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Sheffield City Hall – Wednesday 6th May 2026

Reviewed by Claire Moore

4****

Let’s Face The Music And Dance! sees Strictly Come Dancing favourites Aljaž Škorjanec and Janette Manrara return to the stage with a brand-new show celebrating the music that has sound tracked so many of our lives. From big band classics and musical theatre favourites to modern pop hits, the evening is a tribute to the songwriters, composers and producers behind the songs we all know and love.

Each section is made up of medleys of well-known songs from artists including Kate Bush, Cole Porter, Burt Bacharach and The Beatles. Aljaž and Janette are joined by a talented supporting cast of dancers and backed by live music from boogie woogie pianist Tom Seals and his Big Band, as well as the huge vocals of Jill Marie Cooper — and not many people can do Whitney Houston justice, but Jill Marie absolutely does.

Packed full of stunning dance routines and feel-good energy, the show also has plenty of humour, with Aljaž, Janette and Tom chatting naturally with the audience throughout. Nothing feels overly scripted or forced; it genuinely feels like they just want you to join them in their love of music and dance.

I’m always impressed watching the salsa, jive and ballroom routines on Strictly, but seeing this level of dance live on stage is something else entirely. The talent on stage is incredible, and at times there’s so much going on you hardly know where to look.

The whole show flows beautifully. I did initially wonder how six dancers would manage on what appeared to be quite a small stage, but clever use of blocks creates different levels and allows the routines to really open up —even using the grand piano as part of the choreography. Everything feels sleek, polished and incredibly well rehearsed.

It’s glamorous, nostalgic and full of the kind of joy that has the audience smiling and dancing in their seats. But what really makes the show work is the relationship between Aljaž and Janette. There’s such genuine warmth and happiness between them, and it’s obvious how much they both love dancing and performing together. That joy spreads through the whole theatre and creates a brilliant atmosphere in Sheffield City Hall. A thoroughly enjoyable evening from start to finish.

Yvonne Arnaud – until Saturday 9^th May 2026

Reviewed by Heather Chalkley

4****

Writer Peter Quilter has taken this epic true story and moulded it into a tragic comedy like no other! Director Kirk Jameson has managed to bring to life Florence Foster Jenkins’ rise to notoriety, imbued with warmth, humour, admiration and an incredible lack of self-awareness!

Wendi Peters (Florence) has honed her huge voice for the purpose of singing beautiful arias with most of the notes in the wrong order! That is quite some feat! Notes are sung at just the right level, pitch and dissonance to have the audience roaring with laughter and applauding with admiration, at the same time as feeling pain in their ears! More impressive is Peters facial expressions, reflecting the emotions of each opera and the complete and utter ignorance of how terrible she sounds! Florence had a big heart that wanted to keep on giving, to charity and community, using her voice as one way of bringing people together. The look of triumph and excitement Peters gives Florence with her whole body, when she accepts the invite to play at Carnegie Hall, is a standout moment not to be missed.

Matthew James Morrison (Cosmé McMoon) said more with his body language and countenance than actual words, most of which caused people to laugh out loud. You see the growth of Cosmé’s relationship with Florence, starting with utter fear and cringe at the atrocity of her voice, to blithely accompanying her on the quest to spread the gift of music to everyone. The fact that he is paid well compels him to stay, then unexpectedly he finds fondness and respect, a desire to help her live her dreams. 

Peters is ably assisted in creating such a fun performance by the epic costumes, that are beautiful and satirical all at the same time! Well done creative team for bringing the music, costume and set together in a way that creates the atmosphere of a big concert hall. 

Florence was determined to live her dream and there is a lesson for us all in that!

Grand Theatre Leeds – until Saturday 10^th May 2026

Reviewed by Katie Brewerton

4****

Here and Now is the brand new musical based on the songs of Steps. Set in a supermarket with a group of friends looking for a ‘Summer of Love’ Here and Now is the ultimate cheesy, camp, feel good musical. 

As you enter the theatre the set towers over you from the stage, almost the entire show is set in Better Best Bargains Supermarket, with aisle numbers 5, 6, 7, 8 taking centre stage for obvious reasons. The show begins with Caz (Lara Denning) encouraging her work friends to do whatever it takes to make themselves happy in love. Robbie (Blake Patrick Anderson) finds fault in everyone he dates and never really gives anyone a chance, Vel (Jacquie Dubois) is in a relationship with someone she doesn’t actually like and Neeta (Rosie Singha) is in love with colleague Ben (Ben Darcy) but is too afraid to tell him. They make a pact that by Caz’s 50^th birthday they will all strive to make themselves happy just like Caz.

