Standing ovation – the whole theatre was up dancing
Queen of the Night – a tribute to Whitney Houston 10th Anniversary Tour was on at Aylesbury Waterside Theatre last night. The ultimate tribute has been a sell out at the Royal Albert Hall and I am not surprised, the power of the voice was incredible. There was the 5 piece live band with an amazing saxophonist and backing vocals.
Lead Whitney was amazing and she was the fasted outfit changer ever! no sooner had she let the stage she was back on in a different outfit and hairstyle!
There also featured backing vocalist that also did a few solo’s and the backing vocalists as Anna Richard and Bethany Carter.
The performance was put on by Paul Roberts productions and it was exceptional.
The iconic songs or should I say hits were all there , I Wanna Dance with Somebody, One Moment in Time, I’m Every Woman, How Will I Know and Plenty more
Park Theatre announces five new shows to take them into 2026
Park Theatre partners with Papatango Theatre Company to present the winner of the Papatango New Writing Prize, The Meat Kings! (Inc.) Of Brooklyn Heights*
Following their highly successful Forsyte Saga, Troupe revive Noël Coward’s The Rat Trap on its 100th anniversary
Athol Fugard’s The Train Driver is based on true events in South Africa
Additions to the Summer season include Theatre by the Lake’s Steel as part of their national tour, and a one night only evening of poetry and jazz with Maureen Lipman
Park Theatre has announced five new shows, including two timely revivals at the start of 2026 and the winner of the Papatango New Writing Prize. The first time Park Theatre has partnered with Papatango Theatre Company will be on The Meat Kings! (Inc.) Of Brooklyn Heights by Hannah Doran, running throughout November. 2026 will start with the return of Troupe theatre after The Forsyte Saga with Noël Coward’s The Rat Trap a century after its premiere, and a revival of Athol Fugard’s The Train Driver to celebrate his work after his passing earlier in the year. Newly added to the Summer season are Steel by Lee Mattinson, and a special fundraiser with Dame Maureen Lipman.
In an evening of joyous entertainment. Maureen Lipman & Friends: Poetry & Jazz (11 May) is a stellar lineup from the worlds of poetry and jazz. With British poets Jeremy Robson and Pauline Prior-Pitt, multi-award-winning vocalist Jacqui Dankworth, acclaimed American jazz pianist Charlie Wood, British jazz stalwart Art Themen on sax, and an appearance from centenarian actress Thelma Ruby. With a number of surprise acts on the night, the evening will support Park Theatre’s initiatives including three programmes for those living with dementia and their carers, and also their access performances, ensuring there is at least one access performance for every run in the venue.
Steelcomes to Park Theatre (11 – 14 June) as part of its national tour presented by Theatre by the Lake. Lee Mattinson’s play, set on the wet West Cumbrian coast, follows mates James and Kamran when one of them discovers he is heir to a single mile of the British railway system. The lads are forced on a town-wide treasure hunt where annihilated aunties, Snakebite-drenched drag queens and a zombie Princess Diana lay in wait. In a town once rich with coal seams and ore, with community and carnivals, with sea air and ale, James and Kamran are fed up with feeling different – tonight they’re painting the town technicolour and asking what it means to be a man in a play about first loves, forging identities and the wild, wild hearts of teenage boys.
For the inaugural partnering between Park Theatre and Papatango Theatre Company on the Papatango New Writing Prize, winning play The Meat Kings! (Inc.) Of Brooklyn Heights (30 Oct – 29 Nov) is Hannah Doran’s drama carving into the dark underbelly of America’s anti-immigration policies and the brutal sacrifices that drive the pursuit of prosperity. T is the new summer hire at Cafarelli & Sons, an iconic New York butcher, but life in a messy cutting room isn’t glamorous. With the American dream of a better life hanging in the balance, T and her colleagues-turned-competitors sweat for their jobs. Alliances form, romance sparks, and loyalties shift.
Kicking off 2026, The Train Driver (14 Jan – 7 Feb) is a timely revival of Athol Fugard’s soulful exploration of guilt, suffering, racial intolerance and the powerful bonds that grow between strangers, based on a true story. In December 2000, Cape Flats, South Africa, a woman steps in front of a train with her baby on the railway tracks between Philippi and Nyanga. Two months later Roelf, the train driver, has spent weeks searching for the identities of the victims. After a fruitless journey through shanty towns, he encounters an old gravedigger named Simon who helps the desperate man unburden his conscience.
And finally, returning to Park Theatre after their hugely successful The Forsyte Saga Part 1 and 2, Troupe will be giving Noël Coward’s The Rat Trap (28 Jan – 14 Mar) a stylish period revival on its 100th anniversary. In fashionable 1920s Belgravia, Sheila, a talented novelist, and Keld, an aspiring playwright, embark on married life. Both are fiercely ambitious, but when Keld’s career takes off and Sheila’s doesn’t, professional jealousy and an affair have a devastating effect on their marriage.
