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Arcola Theatre – until 24 May 2025

Reviewed by Claire Roderick

4****

Matthew Seagar’s agonisingly moving play is a magical reminder of the power of love, and music.

The love story of Jane (Lydia White) and Arthur (Matthew Seager) unfolds from awkward beginnings, which Arthur always claims was a cunning plan, to sweet bonding over their mutual love of Frank Sinatra and their favourite song “Fly Me to the Moon.” Arthur’s forgetfulness develops from endearing to worrying as the first signs of dementia develop and he receives a diagnosis. The story jumps back and forth in time, with memories and the present jumbled but Seager’s writing and Andy Routledge’s sympathetic direction ensure that the slight feeling of confusion orientating yourself to these changes is a fleeting reminder of the turmoil experienced by people with dementia.

Seager and White are phenomenal as the couple, with beautiful chemistry and utterly believable reactions to their situations. Seager breaks your heart as his frustration at muddling and forgetting things develops into fear and anger as the world becomes a stranger and more frightening place he no longer recognises. The use of lighting and sound to portray the terror and discomfort as Arthur lashes out when he feels unsafe is effectively disquieting – excellent design from Will Alder (lighting) and Iida Aino (sound). Lydia White is astonishing as Jane, steadfast and dutiful as her life changes from lover to carer, but the weight of despair shows through as she watches the man she loves slowly disappear.

The couple’s visits to the doctor display Arthur’s decline brilliantly, especially the changes to his speech, and provide an opportunity for Jane to talk about her guilt and resentment as she struggles to cope.

Weaving throughout the play is the couple’s favourite song, which Arthur plays whenever he has done something wrong, knowing that he can dance with Jane and all will be forgiven. As time goes on, the song becomes a tool for Jane, soothing Arthur and calming him when he gets disturbed. In a play where sniffles and tissue rustling are almost a constant, the song’s triggering of a memory for Arthur when it seems he is almost a shell has the audience sobbing along with Jane. Beautifully written and performed, this tragic story of love and loss celebrates the healing power of music with intelligence, charm and tenderness.

Theatre Royal Windsor – until Saturday 31^st May 2025

Reviewed by Carly

4****

Windsor brings you The Anastasia File, written by Royce Ryton directed by Roy Marsden.

In the year of 1918, Tsar Nicholas II and his family are executed by the Bolsheviks in Ekaterinburg. Two years later in 1920 a woman is pulled from a canal, having jumped off a bridge as an attempted suicide, where she is then taken to a mental hospital. It’s clear to see that she been through an ordeal. Her body shows the signs of being struck, beaten as well as stabbed. Feeling trapped and believing that no-one is her friend – rather her enemy, she remains silent to protect herself. It’s clear to see that she holds a deep sadness from within and as time goes by in her stay at hospital, they notice that perhaps she comes from money. Maybe a rich family. She has a polite silence about her, she walks well. It becomes clear that she has knowledge and political interests and although when she occasionally speaks, she speaks in German, later she is tricked into speaking Russian and does it with ease. Slowly she starts to open- up with the accounts of her escape from her family’s death by assassins…. Could she be the Grand Duchess Anastasia the Heir to the Romanov fortune!?

The inspector (Simon Shepherd) that takes the case, becomes extremely obsessed with it and helps her to tell her story. He also feels for her safety inviting her to stay with himself and wife to offer her protection whilst the world becomes gripped with Anastasia’s story and weather her claims are in fact true!

Throughout this time a friendship is formed, and an emotional powerful story is revealed.

Simon Shepherd who plays the inspector gives an honest and fair character on stage alongside Mrs Manahan (Jenny Seagrove) who offers great depth in her performance that comes across very believable.

Ashley D. Gayle and Rosie Thomson who plays multiple characters throughout the show slip in and out of their performances with exceptional ease and was fascinating to watch.

The stage was simple but effective with what looked like concrete walls but had subtle changes of backgrounds projected such as woodland colours to create an outdoor feeling, changing the atmosphere when needed.

An amazing production – done incredibly well with just four actors covering many characters.

