Nottingham Theatre Royal – until Saturday 25 January 2025
Reviewed by Amy V Gathercole
4****
“Keeps you guessing right until the end! It captivates with its suspense and compelling performances”.
The Girl on the Train is based on the much-loved novel by Paula Hawkins, which sold over 20 million copies globally. Many may recall the 2016 film adaptation thriller starring Emily Blunt. This stage adaptation leans more into the plot of the film than the novel, providing a gripping and suspenseful experience full of tension and drama.
A great thriller is one that will have you questioning everyone’s motives and meanings throughout, and this play does precisely that. The flurry of “who did it?” moments keeps the audience on edge, second-guessing every character and their potential involvement in the crime. The writing is impeccable, ensuring that the suspense never lets up – kudos to director Loveday Ingram for this.
Giovanna Fletcher stars as Rachel Watson, a London commuter recently divorced and struggling to come to terms with her new lonely life. To cope, her drinking problem worsens, leading to increasingly erratic behaviour, including a peculiar fascination with watching people from the train.
Fletcher’s performance is nothing short of brilliant, portraying Rachel’s frazzled and unhinged state with conviction. She embodies a woman tormented by jealousy, bordering on alcoholism, who just doesn’t know who she should trust. She’s suffering from memory issues, not trusting what she thinks she believes and needs the help of others to help her piece things together following an attack that she doesn’t remember.
Separated from her ex-husband Tom (Jason Merrells), Rachel continues to cause drama for him and his new wife, Anna (Zena Carswell), and their new baby, Evie. Her harassment includes turning up at their house unannounced and making incessant phone calls when she’s had a skinful.
The story centres on the mysterious death of Megan Hipwell (Natalie Dunne), a woman whom Rachel has been observing during her train journeys, fantasising about Megan’s life while reflecting on her own choices. As the narrative unfolds, moments of humour are cleverly interspersed, offering much-needed relief amid the tension. The suspense and suspicions are relentless, keeping the audience guessing until the final scenes. Some comic relief is thankfully provided by Detective Inspector Gaskill, convincingly portrayed by TV favourite Paul McEwan, as the play tackles some trauma-based subjects and some darker adult themes, so the balance of DI Gaskill’s humour is welcomed.
DI Gaskill has a lot of potential leads to follow up on and stories to make sense of to establish what happened to Megan and why. The audience is left to wonder if they will figure out the truth before the police in the show do!
The set is sparse by design, allowing the cast to create many different sets with minimal fuss and very fast and effective changeovers of locations. It’s practical and effective work from the mind of Adam Wiltshire.
The use of physical slow and fast-motion sequences is an interesting storytelling choice that adds depth to the narrative, along with innovative lighting effects that enhance the overall mood and tension. The lighting work and design stand out as one of the show’s highlights, enhancing the mood and tension throughout the show with some set design pieces, including video design from Dan Light and a particularly impressive physical and digital piece in the final act. Don’t worry, I won’t spoil it! The Girl on the Train is a must-watch for thriller enthusiasts. It captivates with its suspense, compelling performances, and innovative storytelling techniques.
The Girl on the Train is visiting over 30 theatres across the UK in 2025 and you can purchase your tickets here
The producers of new musical Stalled donate £35,000 to totally transform King’s Head Theatre’s auditorium with luxury seating.
The new raked seats will be in place in February for the world premiere of the new musical about mothers, daughters and moving on, and to celebrate the theatre’s first birthday in its new home.
As Stalled starts rehearsals, the producers also announce a gala night on 18 February to raise funds for The Looking Out Foundation, founded by Grammy-winning artist Brandi Carlile.
King’s Head Theatre in Islington celebrates its first birthday home with an exciting upgrade of its auditorium with new state-of-the-art luxury raked seating.
The Accolade seating is being supplied by renowned seating experts Audience Systems, whose clients include Sydney Opera House, the Royal Albert Hall and Roundhouse.
The luxury padded seats will be in place for the theatre’s next Main House production – the world premiere of the musical Stalled – thanks to a generous £35,000 donation by a foundation facilitated by the show’s producers.
The theatre is launching a fundraising campaign for the outstanding £15,000 needed which will allow the theatre to improve sightlines to its second row and add some accessibility features.
Stalled Producer Thomas Hopkins said today: “We are thrilled to support King’s Head Theatre by funding the installation of all-new seats for our upcoming musical, Stalled. The producers are dedicated to ensuring a comfortable and inviting atmosphere for every audience member. We can’t wait for everyone to relax and enjoy the show in style!”
King’s Head Theatre’s Executive Producer (Acting CEO) Sofi Berenger said: “We’re eternally grateful for this incredibly generous donation from the Stalled producers and the foundation. As we begin our second year in our new home, it’s wonderful to be able to continue to grow and improve on our audience facilities. We’ve only ever been able to make it this far thanks to the invaluable support we’ve received from the producing community and philanthropic investors, as we receive no public funding. These seats will be a game changer for our audiences, and we can’t wait for them to arrive in February ready to be enjoyed for Stalled and many more shows to come.”
The cast and creative team begin rehearsals for Stalled
As rehearsals for Stalled got underway this week, the show’s producers also announce that they will hold a gala evening on Tuesday 18 February to aid The Looking Out Foundation, founded by Grammy-winning artist Brandi Carlile. Private presales for the gala have already exceeded £6,000.
