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Park Theatre – until 22 March 2025

Reviewed by Claire Roderick

3***

A young couple spend their first, and last, night together in a hotel in Bath. Unfortunately for them, it’s the weekend of the Bath Blitz in April 1942, so their romantic night doesn’t end as planned.

Before the bombs, Leonard (Barney White) explains his nightmare to Violet (Cassie Bradley), trapped as he realises an approaching figure isn’t Father Christmas after all, but is a Japanese soldier. With Leonard’s imminent deployment, the couple’s excitement about spending the night together and the little lies they have told their families in preparation are explored in a sweet manner, with many awkward pauses. Leonard’s need to hear Violet promise that she’ll wait for him and their fear of what could happen are portrayed subtly and effectively.

Nick Payne’s gentle and nuanced writing leaves some things unsaid as we see two further meetings between the couple, in the 1960s and the 2000s. James Haddrell directs skilfully, and location changes and the passage of time are marked by Pollyanna Elston’s multipurpose set and slight costume changes.

In a park in Bath in the 1960s, Leonard’s resentment is still simmering as the audience learns that Violet did not wait, and married another man, with whom she had two children. Her life in Bath is full and busy, while Leonard is living with his mother in Luton. It’s not until you hear an almost throwaway line about the telegram that Leonard’s mother received that a darker reason for Leonard’s inability to move on becomes clear.

In the final scene, the actors portray the elderly characters without resorting to caricatures. The pair grapple with modern technology and discuss trivial matters like the Jaffa Cake VAT tribunal. Watching the couple continually fail to connect over the decades is heartbreaking and leaves the audience asking questions, but the characters and their lives are never sketched out enough to truly engage, and the unhurried pace of the play could be off-putting for some.

Barney White and Cassie Bradley are exceptional as the couple. Bradley is wide-eyed and adventurous as a young girl – and portrays the gradual diminishment of hope and energy as she ages throughout the play with naturalistic flair. Barney White portrays Leonard’s struggle sympathetically, keeping this sometimes-taciturn character endearing with a wonderfully nuanced performance.

Theatre Channel to Broadcast Live Red Carpet & Winner’s Room shows at the Offie Awards 2025

Website:  www.thetheatrechannel.com 

Socials:  Facebook | Instagram | X | TikTok | YouTube 

Theatre Channel, the new streaming hub for theatre, is set to revolutionise access to Off West End and Fringe Theatre with an exciting new partnership with the Offies. As a proud sponsor and official media partner, Theatre Channel will bring audiences unprecedented behind-the-scenes access with two live-streamed programmes, making this year’s Offies more accessible than ever.

For the first time, audiences worldwide can experience the excitement of the awards in real time. Theatre Channel’s coverage will include back stage insights, red carpet interviews and first look reactions with industry leaders, finalists and winners. 

Hosting the evenings coverage will be Tobias Turley the winner of ITV’s Mamma Mia! I Have A Dream and star of the new musical White Rose. With his insider perspective, Turley’s energy and insight will bring theatre lovers closer to the magic of Off West End theatre’s biggest night with these special broadcasts.

Coverage will begin live on the Theatre Channel at 5:30 p.m., with the Red Carpet Livestream. Then, just after 7:00 pm, the action moves to the Winners’ Room, where viewers can witness first-look reactions from the night’s winners as they step off stage, sharing their emotions and insights in real time.

Chris Wheeler the Co-Founder and Managing Director of the Theatre Channel said: “Independent theatre is where some of the most exciting, risk-taking work happens, and The Theatre Channel is proud to be shining a spotlight on these incredible artists. Through our broadcast, we are making sure that Off West End and Fringe Theatre is celebrated and accessible to a global audience, proving that great theatre doesn’t just start in the West End or on Broadway – it starts here!”

Denholm Spurr, Managing Director and Executive Producer of the Offies said: “I am delighted to have Theatre Channel on board as our official streaming partners this year. Our sector is so often undiscovered and unseen and the Offies put showcasing that unexplored work centre-stage — being able to live stream parts of the ceremony for the first time is a brilliant step towards giving independent creatives the spotlight they deserve. British theatre depends on the grassroots and I can’t wait to show everyone just how brilliant it is!”

The Offies, now in their 15th year, celebrate the best of Off West End theatre, recognising the groundbreaking productions and performances that set the stage for future West End and international hits. Previous winners include Fleabag, Baby Reindeer, and Operation Mincemeat, highlighting the Off-West End as a crucial launchpad for fresh and innovative talent.

The 2025 ceremony, hosted by drag artist superstar Divina De Campo, will take place on Monday 17 March 2025, at London’s Westminster Hall. The evening will feature performances from Mischief Theatre, London Gay Men’s Chorus, and Tony Award-winner Frances Ruffelle. With a star-studded lineup and a celebration of theatrical excellence, this year’s event is set to be the most spectacular yet.

The UK Pantomime Association announces the nominations for The Pantomime Awards 2025 celebrating a wealth of talent across the UK’s theatre industry

The UK Pantomime Association is delighted to announce the nominees for The Pantomime Awards 2025, which will take place on Sunday 13 April at the New Victoria Theatre, Woking, staged in partnership with sponsors Trafalgar Entertainment and ATG Entertainment (ATGE).

The Pantomime Awards 2025 nominees exemplify the breadth of talent, skill, enthusiasm and hard work from those on and offstage who work tirelessly year-round to deliver top-notch entertainment to theatres across the country.

This year, the Nigel Ellacott Special Recognition Award for Pantomime History, Tradition and Heritage has been introduced in remembrance of the true legend of pantomime, who sadly passed away in 2024. Nigel received the Outstanding Achievement Award at The Pantomime Awards in 2022 in recognition of his huge contribution to pantomime, from performing as Sister and Dame, to designing and making costumes, writing scripts and championing the genre. All of the Special Recognition Awards, which celebrate productions or individuals representing the values that the Association seeks to promote, as well as an award for Outstanding Achievement, will be announced at the ceremony.