A great performance, an intriguing story filled with much power, emotion, sorrow, depth and torment.

This was a production that is well worth a watch.

Joseph Rowntree Theatre, York – until 24th May 2025

Reviewed by Lauren Fordham

5*****

Sister Act The Musical performed by York Musical Theatre Company , is about a nightclub singer, Deloris van Cartier, who after seeing her ex-boyfriend commit murder, has to go into witness protection in a convent, disguised as a nun. Her fate is portended effectively by Scenery Solutions from the very start because the backdrop to the opening scene in a nightclub is reminiscent of a church, with a stained glass window depicting Mary holding Jesus.

Hayley Bamford dazzles as the decadent, somewhat degenerate Deloris before she enters the convent, declaring that she is ‘a star on the brink’ with a thoroughly convincing, decisive diva-like demeanour. Although her voice is quieter as she comes to realise that ‘I don’t need fame or fortune, nice as those things are, I’ve got all I need to  feel like I’m a star,’  Act 2 Deloris is a changed, more sensitive woman. She infuses these words with a warm sincerity that envelops the audience like a blanket as she embraces her new sisterhood. 

As Deloris’ murderous ex-partner Curtis, Zander Fick cuts a Travolta-esque figure reminiscent of Tony Manero in Saturday Night Fever with his arrogant posture, smooth moves and voice like velvet.  His lithe movement is perfectly partnered with Adam Kirkland’s slow, rotating lighting, complete with disco ball imagery. Never has a murderer, (or a song, ‘When I Find My Baby’ containing multiple aggressive death threats) seemed so subversively seductive.

Fellow gangsters TJ, Joey and Pablo (James Dickinson, Joe Marucci  and Adam Gill, respectively) demonstrate a falsetto range that would impress the Bee Gees, as they attempt to seduce the nuns in the song ‘Lady in the Long Black Dress.’

Kirsten Griffith also excels as the exasperated Mother Superior injecting humour into the role even as she despairs of Deloris’ degeneracy and her impotence to change her behaviour ‘I Haven’t Got a Prayer.’

The only thread that could possibly be considered out of place on this beautiful tapestry of a show is the costume choices. Deloris’ dress in the nightclub scenes flashes constantly like a Christmas tree with a blinding intensity that it should come with a warning for those with photosensitive epilepsy. The black and white costumes worn in the final number also amused me as they were somewhat redolent of chess pieces. These choices are hardly mortal sins, however, and can easily be forgiven and forgotten in a show that raises not only the roof but the standards of voluntary musical theatre. This slick production is anything but amateur in quality.

The star of the night, however, is the shyest character who at first doesn’t twinkle very much at all. Sister Mary Robert’s role reversal from nervous novice to rebellious renegade is expertly handled by Eve Clark with a powerful voice that belies her character and her own young age, I have no doubt her future is bright.

This review could be longer than the Bible itself but the Queen of Angels’ convent is soon to be dissolved, so I’ll end by saying, this show is fabulous baby! Get thee to the nunnery before they hang up their habits for good on 24th May, or you will repent at leisure!

Curve Theatre Leicester – until 24th May 2025

Reviewed by Amarjeet Singh

4****

Kim’s Convenience began as a hugely successful play at the Canadian Fringe Festival which transitioned into an equally successful tv show on Netflix. This stage version borrows some moments from the show, but it stands as a slice of Korean convenience store life in its own right. A homage to his Korean immigrant parents, writer Ins Choi presents a beautifully told, tender story about a family who love each other deeply but sometimes struggle to show it. Different generations of immigrants, with different priorities, values and goals means that arguments are inevitable. Kim, the father and store owner, along with his wife Umma, feel they are obliged to do everything for their children. They need to uphold their traditions and are fiercely proud of this role and their standing in their community. Their children are embracing their newfound home in Canada, choosing to forgo taking over the store and instead forge their own lives. Daughter Janet is deciding to embrace the arts and become a photographer and son Jung has left mysteriously under the shadow of a cloud.

