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“One of the biggest West End hits of all time”
  Alistair McGeorge, Metro

  “A little show with a very big future”
 David Benedict, Variety

  “The West End hit is still the perfect mix of ingenious, silly and moving…With a new cast, the Olivier Award-winning musical about the wartime operation is as terrific as ever” ★★★★★
  Marianka Swain, The Telegraph

 “A miraculous musical that tells the entire story in a kind of accelerated farce that is part Mel Brooks, part SIX, part Hamilton with a side order of One Man, Two Guvnors.”★★★★★
Neil Norman, The Daily Mirror

“The Brits have made the year’s funniest musical…Against the odds, the “Operation Mincemeat” gang has found its way to the big time.”Peter Marks, The Washington Post

 “The feel-good West End musical of the summer… The reviews for the show have been ecstatic… the overwhelming impression is of hopefulness, expansiveness, possibility and joy.”
 Alexis Soloski, The New York Times

75 ★★★★★ reviews and counting

Monday 12^th May – Following four 2025 Tony Award® nominations, including Best Musical, and two 2024 Olivier Awards®, including Best New Musical, Operation Mincemeat announces its 15th extension at the West End’s Fortune Theatre, extending its run by another 15 weeks until 28th February 2026.

The news arrives as Alex Young (Stranger Things: The First Shadow, Standing at the Sky’s Edge, Into the Woods), Danny Becker (Frozen, The Prince of Egypt), Peter McGovern (The History Boys, The Comedy About A Bank Robbery) and Roshani Abbey (Hamilton, &Juliet) take the stage with Chlöe Hart tonight, marking their debut as the new cast, while Jason Kajdi (Matilda international tour, Mary Poppins) joins Geri Allen, George Jennings and Maddie Jackson-Smith to form the Company.

Operation Mincemeat is running simultaneously in London and New York, with the Broadway production recently announcing its third extension through February 15, 2026.

West End Extension tickets are available on General sale on Friday 30^th May at 10am from the Official Box Office here and tickets via the ballot are available on Thursday 29^th May at 2pm. Broadway tickets and more info here.

Following the success of the Monday ballot, it has now expanded to include Tuesday and Saturday shows to ensure tickets get into the right hands. Monday ticket prices remain frozen at £39.50, and the popular fortnightly £25 ticket lottery continues here. The first ballot draw for the new booking period from 17^th November to 28th February will take place on Thursday 5^th June at 2pm. Link here.

Operation Mincemeat began as a tiny (and tiny-budgeted) production at the London Fringe New Diorama Theatre in 2019. The show quickly gained a devoted following, spurring sold-out runs at venues including Southwark Playhouse and Riverside Studios. It finally premiered in the West End on 9^th May 2023 at the Fortune Theatre, where it won the Olivier and WhatsOnstage Awards® for ‘Best New Musical’, alongside garnering 75 five-star reviews and counting, and has become the ‘Best reviewed show in West End history.’

The decision to write the musical was the last roll of the dice from a quartet of young British creatives after years of performing sketch shows at the Edinburgh Festival Fringe, and echoes the journey of Beyond the Fringe from the world-famous quartet Alan Bennett, Peter Cook, Jonathan Miller, and Dudley Moore, which premiered at the Edinburgh Festival Fringe in 1960, before moving to the Fortune Theatre and later to the Golden in 1962.

The year is 1943 and we’re losing the war. Luckily, we’re about to gamble all our futures on a stolen corpse.

Singin’ in the Rain meets Strangers on a Train, Noel Coward meets Noel Fielding, Operation Mincemeat is the fast-paced, hilarious and unbelievable true story of the twisted secret mission that won us World War II. The question is, how did a well-dressed corpse wrong-foot Hitler?