Caz soon receives devastating news as her husband decides things aren’t working between them, just as they get approved to adopt a child. She now has to search for her own happy ending as well. After an ill advised decision by Caz to help Max (Edward Baker-Duly) buy Better Best Bargains in exchange for help with her adoption and financial security things go from bad to worse for all the friends and they must come together in the second act to save the store and their friendships. 

The cast are great with fantastic vocals, particularly Lara Denning and you’re in for a special treat with a performance by River Medway, who plays Jem, in full drag with his own entourage singing Chain Reaction.

Packed with hits including the hugely popular Tragedy, Better the Devil you Know and of course 5, 6, 7, 8 the mega mix finale had everyone up on their feet clapping along. 

Sheffield Lyceum – until Saturday 9th May 2026

Reviewed by Claire Moore

4****

The Spy Who Came In From The Cold brings one of John le Carré’s best-known novels to the stage for the very first time. This Cold War thriller takes us into a world of espionage, double-crossing and moral grey areas, where nobody quite knows who can be trusted.

Disillusioned British intelligence officer Alec Leamas (Ralf Little) is ready to leave the world of spying behind him, until George Smiley persuades him to take on one final undercover mission against the East German Secret Service. But as the lines between truth and deception begin to blur, and new relationships develop, Leamas finds himself questioning far more than just the mission.

The book has been a global bestseller for more than six decades, but I have to confess I’m one of the few people who had never read it or seen any of the adaptations. Add in the fact I’d only ever seen Ralf Little in comedy roles before, and there were quite a few firsts for me going into this production.

Adapted for the stage by award-winning playwright and screenwriter David Eldridge, the production manages to make a very complex story feel surprisingly accessible. There’s a lot to fit into a running time of under two hours, but the use of clear explanations from Leamas helps the audience keep up with the twists and turns of the plot without it ever feeling too heavy.

The set is simple but effective — mainly tables, chairs and the odd mattress moved smoothly between scenes. Behind it all sits a huge grey wall that feels cold, oppressive and quietly threatening throughout. When it finally begins to move towards the audience near the end, you know this story isn’t heading anywhere good.

The costumes are understated too, which works well given how layered the story is, while the noir-style music adds to the atmosphere brilliantly. There’s a constant sense of tension running underneath everything.

Amid the complexity of the plot and the fast movement between scenes, some of the rapid-fire dialogue is hugely impressive — particularly the exchanges between Leamas and Control (Nicolas Murchie). The pace never drops, and the sharp delivery really helps build the pressure and stress of the situation.

The cast work really well together, and the whole production feels incredibly slick. With such a complex story to tell in a relatively short running time, it’s clear a huge amount of work has gone into making everything flow so seamlessly.

But a special mention has to go to Ralf Little, who really impressed as Leamas. It’s a huge role to take on, but he carries it with confidence and real believability, showing a much darker and more serious side than audiences might be used to seeing from him.

It may be a little back to front, but the novel is now firmly on my reading list. But I suppose that’s the beauty of art — opening us up to new stories and experiences, however we happen to find them.

Festival Theatre, Malvern – until 9th May 2026

Reviewed by Courie Amado Juneau

5*****

I knew the name Somerset Maugham but had never seen on of his plays. So it was with much anticipation that I caught tonight’s theatre piece.

The story revolves around a wife trying to ignore her husband’s affair (of the last year). Most everyone else seemed to know, but she was determined to keep the upper lip stiff. When circumstances transpired against her continuing this pretense, she has to finally confront the assembled personages and concoct a way to move on…

A surprising “false” start piqued the interest immediately – but more of that piano playing later! Anna Fleischle was responsible for designing the opulent set and was co-costume designer (alongside Cat Fuller) and both deserve a pat on the back for some gorgeous staging.

