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DIRECT FROM LONDON’S WEST END

IRVINE WELSH’S

TRAINSPOTTING THE MUSICAL

UK TOUR: 19 OCTOBER – 27 MARCH 2027

TICKETS AVAILABLE FROM TRAINSPOTTINGTHEMUSICAL.CO.UK

Thirty years on from the film that changed everything, and following its world premiere in London’s West End, Trainspotting The Musical will embark on a major UK tour opening at the Edinburgh Playhouse on 19 October. Written by Irvine Welsh (adapted from his best-selling debut novel) and directed and developed by Caroline Jay Ranger.

In 1996 the “breakthrough British film” (The Guardian) Trainspotting was released and became the biggest grossing UK film of the year taking over $76 million worldwide and won a slew of awards including a BAFTA for Best Screenplay. In 1999 it was ranked 10th in the British Film Institute’s ‘Top 100 Greatest British Films of the 20th Century’.

Now, three decades later, the industrial drug crazed working-class heroes of British youth culture are back, live on stage: Renton, Sick Boy, Begbie, Spud, Tommy and Kelly. Renton (played in the film by Ewan McGregor) will be played on stage by 26-year-old Scottish actor Robbie Scott. He will be joined by fellow Scots actors Sheridan Townsley as Sick Boy, Kieran Andrew as Spud, Frankie O’Connor as Begbie, Finlay Paul as Tommy, Rebecca McKinnis as Cathy Renton, Gordon Cooper as Davie Renton, Ashley J. Russell as Colleen, Rosie Dignan as Alison, Yana Harris as Kelly, and Sophie Hutchinson as Lizzie. The ensemble comprises Ally Kennard, Kieran Brown, Melanie Marshall, Lewis Kidd, Samuel Stewart, Finlay McKillop, Ciara Ennis, Victoria Nicol, Kyra Fyvie, and Chris O’Mara.

Irvine Welsh said: “I believe the musical has a bigger, loudly beating human heart than either the book or the film. People need to think about the world we’re living in, and we offer that inspection, but they also need to sing their hearts out and laugh their heads off. It’s what being human is all about. We’ve put together an incredible Scottish cast and I can’t wait to see them bring the musical to life.”

In 1996, CHOOSE LIFE sounded like a challenge. Now the landscape has shifted, but the hunger hasn’t. Addiction hasn’t disappeared – it’s shifted. It’s quieter now, more embedded. Less needle, more screen. Less escape, more repetition. The modern addiction to mobile phones, faces stuck to screens, the same restless search for something to fill the space.

Trainspotting The Musical highlights the world we see changing around us, the obscene concentration of wealth, economic and political power in the hands of so few people. It addresses the modern culture of powerlessness.

This isn’t nostalgia, it’s closer than that. The past isn’t revisited – it lingers. The musical doesn’t tidy it. It sits with it. Listens to it. And lets it sing. New songs (with music and lyrics by Stephen McGuinness and Irvine Welsh) in addition to some of the electrifying tracks from the original film that defined a generation.

Radical, invigorating and life-affirming, this provocative, unforgettable experience will have even the most sceptical leave on a consciousness-altering high.

Trainspotting is not just a show. It’s a moment. It’s a manifesto. It’s who we are.

CHOOSE LIFE.

Creative Team

Written by: Irvine Welsh

Director & Development: Caroline Jay Ranger

Music & Lyrics: Stephen McGuinness & Irvine Welsh

Set & Costume Designer: Colin Richmond

Musical Supervisor, Orchestrator & Music Director: Stuart Morley

Video Designer: Douglas O’Connell

Choreographer: Christina Andrea

Lighting Designer: Ian Scott

Sound Designer: Rory Madden for Sonalyst

Associate Director: Denise Ranger

Casting Director: Anne Vosser

Listings Information

Performances: Monday to Saturday at 7.30pm, matinees on Wednesday and Saturday at 2.30pm

Running Time: Two hours, including 20 minute interval

Age Guidance: 15+

Website: TrainspottingTheMusical.co.uk

Instagram: @Trainspottingthemusical

Facebook: /Trainspottingthemusical

TRAINSPOTTING THE MUSICAL 2026 / 2027 UK TOUR

19-24 October Edinburgh Playhouse On Sale 13 May

26-31 October Sheffield City Hall On Sale 11 May

2-7 November Manchester Palace Theatre On Sale 13 May

9-14 November York Opera House On Sale 13 May

16-21 November Hull New Theatre On Sale 11 May

23-28 November Ipswich Regent Theatre On Sale 11 May

30 November – 5 December Birmingham Alexandra Theatre On Sale 13 May

7-12 December Leeds Grand Theatre On Sale 11 May

14-19 December Blackpool Opera House On Sale 11 May

4-9 January Stoke Regent Theatre On Sale 13 May

11-16 January Aberdeen His Majesty’s On Sale 19 May

18-23 January Nottingham Theatre Royal On Sale 15 May

25-30 January Cardiff Wales Millennium Centre On Sale 15 May

1-6 February Southend Cliffs Pavilion On Sale 15 May

8-13 February Bradford Live On Sale 15 May

15-20 February Oxford New Theatre On Sale 11 May

22-27 February Sunderland Empire Theatre On Sale 13 May

1-6 March Dunfermline Alhambra Theatre On Sale 11 May

8-13 March Brighton Dome On Sale 11 May

15-20 March Glasgow Theatre Royal On Sale 13 May

22-27 March Edinburgh Playhouse On Sale 13 May

Union Theatre – until 8 May 2026

Reviewed by Claire Roderick

2**

Billed as part sci-fi glitch and part feminist riot, Flyology sadly doesn’t live up to either expectation.

The premise of Tamiko Dooley and Cathy Farmer’s new musical has enormous potential – it just needs a reboot to polish the book and decide exactly what Flyology 2.0 wants to be. At the moment, the sci-fi element feels like an idea that goes nowhere and the fierce feminists, despite the three talented actors belting their words brilliantly, are not loud enough in their deeds.

