Tipton (Lighting Designer), Scott Lehrer (Sound Designer), Adam Guettel (Original Score), Kimberley Grigsby (Musical Supervisor), Serena Hill CDG (Casting Director), Campbell Young Associates (Hair and Wigs Designer), Laurence Belcher (Resident Director), and Tavia Jefferson (Cultural Coordinator).

The UK & Ireland tour of To Kill a Mockingbird is presented by Jonathan Church Theatre Productions in association with Karl Sydow and Tulchin Bartner. Originally Produced on Broadway.

PLAYHOUSE, LIVERPOOL – UNTIL SATURDAY 5TH JULY 2025

REVIEWED BY MIA BOWEN

4****

There’s something truly captivating about experiencing a thriller live on stage—no special effects, no edits, just authentic performances and real-time suspense. Watching The Croft is like being transported into a haunting, secluded world where the past clings tightly.

Set in the chilling isolation of a remote Highland croft, this psychological thriller cleverly weaves themes of loss, trauma, and buried secrets. The narrative intertwines three timelines: present-day Laura with her older partner Suzanne, Laura’s mother Ruth in the early 2000s, and Enid, a 19th-century Highland woman confronting the Clearances.

As the storyline unfolds, the mood grows increasingly tense, immersing the audience in a gripping world where not everything is as it seems. With its intricately crafted plot, evocative staging, and powerful performances, this production provides a deeply moving experience that only live theatre can offer.

The play’s brilliance shines through its rich storytelling. Ali Milles’s writing skilfully weaves suspense by blending reality with the supernatural. Characters from various times connect, suggesting that haunting is not just about spirits but also about the emotional scars passed down through generations.

The beauty of The Croft comes not just from its captivating ambience but also from the depth and emotional richness of the performances. With a tight-knit cast playing various roles across different eras, the actors showcase remarkable versatility and skill. Even with the script’s transitions in time and mood, the performances maintain a sense of emotional continuity. The dedication of the cast keeps the audience engaged, even when the story delves into its eerie aspects. These aren’t merely ghostly figures; they are well-developed characters, brought to life with thoughtfulness and attention to detail.

In a play filled with atmosphere and emotional depth, Laura’s performance, portrayed by Gracie Follows, stands out the most. Her acting is captivating, but it’s her surprising and beautifully haunting singing that truly makes a lasting impact.

The Croft is an engaging and immersive thriller that provides a captivating theatrical experience. With its eerie setting, powerful performances, and clever use of lighting and sound, the play skilfully invites the audience into its multi-layered, time-shifting story. Although a few parts might leave you a bit puzzled, the suspense and emotional depth really stand out – a ghost story as much about a place as it is about people.

Lyceum Theatre, Sheffield – until July 5th 2025

Reviewed by Sharon Farley

5*****

Not only a brilliant homage to classic comedy, but also an interesting lens on questions within modern stand-up.

Amid the buzz of the stage lights and the hum of the crowd, the legend of Tommy Cooper (Damian Williams) emerges from the gloom, like an apparition in chicken feet. It’s a marvellous entrance, Williams (Billy Webb and Alfonso, Underneath the Arches, Laurel and Hardy) is a born entertainer, and a brave one at that. It takes real courage to don the persona of an icon like Tommy Cooper, whose very presence was his greatest comedic tool. Williams is soon joined by the equally talented Simon Cartwright (The Man Called Monkhouse, Toast of London, Howerd’s End) and Bob Golding (Twelfth Night, Hetty Feather, The Last Train to Christmas), who play the roles of Bob Monkhouse and Eric Morecambe to perfection, with exquisitely exaggerated mannerisms that evoke the presence of these comedy greats so well one would be forgiven for thinking they had been possessed by the spirits of the men themselves. We are gifted a peek behind the public image of these characters into their personal lives too, as snippets of information emerge amid their dressing room banter.

