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Rufus Norris to receive Special Award at Olivier Awards 2025 with Mastercard 

Rufus Norris, outgoing Director of the National Theatre, will receive a Special Award for his services to the theatre industry at this year’s Olivier Awards with Mastercard. 

Following a 10-year tenure, Rufus will step down as Director of the National Theatre at the end of this month having overseen more than 170 productions at the theatre’s South Bank venue, with his final programmed play, David Eldridge’s End, opening in November. During his tenure, Rufus has driven forward key commitments to staging new work, increasing representation on and off stage, making theatre more sustainable and increasing the National Theatre’s worldwide footprint, with a current global audience reach of 19 million. His recent productions include Nye, Hex, Small Island, Macbeth, Mosquitoes, My Country; a work in progress, The Threepenny Opera, wonder.land and Everyman. Previously, Rufus was an Associate Director at the National Theatre, directing Behind the Beautiful Forevers, The Amen Corner, Table, London Road, Death and the King’s Horseman and Market Boy.  

Prior to his term as the National’s Director, Rufus directed a host of critically acclaimed productions at the Young Vic, Almeida, Royal Court, West End and Broadway, with his 2006 revival of Cabaret winning 2 Olivier Awards in 2007. He also received Best Director nominations in 2005 for Festen at the Almeida and Lyric theatres, and London Road at the National Theatre, Cottesloe. 

Claire Walker and Hannah Essex, co-CEOs of Society of London Theatre, said:  

“We are thrilled that Rufus Norris will receive this year’s Special Award in recognition of his visionary leadership at the National Theatre. Rufus has played an instrumental role in shaping London’s theatre landscape, championing bold storytelling in some of the most unforgettable productions of the past decade. 

“He has been passionate about removing barriers for those who may not otherwise have been able to access theatre. Under his leadership, the National Theatre created new careers and skills pathways into the industry for those underrepresented in the sector and ensured that world-class theatre productions were streamed for free in schools. Rufus established the National Theatre’s New Work department which has supported and nurtured a broad range of artists, dramatically increasing the number of productions by living writers. 

“We extend our heartfelt congratulations to Rufus and look forward to celebrating his remarkable achievements at the Olivier Awards next month.” 

The annual awards will take place on Sunday 6 April at the iconic Royal Albert Hall, hosted by Beverley Knight and Billy Porter, with highlights airing on ITV and Magic Radio that evening. 

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Blackpool Grand shines bright once again thanks to Arts Council funding

Blackpool Grand Theatre has benefited from extensive restoration and repairs to the famous Grade II* listed building thanks to £450,000 from Arts Council England’s Capital Investment Programme

The exciting renovation of the iconic Grand illuminated sign is the final finishing touch!

The Grand Theatre is thrilled to announce the completion of an almost year-long restoration and repair project for the much-loved Blackpool building thanks to a share of £24.2 million through Arts Council England’s Capital Investment Programme.

The Grand was awarded £450,000 from the Arts Council to repair the Grade II* listed building’s stonework, replace and repoint damaged brickwork, restore the Victorian iron rainwater goods, and replace large areas of slate and lead on the two acres of roof. This now ensures the safety of the building and allows audiences and visitors to access parts of the theatre which have previously been inaccessible for some years.

The legendary illuminated GRAND sign has not been seen twinkling below the famous verdigris copper dome since the 1970s and is now fully restored and shining like a cultural beacon, as is the theatre’s ‘pineapple’ finial that had sadly been destroyed during the storms of 2018.

Work commenced on The Grand in July 2024, with the building being swathed in scaffolding until February of this year to allow the conservation team access to complete the renovations and install new window frames at the rear of the Gallery, clean the stonework and gild the carved stone Grand Theatre letters above the theatre’s entrance canopy.

The Arts Council award marks the first phase of funding towards a £15 million Capital Development Plan that will futureproof the theatre, enrich Church Street and improve the experience of customers and visiting companies alike.

Blackpool Grand Theatre Chief Executive, Adam Knight, said: “We are hugely grateful to Arts Council England for this significant and very timely investment in our heritage building, which has been struggling to cope with the impact of climate change and recent Irish Sea storms. The results of these specialist restoration works are terrific and make a demonstrable positive contribution to the revitalisation of the town centre. The capital investment has also realised a long-term ambition to recreate the much missed illuminated “GRAND” sign and return the theatre’s famous dome and iconic pineapple finial to their former glory. The Arts Council’s £450k support has also enabled us to use as match funds the generous donations given by the community and marks the beginning of the journey to fully restore Frank Matcham’s masterpiece!”

The Capital Investment Programme supports the Arts Council’s mission to ensure communities across the country have an infrastructure where creativity for everyone can thrive.

Awards from the Capital Investment Programme are received for building works and the purchase of equipment and other assets to improve access, seize on technological opportunities and reduce environmental impact. This Government funding is part of Arts Council England’s investment to build stronger communities throughout England and helps secure the creative future of towns, villages and communities across England. This funding also aims to build a country filled with creative people and cultural communities.

Rebecca Ball, North Area Director, Arts Council England, said: “This is an exciting time for Blackpool Grand. The successful completion of this restoration paves the way for future development, while the theatre continues to showcase an eclectic and diverse programme for its audiences. I visited the theatre only a couple of weeks ago and saw first-hand the fantastic restoration that’s taken place. I’m thrilled that we’ve been able to support this work, ensuring that for years to come the theatre can continue to deliver creative opportunities, both for local communities in Blackpool and for the many visitors drawn to the town.”