Three strong leading ladies propelled the story forward; Kara Tointon, playing Constance Middleton (around whom the tale was woven), displayed a commendably restrained performance that was nevertheless full of passion – saving her emotional outbursts for maximum effect. Her sister Martha Culver (Amy Vicary-Smith) was the character i had most empathy with as she was the most normal (by today’s standards). Thoroughly modern, she was determined to put the world (and her sister’s marriage) to rights. Her recap was the funniest part of the play (joint first with the butler). And mother Mrs Culver (Sara Crowe) was hilarious and truly wacky in her ideas and moral code. Pragmatic might be a kinder, more measured, assessment. Marie-louise Durham (Gloria Onitiri), a trifling concoction who was so full of herself she was loathsome in her selfishness, rounded out the brilliantly played ladies.

The men (Jules Brown (Mortimer Durham, the other husband), Tim Delap (John Middleton the lothario fiend) and Alex Mugnaioni (Bernard Kersal the foppish puppy dog still in love with someone else’s wife)) were the men; all testosterone fueled bravura and horns clashing. Poor things! All masterfully brought to life but I ended up feeling rather sorry for them. This is definitely a “girl power” story – the men, to my mind don’t fare too well.

Butler Bentley (Philip Rham) was the standout character. A truly excellent performance with some wickedly humorous reactions and sideways glances. And on stage piano playing of some rare beauty! What is that tune (could it be by composer Jamie Cullum, I wonder)?

It is a funny play, most of the laughs coming from the outrageous attitudes of the well to do and the times! Plus the extremely clever writing alluding to the titular play which Constance never does get to see! Most amusing. I’ve not read the original but this is certainly a witty script by Laura Wade (based, obviously, on Maughan’s work). And it all concludes in satisfying style with some just deserts very much in keeping with the conscience and standing of the characters – though, beware the tennis pro’s out there!

All in all it’s a fun night out that delivers something for everyone. It certainly gave me a lot of pleasure, some head shaking (at that peculiar moralizing) and cause to pause for thought. Well deserving of top marks from all concerned!

Hall for Cornwall, Truro – until 9th May 2026

Reviewed by Kerry Gilbert

5*****

‘A Fabulous Feel-Good Production’

It was a real tonic to review Legally Blonde for the opening night at the wonderful Hall for Cornwall. Being a well-remembered films from my youth, and 25 years since it was first released, it’s been brought to stage with lots of colour (pink) and energy.

Legally Blonde follows Elle Woods, as she works to get into Harvard Law School to follow the love of her life Warner. She surprises herself and those around her in becoming a great lawyer, with integrity. She then realises that Warner may not be all that she really wants.

The musical is fast paced, and high energy and has a fair few laughs throughout. The music and lyrics from Laurence O’Keefe and Nell Benjamin are catchy and full of energy. I particularly enjoyed ‘Omigod You Guys’, ‘Blood in the Water’, and ‘Bend and Snap’ which are all fun ensemble pieces, and ‘Gay or European?’ was performed as over the top as possible. The production is directed by Nikolai Foster and has done a fantastic job in bringing this version of Legally Blonde to stage, which is also faithful to the original film. The choreography by Leah Hill is energetic and the ensembles are incredible using every inch of the stage. Colin Richmond’s set design was beautiful, cleverly using small scale models as locations and using additions in real scale that put us in particular buildings, including, the lecture room, store, hair salon and shower. The band, led by musical director Olivia Zacharia were outstanding. The dogs Bruiser and Rufus, got the biggest Aww from the audience, and having them on stage was very impressive and they were handled and behaved impeccably!

Headlining the impressive cast, following her stint in Strictly Come Dancing is, Amber Davies as Elle Woods, and she delivers outstanding vocals throughout. George Crawford gives some powerhouse vocals as Emmett. The whole cast were superb with strong voices and tight choreography. A shout out goes to Jocasta Almgill, playing Brooke Wyndham, who impressively manages to sing whilst performing a high energy skipping rope routine!

If you’re a fan of Legally Blonde, and even if you’re not, then this fabulous feel-good production is well worth seeing.

York Theatre Royal – until 23 May 2026

5*****

The Psychic at York Theatre Royal is an engrossing and atmospheric psychological thriller that proves Jeremy Dyson and Andy Nyman still know exactly how to get under an audience’s skin. While audiences expecting the outright terror of Ghost Stories may find this production a little less frightening, that is not a criticism. Instead, The Psychic leans far more heavily into suspense, manipulation, and psychological unease – and as someone who loves a good psychological thriller, I found it utterly absorbing.