Kim’s Convenience explores expectations, honour, racism, Koreas rich proud history and traditional roles. The main themes of home and family are expertly displayed along with the colourful produce in the store. This 75 min production is chock full of humour and pathos, perfectly balanced by director Esther Jun.

James Yi is amazing as Kim, the quick witted, fast talking, stubborn and loveable patriarch. He lights up the stage in every scene. Candace Leung as Umma, is gentle and wonderful to watch. The scenes with Yi where they converse in Korean are stunning. We understand every word, their facial expressions and movement transcend language. Caroline Donica as Janet offers some fire and feist as their independent and artistic daughter. Daniel Phung is great as their estranged son Jung, dealing with his struggle to straddle the cultural divide and shrouded in mystery. Andrew Gichigi steals the show playing multiple characters, embodying them all fully, including accents. He plays various customers and Janets childhood crush. He is utter perfection.

Kim’s Convenience is an authentic show about the immigrant experience. A hilarious and heartwarming play that explores feelings of identity and family connections, with a satisfying story arc.

UK PREMIERE ANNOUNCED
FOR

LITTLE DANCER
A NEW MUSICAL IN CONCERT 

Internationally renowned Creative Team includes
Olivier & Tony Award winning writers
LYNN AHRENS & STEPHEN FLAHERTY

Directed & Choreographed by
Two-Time Olivier & Five-Time Tony Award winner
SUSAN STROMAN

Starring TILER PECK
one of the world’s most celebrated ballerinas
as Young Marie van Goethem

with JULIAN OVENDEN as Edgar Degas
and LAURA PITT-PULFORD as Adult Marie

SUNDAY 27 JULY 2025 | THEATRE ROYAL DRURY LANE

littledancer.co.uk
 

Thursday 22 May 2025, London: the Producers are today delighted to announce that Little Dancer – A New Musical In Concert will make its highly anticipated UK premiere at Theatre Royal Drury Lane on Sunday 27 July 2025 for one night only. Tickets go on sale today at lwtheatres.co.uk

Inspired by the real-life story behind Edgar Degas’ iconic sculpture Little Dancer opened to rave reviews and sold-out runs in the US, in both Washington D.C and Seattle. 

Little Dancerfeatures the Olivier and Tony Award-winning team of Lynn Ahrens on book and lyrics, with music by Stephen Flaherty (Ragtime, Anastasia, Once on This Island). Direction and choreography come from two-time Olivier and five-time Tony Award-winner Susan Stroman (The Producers, Crazy for You, Contact, Oklahoma!).

Tiler Peck, principal dancer with New York City Ballet, Olivier Award-nominated choreographer and one of the most celebrated ballerinas of her generation will reprise her critically acclaimed role as Young Marie van Goethem. Tiler can currently be seen on screens in the new hit TV series Etoile. 

Julian Ovenden, Olivier Award-nominated actor and singer will play Edgar Degas. His theatre credits include South Pacific, Merrily We Roll Along and All About Eve. TV credits include hit shows Downton Abbey and Bridgerton.

Laura Pitt-Pulford, Olivier Award-nominated actress will play Adult Marie. Her theatre credits include Standing at the Sky’s Edge, Seven Brides for Seven Brothers and Aspects of Love. TV credits includeITV’s Emmerdale.

Set in the harsh backstage world of the Paris Opera Ballet,Little Dancer is inspired by the story of Marie van Goethem, the young ballerina who posed for Edgar Degas and became the most famous dancer in the world. As Marie navigates poverty, ambition, and the challenges of being a young woman in a man’s world, she becomes the heart of one of the most celebrated artworks in history.

Susan Stroman (Director & Choreographer) said:
“I find Little Dancer to be a life-affirming piece of theater. It was certainly inspiring and uplifting to create. To me, the show is beautiful, entertaining, interesting, but most importantly, profound. Marie wanted to be a great dancer, and inadvertently, through art, became the most famous dancer in the world.”

Lynn Ahrens (Book & Lyrics) added:
“For a writer, finding a story that’s never been told is like striking gold. Little Dancer is one of those rare stories: an unknown girl, a famous artist, and a work of art that rocked the world. It’s an absolute thrill to bring this work to the London stage and I can’t wait for our audience to experience it.”