Gloria Goeres, Executive Director of the charity, said: “The Looking Out Foundation is honoured and thrilled to be the chosen recipient of funds raised through the efforts of the musical, Stalled. We celebrate this opportunity to join their efforts to continue to make music mean more and appreciate all that Stalled does to strive for inclusion, hope and forgiveness for all.”
Stalled, a new musical about mothers, daughters and moving on, will play a 6-week season from Thursday 13 February – Sunday 23 March. The show’s book & lyrics are by Liesl Wilke and music & lyrics by Andy Marsh, as well as additional music and lyrics by Kyle Puccia, and direction by Vikki Stone.
The cast is led by West End and Broadway star Lauren Ward (Stranger Things: The First Shadow, Dear Evan Hansen) and Josie Benson (Kiss Me Kate, Mamma Mia!).
In a bougie ass Seattle ladies’ room, meet a frazzled mother, a neurodivergent daughter, a fierce 16-year-old poet and a terrified queer computer scientist – together navigating the ups and downs of modern life with heart and courage. With soul-stirring melodies and a rare authenticity, witness their inspiring journeys in an unforgettable celebration of these complicated, beautiful souls. Get ready to be moved. Get ready to be inspired. Get ready to be stalled!
Looking Out Foundation
Founded by Grammy-winning artist Brandi Carlile, the Looking Out Foundation amplifies the impact of music by supporting initiatives that drive social justice and equity. With a commitment to creating safe spaces and fostering opportunities for women, including transgender women, and LGBTQIA+ individuals, the foundation partners with grassroots organizations to address systemic inequities and empower underserved communities. Through advocacy, fundraising, and the transformative power of music, the foundation inspires action and drives meaningful change worldwide to Make Music Mean More. Learn more at LookingOutFoundation.org.
King’s Head Theatre
King’s Head Theatre is a purpose-built, wheelchair accessible theatre with a 200-seat flexible auditorium and 50-seat cabaret space off Upper St, Islington which showcases a wide range of performance styles from plays to musicals, to opera & cabaret, to drag & comedy.
Established in 1970, King’s Head Theatre was the oldest pub theatre in the UK until it closed its doors in August 2023. For 53 years the theatre was housed in the back room of the King’s Head Pub on Upper Street in an old boxing ring and pool hall, before opening the new space in Islington Square right behind the pub theatre in January 2024.
Under Artistic Director & Founder Dan Crawford, whose tenure lasted 35 years until his death in 2005, the theatre became known as a breeding ground for new talent and great work. Renowned actors like Maureen Lipman, Hugh Grant, Jennifer Saunders, Dawn French, Alan Rickman & Richard E Grant all performed at the theatre, and a number of productions transferred to the West End and Broadway, premiering work from writers such as Steven Berkoff, Tom Stoppard, Bryony Lavery and Victoria Wood.
In 2010, the Olivier Award-winning company Opera UpClose Productions became the theatre’s resident company for four years, and with Adam Spreadbury-Maher as Artistic Director, turned the King’s Head into “London’s Little Opera House”, winning an Olivier Award for La Boheme in the Best New Opera category. Opera remains a key part of the theatre’s focus, alongside a commitment to emerging, daring and innovative work, such as Trainspotting, the Edinburgh Fringe and touring immersive hit developed by King’s Head Theatre.
The theatre showcases a lot of LGBTQ+ work which explores the full spectrum of experiences symbolised by the rainbow flag. It is a home for a new wave of theatre makers, with a focus on work which is joyful, irreverent, colourful & queer.
In the first year of the new King’s Head, the theatre has showcased work from artists such as Rob Madge, Luke Bayer, Olivier award-winner Shaun McKenna, triple Fringe First winners Xhloe & Natasha, Heartstopper’s Cormac Hyde-Corrin, Neil Ashton and writer Jonathan Maitland. The theatre has just announced its Spring 2025 season as it goes into its second year, working with artists such as Lauren Ward, Josie Benson, Vikki Stone, Rosie Day and former artistic director Hannah Price, who will be making her debut on the new stage.
LISTINGS INFO
Thomas Hopkins Productions for Stalled on Stage Ltd presents the world premiere of
STALLED a new musical Book writer & Co-Lyricist Liesl Wilke Composer & Lyricist Andy Marsh with additional music and lyrics by Kyle Puccia
Hope Mill Theatre are delighted to announce that Ted Lasso alum Charlie Hiscock will be making his stage debut as Cosme McMoon, alongside Wendi Peters, in the first major UK revival of hit comedy GLORIOUS!The True Story of The Worst Singer in the World. The show will open at Hope Mill Theatre on 27 February 2025 for a limited run ending on 30 March 2025. Tickets are on-sale.
Also joining the cast will be Anita Booth (Fatal Attraction, Ambassador Theatre Group, The Entertainer, Garrick Theatre) as Dorothy, Maria and Mrs Verrinder-Gedge, Ella Maria Danson (Showtune, Union Theatre) as cover Florence and other female roles and George Miller (Some Masterchef Sh*t, 53Two) as cover Cosme.