But this isn’t just a stroll down memory lane, accessible only to those in the know, over the course of the show the trio break down the essence of each one of these classic performers, their strengths, their methods, their style, their hooks, and, of course, deliver some of their best known lines. It serves as an introduction to comedy history for the uninitiated, as the performers cover not only the careers of the stars they portray, but also several of the old guard that came before them. They raise age old questions about whether it is the writer or performer of a joke that deserves the credit; this is an interesting discussion against the background of the modern stand-up scene, where performing another comedians material is considered blatant theft. Indeed, beneath the shadow of modern stand-up, many of these lines might seem corny, but comedy, like language and society, is organic and changes its form with the times. We might consider the work of Ben Elton, The Young Ones and The Comic Strip to be a bit dated now, but at the time they burst onto our screens they were considered utterly outrageous. Yet these shocking performances stood on the shoulders of Cooper, Monkhouse and Morecambe, just as they themselves did with those that paved the way before them. That these classic lines might be considered corny now opens yet another comedy controversy on what comedians can and can’t joke about, a hot topic in the age of ‘cancel culture’; it should remind us that comedy is at its finest when it is pushing boundaries, wherever a society may choose to place them.

Another important point about the humour in this performance, which is predictably abundant, is that it is quite specifically British, a point very much underlined by the cast in the second half, when the fourth wall is torn down and the performers address the audience as themselves in a highly entertaining and informative Q&A session, guided by Richard Hodder (A Game Called Malice, Foyle’s War, Teenage Health Freak). We hear about the history of the play and each performer’s deep personal connection with their character. It is very clear that it would be difficult for any understudy to stand in for one of these three, as they each have a long history of inhabiting their chosen character, and this shows in the quality of the performance.

They also discuss the drive individuals have to become comedians and the role of entertainers in society, enabling a cohesion within the audience as a result of a shared experience, but also as an antidote to life’s difficulties. We all owe a debt of gratitude to the performers we have enjoyed, and no better homage could be paid to Cooper, Monkhouse and Morecambe than has been done in this piece, which is truly a triumph on the part of writer Paul Hendy (The Terrorist Princess, The Choice, Diary of a C-list Celeb), who originally conceived and produced the idea as a short film. When it originally appeared as a play at the Edinburgh Fringe, it repeatedly sold out. The current set and lighting are a joy to behold.

As a comedy fan, I could easily spend another hour considering the nuances of this piece and its relevance in today’s comedy scene, but you have another 10 weeks to go and let this brilliant performance ignite those sparks in your own brain as it tours the UK. It really is a gem.

New Wimbledon Theatre- until Saturday 5^th July 2025

Reviewed by Brooke Burlinge

5*****

 New Wimbledon Theatre brings you the truly astounding and fantastic The Rocky Horror Show. A beloved production that happens to be very close to many people’s hearts, evident now that it’s reached its 50^th anniversary and is still insanely popular. Additionally, to this day it is still making history as the longest-running theatrical release of all time. The show is phenomenal with fishnets galore, a multitude of tight corsets and very exaggerated makeup! Alongside, the whole audience coming together as one community together, many dressed up and many knowing the iconic shoutouts for the audience participation.

The show is a non-stop whirlwind of cheeky humour and unexpected laughs. The Narrator (Nathan Caton) plays the part perfectly, with his witty comebacks at the audience, sharp commentary on a few current affairs here and there, as well as a few comments and his sexual humour leaving the audience caught off guard and laughing at many times.

Dr. Frank-N-Furter (Jason Donovan) was slightly maniacal and demented with a hint of charisma and glamour, the perfect combination for the character in my opinion. Quite frankly, Jason Donovan owned the show throughout, and I was living for every minute of it, as I’m sure the rest of the audience was. His powerful vocals and expressive performance pay tribute to the legendary Tim Curry, Yet Donovan brings his own, personal unique flair, delivering an unhinged version of the character. While keeping elements of Curry’s iconic accent and allure, Donovan blends it with his own twist.