Stephen Flaherty (Music)
“The musical world of Little Dancer is rich, evocative and romantic. Its music sweeps you into the magical world of Edgar Degas and the Paris Opera Ballet. It’s been my absolute pleasure to create this world with my collaborators, and we are thrilled it will be coming to London’s historic Theatre Royal Drury Lane this summer in concert!”

Further casting and creative team to be announced.

Little Dancer is produced by Anita Waxman Productions, Tegan Summer Theatricals, Shea Theatricals, Patricia R. Klausner & Sharon Carr. Casting is by Jill Green Casting, CDG. General Management is by Anthology Theatre Productions.

RIDE THE CYCLONE

THE CELEBRATED CULT MUSICAL PHENOMENON

TO HAVE UK PREMIERE

AT SOUTHWARK PLAYHOUSE ELEPHANT

FOR A LIMITED RUN

FROM FRIDAY 14 NOVEMBER 2025

Kevin McCollum, Morris Berchard and Jack Maple are delighted to announce the UK premiere of RIDE THE CYCLONE THE MUSICAL, written by Jacob Richmond and Brooke Maxwell. The musical will preview at Southwark Playhouse Elephant from Friday 14 November 2025, running for a limited engagement until Saturday 10 January 2026, with an official opening night on Wednesday 19 November 2025. The production will be directed and choreographed by Lizzi Gee.

Further creatives and casting to be announced.

Buckle up for the ride of a lifetime.

Darkly funny, wildly imaginative, and surprisingly heartfelt — Ride the Cyclone is the international musical phenomenon crashing into London. When a freak rollercoaster accident claims the lives of six teens, they find themselves trapped in limbo — and offered one last shot at life. One by one, they step into the spotlight to prove why they deserve a second chance at life.

Ride the Cyclone is a genre-defying journey through big dreams, dark secrets, and the search for what makes a life well-lived.

It’s not a game. It’s just a ride.

RIDE THE CYCLONE THE MUSICAL had its world premiere at the Atomic Vaudeville in British Columbia, Canada in 2008. The American premiere took place at the Chicago Shakespeare Theatre in September 2015 and went on to open Off-Broadway at the Lucille Lortel Theatre in November 2016. Since then it has had runs in Seattle, Atlanta, Minneapolis, Sydney and Buenos Aires.

RIDE THE CYCLONE THE MUSICAL is produced by Kevin McCollum, Morris Berchard and Jack Maple. The show is licensed by Broadway Licensing.

Website: southwarkplayhouse.co.uk/productions/ride-the-cyclone

Instagram: @cyclone_musical.

LISTINGS INFORMATION

RIDE THE CYCLONE THE MUSICAL

14 November 2025 – 10 January 2026

Southwark Playhouse Elephant

1 Dante Place,

London,

SE11 4RX

How to get to Elephant Venue: the nearest stations are Elephant & Castle and Kennington.

Performances:

Performances Mon – Sat 7pm, Matinees Thurs & Sat 2.30pm*

*Please note there will be no matinee performance on 15 and 20 November 2025

Running time: 90-minutes no interval

Age guidance: 12+

Content Guidance: show contains mature content and adult themes

Box Office

020 7407 0234 / southwarkplayhouse.co.uk/productions/ride-the-cyclone

Box Office opens Mon – Sat, 10am – 6pm.

Tickets

Previews | Pioneers’ Previews £12, Standard Previews £18

Standard tickets from £20 | Concessions tickets £16

Concessions apply to full time students, patrons over 65, patrons under 16, disabled patrons, and patrons claiming Universal Credit.

Disabled patrons may bring a companion/carer free of charge.

Southwark Playhouse has a group booking rate of one free ticket in every 10 booked at the same time, and this discount may be combined with applicable concessions (i.e. student rate) where available.