The production is directed by 2023 Olivier Award nominated  Robert Hastie (Standing at the Sky’s Edge, National Theatre – 2023 Best New Musical Olivier Award winner), following providing directorial support for the Riverside Studios run, while Olivier Award nominated Jenny Arnold (Jerry Springer: The Opera, National Theatre) continues as Choreographer. Also from Standing at the Sky’s Edge at the National Theatre on the creative team are: 2023 Olivier Award nominated  Ben Stones (Sylvia, The Old Vic) as Set and Costume Designer, Tony Award, six-time Olivier Award and Bafta Award winning Mark Henderson (Girl From the North Country, Broadway & Noël Coward Theatre) as Lighting Designer and Olivier Award winning Mike Walker (Jerry Springer: The Opera, National Theatre) as Sound Designer.  Grammy Award winning and Tony, Emmy & 2024 ‘Outstanding Musical Contribution’ Olivier Award nominated Steve Sidwell (Beautiful: The Musical, Broadway & Aldwych Theatre) is Orchestrator and Vocal Arranger, while 2024 ‘Outstanding Musical Contribution’ Olivier Award nominated Joe Bunker is Musical Director. Georgie Staight is Associate Director and Paul Isaiah Isles is Associate Choreographer. Casting is by Pearson Casting. The extraordinary debut musical is written and composed by SpitLip – David Cumming, Felix Hagan, Natasha Hodgson and Zoë Roberts.

Operation Mincemeat has won Best Musical3 times—at the Olivier Awards®, WhatsOnStage Awards, and Off-West End Awards. To date, the production has received 64 nominations, and won 13 awards. On Broadway, the production is currently nominated for 4 2025 Tony Awards®, including Best Musical and Best Featured Actor in a Musical for Malone, who previously won the Olivier Award in the same category. It has also been recognised with nominations for Outstanding Production of a Musical at the Drama League Awards, Outstanding New Broadway Musical at the Outer Critics Circle Awards, and Best Musical and Best Ensembleat the Broadway World Awards.

SpitLip (Cumming, Hagan, Hodgson, Roberts) are nominated for Best Book and Best Score at the Tony Awards®, Outer Critics Circle Awards, and BroadwayWorld Awards, and have also received Drama Desk Award nominations for Outstanding Book of a Musical and Outstanding Lyrics.

Malone is additionally nominated for a Drama Desk Award, Outer Critics Circle Award, and Drama League Award, and recently won a Theatre World Award for Outstanding Broadway Debut. Cumming, Hodgson, Roberts, and Hall have all received individual BroadwayWorld Award nominations, with Cumming also nominated for 2 Broadway.com Audience Choice Awards.

Operation Mincemeat is produced in the West End and Broadway by Avalon (in association with SpitLip). The show was commissioned by New Diorama Theatre, co-commissioned by The Lowry, and also supported by the Rhinebeck Writers Retreat.

King’s Head Theatre – until 25 May 2025

Reviewed by Claire Roderick

3***

David O’Brien’s new musical needs developing but has potential to be an exciting show.

With just four characters, this chamber musical, directed by Jack Storm, tells the story of photographer Max (Matteo Giambiasi) and his manipulation of those around him to create the perfect picture on film and in his life. After meeting with ex-girlfriend Angela (Hayley Maybury) at a reunion, Max turns away from using leggy models to persuading Angela’s current partner, Tom (Will Usherwood-Bliss) to lead the campaign for an exciting new product. Max’s assistant and partner, Sheila (Justine Maire Mead) is confused and pleased at this apparent change in Max’s outlook but is unaware that Max has planned this scenario to manipulate everyone and bed Angela once more.

This could be a sharp commentary and satire about deception and coercion, but in this form, running at 70minutes, there is no time for any character development with unsubtle and clunky dialogue. Despite musical director’ Debbi Clarke’s best efforts, the score is unmemorable. Maybury and Mead delight in their bitchy duet as they discover Max’s manipulations, but most of the multicharacter songs are jumbled resulting in incoherent lyrics, and the melodramatic staging with every actor facing different directions during these numbers feels very stilted.

The cast do a fine job with what they’re given, with the fantastic Justine Maire Mead providing the beating heart of the show as the only character that actually makes you feel anything. None of the characters feel rounded, but Hayley Maybury is wonderfully uptight as Angela and Will Usherwood-Bliss is great fun as the constantly befuddled Tom. Max is the villain of the story, but Matteo Giambiasi is more panto villain than psychological manipulator as this script is drawn in such broad strokes.