Managing Director of Bullen Conservation, Paul Cunniff, said of the work that had been undertaken over the last eight months: “It’s been a privilege for Mike, Steve and myself to return to Blackpool Grand Theatre and support our team in completing essential repair and restoration work on this iconic building. This project is a fantastic example of true collaboration between Adam, Colin and the team at the Grand Theatre, our dedicated workforce, Mark Trickett at Cassidy + Ashton and our skilled subcontractors. Through seamless teamwork, expertise and shared commitment, we have successfully delivered high-quality restoration work that preserves the theatre’s timeless beauty for future generations.

“Our highly skilled team carried out masonry, stonework and roof repairs, along with a pediment rebuild, roof redecoration and essential joinery and render restoration. We also applied gold leaf to the iconic Grand Theatre sign, ensuring this beloved landmark remains a proud part of Blackpool’s heritage for generations to come.”

Mark Trickett of the project management company Cassidy & Ashton added: “This refurbishment work, supported by the Arts Council and Blackpool Grand Theatre, will significantly improve a grade II* listed heritage asset and mean the theatre can continue to be enjoyed by the local community for generations to come. Helping to restore iconic, culturally significant buildings is always exciting and it’s been particularly pleasing to see architectural features such as the pineapple finial to the top of the dome and the stone ‘The Grand Theatre’ signage returned to their former glory.”

For further information on Blackpool Grand Theatre, please visit www.blackpoolgrand.co.uk

LISTINGS

Grand Theatre, 33 Church Street, Blackpool FY1 1HT

Box Office 01253 290 190

blackpoolgrand.co.uk

Facebook – @blackpoolgrand

Twitter – @Grand_Theatre

Instagram – grandtheatrebp

CATHERINE TATE    JULIAN CLARY

PAUL ZERDIN     NIGEL HAVERS
JON CULSHAW

EMILY LANE     AMONIK MELACO 

and 

ROB MADGE 

TO STAR IN

THE LONDON PALLADIUM PANTOMIME

10^th ANNIVERSARY SEASON

Saturday 6 December 2025 – Sunday 11 January 2026

www.palladiumpantomime.com

London, Tuesday 18 March: Michael Harrison for Crossroads Pantomimes today announces that The London Palladium Pantomime celebrates its 10^th anniversary season at the world-famous venue this Christmas with the magical fairytale adventure, Sleeping Beauty.

The London Palladium Pantomime – firmly established as the greatest spectacle in the theatrical calendar, which last year welcomed its 1 millionth customer – also today announces casting:

Catherine Tate will star as Carabosse the Wicked Fairy, alongside Palladium panto royalty Julian Clary as King Julian.

This milestone production also sees the return of favourites Paul Zerdin as The Great Zerdini,Nigel Havers as Keeper of the Privy and Rob Madge as The Diva of Dreams.

Fresh from his cameo as King Richard in last year’s production of Robin Hood, Jon Culshaw joins the company as King Julian’s Private Detective. Emily Lane returns to the Palladium as Princess Beauty following her performance in Hello, Dolly! last summer and Amonik Melaco returns as The Prince, having first been cast in the company last year.

2025 marks the tenth year that Julian Clary, Nigel Havers and Paul Zerdin have starred in pantomimes at The London Palladium, since the 2016 production of Cinderella. Rob Madge made a triumphant Palladium Panto debut in 2022’s Jack and the Beanstalk and has since returned in Peter Pan and Robin Hood.

Sleeping Beauty will make your dreams come true at The London Palladium this Christmas, celebrating ten years since panto spectacularly returned to London’s home of variety. The West End’s biggest Christmas show will celebrate the 10th anniversary in magnificent style, with that age-old fairytale message: whilst one small prick can be deadly, at The London Palladium you’re promised the happiest of endings.

Sleeping Beauty will run from Saturday 6 December 2025 – Sunday 11 January 2026 at The London Palladium.

Priority booking opens at 10am on Wednesday 26 March. Sign up at www.palladiumpantomime.com for a priority link; General public booking opens at 10am on Friday 28 March 2025.

Catherine Tate, who will be making her Palladium Panto debut this year, says:

“After seeing last year’s Palladium panto, I just couldn’t resist being part of this fabulous tradition – especially for its very special 10th season! I’m super excited to be in Sleeping Beauty – it’s going to be so much fun, especially getting to play the baddie and share the stage with the wonderful Julian Clary. Roll on rehearsals – I can’t wait to get started!”  

Michael Harrison, who this year celebrates a decade as Producer and Director of The London Palladium Pantomime says: “Since we returned pantomime to The London Palladium, the response of our wonderful audiences has been thrilling. Now, as we begin preparations for our tenth production, I can’t wait to welcome Catherine Tate to the company of Sleeping Beauty, and also to thank everyone who has contributed to bringing pantomime so magnificently back to London’s home of variety.”

We plan to celebrate our 10th anniversary in true Palladium Panto style, and will be pulling out all the stops to mark this incredible milestone with the scale and spectacle that our audiences so enjoy. Every single seat, including all our standing room, sold out for last year’s Robin Hood……so don’t sleep on getting tickets!”

Harrison’s production has set designs by Mark Walters and costume designs by Hugh Durrant, Teresa Nalton and Mike Coltman created especially for The London Palladium, choreography by Karen Bruce, visual special effects by The Twins FX, lighting designs by Ben Cracknell, sound designs by Matt Peploe and composition and orchestrations by Gary Hind.