The production starts with the iconic introduction song- Science Fiction Double Feature. Before we’re introduced to Brad (Alex Hetherington) and Janet (Stacey Monahan). Both actors played their characters particularly well, playing into the characterisation as well as the absurdity of the scenes. Stacey Monahan instantly gave me goosebumps as soon as she began to sing, emulating the character of Janet through her mannerisms and the innocence she adds at the beginning of the performance. I also found Alex Hetherington particularly charming in this show, his vocals complimenting Stacey Monahan’s flawlessly, enhancing the magical feel of the play.

I also loved Riff Raff (Job Greuter) and Magenta (Natasha Hoeberigs), both bringing a significant amount of humour, vocals and an appeal and magnetism about them. Both actors brought the fabulousness needed for the performance. In addition, Columbia (Jayme-Lee Zanoncelli) and Rocky (Morgan Jackson) just made the show all the more better. Jayme-Lee Zanoncelli wowed the audience with her tapping skills; I was completely outstanding by the sheer talent of that moment. Morgan Jackson play Rocky amazingly, adding tricks here and there- such as backflips, making the audience gasp in awe. We also had Eddie and Dr Scott (both played by Edward Bullingham) both characters were played very well, and although they weren’t on stage as much as other characters, left a certain wonder on the stage and show as a whole.

I also feel the need to mention the rest of the cast, without them the production would not be as remarkable as it was and I can certainly tell the amount of work each and every one of them has put into making this a memorable performance, and memorable it certainly was! Lastly, at the performance I went to, there was a sign language interpreter who I am unsure of his name but I must say he was wonderful, interacting with The Narrator at times in a extremely funny manner, he was tremendous and I felt the need to mention him as he was just as much part of the show as the rest of the cast.

This rendition of The Rocky Horror Show has evolved with the times, embracing modern sensibilities (as well as lunacies) while preserving the classic elements that all fans of Rocky Horror hold dear. It continues to encourage us to embrace our differences, celebrate individuality and simply just have a bit of fun. I’m honoured for this performance to have been my first time seeing The Rocky Horror Show in the theatre. Without a doubt, this is a show for many, whether it be a returning fan, or a newcomer. So, grab your lipstick, tighten your corset and let’s do the Time Warp again!

Festival Theatre, Malvern – until 5th July 2025

Reviewed by Courie Amado Juneau

5*****

On the surface, By Royal Appointment is a fascinating behind the scenes glimpse at the people around Queen Elizabeth II who crafted her style. But it’s much more than that…

It begins with The Dresser in full mourning (and some little indignation) at the speed the royal machine kicks into gear transitioning to the new monarch. The new Curator requests her help with information for an exhibition of the Queen’s wardrobe… Enter the Queen from the wings (in 1969) and off we go with a stage version of that exhibition (kind of).

Caroline Quentin (The Dresser) gave a powerhouse performance in a magnificent display of the entire range of her craft. For anyone acquainted with her work as Dorothy in Men Behaving Badly, you will know that her comedy credentials are without question – and they are on full display here in the subtle (and not so subtle) asides, looks and perfectly timed sarcastic coughs. But she’s a fine dramatic actress too, with commanding power coming through when in monologue about her loss of position, influence and, most importantly, her friend.

Anne Reid was every inch the regal Queen. I found her portrayal both authentic and moving. Rather uncannily like the original, I thoroughly enjoyed her witty and restrained performance (and I mean that as a compliment). She was particularly effective when depicting those moments where tragedy hit.

The two principle men in the cast (The Milliner played by James Dreyfus and The Designer by James Wilby) were equally superb. Each brought an interesting dynamic to the proceedings, both playing gay men grappling with their own character’s life issues. Dreyfus anguished telling of an episode during the AIDS epidemic was one of the emotional highlights while Wilby’s exploration of the complex relationship with his father gave us several more impactful scenes. Impressive acting from both actors, giving their characters true depth.