There are positives – the theme is interesting and universal, and with some tinkering to the score and a more polished book and fully-rounded characters (and probably a longer running time) there could be a bright future for this show.

King’s Head Theatre – 9 May touring until 11 July 2025

Reviewed by Claire Roderick

4****

Bet’n Lev Theatre’s charming and celebratory show is a masterclass in storytelling. This witty and surprisingly moving show is a real treat.

From the moment you step in the auditorium, greeted with smiles and jokes by the cast, it’s obvious that this is a welcoming and safe space. Conceived by Joel Samuels and Roann Hassani McCloskey, Remythed reclaims myths and legends from around the world and recentres them around queer characters. Tales from Scheherazade’s dreams and stories to Lilith rejecting Adam are shared with a sense of wonder and mischievous joy. A banished arrogant prince travels to a mysterious community where he discovers humility and fellowship, the tale of Lady Godiva becomes her big romantic gesture towards spinster tailor Tom, while Anansi helps a contemporary black gay man to remember his own strength and power.

The cast – Emile Clarke, Ishmael Kirby, Roann Hassani McCloskey, Joel Samuels and Lucy Roslyn – are warm and engaging, making each other laugh and working together with fantastic chemistry. Joel Samuels is full of energy and when jokes land, often breaks character to announce his delight. Roann Hassani McCloskey charms as various characters, and one VERY strange beast. Lucy Roslyn is effortlessly moving as Lilith and Tommy, and hilariously absurd with Emile Clarke as they gesture ridiculously as the prince’s parents. Clarke is brilliantly brattish as the entitled Adam, unable to understand Lilith’s rejection of his ownership of her. Ishmael Kirby moves regally and seductively. As they portray different characters, their movement shifts from spiritual to funny to frankly bizarre in this captivating queer show with a huge heart.

Tour dates

2 – 3 May Shakespeare North, Prescot

9 May Kings Head Theatre, London

15 – 16 May Ustinov Studio, Theatre Royal, Bath

24 – 25 June Live Theatre, Newcastle

6 July Tobacco Factory Theatre, Bristol

11 July Old Joint Stock Theatre, Birmingham

Rose Theatre, Kingston upon Thames – until 24 May 2025

Reviewed by Phil Brown

 5***** 

What sets the revelatory Marie and Rosetta apart from many excellent musicals that appear on London stages are the nature of the subject and the format.  

It’s a joyous celebration of the seminal nature of Sister Rosetta Tharpe’s role in the development of popular music.  And Rosetta Tharpe is unlikely to have much, if any name recognition outside of serious musicologists or the boomer generation who lived through the British blues explosion of the 60s.  This applies even more in the case of the little known Marie Knight.  Secondly, it’s a dialogue intense two handed play (writer – George Brant) with music, rather than being predominantly music with a few spoken word links.  

In keeping with an inspirational story of black female musicianship, this follows through to the classy four piece backing band (although musical supervisor Liam Godwin was on piano for press night). 

Sister Rosetta Tharpe (1915–1973) was a pioneering gospel singer and electric guitarist, and cared little for convention by moving between spiritual and secular (eg Cotton Club) settings.  She is credited with influencing the likes of Presley, Cash and Little Richard.  Her 1945 hit “Strange Things Happening Every Day” (performed in the show) is considered the first rock ‘n’ roll record.  It seems grossly unjust that such a ground breaking star often referred to as the “Godmother of Rock and Roll” or the “original soul sister” is largely a forgotten figure today.  This hit-in-waiting play should help rectify that.

Marie Knight (1920–2009) started as a gospel singer in a vocal group called The Sunset Four before rising in prominence after teaming up with Rosetta in the mid-1940s.  Possessing a powerful contralto voice she caught Rosetta’s attention whilst performing on a Mahalia Jackson bill.  Like a canny football manager, she moved quickly to recruit her before Jackson, another powerful gospel presence, could.  Together, Rosetta and Marie performed gospel duets with strong blues and R&B influences, producing hits like Up Above My Head (also featured in the show). 