The villain of the piece is tech entrepreneur Callum (Charlie Renwick). The audience are watching a test of his AI system that will ensure order by erasing emotions and chaos, caused in Callum’s opinion by females. A glitch means that three of the great disrupters, Emmeline Pankhurst (Aishling Jones), Ethel Smyth (Ashleigh Cassidy) and Ada Lovelace (Meg Abbott) are pulled into the simulation and ruin Callum’s launch and vision.

For this idea to work, the three women should have an antagonist that is tech savvy and casually misogynistic rather than Callum’s manbaby personality. He rails against over-emotional women whist stamping his feet as things go awry, and is a cartoonish representation of fragile masculinity, with a side order of mummy AND daddy issues. I am not sure if the writers have young children and have watched a lot of GoJetters, but they have created the live action version of Grandmaster Glitch. Renwick makes the most of his comedic moments but Callum starts with the dial at eleven and has nowhere left to go throughout the show.

With such a pathetic specimen of male energy, the three women look strong just standing quietly. And that is a problem as there is not much representation of activism and making noise. Even the way they finally break the simulation is neither shocking nor meaningful. So much more could be included to make these characters powerful and dangerous. As the book stands, most mention of their feminist and intellectual activities is included as they are introduced and after perfunctory chat about rights and life expectations in their different time periods, they then proceed to wander about in the simulation until Edith has a brainwave to add chaos to disrupt the system.

While Cathy Farmer’s book needs an overhaul, the music and lyrics are more polished. Tamiko Dooley plays the piano to accompany her soaring melodies, with wonderful harmonies from the talented and committed cast, but perhaps the women could have more individual and recognisable musical themes running through their numbers rather than reprising lines.

At 90 minutes with an interval, there is scope for a deeper dive into what makes the women tick and it would be wonderful to see them ACTUALLY disrupting, rather than their presence simply being the problem. This feels exactly like Callum’s worldview, so may well be what the writers wanted to achieve, but these women should be making much more noise.

Arches Lane Theatre – until 9 May 2026

Reviewed by Claire Roderick

4****

I jumped at the chance to see this show again after 2 years – and it did not disappoint. Laura Mugford’s semi-autobiographic one-woman show is as entertaining and uplifting as ever.

With just a treadmill and a couple of boxes of props, Mugford takes us from the battle of Marathon, wondering what the ancient Greeks would make of 21st century athletes desperate to run in an event that killed the first runner, to pounding the streets of London in the race itself, taking time to hop off her treadmill and visit formative memories along the way.

Mugford describes herself as chronic in every way: a chronic planner, chronically early… and chronically ill, describing hospital visits with deadpan humour. Told to shield during Covid, a random challenge to run 5k from a housemate leads to her running for the first time since school, and the discovery of the freedom and calmness that can come from finding your rhythm. But she has always felt that she is running from the demons chasing her: memories of vindictive teachers and school bullies, the knowledge that her illness will flare up again and the self-doubt that these all cause.

Childhood flashbacks show an enthusiastic, imaginative girl whose confidence and energy are gradually eroded by hurtful comments and physical attacks and is labelled a troublemaker by school staff. The bullying, by Mrs C and the children, is written colourfully – brilliantly evoking an air of intimidation and unfairness. The description of hitting the wall running the marathon is also impressive, and the cathartic release when she breaks through the wall in her head, finally stopping looking back at her past but instead facing towards the future is still a glorious transformative moment.

26.2 Reasons to Stay Alive is warm, witty and inspirational, and this confident production marks Laura Mugford and Just a Regular House as names to watch out for in the future.

Kings Theatre, Portsmouth – until 9 May 2026

Reviewed by Emma Barnes

5*****

There is a certain kind of electricity that fills a theatre when a modern classic finally makes its local debut, and the atmosphere at Kings Theatre Portsmouth last night was no exception. If the opening night is anything to go by, local audiences are in for a treat: a beautifully told and wholly modern, relatable narrative.

At its heart, this is a story that speaks to us on so many levels. While it doesn’t shy away from “big” themes, such as the crushing weight of isolation, the tightrope of modern parenting, and the toxic speed of the online world, it ultimately emerges as a message of hope. It’s a poignant reminder that even in our darkest moments, there is light at the end of the tunnel.

Visually, the production is brilliant. The video-walled set and intricate lighting are far more than just background dressing; they perfectly capture the suffocating pressure of social media. These “Big Screen” elements truly envelop the audience, creating a digital claustrophobia that makes Evan’s journey feel hauntingly immediate.

The casting is, quite simply, spot on. In a show that hinges on the teenage experience, it was wonderful to see these roles inhabited by such talented young performers; the result felt raw and, above all, authentic. The chemistry between the three boys, Evan (Christopher McCrohon), Connor (Cohen Bates), and Jared (Arthur Westmorland), is at the show’s heart. Their interactions are sharp, witty, and devastatingly real, building a believable foundation for the fallout of Connor’s death.

This core cast is bolstered by a superb supporting ensemble. Perfectly drilled, professional, and word-perfect, they provided a seamless backdrop that allowed the emotional beats of the story to truly land.

Christopher McCrohon is captivating as Evan. It is a role that is both emotionally and vocally demanding, yet he was magnificent, commanding the stage with conviction. He captured the character’s physicality perfectly; every twitch and stammer felt layered, leading up to those soaring, effortless vocal notes.

Musically, the evening provided frequent “goosebump” moments. Requiem was a haunting highlight, with perfectly balanced harmony from Zoe (Kaylah Valaydon), Cynthia (Kerry McCrohon), and Larry (John-Paul McCrohon). As Zoe, Kaylah Valaydon is a particular powerhouse; her voice has a delicate quality that masks a raw strength, cutting right through the silence of the auditorium. Then, of course, there is the iconic You Will Be Found. Serving as the first act’s finale, it was a soaring anthem that left the audience visibly moved and full of anticipation for the second half.