The Pantomime Awards 2025 nominees shortlists are:

Best Choreography

● Arran Anzani-Jones: Beauty and the Beast, Grove Theatre, Dunstable (Evolution Productions)

● Ebony Clarke: Cinderella, Royal & Derngate, Northampton (Evolution Productions)

● Joanna Goodwin: Snow White and the Seven Dwarfs, Theatre Royal Plymouth (Crossroads Pantomimes)

● Lauren Stroud: Aladdin, Beck Theatre, Hayes (Imagine Theatre)

● Shay Barclay: Dick Whittington and his Cat, Hackney Empire, London (In-House)

Best Lighting sponsored by Production Light and Sound

● Andy Webb: Sleeping Beauty, Festival Theatre, Malvern (UK Productions)

● Hallam Cleverley: Pinocchio, Theatr Colwyn, Colwyn Bay (Magic Light Productions)

● Jamie Corbidge: Aladdin, Wycombe Swan, High Wycombe (Imagine Theatre)

● John Rainsforth: Mother Goose, The Customs House, South Shields (In-House)

● Oscar Wady: Robin Hood, Pavilion Theatre, Worthing (Paul Holman Associates)

Carmen Silvera Award for Best Magical Being

● Danielle Jam: Jack and the Beanstalk, His Majesty’s Theatre, Aberdeen (Crossroads Pantomimes)

● Darren Brownlie: Peter Pan, King’s Theatre, Glasgow (Crossroads Pantomimes)

● Julie Yammanee: Aladdin, Assembly Hall Theatre, Tunbridge Wells (Little Wolf Entertainment)

● Katy Ashworth: Jack and the Beanstalk, Central Theatre, Chatham (Jordan Productions)

● Mina Anwar: Cinderella, Derby Arena (Little Wolf Entertainment)

Barbara Windsor Award for Best Principal Lead

● Aoife Kenny: Snow White and the Seven Dwarfs, Lyceum Theatre, Sheffield (Evolution Productions)

● Kitty Harris: Cinderella, Blackpool Grand Theatre (UK Productions)

● Luke Suri: Aladdin, Everyman Theatre, Cheltenham (In-House)

● Mia Overfield: Snow White and the Seven Dwarfs, Fairfield Halls, Croydon (UK Productions)

● Roshani Abbey: Sleeping Beauty, Broadway Theatre, Catford (Joy Productions)

Best Script

● Anthony Spargo: Dick Whittington and his Cat, Greenwich Theatre, London (In-House)

● David Phipps-Davis: The New Adventures of Peter Pan, Mercury Theatre, Colchester (In-House)

● Eric Potts: Goldilocks and the Three Bears, The Big Top at Ayrshire Athletics Arena, Kilmarnock (Imagine Theatre)

● Jo Mawhinney: Treasure Island, Georgian Theatre Royal, Richmond, North Yorkshire (In-House)

● Vikki Stone: Sleeping Beauty, New Wolsey Theatre, Ipswich (In-House)

Best Secondary Lead

● Aaron Dart: Cinderella, Exeter Northcott Theatre (Exeter Northcott Theatre and Le Navet Bete)

● Callum Connolly: Snow White and the Seven Dwarfs, Fairfield Halls, Croydon (UK Productions)

● Durone Stokes: Sleeping Beauty, Broadway Theatre, Catford (Joy Productions)

● Matthew Croke: Snow White and the Seven Dwarfs, Lyceum Theatre, Sheffield (Evolution Productions)

● Mia Welsh: Dick Whittington, Theatre Royal Windsor (In-House)

Best Villain sponsored by Breckman and Company

● Anthony Spargo: Dick Whittington and his Cat, Greenwich Theatre, London (In-House)

● Cara Dudgeon: Snow White, Loughborough Town Hall (Little Wolf Entertainment)

● Lorraine Stanley: Dick Whittington, King’s Theatre, Portsmouth (In-House)

● Tom Hopcroft: Jack and the Beanstalk, Nottingham Playhouse (In-House)

● Zoe West: Rapunzel, Everyman Theatre, Liverpool (In-House)

Best Comic

● Ben Goffe: Cinderella, Wyvern Theatre, Swindon (Imagine Theatre)

● Celia Cruwys-Finnigan: Mother Goose, The Rock ‘n’ Roll Panto, Theatr Clwyd, Mold (In-House)

● Johnny Mac: Peter Pan, King’s Theatre, Glasgow (Crossroads Pantomimes)

● Ruby Ablett: Aladdin, Theatre Royal Bury St Edmunds (In-House)

● Steve Royle: Cinderella, Blackpool Grand Theatre (UK Productions)

Best Costume Design

● Emily Stuart: Jack and the Beanstalk: The Theatre, Chipping Norton (In-House)

● Janet Bird: Rapunzel, Everyman Theatre, Liverpool (In-House)

● Jasmine Swan: The New Adventures of Peter Pan, Mercury Theatre, Colchester (In-House)

● Katie Lias: Sleeping Beauty, Salisbury Playhouse (Wiltshire Creative)

● Ryan Dawson Laight: Aladdin, Everyman Theatre, Cheltenham (In-House)

Christopher Biggins Award for Best Dame sponsored by John Good

● Allan Stewart: Cinderella, Festival Theatre, Edinburgh (Crossroads Pantomimes)

● Antony Stuart-Hicks: The New Adventures of Peter Pan, Mercury Theatre, Colchester (In-House)

● Brad Fitt: Sleeping Beauty, Theatre Severn, Shrewsbury (Evolution Productions)

● Matthew Siveter: Snow White, Loughborough Town Hall (Little Wolf Entertainment)

● Phylip Harries: Mother Goose, The Rock ‘n’ Roll Panto, Theatr Clwyd, Mold (In-House)

Best Direction

● Chantelle Nolan: Snow White and the Seven Dwarfs, Theatre Royal, St Helens (Regal Entertainments)

● Chris Jordan: Snow White, Devonshire Park Theatre, Eastbourne (Eastbourne Theatres in association with Jordan Productions)

● Daniel Bell: Beauty and the Beast, Lighthouse Theatre, Kettering (KD Theatre Productions)

● James Tobias: Snow White, Kenton Theatre, Henley on Thames (Immersion Theatre)

● Kylie Butler: Cinderella, Blackpool Grand Theatre (UK Productions)

Best Ensemble

● Abi Fullard, Zachary Kirkby, Amy Mcevoy, Bastiaan Van Leeuwen: Snow White, Devonshire Park Theatre, Eastbourne (Eastbourne Theatres in association with Jordan Productions)

● Alice Olby, Brogan Paris, Phoebe Silver, Daniel Clelland, Ethan Brenchley, Jack Barnato: Dick Whittington, Harlow Playhouse (KD Theatre Productions and Harlow Playhouse)

● Ayron Campbell, Harley Charles, Rebecca Hazel Cunningham, Neve Ellen, Nadine McMahon, Adam Paul Robertson, Luke Stone, Jackson Walker: Jack and the Beanstalk, His Majesty’s Theatre, Aberdeen (Crossroads Pantomimes)

● Jazmin Davis, Anja Gibbs, Megan Hunt, Brooke Kelly, Frankie Lloyd, Grace Perry, Neve Darcy Reading, Arjun Mudahar, Patrick Rosinha: Snow White, Stag Theatre, Sevenoaks (Sevenoaks Panto)

● Nikki Schofield, Alanna Panditaratne, James Everest, Ariel Nyandoro, Jacob Stebbings: Peter Pan, Victoria Theatre, Halifax (Imagine Theatre)

Best Contribution to Music

● Dan De Cruz: Sleeping Beauty, New Wolsey Theatre, Ipswich (In-House)

