Chitty Chitty Bang Bang flies into Birmingham Hippodrome for one week only, and judging by the crowd’s reaction last night, Brum definitely loves this amazing car! Based on the 1964 Ian Fleming book, which was then adapted for the big screen by Roald Dahl for the 1968 movie. The stage show made its world premiere at the London Palladium on April 16th 2002, before making its Broadway debut in 2005. This production is directed by Thom Southerland, adapted for the stage by Jeremy Sams and features music and lyrics by the Sherman Brothers.
The story follows eccentric inventor Caractacus Potts (Ore Oduba) and his two children, Jeremy (Roshan Thomson) and Jemima (Gracie Cochrane), who discover an old race car in a local scrapyard and try to save it from being destroyed. Along the way, they meet the kind-hearted Truly Scrumptious (Ellie Nunn), who encourages Caractacus to raise the funds for the car’s renovation. They soon discover its extraordinary magical properties, including the ability to fly and float on water. Unbeknownst to the Potts family, the villainous Baron and Baroness of Vulgaria (Martin Callaghan and Jenny Gayner) also want to get their hands on Chitty. They send their bumbling spies Goran (Michael Joseph) and Boris (Adam Stafford) to England to steal the car. They mistakenly think Grandpa Potts (Liam Fox) is the inventor and kidnap him, so the family heads off to Vulgaria to rescue him. Vulgaria is a peculiar land where children are outlawed, and the creepy Child Catcher (Charlie Brooks) soon hunts down Jeremy and Jemima. With the help of the kindly Toymaker (John Macaulay) and the children secretly hidden away from the clutches of the Child Catcher, Caractacus and Truly embark on a daring plan to save the children and Grandpa.
The set design by Morgan Large is often minimal, it uses movable crates to create backdrops for many scenes. Clever multipurpose props are used such as the Coggins scrapyard sign that doubles up as the Potts Family Windmill home. The smaller touches such as tiny versions of Chitty and Grandpa’s shed being moved around the stage just add to the humour of the show, while being cleverly used to portray scenes that would otherwise be very hard to achieve. This minimalist approach just makes Chitty’s first appearance feel even bigger and bolder. Audible gasps rose from the auditorium as we saw her newly renovated for the first time. When she eventually takes to the air, the crowd were captivated by the stage magic needed to make such a scene a reality.
The show boasts an incredibly talented ensemble that all work well together. Stand-out performances for me were Michael Joseph and Adam Stafford as clumsy, but lovable spies Goran and Boris with their slapstick comedy and hilarious pronunciations of British words (the word “pub” was stuck in my head all the way home!). Although they are the villains of the show, the Baron and Baroness also kept the audience amused, with a few racier jokes thrown in for the adults to giggle at. Ore Oduba has only recently joined the tour during the show’s stint in Sheffield. He gave a great performance as Caractacus and his onstage chemistry with Ellie Nunn as Truly is already evident.
Following the standing ovation during the show’s finale, Liam Fox delivered a heartfelt tribute to The Vivienne/James Lee Williams, who until their death had played the role of the Child Catcher. This was met with prolonged applause, making it a touching and fitting end to an amazing show. More than sixty years on, Chitty Chitty Bang Bang still holds a special place in people’s hearts, and this phantasmagorical production will ensure Chitty’s legacy continues to fire on all cylinders!
FEATURING THE GRAMMY AWARD®-WINNING AND ACADEMY AWARD® NOMINATED MUSIC AND NEW SONGS BY BENJ PASEK AND JUSTIN PAUL
BOOK BY TIM FEDERLE
DIRECTED AND CHOREOGRAPHED BY CASEY NICHOLAW
Disney Theatrical Group -under the direction of Managing Director Andrew Flatt, Executive Producer Anne Quart, and Chief Creative Officer Thomas Schumacher – today announces that the new stage adaptation of The Greatest Showman, based on the 2017 smash-hit film, will première at ATG Entertainment’s Bristol Hippodrome in Spring 2026.
A casting search is underway across the UK and Ireland for this brand-new production, discovering the stage talent who will play the roles originated by the stars of the film. Open auditions will take place throughout March and April in Dublin, Belfast, Birmingham, Cardiff, Glasgow, Edinburgh, Leeds, Manchester, Exeter, Newcastle and London. For more information visit www.thegreatestshowman.co.uk.
The musical will feature the GRAMMY Award-winning and Academy Award-nominated songs by EGOT winners Benj Pasek and Justin Paul (La La Land, Dear Evan Hansen, Disney’s forthcoming film Snow White), including “The Greatest Show,” “A Million Dreams,” “Come Alive,” “Rewrite the Stars” and the Golden Globe® Award-winning “This Is Me,” together with their brand new songs written especially for the musical. The book is by Emmy® nominee Tim Federle (Ferdinand, High School Musical: The Musical: The Series, Tuck Everlasting).
The Greatest Showman will be directed and choreographed by two-time Tony® Award-winning Casey Nicholaw (The Book of Mormon, Aladdin, Mean Girls and the forthcoming production of Disney’s Hercules, opening at Theatre Royal Drury Lane in June).