Artistic Director Jez Bond said, “I’m pleased to announce four plays and a fundraiser – with both spaces boasting a piece of new writing and a revival to enthral our audiences. We’re pleased to be working with two producers new to us, to begin a partnership with Papatango and to welcome back Troupe Productions (following their success with The Forsythe Saga). As we enter our thirteenth year, and arts funding seems more challenging than ever, we’re honoured by the continued support of our fabulous friends of stage and screen; and are delighted to welcome back Maureen Lipman and friends for a fundraising evening of poetry and jazz.”
Park Theatre presents exceptional theatre in the heart of Finsbury Park, boasting two world-class performance spaces: Park200 for predominantly larger scale productions by established talent, and Park90, a flexible studio space, for emerging artists. In eleven years, it has enjoyed 10 West End transfers (including Rose starring Maureen Lipman, The Boys in the Band starring Mark Gatiss, Pressure starring David Haig and The Life I Lead starring Miles Jupp), two National Theatre transfers, 14 national tours, seven Olivier Award nominations, has won multiple OffWestEnd Offie Awards, and a Theatre of the Year award from The Stage as well as their inaugural Campaign of the Year award in 2025 for their work reaching underserved audiences with Canadian/ Korean comedy drama Kim’s Convenience.
Listings information
Park Theatre, Clifton Terrace, Finsbury Park, London N4 3JP
Maureen Lipman & Friends: Poetry & Jazz| Presented by Park Theatre
An evening of joyous entertainment. Dame Maureen Lipman leads a stellar lineup from the worlds of poetry and jazz – from renowned British poets Jeremy Robson and Pauline Prior-Pitt to multi-award-winning vocalist Jacqui Dankworth, acclaimed American jazz pianist Charlie Wood and British jazz stalwart Art Themen on sax, this is set to be a delightful evening to remember. With an appearance from centenarian actress Thelma Ruby and a number of surprise acts on the night, don’t miss this special event – all in aid of Park Theatre.
Running time: 1hr 50 mins (inc interval)
Sun 11 May 7pm | £89.50 – £39.50
Park90 11 – 14 June | Press night: Fri 13 June
Steel| Presented by Theatre by the Lake in association with Park Theatre
Written by Lee Mattinson, directed by Liz Stevenson Cast includes: Suraj Shah, Jordan Tweddle Part of National Tour
Two lads. Twelve hours. One million pounds.
On the wet West Cumbrian coast, James and Kamran have been mates for more than a decade. At seventeen, the world should be theirs but Workington’s a ghost town – an unemployment blackspot where lasses drink Bacardi by the pint and boys don’t cry.
When James discovers he is heir to a single mile of the British railway system, the lads are forced on a town-wide treasure hunt where annihilated aunties, Snakebite-drenched drag queens and a zombie Princess Diana lay in wait. But who rightfully owns the mile of steel? Why is Kamran in such a strop? And what really happens in the pub down by the docks?
In a town once rich with coal seams and ore, with community and carnivals, with sea air and ale, James and Kamran are fed up with feeling different – tonight they’re painting the town technicolour and asking what it means to be a man in a play about first loves, forging identities and the wild, wild hearts of teenage boys.
Running time: 85 mins (no interval)
Weds – Sat 7pm, 3.15pm matinees Thu & Sat | £25 – £15 (standard), £9.50 (access), £10 (Park Up 16-26 years, throughout the run
The Meat Kings! (Inc.) Of Brooklyn Heights| Presented by Papatango Theatre Company and Park Theatre
World Premiere of the 2024 Papatango New Writing Prize Winner
Written by Hannah Doran, directed by George Turvey
T is the new summer hire at Cafarelli & Sons, an iconic New York butcher, but life in a messy cutting room isn’t glamorous. No-nonsense boss Paula tries to keep everyone in line, but the business is struggling: when the season ends, someone’s for the chop.
With the American dream of a better life hanging in the balance, T and her colleagues turned competitors sweat for their jobs. Alliances form, romance sparks, and loyalties shift. But how far will they go to secure their future?
The Meat Kings… carves into the dark underbelly of America’s anti-immigration policies and the brutal sacrifices that drive the pursuit of prosperity. Winner of the 2024 Papatango New Writing Prize from a record-breaking 1,589 submissions, Hannah Doran’s fierce and blisteringly funny debut play is directed by Papatango’s Artistic Director, George Turvey (Shook, National Tour & Sky Arts), following previous Prize discoveries that have won Olivier, Critics’ Circle and OffWestEnd awards.