● James Harrison: Snow White and the Seven Dwarfs, Lyceum Theatre, Sheffield (Evolution Productions)

● Jamie Noar: Rapunzel, Everyman Theatre, Liverpool (In-House)

● Rick Coates and Andy Pickering: Cinderella, Festival Theatre, Edinburgh (Crossroads Pantomimes)

● Tayo Akinbode: Mother Goose, The Rock ‘n’ Roll Panto, Theatr Clwyd, Mold (In-House)

Best Set Design sponsored by Blue-i

● Adrian Gee: Mother Goose, The Rock ‘n’ Roll Panto, Theatr Clwyd, Mold (In-House)

● Andrew Exeter: Aladdin, Everyman Theatre, Cheltenham (In-House)

● Becky Minto: Mother Goose, Perth Theatre (In-House)

● Jasmine Swan: The New Adventures of Peter Pan, Mercury Theatre, Colchester (In-House)

● Katie Lias: Sleeping Beauty, Salisbury Playhouse (Wiltshire Creative)

Best Sisters

● Bob Golding and Ian Kirkby: Cinderella, Alban Arena, St Albans (Evolution Productions)

● Eleanor Burke and Sophie Hirst: Cinderella, Wyvern Theatre, Swindon (Imagine Theatre)

● Gareth Mitchell and Garnon Davies: Cinderella, Fareham Live (Imagine Theatre)

● Harry Howle and Steven Roberts: Cinderella, Cambridge Arts Theatre (In-House)

● Morgan Brind and Roddy Peters: Cinderella, Derby Arena (Little Wolf Entertainment)

Best Sound

● Ben Harrison: Aladdin, Everyman Theatre, Cheltenham (In-House)

● Charlie Tipler: Snow White, Devonshire Park Theatre, Eastbourne (Eastbourne Theatres in association with Jordan Productions)

● Conrad Kemp: Snow White and the Seven Dwarfs, Theatre Royal, St Helens (Regal Entertainments)

● Kate Harvey: Jack and the Beanstalk, Gatehouse Theatre, Stafford (Imagine Theatre)

● Sam Forbes: Robin Hood, Pavilion Theatre, Worthing (Paul Holman Associates)

Best Supporting Artist

● Charlotte Rutherfoord: Jack and the Beanstalk, Hall for Cornwall, Truro (In-House)

● Jamie McKillop: Mother Goose, Gaiety Theatre, Ayr (In-House)

● Katie Barnett: Peter Panto and the Incredible Stinkerbell, Tron Theatre, Glasgow (In-House)

● Laura-Jayne Woods: The New Adventures of Peter Pan, Castle Theatre, Wellingborough (Parkwood Theatres)

● Marc Pickering: Snow White and the Seven Dwarfs, Lyceum Theatre, Sheffield (Evolution Productions)

Best Newcomer to Pantomime

● Colum Findlay: Jack and the Beanstalk, Eden Court, Inverness (Imagine Theatre)

● Frankie Thompson: Goldie Frocks and the Bear Mitzvah, JW3, London (In-House)

● Maisie Smith: Beauty and the Beast, Marlowe Theatre, Canterbury (Evolution Productions and the Marlowe Theatre)

● Owain Wyn Evans: Cinderella, New Theatre, Cardiff (Crossroads Pantomimes)

● Rylan: Jack and the Beanstalk, Cliffs Pavilion, Southend (Crossroads Pantomimes)

Best Newcomer to Industry

● Dylan Collymore: Pinocchio, Stratford East, London (In-House)

● Emma Robertson: Snow White, Loughborough Town Hall (Little Wolf Entertainment)

● Imad Eldeen: Mother Goose, The Rock ‘n’ Roll Panto, Theatr Clwyd, Mold (In-House)

● Lois Brook: Dick Whittington, Belgrade Theatre, Coventry (Imagine Theatre)

● Matthew Hodgkiss: Rumpelstiltskin, The Met, Bury (The Big Tiny)

Best Pantomime (under 500 seats)

● Dick Whittington and his Cat, Greenwich Theatre (In-House)

● Mother Goose, The Customs House, South Shields (In-House)

● Mother Goose, Gaiety Theatre, Ayr (In-House)

● Peter Panto and the Incredible Stinkerbell, Tron Theatre, Glasgow (In-House)

● Rapunzel, Everyman Theatre, Liverpool (In-House)

Best Pantomime (500 – 900 seats)

● Mother Goose, The Rock ‘n’ Roll Panto, Theatr Clwyd, Mold (In-House)

● Sleeping Beauty, Salisbury Playhouse (Wiltshire Creative)

● Snow White, Devonshire Park Theatre, Eastbourne (Eastbourne Theatres in association with Jordan Productions)

● Snow White, Loughborough Town Hall (Little Wolf Entertainment)

● The New Adventures of Peter Pan, Mercury Theatre, Colchester (In-House)

Best Pantomime (Over 900 seats)

● Aladdin, Wycombe Swan Theatre, High Wycombe (Imagine Theatre)

● Cinderella, Blackpool Grand Theatre (UK Productions)

● Cinderella, Festival Theatre, Edinburgh (Crossroads Pantomimes)

● Peter Pan, King’s Theatre, Glasgow (Crossroads Pantomimes)

● Snow White and the Seven Dwarfs, Lyceum Theatre, Sheffield (Evolution Productions)

The winners will be announced at the star-studded Awards ceremony at the New Victoria Theatre, Woking, on Sunday 13 April 2025. Tickets for the event will go on sale soon, with more details to be announced shortly.

Founded in 2021, the UK Pantomime Association (UKPA) is a charity that explores, shares and celebrates pantomime by investigating the genre’s rich past, engaging with contemporary practice and inspiring the future. During the 2024-25 pantomime season, the fourth year in which the Awards have taken place, The Pantomime Awards’ 52 judges collectively visited 216 venues to see over 496 performances, far and wide across the United Kingdom.

Simon Sladen, Chair of the UK Pantomime Association said: “Congratulations to all the nominees for The Pantomime Awards 2025. These shortlists demonstrate the pantomime industry’s exciting array of talent across the country. We can’t wait to celebrate pantomime excellence in April at the New Victoria Theatre, Woking and to honour all the hard work of everyone who made Panto Season 2024/2025 such a great success.”

Claire Dixon, Business Director for ATG Entertainment said: “ATG Entertainment is proud to support The Pantomime Awards 2025 and celebrate the outstanding talent that brings the magic of pantomime to audiences across the UK. Pantomime is a cherished tradition, and the dedication, creativity, and passion of those both on and off stage make it a truly special experience every year. We look forward to honouring the incredible individuals and productions that make this beloved art form thrive.”