The play opens in Mississippi 1946.  Rosetta (played by Beverley Knight) and Marie (played by Ntombizodwa Ndlovu) are getting to know each other in one of the most unusual settings you are likely to see – a funeral parlour including a coffin, illuminated cross and shrouds which hide the band members (set designer – Lily Arnold).  The funeral home is used for rehearsal and as a place to sleep after the show, black performers not being allowed into hotels in the American south.

In the course of 100 engrossing minutes (no interval) of wonderfully natural, often hilarious imagined conversation, punctuated by some of the most uplifting music there is, we get to know their respective back stories, philosophies and hang ups.  Even though Rosetta is only a few years older than Marie, she has a depth of experience, self belief and focus to have a definite vision for their future.  

After they each demonstrate their vocal prowess – Rosetta (Knight) with This Train and Marie (Ndlovu) with the gorgeously sung Were You There, they start to iron out how to perform together in amusing detail.  Rosetta generously mentors Marie in her role as collaborator – from how to swing her hips to “you’re not my back up little sister, you’re my and” – as in Rosetta and Marie.  “Keep that up for too long and it’ll be Marie and Rosetta”.  This ends up in the first full blooded duet with Rosetta and Marie combining fabulously in audience favourite Didn’t It Rain.  “Mahalia gonna be mad…”

As streetwise Rosetta surprisingly declares she can’t be doing with the commercial side of things and asks Marie to look after the money, the conversation takes another hilarious turn to useless and occasionally violent men – “squirrels” in Rosetta parlance, as in “squirrelling my money away for a rainy day”. “Preachers – they’s the worst squirrels there is…”  This leads to a rocking duet I Want a Tall Skinny Papa.

This was followed by possibly the standout moment of the evening as Rosetta (Knight) sang I Looked Down the Line accompanied only by music director Shirley Tetteh’s funk guitar having stepped out of her booth into the spotlight with Rosetta.

Then in quick succession we have the fully functioning duo tearing it up with Up Above My Head, and Strange Things Are Happening Everyday.

At this point, events take a strange turn as we suddenly understand that Rosetta has died and Marie Knight has been mentally reminiscing about their time together and agonising over the lack of recognition, presumably on the occasion of Rosetta’s death in 1973.  Arguably, the true progenitor of rock and roll ended up in an unmarked grave in Philadelphia, a headstone eventually being erected in 2009.  The play concludes with Marie (Ndlovu)’s beautifully soulful Peace in the Valley.

Overall, the thrilling Marie and Rosetta is a triumph.  It showcases sheer excellence from the whole production team.  Brant’s dialogue is brilliantly written and superbly delivered, although with the actors speaking in authentic sounding but heavy southern US accents, it was tricky at first to pick up all of the speech.  Direction by Monique Touko is first rate, whilst the singing and music accompaniment is non pareil.  We’ve come to expect Beverley Knight MBE to perform at the highest level, but I have to especially commend Ntombizodwa Ndlovu on a truly sparkling performance.

Soho Theatre – until 24 May 2025

Reviewed by Claire Roderick

5*****

When I was offered a press ticket for Meow Meow, I jumped at the chance to see this incredible force of nature live again. Once seen, never forgotten.

With It’s Come to This, Meow Meow muses both on her career and the state of the world, mixing her chaotic comedy with darker political commentary. After performing on grand stages like the frequently mentioned Carnegie Hall, Meow Meow riffs on the joke that Soho Theatre is a major letdown brilliantly as she makes her chaotic entrance and has to set up the stage herself. Of course, she stages her entrance again with the front row adoringly throwing roses at her, resplendent in a stunning black ballgown with amazing hair.