 Thomas Hopkins & The Hope Mill Theatre

        Present

LITTLE SHOP OF HORRORS

      Music by                       Book and Lyrics by
ALAN MENKEN                  HOWARD ASHMAN

  MAJOR NEW REVIVAL COMING TO MANCHESTER’S
HOPE MILL THEATRE IN AUTUMN 2026

http://littleshopthemusical.com

 A major new revival of the classic musical masterpiece LITTLE SHOP OF HORRORS will premiere in Manchester in autumn 2026.

This production will see the continuation of the successful producing partnership of Thomas Hopkins Productions and the Hope Mill Theatre following their success of Rose starring Maureen Lipman, that opened at the venue prior to its sold-out West End run in 2023, and their most recent partnership of Peter Quilter’s award-winning comedy Glorious’ due to embark on a full UK tour in 2026.

Thomas Hopkins and The Hope Mill have come together to mount this new production, with a commitment to create a truly authentic representation that honours the original spirit of the show.

Thomas Hopkins said ‘’I have Loved Little Shop of Horrors from the first moment I heard of Howard Ashman and Alan Menkens’ opening bars of music, and producing this rival is a lifelong dream. I can’t wait for the world to see our new and exciting production and give Audrey two the big green life she deserves!’’

Joseph Houston, Artistic Director of The Hope Mill Theatre said, “At Hope Mill theatre we are thrilled to be bringing the classic Little Shop of Horrors to our stage and to Manchester. Over the past decade we have produced many exciting musical premieres and revivals, and Little Shop has long been on our bucket list of musicals to bring to life in our space, and the time has never felt more right. Once again working alongside our producing partner Thomas Hopkins this is sure to be a special collaboration on an equally special musical production.”

Rob Kelly CDA serves as casting director, with the full creative team, cast and dates will be announced shortly, along with one other city date – audiences can register their interest for further info and tickets here http://littleshopthemusical.com

Presented by arrangement with Music Theatre International mtishows.co.uk

PRINCIPAL CAST ANNOUNCED

FOR THE UK AND IRELAND TOUR OF

HERE & NOW

FROM 29 August 2025

The producers of the brand new musical HERE & NOW, presented by UK pop sensation, Steps, are delighted to announce the principal cast for the UK & Ireland tour which opens at Aylesbury Waterside Theatre on 29 August and will continue until 16 May 2026 at the Marlowe Theatre, Canterbury.

Returning from the successful original run in Birmingham will be Rebecca Lock* (ELF – The Musical, West End; School of Rock, UK Tour) as Caz, Finty Williams* (The Baker’s Wife, Menier Chocolate Factory The Ocean at the End of the Lane, National Theatre Tour) as Patricia, Blake Patrick Anderson (Emojiland, West End; RENT, Hope Mill Theatre) as Robbie, River Medway (fan favourite on the third season of RuPaul’s Drag Race UK, BBC) as Jem, Edward Baker Duly (The King and I, Broadway & West End, The Third Man, Menier Chocolate Factory) as Max and John Stacey (Kiss Me Kate, Barbican; My Fair Lady, The Coliseum) as Lesley.

Joining the principal cast are new cast members Jacqui Dubois (Ghost The Musical UK tour) as Vel, Chris Grahamson (NOW That’s What I Call A Musical UK and Ireland tour) as Gareth and Rosie Singha (& Juliet UK and Ireland tour) as Neeta.

Further casting is to be announced.

Featuring Steps’ most beloved hit songs, HERE & NOW has an original book by Shaun Kitchener and is produced by the band and ROYO with Pete Waterman. It will be directed by Rachel Kavanaugh, with choreography by Olivier Award-winning Matt Cole and Matt Spencer-Smith as musical supervisor, orchestrator and arranger.

Welcome to seaside superstore Better Best Bargains, where it’s Friday night, the vibe is right, and everyone’s dancing in the aisles. But when Caz discovers the shelves are stocked with lies and betrayal, the summer of love she and her friends dreamed of suddenly feels like a tragedy. Have they all lost their chance of a ‘happy ever after’? Or does love have other plans in store… 

Steps (Claire Richards, Faye Tozer, Ian ‘H’ Watkins, Lee Latchford-Evans and Lisa Scott-Lee) are the UK’s most successful mixed sex pop group of all time, with 14 top five singles, 4 number one albums, 22 million record sales, 500 million streams & 11 sold-out national arena tours under their belts. The band’s hits include #1 singles Tragedy/Heartbeat and Stomp, the gold certified One For Sorrow & Better Best Forgotten, the silver certified 5,6,7,8, Last Thing On My Mind, Love’s Got A Hold Of My Heart, Chain Reaction, all of which will feature in the musical alongside many more.