Chris McGuigan, Group Commercial Director for Trafalgar Entertainment said: “Huge congratulations to all the nominees for this year’s Pantomime Awards. The creative talent pool of performers, writers, dancers, musicians, and producers, demonstrates that panto continues to thrive in the UK. It’s without doubt one of our industry’s most important and treasured assets. We’re delighted to be lending our support to the Pantomime Awards through our unique partnership with ATG Entertainment and look forward to celebrating with everyone on awards night.”

Leeds Grand Theatre – until Saturday 8th March 2025

Reviewed by Michelle Richardson

5*****

Based on the beloved 1953 film, starring Doris Day, Calamity Jane is currently playing at the beautiful Leeds Grand Theatre. It has been ten years since the last UK tour of Calamity Jane, which I did see, at a different venue. I was looking forward to seeing this new production, by The Watermill Theatre, at The Grand.

On stage a curtain is drawn, a lone banjo hanging off it, a hillbilly enters the stage not saying a word. He picks up the banjo and the curtain disappears to reveal the Deadwood folk and the first tune of the night, The Deadwood Stage (Whip-Crack-Away), which we were singing in the car on the way to the theatre, and couldn’t help but join in with the cast.

Tough-talking, hard-riding, straight-shooting Calamity Jane (Carrie Hope Fletcher) is a frontierswoman, forever in masculine clothing. She has the biggest mouth in Dakota and can’t resist expanding on her story telling. Her sparring partner is Wild Bill Hickok (Vinny Coyle), best friends with a love hate relationship.

The local saloon has inadvertently booked a male act, instead of female, resulting in a near riots with the patrons. Calamity steps in, promising to bring back renowned actress, Adelaid Adams, from Chicago. She does return, seemingly triumphant, but once Adelaid starts her routine everyone realises something is off and the nervous Katie Brown (Seren Sandham-Davies) reveals herself as Adelaid’s maid. Calamity, who deep down has a heart of gold, persuades the rowdy crowd to give Katie a chance. What follows is not all plain sailing though, with not so much a love triangle as rectangle, with much angst before Calamity come to realise her secret love.

Carrie Hope Fletcher is fabulous as Calamity. She captures Calamity’s daring escapades, colourful personality, and vulnerability under the tomboy exterior. Her vocals are powerful and clear, performed with effortless projection, she is engaging to watch. Vinny Coyle is charismatic on the stage, embodying the role of Bill perfectly. Not only could he act and sing, but his dance skills were so energetic during the hoedowns, I was breathless just watching. They shared great chemistry, I was sure rootin’tootin’ for them.

The supporting cast rustles up some mighty fine performances. Not only do they sing and dance, but most of them play musical instruments. They all play a crucial role in creating a vibrant, playful musical. I must also mention Samuel Holmes as Francis Fryer. He is very funny in his role, showing great comedic timing, especially when trying to pass off as a woman.

The set is mostly a saloon, with a stage at the back, but with the added addition of pink patchwork curtains, would then change to Calamity’s cabin, then be used as a backdrop for the stagecoach. The props were utilised with some imagination, barrels and stools becoming the stagecoach, and the actors using umbrellas to get across the motion of a moving coach, enhancing the story telling. Set on the stage of The Grand, only added to the experience.

Calamity Jane is packed full of classic songs that you would expect, from The Black Hills of Dakota, Secret Love and Just Blew in from the Windy City. It is full of humour, spirited performances and energy, which resonates on stage and permeates through to the audience.

I have to say that I loved the film of Calamity Jane, even though it was released before I was born, and it is one of my all-time favourite films. The show lived up to expectations and didn’t disappoint, I was thoroughly entertained and swept away by the performance.

A fun, lighthearted feelgood musical that is good for the soul. I would watch again and again.

FURTHER DATES ANNOUNCED

FOR THE 2025/2026

UK AND EUROPE TOUR

OF

THE AWARD-WINNING

SMASH HIT MUSICAL

THE BODYGUARD

OPENING AT BIRMINGHAM ALEXANDRA THEATRE
ON SATURDAY 20 SEPTEMBER 2025

Producers, Michael Harrison and David Ian are delighted to announce further dates for the 2025/2026 UK and Europe tour of the award-winning smash hit musical THE BODYGUARD opening at Birmingham’s Alexandra Theatre on Saturday 20 September 2025.

In addition to the previously announced Birmingham, Blackpool, Oxford, Aberdeen, Milton Keynes and Zurich, it is announced today that THE BODYGUARD will also play Munich, Southend, Manchester, Truro, Sheffield, Wimbledon, Berlin, Frankfurt, Southampton, Sunderland, Belfast, Leicester, Edinburgh, Glasgow, Llandudno, Bradford, Liverpool, Norwich, Woking, Plymouth, Nottingham, Cardiff, Newcastle, Dublin and Eastbourne.  

Tour schedule below. Casting to be announced soon. www.thebodyguardmusical.com

Former Secret Service agent turned bodyguard, Frank Farmer, is hired to protect superstar Rachel Marron from an unknown stalker. Each expects to be in charge; what they don’t expect is to fall in love. A romantic thriller, THE BODYGUARD features a host of irresistible classics including Queen of the Night, So Emotional, One Moment in Time, Saving All My Love, Run to You, I Have Nothing, I Wanna Dance with Somebody and one of the biggest hit songs of all time – I Will Always Love You.

Based on Lawrence Kasdan’s 1992 Oscar nominated Warner Bros. movie starring Whitney Houston and Kevin Costner, THE BODYGUARD, directed by Thea Sharrock with book by Oscar winning Alex Dinelaris, had its world premiere at the Adelphi Theatre in London’s West End and was nominated for four Olivier Awards. A sell out 18 month UK and Ireland tour followed, before the show returned to the West End at the Dominion Theatre ahead of  two further sell out tours of the UK and Ireland in 2018/19 and 2023. 

To date, THE BODYGUARD has played to over 3.9 million people in 15 countries and 45 US cities. Countries include the Netherlands, Germany, South Korea, Canada, Italy, Australia, Spain, France, the US, Austria and Japan.