Sleeping Beautyis produced and directed by Michael Harrison for Crossroads Pantomimes.As a producer in the West End, his credits include Titanique, Hello, Dolly! Sunset Boulevard, The Little Big Things, Crazy For You, The Wizard of Oz, Joseph and the Amazing Technicolor Dreamcoat, The Drifters Girl and Gypsy, as well as the forthcoming production of Evita at theLondon Palladium.His production of Starlight Express at Troubadour Wembley Park Theatre has just extended booking for a fifth time since opening last summer, having been nominated for 3 Olivier Awards and having won 7 WhatsonStage Awards.

Crossroads Pantomimes is the world’s biggest pantomime producer and part of Crossroads Live, a global leader in the production of musical theatre and immersive entertainment experiences.

SLEEPING BEAUTY | LISTINGS INFORMATION 

The London Palladium

Argyll Street

London

W1F 7TF

Cast

Catherine Tate    Carabosse

Julian Clary     King Julian

Paul Zerdin     The Great Zerdini

Nigel Havers    Keeper of the Privy

Jon Culshaw     King Julian’s Private Detective

Rob Madge     The Diva of Dreams

Emily Lane     Princess Beauty

Amonik Melaco   The Prince

Further cast to be confirmed

Dates

Saturday 6 December 2025 – Sunday 11 January 2026

Performances

Times vary, see www.palladiumpantomime.com for details

Tickets

Tickets from £25 – no booking fees

Website

www.palladiumpantomime.com

Social Media

Twitter:   @PalladiumPanto   

Facebook:   PalladiumPanto

Instagram:    palladiumpanto

Crossroads Pantomimes

With a glittering array of star names headlining spectacular, lavish productions, Crossroads Pantomimes is the world’s biggest pantomime producer. With renowned creative teams, talented casts and musicians, and passionate production teams, the company create pantomimes which are at the heart of family entertainment across the UK. As part of Crossroads Live, the company works under the leadership of Michael Harrison and is chaired by David Ian.

The London Palladium has been the capital’s majestic home of variety for over a century, and to this day it continues to delight and surprise audiences with its rich tapestry of acts. We’ve welcomed a staggering selection of greats from Bob Hope and Louis Armstrong to the Two Ronnies, Bruce Forsyth and Cliff Richard. This proud tradition has continued since the theatre joined the LW Theatres family in 2000, hosting recent headliners as diverse as Bob Dylan, Madonna, Coldplay, Whoopi Goldberg, Billy Ocean and Dita Von Teese. An annual pantomime made a return to The London Palladium in 2016.

Emmy, BAFTA, TONY & OLIVIER winning

JODIE COMER

RETURNS TO THE globally ACCLAIMED PLAY

IN

Suzie Miller’s award-winning play to embark on UK & Ireland Tour

Performances begin Friday 23 January 2026 in Richmond

Tickets go on-sale on Tuesday 25 March 2025 fromwww.primafacieplay.com

Jodie Comer is to return to her acclaimed, Olivier and Tony Award winning performance in Suzie Miller’s multi award winning play, Prima Facie, which is set to tour the UK & Ireland from January 2026.

The production, for which Suzie Miller also won an Olivier Award for Best Play, will open at Richmond Theatre, Richmond Upon Thames on Friday 23rd January 2026, and then tour to a further 8 venues, across Dublin, Edinburgh, Cardiff, York, Bath, Canterbury, Birmingham and Liverpool.

Tickets for the tour go on sale on Tuesday 25 March 2025. Visit www.primafacieplay.com for more details.

Jodie will play Tessa in this gripping, one-person play which takes us to the heart of where emotion and experience collide with the rules of the game. Along with unanimous rave reviews, Jodie won the Olivier Award when she made her theatrical debut in the production at The Harold Pinter Theatre in London and subsequently also won the Tony Award when the play transferred to Broadway. The NTLive and Empire Street Productions live capture has also enjoyed two record breaking theatrical releases.

Tessa is a thoroughbred. A young, brilliant barrister who loves to win. She has worked her way up from working class origins to be at the top of her game; prosecuting; cross examining and lighting up the shadows of doubt in any case. An unexpected event forces her to confront the lines where the patriarchal power of the law, burden of proof and morals diverge.

Jodie commented of the Tour:
“It is a huge privilege to return to Prima Facie for one last time and take this important play on tour across the UK & Ireland. The resonance of Suzie Miller’s writing, both in London and New York, exceeded anything we could have imagined.

I’m so thrilled to have the opportunity to get the team back together and take the production to theatres around the country, including my hometown of Liverpool. On a personal note, I can’t think of a better finale to what has been such an incredible and deeply rewarding chapter in my life.”

Prima Facie is helmed by Olivier Award winning director Justin Martin. The creative team also includes Rebecca Lucy Taylor – the Brit Award nominated star of Self Esteem – who is the production’s composer, alongside set & costume designer Miriam Buether, lighting designer Natasha Chivers, sound designers Max and Ben Ringham, video by Willie Williams for Treatment Studio and Kate Godfrey who will be the voice coach.

For full cast and creative team biographies, please see www.primafacieplay.com

Suzie Miller said:
“I couldn’t be more thrilled about the Prima Facie 2026 tour; this play has already achieved more than we all could have dreamed, and Jodie’s commitment to the story reaching so many new venues and communities  means more people can be part of the conversation, and the solution.”

Producer James Bierman is also today thrilled to announce the continuation of partnerships between the forthcoming tour of Prima Facie and charities The Schools Consent Project and Everyone’s Invited.

Set up in 2014 by barrister Kate Parker, The Schools Consent Project is a charity which sends lawyers into schools to teach 11-18 year olds the legal definition of consent and key sexual offences. Their aim is to normalise these sorts of conversations amongst young people; to empower young people to identify and communicate their boundaries, and to respect them in others.  To date, they have spoken to over 80,000 young people across the country.