As the final notes faded, the standing ovation was well deserved. This is a compelling, moving piece of theatre that captures the very essence of shared humanity.

This is a limited run ending on Saturday 9th May, and I cannot recommend it highly enough. It is an amazing opening performance that will only grow in power as the week goes on. Get a ticket while you still can, because today, at least, you’ve been found.

EXCLUSIVE ON-STAGE TICKETS
NOW AVAILABLE AT £25

FOR THE LONDON PALLADIUM SUMMER SEASON

OF

TIM RICE AND ANDREW LLOYD WEBBER’S

JESUS CHRIST SUPERSTAR

PERFORMANCES BEGIN SATURDAY 20 JUNE AT THE LONDON PALLADIUM
london.jesuschristsuperstar.com
 

Michael Harrison for Lloyd Webber Harrison Musicals is today thrilled to announce Jesus Christ Superstar will offer exclusive on-stage standing tickets for every performance. For the first time in The London Palladium’s history, audiences will stand at the heart of the action, immersed in the raw energy, power and spectacle of this legendary rock musical. These on-stage standing tickets place fans inside the story for an electrifying, up-close experience.

On-stage standing tickets will be £25 each and go on pre-sale to those aged 30 and under today (7 May), followed by general release tomorrow (8 May).

Jesus Christ Superstar will play from Saturday 20 June to Saturday 5 September 2026. Tickets are on sale at london.jesuschristsuperstar.com.

For full information on standing tickets please visit: london.jesuschristsuperstar.com/onstagestanding

Director Tim Sheader said:
“This isn’t just watching a story unfold; it’s being inside it. You’ll feel the heat of the lights, the pulse of the orchestra, and the energy of the performers. Ten years on from our original production, we wanted to find a way to bring people even closer to the pulsing heart of this piece – and there’s no more powerful place to experience it than from within the action itself.”

Joining Sam Ryder as Jesus in his stage debut, are Tyrone Huntley* who returns to his critically-acclaimed Olivier Award-nominated role of Judas Iscariot; Desmonda Cathabel as Mary Magdalene; David Thaxton as Pontius Pilate; six performers sharing the role of King Herod: Jesse Tyler Ferguson (20 Jun – 11 Jul); Simon Russell Beale (13 – 25 Jul); Richard Armitage (27 Jul – 1 Aug); Boy George (3 – 15 Aug, except 8 Aug); Layton Williams (17 – 29 Aug); and Julian Clary (31 Aug – 5 Sep 2026); Bob Harms (Pretty Woman) as Caiaphas; Matty J (Britain’s Got Talent) as Annas; Billy Nevers* (Hamilton) as Simon/Alternate Judas; and Phil King (Jane Eyre) as Peter.

The company is completed by: Koko Alexandra, Jasmine Jules Andrews, Courtney Arango, Amy Barker, Alistair Beattie, Daniel Bowskill, Jahlil M Burke, Martha Burton, Marcelo Cervone, Sarah Freer, Sebastian Goffin, Alexander Kranz, Owen Lloyd, Milo McCarthy, Dan Moore, Cherece Richards, Kyle Richardson, Olivia Saunders, Toyan Thomas-Browne, Charley Warburton, Lillie-Pearl Wildman.

Tim Rice and Andrew Lloyd Webber’s iconic global phenomenon is directed by Tim Sheader with choreography by Olivier Award-winner Drew McOnie and design by Tony and Olivier Award-winner Tom Scutt. Reuniting the creative team of the 2016 production 10 years on to create a unique staging of their Olivier award-winning, worldwide smash-hit production. The production which was originally created and produced at Regent’s Park Open Air Theatre, will play a limited 11-week season at The London Palladium.

Jesus Christ Superstar follows the events of the last days of the life of Jesus Christ, as seen through the eyes of Judas. Reflecting the rock roots that defined a generation, the legendary score includes ‘I Don’t Know How to Love Him’, ‘Gethsemane’ and the iconic title number ‘Superstar’.

Originally released as a concept album, Jesus Christ Superstar opened on Broadway in 1971, at the Mark Hellinger Theatre, where it was nominated for 5 Tony Awards including Best Original Score. The original London production ran for over eight years. By the time it closed, after 3,358 performances, it had become the longest-running musical in West End history at that time. 

Joining director Tim Sheader, choreographer Drew McOnie and designer Tom Scutt on the creative team are musical supervisor Tom Deering,lighting designer Lee Curran, sound designer Adam Fisher, wigs, hair and makeup designers Sam Cox & Maria Johal, fight director Kate Waters and casting directors Grindrod Burton Casting.

Lloyd Webber Harrison Musicals’ recent productions include the smash hit double Olivier-Award winning Evita at The London Palladium last summer which transfers to Broadway in spring 2027, the seven-time Olivier-Award and three-time Tony-Award winning revival of SUNSET BLVD., and Starlight Express, which will embark on a World Tour in spring 2027 after recently concluding it’s London run. They have just opened CATS: The Jellicle Ball on Broadway to critical acclaim and nine Tony-Award nominations; and this summer bring a brand-new production of Andrew Lloyd Webber’s global sensation CATS to Regent’s Park Open Air Theatre ahead of a major UK Tour.

Michael Harrison for Lloyd Webber Harrison Musicals presents the Regent’s Park Open Air Theatre production by arrangement with LW Entertainment. 

CAST CONFIRMED FOR 9 TO 5 THE MUSICAL

UK TOUR

Cast are revealed for the upcoming UK tour of 9 to 5 The Musical, the ultimate feel-good musical comedy, opening at Peterborough’s New Theatre on 04 July. 