THE BODYGUARD – 2025/2026 TOUR LISTINGS

www.thebodyguardmusical.com

SATURDAY 20 – SATURDAY 27 SEPTEMBER 2025

THE ALEXANDRA, BIRMINGHAM

https://www.atgtickets.com/shows/the-bodyguard/the-alexandra-theatre-birmingham

ON SALE NOW

WEDNESDAY 1 – SATURDAY 4 OCTOBER 2025

WINTER GARDENS, BLACKPOOL

ON SALE NOW

MONDAY 6 – SATURDAY 11 OCTOBER 2025

NEW THEATRE, OXFORD

https://www.atgtickets.com/shows/the-bodyguard/new-theatre-oxford

ON SALE NOW

TUESDAY 14 – SATURDAY 18 OCTOBER 2025

HIS MAJESTY’S THEATRE, ABERDEEN

https://www.aberdeenperformingarts.com/whats-on/the-bodyguard-2

ON SALE NOW

TUESDAY 21 – SATURDAY 25 OCTOBER 2025

MILTON KEYNES THEATRE

https://www.atgtickets.com/shows/the-bodyguard/milton-keynes-theatre

ON SALE NOW

TUESDAY 25 NOVEMBER –  SUNDAY 14 DECEMBER 2025

ZURICH, THEATER 11

https://www.eventim.de/artist/the-bodyguard-the-musical

ON SALE NOW

TUESDAY 17 DECEMBER 2025 – SUNDAY 4 JANUARY 2026

MUNICH, DEUTSCHES THEATER

https://shop.atgtickets.de/bodyguard-musical

ON SALE NOW

2026

TUESDAY 13 – SATURDAY 17 JANUARY 2026

SOUTHEND, CLIFFS PAVILION

https://trafalgartickets.com/cliffs-pavilion-southend

ON SALE 14 MARCH 2025

MONDAY 19 – SATURDAY 31 JANUARY 2026

MANCHESTER OPERA HOUSE

https://www.atgtickets.com/venues/opera-house-manchester

ON SALE 7 MARCH 2025

TUESDAY 3 – SATURDAY 7 FEBRUARY 2026

TRURO, HALL FOR CORNWALL
https://www.hallforcornwall.co.uk/

ON SALE 24 MARCH 2025

TUESDAY 10 – SATURDAY 14 FEBRUARY 2026

SHEFFIELD LYCEUM THEATRE

https://www.sheffieldtheatres.co.uk/events/the-bodyguard-2026

ON SALE 8 MARCH 2025

MONDAY 16 – SATURDAY 21 FEBRUARY 2026

WIMBLEDON NEW THEATRE

New Wimbledon Theatre Box Office | Buy Tickets Online | ATG Tickets

ON SALE 7 MARCH 2025

WEDNESDAY 11 – SUNDAY 29 MARCH 2026

BERLIN, ADMIRALSPALAST

https://shop.atgtickets.de/bodyguard-musical

ON SALE NOW

WEDNESDAY 1 – SUNDAY 12 APRIL 2026

FRANKFURT, ALTE OPER

https://shop.atgtickets.de/bodyguard-musical

ON SALE NOW

TUESDAY 21 – SATURDAY 25 APRIL 2026
THE MAYFLOWER, SOUTHAMPTON

https://www.mayflower.org.uk

ON SALE 14 MARCH 2025

MONDAY 27 APRIL – SATURDAY 2 MAY 2026

SUNDERLAND EMPIRE

https://www.atgtickets.com/venues/sunderland-empire

ON SALE 7 MARCH 2025

TUESDAY 5 – SATURDAY 9 MAY 2026

BELFAST GRAND OPERA HOUSE

https://www.goh.co.uk

ON SALE SOON

TUESDAY 12 – SATURDAY 16 MAY 2026

CURVE, LEICESTER

ON SALE SOON

MONDAY 18  -SATURDAY 23 MAY 2026

EDINBURGH PLAYHOUSE

https://www.atgtickets.com/venues/liverpool-empire

ON SALE 7 MARCH 2025

MONDAY 25 – SATURDAY 30 MAY 2026

GLASGOW KING’S THEATRE

https://www.atgtickets.com/venues/kings-theatre-glasgow

ON SALE 7 MARCH 2025

MONDAY 1 – SATURDAY 6 JUNE 2026

VENUE CYMRU, LLANDUDNO

https://www.venuecymru.co.uk

ON SALE SOON

MONDAY 8 – SATURDAY 13 JUNE 2026

BRADFORD ALHAMBRA
https://www.bradford-theatres.co.uk/alhambra-theatre

ON SALE SOON

MONDAY 15 – SATURDAY 20 JUNE 2026

LIVERPOOL EMPIRE

https://www.atgtickets.com/venues/liverpool-empire

ON SALE 7 MARCH 2025

MONDAY 22 – SATURDAY 27 JUNE 2026

NORWICH THEATRE ROYAL
https://norwichtheatre.org/

ON SALE 28 MARCH 2025

MONDAY 29 JUNE – SATURDAY 4 JULY 2026

NEW VICTORIA THEATRE, WOKING

https://www.atgtickets.com/venues/new-victoria-theatre

ON SALE 7 MARCH 2025

MONDAY 6 – SATURDAY 11 JULY 2026

PLYMOUTH THEATRE ROYAL

https://theatreroyal.com

ON SALE SOON

MONDAY 13 – SATURDAY 18 JULY 2026

NOTTINGHAM ROYAL CONCERT HALL

ON SALE 14 MARCH 2025

MONDAY 20 – SATURDAY 25 JULY 2026

WALES MILLENNIUM CENTRE, CARDIFF

https://www.wmc.org.uk

ON SALE 4 APRIL 2025

MONDAY 27 – SATURDAY 1 AUGUST 2026

NEWCASTLE THEATRE ROYAL

https://www.theatreroyal.co.uk

ON SALE SOON

TUESDAY 4 – SATURDAY 8 AUGUST 2026

BORD GAIS ENERGY THEATRE, DUBLIN

https://www.bordgaisenergytheatre.ie

ON SALE SOON

MONDAY 17 – SATURDAY 22 AUGUST 2026

EASTBOURNE CONGRESS THEATRE

https://www.eastbournetheatres.co.uk

ON SALE SOON

TIM FIRTH’S AWARD-WINNING MUSICAL

THIS IS MY FAMILY

TO HAVE LONDON PREMIERE IN A NEW PRODUCTION

DIRECTED BY VICKY FEATHERSTONE

Anthology Theatre today announces the London premiere of Tim Firth’s Award-winning musical This Is My Family. Directed by Vicky Featherstone, the brand-new production opens at Southwark Playhouse Elephant on 28 May, with previews from 23 May, and runs until 12 July.

This Is My Family was originally staged at Sheffield Theatres in 2013, winning the UK Theatre Award for Best Musical.

Tim Firth said today, “Having a London premiere in a place like this directed by Vicky feels like a competition win for me. The Elephant is a theatre designed for adventure and intimacy – perfect for a musical intended to show that you don’t have to travel abroad to go on safari, that wild animals are closer than we might think and that the best holidays are the ones on which we’ve laughed the most.”

Anthology Theatre’s Lil Lambley added, “Anthology Theatre is absolutely delighted to bring this first-class musical and Olivier Award winning team to the intimate setting of Southwark Playhouse Elephant. At a time when the world feels increasingly uncertain, there’s no better moment to share a heartfelt and uplifting story that celebrates love, forgiveness, and, above all, the joy of shared laughter with your family.”

Cast and full creative team will be announced shortly.