Mon – Sat 7.30pm, matinees Thu and Sat 3pm I £57.50 – £22.50 (standard), £29.50 – £20 (65+ Mon eve and Thu mat, bands B, C and D only), £18.50 (access), £10 (Park Up 16-26 years Band C & D throughout the run) I Previews 30 Oct – 1 Nov £15 – £35
Park90 14 Jan – 7 Feb | Press night: Fri 16 Jan
The Train Driver| Presented by Proud Haddock and Sarah Lawrie in association with Park Theatre
Written by Athol Fugard, directed by Jimmy Walters
December 2000, Cape Flats, South Africa. A woman steps in front of a train with her baby on the railway tracks between Philippi and Nyanga.
Two months later Roelf, the train driver, has spent weeks searching for the identities of the victims. After a fruitless journey through shanty towns, he encounters an old gravedigger named Simon who helps the desperate man unburden his conscience. Based on a true story, The Train Driver is a soulful exploration of guilt, suffering, racial intolerance and the powerful bonds that grow between strangers.
After receiving its world premiere at the Fugard Theatre, Cape Town in March 2010, the play received it’s UK premiere in November 2010 at the Hampstead Theatre.
This production is the first UK revival in 16 years and will be directed by Jimmy Walters (Mrs Orwell, The Trackers of Oxyrhynchus) and presented by Proud Haddock and Sarah Lawrie in association with Park Theatre.
Running time: 75 mins
Dementia friendly performance 22nd Jan 3.15pm, captioned performance 27th Jan 7pm
Mon – Sat 7pm, 3.15pm matinees Thu & Sat | £25 – £15 (standard), £9 (access), £10 (Park Up 16-26 years, throughout the run I Previews 14 & 15 Jan (£15)
Park200 28 Jan – 14 Mar | Press night: Mon 2 Feb
The Rat Trap | Presented by Ashley Cook for Troupe in association with Park Theatre
100th year anniversary production
Written by Noël Coward, reimagined by Bill Rosenfield
‘When two brilliant egoists marry… there is bound to be trouble.’
In fashionable 1920s Belgravia, Sheila, a talented novelist, and Keld, an aspiring playwright, embark on married life. Both are fiercely ambitious, but when Keld’s career takes off and Sheila’s doesn’t, professional jealousy and an affair have a devastating effect on their marriage.
Startlingly moving, but full of customary sparkling wit and dark humour, Noël Coward’s first play is given a stylish period revival for its centenary year. The Rat Trap is lovingly revised by Bill Rosenfield and presented by Troupe, who return to Park Theatre after their critically acclaimed production of The Forsyte Saga Parts 1 and 2.
Running time: 2hrs 20 mins (inc interval)
Captioned performance Weds 11 Feb 7.30pm, audio described performance Sat 14 Feb 3pm
Tues – Sat 7.30pm (plus Mon 2 Feb), matinees Tues, Thu and Sat 3pm I £57.50 – £22.50 (standard), £29.50 – £20 (65+ Tue & Thu mat, bands B, C and D only), £18.50 (access), £10 (Park Up 16-26 years Band C & D throughout the run) I Previews 28 – 31 Jan £15 – £35
Winners announced at Olivier Awards 2025 with Mastercard
The biggest winners of the night are The Curious Case Of Benjamin Button, Fiddler On The Roof and Giant, receiving three awards each
The Curious Case Of Benjamin Button wins Mastercard Best New Musical, Best Actor in a Musical (John Dagleish) and Outstanding Musical Contribution (Darren Clark & Mark Aspinall)
Fiddler On The Roof wins the Piper-Heidsieck Award for Best Musical Revival, the Blue-i Theatre Technology Award for Best Set Design (Tom Scutt) and the d&b audiotechnik Award for Best Sound Design (Nick Lidster)
Giant wins The Londoner Award for Best New Play, Best Actor (John Lithgow) and Best Actor in a Supporting Role (Elliot Levey)
Lesley Manville wins Best Actress for Oedipus at the Wyndham’s Theatre, which also wins Cunard Best Revival
Imelda Staunton wins Best Actress in a Musical for Hello, Dolly!, her fifth Olivier Award
Romola Garai wins Best Actress in a Supporting Role for The Years, having been double-nominated in her category
Eline Arbo wins the Sir Peter Hall Award for Best Director for The Years, the sixth woman ever to win the Olivier Award in this category
Paule Constable, the most-lauded individual in Olivier Awards history with 17 nominations, wins the White Light Award for Best Lighting Design alongside Ben Jacobs for Oliver!, her sixth Olivier Award
Ceremony highlights will air at 10.15pm this evening on ITV1, ITVX, STV and STV Player
This evening (Sunday 6 April), the winners of this year’s Olivier Awards with Mastercard were revealed at a star-studded ceremony at London’s Royal Albert Hall, hosted by Beverley Knight and Billy Porter.