Bringing sass, style, and a whole lot of ‘Dolly’ sparkle, the talented line-up Includes: Jessica Martin (Me and My Girl, Adelphi Theatre / Jerry’s Girls, Menier Chocolate Factory) as Roz, Karla Tracey (Irish Affair; A Love Story for All Time,  National Opera House, Ireland) as Doralee, Kayla Carter (Military Wives, York Theatre Royal / I Should Be So Lucky, UK & Ireland Tour) as Judy, Tim Rogers (West Side Story, West End & UK Tour / Jesus Christ Superstar, UK & Europe Tour) as Hart and Jade Marvin (Starlight Express, Troubadour Wembley Park Theatre / Six ,NCL) as Violet. 

They appear alongside Sammy Graham (The Sound of Music, London Palladium) as Kathy, Ceris Hine (The Rocky Horror Show, UK Tour) as Margaret, Bradley Judge (Sister Act, West End & Uk Tour) as Dwayne / Detective /Tinsworthy, Benjamin Karran (Les Misérables, West End) as Joe, Colin Kiyani (Flashdance, UK & International Tour) as Bob / Dick / Doctor, Alicia Mencía (Moulin Rouge! The Musical, West End) as Maria, Rodney Vubya (Titanique, Criterion Theatre) as Josh, Jemima-Jane Willcox (Mary Poppins, UK and Ireland Tour) as Missy / Candystriper.  The ensemble includes Jamie Chidzey (Come From Away, Cunard) and Beth Woodcock (Bat Out of Hell, Uk Tour) and Ashley St John (Get Down Tonight, Charing Cross Theatre) who is also Dance Captain.

Playing the fiercely loyal, and slightly unhinged office manager Roz, Jessica Martin says: “I can’t wait to bring Roz out on tour in this hugely entertaining sharp, sassy and subversive show!  A tribute to the queen that is Dolly!” Tim Rogers as Franklin Hart Jr, the ‘boss you love to hate’, adds: “It’s going to be a blast!”

Inspired by the much-loved 1980s film, this is a joyful story about friendship, courage, and standing up for what’s right, all set to toe-tapping tunes you’ll be humming long after the curtain falls. Featuring an irresistible score by country music legend Dolly Parton, the smash-hit show follows three office workers who’ve had enough of their overbearing, chauvinistic boss. When a wild idea turns into a daring plan for revenge – chaos, comedy, and sisterhood take centre stage.

Produced by Landmark Theatres by arrangement with Music Theatre International, 9 to 5 The Musical marks a major milestone as Landmark’s first in-house production to tour nationally. It is Directed by Paul Jepson, with Set and Costume Design by Amanda Stoodley, Musical Supervision by Mark Crossland, Lighting Design by Andy Purves, Sound Design by Chris Whybrow, Assistant Direction by Sonny Nwachukwu.

Paul Jepson, CEO and Creative Director at Landmark Theatres said: “9 to 5 is a feel-good show with a big heart seen from the point of view of three strong women whose friendship comes to rule the office world.  Patriarchal male power behaviours are skewered.  But all the characters have heart and soul – and most of all dreams. Most of the witty dialogue is from the excellent Colin Higgins’s film – and there are banging numbers.  My favourites being Get Out Stay Out, Hart to Heart and One of the Boys.  I’m excited to be directing it and particularly excited that we will have our band on stage!”

This brand-new production opens at Peterborough New Theatre in July before touring to Barnstaple, Blackpool, Bridlington, Coventry, Darlington, Guildford, Hastings, Ipswich, and Worthing.

Lively, empowering, and outrageously funny, 9 to 5 The Musical is one night at the theatre you won’t want to miss! Clock in for a night of laughter and iconic songs and find out more at 9to5musical.co.uk

FULL CASTING ANNOUNCED FOR

TERESA DEEVY’S WIFE TO JAMES WHELAN

AT JERMYN STREET THEATRE

With the critically acclaimed, sell-out production of The Waves currently in performance, Jermyn Street Theatre and Mint Theater Company today announce full casting for a new production of Teresa Deevy’s Wife to James Whelan – a timeless story of love and pride which reintroduces Ireland’s forgotten genius to London audiences. Mint Theater Company’s Artistic Director Jonathan Bank directs Darragh Feehely (Bill McGafferty), Clíona Flynn (Nan Bowers), Eavan Gaffney (Kate Moran), Molly Hanly (Nora Keane), Fiach Kunz (James Whelan), Patrick McBrearty (Tom Carey), David Rawle (Apollo Moran), and Benjamin Reilly (Tom McClinsey).

Tracing seven years in the life of James Whelan, Deevy’s play explores ambition, compromise, and the role of women in Ireland, as personal desire collides with social expectation. The production opens on 1 July, with previews from 25 June, and runs until 25 July 2026 at Jermyn Street Theatre.

Jonathan Bank today said, “Wife to James Whelan is a play that challenges theatergoers to hear the unspoken thoughts of its characters—and there is no better place for that than the intimate Jermyn Street Theatre. Having worked on Deevy’s plays since Mint Theater Company launched the ‘Teresa Deevy Project’ in New York in 2010, I now look forward to learning from an exceptional Irish cast – assembled by the brilliant casting director Sarah Jones. Thank you, Stella and David, for the opportunity to continue this work in London.”

Stella Powell-Jones and David Doyle added, “Unfairly forgotten playwrights and plays can have no better advocate than Jonathan Bank and Mint Theatre Company. And Wife to James Whelan is an extraordinary play – and asks a question we still can’t answer. How much of ourselves are we willing to surrender for the joys and comforts of partnership?  London audiences have waited far too long to encounter Teresa Deevy’s remarkable writing, but this glorious cast makes the wait more than worthwhile.”