Written by Peter Quilter (End of the Rainbow) and directed by Kirk Jameson (Song from Far Away, I Am Harvey Milk) GLORIOUS! is the true story of American socialite Florence Foster Jenkins, dubbed ‘the worst singer in the world’, who was known for her flamboyant costumes, enigmatic performances and decidedly off-key voice.
Charlie Hiscock is best known for playing the role of Will Kitman in the Golden Globe-winning series Ted Lasso. Other previous credits include the Academy Award nominated film Poor Things where he can be seen opposite Willem Defoe, The Borrowers (BBC) with Stephen Fry, Victoria Wood and Christopher Ecclestone and Secret Life of Boys (CBBC). Charlie has just finished filming the new series of Black Mirror (Netflix) coming out in 2025 and can also be seen on BBC/Netflix’s new drama Red Rose.
On joining the cast Charlie said: “I’m truly honoured to be making my stage debut in this incredible play, and I couldn’t have imagined a better place to begin this journey than back home, up North at the Hope Mill Theatre in Manchester”.
Nominated for Best New Comedy at the 2006 Olivier Awards,GLORIOUS! follows Florence’s journey as she prepares for her concerts, builds an unlikely friendship with her accompanist Cosme McMoon, and pursues her passion despite all odds. At first bewildered by her lack of talent, Cosme is gradually won over by her indomitable spirit. As her recitals gained a devoted following in 1940s New York (including admirers like Enrico Caruso and Cole Porter), they became must-see events, culminating in a sold-out show at Carnegie Hall, where Florence performed Mozart in angel wings and a halo.
Florence’s story was made into an Oscar nominated, BAFTA award-winning film in 2016 starring Meryl Streep and Hugh Grant. This production celebrates a woman who defied critics and sceptical audiences, to make her dreams come true.
GLORIOUS! will be directed by Kirk Jameson with musical supervision by Nick Barstow, set & costume design by Ingrid Hu, casting by Harry Blumenau CDG CDA, lighting design by Mike Robertson, sound design & assistant musical supervision by Mark Goggins, Italian translation & dialect coaching by Judith Blazer, costume supervision by Lorraine Parry, wig design by Helen Keane and artwork by FEAST Creative.
GLORIOUS! is produced by Hope Mill Theatre and Thomas Hopkins & Jana Robbins.
Festival Theatre, Malvern – until 25th January 2025
Reviewed by Courie Amado Juneau
5*****
Jane Austin’s rather quaint (some might say staid) romantic comedy Pride & Prejudice gets a modern twist. Well, sort of…
The familiar tale is told from the perspective of the servants. Yes, the servants – the ones who normally remain silent, inhabiting the shadows, unnamed. But these servants are anything but silent or in the shadows – amply proven early on when the microphones come out and the songs begin to fly. Modern songs like “Young Hearts” and “You’re So Vain” to name a couple.
The small cast of just 5 performers work incredibly hard to flesh out an entire Regency novel’s worth of characters with just a lightning quick change of costume and voice. All are to be commended for their realizing multiple roles with such flair and also their musicianship (most played instruments live on stage too). Naomi Preston Low (as Elizabeth), Rhianna McGreevy (as Mrs Bennett), Georgia May Firth (as Lady Catherine), Eleanor Kane (as Aunt G) and Emma Rose Creaner (as Caroline Bingley) are just some of the innumerable delights they gave us.
There’s irreverent humour; the twist (and hilarity) being the modern way the Bennett family speak compared to all the more formal characters around them. The swearing may catch some people’s ears – it did mine, and it made me roar with laughter. This is a joyous evocation of the way that modern women would (understandably) react. In fact, that’s half the fun – shining a very bright light on some ridiculous attitudes and assumptions that are, sadly, still in evidence to this day. And not just the obvious outrageously anachronistic ones either – so keep your ears peeled.
My favourite scenes were Jane heading off on horse with the sisters waving her goodbye and (later) Elizabeth’s visit to Darcy’s stately home – with some brilliant portrait jokes and a wonderful allusion to Darcy’s famous dip in the lake (which I won’t spoil, but it’s subtlety and knowing humour is spot on). Oh, and Lady Catherine’s spooky entrance is also worthy of special mention! A massive pat on the back to Director Isobel McArthur and Comedy Supervisor Jos Houben.
As mentioned, the music added much gleeful mirth to the proceedings as did the props – look out for a rather witty pun written on Jane Aust-bin. And I nearly forgot to mention Mr Bennett who was, evidently, enigmatically played by the same chap who played Charlie in Charlie’s Angels – a surprising cameo there which nonetheless packed a wallop. I can’t prove 100% it was the same actor but it sure looked like him to me… You’ll understand when you see the play.
So, a brilliant night out having a ball (several really); glitter balls that is (well, sort of). In any case, it’s a riot, a scream and the most fun a chap can have this side of a proper invite to a Hen night! I loved it and I’m sure there’s not many that wont feel exactly the same. Wonderful entertainment. In the foyer after, I heard a fellow audience member proclaim to her friend it was “totally crackers”. I couldn’t put it better myself! I’m holding up the “hit” paddle and wholeheartedly recommending it.
Examining one of the key events that led to the UK and France declaring war on Germany through the eyes of the unwitting victims is an intriguing concept, but Erik Kahn’s play needs a more balanced approach to truly satisfy.