With three wins each, the ceremony’s most awarded shows were The Curious Case Of Benjamin Button, Fiddler On The Roof and Giant. Other productions with multiple wins were Oedipus (Wyndham’s Theatre), Titanique, The Years, and The Royal Opera’s Festen, each with two wins apiece.
The ceremony opened with a stunning performance of ‘Luck Be A Lady’ from Guys & Dolls by hosts Beverley Knight and Billy Porter, accompanied by the House Gospel Choir. Additional performances throughout the evening included Mastercard Best New Musical nominees The Curious Case Of Benjamin Button, MJ The Musical, Natasha, Pierre & The Great Comet Of 1812 and Why Am I So Single?, Piper-Heidsieck Award for Best Musical Revival nominees Fiddler On The Roof, Oliver! and Starlight Express, and a special 40th anniversary performance from Les Misérables.
John Dagleish, winner of the Best Actor in a Musical award for “The Curious Case Of Benjamin Button”, poses in the Winners Room at The Olivier Awards 2025 with Mastercard (c)Joanne Davidson
Mastercard Best New Musical was won by The Curious Case Of Benjamin Button, with music & lyrics by Darren Clark, and book & lyrics by Jethro Compton. John Dagleish took home the Best Actor in a Musical award for his performance as the title character, 10 years after his first win for Sunny Afternoon in 2015. The musical’s trio of wins was completed by Darren Clark & Mark Aspinall, securing the award for Outstanding Musical Contribution.
This year’s most-nominated show, Regents Park Open Air Theatre’s Fiddler On The Roof( tying with Hamilton’s 2018 record of 13 nominations), won the Piper-Heidsieck Award for Best Musical Revival, with wins for the Blue-i Theatre Technology Award for Best Set Design for Tom Scutt, and the d&b audiotechnik Award for Best Sound Design for Nick Lidster (his second Olivier Award win). The musical returns in May to the Barbican Theatre.
John Lithgow, winner of the Best Actor award for “Giant”, poses in the Winners Room at The Olivier Awards 2025 with Mastercard (c)Joanne Davidson
The Royal Court’s Giant by Mark Rosenblatt received The Londoner Award for Best New Play, with John Lithgow taking home the hotly contested Best Actor accolade for his role as Roald Dahl, his first Olivier Award win. Elliot Levey picks up his second Olivier Award, securing Best Actor in a Supporting Role. The production returns to play at the Harold Pinter Theatre later this month.
Lesley Manville, winner of the Best Actress award for “Oedipus”, poses in the Winners Room at The Olivier Awards 2025 with Mastercard (c)Joanne Davidson
The coveted Best Actress award went to Lesley Manville, her second Olivier Award,for Oedipus at Wyndham’s Theatre, whic halso scored the win for Cunard Best Revival. Romola Garai won Best Actress in a Supporting Role forThe Years, having been double-nominated in her category for her performances in both Giant and The Years. A second win for The Years went to Eline Arbo, who collected the Sir Peter Hall Award for Best Director, becoming the sixth woman ever to do so alongside the likes of double-winner Marianne Elliott, and Cabaret’s Rebecca Frecknall. The Years plays at the Harold Pinter Theatre until 19 April.
Imelda Staunton, winner of the Best Actress in a Musical award for “Hello Dolly!”, poses in the Winners Room at The Olivier Awards 2025 with Mastercard (c)Joanne Davidson
Imelda Staunton received her fifth Olivier Award, and her fourth in the same category, winning Best Actress in a Musical for her performance as Dolly Levi in Hello, Dolly!. The award for Best Actress in a Supporting Role in a Musical went to Maimuna Memon for her role in Natasha, Pierre & The Great Comet Of 1812, following her second nomination.
Layton Williams, winner of the Best Actor in a Supporting Role in a Musical for “Titanique”, poses in the Winners Room at The Olivier Awards 2025 with Mastercard (c)Joanne Davidson
Best Actor in a Supporting Role in a Musical was awarded to first-time nominee Layton Williams for his role in Titanique by Tye Blue, Marla Mindelle & Constantine Rousouli, which also secured the Noël Coward Award for Best New Entertainment or Comedy Play. Titanique is currently playing at the Criterion Theatre.
In other success for musicals: Christopher Wheeldon took home the Gillian Lynne Award for Best Theatre Choreographer for MJ The Musical (currently at the Prince Edward Theatre); Paule Constable, who is the most-lauded individual in Olivier Awards history with 17 nominations, won her sixth Olivier Award, winning the White Light Award for Best Lighting Design alongside Ben Jacobs for Oliver! (playing at the Gielgud Theatre); Gabriella Slade won Best Costume Design for Starlight Express (currently at Troubadour Wembley Park Theatre).