Set within an unsettling world where appearances constantly shift and certainty feels impossible, the play slowly draws the audience into its web. Dyson and Nyman’s writing is sharp and intelligent, balancing dark humour with creeping tension. Rather than relying on jump scares, the production builds an oppressive atmosphere that leaves you questioning every character and every revelation. There are still moments that genuinely make you jump, but the real strength lies in the lingering sense of unease that follows throughout the evening.

The cast are excellent throughout. Eileen Walsh delivers a compelling performance as Sheila Gold, grounding the production emotionally while gradually revealing the layers beneath her character. Megan Placto is equally impressive, in her first professional role, as Tara, bringing warmth and vulnerability that make the unfolding events feel increasingly personal and disturbing.

Frances Barber truly comes into her own in the second half as Rosa. While initially understated, Barber’s commanding stage presence becomes impossible to ignore as the play gathers momentum. She brings both menace and complexity to the role, helping to drive the tension to its gripping conclusion.

Technically, the production is outstanding. Rae Smith’s scenic design deserves enormous praise, creating a set that feels both intimate and deeply claustrophobic. The design works brilliantly with the play’s themes of illusion and uncertainty, constantly making the audience feel slightly off balance. Zoe Spurr’s lighting design is superbly judged, shifting subtly between realism and nightmare without ever becoming overblown, while Nick Manning’s sound design adds another layer of discomfort and suspense. Together, these elements create an immersive atmosphere that keeps the audience on edge throughout.

Proving there is more to him than Sooty, Richard Cadell acts as Showman Consultant along with William Hussey. With Chris Fisher acting as Illusion Designer. Both Cadell and Fisher are members of the Magic Circle and author Hussey grew up in a travelling fairground family.

Ultimately, The Psychic may not be as relentlessly terrifying as Ghost Stories, but it does not need to be. The final act rewards the patience, delivering twists and revelations that are both satisfying and unsettling. This is a more mature and psychologically driven piece of theatre, one that trusts its audience to sit with ambiguity and tension rather than simply startling them. For fans of intelligent thrillers, strong performances, and beautifully crafted atmosphere, it is absolutely worth seeing.

Chichester Festival Theatre, Chichester – until Saturday 16th May 2026

Reviewed by Sally Lumley

4****

Illusion, grief, and belief collide in Magic, a compelling new play written by and starring David Haig, premiering at Chichester Festival Theatre as part of Festival 2026.

Telling the fascinating true story of the friendship, and very public falling out, between Sir Arthur Conan Doyle and Harry Houdini, this production explores the tension between faith and fact. In the shadow of the first world war, where spiritualism offered hope after huge numbers of fatalities, Conan Doyle, struggling with personal grief, is a firm believer in the ability to communicate with the dead. Houdini meanwhile, mourning his mother, longs for it to be true. However, when doubt creeps in Houdini sets out to uncover the truth, no matter the cost to their friendship.

It’s a gripping premise, and one that feels very relevant. In a modern world where we constantly question what’s real and what’s fake, Magic cleverly holds up a mirror to our own uncertainties. The script is thought provoking, weaving ideas about belief and truth through an engaging and emotionally driven plotline. It is fascinating to learn more about the lives of two very famous figures outside of the field for which they are most famous.

Hadley Fraser is dynamic as Houdini, bringing both charisma and sensitivity to the role, balancing showmanship with raw vulnerability. David Haig is the perfect counterpoint in Sir Arthur Conan Doyle, as a man full of conviction but tinged with an underlying desperation. The internal conflict that is shown in both men is genuinely moving. Jenna Augen as Bess Houdini and Claire Price as Jean Conan Doyle shine in their roles as women supporting their husbands in their obsessions, while struggling with their own beliefs.

This production is unsettling at times. The séance sequences, with Jade Williams as sinister medium Mina Crandon, are genuinely chilling, with lighting and sound used to great effect to ramp up the tension in the theatre. However, moments of vaudeville and theatrical magic bring welcome moments of lightness and fun. The immersive seating, placing audience members among the action, is inspired, further blurring the lines between what is real and what is spectacle.