Based on the 20th Century Fox motion picture, The Greatest Showman, with story by Jenny Bicks,this is the first 20th Century Studios (formerly 20th Century Fox) title to be adapted for the stage by Disney Theatrical Group and The Seelig Group, a producer of the original film. The production continues Disney Theatrical’s long-held relationship with the Bristol Hippodrome where Mary Poppins made its world première, and the UK tours of The Lion King and Beauty and the Beast began their journeys.
Benj Pasek and Justin Paul said, “We are continuously surprised and moved by how much the songs from The Greatest Showman seem to have resonated around the world, and to now have the opportunity to bring them to the stage is truly thrilling.”
Andrew Flatt, Anne Quart and Thomas Schumacher forDisney Theatrical Group added, “It has been decades since an original film musical has been so passionately and broadly embraced as The Greatest Showman, and Benj Pasek and Justin Paul’s songs have found a treasured place in the world’s heart. Audiences responded to the film’s joyful energy, and themes of self-discovery, community, and the families we create. We’re excited to bring it to the stage as a purely theatrical piece and the natural next chapter in its extraordinary life. We cannot wait to see how this incredibly talented team of creatives elevate the beloved work still further. Tim Federle is among the new generation of Disney storytellers, returning to Broadway after remarkable success in film and television. Casey Nicholaw, a longtime key contributor to Disney Theatrical Group’s success, has an unrivalled genius for combining joy and heart in his award-winning stage work. Now we begin the search for the performers who will bring this story to life on stage.”
Audiences are invited to sign up for more information about The Greatest Showman at www.thegreatestshowman.co.uk. Casting, full creative team and the Bristol performance schedule will be announced later this year. Future plans for the show will be determined in due course.
The Greatest Showman is inspired by the ambition and imagination of P. T. Barnum, celebrating the birth of show business and of dreams coming to life. The soundtrack achieved global success, winning the Golden Globe® Award for Best Original Song, a GRAMMY Award and nominated for Best Original Song at the Academy Awards®. It became only the second album in 30 years to achieve 11 consecutive weeks at number 1 in the UK.
Producer Adam Roebuck today announces the return to London of F**king Men by multi award-winning playwright Joe DiPietro. After sell-out performances in 2023 and 2024, the production will return to Waterloo East Theatre for a strictly limited six-week run. Steven Kunis, who returns to direct a new cast, including Rob Alexander-Adams (Leo and Donald), Peter Caulfield (Steve, Brandon, and Jack), Benedict Clarke (John, Kyle, and Ryan), and Sven Ironside (Marco and Sammy).
Inspired by the classic play La Ronde, Tony Award-winning playwright Joe DiPietro reimagines the interwoven tales of sexual power, discovery, and exploration in the context of today’s gay scene.
This hit play opens on 26 March, with previews from 22 March, and will run until 4 May.
Adam Roebuck presents
F**KING MEN
By Joe DiPietro
Cast: Rob Alexander-Adams, Peter Caulfield, Benedict Clarke and Sven Ironside.
Director: Steven Kunis; Lighting Designer: Alex Lewer; Set and Costume Designer: Cara Evans; Composer and Sound Designer: Julian Starr; Movement and Intimacy Director: Lee Crowley:
Voice and Accent Coach: Amanda Stephens
22 March – 4 May
A modern retelling of Schnitzler’s infamous classic La Ronde, F**king Men is a fascinating, funny, and provocative story of sex, love, and connection. This dramatic comedy follows 10 men through a series of erotic encounters that change their lives in small but significant ways. In this raw and updated new version, Joe DiPietro takes a sharp and insightful look at the experiences of modern gay men as they navigate their conflicting desires for the comfort of monogamous love and the thrill of sexual freedom.
Joe DiPietro is an award-winning playwright – the recipient of two Tony Awards, a Drama Desk Award, and three-time Outer Critics Circle Awards. DiPietro’s notable works include Memphis – which won the 2010 Tony Award for Best Musical, Nice Work If You Can Get It (nominated for 10 Tony Awards), The Toxic Avenger (Outer Critics Circle Award for Best Off-Broadway Musical), Ernest Shackleton Loves Me (Off-Broadway Alliance Award for Best Musical), and I Love You, You’re Perfect, Now Change (the longest-running musical revue in Off-Broadway history). His musical Diana is currently streaming on Netflix and had a special concert performance in the West End.
Rob Alexander-Adams plays Leo and Donald. His theatre credits include Macbeth (Donmar Warehouse/Harold Pinter Theatre), A Mirror (Trafalgar Theatre), Brokeback Mountain (Soho Place), The Caretaker, Love’s Labour’s Lost, Racing Demon, Noises Off (Wolsey Theatre, Ipswich), Alice Adventures in Wonderland (Library Theatre, Manchester) and The Sunset Ship (Young Vic).