The false flag attacks along the Polish-German border staged by German forces as acts of aggression by Poles were meant to justify Hitler’s invasion in the eyes of the world and not draw the UK and France into war. So, that went well.
SS Major Naujocks testimony at the Nuremberg trials provided details of the operation, and Kahn has the major relating the events, and aftermath, to the audience – an unreliable host borrowing hugely from Cabaret’s emcee, but without the singing. As the audience enters, the major (Dan Parr) sits and smokes, before strolling around the stage, smiling amiably, but then scanning a row with a laser glare as if he has spotted someone suspicious. This sets the tone for the character throughout the play: a jovial but stilted politeness that can switch instantly to disgust and bitter violence. The fantastic Dan Parr is chilling and charming in equal measure in the role.
Honiok (Tom Wells), a German farmer has been arrested and imprisoned, and his cell mates are prisoners from Dachau – a Jewish scholar, Birnbaum (Charlie Archer) and a thief called Kruger (Rowan Polonski) – the “canned goods” of the title. In their brief time together, the three men try to figure out why they are there, and what the future will hold. As the lessons of history appear increasingly to have been forgotten, the conversations of the men and their reactions are representative of the different attitudes when faced with fascism and the brutality of the state.
Birbaum is an intellectual, and a Jew, so Kruger – an uneducated janitor – harbours deep-seated hatred for him as he has been taught that Jews are the reason his life is so hard, and the Reich will make Germany great again. Honiok is a loner, devoutly Catholic, but dispensable – perfect cannon fodder. As they dissect whispers and hints that they have overheard from the guards, Honiok and Birbaum trade theological quotes and Kruger desperately tries to convince himself that he will serve the Reich and be rewarded. Meanwhile Major Naujocks and the thuggish guard (Joe Mallalieu) toy with them like cats – keeping them just calm enough to be easily managed for their mission.
Mona Camille’s runway set is adaptable and evocative, while Ryan Joseph’s lighting creates an ominous atmosphere. Director Charlotte Cohn builds the air of foreboding effectively and the prisoners’ monologues, where they reveal their thoughts to the audience do not distract from the plot, instead upping the stakes as these characters become more than mere pawns and their humanity shines through. Wells, Archer and Polonski have wonderful chemistry and are fantastic as the three prisoners – each giving emotive and compelling performances. The scenes in the cells are the most effective part of the play as, unfortunately, it all begins to lose coherence as the mission is conducted. There is an obvious end point, but Kahn continues the story with Naujocks breaking the fourth wall and joining the audience as the play’s message of the dangers of propaganda, populism and prejudices are hammered home as if this was a closing argument in a trial. Trust the audience a little more. This is all very clunky, despite Barr’s thrilling performance, and ultimately detracts from the engaging character studies in earlier scenes.
An interesting premise with stunning performances, but an uneven and heavy-handed epilogue needs tweaking to create a truly memorable and affecting production.
PRESENTS THE WORLD PREMIERE OF HER NEW THEATRICAL SHOW
DIAMONDS AND DUST
A TALE OF THE GOOD, THE BAD AND THE LUCKY
OPENING AT LONDON’S NEWEST THEATRE
IN THE HEART OF THE WEST END
THE EMERALD THEATRE
PREVIEWING 16 JUNE 2025
TICKETS ON SALE 12 FEBRUARY
Making her debut as a theatrical director, long-reigning Queen of Burlesque, Dita Von Teese, together with Tosca Rivola, Dee Parsons and Julian Stoneman are delighted to announce the world premiere of a brand-new, and hotly anticipated theatrical production DIAMONDS and DUST
London’s newest West End venue, the Emerald Theatre, proudly opens its doors with the debut of DIAMONDS and DUST. Previews begin 16 June 2025, with an official gala opening on 3 July. Be among the first to experience this landmark production. Tickets on sale 12 February – sign up now: diamondsxdust.com
The production is conceived and directed by the star herself, Dita Von Teese, together with the show’s creator, stuntwoman and counterculture vixen Tosca Rivola,with choreography by Matt Nicholson, Dita Von Teese and Tosca Rivola.
DIAMONDS and DUST is a tale of the good, the bad and the lucky featuring some of the finest West End performers the UK has to offer, magnetic burlesque starlets and dangerous cirque artists. The production promises a thrilling blend of Old West lore, vintage casino culture, high-stakes stunts and Dita Von Teese’s signature glamour.
Step into our hazy saloon and let the 52-card deck decide your fate. This is the untold story of the Wild West’s most notorious card dealer, making her own way in a man’s world while trying her hand at taming Lady Luck for herself, perhaps in vain…
London’s newest theatrical production serves double jeopardy as the show plants a boot firmly in plot-driven theatre and a stiletto in the nuanced art of seduction. This world premiere production promises an unforgettable evening of experiential dining, specially curated cocktails, electrifying theatre and swanky late-night entertainment including DJ sets into the early hours on Thursdays, Fridays and Saturdays.
Playing the role of Lady Luck in this production, Dita Von Teese is the Grande Dame of her glamour-verse. DIAMONDS and DUST will also spoil London audiences with a selection of Von Teese’s original costumes, signature props, and notably her debut as a theatrical director.
Dita Von Teese will perform in the initial opening weeks and then returns to join her company monthly for in-person performances. *
Casting and further creatives to be announced.