Throughout the tour, the production is working with each venue to support the essential work the charity does to educate young people in the UK about consent.

Everyone’s Invited’s mission is to expose and eradicate rape culture with empathy, compassion, and understanding. They offer a safe space for all survivors to share their stories completely anonymously. 

Everyone’s Invited allows many survivors a sense of relief, catharsis, empowerment, and gives them a feeling of community and hope. 

Conversations with friends and personal experiences throughout school and university revealed to founder Soma Sara how widespread the issue is, and she began sharing her experiences of rape culture on Instagram. In light of the overwhelming response from those who resonated with her story, Soma founded Everyone’s Invited in June 2020. It later gained charitable status in 2022 alongside the launch of the Everyone’s Invited education programme. So far, the programme has reached over 50,000 students across the UK.”

James Bierman commented of the partnerships:
“All of us involved in PRIMA FACIE are honoured to be able to highlight and support the essential and brilliant work that EVERYONE’S INVITED and THE SCHOOLS CONSENT PROJECT do up and down the country. Creating safe spaces for people to share their stories and be heard is vital and to try and change the horrific levels of sexual assault we have in this country we have to change the way we as a society see and talk about consent. By educating young people the Schools Consent Project team are making the future a better place.”

Prima Facie is produced by James Bierman for Empire Street Productions.

THE LOWRY THEATRE, SALFORD – SATURDAY 15TH MARCH 2025

REVIEWED BY MIA BOWEN

4****

Whenever I hear that Opera North is coming to Salford, I promptly check which operas are touring to secure a seat for myself. I’ve attended several Opera North performances, and each time I leave feeling deeply moved by the productions. On my previous visit I had the pleasure of watching The Magic Flute, which was a truly delightful evening. Last night, however, I experienced Wagner’s The Flying Dutchman for the first time.

It was truly delightful to observe that as I settled into my seat, I was surrounded by newcomers to opera. Each of their seats was adorned with a ‘Try It On’ welcome gift. Opera North offers an excellent initiative that allows first-time opera attendees to experience live productions at a discounted ticket price and from excellent seats.

Just before production commenced, it was noted that in 2018, Opera North became the first opera company in the UK to be granted Theatre of Sanctuary status, with reaccreditation achieved in 2022. Opera North is dedicated to ensuring that everyone can experience the transformative benefits of music and performance by enhancing accessibility to the arts. This significant achievement acknowledges the efforts made by organisations to create an inclusive environment for refugees and those seeking sanctuary in the city.

The storyline of “The Flying Dutchman” is inspired by an ancient Dutch legend about a ghost ship, as well as Wagner’s own harrowing experience during a stormy voyage on the North Sea. However, Annabel Arden presents a fresh interpretation by modernising the narrative. She draws parallels between the plight of the Dutchman and the experiences of countless asylum seekers who embark on dangerous journeys to the UK in search of safety and a better life. At the beginning of each act, the recorded voices of real refugees resonate from the sound system, recounting their distressing tales of fear and uncertainty as they navigate perilous journeys on small boats in pursuit of asylum.

The story follows the captain of a ghostly ship, the Dutchman, represented by baritone Robert Hayward, who is cursed to wander the seas for eternity. Every seven years, however, he is granted the opportunity to step onto land in search of a woman whose steadfast loyalty can break the curse and redeem his soul. During his journey, he encounters Daland, portrayed by bass Clive Bayley, a powerful and influential man, who introduces the Dutchman to his only daughter, Senta, played by Layla Claire. The Dutchman offers Daland money in exchange for Senta’s hand in marriage. Yet, Senta is instantly captivated by the Dutchman, igniting feelings of distress in Erik, portrayed by tenor Edgaras Montvidas, who is in love with her. As Senta and the Dutchman finally meet, a tense and fragile connection begins to form between them.

The performance from each of them was remarkable, and the production as a whole was both admirable and thought-provoking. Under Garry Walker, the Orchestra of Opera North displayed a vibrant and dramatic performance. The full power of the Chorus of Opera North is truly something to be cherished.

Alphabetti Theatre Newcastle – until 15th March 2025

Reviewed by Sandra Little

3***

Written by Tayla Kenyon and James Piercy and Directed by Danae Cambrook, this one woman performance at Alphabetti certainly covers a host of themes within this 70 minute performance by Tayla Kenyon. It touches on issues relating to dementia, mental health, alcohol abuse, bullying, low self esteem and teenage pregnancy.

The play is based around the journey, from birth to adulthood, of Fluff (Tayla Kenyon) and explores the consequences of the choices she makes along the way. This story does not have a simple chronological structure and there are aspects of the narrative which slowly unfold, allowing the audience to put together the storyline like the pieces of a jigsaw. This structure makes for an interesting experience and keeps the audience engaged.

Tayla Kenyon is convincing in this play and smoothly switches character with only a pair of spectacles and a party hat for props! The play is mainly delivered as a monologue from Fluff apart from times when she swaps roles and becomes her mother and also several other characters. Other aspects of the dialogue leave the audience to imagine who it is Fluff is conversing with as she develops “conversations” with people who enter her life at different times.

During the performance we learn that Fluff experiences significant difficulties in her teenage years but we can only assume that she overcomes these obstacles as we discover that she becomes a science teacher. Unfortunately her teaching career is not without incident and several significant issues arise!