Peter Caulfield plays Steve, Brandon and Jack. His theatre credits include To Wong Foo The Musical (Hope Mill Theatre), Tammy Faye (Almeida Theatre), Last Easter (Orange Tree Theatre), Jerusalem (The Watermill Theatre), Jesus Christ Superstar (Regent’s Park Open Air Theatre), A Christmas Carol (The Old Vic), The Lion, The Witch and The Wardrobe (Leeds Playhouse), Cinderella (Lyric Hammersmith), One Man Two Guvnors, Man of Mode (National Theatre), Enron (Noël Coward Theatre), Eric’s (Everyman Liverpool) and The Wild Duck (Donmar Warehouse). His television credits include Banana, Cucumber, Doctor Who, Eastenders and Sherlock; and for film, Great Yarmouth: Provisional Figures, After the End and Strangeways Here We Come.
Benedict Clarke plays John, Kyle and Ryan. His theatre credits include Much Ado About Nothing (Cambridge Arts Theatre) and Mewling and Puking: A New Writing Showcase (Hen and Chickens Theatre). His television credits include Murder in Provence; and for film, Blue Abroad, Ouija Castle, Bob Marley: One Love and Harry Potter and the Deathly Hallows: Part 2.
Sven Ironside plays Marco and Sammy. His theatre credits include Fast Love (Theatre503/Lion & Unicorn Theatre). His television credits include The Stand-Up Sketch Show; and for film, Savage House and Marvin?.
Steven Kunis returns to Waterloo East, having previously directed F**king Men and Afterglow. His other directing credits include Hir (Park Theatre), Straight White Men (Southwark Playhouse), Bright Half Life (King’s Head Theatre) and Rocky Road (Jermyn Street Theatre).
The Girl On The Train is based on the book by Paula Hawkins and the film adaptation by the same name. It follows Rachel Watson who is a recently divorced alcoholic woman, who whilst doing her daily train commute sees a couple from the train window who she watches and becomes obsessed with, naming them Jess and Jason. Rachel subsequently learns that the woman she has named Jess is really called Megan Hipwell and has gone missing. Rachel begins to question her hazy memory of her being in the vicinity of where Megan was found and becomes a suspect in the case.
Having read the book many years ago I was unsure how this could be portrayed on stage, but the production of the play was amazing. The set was very simple and the transition from one scene to another was smooth, and you easily knew when they were going from present to past. Smoke effects and lighting helped to create the mysteriousness of the play. The best part for me was the visual effect of the large rotating cube which Rachel finds herself trapped in. The slow-motion scenes were excellent and brilliantly put together. The success of this play is hugely down to the creation of the scenes and visual effects.
Rachel is played by Giovanna Fletcher who some of you will know was the Queen of the Castle winner of I’m a Celebrity in 2020. She portrayed the character well and you definitely could tell the role she was playing.
DI Gaskill was played by Paul McEwan, although I didn’t feel like the characterisation was quite strong enough and came across to me too familiar with the characters rather than showing police professionalism.
Tom Watson was played by Jason Merrells, Anna Watson by Zena Carswell, Scott Hipwell by Samuel Collings, Megan Hipwell by Natalie Dunne and Kamal Abdic by Daniel Burke all of whom gave good performances.
Even though the play is a thriller and showing a deep story there were still times when there were bits of comedy which gave the audience some laughter and light relief.
The play kept you intrigued and interested and in suspense right to the very end.
Hairspray came to Malvern with a large reputation. Originally an 80’s film, it was adapted for the stage soon after and has never looked back. After tonight I’ve certainly fallen in love with it!
The story involves Tracy Turnblad auditioning to be a dancer on her favourite TV show, only to be turned away cruelly due to her size. She soon befriends fellow school detention recipient Seaweed and discovers that he’s a dancer on a rival show. She gets the idea to dance on that rival show but with her being white and he being black, and the times being what they were, the road won’t be easy…
Katie Brace (as lead Tracy) was superb and joyfully carried the entire production along on a frothy, tuneful tsunami! All the cast were equally magnificent and I do mean all of them! With singing, dancing and playing multiple dramatic roles it’s a spectacle in the true sense of the word. So, what to say, with so much talent on show in all departments and a limited word count? Joanne Clifton (arguably the marquee name) was wonderfully hissable as villain of the piece Velma Von Tussle, but it does come down to a special mention for the big, emotional, numbers which blew the roof off the place.
The first half was superb, the second superber! Neil Hurst (as Edna) and Dermot Canavan (Wilbur), as Tracy’s parents, duet on “You’re Timeless To Me” was the absolute highlight of the evening. With perfect chemistry between the actors and some wonderfully (gently) saucy ad-libbing off script, this song was sheer perfection. Worth coming out for that song alone. Even so, Penny (played by Freya McMahon) was my favourite character – brought to 3d life with gusto and aplomb in (incredibly) her professional debut! If this is anything go by I look forward to seeing her again for many years and in many productions!
“I Know Where I’ve Been” sung by Michelle Ndegwa (Motormouth Maybelle) was another sensational number – this time for the power of it’s message as much as the power of Michelle’s voice. A message we can all get behind. Putting up photos of actual civil rights heroes like Martin Luther King gave added impact to the numbers. The other vital message for our time, acceptance and celebration of ourselves in all our “imperfect ” (in societal eyes) glory; is also worth hammering home time and again.