Steps’ 2017 comeback tour sold out all 300,000 tickets, making it one of the biggest pop tours of the year. The band have since continued to release new music including two further iTunes #1 singles, the Sia-penned What The Future Holds in 2020 and the Michelle Visage duet Heartbreak In This City in 2022. In 2022 Steps celebrated their 25th anniversary with a headline summer tour and released the #1 album Platinum Collection which means they join ABBA, Rolling Stones and Stereophonics as the only groups in UK history to score #1 albums in four consecutive decades.

Musical supervision, orchestrations and arrangements by Matt Spencer-Smith, set design by Tom Rogers, costume design by Gabriella Slade, lighting design by Howard Hudson, sound design by Adam Fisher, wigs, hair and makeup design by Sam Cox, casting by Will Burton for Grindrod Burton Casting, Music Technology by Phij Adams with Production Management by Setting Line.

Website: TheStepsMusical.com

Instagram: @TheStepsMusical

X: @TheStepsMusical

TikTok: @TheStepsMusical

Facebook: @TheStepsMusicalUK

*Please note Rebecca Lock and Finty Williams are only in the production until November 2025

2025/26 TOUR SCHEDULE

29 – 30 August 2025                         Aylesbury Waterside Theatre                       

                                                           www.atgtickets.com/Aylesbury                       

2 – 13 September                              Manchester Opera House

                                                           www.atgtickets.com/Manchester                     

16 – 20 September                            Glasgow Kings Theatre

                                                           www.atgtickets.com/Glasgow                         

23 September – 4 October                Dublin Bord Gais Energy Theatre                  0818719 377 (ROI)

                                                           bordgaisenergytheatre.ie                               08442485101 (UK)

7 – 11 October                                   Southend Cliffs Pavilion

                                                           www.thecliffspavilion.co.uk                             

14 – 19 October                                 Woking New Victoria Theatre

                                                           www.atgtickets.com/new-victoria-theatre        

21 – 26 October                                 Aberdeen His Majesty’s Theatre

                                                           aberdeenperformingarts.com                         

28 October– 2 November                  Newcastle Theatre Royal                               0191 232 7010

                                                           www.theatreroyal.co.uk                            

4 – 9 November                                 London New Wimbledon Theatre

                                                           www.atgtickets.com/Wimbledon                     

11 – 16 November                             Nottingham Theatre Royal                              0115 989 5555

                                                           trch.co.uk                                                        

18 – 22 November                             Sheffield Lyceum                                            0114 249 6000

                                                           www.sheffieldtheatres.co.uk                           

25 – 29 November                             Liverpool Empire Theatre

                                                           www.atgtickets.com/Liverpool                         

2 – 13 December                               Theatre Royal Brighton

                                                           www.atgtickets.com/Brighton

15 – 28 December                             Stockton Globe

                                                           www.stocktonglobe.co.uk

20– 24 January 2026                        Southampton Mayflower Theatre                     02380 711811

                                                           www.mayflower.org.uk

27 – 31 January                                 Belfast Grand Opera House

                                                           www.goh.co.uk

3 – 7 February                                   Cardiff Wales Millennium Centre

                                                           www.wmc.org.uk

10 – 15 February                               York Grand Opera House

                                                           www.atgtickets.com/York

17 – 22 February                               Oxford New Theatre

                                                           www.atgtickets.com/Oxford

24 February – 1 March                      Edinburgh Playhouse

                                                           www.atgtickets.com/Edinburgh

10 – 15 March                                    Wolverhampton Grand                                     01902 42 92 12

                                                          www.grandtheatre.co.uk

17 – 22 March                                    Hall for Cornwall Truro                                      01872 262 466