Dita Von Teese said “I am looking forward to welcoming London into the exciting glamour-verse we’ve been carefully preparing. Bringing together my love for Americana, haute style and all things burlesque, we can’t wait to share our theatrical production with London’s Glittering West End.”
Tosca Rivola added “After nearly a decade of work to galvanize high-calibre show concept, an iconic lead and collaborator like Dita Von Teese, necessary investment and the sheer diligence it took on behalf of my incredible team on the ground in London to not only open a show, but an entire West End Theatre, I am elated to finally focus on creating an incredible show alongside Dita Von Teese – a dream come true! As a first generation American, DIAMONDS and DUST is my bittersweet love letter to the American West for all of its romance and peril”
Aaron Mellor, CEO of Tokyo Industries, and owner of the Emerald Theatre said “We are delighted to be working with Dita Von Teese to deliver ‘Tokyo Industries’ most ambitious and glamorous project yet. Opening a new theatre in the heart of the world’s theatre capital is both an honour and a responsibility we deeply respect. Rest assured; we are committed to delivering an extraordinary experience in immersive entertainment”.”
Establishing itself as the most stylish and sought-after production in the city, DIAMONDS and DUST boasts costume design for Dita Von Teese by British designer Jenny Packham and bespoke footwear designed by Christian Louboutin. Audiences will also be lavished with a newly curated musical soundtrack for this dynamic new production.
DIAMONDS and DUST will bring together a host of world-renowned, multi award-winning creatives.
Entire production conceived and directed by Tosca Rivola & Dita Von Teese, Story by Tosca Rivola & Emma Henley, choreography by Matt Nicholson, Dita Von Teese and Tosca Rivola, musical supervision by Lewis Carnie, set and lighting design by Philip Gladwell, sound design by Gareth Owen, millinery by Hood London and general management by MPSI Ltd.
The show will feature an optional experiential dining experience, with a bespoke menu designed by Euphoria by Lara Norman.
DIAMONDS and DUST is produced by Tosca Rivola, Dita Von Teese, Dee Parsons and Julian Stoneman, with co-producers Sydney Max Lee, Sienna Sinclaire and Robert Testagrossa.
*Dita Von Teese will perform at a limited number of London shows – please check the website for further details
The Other Palace presents JANE the musical in workshop written by Matt Nalton & Jodie Steele
The new British musical JANE premiers with public workshop performances that offer a first look of Act 1 from Fri 14 – Sun 16 February at The Other Palace Studio.
JANE, written by Matt Nalton (Jersey Boys, Beautiful) and Jodie Steele (Heathers, Bonnie & Clyde), is their debut new musical together about love, life and loss – following 15 years of the lives of a young woman, her mum, her lovers and her friends.
Jane has always faced trials and tribulations in her life, from when we meet her struggling at school at 15 years of age, to when she is getting her heart broken in her 20’s. Her best friend, Konnie, is her rock and always there to pick up the pieces and keep her laughing. She can’t live without him – or can she? How will Jane cope when it seems her life is crumbling around her?
Full casting has been announced for the workshop performances with Leesa Tulley as Jane, Maiya Quansah-Breed as Laura, Miracle Chance as Nicola, Rowan Macpherson as Henri, Alex Thomas-Smith as Konnie and Toby Turpin as the Narrator
Creatives include Martha Geelan (Babies) as Director and Cerys McKenna (Standing At The Sky’s Edge, Titanique,) as Musical Director, with orchestration by Evan Rogers (Nosferatu, Aquaman and the Lost Kingdom).
Writers Matt Nalton & Jodie Steele say, ‘JANE is a story Jodie has carried with her for a long time. She approached Matt with the idea in 2023, as she knew Matt’s cinematic musical mind would make the show a heart-breaking hit. From that, the writing duo NALTON & STEELE was formed. JANE is driven by its modern musical landscape and its very raw, female-led, storyline which explores themes of grief, sexual abuse, sexual identity, strained family relationships and bullying. However, at the core of its being, is love, hope, determination and bravery.’
Paul Taylor-Mills, Artistic Director of The Other Palace, says: ‘Jodie Steele has been a longtime collaborator and I’m eager to see her move into this exciting role as a writer. In her collaborations with Matt Nalton, they have made a musical that speaks to our generation and explores important conversations around the world we currently live in. It’s brilliant that The Other Palace continues to support new musicals in their earliest stages of development and provide a platform to put new work in front of supportive audiences.’
Act 1 of JANE will be presented in a workshop format with scripts in hand, with limited tickets available to the public. Tickets are available from £16.50 from The Other Palace website.
Produced by The Other Palace and funded via the venue’s Development Fund, where 50p of every ticket sold in the Main House goes to fund developing new work.
The producers of the hit production, TINA – THE TINA TURNER MUSICAL are delighted to announce the full cast for the first ever UK and Ireland tour, opening at Curve Theatre, Leicester from Thursday 6 March 2025 to Saturday 22 March 2025 before visiting a further 20 venues. Full tour schedule below. www.tinathemusical.com/uktour
Elle Ma-Kinga N’Zuzi and Jochebel Ohene MacCarthy will share the iconic role of Tina Turner, alongside David King-Yombo as Ike Turner. Martin Allanson will play Record Producer Phil Spector, with William Beckerleg as record company Marketing Manager Erwin Bach, Rushand Chambers as Tina’s father Richard Bullock, Claude East as Tina’s grandmother Gran Georgeanna (GG), Isaac Elder as Tina’s Manager Roger Davies, Georgia Gillam as Tina’s sister Alline Bullock, Letitia Hector as Tina’s mother Zelma Bullock, Kyle Richardson as Tina’s first love Raymond Hill, and Gemma Sutton as Ike and Tina’s manager Rhonda Graam.