The songbook (music by Marc Shaiman, lyrics by the same and Scott Wittman) is a shining example of that 60’s jaunty golden era, perfectly capturing that blend of dance-hop-pop and emergence of Motown just as the Beatles were about to level everything in their path. The dancing is to die for, the costumes are amazing… it’s hard to explain just how much fun this show is. It’s like having a fine meal in your favourite restaurant with 3 puddings!
This touring production really pulled out all the stops, did the show full justice and the standing ovation they received was richly deserved. One of the best things I’ve seen (on many levels), I’m now a massive fan and encourage everyone to rush to get several tickets asap.
To celebrate its four Olivier nominations, new British musical THE CURIOUS CASE OF BENJAMIN BUTTON has extended booking at the Ambassadors Theatre until Saturday 30 August 2025, releasing 39,000 new tickets which are on sale now.
Also announced today is a new initiative, Anchor Seats’, where 200 tickets are anchored at £40 for every Thursday evening performance. These tickets are on sale now and can be booked via benjaminbuttonthemusical.com.
THE CURIOUS CASE OF BENJAMIN BUTTON is nominated for four Olivier Awards, including Best New Musical, Outstanding Musical Contribution for Darren Clark for Music Supervision, Orchestrations & Arrangements and Mark Aspinall for Musical Direction, Music Supervision, Orchestrations & Arrangements, Best Actor in a Musical for John Dagleish and Best Actress in a Musical for Clare Foster.
These four nominations make THE CURIOUS CASE OF BENJAMIN BUTTON the most nominated new BRITISH musical at the 2025 Olivier Awards.
THE CURIOUS CASE OF BENJAMIN BUTTON stars previous Olivier Award winner and current Olivier nominee for this role, John Dagleish as Benjamin Button. Two-time Olivier Award nominee, most recently for this role, Clare Foster as Elowen Keene. They star alongside Matthew Burns, Jonathan Charles, Oonagh Cox, Katy Ellis, Anna Fordham, Philippa Hogg, Damien James, Elliot Mackenzie, Ann Marcuson, Emily Panes, Jack Quarton and Benedict Salter.
An electrifying journey through the timeless tale of a love that defies all odds, THE CURIOUS CASE OF BENJAMIN BUTTON is an enchantingly beautiful and truly unordinary musical that reminds us to make every second count. The productionfirst captured hearts in 2019, followed by a sold-out Southwark Playhouserun in 2023 – winning Best Musical Theatre Production at the 2024 Off West End Awards. It was recently nominated for two WhatsOnStage Awards – Best New Musical and Best Musical Direction/Supervision.
With a breathtaking soundtrack brought to life by an extraordinary actor-musician ensemble, F. Scott Fitzgerald’s iconic short story is relocated to a fishing village on the north coast of Cornwall by writing team Jethro Compton and Darren Clark.
THE CURIOUS CASE OF BENJAMIN BUTTON is based on the short story of the same name by F. Scott Fitzgerald, author of The Great Gatsby and The Beautiful and Damned. With Book & Lyrics by Jethro Compton and Music & Lyrics by Darren Clark. It is directed by Jethro Compton who also designs the stage, with co-music supervision, orchestration and arrangements by Mark Aspinall and Darren Clark, choreography by Chi-San Howard, costumes and associate stage design by Anna Kelsey, sound by Luke Swaffield, lighting by Zoe Spurr, musical direction by Mark Aspinall and casting by Ginny Schiller.
It is produced by ATG Productions, Gavin Kalin Productions, Gary Beestone Associates, Eilene Davidson Productions, Susan Edelstein & Teresa Tsai, Umeda Arts Theater, Rupert Gavin & Mallory Factor, Winkler & Smalberg, Thomas Steven Perakos and Jethro Compton Productions.
Nominations announced for Olivier Awards 2025 with Mastercard
· Mastercard Best New Musical nominees are The Curious Case Of Benjamin Button, MJ The Musical, Natasha, Pierre & The Great Comet Of 1812 and Why Am I So Single?
· The nominees for the Piper-Heidsieck Award for Best Musical Revival are Hello, Dolly!, Oliver! and Starlight Express,alongside Fiddler On The Roof which has garnered the most nods with 13 total nominations
· Giant and The Years are tied for most nominated play with 5 nominations each
· Nominees for Best Actress are Heather Agyepong, Lesley Manville, Rosie Sheehy, Meera Syal and Indira Varma, with Manville and Varma both nominated for playing the same role in different productions of Oedipus
· Nominees for Best Actor include recent Oscar-winner Adrien Brody, alongside Billy Crudup, Paapa Essiedu, John Lithgow and Mark Strong, with first-time nominations for Brody, Crudup, Essiedu and Lithgow
The nominations for the Olivier Awards 2025 with Mastercard, British theatre’s most prestigious honours, have been announced. The annual awards will take place on Sunday 6 April at the iconic Royal Albert Hall, hosted by Beverley Knight and Billy Porter. A highlights package will air on ITV and Magic Radio that evening.