Gráinne Dromgoole rounded out the speaking cast as The Curator, used to great effect to introduce each new scene (a particular year) with some background from the era that was part social commentary and part history lesson. We were treated to facts on a diverse range of topics such as who was in the charts, what was on TV, the Yorkshire Ripper, school leaving age, clamping first being introduced in London… Very entertaining and many of them produced gasps or chuckles. This was a masterstroke of storytelling from writer Daisy Goodwin in, amazingly, her debut play! An impressive achievement and I can’t wait to see what she does next.

Apart from all the above, there are those costumes themselves which are truly outlandish. The Queen was certainly stylish and some of the outfits took me right back to my nan’s wardrobe. Must have been an era thing, dressing strangely – but, then again, looking at the red carpet for most events these days… In any case, the show finishes with a lovely projection of the lady herself in all her finery, ending on a beautiful photo to warm the heart.

A fitting tribute to long lives of service all wrapped in a wonderful, witty play full of wisdom and genuine affection with fantastic performances from all involved. A must see!

Hall for Cornwall, Truro – until 5th July 2025

Reviewed by Kerry Gilbert

5*****

‘A Captivating, Intriguing and Thrilling Mystery which keeps you guessing’

I was thrilled to review Peter James’ Picture You Dead at the wonderful Hall for Cornwall. I came to this show with fresh eyes, as I’m not familiar with the Author or the Show.

Directed by Jonathan O’Boyle, we not only get jump scares but also comedic moments that liven the production up, using every twist to send the audience round in circles. The story is set within the art world and forgeries. When married couple Freya and Harry Kipling stumble on a lost masterpiece through a car boot sale they are plummeted into the world of art collectors and deep fakes. Once more people hear of the discovery, the piece of art Harry and Freya have is worth more than a life.

There was a talented cast full of familiar faces mostly from the TV screen and London’s West end, with performances from Ore Oduba as Stuart Piper and Mark Oxtoby as Dave Hegarty. Jodie Steele as Roberta Kilgore was a standout for me, an art consultant with a shady past who will stop at nothing to get what she wants. Playing a no nonsense, strong woman, she uses accents and tone of voice to create Roberta’s witty and funny side but reigns it in when she needs to be mysterious. Roy Grace is played by George Rainsford who comes across as cool, calm and collected whilst working an old case with DS Bella Moy, played by Gemma Stroyan.

Using a split stage, we are given a view into the three homes woven together – the Kipling’s (Fiona Wade and Ben Cutler), Stuart Piper’s and Dave Hegarty’s. The set was inviting, and clever use of lighting to direct the audience between the homes. Credit must also go to Chris Bishop for the fabulous production shots.

The twist and turns are well handled and gave opportunity for the investigative drama, it feels like you’re not just watching a play – you’re investigating alongside the characters, which had the audience leaving the Hall discussing and debating what clue pointed to which revelation.

If you’re a long time fan of detective Roy Grace, or if you’re coming to the story fresh like myself, this production provides an entertaining and engaging drama. A great show to see for those that enjoy solving the mystery as much as watching it unfold.

Theatre Royal, Nottingham – until Saturday 5th July 2025

Reviewed by Chris Jarvis

5*****

The closest I’ve previously been to Kinky Boots was on a visit to the amazing Northampton Museum and Art Gallery which is home to one of the largest collections of shoes and shoe heritage in the world. Displayed in a large glass case are a pair of shiny red thigh-high boots made as props for the 2005 film and worn tonight with great panache by Johannes Radebe.

The Kinky Boots film was inspired by the story of Steve Pateman, who followed in the footsteps of four generations of his family at W.J Brooks, a company established in 1889 in Northamptonshire making high quality shoes and boots.

Written by Harvey Fierstein with a score by Cyndi Lauper, this production of Kinky Boots was developed, produced and directed by Nikolai Foster at The Curve Theatre in Leicester, close to the origins of the story and manufacturing heartland of British shoemaking.