Ensemble members are Viquichele Cross asLorraine, Charlotte Elisabeth-Yorke as Toni, Kane Matthews asTina’s son Craig, Daniel N’Guessan-Lopez as Tina’s son Ronnie and Richard Taylor Woods asMartyn Ware. The Ikettes are played by D’Mia Lindsay-Walker, Alana Robinson and Sedona Sky and swings are Loren Anderson, Ella Howlett, Eleanor Morrison-Halliday, Max Mulrenan, Tom Self and Toby Shellard.
Children’s casting includes Chloe Angiama, Chizaram Ochuba-Okafor and Ava Wallace-Corbett as Young Anna Mae Bullock, and Shaniyah Abrahams, Lily Bunn and Mariah Martinez asYoung Alline/Young Craig.
Elle Ma-Kinga N’Zuzi joins the UK and Ireland touring company having alternated the role of Tina Turner in the Stuttgart production of TINA – THE TINA TURNER MUSICAL. Her other theatre credits include Moulin Rouge! Das Musical at the Musical Dome, Cologne, Starlight Express at the Starlight Express Theatre, Bochum, Sweet Charity at Nottingham Playhouse, Kiss Me, Kate at the Crucible Theatre, Sheffield, Andrew Lloyd Webber’s CATS in France and the USA, The Lion King – Rhythm of the Pridelands and The Lion King, both in Paris, and West Side Story in Orléans. She was awarded the Trophée de la Comédie Musicale for Best Supporting Actress in a Musical for her performance as Rizzo in Grease at Théâtre Mogador. Elle’s television credits include Le Monde de Demain for Netflix and her film credits include Le Temps d’Aimer at Cannes Film Festival.
Jochebel Ohene MacCarthy joins the UK and Ireland touring company having alternated the role of Tina Turner in the original Australian production of TINA – THE TINA TURNER MUSICAL, playing to audiences in Sydney, Perth, Brisbane, Adelaide and Melbourne. Her other theatre credits include UK and International Tours of Ghost the Musical, The Color Purple at Curve, Leicester and Birmingham Hippodrome, Hairspray at the London Coliseum and the UK Tour of The Lion King. Jochebel’s film credits include Six Triple Eight for Netflix, and her television credits include Go Buster for Disney+ and Prime Video.
David King-Yombo’s West End credits include Moulin Rouge! at Piccadilly Theatre and Oklahoma! at Wyndham’s Theatre. His other theatre credits include Romeo & Juliet at Stafford Gatehouse, Protests, Hymns and Caskets at Belgrade Theatre, The Princess and the Pauper at The Mowlem, The Ballad of St John’s Car Park at Icon Theatre, and The Visit at the National Theatre.
TINA – THE TINA TURNER MUSICAL continues to run in the West End at the Aldwych Theatre, where it has played for over 6 years following its world premiere, receiving critical acclaim, and breaking all Box Office records at the venue. It is currently booking until 25 October 2025 – making it the longest running show to ever run at the Aldwych. The production is also a global success, with 8 productions having opened worldwide since 2018, including on Broadway and across North America, Germany, Spain, Netherlands and Australia. The show is currently on tour in both North America and Australia.
TINA – THE TINA TURNER MUSICAL is the story of legendary artist Tina Turner, the twelve-time Grammy Award winning Queen of Rock ‘n’ Roll. Set to the pulse-pounding soundtrack of her iconic hits, including The Best, What’s Love Got To Do With It?, Private Dancer and River Deep, Mountain High, the musical is an inspiring true story of a woman who dared to dream fiercely, shatter barriers and defy the bounds of age, gender, and race to conquer the world against all odds.
Directed by Phyllida Lloyd and written by Olivier Award and Pulitzer Prize-winner Katori Hall, with Frank Ketelaar and Kees Prins, TINA – THE TINA TURNER MUSICAL is choreographed by Anthony van Laast, with set and costume designs by Mark Thompson, musical supervision by Nicholas Skilbeck, lighting by Bruno Poet, sound by Nevin Steinberg, projection design by Jeff Sugg, orchestrations by Ethan Popp, and wigs, hair and makeup design by Campbell Young Associates, casting by Pippa Ailion CDG and Natalie Gallacher CDG.
TINA – THE TINA TURNER MUSICAL is produced by Stage Entertainment, Joop van den Ende and Tali Pelman, in association with Tina Turner.
TINA – THE TINA TURNER MUSICAL is dedicated to the memory of Tina Turner, who sadly passed away in May 2023.
NATIONAL THEATRE ANNOUNCES CASTING AND FURTHER DETAILS FOR FORTHCOMING 2025 SHOWS
Dates announced for four world premieres: Inter Alia by Suzie Miller, The Estate by Shaan Sahota, The Land of the Living by David Lan and End by David Eldridge. Tickets go on sale to the public from 6 February 2025.
