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WOOLWICH WORKS CELEBRATES PRIDE 2026 WITH A BOLD PROGRAMME OF CABARET, COMEDY AND CIRCUS

SIZZLING HOT CIRCUS (30 MAY)

BEAUTIFUL THING 30TH ANNIVERSARY SCREENING (6 JUNE)

DIVAS KARAOKE (12 JUNE)

QUEER EUPHORIA (19 JUNE)

CLARE SUMMERSKILL: PRIDE AND JOY (21 JUNE)

PROUD TOGETHER (27 JUNE)

DRAG STORYTIME (28 JUNE)

DRAG & FAB (11 JULY)

Woolwich Works marks Pride 2026 with a vibrant programme of live performance celebrating queer creativity, identity and expression – from boundary-pushing circus and cabaret to sharp, joyful stand-up comedy.

Across late-May and into early July, South East London’s most-connected venue presents a variety of distinctive events that highlight the breadth and brilliance of LGBTQ+ artists working across disciplines, bringing together established voices and emerging talent in a spirit of celebration, provocation and fun.

Kicking things off on Saturday 30 May is Aircraft Circus: Sizzling Hot Circus, a thrilling, adults-only cabaret experience directed by Lucy Francis. Featuring a sensational cast of aerialists, dancers and circus performers, the show blends high-skill acrobatics with playful, seductive performance — from silks and hoop to the rare quads trapeze. Bold, daring and unapologetically entertaining, it sets the tone for a Pride season that embraces spectacle, individuality and creative freedom.

On Saturday 6 June, Woolwich Works hosts a special 30th anniversary screening of Beautiful Thing — the beloved British coming-of-age film based on Jonathan Harvey’s play. Set and filmed in nearby Thamesmead, the film holds a strong local connection and remains widely regarded as one of the most important and heartfelt LGBTQ+ stories in British cinema.

Music and community come together on Friday 12 June with a special Divas-themed karaoke night in the Visitors’ Book Café. A celebration of iconic LGBTQ+ anthems and pop greats, the evening invites audiences to take to the mic in a relaxed, high-energy setting (18+).

At the heart of the programme is Queer Euphoria (Friday 19 June), curated and performed by acclaimed circus artist Zaki Musa. This bold, high-energy showcase brings together a diverse cast of queer creative visionaries, offering an evening of immersive cabaret and circus performance that challenges convention and celebrates unapologetic self-expression. Expect a dynamic mix of aerial artistry, theatrical storytelling and boundary-pushing acts, all infused with passion, energy and pride.

Comedy takes centre stage on Sunday 21 June with Clare Summerskill: Pride and Joy, as the celebrated lesbian comedian delivers a unique blend of stand-up and original comedy songs. Known for her sharp wit and warm, relatable storytelling, Summerskill has been described on BBC Radio 4’s Woman’s Hour as “a lesbian Victoria Wood” and continues to be one of the UK’s most distinctive and engaging comedic voices. Her work explores identity, community and everyday life with humour and insight, resonating strongly with LGBTQ+ audiences across the UK and beyond.

27 June will see LGBTQ+ Greenwich present Proud Together; an outrageous, cheeky but thoroughly joyous celebration for all of the family, hosted by the UK’s only Hungarian drag queen Candy Heals.  It’s just the right side of naughty – the event is completely free and there’s no need to book.

The drag theme continues the following day (28 June) with Drag Queen Storytime making a return to Woolwich Works following its rip-roaring success at The Luminarium back in April.  Hosted by dazzling drag princess Topsie Redfern (aka acclaimed West End actor Nathan Kiley) and featuring enchanting stories, toe-tapping songs and playful activities for young and old alike, Topsie’s storytelling sparks imagination and wonder while celebrating the power of diversity, self-expression and kindness.

LGBTQ+ Greenwich make a return to Woolwich Works on 11 July for their unique Drag & Fab event.  This isn’t just a drag show, it’s a spectacular, high-energy queer cabaret showcasing a dazzling spectrum of London’s drag kings, queens and non-binary royalty.  From quirky comedy to captivating live vocals, expect glamour, glitz, sauciness, naughtiness and some audience participation.