Loosely based on this true story the musical revolves around Charlie Price played by Dan Partridge, whose life changes totally after he inherits his family’s failing shoe factory in Northampton – a town from which he has just escaped to London with his girlfriend Nicola played by Kara Lily Hayworth. A chance meeting with drag queen Lola, played by the star of the show Johannes Radebe, when Charlie tries to protect her from prejudiced thugs and sees her perform in a London club, might just hold the answer for saving Charlie’s struggling business.

Set in the 2000s when DRAG (Dressed Resembling A Girl) wasn’t so mainstream, Charlie’s eyes are opened to a different world when Lola’s sparkle, sass and broken heels lead to the idea of a niche market for high heels specifically made for drag queens.

Charlie’s world changes massively after meeting Lola and persuading her to design ‘kinky boots’ to be manufactured in his factory strong enough to support men. We meet an eclectic and hilarious group of factory workers as Charlie tries to save their jobs. All gave exceptional performances with Don (Joe Caffrey) and George (Scott Paige) standing out with their humour and energy.

Lola struggled with her sexuality while growing up, but she’s also confident and brave and Charlie thrives on this. His long-term relationship is on the rocks, and I particularly loved Lauren, played by Courtney Bowman, a factory worker who is smitten by Charlie and absolutely comes into her own supporting him.

Johannes, known from Strictly Come Dancing for his amazing dancing rather than acting or singing, puts his heart and soul into Lola and the audience just loved his flamboyance. His dancing stood out as might be expected, but he can also act and sing as he showed tonight.

I’m still buzzing after a truly spectacular performance by all involved! The actors were all brilliant, as was the choreography by Leah Hill. The music and songs were uplifting, emotional and funny in equal measures. The industrial set designed by Robert Jones was just how I’d imagine the inside of an old shoe factory yet was easily transformed into a Milan catwalk. His costume designs were stunning, colourful and outrageous, with those worn by Lola and the Angels, her fellow drag queens, particularly exuberant!

An immediate and total standing ovation ended the performance as we all joined in with the merriment of the finale. A show not to be missed – if you can get tickets!

Curve Theatre Leicester – until 5th July 2025

Reviewed by Amarjeet Singh

3***

Joseph and the Amazing Technicolor Dreamcoat, Tim Rice and Andrew Lloyd Webber’s multi award-winning show, is one of the world’s most beloved family musicals. The current UK tour presented by Michael Harrison and The Really Useful Group is bright, brash, and quite different from previous renditions. Unfortunately, this is not a good thing. While it succeeds in delivering plenty of energy, brilliant dancing and superb singing, there are some creative choices that are puzzling.

The cast is very child heavy, which includes them performing several key adult roles. This may seem cute in an amateur show but not here. The young cast are extremely talented but miscast in roles such as Potiphar, the brothers, the baker and the butler. They lack the vocal and stage presence needed for a professional tour. They often wear modern clothing which jars with the setting and there is a lot of forth wall breaking which gives the production a panto like feel. The addition of cheesy jokes and repeated childish humour adds to the school play vibes. Having the ‘Narrator’ take on multiple roles such as Potiphar’s wife and Jacob is also an odd choice. It compromises the integrity of scenes and is a possible reason why she begins with an exaggerated American accent which fluctuates and aggravates throughout the show.

Adam Filipe gives a strong vocal performance as Joseph. Joe McElderry is entertaining as Pharaoh but doesn’t quite embody Elvis. Christina Bianco as Narrator is some sort of one-woman band, taking on several roles and accents. There is no doubt she has a sensational singing voice, but her performance is jarring as she monopolises almost every scene unnecessarily. The cast put their all into their performance, with brilliant ensemble numbers. Everyone dances and sings their hearts out, but in trying to modernise the musical and make it ‘extra’, they lose what made the original show such a success.

Leeds Grand Theatre – until Saturday 5th July 2025

Reviewed by Adam Craddock

4****

Tonight I had the absolute pleasure of being invited down to review the UK and Ireland tour of “The Girl on the Train”, starring Laura Whitmore as the eponymous character Rachel Watson. The show revolves around the disappearance of Megan Hipwell, a young married girl who Rachel watches from the train window every morning on her commute. I won’t spoil the plot points or the twists and turns, but safe to say… this is a story not to be missed.