Advertising as an “international singing sensation and purr-fect post pandemic, post-post-modern Superstar” seems hyperbole, but it could be an understatement here. Meow Meow’s storytelling, through her comedy and her singing, is simply astonishing. With a gorgeously expressive and controlled voice, songs ranging from the Weimar era to Radiohead are performed with passion and charisma, accompanied by Ben Dawson on piano – the calm in the eye of the onstage storm.

There is unhinged comedy and audience interaction – no one is safe as Meow Meow prowls the audience looking for victims – and their belongings. And, of course, she crowd-surfs. In a ballgown and stilettoes. Up steeply raked seating. Hilarious and terrifying.

Music from the era when fascism was on the rise in the 1920s and 30s hits harder now, and stories about the survival of art, philosophical ideas and the angel of history, are shared with the audience. Meow Meow asks if any of us have any answers to stop history repeating but doesn’t offer any. Instead, the show reminds us that amongst the despair and anger at the politics and aggression around us, creativity endures to connect and share beauty and joy, even in the darkest hour.

A sublime show from a true superstar.

Kings Theatre Portsmouth – until 10 May 2025

Reviewed By Lucy Hitchcock

4****

CCADS have done it again, this time bringing you the ultimate feel good evening as you join four ladies reliving their childhood dreams of meeting ‘The Band’!

Written by Tim Firth, with well known hits from ‘Take That’, director John-Paul McCrohon has taken the script and made a fabulous production of this musical. Following the story of Rachel (Kerry McCrohon) as she wins a competition to see ‘The Band’-who she was once obsessed with-she invites her three best friends from school along with her, Heather (Kat Millmore-Davies) Zoe, (Caroline Westmorland) and Claire (Kim Seagrove). Together, they reunite after 25 years and along the way discover why they mean so much to each other and their friendship is allowed to Shine! Each of these women were fantastic, giving beautiful moments of humour and sadness to their characters with such ease and accompanied by their fabulous vocals.

The stand out for me was Kim Seagrove as Claire, she was so beautifully poignant with her storyline and had me in tears as I felt myself fully emotionally connect to her character. The story starts with the younger version of the characters Keighley Smith, Jasmin Richardson, Charlotte Coqueral and Maisie Wallace playing Younger Rachel, Heather, Zoe and Claire respectively. These girls were brilliant, completely immersing themselves in the childlike giddiness everyone can relate to at hearing or seeing their favourite band play on tv and radio.

A special mention to Danielle Cox as Debbie-their friend from school who can no longer join them in their lives, but is ever present on stage as a forced reminder of their past. She was fabulous and really excelled in the role. However, my favourite cast member had to be Tony Dart, playing a vast range of roles and showing up for complete comedic effect-everytime he joined the stage the audience laughed at his one line quips.

The Band, known also as ‘The Boys’ were played by Paul Goldthorpe, Max Hunt, Christopher McCrohon, Chris Smith and Arthur Westmorland. They were great! As a quintet, their harmonies were nearly always perfect and showed such charisma and presence-I was enamoured with their ability to perfectly join the scene with music and not detract from the action on stage.

What are you waiting for to buy your tickets, it only takes a minute! I think I’ve said it all, so get online, have a little patience and never forget that this could be the greatest day of your life!

SHOWS CONFIRMED FOR THE

ACTING FOR OTHERS

2025 WEST END FLEA MARKET

Theatrical charity Acting for Others today announces the leading West End theatre shows participating in this year’s West End Flea Market. This year’s event will take place on Saturday 17 May at St Paul’s Church and Churchyard, Covent Garden from 10am – 2pm.

Top West End shows will set up uniquely designed stalls with show merchandise, special limited-edition collectables, theatrical memorabilia, signed posters and special items for auction. Each stall will be tailored by the company to celebrate their productions, including ATG Productions, Back to The Future, Cabaret at The Kit Kat Club, Clueless, Go Live Theatre Projects, Hadestown, Hamilton, Les Misérables, Mamma Mia, Mean Girls, Moulin Rouge, Operation Mincemeat, Phantom of The Opera, SIX, Stiletto, The Book of Mormon, The Devil Wears Prada, The Lightning Thief: The Percy Jackson Musical, The Mousetrap, Mischief & The Play That Goes Wrong, TINA – The Tina Turner Musical and Titanique.