ANTHOLOGY THEATRE PRESENTS

THIS IS MY FAMILY

Book and Music by Tim Firth

Director: Vicky Featherstone

SOUTHWARK PLAYHOUSE ELEPHANT

23 May – 12 July 2025

Close family. Dream holiday. Total nightmare.

‘Describe your family and win a dream holiday’. That was the competition pinging up on Nicky’s phone. So she describes the family she dreams of having, but not the one she’s got. The one she fears is falling apart. And then… she wins the holiday. Instead of choosing Rome or Orlando or anywhere else on earth, Nicky takes her family camping. Back to the place her parents went once, when they were her age, a thousand years ago. The place where they first met. 

This is My Family, the hilarious and uplifting story of the disastrous family holiday that eventually brings the family together, won the UK Theatre Award for Best Musical in 2013 and is brought to London for the first time by Olivier award winners Tim Firth (Our House) and Vicky Featherstone (Our Ladies of Perpetual Succour).

Tim Firth’s other theatre credits include Now Is Good (Chester Storyhouse, UK Theatre Nomination Best New Musical), Neville’s Island (Nottingham Playhouse and West End, Evening Standard & Olivier nomination, MEN Award), The Safari Party (Stephen Joseph, Scarborough and Hampstead), the musical Our House (West End, Olivier Award Best Musical), The Flint Street Nativity (Liverpool Playhouse) and Sign Of The Times (West End). His play Calendar Girls (Chichester Festival Theatre, West End) broke all British records for a professional and amateur play, was nominated for an Olivier and won the WhatsOnStage Best Comedy Award. Calendar Girls The Musical, co-written with Gary Barlow, opened at Leeds Opera house and transferred to the Phoenix Theatre, winning a WhatsOnStage Award and an Olivier Award nomination, and his musical The Band (Manchester Opera House, West End) won the MEN Best Musical Award. Firth recently collaborated with Gary Barlow on the show A Different Stage (West End). Work for television includes the Playhouse drama Timeless,  Money For Nothing (Writer’s Guild Award), Once Upon A Time In The North, Cruise Of The Gods, The Flint Street Nativity, Preston Front (Writer’s Guild Award, British Comedy Award, RTS Award, BAFTA nomination), His children’s comedy series The Rottentrolls won a BAFTA, and was recently voted by Radio Times one of the top fifty children’s shows of all time. His film credits include Blackball, Calendar Girls, Kinky Boots , The Wedding Video and Greatest Days.

Vicky Featherstone directs. She was Artistic Director of Paines Plough 1997-2005; the inaugural Artistic Director of the National Theatre of Scotland 2005-2012, and Artistic Director of the Royal Court (2013–2023). For the Royal Court her work includes Jews. In Their Own Words [co-director], The Glow, Maryland, Living Newspaper, Shoe Lady, On Bear Ridge (and National Theatre Wales) [co-director], Cyprus Avenue (and Abbey, Dublin/MAC, Belfast/Public, NYC), The Cane, Gundog, My Mum’s a Twat, Bad Roads, Victory Condition, X, How to Hold Your Breath, God Bless the Child, Maidan: Voices from the Uprising, The Mistress Contract, The Ritual Slaughter of Gorge Mastromas, Untitled Matriarch Play, and The President Has Come to See You (Open Court Weekly Rep). For National Theatre of Scotland, her work includes Our Ladies of Perpetual Succour (and National Theatre/West End/international tour), Enquirer [co-director], An Appointment with the Wicker Man, 27, The Wheel, Somersaults, Wall of Death: A Way of Life [co-director], The Miracle Man, Empty, Long Gone Lonesome; Cockroach (and Traverse), 365 (and Edinburgh International Festival), Mary Stuart (and Citizens/Royal Lyceum, Edinburgh), The Wolves in the Walls [co-director] (and Tramway/Lyric, Hammersmith/UK tour/New Victory, NYC). For Paines Plough her work includes The Small Things, Pyrenees, On Blindness, The Drowned World, Tiny Dynamite, Crazy Gary’s Mobile Disco, Splendour, Riddance, The Cosmonaut’s Last Message to the Woman He Once Loved in the Former Soviet Union, and Crave. Other theatre includes What if Women Ruled the World? (Manchester International Festival). For television, her work includes Pritilata (from Snatches: Moments from 100 Years of Women’s Lives), Where the Heart Is, and Silent Witness.

LISTINGS

THIS IS MY FAMILY

Southwark Playhouse Elephant

1 Dante Place, London SE11 4RX

Box Office: 020 7407 0234

23 May – 12 July 2025

Pioneers Preview (23 May): £12

Preview Tickets: £18

Full Price Tickets from: £20

Concession Tickets from: £16

Lyric Hammersmith Theatre – until 29^th March 2025

Reviewed by Heather Chalkley

4****

Director Richard Twyman has taken this much loved, well trodden play and given it a pep in its step! The reflections on modern society are clear, giving the audience much to think about. The cast is drawn from talent across the globe giving it another dimension that Shakespeare is unlikely to have experienced. 

Alex Austin (Macbeth) moves with ease from ambitious, successful soldier and family man to one filled with avarice and murderous intent. The playful interaction with the audience Austin introduces is new and offers a lighthearted interlude from the intense dialogue this play is so famous for.

Lois Chimimba plays the driven, bereft Lady Macbeth with passion. Driving Macbeth (Austin) to carry out heinous crimes has a psychological impact on both their minds. Lady Macbeth’s (Chimimba) slow decline into mental illness is palpable and resonates with elements of modern life.

Ammar Haj Ahmad portrays the loyal soldier and father Macduff with a quiet confidence. Ahmad’s (Macduff) whole body language speaks to the dialogue when he is broken by the news of Macbeth’s (Austin) betrayal. 

Sophie Stone gives Ross an energy and dynamic that captivates the audience. Ross’s (Stone) drunken interaction with the audience is a genius move by the director.

The cast are a well rehearsed ensemble that expertly engage the audience in this tragedy from start to finish. Shakespeare can sometimes feel inaccessible to the uninitiated. This production is a great introduction for young students and anyone experiencing The Bards more serious work for the first time. 

The use of video on stage increased the intensity of the piece at poignant moments and brings a different dynamic to the sense of being watched. If you like Shakespeare you will love this production. Shakespeare wrote for the common people. Newcomers, come see it performed for a modern audience.  

Hull New Theatre – until 22nd March 2025

5*****

Prepare yourselves for ‘Something Incredible!’ 

“The Book of Mormon,” a musical created by Trey Parker, Matt Stone, and Robert Lopez, premiered in 2011 and has since garnered critical acclaim and numerous awards, including nine Tony Awards. The show is a satirical take on the beliefs and practices of The Church of Jesus Christ of Latter-day Saints, following two young Mormon missionaries, Elder Price and Elder Cunningham (played superbly by Adam Bailey and Sam Glen) , as they are sent to Uganda to spread their faith.