Magic is a thought-provoking and thoroughly engaging night at the theatre. With strong performances, clever staging, and themes that left me thinking long after the play ended, this is a production that will leave audiences questioning what they believe and whether they really want to know the truth after all.

Curve Theatre Leicester – until 9th May 2026

Reviewed by Amarjeet Singh

3***

Mean Girls lands at Curve with a great deal of confidence, buoyed by the popularity of the 2004 film and the prestige of its creative team. The story follows Cady Heron, a teenage outsider trying to navigate the social maze of an American high school after growing up in Kenya. Her attempt to find friends and blend in quickly draws her into the orbit of ‘The Plastics’, a glossy but merciless clique where popularity is power and cruelty is currency.

Tina Fey’s book largely sticks to familiar territory, keen not to alienate fans of the film. Many of the most quoted lines are here and greeted warmly by the audience. While this brings a sense of recognition, it can also feel forced. Some moments play more like laughter cues than story beats. The show rarely pauses long enough to let its themes develop. The result is lively but oddly thin, skating across ideas of identity and belonging without fully exploring them, leaving a lack of depth in the characters and their journeys.

Structurally, the show struggles. The first act bustles with colour but does little to build emotional investment, while the second swings hard towards sincerity and loses momentum as a result. Musically, Jeff Richmond and Nell Benjamin lean into high-energy pop. The score is relentlessly upbeat and delivered with impressive force but lacks variety. Too many songs feel interchangeable and shoehorned in for laughs, rather than pushing the story forward or revealing something new about the characters. The humour itself follows a similar pattern: sporadically sharp, but often broad and out of place. When the jokes hit, they sparkle; when they don’t, they linger awkwardly.

Where the production truly shines is in performance. The cast embrace the material with commitment, dynamism and vocal assurance. Emily Lane brings clarity and warmth to Cady, while Vivian Panka’s Regina George is commanding and coolly controlled. Faye Tozer is brilliant in her multiple roles, shifting effortlessly between characters. Georgie Buckland and Max Gill are real standouts as Janis and Damian; their chemistry and comedic timing are a joy.

Visually and vocally, this Mean Girls is slick and polished, but it feels underwhelming. Characters often lean toward caricature where complexity would be more rewarding. Mean Girls delivers spirit, talent and recognisable fun. What it lacks is the bite and cultural sting that gave the original movie its staying power. Glossy and crowd-pleasing, this production plays to the masses but misses the mark. It’s perfectly pleasant, but unlikely to linger long after the final curtain.

Jack Studio Theatre – until 16 May 2026

Reviewed by Claire Roderick

3***

Emeka Agada’s new play has immense potential but in its present form feels slightly overstuffed leading to a less impactful experience than the subject matter deserves.

Set in the 1990s USA, the play opens with a raid and the arrest of Dr Oko (Agada) – something he appears to be prepared for. Whilst on death row awaiting execution for his political crimes, Oko is visited by a former student, Asante (Kenneth Butler). Asante is now a journalist and he says he wants to make a record Oko’s revolutionary life and teachings.

The play is mostly static, taking place in an interview room in the prison with the protagonists sitting opposite each other and leaving their chairs for flashbacks or asides. Director Nathaniel Brimmer-Beller ensures the audience never get comfortable with Rey Wong’s unsettling lighting design.

Oko’s recollection of Asante as a “difficult” student is a hook into the ensuing debate between the characters about systemic racism, capitalism and revolution.

Agada ‘s Oko is charming but razor sharp, with unbending and unrepentant convictions but it is not until you see him in flashbacks giving speeches that you see his true charismatic power outweighing his flaws. Asante’s memories of his student activism have been dulled by his responsibilities to his young family, but Oko sees him as a final chance to carry out his final act of revolution.

A camera records the visuals of the encounters but Oko thinks he can speak freely. The dialogue, although covering so many crucial points, feels like a college tutorial at times and when jeopardy is introduced as the authorities use Asante to try to discover Oko’s plans it is a welcome relief. It also draws a stark contrast between what each man is willing to sacrifice for the cause.

The actors give passionate performances, but there are so many issues thrown about in the dialogue that they are never really given the opportunity to sink their teeth into anything, leaving important scenes – even the climatic drug overdose – underwhelming.

There’s no denying the fervour of Agada’s writing, but The Last Black Messiah needs a more focussed and streamlined approach in order to entertain as well as educate.