There are numerous references throughout the play to Fluff’s father’s dementia and for me, one of the most poignant moments of this dark comedy occurs when Fluff tenderly places her father’s dressing gown on a chair and arranges his slippers. It is a very simple gesture, made with simple props, yet seems to illustrate the love she feels for her father. Conversely we learn of the tensions that exist between Fluff and her mother and at one point Fluff describes her mother as, “a pain in the arse.”

There is no doubt that this is a fast paced, gritty narrative that holds your attention, however I would have preferred to see some of the themes in the play explored in greater depth. My personal feeling is that there were too many important issues that were not developed to any great extent and some aspects of the storyline were unclear for me; I never did fathom the significance of the party hat! However, I do accept that it is difficult within a short piece such as this, to delve more deeply into themes such as teenage pregnancy or dementia.

This play is currently touring a range of theatres until mid April. It has won awards at Birmingham Fringe in 2023 and was voted Best Theatre Production at Buxton Fringe in 2024.

Trafalgar Theatre, London – until 27 September 2025

Reviewed by Emily Smith

5*****

In a busy world of film to musical adaptations, Clueless arrives in London’s West End, hot on the heels of Mean Girls and The Devil Wears Prada, and ahead of 13 Going On 30 which opens later this year. Based on the book and original film (1995) by Amy Heckerling, which are themselves based on Jane Austen’s novel Emma, Clueless tells the story of high-school student Cher Horowitz (Emma Flynn) who lives a privileged life in Beverley Hills. Cher, along with best friend Dionne (Chyna-Rose Frederick), aims to prove herself as a good person through a series of selfless tasks to challenge her selfish image. This involves setting up two of their teachers and helping newcomer, Tai (Romona Lewis-Malley), to fit in and find love. Of course, things don’t always go to plan and Cher has to learn some hard lessons along the way.

Being a big fan of the original film, I was somewhat sceptical about how it would translate to the stage, however, I needn’t have worried as this show is an absolute hit in my opinion! The original dialogue from the film has largely been retained, but songs have been expertly interwoven into the narrative. The songs are longer and there are less of them than in some musicals, but they do well at advancing the narrative while also being great fun. They may not all be the most memorable songs you’ve ever heard, but within the show they work really well when combined with the story and the comedy.

The music for this show was written by well-known singer-songwriter and musician KT Tunstall, whose influence is clear throughout, with lyrics by Glenn Slater. Favourites include the upbeat numbers Boom, Pow and She’s All That along with I’m Keeping An Eye On You. I also enjoyed the clever use of rap for Dionne and Murray’s (Rabi Kondé) arguments.

Emma Flynn is truly brilliant in the role of Cher – she has a fantastic voice that adapts to the variety in the soundtrack, and her acting is true to Alicia Silverstone’s portrayal of Cher in the film. Keelan McAuley’s (Josh) performance was brilliant with one of his numbers, Reasonable Doubts, getting the loudest applause of the evening thanks to the hilariously brilliant 90s boyband-style song and choreography which he expertly executed with great charisma. Both Dionne and Romona’s performances were also strong with great vocals. The show also has a really strong ensemble with great energy – with many taking on multiple roles.

I must also commend Lizzi Gee’s choreography which expertly traverses a variety of styles throughout the show. From the group swing number in the club, to the rigidity of Human Barbies, Lizzi’s choreography perfectly fits. Costumes by Paloma Young are also very true to the 1990s era, bringing with them a nostalgia for the film, such as for Cher’s iconic yellow three-piece suit.

The set design (Mikiko Suzuki MacAdams) felt a little two dimensional, with big backdrops and props wheeled onto the set, which did work well for the space but definitely could have been elevated. I must admit I also missed the computerised wardrobe that helped Cher select her outfits in the film – that was truly game changing at the time!

Lighting (Ben Cracknell) and sound (Rob Bettle & Sam Clarkson for Sound Quiet Time) design were also both cleverly done and added to the atmosphere throughout. The use of converting props was also very clever. After seeing both a sofa and a cool box converted into cars, I wondered how many more ways this show could replicate cars on stage (the answer was at least two more!).

I will add that though Cher’s step-brother Josh is also her love interest, this show does a better job of explaining the distanced relationship between the step-siblings, allowing for the romantic storyline to play out, than some other 90s shows with similar plot lines.

Above all else, I must say this show is funny! The audience were laughing throughout and that is absolute credit both to the writers but also to the cast for their excellent delivery. In particular, I think we all enjoyed the swing club scene with Christian (Isaac J Lewis).

The entire cast fully embody the original characters of the 1995 film that we all know and love, and I admire their commitment to bringing them to life so fully! Under Rachel Kavanaugh’s direction, this show captures the essence of the film, while adding musical numbers that will have you smiling and laughing throughout the show.

Leeds Playhouse- until 29 March 2025

Reviewed by Katie Brewerton 

4****

Based on the George Orwell novel, Animal Farm comes to Leeds. Adapted by Tatty Hennessy and directed by Amy Leach, with an excellent cast this play is sure to keep you entertained. 

Animal Farm begins with the animals of Manor Farm taking control and over throwing the farmer Jones (Kaya Ulasli). They put together their own 7 commandments to live by and hope to run the farm for themselves. Snowball (Robin Morrissey) seems to genuinely want what’s best for the animals, but after a disagreement with his comrade Napoleon (Tachia Newall) Snowball is driven from the farm to make way for a new leader. The animals work to create their own food and heat, but they soon realise it might not be as easy as they thought. With the manipulative Squealer (Tom Simper) running things behind the scenes cracks begin to show in the friendships they initially established and the commandments begin to change ultimately becoming ‘All animals are equal. But some animals are more equal than others’ the pigs eventually take over the farm and become more and more like their predecessors. 