The competition for nominations has been intense in what has proven to be a transformative year for London theatre, marked by a rich blend of dynamic new works, innovative interpretations of classics, and a commitment to championing diverse voices and stories. A stunning array of stars have trod the boards, and nominees in the craft awards have showcased extraordinary innovation and artistry.
The Mastercard Best New Musical nominees are the actor-musician led The Curious Case Of Benjamin Button,currently playing at the Ambassadors Theatre, MJ The Musical at the Prince Edward Theatre, Donmar Warehouse’s Natasha, Pierre & The Great Comet Of 1812, and Marlow and Moss’ Why Am I So Single?. For the Piper-Heidsieck Award for Best Musical Revival, the Regent’s Park Open Air Theatre production of Fiddler On The Roof, which returns later this year to the Barbican Theatre, is up against the dazzling London Palladium production of Hello, Dolly!. Cameron Mackintosh’s reconceived Oliver!, which transferred from Chichester Festival Theatreto the Gielgud Theatre late last year, and the new production of Andrew Lloyd Webber’s Starlight Express, currently playing at the Troubadour Wembley Park Theatre.
Fiddler On The Roof is this year’s most nominated production, with 13 nominations including Best Musical Revival, the Sir Peter Hall Award for Best Director (Jordan Fein), Best Actor in a Musical (Adam Dannheisser), Best Actress in a Musical (Lara Pulver), Best Actor in a Supporting Role in a Musical (Raphael Papo), and two nods for Best Actress in a Supporting Role in a Musical (Liv Andrusier and Beverley Klein). The show also received nominations for the White Light Award for Best Lighting Design (Aideen Malone), Gillian Lynne Award for Best Theatre Choreographer (Julia Cheng), d&b audiotechnik Award for Best Sound Design (Nick Lidster), and Outstanding Musical Contribution (Mark Aspinall), with Tom Scutt nominated for both the Blue-i Theatre Technology Award for Best Set Design, and Best Costume Design.
Other musicals to receive multiple nominations include Natasha, Pierre & The Great Comet Of 1812with 6 nominations, followed byThe Curious Case Of Benjamin Button and Oliver!with 4 nominations each. Oliver!’s creatives have had a stellar year, with Matthew Bourne receiving his 14th Olivier Award nomination with a nod for Best Theatre Choreographer, and his second for a production of Oliver!, having been previously nominated in the same category for the 2010 revival; he has had a total of 9 previous wins, including a Special Award in 2019, making him the most celebrated winner in the history of the Awards. Lighting designer Paule Constable receives her 17th nomination, this year nominated for her work on Oliver! alongside Ben Jacobs; she has had 4 previous wins.
In the musical theatre performing categories, the Best Actor in a Musical nominees are completed by John Dagleish (for The Curious Case Of Benjamin Button, a decade after his win for Sunny Afternoon), Myles Frost (MJ The Musical, 2022 Tony Award-winner for the same role), Simon Lipkin (Oliver!) and Jamie Muscato (Natasha, Pierre & The Great Comet Of 1812), alongside Fiddler On The Roof’s Adam Dannheisser. The Best Actress in a Musical nominees are Chumisa Dornford-May (Natasha, Pierre & The Great Comet Of 1812), Lauren Drew (Titanique), Clare Foster (The Curious Case Of Benjamin Button), Lara Pulver (Fiddler On The Roof) and Imelda Staunton (Hello, Dolly!), with Lara Pulver and Imelda Staunton nominated alongside one another following their respective wins for Gypsy in 2016. This is Imelda Staunton’s 14th nomination and her 8th in the Best Actress in a Musical category; she has had 4 wins.
Andy Nyman (Hello, Dolly!), Layton Williams (Titanique) and Tom Xander (Mean Girls) join Raphael Papo (Fiddler On The Roof) in the Best Actor in a Supporting Role in a Musical category, with Amy Di Bartolomeo (The Devil Wears Prada) and Maimuna Memon (Natasha, Pierre & The Great Comet Of 1812) nominated alongside Liv Andrusier and Beverley Klein (Fiddler On The Roof) for Best Actress in a Supporting Role in a Musical.
In a strong year for plays, there are 5 nominations for The Londoner Award for Best New Play, with nods for The Fear Of 13 at Donmar Warehouse, the Royal Court’s Giant, which returns to play at the Harold Pinter Theatre in April, the RSC’s Kyoto, playing at @sohoplace until May, Bush Theatre’s Shifters, which transferred to the Duke of York’s Theatre last summer, and The Years,created at the Almeida Theatre and currently playing at the Harold Pinter Theatre.
Giantand The Yearsare tied for most nominated play with 5 each, including Best Director nods for Eline Arbo (The Years) and Nicholas Hytner (Giant) respectively. John Lithgow receives a first-time Olivier Award nomination for Best Actor for his turn as Roald Dahl in Giant, whilst Elliot Levey receives a third Olivier Award nomination for Best Actor in a Supporting Role. Gina McKee receives a Best Actress in a Supporting Role nomination for The Years, with Romola Garai double-nominated in the same category for her roles in both Giant and The Years.