Laura Whitmore is fabulous as Rachel Watson, an alcoholic divorcée who finds herself caught in the middle of the disappearance of a complete stranger (mostly). I wasn’t actually aware of Whitmore’s very impressive Alma Mater (RADA) until reading the program before the show and semi expected this to be yet another celebrity casting decided to shift tickets at the detriment of quality, but I have to say… this was a poor misconception. Whitmore gave a flawless performance, with a real depth of emotion and a fabulous realness. Bravo!

Freya Parks was brilliant as Megan Hipwell, the artist gone missing. Hipwell gave a real raw performance, particularly in the scene where she confesses her past to her therapist. Samuel Collins was good as Scott Hipwell. His performance was exceptional, with just the right level of broken without feeling weak. Daniel Burke was fair as Kamal Abdic, with not all too much to do but being solid to call upon. Paul Mcewan was great as DI Gaskill, the man charged with investigating the local disappearance. Edward Harrison was fantastic as Tom Watson, with a real feeling of safety to his character that plays well into the final act. Zena Carswell was good as Anna Watson, new wife of Tim and a newborn hatred for her love rival,Rachel .

In terms of production, the show was very good, a simplistic and yet equally impressive set consisted of 3 translucent tabs/drops, with memory scenes playing out through these to highlight the fog of memory. The direction was great, with the way the set is being changed and characters changed being completely efficient. Lighting, sound and costume were all spot on for the piece.

Overall I would highly recommend that you catch “The Girl on the Train” while it is at this station! This is not to be missed either for the show or for the initial drama and Whitmore delivers a real tour de force.

Hull New Theatre – until 5th July 2025

Reviewed by Dawn Bennett

5*****

Chicago The Musical, last night at Hull New Theatre, was an excellent example of how to put on a brilliant musical. Everyone involved was amazing, the acting, singing and the dancing was just wow! The audience were on their feet as soon as the last note was played.

Chicago was based on the book by Fred Ebb and Bob Fosse with the music by John Kander and lyrics by Fred Ebb.

Taking our seats there was a chair on stage, a bowler hat balanced on the back of it, under a single spot light, this set the tone for the show. The pared down set (designed by John Lee Beatty) was elegant in its simplicity and really enhanced the performance.

The orchestra, led by musical director Neil MacDonald, was on stage for the full performance and they played the well-known toe tapping tunes brilliantly. I really loved All That Jazz, Razzle Dazzle and Hot Honey Rag

Set in 1920’s Chicago this is the story of Roxie Hart (Janette Manrara) who kills her lover, Fred Casley (Josh Crowther) and ends up in jail which is run by the formidable Mama Morton (Linda John-Pierre). Roxie manages to persuade her husband Amos (Joshua Lloyd) to pay for her lawyer Billy Flynn (Darren Day) and with his help she manages to manipulate her cell mate Velma Kelly (Djalenga Scott), the public and the press, especially reporter Mary Sunshine (Jordan Lee Davies). Roxie manages to manipulate everyone so that her crime and herself are now a newspaper headline grabbing sensation. But does she get away with murder? Only time will tell!

Janette Manrara played an excellent Roxie Hart, her dancing was, as expected, brilliant but her singing was flawless, Joshua Lloyd played the downtrodden husband, Amos, so well and I loved his rendition of Mister Cellophane. Darren Day was another standout performance as the hotshot lawyer, Billy Flynn. Also, a shoutout to the rest of the very talented cast, particularly the ensemble who put 110% into their performances!

Chicago is sassy, sexy and brilliantly performed. There aren’t very many tickets left for this week at the New Theatre (single seats are left but well worth a solo trip), or even a trip away to see it on the rest of the tour. I don’t think you would be disappointed!