This is a fantastic adaption with the stage at Leeds Playhouse, the front row is level with the audience, adding to the feeling of being part of the show. With a ‘junk yard’ type style to the staging, rather than costumes the cast are each stamped with the animal they’re playing on their person. with metal cages and a glass farmhouse above, cleverly showing a clear difference in status between those outside and those in the farmhouse.

This adaption also incorporates British sign language and is available with audio description every night helping the production to become more accessible and available to more people. 

With political parallels intended by Orwell in 1945 still relevant 80 years later, this thought provoking tale of tyranny and rebellion will beg the question is change always for the better? 

ROSIE DAY’S (THIS IS NOT A) HAPPY ROOM TO RUN AT THEATRE ROYAL WINDSOR FOLLOWING RUN AT

KING’S HEAD THEATRE

Katy Galloway Productions today announces (This is not a) Happy Room, written by Rosie Day, will run at Theatre Royal Windsor following its premiere at King’s Head Theatre on 31 March. The play will make its way to Windsor, running a total of six performances from 13 May to 17 May.

Hannah Price directs Amanda Abbington, Rosie Day, Andrea Valls, and Jonny Weldon, with the company completed by Jazz Jenkins, Tom Kanji and Alison Liney.

Rehearsal images of the cast are released today ahead of the play’s run at King’s Head Theatre from 26 March to 27 April.

Katy Galloway Productions presents

(THIS IS NOT A) HAPPY ROOM

By Rosie Day

Cast: Amanda Abbington (Esther), Rosie Day (Elle), Alison Liney (Agatha), Jazz Jenkins (Hayley),

Tom Kanji (Charles), Andrea Valls (Laura) and Jonny Weldon (Simon)

Director Hannah Price; Sound Design: Adrienne Quartly; Lighting Design: Rory Beaton;
Set and Costume Design: Georgia de Grey

Theatre Royal Windsor

13 May – 17 May 2025

(This Is Not A) Happy Room – Theatre Royal Windsor

Meet the Hendersons, a happily dysfunctional family, reuniting for their dad’s third (or fourth?) wedding. Nobody expects the death of his bachelorhood to become an actual funeral… but it would be a waste of the buffet not to repurpose it, right?

Following the West-End run of her critically acclaimed Instructions for a Teenage Armageddon, and hailed as Saltburn meets Schitt’s Creek, Rosie Day’s new searingly sharp dark comedy premieres at the King’s Head in March 2025.

Amanda Abbington plays Esther. Her theatre credits include When it Happens to You (Park Theatre), The Unfriend (Criterion Theatre), The Son (Kiln Theatre, Duke of York’s Theatre), The Little Princess (Royal Festival Hall), The God of Carnage, Abigail’s Party (Theatre Royal Bath), God Bless the Child (Royal Court Theatre) and Love Me Tonight (Hampstead Theatre). Her television credits include Desperate Measures, Wolfe, The Net, Sherlock, I Hate Suzie, Mr. Selfridge (as series regular Miss Mardle), Cuffs, The Queen and I, Unsaid Stories, Safe, Married Single Other and After You’ve Gone; and for film, The Lost King, Three Pints and a Rabbi, Decrypted, The Six Days of Sistine, Crooked House, Another Mother’s Son and Ghost.

Playwright Rosie Day also plays Elle. As a writer, her debut play Instructions for a Teenage Armageddon opened in the West End in Spring 2024 and is now being produced for television by BBC3 and Emma Thompson. Her theatre credits include When It Happens to You (Park Theatre), The Fellowship (Hampstead Theatre), Instructions for a Teenage Armageddon (Southwark Playhouse), Again, The Girl who Fell (Trafalgar Studios), Spur of the Moment (Royal Court Theatre), Velocity (Finborough Theatre), A Winter’s Tale, Playboy of the Western World and Summerfolk (National Theatre). Her television credits include Outlander, Living the Dream, Good Omens, Urban Myths, The Sandman and Prime Suspect 1973; and for film, All Roads Lead to Rome, Down a Dark Hall, The Seasoning House, Good Night and Butterfly Kisses.

Andrea Valls makes her professional stage debut as Laura. Her television credits include Bridgerton, Grantchester, Cheaters, The Death of Bunny Monroe, Toads, The Mallorca Flies, Spent, Flaps, East Mode with Nigel Ng Waffle the Wonderdog, Valentine Nights and The Midnight Beast Present Valentine’s Day; and for film, Red White and Royal Blue.

Jonny Weldon plays Simon. His theatre credits include 101 Dalmatians (Regent’s Park Open Air Theatre), The Witches (West Yorkshire Playhouse), Happy to Help (Park Theatre), A Mad World My Masters (RSC, Barbican Theatre and UK tour), Titus Andronicus, and The Snow Queen (Royal & Derngate). His television credits include One Day, Brassic, Breeders, House of the Dragon, Sneakerhead, Sister Boniface, Stath Lets Flats and Shakespeare and Hathaway; and for film, The People We Hate at the Wedding, Christmas on Mistletoe Farm, American Road Trip, Kiss on the Danube and High Hopes.

Jazz Jenkins plays Hayley. Her theatre credits include Fabulous Creatures (ArcolaTheatre).Jenkins graduated from LAMDA in 2023.