Shows hosting a stall will compete to win Best Dressed Stall, decided by a panel of starry judges including West End Flea Market regular Christopher Biggins, with further judges to be announced shortly. The winner will be announced at the event.

 
Also announced today are the West End stars who will be signing autographs at the event. Joining the previously announced Luke Bayer, Cassidy Janson, Natalie Paris, Tom Read Wilson, Giles Terera and Rachel Tucker are Bronté Barbé, Janie Dee, Alfred Enoch, Clare Foster, Shanay Holmes, Derek Jacobi, Lesley Joseph, Lily Kerhoas, Alexia Khadime, Debbie Kurup, Simon Lipkin, George Maguire, Toby Marlow, Lucy Moss, Ewan Miller, Natalie Paris, Mason Alexander Park, Arlene Phillips, Dianne Pilkington, Caroline Sheen, Lucy St Louis, Giles Terera and Harriet Thorpe. Additional stars will be announced in the lead-up to the event.

Other highlights of the fifth annual market include the West End Charity Football Club’s star-studded team taking part in a penalty shoot-out running throughout the event, with additional stalls including Peter Hannah Art selling handmade drawings, Ensemble Games and Gifts, Encore Gifts with a Hook a Duck and Jamie’s Bakery supplying theatrically themed baked goods for attendees. On the day there will also be entertainment from Mariachi Loco and the Panto Dames.

An online auction set up with BidAid will be taking place on the day with auction items available via this link: https://bidaid.com/auction/FM25. More auction items will be added in the lead-up to the event.

Keep an eye on Acting for Others socials to stay up to date on announcements:

Facebook: /Acting4Others

Instagram: @actingforothers

Twitter: @ActingForOthers

West End Flea Market is organised in aid of Acting for Others, a fundraising organisation for a network of 14 UK theatrical and welfare charities supporting all theatre workers.

For those unable to attend the event, Acting for Otherscan still be supported by donating at www.actingforothers.co.uk/donate

West End Flea Market

Saturday 17 May 2025, 10am – 2pm

St Paul’s Church, Bedford Street, London, WC2E 9ED

Entry £5

I’M EVERY WOMAN

THE CHAKA KHAN MUSICAL

WORLD PREMIERE TO OPEN AT THE PEACOCK THEATRE

FOR LIMITED RUN FROM 5 – 28 MARCH 2026

Producer Adrian Grant, in association with Chaka Khan, is thrilled to announce that I’M EVERY WOMAN THE MUSICAL, the powerful and inspiring life story of the award-winning, multi-platinum selling, global icon, Chaka Khan, will open at The Peacock Theatre in London for a strictly limited engagement from 5 – 28 March 2026 with an official opening night on 11 March. The new musical which reveals the woman behind the diva, and her rise to stardom has a book by Nia T. Hill, direction by Racky Plews, choreography by Jade Hackett and casting by Debbie O’Brien with further creatives and casting to be announced.

Tickets go on sale at 10am on 19 May.

Chaka Khan shares “Many of you know that my life has always influenced my music—but you may not know the full story. I’ve lived a rich, beautiful, and sometimes difficult life, and now those experiences will come alive on stage in I’m Every Woman: The Musical. It’s the greatest honour to have my journey and work celebrated in this way. London holds a special place in my heart, and I can’t wait to share this moment with the fans who have sung, danced, and stood by me through it all. I’ve always wanted to inspire joy, truth, and love—and I know this musical will be filled with all of that and more. This is for you!”

The fame, the fire, the fight — this is her story. I’m Every Woman: The Musical brings to life the untold story of Chaka Khan, one of the most influential voices of our time. Unapologetically bold and deeply human, the production explores her unwavering passion for civil rights, her defiance in the face of a toxic music industry, the harrowing road through addiction, and the unrelenting pressure of being a working mother. At its core, it’s a story of resilience, purpose, and power — a celebration of the woman behind the legend.      