Soho Theatre’s Boys On The Verge Of Tears by Sam Grabiner won Best New Production in Affiliate Theatre, and Best Family Show went to Brainiac Live at Marylebone Theatre. The Royal Opera’s Festen secured both opera awards, winning the TAIT Award for Best New Opera Production, with Allan Clayton receiving Outstanding Achievement in Opera for his performance in the production. Best New Dance Production went to Assembly Hall by Kidd Pivot, Crystal Pite & Jonathon Young at Sadler’s Wells, and Outstanding Achievement in Dance to Eva Yerbabuena for her performance in Yerbagüena, also at Sadler’s Wells.
A video tribute was made during the ceremony to celebrate Special Award recipient Rufus Norris, rounding off his 10-year tenure as Director of the National Theatre. Industry Recognition Award recipients Rupert Bielby, Bryan Raven and Sue Uings also received a special acknowledgement during the ceremony, honouring their significant contributions to the theatre industry. The evening’s In Memoriam paid tribute to some of the industry titans we have lost this year from both on and off stage, including the much beloved Dame Joan Plowright, wife of Sir Laurence Olivier after whom the awards are named.
Kash Bennett, President of the Society of London Theatre, said:
“The Olivier Awards have once again been a spectacular celebration of the very best of British theatre, showcasing the incredible talent of our performers and creatives. Huge congratulations to all the brilliant winners and nominees, who embody the creativity, passion, and magic that make our industry so extraordinary.”
The Olivier Awards continued their partnership with Mastercard as headline sponsor for the 15th year. Mastercard cardholders were offered exclusive access to tickets and VIP experiences for the biggest night in theatre. More once-in-a-lifetime theatre experiences can be found on
Charlie Carrington, Senior Vice President Marketing & Communications at Mastercard, said:
“The Olivier Awards celebrates the best that London theatre has to offer. The West End’s iconic stages have brought us some of the world’s finest performances and Mastercard is proud to support the awards and the creative industries more broadly, championing all those performing both on stage and behind the scenes. Congratulations to all of tonight’s winners.”
The Olivier Awards are grateful to additional category sponsors Blue-I Theatre Technology, Cunard, d&b audiotechnik, The Londoner, The Lynne & Land Foundation, The Noël Coward Foundation, Piper-Heidsieck and TAIT,as well as official car partner Addison Lee, mobile entertainment platform partner TikTok, production partners Unusual Rigging and White Light,and additional partners AKT London, Fujifilm, Global, Heart of London Business Alliance, Newman Displays, See Tickets and Tysers in association with Ecclesiastical for their ongoing support.
Highlights from the event will air at 10.15pm this evening on ITV1, ITVX, STV and STV Player, available on catch-up after broadcast. Magic Radio have been broadcasting coverage and highlights from 8pm this evening. For viewers outside the UK, the ceremony was broadcast live on the Official London Theatre YouTube channel and is now available there for catch-up.
Welcome to the annual Scout Games! Scouts from around the world have gathered to compete but when an intruder threatens to sabotage the competition, it is up to Joe and Eliza to put aside their rivalries and use their newfound skills to save the day! Created in partnership with the Scouts, multi-award winning Gigglemug Theatre (A Jaffa Cake Musical, RuneSical, Timpson: The Musical) are taking their smash hit, actor-musician led musical comedy on tour throughout June. This family friendly show sold out its initial run at The Other Palace in 2023, where it received a WhatsOnStage Award Nomination for Best OffWest End Production and was described by former Chief Scout Bear Grylls as ‘Incredible!’.
An utter masterpiece ★★★★★ BOX OFFICE RADIO A comedic triumph ★★★★★ WEST END EVENINGS A fun adventure that will delight audiences of all ages ★★★★★NORTH WEST END
For its final ever run, the production will tour to The Crescent Theatre, Birmingham from 3rd – 7th June; The Hope Mill Theatre, Manchester from 10th – 15th June; Upstairs at the Gatehouse, London from 18th – 22nd June; The Egg Theatre, Bath from 26th – 29th June. Tickets are available here: https://linktr.ee/ScoutsTheMusical
Joining the company are Eleanor Fransch (You’re A Good Man, Charlie Brown, Alice in Wonderlandat The New Vic) as Eliza and Burhan Kathawala as Joe. Returning to the production are Kemi Clarke (Beautiful: The Carole King Musical, The Gruffalo) as Scout Leader Dylan, Katie Pritchard (A Jaffa Cake Musical) as Rosie, Emily Kitchingham as Charlotte & Rob Gathercole (Faking Bad) as Luke/Linus Lionheart. Heather Gourdie completes the cast as Narrator/Swing. Music & Lyrics are by David Fallon with Book & Lyrics by Sam Cochrane, who is also the Director. Musical Direction is by Rob Gathercole.