Tom Kanji plays Charles. His theatre credits include Twelfth Night (Orange Tree Theatre), The Spy Who Came in From the Cold, The Country Wife (Chichester Festival Theatre), Richard, My Richard (Shakespeare North and Theatre Royal, Bury St Edmunds), Julius Caesar, The Box of Delights (RSC), Pinocchio (Unicorn Theatre), Private Peaceful (Nottingham Playhouse), Home, I’m Darling (UK tour), The Taming of the Shrew (US tour), Shoe Lady (Royal Court Theatre), Love’s Labour’s Lost, The Winter’s Tale, Pericles, Romeo and Juliet, Julius Caesar, Doctor Scroggy’s War, Eternal Love (Shakespeare’s Globe), Yes, Prime Minister (Theatre Clwyd),  Romeo and Juliet, Antony and Cleopatra, Much Ado About Nothing (Barbican Theatre), Fiddler on the Roof, Romeo and Juliet, The Story Giant, The Sum (Liverpool Everyman & Playhouse); and for television, Tyrant, Supacell, Silent Witness, Hustle and Midnight Man.

Making her professional debut at the age of 84, Alison Liney plays Agatha. She has performed with amateur groups in North London since the mid-sixties.

Hannah Price directs. Her directing credits include The Girl Who Fell, Boa, Again (Trafalgar Studios), End of the Pier, The Dead Monkey (Park Theatre), Down and Out Live (Stone Nest, London/La Generale, Paris), Permanence (Tarragon Theatre, Toronto), Escape the Scaffold (Theatre503/ The Other Room), Run the Beast Down (Marlowe Theatre/Finborough Theatre), 1984 Live (Senate House), Rainbow Class (Bush Theatre/Assembly Rooms), TEST (Scala Theatre, Basel),  Cello/Fragile (Yard Theatre), Bud Take the Wheel, I Feel a Song Coming On (Shaw Theatre/Underbelly), That Moment (King‘s Head Theatre & UK tour). For Theatre Uncut her credits include Refugee (Teater Grob, Copenhagen), In Opposition (Paines Plough Roundabout), Knowledge is Power: Knowledge is Change (Traverse & tour), Referendum Plays (Traverse), TU Istanbul: Power and Protest (Dot Tiyatro/Istanbul International Theatre Festival/Traverse), TU 2013: The Rise of the Right (Young Vic), The Cuts Plays (Southwark Playhouse/ Soho/Latitude/Traverse).

Instagram, Facebook:    @thisisnotahappyroom

TikTok:                              @notahappyroom

(This is not a) Happy Room

LISTINGS

Theatre Royal Windsor

Theatre Royal Windsor, 32 Thames Street, Windsor, Berkshire SL4 1PS

Box Office: 01753 853888

https://theatreroyalwindsor.co.uk

13 May – 17 May

Tuesday, 7:30pm

Wednesday, 7.30pm

Thursday, 2.30pm & 7.30pm

Friday, 7.30pm

Saturday, 7.30pm                     

Tickets from £19.50 

RACHEL ZEGLER

STARS IN

LLOYD WEBBER HARRISON MUSICALS AND THE JAMIE LLOYD COMPANY’S

PRODUCTION OF

TIM RICE AND ANDREW LLOYD WEBBER’S

EVITA

AT THE LONDON PALLADIUM

SUMMER 2025

Michael Harrison for Lloyd Webber Harrison Musicals and Jamie Lloyd forThe Jamie Lloyd Company today announce that Rachel Zegler will make her West End debut as Eva Perón in Tim Rice and Andrew Lloyd Webber’s Evita, with full cast and creatives to be announced. The production, directed by Jamie Lloyd, opens at The London Palladium on Tuesday 1 July, with previews from 14 June, and runs until 6 September 2025.

Rachel Zegler said today, “Evita has been such an important musical to me since I was a little girl, when my dad and I would sing “Don’t Cry for Me Argentina” together on my back patio. The opportunity to bring Jamie Lloyd’s singular, visionary ideas to life onstage is an honour unlike any other. The stage has always felt like home to me, and I can’t wait to make my West End debut in such great company.”

Jamie Lloyd said today, “I am so excited to be collaborating with the brilliant Rachel Zegler on Evita. She is a phenomenal talent, and I am delighted she will be making her West End debut as the iconic Eva Perón.”

For Evita, there will be 5,000 tickets available across the run at £25 exclusively for under 30s, key workers and those receiving government benefits. These tickets will be available across all levels of the theatre, and go on sale at a later date. Further information to be announced.

EVITA

Lyrics by Tim Rice; Music by Andrew Lloyd Webber

Directed by Jamie Lloyd

The London Palladium

Saturday 14 June – Saturday 6 September 2025

“The truth is I never left you”

Tim Rice and Andrew Lloyd Webber’s legendary Evita returns to the West End, reimagined by the visionary award-winning director Jamie Lloyd.

Featuring an iconic score including Don’t Cry For Me Argentina, Oh What A Circus, Another Suitcase in Another Hall, and the Oscar-winning You Must Love Me.

Fuelled by ambition and passion, Eva Perón rose from poverty to become the most powerful woman in Latin America. A symbol of hope to many Argentines, her star shone brightly as she captured the nation’s heart and divided its soul. 

Produced by Michael Harrison for Lloyd Webber Harrison Musicals and Jamie Lloyd for The Jamie Lloyd Company by arrangement with The Really Useful Group Ltd.

Jamie Lloyd originally directed Evita at Regent’s Park Open Air Theatre as part of their 2019 season.

Instagram:          @OfficialEvita

X:                           @EvitaMusical

Facebook:           /EvitaTheMusical

TikTok:                 @EvitaMusical

Rachel Zegler plays Eva Perón

Theatre credits include: Romeo + Juliet (Circle in the Square Theatre, Broadway).