I’M EVERY WOMAN THE MUSICAL will feature Chaka Khan’s much-loved songs released as a solo artist and lead singer of the band ‘Rufus’ such as I Feel For You, Tell Me Something Good, Ain’t Nobody, Sweet Thing, Higher Love and Through The Fire. The show, which is a journey of music, love and betrayal has a book that includes an array of Chaka’s famous friends from Joni Mitchell and Prince, to Stevie Wonder and Robert Palmer.

Producer, Adrian Grant said, “I’m excited to be bringing a stage show about the life of Chaka Khan to the West End. I grew up listening to hits such as Ain’t Nobody and I Feel For You, with her powerhouse vocals and electric videos which have left an undeniable imprint on popular culture. My brilliant creative team cannot wait to present that energy on stage, with a bold and empowering new musical celebrating Chaka’s legacy and amazing catalogue of songs.” 

Chaka Khan is a global music icon whose influence spans generations of singers, songwriters, musicians, and storytellers. With a career defined by innovation and resilience, she has redefined the sound of pop, soul, jazz, and funk—helping to shape the contemporary music landscape into what it is today. Inducted into the Rock and Roll Hall of Fame’s Class of 2023, Khan is not only a trailblazer but also a symbol of strength, creativity, and longevity. She has developed a vast and loyal global fan base, having performed on six continents. With over 100 million records sold, streamed, and downloaded worldwide, her legacy includes 10 Grammy Awards and 22 nominations—three of which she earned as a member of the groundbreaking band Rufus. Beyond her extraordinary voice, Chaka Khan is also a gifted songwriter, producer, visual artist, author, actress, humanitarian, activist, mother, and grandmother.                    

I’M EVERY WOMAN THE MUSICAL is produced by Adrian Grant in association with Chaka Khan. 

Willette Klausner Murphy for WMK Productions is Co-producer.

Website: www.imeverywomanmusical.com

Instagram: @imeverywomanmusical

TikTok: @imeverywomanmusical

Facebook: @imeverywomanmusical

LISTINGS INFORMATION

I’M EVERY WOMAN THE MUSICAL

5 – 28 March 2026

Peacock Theatre
Portugal Street
London
WC2A 2HT

Box office: 020 7863 8222  

tickets@sadlerswells.com 

Tickets for the general public will go on sale at 10am on Monday, 19May.

You can sign up for more information on the musical’s website.

Running time: 2 hours 20 minutes plus an interval

Performances:

Mondays, Tuesdays, Wednesdays, Thursdays, Fridays & Saturdays at 7:30pm

Wednesday & Saturday matinees at 2:30pm*

*N.B there will be no matinee performance on Wednesday 11 March, and no show on Monday 23 March

Theatre Royal Concert Hall Nottingham – until Sunday 18th May 2025

Reviewed by Amarjeet Singh

4****

Nick Stafford’s stage adaptation of Michael Morpurgo’s best-selling 1982 war novel, War Horse is magnificent. Emotional and character driven, this production, directed by Tom Morris with revival director Katie Henry, is a triumph. The story recounts the experiences of young Albert and his beloved horse Joey. Acquired via a drunken challenge between Albert’s father and uncle, Albert raises Joey from a foal, building an unbreakable bond as they grow together on the family farm while facing many trials and tribulations. World War One parts them, as Joey is sold as a military horse by Albert’s immoral father and is set to be sent into war immediately. Albert tries to enlist but is told he is too young. He is reassured by the general who is to ride Joey, that he loves, rides and sketches horses and he would take good care of Joey. But upon receiving the general’s sketchbook after he is killed in battle, Albert sets out to reunite with Joey.