                                                          www.hallforcornwall.co.uk 

24 – 29 March                                    Theatre Royal Plymouth                                  01752 267 222

                                                           www.theatreroyal.com

31 March – 4 April                              Milton Keynes Theatre

                                                           www.atgtickets.com/milton-keynes-theatre

8 – 12 April                                         Blackpool Opera House                                   0844 770 0593*

                                                           www.wintergardensblackpool.co.uk

14 – 19 April                                       Norwich Theatre Royal                                     01603 630 000

                                                           www.norwichtheatre.org

21 – 26 April                                       Hull New Theatre                                              01482 300 306

                                                           www.hulltheatres.co.uk

28 April – 3 May                                 Leicester Curve                                                0116 242 3595

                                                           www.curveonline.co.uk

5 – 10 May                                         Leeds Grand Theatre                                       0113 243 0808                                                                                                     

                                                           www.leedsheritagetheatres.com

12 – 16 May                                       Canterbury Marlowe Theatre                                                                             01227 787787

                                                          www.marlowetheatre.com

An imitating the dog production

War of the Worlds

Based on The War of the Worlds by H.G. Wells

Retold by imitating the dog

Supported by Lancaster Arts and Cast, Doncaster

imitating the dog to premiere audacious and timely retelling of H.G. Wells’s The War of the Worlds

Next year imitating the dog, one of the UK’s most original and innovative theatre companies is set to push their inventive storytelling to new heights when they stage a contemporary retelling of H.G Wells’s iconic science fiction tale The War of the Worlds.

Created by imitating the dog’s co-artistic directors Andrew Quick, Simon Wainwright and Pete Brooks, imitating the dog’s retelling of War of the Worlds will open at Cast Doncaster from 5-7 February ahead of a UK & Switzerland tour which will finish in early May.

Four performers enter the stage and construct an epic road movie before our eyes. 

It’s a story we know, or think we know – an apocalyptic tale of alien invasion and the unfolding destruction of everything we hold dear. Extraterrestrial lifeforms land from the skies. Lines of Brits scrabble to flee across the channel while their cities and towns lie in smouldering ruins. It’s all of our worst nightmares. 

What would you do if order broke down? What would you do to survive? How far would you go to protect your own?

Using miniature environments, model worlds, camera tricks and projection, imitating the dog mix the live and the recorded, the animate and the inanimate to create a thrilling, audacious and timely retelling of H. G. Wells’s classic novel.

Following their acclaimed adaptations of literary classics Heart of Darkness (2018), Dracula (2021), Macbeth (2023) and Frankenstein (2024), imitating the dog are set to push their creative storytelling to new heights.

Andrew Quick, Co-Director and Artistic Director of imitating the dog said: 

“I am so excited to be working on our adaptation of War of the Worlds.  It’s a great story, and its themes of paranoia, moral panic, technological and ecological catastrophe, and the ways in which society implodes when faced with crisis, seem so relevant to today. 

It’s a story of immense intensity and adapting the novel produces some difficult challenges.  We are testing our technological and storytelling skills to the limit but producing some amazing sequences that do justice to the novel, but which also connect to contemporary concerns. 

We have been exploring how to combine live green screen acting with miniature model worlds to create a live movie that is created in front of the audience.  Imagine a detailed model of a destroyed city: you see a performer operate a camera that moves through its devastated buildings.  At the same time, in another part of the stage, you see a live performer being filmed and the image of their performance is then projected into the city landscape, so you see them looking out of one of the windows in one of its burnt out buildings.  This interlacing of the live and the miniature, the real and the model, is a new direction for us, but it creates some stunning effects. 

And we need these effects to create the extraordinary, compelling and epic story that we are telling – all with just four performers.  Of all productions across 27 years of theatre making, this is the most ambitious and technologically challenging work that we have made. I really can’t wait to see how audiences react.”