As part of their Summer Season, Gigglemug will also return to the Edinburgh Fringe this year with A Jaffa Cake Musical which sold out its entire run at last year’s festival, receiving over thirty 4 & 5 star reviews.
This Easter, Cinderella at St Helens Theatre Royal delivers a spectacular and thoroughly entertaining panto bursting with colour, comedy, and heart. Directed by Chantelle Joseph, with musical direction from Callum Clarke and choreography by Nazene Langfield, this production is as polished as it is playful.
Lewis Devine returns as the lovable Buttons and absolutely steals the show. His quick wit, boundless energy, and warm connection with the audience make him the standout of the night. Kimberly Hart-Simpson brings charm and sincerity to the title role, while Ben Keith is every inch the dashing Prince Charming. Conor Barrie adds great comic flair as Dandini, bouncing off the others with ease.
Rachael Wood shines as the Fairy Godmother, especially during a stunning duet of Love Lift Us Up Where We Belong with Buttons. Their powerhouse vocals brought the house down and proved one of the evening’s true highlights.
Shania Pain and Richard Aucott are hilariously grotesque as the Ugly Sisters, hilariously named Ozempic and Mounjaro. Their Lidl and Aldi-inspired costumes were an audience favourite, and their outrageous antics delivered constant laughs. The script is peppered with adult innuendo, but remains entirely suitable for kids, striking the perfect panto balance.
Most of the cast are familiar faces to the St Helens stage, and their chemistry is evident. The show feels like a homecoming, with a comfort and confidence that only comes from a well-loved team. The production values are impressively high: slick set changes, colourful lighting, and well-timed pyrotechnics all elevate the spectacle.
The ensemble, featuring talented performers from Dynamix Performing Arts College and the Nazene Danielle School of Performing Arts, dazzled in every number. A wide range of dance styles was showcased, with Owen Doolan excelling as dance captain. Their precision and energy added depth and dynamism to every scene.
Nazene Langfield’s choreography is sharp and varied, matching the pace of the show perfectly. Whether it’s high-energy group routines or more emotional moments, the dance work throughout was strong, stylish, and engaging.
Visually, the production delivers classic panto magic, with standout moments including a glittering transformation scene and clever use of special effects. The balance of tradition and modern humour keeps things fresh, and there’s a real community feel that sets this panto apart.
Cinderella at St Helens Theatre Royal is a joyous Easter treat — flamboyant, funny, and packed with heart. With a talented cast, high production values, and plenty of laughs, it’s a show that delights all ages. Get your tickets and don’t miss out on this heartwarming Easter treat.
For one night only Velma Celli is performing at the Sheffield Playhouse. And what a night it is! Velma (Ian Stroughair) probably couldn’t pick a better theatre venue than the Playhouse. It is small, intimate and the audience are able to get up close and personal, which works wonders with the ambience of the show and extremely useful for the audience participation, which there is plenty of.
Velmas entrance is spectacular as her energy bursts through the side curtain, she is colourful, charismatic and sparkly, donned in large sequins, all over her dress. Straight into the audience as she performs her first number, the audience giggling along right from the off…’what’s your name’ she asks a man on the front row, just as he is about to answer ‘nobody cares’, getting an even bigger laugh.
Velma takes us on her true-life story through growth and experiences of drag and the story of coming out, which resonates throughout the audience. She loves to mention her times in a previous life of performing on some famous musicals on the West End and what a career history she has had, being in Cats, Rent and many more well-known, widely loved shows. There are stories of meetings with famous people, past drag experiences, lots of monumental moments in life which the audience can relate to. This is always a great way of drawing the audience in to feel comfortable and who doesn’t love to feel nostalgic?
There are many musical numbers, all which have their own tale wrapped around it to give that extra bit of meaning and some emotional pieces, including a beautiful rendition of a song from Taboo – written by Boy George, one of Velmas idols. Some more stand out pieces of music are, I’ll Cover You from Rent, I Want to Break Free by Queen, Under Pressure, Sweet Transvestite from The Rocky Horror Show and her encore song which was ‘I Am What I Am’. All these numbers are sung beautifully, Velmas voice is pretty spectacular and never falters. Goosebumps galore!
There are not many performers that can walk on to a stage and entertain the way that Velma Celli does. Holding an audience for just over an hour is not an easy feat, but Velma smashes it and makes it look easy. Some people are just born to perform and that is true here…get to see Velma Celli if you can, a fantastic piece of theatre to make you smile, laugh and come away truly entertained.
As well as being the writer of this piece, Mark Farrelly (Quentin Crisp: Naked Hope, Howerd’s End, Jarman) has been performing The Silence of Snow since 2014, so it’s hardly surprising that he dons the role like a second skin. Though the performance opens with Hamilton seated, quiet and withdrawn in a medical robe, the fourth wall is rapidly demolished as Farrelly bounds into the aisles and gets up close to audience members. This shock to the system works well for him as their attention is readily surrendered, leaving Farrelly to congenially hold them in the palm of his hand to the last syllable.