Exquisitely designed by Handspring Puppet Company and masterfully choreographed by Toby Sedgwick, War Horse is brought to life by its incredible puppets and puppetry. Foal Joey is operated by Diany Samba-Bandza (Head), Jordan Paris (Heart), and Eloise Beaumont-Wood (Hind). Adult Joey is operated by Tea Poldervaart (Head), Robin Hayward/Ross Green (Heart) and Gun Suen (Hind). Topthorn, Joey’s fellow war horse is operated by Tom Quinn (Head), Lewis McBean (Heart) and Michael Larcombe (Hind). The sheer effort these performers put in is astounding. The realism is mind-blowing, ear twitches, tail swishes and vocal sounds are spot on. From a gallop to a trot, the movements are fluid, and you forget in an instant that they are not real. To see the horses being ridden is amazing. As well as the horses, there are birds, riders and a rather delightful goose. Tom Sturgess is a wonderfully endearing Albert, his relationship with Joey is authentic and adorable. The whole company combine to create a magnificent production.

John Tams songs, sung by Sally Swanson who narrates the show takes us through emotional moments when words are not enough. Adrian Sutton’s music is rousing and raises the emotional stakes and the drama. Rae Smith’s set design is subtle but sublime, with an empty stage adorned with a ripped page from what could be the generals sketch book. Animation from 59 illuminates the page with moving sketches which take us through different times and places. We see galloping horses, fields, farms and depictions of war, but these never detract from the action on the stage. Sticks and bars are held in different positions by the cast to create dynamic fences, boats and gates. Rob Casey’s Lighting combined with the simple sets is what elevates it all. We fully experience the war through bright flashes. Spotlights highlight certain parts of the action whilst others are left in shadow, switching between the two ensuring the action is never static.

War Horse is a life affirming tale told in a truly magical way. A touching tearjerker that traverses the multilayered impact of war and the power of friendship in all its forms

Greenwich Theatre – until 24th May 2025

Reviewed by Ben Jolly

3***

There’s a dense cloud of dry ice oozing from the stage and the sombre soundtrack of nostalgic piano pop-covers offers an atmospheric greeting as we enter the auditorium of Greenwich Theatre where a revival of Jez Butterworth’s critically acclaimed play, Parlour Song has just opened. Through the dimly lit stage, we can make out Emily Bestow’s well thought out set design consisting of a midnight blue structure representing a house, starkly contrasted with clinically bright white household items scattered around the set and a projected floor plan with white tape on the floor of the stage to indicate doors and walls akin to a practice often used in the rehearsal room; these elements lead me to believe at first glance that this production has chosen to lean into the darker side of this “darkly comedic” play.

For this piece, Butterworth opted to investigate the life of suburbia in England; whatmaterialises in the life behind the white picket fence and how does life go on with want and desire continuing to interrupt the realm of “happily ever after”? We have Ned our tragi-comedic character and his wife, Joy; joining from next door is Dale who is also married with two children. The dust has well and truly settled on Ned and Joy’s eleven-year marriage and with routine and stability births new problems of desire and paranoia between them.

Dale arrives on stage, “It started slowly.” he announces soberly, and we start at the point where it all began, with the cracks just starting to show in Ned’s psyche. Throughout the various comedic beats in the inaugural scene, it is evident that the macabre undertones weigh down the lighter, witty dialogue and continuing from scene to scene, it’s an uphill struggle for the cast to bring the audience in on the joke. Despite this, Naveed Khan is a great tonic with his theatrical energy, masterful physical comedy and range. Kellie Shirley as Joy is sexy and sultry, who in contrast to Khan, opts to internalise her performance, cleverly leaving you to want more. This stark opposition in dynamics only highlights the couple at odds. Jeremy Edwards plays the “everyday man”, Dale with charm but lacks any further findings in his character development resulting in an unbalanced feel of characterisations.

James Haddrell’s staging is a masterclass in the macabre but does not organically lend itself to the comedy. The momentum suffers with the Pinter inspired pauses and each scene is stretched out to the point where it wears thin over time. The aesthetic of the piece and character motivations appear contrived as the play reaches its conclusion just in time narrowly avoiding outstaying its welcome.

For completists of Butterworth’s work who might have missed this earlier piece or fans of the cast, the trip to Greenwich Theatre will undoubtedly prove worthwhile. However, despite evident effort from the cast and crew, the production ultimately falls short in its comedic potential.