At its core, the show explores themes of faith, belief, and the clash of cultures. The musical juxtaposes the idealistic views of the missionaries with the harsh realities faced by the Ugandan villagers, who are dealing with issues such as poverty, disease, and oppression. The humor is often irreverent, tackling sensitive subjects with a perfect mix of satire and sincerity.

This was our second time seeing this show, unlike lots of the audience who did not know what was coming and could be seen with lots of laughing faces mixed with shock! We still found it outrageous but irresistably hilarious, employing a blend of absurdity, shock value, and clever wordplay. The creators are known for their work on “South Park,” and their style is evident throughout the musical. While some may find the humor offensive, others appreciate its boldness and the way it encourages audiences to question their beliefs and assumptions.

The score, composed by Lopez and the creators, features catchy and memorable songs that range from upbeat and comedic to poignant and reflective. Numbers like “Hello,” “Two by Two,” and “Hasa Diga Eebowai” showcase the fantastic talents of the cast and creatives. The choreography and staging are also fabulous, contributing to the overall energy and impact of the production.

Overall, “The Book of Mormon” is a bold, entertaining, and thought-provoking musical, certainly not for the easily offended but ‘I Believe’ is both hysterical and very memorable.

WILTSHIRE CREATIVE AND MERCURY THEATRE COLCHESTER 
ANNOUNCES FULL CAST FOR
RACHEL WAGSTAFF AND DUNCAN ABEL’S ADAPTATION OF  THE DA VINCI CODE

Wiltshire Creative and Mercury Theatre Colchester today announces full cast for Rachel Wagstaff and Duncan Abel’s stage adaptation of Dan Brown’s best-selling thriller novel The Da Vinci Code. Chelsea Walker – making her Salisbury Playhouse debut – directs Sherry Baines (Sister Sandrine), Joe Bannister (Robert Langdon), Philip Bretherton (Teabing), Richard Clews (Jaques Sauniere), Joshua Griffin (Remy/Philip/The Clerk), Georgia-Mae Myers (Sophie Neveu), Louise Mai Newberry (Collet/Vernet/Volunteer), Anthony Ofoegbu (Bezu Fache) and Joe Pitts (Silas).

The production opens at Salisbury Playhouse on 15 April, with previewsfrom 10 April. and runs until 3 May, ahead of its run at the co-producing venue, Mercury Theatre Colchester, from 7 – 24 May.

Chelsea Walker said today, “I’m thrilled to be directing The Da Vinci Code for Wiltshire Creative and the Mercury Theatre, Colchester. This brilliant adaptation captures perfectly the fast-paced thrill and intrigue of Dan Brown’s bestseller. We’ve assembled an excellent cast and creativeteam to bring it to life onstage and we can’t wait to share it with audiences.”


Wiltshire Creative and Mercury Theatre Colchester present

THE DA VINCI CODE

Adapted by Rachel Wagstaff and Duncan Abel
From the novel by Dan Brown

Thursday 10 April – Saturday 3 May 2025

Director: Chelsea Walker; Designer: Alys Whitehead;

Sound and Composition Designer: Alexandra Faye Braithwaite;Lighting Designer: Ryan Day;

Video Designer: Daniel Denton;Casting Director: Arthur Carrington

Dan Brown’s best-selling thriller novel comes alive in a way you’ve never seen before, in this electrifying stage adaptation written by Rachel Wagstaff and Duncan Abel, the same writers who adapted the smash hit The Girl on the Train which played at Salisbury Playhouse in 2023.

Professor Robert Langdon and fellow cryptologist Sophie Neveu embark on a pulse-pounding quest across Europe. When a brutal murder in the Louvre Museum uncovers hidden clues within Leonardo da Vinci’s masterpieces, the duo must unravel a web of intrigue that could alter the course of history…

Uncover the twists and turns of ancient secrets, relentless rivals and coded messages in a quest to protect a secret that could change the world forever.

Chelsea Walker is an award-winning director, having won the Sir Peter Hall Director Award in 2017.  She has twice been a finalist for the JMK Directors Award, winning the runner-up prize in 2016, has twice been nominated for an Off West End Best Director Award and twice nominated for a UK Theatre Award. Her directing credits include All’s Well That EndsWell (Shakespeare’s Globe), Visit From An Unknown Woman, This Much I Know, Yous Two (Hampstead Theatre), On The Beach (Sheffield Theatres), Missing Julie (Theatre Clwyd), Hedda Gabler (Sherman Theatre), Cougar, Low Level Panic (Orange Tree Theatre), P’yongyang, Chicken Dust (Finborough Theatre), Klippies (Southwark Playhouse), A Streetcar Named Desire (UK tour) and Lean (Tristan Bates Theatre).

Sherry Baines returns to Salisbury Playhouse to play Sister Sandrine, Marie and Docent – she previously appeared in One Last Push, How The Other Half Loves, and Before The Party. Her other theatre credits include The Mousetrap (St Martin’s Theatre), Other People, Countdown (The Other Palace), Much Ado About Nothing (Stafford Festival Shakespeare), I am a Camera (Southwark Playhouse) and A Small Family Business (Theatr Clwyd). Her television credits include Doctors, A Touch of Frost, Ralph & Katie, The A Word and Call the Midwife.

Joe Bannister plays Robert Langdon. His theatre credits include Trouble in Mind, As You Like It, The Confessions (National Theatre), The Lion in Winter (Theatre Royal Haymarket), Much Ado About Nothing (Cambridge Arts Theatre), Chariots of Fire (Gielgud Theatre/Hampstead Theatre), Titus Andronicus, The Witch of Edmonton, The Arden of Faversham, The Roaring Girl (RSC), Wild Honey (Hampstead Theatre), Hobson’s Choice (Vaudeville Theatre), Ramona Tells Jim (Bush Theatre) and The Watsons (Chichester Festival Theatre/Menier Chocolate Factory). His television credits include Lockerbie, Screw, This England, Finding Alice, The Singapore Grip, Curfew and Howards End.

Philip Bretherton returns to Salisbury Playhouse to play Teabing, he previously appeared in How The Other Half Loves and Before the Party. His other theatre credits include Tony’s Last Tape (Omnibus Theatre), Twilight Song (Park Theatre), The National Joke, Skylight (Stephen Joseph Theatre), Much Ado About Nothing (Stafford Festival Shakespeare), Somewhere in England, The God of Carnage, As You Like It, Blackthorn, Pygmalion, Noises Off, Blithe Spirit (Theatre Clwyd), The League of Youth, Breaking the Silence (Nottingham Playhouse), Life After Scandal (Hampstead Theatre), Who’s Afraid of Virigina Woolf?, Six Degrees of Separation (Royal Exchange Theatre). His television credits include Coronation Street (as series regulars Ian Davenport, Robert Weston and Rod), As Time Goes By (as series regular Alistair Deacon), Footballers’ Wives (as series regular Stefan Hauser), Casualty (as series regular Andrew Bower), Real Women, Wing and a Prayer, Holding On Doctors, Young Dracula, The Londoners; and for film, The Fifth Estate and Dark Floors.