Jermyn Street Theatre and Mint Theater present

WIFE TO JAMES WHELAN
by Teresa Deevy

25 June – 25 July 2026

Cast: Darragh Feehely (Bill McGafferty), Clíona Flynn (Nan Bowers), Eavan Gaffney (Kate Moran), Molly Hanly (Nora Keane), Fiach Kunz (James Whelan), Patrick McBrearty (Tom Carey), David Rawle (Apollo Moran), Benjamin Reilly (Tom McClinsey)Director: Jonathan Bank; Set Designer: Neil Irish; Costume Designer: Anett Black; Lighting Designer: Chris McDonnell;Composer and Sound Designer: Jane Shaw;Casting Director: Sarah Jones

1937, a small Irish town. Nan Bowers and her friends are waiting to hear which local lad has won a life-changing job in Dublin. James Whelan shows up triumphant and ready to celebrate with his sweetheart, Nan, only to discover that she has plans of her own. Seven years later, James comes home, flush with success. His return will affect not only Nan but the whole town. 

Teresa Deevy was at the height of her fame when the Abbey Theatre rejected Wife to James Whelan amid the growing conservative backlash of the 1940s. Now, in 2026, Mint Theater’s Jonathan Bank makes an overdue reintroduction to Ireland’s forgotten genius with this timeless ensemble play that pits love against pride.

Teresa Deevy (1894 – 1963) was an Irish dramatist and writer. Her works include Katie Roche, A Disciple, Temporal Powers, The King of Spain’s Daughter, Reapers, The Wild Goose – all staged at Dublin’s Abbey Theatre. Among her other works are In Search of Valour, and Light Falling. Many of Deevy’s plays were adapted for radio: both The King of Spain’s Daughter and Wife to James Whelan were broadcast on the BBC, while Within a Marble City won first prize in the Radio Éireann drama competition of 1948.

Darragh Feehely plays Bill McGafferty. His theatre credits include A Misanthrope, A Streetcar Named Desire (Smock Alley Theatre), The House (Druid Theatre), Hammam, An Old Song, Half Forgotten (Abbey Theatre, Dublin), Hamlet (Mill Theatre Dundrum), The Glass Menagerie, Letters of a Country Postman (The Everyman, Cork), The Book of Names (Dublin Theatre Festival), The Flags (Cork Arts Theatre), and The (Not so) Quick Murder of Man (UK tour).

Clíona Flynn plays Nan Bowers. She is a recent graduate of the Royal Central School of Speech and Drama. Her theatre credits include Mean Girls (Savoy Theatre). Her television credits include Doctors; and for film, Someone Borrowed.

Eavan Gaffney plays Kate Moran. Her theatre credits include Uncle Vanya, A Streetcar Named Desire, The Loved Ones (Smock Alley Theatre), King Lear, The Stewart of Christendom (Gate Theatre, Dublin), Breaking (Ireland tour), Children of the Sun, and The Loved Ones (Abbey Theatre, Dublin).

Molly Hanly plays Nora Keane. She is a recent graduate of the Bristol Old Vic Theatre School. Her theatre credits include 855-For-Truth (The Bridge Theatre, Brussels and The Hope Theatre), and Youth’s The Season (Abbey Theatre, Dublin).

Fiach Kunz plays James Whelan. His theatre credits include Becoming Maggie, Extremities (The New Theatre, Dublin), Romeo and Juliet, Three Days of Rain (Mill Theatre Dundrum), and A Fear and Loathing Actor in Dublin (Edinburgh Festival Fringe – also writer). His television credits include The Walsh Sisters, Witness Number 3, Foundation, Red Election; and for film, Black ’47 and Lift.

Patrick McBrearty plays Tom Carey. His theatre credits include The White Handkerchief (The Millennium Forum), Belfast Actually, Belfast Actually 2 (Theatre at the Mill), Good with Faces (Dublin Fringe Festival), Volunteers (The Playhouse Derry), Richard III, New Speak, A Midsummer Night’s Dream (Lyric Theatre, Belfast), The Border Game (Lyric Theatre, Belfast and Ireland tour), Home Malone, The McCooeys (Grand Opera House, Belfast), and I Shall Wear Purple (Northern Ireland tour). His television credits include A Knight of the Seven Kingdoms, Blue Lights, Hope Street, and Heads & Tails.

David Rawle plays Apollo Moran. His theatre credits include Amsterdam, Afterwards (Dublin Fringe Festival), Youth’s The Season-?, A Night at the Movies (Abbey Theatre, Dublin), The Borrowers (Gate Theatre, Dublin), Danti-Dan (Ireland tour), and The Blackwater Lightship (Gaiety Theatre, Dublin). His television credits include Moone Boy, Drop Dead Weird, Falling for the Life of Alex Whelan, and Small Town, Big Story.

Benjamin Reilly plays Tom McClinsey. His theatre credits include Danny Ryan (Smock Alley Theatre), The Long Christmas Dinner (Abbey Theatre, Dublin), Mortal Sin (Bewley’s Café Theatre), and The Merchant of Venice (Mill Theatre Dundrum).

Jonathan Bank directs. He returns to Jermyn Street Theatre following the London premiere of Yours Unfaithfully (also Beckett Theatre, NYC). Other credits as Artistic Director of Mint Theater Company include Katie Roche, Temporal Powers, The Suitcase Under the Bed (all by Teresa Deevy), Yours Unfaithfully, The New Morality, Mary Broome, So Help Me God!, Is Life Worth Living?, The Fifth Column, The Return of the Prodigal, and Susan and God.

LISTINGS

WIFE TO JAMES WHELAN
16B Jermyn Street, London, SW1Y 6ST
Box Office: 020 7287 2875
www.jermynstreettheatre.co.uk

THE WAVES
Running until 30 May 2026Monday – Saturday, 7:30pm

3pm matinees on Tuesdays and Saturdays

Relaxed Performances: Thursday 30 April at 7:30pm & Tuesday 12 May at 3pm
Captioned Performance: Monday 11 May at 7:30pm
Tickets from £18

WIFE TO JAMES WHELAN
25 June – 25 July 2026

Monday – Saturday, 7:30pm

3pm matinees on Tuesdays and Saturdays

Relaxed Performances: Tuesday 7 July at 3pm & Thursday 16 July at 7:30pm
Captioned Performance: Monday 13 July at 7:30pm
Tickets from £18

Awkward Prods, Eric Kuhn Productions, Side Hustle Productions and Daddy’s Money present:

LINUS KARP WAS HIT WITH AN UMBRELLA

5th – 30th August (not 18th), 8:20pm

Underbelly, Bristo Square (Friesian)

With Work In Progress performances:

23rd – 25th July, 8:30pm at Park Theatre, London

A true story written and performed by Linus Karp

With dramaturgy from Olivier Award nominee Haley McGee 

and creative support from Joseph Martin

In July 2024, Linus Karp was hit with an umbrella in a homophobic attack in Soho, London.