Patrick Hamilton (1904-1962) was a British novelist and playwright whose name may not immediately ring a bell with you, but he inspired a term commonly used today that most certainly will: ‘gaslighting’ comes from the title of his play ‘Gas Light’ (1938), which also became a MetroGoldwyn-Mayer film that generated considerable box office numbers and high critical acclaim. Hamilton achieved success at an early age and was catapulted into the glitz of London theatre life in 1929 with his hit play ‘Rope’, later adapted for cinema by Alfred Hitchcock.
Farrelly guides us through Hamilton’s life, highlighting his background – a family of aspiring writers (“Even the cat was a novelist”), his fathers cumbersome ego, his mother’s suicide – the complex romantic relationships that inspired some of his novels, and the car accident that gave rise to his disdain of modern society. En route, Farrelly chronicles many of Hamilton’s writing achievements; fascinated by London life, much of this work was inspired by the sleaze and poverty shaping the complex characters of the infamous East End.
Hamilton’s own descent into alcoholism walks alongside throughout. Despite the many dark themes running through his life and work, Farrelly plays Hamilton with great empathy, enabling him to emerge as an engaging, humorous, and authentic soul. On seeing Patrick Hamilton brought back to life so definitively, one cannot help but be inspired to seek out his work and learn more about this fascinating writer who gained professional success but not personal stability.
As well as celebrating the life and works of Patrick Hamilton, Farrelly also uses The Silence of Snow to raise awareness of mental health issues and collect donations for MIND, raising over £15,000 in the process. This is in part attributed to the loss of a close friend, Tim Welling, to suicide, but becomes even more poignant when Farrelly reveals his own struggles with ‘the Black Dog’. I later learned that Mark’s inspiration for writing the piece came at a time he found some of Hamilton’s issues reflected in his own struggles. This made the writing of The Silence of Snow somewha hazardous to his mental health, as certain elements created a churning over of Farrelly’s own lived experience. However, as is often the case when we face our demons head on, Mark states that the exercise was ultimately cathartic. Perhaps this enabled him to.adopt the Hamilton code and ‘rise through’.
Hopefully, Mark Farrelly will continue to share this healing salve with future audiences, helping them connect to and make sense of their own challenges with his exceptionally warm interpretation of a talented but troubled man. Watch out for it.
PLAYHOUSE, LIVERPOOL – UNTIL SATURDAY 5TH APRIL 2025
REVIEWED BY MIA BOWEN
4****
Iqbal Khan’s production of Animal Farm is concluding its 2025 tour at the Playhouse in Liverpool this week, where I attended a packed-out premiere evening. This stage adaptation of George Orwell’s renowned novel is a powerful and thought-provoking portrayal of the allegorical tale in which a group of farm animals overthrows their human owner, Mr Jones, an irresponsible and alcoholic farmer. As the narrative unfolds, the farm transforms into an industrial abattoir where hard work goes unrewarded, the rich continue to amass wealth, and the poor only find further hardship.
George Orwell’s Animal Farm is often described as “probably the most popular and influential piece of literary propaganda in the English language.” Thus, creating a stage adaptation of this iconic work is a significant endeavour. Originally adapted for the theatre by Ian Wooldridge, the play closely mirrors Orwell’s critique of totalitarianism. It explores how leaders can manipulate ideals for their own gain, turning a revolution meant to liberate the oppressed into one in which the new rulers are just as oppressive as those who came before them. Although Orwell wrote the original novel in 1945, its themes remain strikingly relevant today, embodying the essence of Orwellian insight. Regrettably, it seems that little has genuinely changed since the story was first narrated.
The six-member cast is exceptionally skilled and talented, adept at portraying animals with a blend of humanity and their innate instincts, as well as seamlessly embodying multiple characters with diverse accents. A standout performance comes from Natalia Campbell, who plays Clover, a gentle yet strong-spirited horse. Her ability to convey Clover’s passion, even as the story’s events begin to take their toll, is remarkable; by the end, her defeat is truly heart-wrenching. Likewise, Sam Black’s portrayal of Boxer, the diligent horse, infused the stage with a sense of tragic nobility. His unwavering loyalty and sacrifice resonated deeply with the audience, leaving a lasting emotional impact.
The tone is established immediately with Ciarán Bagnall’s stark and chilling stage design, which symbolises the transformation of the farm and the oppressive atmosphere that intensifies as the pigs take control.
Animal Farm, offers a compelling, engaging, and frequently unsettling examination of politics, power, and corruption. If you appreciate intense political themes infused with dramatic elements, this production provides a gripping yet thought-provoking experience.