Completing the nominations in the performing categories are: recent Oscar-winner Adrien Brody (The Fear Of 13), Billy Crudup (Harry Clarke), Paapa Essiedu (Death Of England: Delroy) and Mark Strong (Oedipus, Wyndham’s Theatre), joining John Lithgow (Giant) in the Best Actor category; Heather Agyepong (Shifters), Rosie Sheehy (Machinal) and Meera Syal (A Tupperware Of Ashes), alongside Lesley Manville (Oedipus, Wyndham’s Theatre) and Indira Varma (Oedipus, The Old Vic) for Best Actress;Jorge Bosch (Kyoto), Tom Edden (Waiting For Godot) and Ben Whishaw (Bluets), alongside Elliot Levey (Giant) for Best Actor in a Supporting Role; Sharon D. Clarke (The Importance Of Being Earnest), alongside Romola Garai (Giant and The Years) and Gina McKee (The Years) for Best Actress in a Supporting Role.
The Cunard Best Revival category sees fresh interpretations of classics take the spotlight, with nominations for the National Theatre’s The Importance Of Being Earnest, The Old Vic’s Machinal, the Wyndham’s Theatre production of Oedipus, and Waiting For Godotat Theatre Royal Haymarket. In true Greek-tragedian style, the Wyndham’s Theatre production of Oedipus goes head-to-head with a second adaptation at The Old Vic in the Best Actress category, with Lesley Manville (Wyndham’s Theatre) and Indira Varma (The Old Vic) both nominated for playing the same role.
A diverse array of productions makeup the nominations for the Noël Coward Award for Best New Entertainment or Comedy Play, with the National Theatre’s Ballet Shoes, Steve Pemberton and Reece Shearsmith’s Inside No. 9 Stage/Fright, Spirited Awayat the London Coliseum and Titanique, currently playing at the Criterion Theatre, all in contention for the accolade.
The Olivier Awards nominations were announced from midday, Tuesday 4 March on Official London Theatre’s YouTube channel. Further details of the ceremony, taking place on Sunday 6 April at the Royal Albert Hall, will be announced soon.
Public tickets for the Olivier Awards 2025 are on sale exclusively to Mastercard cardholders via priceless.com.
Full list of nominations for Olivier Awards 2025 with Mastercard:
Mastercard Best New Musical
The Curious Case Of Benjamin Button, music & lyrics by Darren Clark, book & lyrics by Jethro Compton at Ambassadors Theatre
MJ The Musical, book by Lynn Nottage at Prince Edward Theatre
Natasha, Pierre & The Great Comet Of 1812, music, lyrics & book by Dave Malloy at Donmar Warehouse
Why Am I So Single?, music, lyrics & book by Toby Marlow & Lucy Moss at Garrick Theatre
Blue-i Theatre Technology Award for Best Set Design
Jon Bausor for Set Design, Toby Olié & Daisy Beattie for Puppetry Design and Satoshi Kuriyama for Projection Design for Spirited Away at London Coliseum
Frankie Bradshaw for Set Design for Ballet Shoes at National Theatre – Olivier
Es Devlin for Set Design for Coriolanus at National Theatre – Olivier
Tom Scutt for Set Design for Fiddler On The Roof at Regent’s Park Open Air Theatre
White Light Award for Best Lighting Design
Paule Constable & Ben Jacobs for Oliver! at Gielgud Theatre
Howard Hudson for Natasha, Pierre & The Great Comet Of 1812 at Donmar Warehouse
Howard Hudson for Starlight Express at Troubadour Wembley Park Theatre
Aideen Malone for Fiddler On The Roof at Regent’s Park Open Air Theatre
TAIT Award for Best New Opera Production
Duke Bluebeard’s Castle by English National Opera at London Coliseum
Festen by The Royal Opera at Royal Opera House
L’Olimpiade by Irish National Opera & The Royal Opera at Royal Opera House
The Tales Of Hoffmann by The Royal Opera at Royal Opera House
Outstanding Achievement in Opera
Aigul Akhmetshina for her performance in Carmen at Royal Opera House
Allan Clayton for his performance in Festen at Royal Opera House
Jung Young-doo for his direction of Lear at Barbican Theatre
Best Family Show
Brainiac Live at Marylebone Theatre
Maddie Moate’s Very Curious Christmas at Apollo Theatre
The Nutcracker at Polka Theatre
Rough Magic at Shakespeare’s Globe – Sam Wanamaker Playhouse
Best New Production in Affiliate Theatre
Animal Farm at Theatre Royal Stratford East by George Orwell, adapted by Tatty Hennessy
Boys On The Verge Of Tears by Sam Grabiner at Soho Theatre
English by Sanaz Toossi at Kiln Theatre
Now, I See by Lanre Malaolu at Theatre Royal Stratford East
What We Talk About When We Talk About Anne Frank by Nathan Englander at Marylebone Theatre
Best New Dance Production