Together, these events reflect Woolwich Works’ ongoing commitment to platforming diverse voices and creating space for artists and audiences to connect through live performance. Whether through laughter, spectacle or shared celebration, Pride at Woolwich Works promises a joyful and inclusive experience at one of South East London’s most dynamic cultural venues.

Nick Williams, Director of Woolwich Works, commented: “Pride at Woolwich Works is about celebrating creativity, individuality and community in all its forms. This programme brings together brilliant artists across cabaret, circus and comedy, and offers audiences a joyful inclusive space to share some outstanding, entertaining experiences. All of these events celebrate queer voices and create a space where audiences can come and enjoy something genuinely uplifting.”

Tickets and information for all shows are available here.

King’s Head Theatre, London – until 2nd May 2026

Reviewed by Celia AS

5*****

The Sequel by Lucas Clossl is a dark comedy examining the aftermath of success, the consequences of using real lives as narrative, and of stealing moments that do not belong to us for personal gain. Set in a small town, Grace Troth returns to the cafe where she wrote her bestselling novel; nine years later and the cafe has become a site of pilgrimage for fans of the book, frozen in time. A sequel to the book is long overdue, and her mentor John and the cafe’s new wonder Martha need it to bolster dwindling tourist revenues and will go to any weird and wonderful means to make it happen.

Under the direction of Imy Wyatt Corner, Julia Pilkington as Martha is otherworldly and uncanny. It’s hard not just to watch Pilkington in every scene; her comic timing is second to none and even the tiniest reaction is pitch perfect. Jim Findley’s chaotic gardener/tour guide John hits all the right notes, filling the stage with desperation and comedy and some killer dance moves. At the centre of the story is Grace played by Nisha Emich, who is the straight character of the piece but is foundational, creating space for the strangeness of the story to unfold and the other character’s quirks to be unleashed. There are plenty of other pivotal yet silent characters in the plot who are never shown, but whose presence feels real and tangible; like they might walk on to the stage at any second which is testament to Closs’ writing.

Sitting above the stage on a platform are two musicians playing a variety of instruments and soundtracking the play. It’s a lovely touch and Deniz Dortok’s score adds another dimension to production, heightening both the comedy and unease. Peiyao Wang’s set is simple but effective, the cafe of Grace’s novel made real for the sake of becoming a museum. Catja Hamilton’s lighting is subtle but atmospheric when the pile of lamps flicker as things start getting weird and you realise all is not as it seems.

The Sequel is a dark and funny one act exploration of legacy, authorship and ownership, and the knock on effects of fame and success. There were great big laughs and audible gasps from the audience, and it is paced perfectly throughout. A curious and thoughtful piece that makes for a wonderful 80 minutes in the theatre.

Richmond Theatre – 22 April 2026

Reviewed by Carly 

5*****

Bizet’s Carmen at Richmond Theatre was nothing short of electrifying – a production that felt both timeless and vividly alive. From the moment the curtain rose, there was a palpable sense of anticipation in the room, quickly matched by the intensity on stage. By the final moments, that energy had built into something deeply affecting, leaving the audience completely absorbed in the story.

Bizet’s Carmen is both bold, emotional, and thoughtful. Every movement feels intentional, every sequence carefully crafted to push the narrative forward. There’s a seamless flow between scenes, with transitions that feel natural and unforced, allowing the drama to unfold with a compelling rhythm.

The portrayal of Carmen (Mariia Davydova) herself was magnetic. She commanded attention from the moment she appeared, embodying a character who is fiercely independent, unapologetically confident, and entirely in control of her own narrative – until, of course, the world around her begins to close in.

What made the performance particularly compelling was the nuance: beneath the bold exterior were fleeting glimpses of vulnerability that added depth without undermining her strength. It was a portrayal that felt layered and human, rather than purely symbolic. Alongside some truly astonishing vocals – what more could you ask for?

Don José (Hovhannes Andreasyan) provided a striking contrast. His journey from disciplined soldier to emotionally unravelled lover was handled with remarkable sensitivity, each stage marked by subtle shifts in movement and expression. Equally important was the presence of Escamillo (Iurie Gisca) , whose confident, charismatic energy offered a sharp counterpoint to José’s growing instability. The contrast between the two men—one controlled and increasingly consumed – the other assured and outwardly fearless—heightened the emotional stakes of the narrative. Carmen’s shifting attention towards Escamillo added another layer of tension, making José’s descent feel inevitable. By the final scenes, his desperation was almost uncomfortable to witness—not in a negative sense, but in a way that spoke to the emotional truth of the performance. The interplay between these three characters created a dynamic that was both compelling and, at times, deeply unsettling.

The supporting cast played a crucial role in bringing production to life. The ensemble scenes were vibrant and full of energy. There was a strong feeling of community within these moments, which made the tensions and conflicts all the more impactful when they arose. Rather than serving as mere background, the ensemble added texture and richness to the storytelling, enhancing the overall emotional landscape.

Visually, the production was both elegant and effective. The set design leaned towards minimalism, but in a way that felt purposeful rather than sparse. By avoiding unnecessary clutter, the focus remained firmly on the cast, whilst still creating a strong sense of place and atmosphere. Lighting was used with particular skill, shifting seamlessly to reflect the changing tone of the narrative. Warm, golden hues underscored moments of passion and celebration, while cooler, harsher lighting introduced a sense of unease as the story moved towards its darker conclusion. Costume design also played a significant role in establishing the production’s identity. Drawing on traditional Spanish influences and authenticity.

The music, rooted in Bizet’s iconic score, was handled with care and creativity with an outstanding live Orchestra at times bold and dramatic, at others restrained and intimate, adding another layer of depth to an already rich production. Themes of desire, freedom, control, and inevitability were explored with a level of honesty that made the narrative feel strikingly real. The tension built steadily throughout, culminating in a final scene that was both powerful and deeply affecting. It was handled with a restraint that made it even more impactful, leaving a lasting impression long after the performance had ended.

There was also a strong sense of connection between performers and audience throughout. It created an intimacy that elevated the entire experience, making it feel personal as well as visually and emotionally impressive.

This is a production that lingers in the mind. It succeeds not only through technical excellence but also through its ability to evoke genuine emotion and provoke thought. It is a compelling, well-known story, delivered with clarity, passion, and a strong sense of purpose-an experience that leaves a lasting impression well beyond the final curtain.

Richmond Theatre – Thursday 23rd April 2026

Reviewed by Carly

5*****

Ellen Kent’s Madama Butterfly is a deeply moving and visually splendid production that captures the enduring emotional power of Puccini’s masterpiece with remarkable clarity and sincerity. From the opening moments, there is a sense of tradition and reverence for the work, combined with a commitment to making it feel immediate and accessible for a contemporary audience. The result is an opera that feels both grand in scale and intimately human in its storytelling.

At the heart of the production is the tragic figure of Cio-Cio-San (Elena Dee), delivering a performance of striking emotional depth. Her portrayal is beautifully judged, capturing Butterfly’s youthful optimism, unwavering devotion, and eventual heartbreak with sensitivity and control. Vocally, the performance is rich and expressive, with a warmth that carries effortlessly through the theatre.

Opposite her, Pinkerton (Oleksii Srebnytskyi) is portrayed with a confident, commanding presence that suits the character’s early arrogance and charm. As the story progresses, there is a noticeable shift in tone, with glimpses of remorse emerging beneath the surface. The tenor’s voice is strong and assured, particularly in the duets, where it blends effectively with Butterfly’s more delicate phrasing. Their relationship is central to the opera’s emotional arc, and the contrast between his casual approach and her deep sincerity is made painfully clear.

Sharpless, the American consul (Iurie Gisca) provides an important moral counterpoint, and his performance is marked by a sense of dignity and compassion. His attempts to mediate and warn are delivered with genuine concern, adding another layer to the unfolding tragedy. Suzuki, too, deserves special mention for her grounded and heartfelt portrayal, offering both emotional support too and a more pragmatic perspective on the situation. The chemistry between these characters helps to create a believable and emotionally engaging world.

Visually, the production is rich and evocative, staying true to a traditional aesthetic that suits the opera beautifully. The set design makes use of detailed backdrops and carefully chosen props to evoke the setting in Nagasaki, creating a strong sense of place without overwhelming the performers. Costumes are particularly striking, with intricate designs and vibrant colours that reflect both the cultural setting and the emotional tone of each scene. The attention to detail is evident throughout, contributing to a cohesive and immersive visual experience.

Lighting is used effectively to enhance the mood, shifting subtly to reflect the passage of time and the changing emotional landscape. Softer, warmer tones dominate the early scenes, underscoring the sense of hope and romance, while later moments are marked by cooler, more subdued lighting that mirrors the growing sense of isolation and despair. These transitions are handled with care, supporting the narrative without drawing attention away from the performances.

Musically, the orchestra delivers a strong and sensitive interpretation of Puccini’s score. The balance between pit and stage is well judged, allowing the singers to shine while still maintaining the richness of the orchestral sound. The conductor ensures that the pacing remains steady and purposeful, giving space for the music to breathe in key moments while keeping the overall momentum intact. Puccini’s sweeping melodies and delicate orchestration are given full expression, enhancing the emotional impact of the story.

What makes this production particularly effective is its commitment to storytelling. There is clarity in the direction that ensures the narrative is easy to follow, even for those who may be new to opera. The emotional beats are well defined, and the relationships between characters are developed in a way that feels natural and engaging. Rather than relying on spectacle alone, the production places its focus firmly on character and emotion, allowing the tragedy to unfold with genuine impact.

The final act is especially powerful, handled with a sense of restraint that makes it all the more devastating. Butterfly’s quiet determination and ultimate sacrifice are portrayed with dignity and poignancy, avoiding melodrama in favour of a more understated, deeply affecting approach. The closing moments linger long after the curtain falls, leaving a lasting impression of both beauty and sorrow.

The production is a fitting tribute to a beloved opera, presented with care, respect, and a clear understanding of what makes the work so enduring. It is a performance that resonates on both an emotional and aesthetic level, offering a compelling and memorable experience for audiences of all backgrounds.

Marylebone Theatre, London NW1 – until 7 June 2026

Reviewed by Phil Brown

4****

The Price is one of the great Arthur Miller’s mid career plays –  originally started in the early 50s but not fully honed and completed until much later, premiering eventually in 1968 at Broadway’s Morosco Theatre, earning nominations for 2 Tony awards.  It was his most successful play since 1949’s Death of a Salesman and this powerful and hugely impressive production shows why.

As befits a work so long in gestation, it positively gleams like a polished gemstone – the culmination of Miller’s preoccupation with the 1930’s depression and the far reaching impacts on US families and family members.  It’s a masterpiece of composition – complex, multi-layered, acutely observed, rich in nuance and detail, immaculately constructed, paced with precision, and ferociously analytical of family dynamics.  Miller’s command of authentic dialogue is sublime and the four actors bring it superbly to life over the course of 2+ hours of stellar performance.  Everything about this production ( director – Jonathan Munby) is superb.

The action revolves around the Franz family – Victor (Elliot Cowan), his wife Esther (Faye Castelow), and Victor’s estranged and elusive older brother Walter (John Hopkins), and takes place in the cluttered New York attic, to which the family’s late patriarch retrenched having lost everything in the Wall Street crash of 1929, never working again.  

The family is due to gather there and agree on the disposal of the attic contents some time after the father’s death.  To which end, Gregory Solomon (Henry Goodman), an antiques dealer, is invited to quote (the price) for house clearance.  It’s a meeting that will bring Victor and Walter together for the first time in 16 years and will naturally trigger a lot of memories. 

In a play of two distinct halves, what begins as a relatively straightforward and amusing negotiation between Victor and Gregory in Act 1, inevitably fuels the latent resentment and simmering tensions which erupt between the brothers in Act 2.  The true import of the play’s title becomes crystal clear – The Price is really about the price paid for their choices in life.  And as the dialogue cleverly unpeels layer upon layer of concealed information, you realise that both brothers have paid dearly for their life choices despite superficial appearances.

Act 1 sees a world weary Victor the first to arrive in the attic crammed with a lifetime’s residue of furnishings and accessories including a full size harp.  It’s a suitably atmospheric and beautifully constructed set (designer – Jon Bausor), very much symbolic of the psychological baggage the two brothers are carrying.  Esther arrives next, full of frustration, indignant and desperate to be done with the sale so she and Victor can start to live, whilst Victor continues to dither about retirement from the police force.  This risk aversion may well explain the course of his life.  The sale of the house contents should give them some freedom to start living.  Then 89 years old Russian New York Jew, Gregory Solomon wheezes up the staircase to inspect the “foyniture”.  What follows is sheer delight as Gregory’s engaging chutzpah and homespun wisdom initially exasperates and then stimulates Victor to reveal more about himself.  This wonderfully acted passage could almost be used for sales training in expectation setting, overcoming objections and closing deals.  Gregory has some wonderful lines – “anything Spanish Jacobean, you’ll quicker sell a case of tuberculosis”.   Just as Victor gets Gregory to name his price, Act 1 ends on a nice cliff hanger with the arrival of brother Walter.

Act 2 sees Victor and Walter finally face off after years of estrangement, resentment and misunderstanding.   Victor feels left in the lurch and denied an education supporting a father shattered by the great depression, with older brother Walter unprepared to sacrifice a high flying career in medicine to help out.  Walter’s somewhat bright, breezy and insouciant appearance in the middle of finalising the contents sale is initially polite and cordial until more probing questions arise.  Victor seems unsure he can trust some of Walter’s glib revelations or that Walter’s self centred attitude has changed.  Things start to unravel when Walter offers Victor a job opportunity and suggests engineering the house clearance deal to yield more cash for Victor who reacts fiercely – “it sounds like I have to be saved”.  In his mind, acceptance would undermine the life he has led and signal forgiveness of his brother.  Tempers become ever more frayed as more comes to light until Victor admits it was his choice to support his father but according to his code of familial loyalty, he refuses to absolve Walter’s guilt in not doing so.

Such deep and thought provoking content will chime with many audiences of the modern era.  Matching the excellence of the writing, are the performances of the cast – each breathtaking for their respective, contrasting characters.  Take a bow Helena Palmer (casting director) who has assembled a wonderful cast.

Henry Goodman’s wily furniture dealer Gregory Solomon is the most obvious star turn.  It is perfectly pitched with immense charm, dry humour and brilliant comic timing.  Far from being the mercenary Victor suspects, he projects perspective and humanity into the relationship, and tempers the raw intensity of the scenes in which he appears.  (Sadly too few in Act 2). 

Opposite him, and the central character on stage for the full stamina-sapping 2+ hours, Elliot Cowan plays the role of dutiful son Victor masterfully, portraying a proud and decent man barely concealing the martyrdom he feels even after pounding the beat for 28 years.  In a totally convincing characterisation he keeps a festering bitterness and resentment mostly in check until the final exchanges in the showdown with Walter when he explodes thunderously.

John Hopkins playing Walter looks the part of an American success story and has the appropriate confident demeanour.  He conveys the glib, ambitious and ruthless older brother who glosses over key events in his life as if they meant nothing with persuasive ease. The brittle sibling rivalry played out between Cowan and Hopkins  is palpable and the emotional exchanges could be some of the most painfully authentic one is likely to see on stage.  

Finally, Faye Castelow is the consummate disappointed but ultimately loyal wife, who seems to have turned to drink to cope with the frustrations of Victor’s occupation, lack of money and paralysis over decisions.  Along with Gregory she provides some welcome variety in the intense second act.

This brilliant production of The Price is some of the most accomplished theatre to be had in 2026 and will not disappoint.  I also loved the programme which contains background information on Arthur Miller and a price inflation conversion chart for the sums of money quoted in the course of the play.  Seems like Gregory Solomon’s offer was probably a good deal.

Overall, this show offers sensational entertainment whatever the price…

The Hen & Chickens Theatre, London – until 25th April 2026

Reviewed by Celia AS

3***

Channel Surfing At The End Of Days is a new anthology play created and directed by Callum Pardoe and grassroots production company Friends of David. Set just before the apocalypse, short (and a few not so short) scenes detail the lives of ordinary people going about their day. Unconnected, we cycle through a rolodex of everyday happenings, big and small, jumping from quiet connections between couples to massive crashing examples of grief. Some of the stories are funny, some are poignant, some are just people ambling through life; little snapshots of humanity.

Some of the scenes were excellent, however the channel hopping bitty nature of the show meant that at times it felt more like a workshopping exercise rather than a finished piece of theatre. The unknown impending disaster is a non-existent threat which is all at once a lovely idea because no one wants to know that they are about to be obliterated but also there was a lack of drama or connective tissue. If the title had not included the words “End Of Days” I don’t think I would have known what was going on, and even then it was a bit unclear.

Joe Stanton, Eleanor Cobb, Natasha Mula, and Matt Williams make up the cast of four. They are dressed in everyday white shirts and grey trousers and they stand at the edge of the stage, waiting to play an awkward couple or a man facing the person who has come to kill him. Collectively the company has great chemistry and swiftly moves from scene to scene, tackling with ease whatever dynamic is thrown at them. The set is minimal, just a few props which are used in every scene. Technical design by Benedict Case is also fairly minimal, but effective in such a small space. To mark the “switching channels” the lights go down and there is a clunk sound effect.

There are moments that make you laugh out loud, and scenes that tug at your heartstrings, and it certainly gives you a lot to think about, but despite great performances I left wanting a bit more of what was promised in the description of Friends of David: the bizarre, the abstract and the grotesque.

Cambridge Arts Theatre, Cambridge – until Saturday 25th April 2026

Reviewed by Steph Lott

5*****

There’s always a moment of anxiety when a beloved television series makes the leap to the stage. Will it feel like a pale imitation? Will you spend the whole evening mourning the absence of the original cast? I’m delighted to report that with Midsomer Murders: The Killings at Badger’s Drift, written and directed by Guy Unsworth, those fears evaporated within minutes of the curtain rising.

Based on Caroline Graham’s original novel — and yes, the one that started it all — this production delivers exactly what it promises: a return to the cosy, gently eccentric world of Midsomer, complete with suspicious villagers, dark secrets, and that particular brand of very English mayhem. The audience settled into it like a favourite armchair, and the warmth in the auditorium was palpable.

Central to the production’s success is the relationship between Daniel Casey as Inspector Tom Barnaby and James Bradwell as Detective Sergeant Gavin Troy. These are not impressions of their television predecessors — they are fully realised performances in their own right. Casey makes the switch from sidekick to lead with panache and style. Casey and Bradwell bring a wonderful steadying contrast to the gleeful eccentricity around them, grounding the comedy and the mystery with just the right measure of sincerity. They made the characters entirely their own, and I mean that as high praise.

And what characters surround them! The rest of the ensemble attack their roles with infectious relish, delivering a multi-coloured array of Midsomer grotesques with tremendous energy. John Dougall deserves a particular mention — his turn as Iris Rainbird was a genuine star performance, with a healthy sprinkle of brilliant comic nuttiness. Julie Legrand was simply wonderful as Lucy Bellringer, bringing quirky charm, impeccable timing and a lovely natural poise to every scene she was in. Rupert Sadler demonstrated impressive range across two contrasting roles — Dennis Rainbird and Michael Lacey — making each entirely distinct and believable.

Much of the production’s comedy and momentum depends on the speed and ingenuity of its costume changes, and here a very special tribute must go backstage. Head of Wardrobe Chloe Willis and Head of Wigs, Hair and Make-Up Florencia Melon have performed something close to a miracle. The speed at which actors transformed from one character to another was, quite genuinely, a total marvel — the kind of thing that makes you want to applaud the dressing rooms as well as the stage.

David Woodhead’s set design deserves equal celebration. Ingenious is exactly the right word — it manages to evoke multiple locations with elegance and wit, serving the storytelling beautifully without ever drawing undue attention to itself.

This is theatre that knows precisely what it wants to be and delivers it with real polish and affection. It’s great entertainment — funny, warm, clever and thoroughly satisfying. If you love Midsomer, go. If you’ve never seen a single episode, go anyway. You’ll have a marvellous time.

STORYHOUSE, CHESTER UNTIL – SATURDAY 25TH APRIL 2026

REVIEWED BY MIA BOWEN

5****

Every so often, one has the privilege of witnessing a theatrical performance that feels truly remarkable. Last night’s rendition of The Beekeeper of Aleppo was one of those extraordinary productions. Its impact lingered long after the final applause, and I found myself needing a moment to wipe away my tears and gather my composure before leaving my seat. Having heard such glowing reviews of the novel by Christy Lefteri, I had been eagerly looking forward to seeing it adapted for the stage, and it certainly did not disappoint.

As I took my seat, I was immediately struck by the simplicity of the stage, beautifully designed by Ruby Pugh. At first glance, it seemed minimalist, featuring two gentle sand dunes and furniture that appeared almost sculpted from the sand itself. Behind them stood a structure reminiscent of an old building, quietly grounding the scene. However, this simplicity contributed to its beauty. Throughout the performance, the structure came alive through projected images, lighting and subtle details that guided the audience through various locations and moments in time. As the story unfolded across vastly different countries, the staging adapted seamlessly, making each new setting feel vivid and authentic while maintaining its understated elegance.

In the stage adaptation brought to life by Nesrin Alrefaai and Matthew Spangler, the story gains immediate emotional resonance. It follows Nuri, a beekeeper, and his wife Afra, who are compelled to flee their home in Aleppo after experiencing devastating loss.

Their journey is portrayed with intimacy and rawness, immersing the audience in their experiences of fear, love, and survival. From the outset, it is clear that they reach the United Kingdom, yet this does not provide comfort. It is their treatment and the events they, along with countless other refugees and displaced persons, encounter along the way that truly shape the narrative. The play refrains from offering easy solace, instead gently yet powerfully reminding us that safety does not merely hinge on arrival. What makes this adaptation particularly poignant is its ability to convey the emotional weight of trauma. Nuri’s fragmented memories and Afra’s quiet suffering are expressed with a tenderness that resonates in both silence and dialogue. Through minimalist staging and profoundly human performances, the audience is encouraged not just to observe, but to experience—sharing in moments of hope, despair, and resilience.

I was utterly entranced by Adam Sina’s portrayal of Nuri—his performance was profoundly moving and imbued with quiet emotional depth. From the outset, one can sense the pain he bears from the loss of his son, and every word he utters feels authentic and lived-in. Similarly, Farah Saffari’s performance as Afra is equally compelling; she conveys immense loss and resilience with striking honesty. Together, they craft a truly unforgettable experience—an emotional journey that resonates long after it concludes.

Ultimately, this stage version is not simply a retelling, but an intensely moving experience that underscores the humanity behind the headlines, leaving a lasting impression of empathy, loss, and the enduring strength of love.

Theatre Royal, Nottingham – until Saturday 25th April 2026

Reviewed by Chris Jarvis

3.33***

2:22 A Ghost Story was written by award-winning writer Danny Robins, creator of Uncanny – the hit BBC Radio 4 podcast which explores real life paranormal and supernatural phenomena. Tonight I was looking forward to testing my own beliefs in such happenings.

Directed by Matthew Dunster and following seven seasons in the West End, a record-breaking tour of the UK and Ireland and thirty productions around the world, my expectations were high for the “adrenaline filled night” of fear and unexplained occurrences that was promised!

As soon as you enter the theatre you are immediately drawn into Anna Fleischle’s set – a partly renovated room in an old house with an original stained-glass door above which a digital clock with large fluorescent red digits attracts your attention. The rest of the room is a modern kitchen/living area with huge patio doors onto the garden.

The play starts quietly with Jenny (Shorvne Marks) finishing off some decorating in the early hours of the morning while her husband Sam (James Bye) is away on business in Sark and her baby daughter sleeping upstairs, monitored by the baby monitor on the table. As Jenny goes to bed for the night and the clock clicks over to 2:22 we hear unexplained noises through the baby monitor, tension builds and the quiet is replaced by the most piercing shriek and total blackness with a vivid fluorescent red strip light surrounding the stage and the audience ‘jumping out of their skin’.

The shriek certainly made me jump and set my teeth on edge, but was I frightened? When this ear-piercing shriek and blackness was used between each act, it lost something for me.

A dinner party hosted by Jenny and Sam on his return from Sark made up most of the remainder of the play and the second act opened with Jenny and their guests Lauren (Natalie Casey) – an American psychotherapist and Ben her partner (Grant Kilburn) – a builder who’d grown up in that area of London. We could hear Sam upstairs via the baby monitor reading a bedtime story to his daughter having arrived home late and unannounced as he’d lost his phone, while Jenny voiced her concerns that the house they were renovating was haunted.

While Sam was in Sark, she’d heard unexplained footsteps in the baby’s bedroom and a man crying, but when Sam joined them for dinner it became obvious that the four characters had different views on whether ghosts exist. Tempers frayed fueled by numerous bottles of wine mostly consumed by Lauren, but tensions built between Sam and Jenny, Lauren and Sam and Sam and Ben – Sam being a common factor despite him not drinking!

Throughout the repeated arguments between the believers and Sam the sceptic time marched on, as the digital clock reminded us. However, there were many hours to go until 2.22 – the time that Jenny said the events occurred. The four agreed to stay together until then and the audience listened to the continued disagreements, revelations from the past, humour and some great one-liners, even a séance suggested by Ben who claimed to have inherited spiritual inclinations from his mother.

I was avidly anticipating the end as I knew there had to be something more to this record-breaking acclaimed play than I’d been watching!

When it came, I was surprised – an ending I hadn’t expected. Despite the great acting, particularly Shvorne, and the clever plot, I think I missed something on the night! Since seeing the final twist, I’ve enjoyed thinking about the whole play and discussing with friends who saw it on the same night and comparing the clues that escaped us during the performance but revealed themselves later.

I think that maybe I should see it again, knowing the ending?

Birmingham Hippodrome – until 25th April 2026

Reviewed by Emma Millward

4****

Barnum – The Circus Musical arrived at Birmingham Hippodrome this week, telling the story of the ‘Greatest Showman’ P.T. Barnum. Directed by Jonathan O’Boyle, with a book by Mark Bramble, lyrics by Michael Stewart, and music by Cy Coleman. From the start the circus comes to life through constant movement, with acrobats and other performers weaving in and out of scenes. This truly adds to the excitement and unpredictability of the show, making it feel alive and dynamic. However, there are times when the sheer amount of action on stage can become a little too much, and it can be hard to pay attention to the narrative.

Lee Mead leads the production with confidence and charm, clearly comfortable in Barnum’s larger-than-life shoes. He brings the expected warmth and charisma to such a well-known role. His portrayal captures the showman side of Barnum, but the more thoughtful aspects of the character don’t always have the same impact, making some parts of the character feel a little underexplored. Alongside him is his wife Charity (Monique Young), who disagrees with his use of “humbug” and hype to further his career. Along the way Barnum introduces us to General Tom Thumb (Fergus Rattigan) and Joice Heth (Dominique Planter), allegedly ‘the oldest woman alive’. He also promotes and begins an ill-advised dalliance with Swedish opera singer Jenny Lind (Penny Ashmore). The three leading ladies all have their chance to showcase their vocal talents, especially Penny Ashmore during the musical number ‘Jenny Lind’s Obbligato’

Lee Newby’s set and costume design are vibrant and eye-catching. Newby’s creative set design makes it easy to move from one scene to the next. Jai Morjaria’s beautiful lighting adds to the sense of spectacle and helps set different moods. Choreographers Oti Mabuse and Matt Nicholson and Circus Director Amy Panter take every opportunity to add dancing and circus craft into the show including an inventive section where a restaurant table is set by the acrobatic performers. Special mention must be given to puppet designers Mervyn Millar and Tracy Waller who brought Jumbo the Elephant to life for a brief, but awe-inspiring moment in the show that clearly wowed the audience. I also enjoyed noticing that Jumbo had his own credit in the show’s programme!

There are recurring mentions of Barnum’s ambition, and the risks that come with them, but they aren’t explored as deeply as they could be. Because of this, some of the more important moments don’t have the impact that they could have. The ensemble and supporting cast bring plenty of energy, especially in the bigger musical numbers.  The cast sing and perform (on over 150 instruments) with clear enthusiasm, even if the songs aren’t always the most memorable.

That being said, it’s hard not to get caught up in the show’s energy. The audience is always enthusiastic, and there is a real sense of fun that runs through the performance. It might not be perfect, but it knows how to be entertaining. Barnum is a colourful, energetic show that fully embraces the spectacle of the circus, even if it frequently feels like it’s trying to do too much at once. It’s a fun and enjoyable production that has a lot to offer, even if it doesn’t always reach the emotional depth it appears to be aiming for. Bright, bold, and often a little too busy, Barnum still delivers a delightful night at the theatre, packed with strong performances and theatrical flair.

#BarnumMusical #BirminghamHippodrome #LeeMead #MoniqueYoung #FergusRattigan #DominiquePlanter #PennyAshmore #JonathanOBoyle #MarkBramble #MichaelStewart #CyColeman #LeeNewby #JaiMorjaria #OtiMabuse #MattNicholson #AmyPanter #MervynMillar #TracyWaller