Windsor brings you the production of Just Between Ourselves, written by Alan Ayckbourn and directed by Michael Cabot.
Dennis (Tom Richardson) is always tinkering away in his garage – fixing things that are never really fully fixed and leaving his poor wife Vera (Holly Smith) dealing with his obsessive mother Marjorie (Connie Walker), the root of all their problems and who always feels the need to be judging Vera over every little thing she does, or doesn’t do for that matter, regarding her son Dennis and their home. It’s clear that Marjorie wants all the attention and to be in charge of her Son! Dennis on the other hand, has his head in the clouds trying to constantly fill his father’s shoes and gain his mothers love and respect. But with all the trying he is doing she loves to remind him often that he will never match his father! Unfortunately, the more effort he puts into trying to impress his mother, the more he fails to notice just how fragile his wife Vera is becoming and how she’s slowly heading down a path towards a mental breakdown!
Crossed wires and misunderstandings often occur between the couple, with Dennis’ moto that everyone just needs to laugh more to be happy along with his constant talking never letting anyone get a word or thought in. A clear disconnection between them is apparent.
During this time Dennis is trying to sell Vera’s car when Neil (Joseph Clowser) comes to take a look, as he wants to surprise his wife Pam (Helen Phillips) with a car for her birthday. Although Pam really isn’t bothered and doesn’t seem to share much of her husband’s enthusiasm on most things, including the car! As the conversation unfolds between the husbands a friendship is forged, and we see them celebrating birthdays in the company of both their wives and Dennis’s mother Majorie, who is forever in the background but always finding something to complain about whilst trying to take charge! During this time, we see much laughter and comedy.
As the friendship becomes stronger it is clear that we have two unhappy marriages over the 5 birthday celebrations, but will it end with a bang?!
I think during this production the actors showed great skill portraying mental health difficulties in the 1970’s. There were also many humorous moments, giving the show a well-balanced, relatable and honest quality that drew the audience in alongside the actors close connection that was clearly seen on stage.
Holly Smith played an extremely believable character just watching her nervously tremble and shake whilst holding a teacup upon her face a fake smile masking her true emotions every time her mother-in-law had an opinion!
The stage was also done extremely well with a house and its back door leading onto the garage, where a full sized green mini sits amongst all the chaos that happens around the stage. It looks great and worked extremely well.
This show was done fantastically, showing some hard-hitting topics and vulnerability which was delivered and portrayed respectfully on stage.
Eugène Ionesco’s Rhinoceros is a fantastically bananas satire originally written in 1959 in response to the spread of wartime facism. Fast forward to 2025, and Omar Elerian has translated (and directed) a new version. Set in rural France, an epidemic is sweeping through a small town and spoiler alert, it’s turning the community into rhinoceroses. Narrated by the “Provocateur” (Paul Hunter), the audience is immediately asked to participate. This is no ordinary theatre experience.
We first meet the central character of Berenger (Ṣọpẹ́ Dìrísù) at a cafe where he is meeting his friend Jean (Joshua Maguire). The rest of the cast create the scene through mime as stage directions are read aloud. Their discussion soon turns to an argument interrupted by various villagers dressed in white coats with wild and whimsical hairstyles including the grocer, a lady, and a logician. However, there is a rumbling (the cast gallop on the spot to create the surprisingly effective noise and dust) all around them as two rhinos thunder through the village. At first, all this sparks debate (did it actually happen?) and curiosity, but it soon becomes apparent that people are actually turning into rhinoceroses. A violent transformation artfully performed by Joshua Maguire complete with grey skin and a little tail. In the third act, things take a more serious turn as Berenger and his love interest Daisy (Anoushka Lucas) are holed up in his house, emotionally unravelling and surrounded by thundering feet and the sound of rhino calls. At this point the audience is the herd, and the call is a cacophony of buzzing kazoos conducted by the Provocateur.
There are lots of joyously madcap moments especially in the first half, and the clowning on display is top tier. John Biddle, Hayley Carmichael, Paul Hunter, Sophie Steer and Alan Williams provide much of the silliness as they rotate through several roles. Ana Inés Jabares-Pita’s set is a sparse white canvas; a space easily filled by the cast as they also produce many of the sound effects on stage, and hold props, cleverly creating beds, cafe tables, and office furniture. Ṣọpẹ́ Dìrísù is splendid as the deadpan everyman Berenger, who seems baffled to be taking part in the performance within a performance, but by the end he is a broken man, still resolute but the pain and isolation of his choices is palpable.
Rhinoceros is a fun and complex play with an important message. Thundering through themes of conformity, fascism, responsibility, herd mentality, and morality, the tone is upbeat and playful until it’s not. The performances are fantastic, and this avant-garde take on world events leaves you wondering to what extent you follow the herd.