Assembly Hall by Kidd Pivot, Crystal Pite & Jonathon Young at Sadler’s Wells
Frontiers: Choreographers Of Canada – Pite/Kudelka/Portner by The National Ballet Of Canada at Sadler’s Wells
Theatre Of Dreams by Hofesh Shechter Company at Sadler’s Wells
An Untitled Love by A.I.M by Kyle Abraham at Sadler’s Wells
Outstanding Achievement in Dance
Sarah Chun for her performance in Three Short Ballets at Royal Opera House – Linbury Theatre
Tom Visser for his lighting design of Angels’ Atlas as part of Frontiers: Choreographers Of Canada – Pite/Kudelka/Portner at Sadler’s Wells
Eva Yerbabuena for her performance in Yerbagüena at Sadler’s Wells
Best Actor in a Supporting Role
Jorge Bosch for Kyoto at @sohoplace
Tom Edden for Waiting For Godot at Theatre Royal Haymarket
Elliot Levey for Giant at Jerwood Theatre Downstairs at Royal Court Theatre
Ben Whishaw for Bluets at Jerwood Theatre Downstairs at Royal Court Theatre
Best Actress in a Supporting Role
Sharon D. Clarke for The Importance Of Being Earnest at National Theatre – Lyttelton
Romola Garai for Giant at Jerwood Theatre Downstairs at Royal Court Theatre
Romola Garai for The Years at Almeida Theatre & Harold Pinter Theatre
Gina McKee for The Years at Almeida Theatre & Harold Pinter Theatre
Gillian Lynne Award for Best Theatre Choreographer
Matthew Bourne for Oliver! at Gielgud Theatre
Julia Cheng for Fiddler On The Roof at Regent’s Park Open Air Theatre
Hofesh Shechter for Oedipus at The Old Vic
Christopher Wheeldon for MJ The Musical at Prince Edward Theatre
Best Costume Design
Hugh Durrant for Robin Hood at The London Palladium
Sachiko Nakahara for Spirited Away at London Coliseum
Tom Scutt for Fiddler On The Roof at Regent’s Park Open Air Theatre
Gabriella Slade for Starlight Express at Troubadour Wembley Park Theatre
d&b audiotechnik Award for Best Sound Design
Nick Lidster for Fiddler On The Roof at Regent’s Park Open Air Theatre
Christopher Shutt for Oedipus at The Old Vic
Thijs van Vuure for The Years at Almeida Theatre & Harold Pinter Theatre
Koichi Yamamoto for Spirited Away at London Coliseum
Outstanding Musical Contribution
Mark Aspinall for Musical Supervision & Additional Orchestrations for Fiddler On The Roof at Regent’s Park Open Air Theatre
Darren Clark for Music Supervision, Orchestrations & Arrangements and Mark Aspinall for Musical Direction, Music Supervision, Orchestrations & Arrangements for The Curious Case Of Benjamin Button at Ambassadors Theatre
Dave Malloy for Orchestrations and Nicholas Skilbeck for Musical Supervision for Natasha, Pierre & The Great Comet Of 1812 at Donmar Warehouse
Asaf Zohar for Compositions and Gavin Sutherland for Dance Arrangements & Orchestration for Ballet Shoes at National Theatre – Olivier
Best Actress in a Supporting Role in a Musical
Liv Andrusier for Fiddler On The Roof at Regent’s Park Open Air Theatre
Amy Di Bartolomeo for The Devil Wears Prada at Dominion Theatre
Beverley Klein for Fiddler On The Roof at Regent’s Park Open Air Theatre
Maimuna Memon for Natasha, Pierre & The Great Comet Of 1812 at Donmar Warehouse
Best Actor in a Supporting Role in a Musical
Andy Nyman for Hello, Dolly! at The London Palladium
Raphael Papo for Fiddler On The Roof at Regent’s Park Open Air Theatre
Layton Williams for Titanique at Criterion Theatre
Tom Xander for Mean Girls at Savoy Theatre
Noël Coward Award for Best New Entertainment or Comedy Play
Ballet Shoes adapted by Kendall Feaver at National Theatre – Olivier
Inside No. 9 Stage/Fright by Steve Pemberton & Reece Shearsmith at Wyndham’s Theatre
Spirited Away adapted by John Caird & co-adapted by Maoko Imai at London Coliseum
Titanique by Tye Blue, Marla Mindelle & Constantine Rousouli at Criterion Theatre
Sir Peter Hall Award for Best Director
Eline Arbo for The Years at Almeida Theatre & Harold Pinter Theatre
Jordan Fein for Fiddler On The Roof at Regent’s Park Open Air Theatre
Nicholas Hytner for Giant at Jerwood Theatre Downstairs at Royal Court Theatre
Robert Icke for Oedipus at Wyndham’s Theatre
Best Actress
Heather Agyepong for Shifters at Duke of York’s Theatre
Lesley Manville for Oedipus at Wyndham’s Theatre
Rosie Sheehy for Machinal at The Old Vic
Meera Syal for A Tupperware Of Ashes at National Theatre – Dorfman
Indira Varma for Oedipus at The Old Vic
Best Actor
Adrien Brody for The Fear Of 13 at Donmar Warehouse
Billy Crudup for Harry Clarke at Ambassadors Theatre
Paapa Essiedu for Death Of England: Delroy at @sohoplace