Clive Owen and Saskia Reeves return to the National Theatre for End, a new play by David Eldridge directed by Rachel O’Riordan.
Jamie Glover and Jasper Talbot will make their National Theatre debuts opposite previously announced Rosamund Pike in Suzie Miller’s new play Inter Alia, directed by Justin Martin.
Further casting announced for the world premiere of David Lan’s The Land of the Living,which includesTom Wlaschiha, who joins previously announced Juliet Stevenson in this new play directed by Stephen Daldry.
Further artistic team confirmed for The Estate, the debut play by Shaan Sahota featuring BAFTA-winning actor Adeel Akhtar and directed by Daniel Raggett.
The National Theatre’s nationwide youth theatre programme Connections celebrates its 30th anniversary and reopens the Dorfman theatre in June with a week-long festival.
Tickets on sale now for new Public Acts production Public Record, bringing together local legends from Sunderland’s music scene, professional dancers and community groups at The Fire Station in Sunderland
The National Theatre today shares further details and casting for previously announced shows in Director Rufus Norris’ final season. The remaining South Bank shows under Rufus are all world premieres: Inter Aliain the Lyttelton andThe Estate,The Land of the Livingand End in the Dorfman theatre. The Dorfman is currently closed for urgent infrastructure work and reopens in June with the Connections Festival, which this year celebrates its 30th anniversary. Tickets for all four main stage shows are on sale to the public from Thursday 6 February 2025,nationaltheatre.org.uk.
Rufus Norris, Director and Co-Chief Executive said, ‘I am delighted that the last four shows in my final season are all world premieres, including a debut play by extraordinary new writer Shaan Sahota. This cements a decade of work by National Theatre’s New Work Department to champion and support new stories told by world-class theatre-makers. Telling bold new stories on our stages has always been a hallmark of the National Theatre and I am thrilled to end my tenure with a programme that reflects a rich and resonant range of perspectives’.
Kate Varah, Executive Director and Co-Chief Executive said,‘We’re thrilled that, after a period of temporary closure, the Dorfman will reopen this summer to host the landmark 30th anniversary of our flagship nationwide youth theatre programme Connections. Over the decades around 125,000 young people have taken part, giving young people firsthand experience in all aspects of staging and performing a new play. Connections has been instrumental in developing transferable skills and the ability to think creatively for the young people who have taken part. For 30 years, Connections alumni have forged careers across the creative industries as well as gained vital transferable skills for roles in wider sectors. So many within and outside of our sector have taken part – it’s time to celebrate and look forward to more’.
In the Lyttelton theatre, writer Suzie Miller and director Justin Martin reunite following their global phenomenon Prima Facie for the world premiere of Inter Alia,a searing examination of modern masculinity and motherhood. Jessica Parks is smart, compassionate, a true maverick at the top of her career as an eminent London Crown Court Judge. At work she’s changing and challenging the system one case at a time. But behind the robe Jessica is a karaoke fiend, a loving wife and a supportive parent. While managing the impossible juggling act faced by every working mother, an event threatens to throw her life completely off balance. Can she hold her family upright? Cast includes previously announced Rosamund Pike (Saltburn) making her National Theatre debut alongside Jamie Glover (Waterloo Road) and Jasper Talbot (Redlands).
Directed by Justin Martin,who is joined byset and costume designer Miriam Buether, lighting designer Natasha Chivers, sound designers Ben and Max Ringham, video designer Willie Williams for Treatment Studio and casting directors Alastair Coomer CDG and Naomi Downham.
Playing in the Lyttelton theatre from 10 July to 13 September.
The Dorfman theatre will reopen in June in celebration of the 30th anniversary of Connections,the National Theatre’s annual nationwide youth theatre programme with esteemed alumni including David Oyelowo, Rose Ayling-Ellis, Callum Scott Howells and Keira Knightley. The Connections Festival will take place from 24 to 28 June, with ten new plays being performed by ten youth theatre groups to represent talent from across the UK.Connections plays over the last three decades include those by Alice Birch, Chris Bush, James Graham and Lenny Henry to name a few.
Following this is the world premiere of The Estate,the debut playbyShaan Sahota. Directed by Daniel Raggett (Accidental Death of an Anarchist), this new work is a razor-sharp exploration of family, power and the lies we tell about ourselves. When the leader of the opposition is forced to resign in a scandal, Angad Singh emerges as the favourite in his party’s leadership contest. He could win, he could make history, he could really change things – as long as his sisters keep their mouths shut. Casting includes BAFTA winner Adeel Akhtar (Fool Me Once), with further casting to be announced.
Directed by Daniel Raggett,who is joined byset designer Chloe Lamford, costume designer Khadija Raza, lighting designer Jessica Hung Han Yun, sound designer Mike Winship and casting director Bryony Jarvis-Taylor.
Playing in the Dorfman theatre from 9 July to 23 August 2025.
The Land of the Livingis a timely new play by David Lan, former Artistic Director of the Young Vic. Directed by Stephen Daldry (The Jungle, The Inheritance), it is about the shapeshifting nature of memory and morality. In Germany, 1945, Thomas is one of thousands of children stolen by the Nazis from Eastern Europe during WWII, and is now under the care of Ruth, a UN relief worker. Should she try to find his parents or leave him with those he’s grown up with? The choice she makes will shape his life. Years later in London, 1990, Thomas visits Ruth. As they untangle the past, the decisions Ruth made as a very young woman are called powerfully into question. Casting includes previously announced Juliet Stevenson (The Doctor), who is joined by Atilla Akinci (Ghosts). Kate Duchêne (Hedda Gabler), Hubert Hanowicz (This is Going to Hurt), Caroline Loncq (The Protégé), Avital Lvova (Macbeth), Michael Marcus (The Inheritance), Anastasia Martin (Cold War) and Tom Wlaschiha (Game of Thrones). Further casting to be announced.
Directed by Stephen Daldry,who is joined by set designer Miriam Buether, lighting designer James Farncombe, sound designer Gareth Fry, composer Paul Englishby and casting director Naomi Downham.
Playing in the Dorfman theatre from 9 September to 1 November 2025.
In November, following the critically acclaimed plays Beginning and Middle, playwright David Eldridge returns to the National Theatre withEnd,the final play in his trilogy exploring love and relationships. Lyric Hammersmith Theatre Artistic Director Rachel O’Riordan (Romeo and Julie) directs this touching and funny play on a life well lived. Alfie and Julie’s love story has been one of music, laughter and heartache. On one early morning in June, they must write their ending. Full cast includes Clive Owen (Closer) and Saskia Reeves (Slow Horses).
Director Rachel O’Riordan will be joined by set and costume designer Gary McCann, lighting designer Sally Ferguson, sound designer Donato Wharton, intimacy director Bethan Clark and casting director Alastair Coomer CDG.
Playing in the Dorfman theatre from 13 November 2025.
National Theatre Learning
Public Record, a new Public Acts production celebrating the musical heritage and exciting future of Sunderland and featuring more than 100 community performers, professional musicians and dancers, takes place from 25 to 27 April at The Fire Station in Sunderland in partnership with Sunderland Culture and Sunderland Empire. National Theatre Director of Public Acts Emily Lim teams up with co-director and choreographer Dan Canham, composer and musical director Ross Millard (The Futureheads) and writer Stewart Pringle to transform The Fire Station into a recording studio to create a new album about the city; a portrait of the city told through its people. Tickets are on sale now.
Marking its tenth anniversary, the National Theatre’s Drama Teacher Conference takes place on 20–21 February at the Lowry in Salford. The conference brings together drama teachers from across the UK to enhance their skills and take part in workshops and talks with leading professionals across the creative industry, including Alecky Blythe, Complicité and Shakespeare North. Applications for teachers to take part are now open.
Malvern Concert Club once again bless us with another intriguing programme of Classical Music from top musical ensembles – today it was the Pavel Haas Quartet.
The concert began with Dvorak’s Cypresses for String Quartet from 1887. I think most would chiefly know Dvorak for his deservedly revered New World Symphony (the Hovis advert for anyone of a certain age) but his chamber works are well worth seeking out. Tonight’s was a case in point; being a charming set of transcriptions from an earlier song cycle. Most fall into the slower end of the scale and they all inhabit a similar feeling of wistful reverie and nostalgic yearning.
My favourtie movement was No 7 “Wander often past yonder house”, with its affecting cello part supporting increasingly agitated middle parts. The haunting melody line which violinist Veronika Jarůšková wrung every last drop of emotion out of was sumptuous! I also loved the bombastic overture style and interesting range of rhythms that Dvorak throws at the finale. It really does feel like the coming together of all the other movements in a satisfying and thrilling conclusion. The Quartet gave us a suitably muscular, vibrant tone which really brought the piece to life, ending on a real high.
Second on the programme was Martinů’s String Quartet No.5 (1938). Dedicated to his younger lover, one can sense the angst and passion as (one imagines) he grappled with the intense personal feelings. I loved Šimon Truszka (viola) use of special effects (such as using the side of the bow) in the second movement, as well as the overall agitated start and dissonance throughout. The work built (and built) with tension ramping towards the end – the musicians again showing an awe inspiring power, making the music literally exploded off the page. At times they sounded like an amplified rock band! Incredible musicianship.
After the break (which we all needed after the emotion of the last piece) it was on to Smetana’s “From My Life” (1876), his first string quartet. Another blockbuster, full of heartfelt music like the last movement which portrayed in sound the composer’s loss of hearing which was heralded with a high pitched E natural (here wrought with conviction on the first violin). I was blown away by the intuitive connection that the violins had (Marek Zwiebel masterfully playing the second part). All performers gave their all
(mentally and physically); up out of their seats, with cellist Peter Jarůšek having both feet off the floor, digging into his instruments at one point! Not only an adrenaline rush of sound but visually too.
And to cap it all the quartet rounded off this all Czech programme with an Argentine Tango from Erwin Schulhoff – which was gorgeous and the perfect way to end a spectacular concert.
The Pavel Haas Quartet are amazing with crisp, tight, precise playing and a dynamic range amply displaying a musical sensibility to be justly proud of plus a sonorous, sweet singing tone coupled with intense, dramatic interpretations… I could wax lyrical all night but suffice to say – a fabulous programme from sublime musicians. Another triumphant concert in the series and I cannot wait for the next one! Bravo to all concerned.