The production’s creative team will feature set and costume design by Abby Clarke (Unfortunate – The Untold Story, national tour), projection and video design by Simon Wainwright (The Kid Stays in the Picture, Royal Court), lighting by Andrew Crofts (Trash Cuisine, Belarus Free Theatre and The Young Vic) and original music composed by James Hamilton (Night of The Living Dead ™ – Remix, imitating the dog). Casting will be announced in the coming months.

imitating the dog have been making ground-breaking work for theatres and other spaces for 27 years. Their work, which fuses live performance with digital technology, has been seen by hundreds of thousands of people in venues, outdoor festivals, and events across the world. Past productions have included Hotel Methuselah, A Farewell to Arms, Heart of Darkness, Night of The Living Dead ™- Remix, the award-winning Dracula: The Untold Story, Frankenstein, and most recently, All Blood Runs Red. In 2022 the company staged Cinema Inferno, a ground-breaking new show for the Parisian haute couture house Maison Margiela, based on an original concept by creative director John Galliano, for Maison Margiela’s Artisanal 2022 collection, presented on the official Paris Haute Couture Calendar.

imitating the dog’s retelling of War of the Worlds premieres at Cast, Doncaster from 5-7 February before touring to The Dukes Theatre Lancaster (18-21 February); Lowry, Salford (25-28 February); Liverpool Playhouse (4-7 March); New Wolsey Theatre, Ipswich (11-14 March); Belgrade Theatre, Coventry (18-21 March); Theatr Clwyd, Mold (15-18 April) and Blackpool Grand Theatre (22-25 April) with further dates to be confirmed. The production will also tour to Switzerland in April.

War of the Worlds is supported by Lancaster Arts and Cast, Doncaster

For more information on War of the Worlds visit imitatingthedog.co.uk

Curve Theatre, Leicester – until 24th May 2025

Reviewed by Amarjeet Singh

3***

Adapted from Paula Hawkins’ novel, The Girl on the Train follows Rachel Watson, who becomes fascinated by a seemingly perfect couple she watches from her train window on her way to work. A very heavy drinker, she manages to catch the train every morning to watch this couple, who happen to live a few doors away from her ex-husband, his new wife and their baby. When the woman in the couple disappears, Rachel decides to play sleuth and find out what happened. Interrogating the woman’s psychiatrist, befriending the male of the couple to glean information and working alongside the police as if one of their own, Rachel discovers the truth behind the apparent mystery.

There is so much crammed into this adaptation by Rachel Wagstaff and Duncan Abel, that relationships, motives and emotions come across as inauthentic. I couldn’t help but feel this play was reminiscent of another which left me puzzled by its adaptation, The Da Vinci Code. I was not surprised to find that Wagstaff and Abel were at the helm of that production. Not every successful novel transitions smoothly to the stage.

The storyline and characters are not believable. Rachel is struggling with alcoholism, yet she is able to catch the train every day to London to observe this couple she has fixated on. Why does she pretend she is still commuting to work after she has lost her job due to her alcoholism? She lives alone and has no one to be accountable to. She drinks herself into oblivion nightly, yet she can cohesively and articulately challenge a psychiatrist to find out crucial information about his patient (don’t get me started on ethics). She is also able to smoothly infiltrate the police on a high-profile missing person’s case, at one point wearing investigators coveralls. Not a hangover or daytime slur nor stumble in sight. It’s repeatedly stated that she is unreliable, yet she throws herself into playing drunk detective with aplomb and is surprisingly successful at it. Why she is taken seriously by the other characters is the real mystery of the tale, as her life is pretty much a dumpster fire, faced with eviction, struggling with her divorce and making drunk calls throughout the night, how she can make the professionals sing like canaries when questioned is beyond me. Characters flit from anger to tears in moments, ranting and raving only to recover themselves completely, moving on as if nothing happened.

The switches between flashbacks and reality are brilliantly done by the use of Jack Knowles spotlights and director Loveday Ingram’s stillness. Dan Light’s video projection is used to show the background changes in scenery and the ongoing missing person’s case in the press. The train graphics and motions are more reminiscent of a tube journey than a train journey. Louisa Lytton did the best she could as Rachel and the cast as a whole came together to offer up strong performances. Unfortunately, the material they were given meant that by the end of the performance I was left indifferent to the outcome and the final scenes bordered on farce.