A new show from the acclaimed company behind Diana: The Untold and Untrue Story, Gwyneth Goes Skiing and The Fit Prince (who gets switched on the square in the frosty castle the night before (insert public holiday here)).

Previous Praise for Awkward Prods:

“Absurd, camp, chaotic, and hilarious” ★★★★★ Attitude

“Perfectly imagined and brought to life”★★★★★ The National

“A masterclass” ★★★★★ The Skinny

“Gloriously ridiculous” ★★★★ The Stage

“Preeningly perfect… very funny” ★★★★ The Scotsman

“As poised and polished as it is anarchic and outrageous.”★★★★★ London Theatre1

“A whole new level of genius” ★★★★★ All That Dazzles

“The most unhinged piece of theatre in existence” ★★★★★ Broadway Baby

“Gleeful absurdist comedy at its finest” ★★★★★ Culture Fix

“An endless amount of non-stop laughter” ★★★★★★ Jack The Lad

“Repellent trash” Daily Mail

Awkward Prods, the award-winning creators of Diana: The Untold and Untrue Story, Gwyneth Goes Skiing and The Fit Prince, return to Edinburgh Fringe with a more personal and introspective show (albeit still with their own brand of anarchic queer celebratory style): Linus Karp Was Hit With An Umbrella.

For the first time, Awkward Prods will be tackling a true story, filtered through their distinctive blend of comedic performance, storytelling and theatrical invention.

In July 2024, shortly before taking Gwyneth Goes Skiing to the Edinburgh Fringe, Linus Karp and Joseph Martin – a couple of eleven years – were walking through London holding hands when out of nowhere, a man approached them, struck Linus across the head with an umbrella, and shouted disturbing homophobic slurs. Joseph chased the attacker, tackled him to the ground, and restrained him until the police arrived. The man was arrested at the scene.

Linus Karp Was Hit With An Umbrella takes that incident as its starting point and follows everything that came after: the shock of the attack, the slow legal process that followed, and the emotional aftermath of being targeted for being visibly queer – and in London’s Soho, a historically queer part of the capital. 

Now, with some distance from the event, Linus returns to that moment, to examine its lasting impact – from the immediate shock to the way it has shaped his everyday life as a queer person. The show explores the unease that can follow: around acts as simple as holding hands in public, and a heightened awareness of risk in spaces once taken for granted, alongside the more complex emotional aftermath of the incident, including the dissonance of processing violence whilst grappling with unexpected feelings of sympathy towards the person responsible. Linus also reflects on performing at the Edinburgh Festival Fringe in the immediate aftermath of the attack – stepping back onto stage and in front of audiences whilst still processing what happened. 

Moving beyond memoir, the final section of the show transforms the stage into a fictionalised trial, where the structures of justice can be reimagined, and the questions left unanswered in real life can finally be confronted. In putting the attacker theatrically on trial, Linus creates space to examine the realities of hate crime, the limits of legal resolution, and what it means to seek closure when no verdict ever came.

Despite its more serious subject matter, Linus Karp Was Hit With An Umbrella remains rooted in Awkward Prods’ signature style: witty, queer and distinctly theatrical, with audience-interaction and multimedia elements woven in. True to their work, the show blends dark humour with absurdity and playfulness throughout. 

In 2025, Linus Karp and Joseph Martin, a real-life couple of eleven years, made headlines when they became the first couple to legally marry on stage at the Edinburgh Fringe as part of the festival’s official programme. This year, their work continues to share personal aspects of a queer relationship, looking at how to navigate through a traumatic hate crime. 

Performed solo by Linus Karp, with Joseph Martin as stage manager and creative collaborator, the show is developed with dramaturgy from Olivier Award nominee Haley McGee (Age Is A Feeling) and produced by Awkward Prods, alongside Eric Kuhn for Eric Kuhn Productions, and Doulla Croft and Sam Goodman for Side Hustle Productions and Chris Darby for Daddy’s Money, with David Thomas Tao as Associate Producer.

Eric Kuhn is a three-time Tony Award-winning producer, marking his first collaboration with Awkward Prods and his first time presenting work at the Edinburgh Festival Fringe. 

Side Hustle Productions develops and produces work for stage, screen, and beyond – stories that foster empathy, build community, and endure. This also marks their first time presenting work at the Fringe.

Daddy’s Money Productions invests in, develops and stages live performances spanning musical theatre to cabaret. They are driven by the desire to share new stories, elevate queer voices for all audiences, and create unique experiences.

Awkward Prods will also be performing their previous sell-out cult hit Diana: The Untold and Untrue Story during the final week of the Edinburgh Festival Fringe (Underbelly, Bristo Square (Ermintrude), 24th – 30th August, 10pm)). 

FROM THE MAKERS OF…

This brand-new production follows Awkward Prods’ international success with their previous hits:

• The Fit Prince (who gets switched on the square in the frosty castle the night before (insert public holiday here)) played the Edinburgh Fringe 2025 before transferring to King’s Head Theatre, London and embarking on a UK & Ireland tour.
• Gwyneth Goes Skiing sold out its Edinburgh 2024 run (plus extra shows) and toured the US in 2025 & 2026, selling out in LA, NYC and Park City, Utah.
• Diana: The Untold and Untrue Story sold out its 2023 Fringe run (plus extras), toured the world, and won the Off-Fest Award for Best Play at the Fringe.
• Their earlier hit how to live a jellicle life: life lessons from the 2019 hit movie musical ‘Cats’ kicked off the now-legendary “awkwardprods” style: high camp, deep cut pop culture, genre-mashing storytelling and queer community celebration.