Richard Clews returns to Salisbury Playhouse to play Jaques Sauniere, he previously appeared in Waiting for Godot and Journey’s End. His other theatre credits include The Secret Garden (Regent’s Park Open Air Theatre), The Taming of The Shrew, As You Like It, Julius Caesar, Two Gentlemen of Verona, Wendy & Peter Pan (RSC), The Country Wife (Southwark Playhouse), Babette’s Feast (Coronet Theatre), King Lear (Duke of York’s Theatre/Chichester Theatre), The Government Inspector (Birmingham Rep/UK tour) Dr Faustus, God of Soho, A Midsummer Night’s Dream, Timon of Athens (Shakespeare’s Globe) and Rebecca (UK tour). His television credits include The Trip, The Last Kingdom, Altantis and A Touch of Frost; and for film, The Trip to Greece.

Joshua Griffin plays Remy/ Philip/The Clerk. His theatre credits include Atlantis (Theatr Clwyd), Henry V (Shakespeare’s Globe/ UK tour), Dear Elizabeth (Gate Theatre), The Mousetrap (St Martin’s Theatre). His television credits include Doctors and Father Brown; and for film, Reach, Boys on Film 23: Dangerous to Know and Magic Mike’s Last Dance.

Georgia-Mae Myers plays Sophie Neveu. Her theatre credits include All’s Well That Ends Well, Titus Andronicus (Shakespeare’s Globe), Frankenstein (UK tour), Dismissed (Soho Theatre), Wars of The Roses, Henry VI: Rebellion (RSC) and There May be a Castle (Little Angel Theatre).

Louise Mai Newberry plays Collet, Vernet and Volunteer. Her theatre credits include Metamorphosis (UK tour/Lyric Hammersmith), The Whitby Rebels (Stephen Joseph Theatre), The Good Person of Szechwan (Sheffield Theatres/Lyric Hammersmith), The Climbers (Theatre by the Lake), The Smeds and The Smoos (UK tour), Romeo and Juliet (Regent’s Park Open Air Theatre), Much Ado About Nothing, Love’s Labour’s Lost, The Two Gentlemen of Verona, Pericles (Shakespeare at Tobacco Factory Theatre), Plenty (Chichester Festival Theatre), All’s Well That End’s Well (Shakespeare’s Globe), King Lear (Orange Tree Theatre), Lampedusa (Soho Theatre/Citizens Theatre), The Sugar-Coated Bullets of the Bourgeoisie (Arcola Theatre), Any Means Necessary (Nottingham Playhouse), The Snow Dragon (UK/US tour), The Gruffalo (UK/Ireland tour), Not The End Of The World (Bristol Old Vic) and Transmission (Birmingham Rep). Her television credits include Doctor Who, Blacklist and Goal!;and for film, her credits include My One and Only, Fluid and Christie.

Anthony Ofoegbu plays Bezu Fache. His theatre credits include Conundrum (Young Vic Theatre), Barber Shop Chronicles (National Theatre/UK, US and Canadian tour), Circle Mirror Transformation (HOME Manchester), The Lion and The Jewel (Barbican), The Beatification of Area Boy (Leeds Playhouse/international tour), Antony and Cleopatra, Julius Caesar, Titus Andronicus (RSC/Barbican Theatre) and Death and the King’s Horseman (National Theatre). For television, his credits include Spooks, Moonfleet and Meet the Adebanjos; and for film, his credits include Escape and DarkGame.

Joe Pitts plays Silas. His theatre credits include The Wind and The Rain (Finborough Theatre) and Spring Awakening (Almeida Theatre). His television credits include FBI: International, The New Look and Bodies.

LISTINGS INFORMATION

WILTSHIRE CREATIVE
Box office: 01722 320 333 / [email protected]
Salisbury Playhouse, Main House,Malthouse Lane, Salisbury SP2 7RA

THE 39 STEPS

Salisbury Playhouse

Runs until 8 MarchTickets from £12
Age Guidance: 10+
https://www.wiltshirecreative.co.uk/

Mercury Theatre Colchester

11 – 29 March

www.mercurytheatre.co.uk

Octagon Theatre Bolton

16 April – 10 May

https://octagonbolton.co.uk

THE DA VINCI CODE

Salisbury Playhouse

10 April – 3 May

Tickets from £12
Age Guidance: 14+
BSL/ Captioned performance                     Tuesday 29 April at 7:30pm
Audio Described & Touch Tour                  Thursday 1 May at 2:15pm and 7:30pm

https://www.wiltshirecreative.co.uk

Mercury Theatre Colchester

07 – 24 May

www.mercurytheatre.co.uk

Tanya Moiseiwitsch Playhouse, Sheffield – until 15th March

Reviewed by Carol Crann

4****

Malorie Blackman’s Pig Heart Boy tells the tale of 13-year-old Cameron who – because of a virus – has a diseased heart and will die if he doesn’t get the transplant he needs. No human heart is available, so he is given the option of having groundbreaking surgery, one that will see him receive a pig’s heart instead.

Cameron is left to consider all the implications, and to make a decision on whether this is the right thing to do in order to save his life… He chooses to go ahead – despite the risks of a previously untried procedure. He didn’t, however, anticipate the backlash that he would receive from some of his peers and – more worryingly – animal rights activists.

On walking into the theatre the sound of a heartbeat sets the scene. The set, designed by Paul Wills, is incredibly effective throughout the show, and utilised brilliantly by using TV screens, speakers and LED light tubes to resemble a cardiovascular system. Andrew Exeter, the lighting designer, had these ‘veins’ change colour constantly throughout the performance to accurately reflect the location and mood of the scene.

Although the children are played by adults, it’s something that by no means distracts from the performance. All the characters are believable – and enhanced by some of the childish humour portrayed throughout. Cameron, played effectively and with real emotion, by Immanuel Yeboah, used black humour excellently, and his occasional interaction with the audience worked well.

Once he had decided to go ahead with the controversial, but potentially life-saving operation, he decides he wants to actually meet the donor. The portrayal of Trudy (Chia Phoenix) is entertaining, but in many ways, in my opinion, trivialises one of the major discussion points of the play.

This play is primarily aimed at nine to thirteen-year-olds, but the lively production of a sensitive subject matter kept my attention throughout. Although it might lose more of the gravity of the situation than the writer possibly intended, it is definitely a good starting point for some of the difficult conversations that this subject matter will generate. I definitely recommend a visit to the Playhouse to go see it.