Film credits include: Spellbound, Y2K, The Hunger Games: The Ballad of Songbirds and Snakes (People’s Choice Award for Action Movie Star of the Year); Shazam! Fury of The Gods and West Side Story (NBR Award for Best Actress; Golden Globe Award for Best Actress in a Comedy or Musical).

Forthcoming projects include: Snow White (Disney).

Tim Rice

Tim Rice has worked in music, theatre and films since 1965 when he met Andrew Lloyd Webber, a fellow struggling songwriter. Rather than pursue Tim’s ambitions to write rock or pop songs they turned their attention to Andrew’s obsession – musical theatre. Their first collaboration, The Likes Of Us, did not set the musicals world alight, but their next three works together did – Joseph and the Amazing Technicolor Dreamcoat, Jesus Christ Superstar and Evita.

Tim has since worked with other distinguished composers such as Elton John (The Lion King, Aida), Alan Menken (Aladdin, King David, Beauty and the Beast), Bjorn Ulvaeus and Benny Andersson (Chess), and Stuart Brayson (From Here To Eternity). He has also written with Freddie Mercury, Burt Bacharach, Graham Gouldman, Gary Barlow and Rick Wakeman among others. Many of his musicals continue to play around the world in a huge variety of productions, big and small.

In 2024 Tim toured England (22 towns/cities) to present an evening of his songs, mercifully performed by top singers and musicians rather than by him, to which he added reminiscence and comment, recalling their creation, success (or rejection) and the joy (usually) of working with great composers. The show, entitled My Life In Musicals, did so well that it is to be repeated in 2025, this time taking in Wales, Scotland and Ireland too.

Sir Tim’s interests beyond music, film and theatre include cricket and he founded his own team in 1973. Heartaches CC has now played over 750 matches and been on playing tours to the USA, Russia, France, Estonia, Hungary, Germany and South Africa. He was President of the world’s most famous cricket club, MCC, in 2002.

He has recently recorded a series of talks for BBC Maestro on Writing and Performing in Musical Theatre. He writes and presents a podcast (entitled Get Onto My Cloud) about his sixty-year career– playing hits and flops, out-takes and number ones.

He dedicates considerable time to several British educational institutions and charities, many connected with sport for disadvantaged children. He is a patron of the Bob Willis Fund (along with Bob Dylan!), an enterprise inspired by the late great English cricketer, dedicated to raise prostate cancer awareness.

He crops up here and there in all branches of the media drawing on his extensive knowledge of the history of popular music. He has won several awards, mainly for the wrong thing or for simply turning up, but since you ask: 1 Emmy, 5 Grammys, 3 Tonys and 3 Oscars, making him an EGOT. His shows have spent more weeks on Broadway than those of any other British lyricist. He was knighted by Her Late Majesty the Queen in 1994. Despite hints, he is not retiring just yet.

Andrew Lloyd Webber

Andrew Lloyd Webber has composed the scores of some of the world’s most famous musicals. Lloyd Webber has had shows running across the world for decades, including continually in London’s West End for 50 years.

When Sunset Boulevard joined School of Rock, CATS, and The Phantom of the Opera he equalled Rodgers & Hammerstein’s record of four shows running simultaneously on Broadway. He is one of the select group of artists with EGOT status, having received Emmy, Grammy, Oscar, and Tony Awards. 

Lloyd Webber owns six London theatres including the iconic London Palladium and Theatre Royal, Drury Lane. Reopened in July 2021, the latter was completely restored and renovated at a cost of over £60 million. It was one of the biggest projects ever undertaken by a private theatre owner in recent times. His mantra is that every penny of profit made from his theatres is ploughed back into the buildings. 

Lloyd Webber is passionate about the importance of musical education and diversity in the arts. The Andrew Lloyd Webber Foundation provides 30 performing arts scholarships every year for talented students with financial need and supports a range of projects such as the Music In Secondary School Trust and commissioning research into diversity in theatre. 

Andrew Lloyd Webber has composed music for globally significant moments, including Olympic ceremonies and World Cup celebrations. He has been asked to compose for many royal occasions, the most recent being “Make a Joyful Noise”, an Anthem for the Coronation of King Charles III. 

Andrew Lloyd Webber was knighted in 1992, created an honorary life peer in 1997, and made a Knight Companion of the Most Noble Order of the Garter by King Charles III in 2024. 

Jamie Lloyd directs. His credits for The Jamie Lloyd Company include Much Ado About Nothing and The Tempest (Theatre Royal Drury Lane), Romeo & Juliet (Duke of York’s Theatre), Sunset Blvd. (St. James Theatre, New York/Savoy Theatre – winner of seven Olivier Awards including Best Director and Best Musical Revival; Evening Standard Theatre Award for Best Director), The Effect (National Theatre/The Shed, New York), A Doll’s House (Hudson Theatre, New York – nominated for six 2023 Tony Awards including Best Direction of a Play and Best Revival of a Play), The Seagull (Harold Pinter Theatre), Cyrano de Bergerac (Playhouse Theatre/Harold Pinter Theatre/Brooklyn Academy of Music, New York – Olivier Award for Best Revival; Critics’ Circle Theatre Award for Best Director), Betrayal (Harold Pinter Theatre/Bernard B. Jacobs Theatre – nominated for four 2021 Tony Awards including Best Direction of a Play and Best Revival of a Play; Critics’ Circle Theatre Award for Best Director), Pinter at the Pinter (Harold Pinter Theatre), The Maids, The Homecoming, The Ruling Class, Richard III, The Pride, The Hothouse and Macbeth (Trafalgar Studios).

LISTINGS

The London Palladium

Box Office: evitathemusical.com / 020 3925 2998

Saturday 14 June – Saturday 6 September 2025