Their work is never just performed for an audience – it’s performed with them. That’s not a metaphor. The

audience literally helps make the show.

WHO’S WHO…

Linus Karp is a queer Swedish actor, writer and director. He is the creator and performer of  Gwyneth Goes Skiing, Diana: The Untold and Untrue Story, The Fit Prince (who gets switched on the square in the frosty castle the night before (insert public holiday here)) and how to live a jellicle life: life lessons from the 2019 hit movie musical ‘Cats’.

Joseph Martin is an actor, writer and musician. Training: East 15. Previous credits include Jeff Wayne’s The War of the Worlds (Layered Reality), Sir Quentin Blake’s The Green Ship (UK Tour) and Count Magnus (BBC). He co-founded Awkward Prods with Linus Karp in 2017 and has worked as a Producer for BBC Radio 2 and Radio 4.

Haley McGee is a writer and actor. Her solo show Age is a Feeling (Fringe First and an Olivier nomination) has played sold-out runs in Edinburgh, London (Soho Theatre) and Toronto and has been translated and produced in over 10 languages. Her solo The Ex-Boyfriend Yard Sale has been adapted into a book of the same name, published by Hachette.

Eric Kuhn is a producer of TV, films, documentaries, and theatre on the West End and Broadway. Eric has earned three Tony Awards, a Peabody, two GLAAD awards, a BIFA, and numerous other awards. Recent credits include: Grand Theft Hamlet (streaming on Mubi), Cats: Jellicle Ball (on Broadway), Born with Teeth (West End) and Invasive Species (Vineyard Theatre and The King’s Head Theatre).

Doulla Croft has 28 years of experience in digital marketing and over a decade of experience investing in theatre — including Room (US Tour & Broadway), Six The Musical (UK & Broadway), Choir of Man, 42 Balloons, and What It Means. 

Sam Goodman leads the Theatre & Immersive team at Lee & Thompson, one of the UK’s leading law firms for the creative industries. He has a practical understanding of how productions are developed, financed, and brought to life. 

Chris Darby is delighted and humbled to be the only producer returning to the Fringe and hasn’t won any Tonys… yet. Selected production credits with Daddy’s Money include The Fit Prince (that gets switched on the square in the frosty castle the night before insert public holiday here) (Kings Head Theatre & Edinburgh Fringe); Small Town Boys (Union Theatre), and Associate Producer for Ride The Cyclone (Southwark Theatre).

CHANNING TATUM’S

MAGIC MIKE LIVE IN LONDON

CELEBRATES ITS 3000^th PERFORMANCE &

EXTENDS RUN

AT THE HIPPODROME CASINO

TO SATURDAY 27 JUNE 2027

ON SALE NOW

Watch & Share: Cast of Magic Mike Live Celebrates 3,000 Performance
with Epic Dance Montage at Iconic London Landmarks

Youtube link: https://youtu.be/vyMnEhQg5rQ

Channing Tatum and his co-producers are delighted to announce a new booking period for Magic Mike Live at The Theatre at the Hippodrome Casino in London as the production celebrates its 3000^th performance. Patrons will be able to book performances through to Saturday 27 June 2027. Tickets on sale now.

The internationally acclaimed cast of Magic Mike Live in London includesTaylor Diamond-Lord (from New Zealand), Myles Harper (from the UK), Jake Cocca-Brewer (from the UK), Jack Manley (from the UK), Kevin Vélez (from Columbia), Carles Escoms Ferrer (from Spain), Espoir Alpha (from Congo/ Australia), Nick Brown (from Australia), Ryan Elson (from the UK), Reece Darlington-Delaire (from the UK), “Sweeney” Todd Holdsworth (from the UK), Mark Lace (from New Zealand), Clare Billson (from Australia), Genevieve Nicole (from the UK), Olivia Warren (from the UK),  Charlotte Perry (from the UK) and James Percy (from the UK).

Created and co-directed by Channing Tatum, Magic Mike Live, has run for over 7 years in London, having performed 3000 shows and wowing over 900,000 people and more than 2,000,000 worldwide. It is a large-scale, live production show based on the hit films Magic Mike and Magic Mike XXL, which opened at The Theatre at the Hippodrome Casino in London’s Leicester Square in November 2018.  Magic Mike Live inspired a new television series on HBO Max, Finding Magic Mike, and the third instalment of the Magic Mike film franchise, Magic Mike’s Last Dance. Magic Mike Livehas become an international sensation since opening in Las Vegas in April 2017.

In addition to breaking box office records and performing to sold-out audiences in Las Vegas and London, the show has thrilled audiences around the world with engagements in Berlin, Australia, and Miami and Dallas in North America.

An all-new flagship production will open in New York City this October in a newly renovated, multi-function and custom-built venue one block from Times Square.

From the bespoke entrance off Cranbourn Street, to the specially curated lounge and bar experience, to the cast of world-class performers, Magic Mike Live is a complete evening of unparalleled entertainment for guests aged 18 and up. Audience members enter Magic Mike’s mythical club and marvel as a group of extraordinary artists perform a 360-degree dance and acrobatic spectacular in front of, behind, and above them.  Sexy dance routines intertwined with one-of-a-kind acts, are presented by a diverse cast of performers from around the world.

Guests can also enjoy pre and post-show cocktails and cuisine at two bespoke bar and lounge experiences – Permission and Archive & Myth – designed and curated by Magic Mike Live designer Rachel O’Toole. Patrons can either book their spots in advance or drop in if they fancy an intimate and luxurious space to unwind in the heart of London’s West End.