John Lithgow for Giant at Jerwood Theatre Downstairs at Royal Court Theatre
Mark Strong for Oedipus at Wyndham’s Theatre
Cunard Best Revival
The Importance Of Being Earnest by Oscar Wilde at National Theatre – Lyttelton
Machinal by Sophie Treadwell at The Old Vic
Oedipus by Robert Icke at Wyndham’s Theatre
Waiting For Godot by Samuel Beckett at Theatre Royal Haymarket
Piper-Heidsieck Award for Best Musical Revival
Fiddler On The Roof, music by Jerry Bock, lyrics by Sheldon Harnick, book by Joseph Stein at Regent’s Park Open Air Theatre
Hello, Dolly!, music & lyrics by Jerry Herman, book by Michael Stewart at The London Palladium
Oliver!, book, music & lyrics by Lionel Bart, new material & revisions by Cameron Mackintosh at Gielgud Theatre
Starlight Express, music by Andrew Lloyd Webber, lyrics by Richard Stilgoe at Troubadour Wembley Park Theatre
Best Actor in a Musical
John Dagleish for The Curious Case Of Benjamin Button at Ambassadors Theatre
Adam Dannheisser for Fiddler On The Roof at Regent’s Park Open Air Theatre
Myles Frost for MJ The Musical at Prince Edward Theatre
Simon Lipkin for Oliver! at Gielgud Theatre
Jamie Muscato for Natasha, Pierre & The Great Comet Of 1812 at Donmar Warehouse
Best Actress in a Musical
Chumisa Dornford-May for Natasha, Pierre & The Great Comet Of 1812 at Donmar Warehouse
Lauren Drew for Titanique at Criterion Theatre
Clare Foster for The Curious Case Of Benjamin Button at Ambassadors Theatre
Lara Pulver for Fiddler On The Roof at Regent’s Park Open Air Theatre
Imelda Staunton for Hello, Dolly! at The London Palladium
The Londoner Award for Best New Play
The Fear Of 13 by Lindsey Ferrentino at Donmar Warehouse
Giant by Mark Rosenblatt at Jerwood Theatre Downstairs at Royal Court Theatre
Kyoto by Joe Murphy & Joe Robertson at @sohoplace
Shifters by Benedict Lombe at Duke of York’s Theatre
The Years adapted by Eline Arbo, in an English version by Stephanie Bain at Almeida Theatre & Harold Pinter Theatre
PW Productions is delighted to announce that Susan Hill’s The Woman in Black will return for a UK Tour, opening at Storyhouse, Chester on Wednesday 24 September 2025. The production will then play at Theatre Severn, Shrewsbury ahead of a 3-week run at London’s Alexandra Palace before touring to Plymouth, Brighton, Richmond, Bath, and in 2026, Darlington, York, Glasgow, Birmingham, Chelmsford, Oxford, Poole, Liverpool, Nottingham and Guildford, with further venues and casting to be announced. Listings information below.
For 33 years THE WOMAN IN BLACK played a record-breaking run in the West End, with over 13,000 performances at the Fortune Theatre before its final performance on Saturday 4 March 2023. It has also been seen by over 7 million people in the UK.
Stephen Mallatratt’s adaptation of Susan Hill’s best-selling novel tells the story of a lawyer obsessed with a curse that he believes has been cast over his family by the spectre of a ‘Woman in Black’. He engages a young actor to help him tell his story and exorcise the fear that grips his soul. It begins innocently enough, but as they delve further into his darkest memories the borders between make-believe and reality begin to blur and the flesh begins to creep.
Following a Christmas production in 1987 at a pub in Scarborough, THE WOMAN IN BLACK was brought to Hammersmith’s Lyric Theatre in January 1989. Reviews were sufficiently encouraging (apart from The Independent, who regretted the production’s inability to incorporate a live dog) to warrant a West End run. Its West End tour started at the Strand (now Novello) Theatre in March and moved to the Playhouse in April, finally lodging at the Fortune on June 7, 1989.
Throughout the production’s run in the West End and during its many tours the producer has been determined to keep ticket prices within the range of students and young people, a policy that continues today.
THE WOMAN IN BLACK is directed by Robin Herford, with designs by Michael Holt and lighting by Kevin Sleep.
DEM Productions on behalf of Writers’ Cage are delighted to announce the full cast of AUSTENLAND, a new musical based on the novel by Shannon Hale, which will have its world premiere with two concert performances at the Savoy Theatre on Monday 24 March 2025.
Joining previously announced Lucie Jones as Jane Hayes will be Stephenson Ardern-Sodje as Captain East (Passing Strange, Young Vic Theatre), Laura Baldwin as Miss Heartwright (Waitress, Adelphi Theatre), Oli Higginson as Nobley(The Last Five Years, