To Have and To Hold at Hull Truck theatre last night was one of the best plays that I have seen for a long, long time. Written by Richard Bean (One Man Two Guvnors, Made in Dagenham and The Hypocrite to name just a few) it was a roller coaster of emotions all the way through, from moments of sadness to full belly laughs.
Jack (Ian Bartholomew) and Florence (Paula Wilcox) have been married for 60 years. Jack isn’t as well as he’d like to be and Florence has a few memory problems and her eyesight isn’t as good as it once was. They live in Wetwang in the Yorkshire Wolds; they’re plodding along with their lives but just finding it a bit of a struggle now. Their niece Pamela (Sara Beharrell) does their shopping for them and the couple’s friend, Eddie (Adrain Hood) also helps out, going to the bank, keeping Jack company and taking up running his allotment.
Jack and Florence have two children, Rob (Stephen Tompkinson) and Tina (Rebecca Johnson) Rob is a crime writer and lives in London and is often in Los Angles were he’s in talks for his book to be made into a film. As he says he couldn’t stay in Wetwang as there’s no film industry there! Tina runs a company, which specialises in private Doctors practices, down in Somerset.
Rob and Tina don’t live near their parents so are not there to help them day to day as their cousin Pamela is always reminding them. They come home to have a family meeting to suggest to Jack and Florence that they move in with Tina and what follows is a heart-warming story of family life and the problems that go with it.
The interactions between the cast are just wonderful and very believable, they are very experienced actors and they were an absolute joy to watch,
The cast all played their parts brilliantly, I was really drawn into their story and a lot of it really resonated with me and possibly a lot of the audience with parents/partners of a certain age.
This is definitely must-see production, a five-star show by a five-star cast.
Grand Opera House York – until Sunday 11th May 2025
Reviewed by Michelle Richardson
4****
York Stage are currently treading the boards at the Grand Opera House York. Under the direction of Nik Briggs, their latest production is Shakespeare’s comedy play, A Midsummer Night’s Dream. I was fortunate to attend opening night, and I was excited to see their fresh interpretation of such a classical well-known piece of work.
The play is a truly crazy, bonkers story, where reality and the world of fairies merge. Set in the mystical realm of Athens, where comedy and chaos collide, you get three sagas for the price of one. Two pairs of mismatched lovers, a mischievous group of fairies, led by a fairy King and Queen, and a ramshackle troupe of amateur actors. As the audience is drawn into the enchanting world of A Midsummer Night’s Dream, the playful elements of the piece take centre stage. Magical mishaps, love potions and fairy mischief create romantic chaos, but ultimately love prevails.
This isn’t your usual run of the mill Shakespeare, York Stage have shaken things up with the set, the costumes and the music. Straight from the off, the stage is set with metal railings, the actors decked out in metallic and animal print costumes, very 80’s disco vibe. The Moon (May Tether) is belting out “Freed from Desire”, whilst the stage is shimmering with enthusiastic ravers. Certainly, a break from tradition, but intertwined with Shakespearean dialogue, it makes for a compelling piece of theatre.
Theseus (Mark Holgate) is soon to be married to Hippolyta (York favourite Suzy Cooper), but they get drawn into a family quarrel courtesy of Egeus (York Stage matriarch Joanne Theaker). This conflict about love matches gets more complicated with the manipulation of the fairies, and the involvement of the mischievous Puck (James Robert Ball). The play within the play, is to celebrate the upcoming nuptials. It is there we meet Bottom (Ian Giles) and the rest of the troupe. The action becomes more absurd and comical as they stumble through rehearsals, until their final performance hysterical performance.
At times it was a struggle to hear what the actors were saying, especially with the Shakesperean language, and the plot can be confusing to say the least. Saying that, the whole cast performed with energy and charisma and brought this whimsical play to life.
May Tether was hitting the high notes, with hits like “You’ve Got the Love” and “Show Me Love”, often descending or flying through the air. Hats off to her. The choreography throughout was executed with much exuberance and vigour and one of the highlights of the evening.
The costumes were superb, vivid and vibrant. A theme running throughout, the same animal prints appearing in a lot of the cast’s clothing. The fairies didn’t have traditional voile tutus, instead they wore metallic pieces, whilst the fairy ensemble were encased in silver lame suits. The drama group outfits, during their final performance were a feast of orange workwear, so fitting for this interpretation, and providing much merriment. The edition of a shell suit, in a metallic animal print, worn by chavvy Puck and huge gold chain worn by Oberon, were reminiscent of tv shows Shameless and Brassic. Who knew they would fit in with a production of A Midsummer Night’s Dream? The only negative I had was Bottom when he turned into a donkey, his headpiece was underwhelming, I wanted more.
As ever with York Stage, they have a live band performing, under the direction of Stephen Hackshaw. This musical accompaniment is always a highlight of their productions, and a joy to hear.
Whilst not your traditional Shakespearean play, it is refreshing to see something different and a new take on an old favourite. York Stage and their wonderful performers have delivered an energetic, fun and somewhat bizarre show. What more could you ask for from a night out at the theatre?
Everyman Theatre, Cheltenham – until 10th May 2025
Reviewed by Jacqui Radford
5*****
Any opportunity to see this production of the Olivier, Tony and Grammy award winning musical should not be missed. It is a perfect example of the power of musical theatre and its impact on gritty content.
Directed by Adam Penford, the production focusses on Evan Hansen, an anxious teenager desperate to fit in. We meet him at the start of a new school term, accessing therapy prescribed by his mother to overcome his awkwardness and cowering in corners each time he encounters one of his peers. Inevitably, he is the butt of all jokes and a prime target for bullies.
My expectation was that we would follow Evan through his therapy via the letters that he writes to himself daily but the twist in the tale comes at the very beginning when one of Evan’s letters changes his course through young adulthood. Ultimately, Evan is set on a path to acceptance but gets tangled up in his desperation to find it; so much so that he is destined for more angst and shattered dreams than he could ever have dreamed of.
It must be said that the raw content of this production is dealt with incredibly sensitively and even throws in some humour along the way. Everyone in the audience connects with the themes that are explored and as such, the scattering of humour affords some respite from the intense emotion generated by stellar performance and moving musical renditions. The entire cast had the audience transfixed, experiencing a full spectrum of emotion. The auditorium itself was either respectfully silent, sobbing or laughing.
The creativity behind the set design adds a further dimension to the feel of the performance, including social media feeds and push notifications; acknowledging the positive and negative influence that social media has on modern family life and adolescence.
By the end of the performance everyone is left with their own take away; whether it is the poignance of the lyrics in ‘You Will Be Found’, the power of writing a letter to yourself or a reminder of negotiating your own adolescence. Seeing ‘Dear Evan Hansen’ will make any day a good day!
Shimmy Braun’s emotional play is based on characters and experiences from his life in the orthodox Jewish community. Ari Freed (Ilan Galkoff) introduces himself to the audience and warns them that even though he’ll make them laugh, this is a tragedy. The play opens in a synagogue, at Ari’s funeral after he took his own life aged eighteen.
Ari’s struggles growing up gay in his Brooklyn community are relayed through his narration and flashback scenes. We see the first time his father called him a faygele (the Yiddish term for a homophobic slur) when he disapproves of his body language posing for photos at his bar mitzvah and the next five years unfold explaining the inevitable path to suicide (a term with no direct Yiddish equivalent). Ari’s father (Ben Caplan) is a therapist who has daddy issues of his own and is repeating the cycle of belligerence and bullying in his family life whilst maintaining a wholesome image in public. Ari’s mother (Clara Francis) has been pregnant for most of her adult life, with Ari being the oldest of eleven children, with another on the way. Exhausted and distracted, her attempts to stand up for Ari against his father are dwindling, just as Ari’s behaviour is escalating and he needs her most.
Ari’s openness about his sexuality leads to him being used by the older students at school, and when they are found in the act, it is Ari who is expelled. These early encounters and his emotional difficulties with his father cause him to seek out older men for sexual encounters and the levels of hypocrisy amongst the men in his community are revealed – again, it is Ari who is vilified. His only real confidantes who appear to have no agenda but to help him are Sammy (Yiftach Mizrahi) who tried to live in the orthodox faith, married and had four children before finally coming out, and the kindly Rabbi Lev (Andrew Paul). But as Ari spirals and his impulsive reactions cause everyone to turn him away, Ari sees only one way out.
The cast are exceptional, with Ilan Galkoff electric as the tragic Ari.
The story is told through narration by Ari to the audience, or in vignettes from his life punctuated by music and scenery shifting. As Ari jumps in and out of the scene, running off stage sobbing as a fifteen-year-old and then re-entering as the cool narrator to make snarky comments, the pace never settles into a comfortable rhythm, but this could be director Hannah Chissick’s aim – we know the ending, so it’s the events on the journey that must keep us off kilter and engaged.
Sammy’s situation echoes writer Shimmy Braun’s life, and this character seems the most grounded and rounded compared to the more stereotypical parents and rabbi. The scene where Sammy confronts Rabbi Lev over his assumptions and prejudices is beautifully written, thoughtful and powerful as Sammy challenges Lev’s adherence to Leviticus. The absurdist portrayal of Sammy’s use of the parable of the turkey prince, showing a rabbi guiding an outsider back to God with gentle steps, to reach Lev, is a huge change of tone that will probably split audiences, but I enjoyed it. Rabbi Lev is written as a man trying to find a way in this world he can never quite understand to help kindness shine – Andrew Paul’s expression as Lev stays up late and watches interviews with gay orthodox Jews who had to leave their community is a heartbreaking mix of confusion and shame.
This heartbreaking story resonates far beyond the Jewish community. Ari’s struggle for acceptance and need for unconditional love surrounded by uncompromising and judgemental people is one that is instantly recognisable to the LGBTQ community. Shimmy Braun’s insightful and impassioned play shows exciting potential.
Tonight’s slice of theatre took us on a trip back in time to the 90s. A time before streaming tv, before social media and a time ruled by MTV! “Cruel Intentions: The 90s Musical” takes place very much within this world. Based on the 1999 film “Cruel Intentions”, which in turn is based on the 200 year old French novel “Les Liaisons Dangereuses” by Pierre Choderlos De Lacos, the musical follows step siblings Sebastian Valmont and Kathryn Merteuil and their sordid escapades as they bet on whether Sebastian can bed the innocent Annette Hargrove.
Will Callan and Nic Myers star as Sebastian Valmont and Kathryn Merteuil respectively. Callan is brilliantly nonchalant and suave as Valmont, with a real sensitive side developing by the end of the show and an absolutely fantastic vocal. Myers is also fabulous as Merteuil, with a real Heather Chandler on steroids vibe to her performance and a chemistry with Callan that was palpable. She had a tremendous vocal and acting performance throughout, bravo!
Abbie Budden was great as Annette Hargrove, with a fabulous innocence and honesty to her performance, really grounding this slightly wacky show. Lucy Carter was hilarious as Cecile Caldwell and Marci Greenbaum. She had a brilliant energy about her throughout and had myself and my partner in stitches on several occasions. Luke Conner Hall was brilliant as Blaine Tuttle, with a fantastic poppy vocal and comedic chops on full display. Joe Simmons was strong as the in denial jock Greg McConnell playing the fake macho to perfection. Gabriella Williams and Kevin Yates were both good as Mrs Bunny Caldwell and Ronald Clifford respectively, as was the wider ensemble. There were really no weak links within this cast, kudos to the casting team!
The set was brilliant, a simple two tier building with balcony that screamed of a college sorority building, a classic setting for the vibe of the era. The direction was strong and the choreography was very good, working excellently with the vibe of the show, without pulling away from some of the more tender moments. The lighting and sound design were both good, with the lighting in particular really enhancing the visuals of this show.
I came into this show with no actual knowledge of the movie, let alone its forefather novel, and I have to say after watching this musical, myself and my partner are now dying to watch the film! It was just the right blend of goofy and naughty, sexy and silly and I can wholeheartedly see this becoming an absolute cult classic. With tunes from the likes of N-Sync, Christina Aguilera and The Spice Girls, this is a show that has something for everyone and is not to be missed. I would recommend “Cruel Intentions: The 90s Musical” in the highest degree and would encourage anyone to get a ticket while you can before they walk out that door and say Bye Bye Bye!
London, UK, 8 May 2025 – Shakespeare’s OTHELLO rages to life in an explosive new production starring David Harewood OBE (Homeland, Best of Enemies) as Othello, Toby Jones OBE (Mr Bates vs the Post Office, Detectorists) as Iago and Caitlin FitzGerald (Succession, Masters of Sex) as Desdemona.
Directed by Tony Award-winner Tom Morris OBE (War Horse) with music by PJ Harvey, this epic story of manipulation, jealousy and toxic masculinity explores the darker side of power, rage and desire.
Performances begin at Theatre Royal Haymarket, London’s West End venue that specialises in short-run, star-led high quality productions from 23 October 2025 until 17 January 2026.
Priority tickets will be released on 22 May at 10am, followed by general public on-sale from 23 May at 10am.To sign up for priority ticket access, visit OthelloOnStage.com
David Harewood, who in 1997 was the first black actor to play Othello at the National Theatre, and makes a return to the role in this brand-new production said:
‘It’s very exciting to be tackling this monumental part once again. Last time around I was very conscious of breaking through a particular glass ceiling and I probably felt the weight of that. No concerns this time and I’m looking forward to starting afresh.’
Toby Jones said: ‘I am eagerly anticipating rehearsals for Othello with David Harewood, Caitlin FitzGerald and Tom Morris, preparing as best I can to immerse myself in this dark, sad, funny, mysterious world.’
Caitlin FitzGerald said: ‘I am thrilled to be joining this incredible production with these incredible people, and to explore a Desdemona who is full of agency, fearless in both mind and heart, and a true equal to Othello.’
Director Tom Morris added ‘The glittering screen careers of David Harewood, Toby Jones and Caitlin FitzGerald are built on their love of theatre. David blazed into the theatrical limelight as Romeo with Temba Theatre Company and Othello at the National Theatre, establishing himself as a live actor of rare charisma. At the same time, Toby’s company the Table Show played a key part in the creative explosion at the Battersea Arts Centre, honing the playful storytelling instincts which have made him a watchword in film and TV. And underlying the intelligence and searing wit of Caitlin’s screen performances in Succession, Love Simple and Masters of Sex is a rare theatrical craft expressed in the Hedda Gabler which blew former New York Times Critic, Ben Brantley’s mind.’
This is the first of a series of contemporary Shakespeare productions created by Tom Morris for Chris Harper Productions to be staged in the West End over the next five years.
Joining Tom Morris and PJ Harvey on the creative team are Ti Green (Designer), Jon Nicholls (Sound Design and Additional Music), Richard Howell (Lighting Design), Anna Cooper CDG (Casting), Dominic Skinner (Make-up Design), Suzanne Scotcher (Hair & Wigs Design), Katie Henry (Associate Director), Bethan James (Assistant Director), Laila Diallo (Movement Director), Sabia Smith (Costume Supervisor), Mariama Bojang (Assistant Costume Designer), Sheena Linden (Company Manager), Damian Partington (Production Manager) and Samantha Adams (Dramatherapist).
Othello is produced by Chris Harper Productions with Len Blavatnik & Danny Cohen for Access Entertainment. Further casting for the production will be announced at a later date.
‘An absolute ‘must see’ show, a full on stroll down Memory Lane, being reacquainted with characters we love’
I was thrilled to review the UK tour of ‘Only Fools and Horses: The Musical’ at the wonderful Hall for Cornwall on opening night. Based on the beloved UK staple show, it was a childhood favourite of mine in the 80’s, so I was very familiar with the story and characters and seeing them brought to life on stage didn’t disappoint! The show boasted a whole host of truly iconic moments from the TV show and this was thoroughly appreciated by the audience.
Based in 1989 Peckham, Derek ‘Del Boy’ Trotter tries to navigate life as a general wheeler and dealer making ends meet whilst his younger brother Rodney is trying to set up house and home with his wife to be Cassandra. Through comedy, the tough times of the life of a market salesman are brought to life, always dreaming that next year, they’ll be millionaires.
Del Boy was played by Kieran Andrew, and he totally stole the show for me, brilliant casting. His accent was fantastic, and he nailed the mannerisms, character and facial expressions of Del Boy completely. He commanded the stage effortlessly and gave an incredible energy throughout the whole show.
Rodney was played by Tom Major, who was on his tour debut, and he did a terrific job. Goofy, loveable, charming and moody all rolled into one. His cockney accent was spot on and had a great stage presence. His on-stage partner was played by Nicola Munns who doubled up as Marlene too. She did an amazing job at playing both characters, especially as they have different qualities.
Raquel was played by Georgina Hagen who gave a strong performance, performing a song called ‘The Girl’ displaying fantastic vocals. The adorable Philip Childs played the role of Grandad and delivered a stellar performance. Boycie was played by Craig Berry, his voice was excellent and he had a beautiful singing voice.
The costuming was terrific and represented the show well. I loved Del Boy’s outfits particularly with the Harrington jacket and iconic coats.
The set design by Alice Power was truly spectacular, with flats at either side and a rotating centre stage which took us between the market, the Trotter’s home and The Nag’s Head. Even with the Trotters Independent Traders 3-wheeler van making an appearance! Clever use of lighting by Ian Scott, helped to direct your gaze as they moved between sets. Graphics and images were used on the interactive screen, and this added clear direction of where the scene was. It also had hilarious comedy moments during ‘The Tadpole Song’ with the very interesting fireworks.
The music for the show was impressive, packed with original songs, my favourites being, Only Fools And Horses/Hooky Street, Bit Of A Sort and Gaze Into My Ball. I loved the use of well-known songs, ‘Lovely Day’ and ‘Holding Back the Years’ at the pivotal moment in the show. Music and lyrics are mostly written by Paul Whitehouse and Jim Sullivan, with a bit of Chaz and Dave thrown in to add to the spectacle.
An absolute ‘must see’ show, a full on stroll down Memory Lane, being reacquainted with characters we love.
Riotous musical comedy Potty the Plant makes its hilarious London debut Tuesday 24th – Saturday 28th June 2025 Wilton’s Music Hall, 1 Graces Alley, London E1 8JB
Following two riotous, critically acclaimed Edinburgh Fringe runs, the hilarious musical comedy Potty the Plant will make its much-anticipated London debut this summer at Wilton’s Music Hall before heading back to Edinburgh for its 2025 Fringe encore. Bursting with chaotic charm and irreverent humour, it is a riotous, genre-blending experience that refuses to take itself seriously – and insists the audience doesn’t either.
Set in the surreal world of a twisted children’s TV show, Potty the Plant is a darkly comic, offbeat musical centred around its unlikely star — a singing, talking, tap-dancing potted plant. The story unfolds at Little Boo Boo’s General Hospital where a string of strange disappearances throws the already chaotic staff into further disarray. As the dysfunctional team of nurses struggle to keep up with events, deeper tensions and bizarre revelations begin to surface around the hospital’s staff and patients.
Potty the Plant is a madcap collision of comedy, music, and mutant houseplants, drawing inspiration from the musical anarchy of The Rocky Horror Picture Show, the irreverence of Tenacious D, and the theatrical likes of Andrew Lloyd Webber. At the centre of the chaos is Potty, a lovingly hand-crafted puppet, toying with tongue-in-cheek humour, subverting expectations through wit, absurdity, and irresistibly catchy songs. Potty the Plant feels like StarKid meets Teletubbies after dark — strange, silly, and strangely sincere.
The production is directed by Baden Burns (Grease, Newcastle Musical Theatre Company), who also stars as Potty and serves as co-writer and musical composer. Alongside him is Musical Director Zach Burns (The Sandman, Netflix; Yungblud, 2025 Album), Producer Sarah Oakland (Fringe! The Musical; Cinderella, Majestic Theatre ) who is assisted by Stephanie Cubello and Aeddan Sussex (The Wonton Warrior, BBC Snaps) as Co-writer and Assistant Director. On stage, a fearless cast will include Lucy Appleton (The Fireplace; The Boys in the Boat, MGM) as Miss Lacey, Ash K-B (brecht:fragments, Raven Row Gallery) as Dr. Acula, and Stephanie Cubello who returns in her role as Nurse Mel. They will also be joined by Joe Winter (Pop Off Michaelangelo!, Gilded Balloon; Stephen Sondheim’s Old Friends, Sondheim Theatre) as Nurse Dave and Sam Ridley as Nurse Stephen.
Director, co-writer, musical composer Baden Burns comments, The world of Potty The Plant is a madcap fever dream, where nothing is off limits. It is the perfect setting for my sarcastic, demented humour to thrive. This shows music is the perfect blend of my most influential musical inspirations, from growing up watching old musicals with my grandmother like Anything Goes and Guys and Dolls, to my love of rock music, especially comedic bands such as Tenacious D. This production has been a labour of love for many years. I feel incredibly blessed to have been able to work on this show so closely with my good friend Aeddan and my wife Sarah. Without both of them, this show would not be where it is today. It’s my hope that audiences will fall in love with Potty and allow this daft muppety character to make himself as at home in their hearts as he is in mine
MATT MILBURN ‘SY SPECTOR’ IN THE UK AND EUROPE TOUR
OF
THE AWARD-WINNING
SMASH HIT MUSICAL
THE BODYGUARD
OPENING AT BIRMINGHAM ALEXANDRA THEATRE ON SATURDAY 20 SEPTEMBER 2025
Producers Michael Harrison and David Ian are delighted to announce that the UK and Europe tour of the award-winning smash hit musical THE BODYGUARD will star international leading lady Sidonie Smith as Rachel Marron, Olivier Award nominee Adam Garcia as Frank Farmer, Sasha Monique as Nicki Marron and Coronation Street and Hollyoaks star Matt Milburn as Sy Spector. At certain performances, the role of Rachel Marron will be played by Mireia Mambo. The production opens at Birmingham’s Alexandra Theatre on Saturday 20 September 2025.
Sidonie Smith is an international musical theatre artist and no stranger to the role of Rachel Marron, having starred in The Bodyguard in Stuttgart, Germany, to critical acclaim. Her other theatre credits include the role of Kala in Disney’s Tarzan at the Colosseum, Stuttgart, Anita in West Side Story at Schlossfestspiele Schwerin, Sally Bowles in Cabaret at Theater Trier, Deloris van Cartier in Sister Act at L’theatre Switzerland, Velma Kelly in Chicago at Staatstheater Augsburg, Aida in Aida at Clingenburger Festspiele, Mary Magdalene in Jesus Christ Superstar at Bad Hersfelder Festspiele, Lucy in Jekyll and Hyde at Theater an der Rott, Pilar in Legally Blonde at Ronacher Theater Vienna, Maureen in RENT at Theater Trier, and Johanna in Sweeney Todd and Felicia Farrell in Memphis, both on German tours.
Adam Garcia recently starred as Caractacus Potts in the UK tour of Chitty Chitty Bang Bang. His musical theatre credits include Tony Manero in Saturday Night Fever and Bill Calhoun in Kiss Me, Kate, for which he received Olivier Award nominations for both roles. His other theatre credits include Fiyero in Wicked, The Artilleryman in The War of the Worlds, Damien Karras in The Exorcist and Julian Marsh in Curve and Sadler’s Wells production of 42nd Street. His film credits include Kenneth Branagh’s Death on the Nile and Murder on the Orient Express, Confessions of a Teenage Drama Queen, Coyote Ugly and Riding in Cars with Boys. Adam recently appeared as a finalist in the UK series of The Masked Dancer, finishing in second place.
Sasha Monique recently starred in the UK tour of Hairspray as one of the Dynamites and cover Motormouth Maybelle. Her other theatre credits include The Book of Mormon at The Prince of Wales Theatre, and on its UK and European tour.
Matt Milburn most recently appeared on screen in ITV’s Coronation Street, returning to the role of Tommy Orpington. He is best known for his role as Joe Spencer in Channel 4’s Hollyoaks, alongside its spin-off series Hollyoaks: After Hours. His other television credits include the role of Nicky Pritchard in ITV’s Emmerdale, as well as roles in Doctors and Brassic. Matt’s theatre credits include The House On A Cold Hill, Heartbeat, The Merchant of Venice, A Midsummer Night’s Dream, and To Kill a Mockingbird.
Mireia Mambo was recently seen as Richie Walters in Curve’s production of A Chorus Line at Sadler’s Wells and on a UK tour. Her other theatre credits include Sunset Boulevard at the Savoy Theatre, Newsies at the Troubadour Wembley Park Theatre, West Side Story at Curve Leicester, Hairspray at the London Coliseum, Motown the Musical at the Shaftesbury Theatre, the original cast of Charlie and the Chocolate Factory at Theatre Royal Drury Lane, and Ragtime and Evita, both at Regent’s Park Open Air Theatre. Mireia has also starred in Spanish tours of Sister Act as Deloris Van Cartier and The Bodyguard as Rachel Marron.
Former Secret Service agent turned bodyguard, Frank Farmer, is hired to protect superstar Rachel Marron from an unknown stalker. Each expects to be in charge; what they don’t expect is to fall in love. A romantic thriller, THE BODYGUARD features a host of irresistible classics including Queen of the Night, So Emotional, One Moment in Time, Saving All My Love, Run to You, I Have Nothing, I Wanna Dance with Somebody and one of the biggest hit songs of all time – I Will Always Love You.
Based on Lawrence Kasdan’s 1992 Oscar nominated Warner Bros. movie starring Whitney Houston and Kevin Costner, THE BODYGUARD, directed by Thea Sharrock with book by Oscar winning Alex Dinelaris, had its world premiere at the Adelphi Theatre in London’s West End and was nominated for four Olivier Awards. A sell out 18 month UK and Ireland tour followed, before the show returned to the West End at the Dominion Theatre ahead of two further sell out tours of the UK and Ireland in 2018/19 and 2023.
To date, THE BODYGUARD has played to over 3.9 million people in 15 countries and 45 US cities. Countries include the Netherlands, Germany, South Korea, Canada, Italy, Australia, Spain, France, the US, Austria and Japan.
Birmingham Hippodrome’s Fringe-bound musical previews in Brum
Birmingham Hippodrome’s New Musical Theatre department have today (Wednesday 7 May) announced local preview performances of romcom musical, Hot Mess, ahead of its world premiere at Edinburgh Festival Fringe this summer.
The High-energy original romcom will preview at the Hippodrome’s Patrick Studio Thu 24 Jul – Fri 25 Jul before playing at Pleasance Two in Edinburgh from Wed 30 Jul – Mon 25 Aug.
Leading the production are acclaimed West-End stars Danielle Steers (SIX The Musical, The Cher Show, Just for One Day, Bat Out of Hell: The Musical) and Tobias Turley (winner – ITV’s Mamma Mia! I Have A Dream). The powerhouse cast play the roles of Earth and Humanity respectively and tell a story of love, hope and the ultimate break-up.
After a billion years of bad dates, Earth’s finally found the one… Humanity. Sparks fly. Wheat is harvested. Technology flourishes. But what begins as a passionate love affair between the universe’s most iconic couple quickly descends into a Hot Mess.
Created by the award-winning creative duo behind 42 Balloons, the pop comedy musical takes us to the heart of the tempestuous relationship between Earth and Humanity.
Joining the team alongside 42 Balloonscreative duo Ellie Coote and Jack Godfrey are Tony and Grammy nominated Paul Gatehouse (Sound Designer), Joe Beighton (Musical Supervisor and Co-orchestrator), Alexzandra Sarmiento (Movement Director), Shankho Chaudhuri (Set and Costume Designer), Ryan Joseph Stafford (Lighting Designer), Issie Osborne (Musical Director), Deirdre O’Halloran (Dramaturg), Lex Kaby (Intimacy Director), Caroline Mirfin (Costume Supervisor), James Ashfield (Producer), Vicky Graham for Vicky Graham Productions (Executive Producer), Finlay Carroll (Assistant Producer), Emily Humphrys (Deputy Stage Manager), Christopher Ball and Emily Obasohan (Production Managers) with casting by Pearson Casting CDG.
Hot Mess is the first Edinburgh Festival Fringe production from the UK’s only in-house New Musical Theatre Department at Birmingham Hippodrome. The new musical is presented in association with Vicky Graham Productions.
Deirdre O’Halloran, Head of New Musical Theatre at Birmingham Hippodrome said: “We are so excited for Birmingham audiences to get a sneak peak of this fantastic new musical ahead of the Hippodrome’s Edinburgh Fringe debut. Ellie and Jack have written a terrifically witty show, and we can’t wait for Danielle and Tobias to bring these unusual characters to life! Join us in the Patrick Studio for a show full of humour, catchy tunes and a love story for the ages.”
Hot Mess comes to Birmingham Hippodrome’s Patrick Studio on Thursday 24 July and Friday 25 July 2025 for its Edinburgh Festival Fringe preview performances. Tickets go on sale to Friends of Birmingham Hippodrome on Wednesday 7 May at 11am and on general sale on Wednesday 7 May at 4pm.
Tickets can be purchased at birminghamhippodrome.com or by calling 0121 689 3000.