Permission was recently voted one of Open Table’s ‘Top 10 Best Restaurants in London.’ The intimate and atmospheric lounge located just steps from the theatre entrance offers a range of food and beverage options, as well as live music curated by the Magic Mike Live team.

Named one of the UK’s Top 50 Cocktail Bars for a second consecutive year, Archive & Myth is hidden beneath the Hippodrome Casino and is accessed by a password-protected door off Cranbourn Street.  This secret bar offers a stylish escape from the Square’s hustle and bustle, with a tempting menu of elevated classic cocktails, bespoke vintage spirits and light bites, enjoyed in an elegant space that is richly inspired by the heritage and legends of the venue itself.

Patrons can also book a VIP Luxe Seats package, guaranteeing the best seats in the house, complimentary cocktails, and entry to Permission with a personal concierge escort to the show. The VIP Luxe package also includes a meet and greet with some of the dancers after the show. For more information visit magicmikelondon.co.uk

Magic Mike Live in London is co-directed by Channing Tatum and Alison Faulk, with Luke Broadlick as associate director, and choreography by Alison Faulk and Luke Broadlick.The Executive Producer is Vincent Marini with General Management by Crossroads Live. The production designer is Rachel O’Toole, with scenic design by Rob Bissinger and Anita LaScala (Arda Studio), costume design by Marina Toybina, lighting design by Philip Gladwell and video design by Luke Halls.  Musical supervisor is Jack Rayner, with sound design by Nick Kourtides. Dreya Weber is aerial choreographer & aerial apparatus designer and Ross Sands is resident choreographer. 

Magic Mike Live is produced in London by Channing Tatum, Reid Carolin, Greg Jacobs, Peter Kiernan, Steven Soderbergh, Nick Wechsler and United Talent Agency in association with Warner Bros., Vincent Marini, The Hippodrome Casino, Bruce Robert Harris and Jack W. Batman, TSG Entertainment & Ashley DeSimone, Richard Winkler and The Creative House.

LISTINGS INFORMATION

Magic Mike Live

The Theatre at the Hippodrome Casino

Cranbourn Street

Leicester Square

London WC2H 7JH

Website:  www.magicmikelondon.co.uk  

Twitter: @MagicMikeLDN

Facebook: @MagicMikeLDN

Instagram: @MagicMikeLiveLDN

TikTok: @Magicmikelivelondon

Box Office:  tickets@magicmikelondon.co.uk

Ticket Prices from: £42 (including booking fee)

Current Booking Period: Sunday 28 June 2026

Running Time: approximately 90 minutes (no interval)

Performances: Wednesday 7pm, Thursday 7pm & 9.30pm, Friday 7pm & 9.30pm, Saturday 4pm, 7pm & 9.30pm, Sunday 4pm & 7pm.

Please note there are no performances w/c 31 August 2026, w/c 7 September 2026 and w/c 4 January 2027.

Magic Mike Live London is also introducing the following accessible performances:

BSL – Theatre Sign for those who are D/deaf / Hard of Hearing and whose main communication is BSL

Wednesday 3 June 2026, 7pm

Customers attending with Nimbus access card are entitled to tickets for these performances at the reduced rate of £67.50 per person. Those entitled to an essential companion will receive that ticket complimentary. For further information on our access performances please email access@magicmikelondon.co.uk or call the box office 02038703621. Customer Service hours are between 12pm – 6pm Tuesday through Sunday.

Magic Mike Live guests must be at least 18 years to attend – appropriate photo ID will be requested on arrival at the venue – GambleAware.org

Producers of ‘Wicked’ donate a further £10,000 in tickets to theatre works!, continuing their partnership with the UK Charity into a third year

www.theatreworks.global

www.WickedActiveLearning.co.uk

Following a successful two-year partnership, which has seen over 1000 school children benefit from a free or subsidised bursary, the producers of the stage musical Wicked have committed to donating a further £10,000 worth of tickets to theatre works!, a UK-based charity committed to making theatre accessible to young people for a third consecutive year.

The donated tickets are for the West End production of Wicked, as part of its acclaimed Wicked Active Learning education programme, providing the opportunity for children to immerse themselves in the magical world of Oz.

Offered in addition to Wicked’s year-round commitment to significantly reduced-priced Education tickets, schools can apply to theatre works! for financial support to attend Tuesday to Thursday performances during term time. This arrangement ensures that the experiences are integrated into the educational framework, providing both entertainment and learning opportunities.

This significant contribution will provide young people outside the M25, facing economic and social barriers, with the opportunity to experience one of London’s most iconic stage musicals, enhancing their appreciation for the arts in general and live theatre in particular.

The charity, theatre works!, will use these tickets to broaden the horizons of children who might not otherwise have the chance to attend such a high-calibre production.

Since its inception five years ago, theatre works! has provided tickets in the UK and US for over 33,000 children and young people to attend the theatre. By coordinating with schools and youth organisations, the charity funds trips that are not only fun but also educational, including post-show discussions whenever possible.

Describing their experience, a teacher from Academy of St Francis of Assisi, Liverpool said “The educational and emotional value of the experience was clear. Not only did students enjoy a world-class production, but many also gained new perspectives on social justice, self-expression, and empathy. The trip has also sparked renewed interest in the performing arts among our students, with some already asking about future theatre opportunities”

Sharon Studer, Co-founder and Chair of theatre works!, said “‘For over a thousand students supported by theatre works!, seeing Wicked has been far more than a memorable day out. It has been a first encounter with live theatre and a chance to discover the imagination, craft and hard work behind a major production. The post-show Q&As that many attend have been an especially valuable part of that experience, helping young people understand that theatre is created by many different talents, both on stage and behind the scenes. Wicked’s support has also helped raise awareness of theatre works! and our mission to make these opportunities available to children who might otherwise be excluded. We are deeply thankful to the whole Wicked team for their continued support.’

Contact Information

For more information about theatre works!, please look at their website, www.theatreworks.global, or contact them at info@theatreworks.global.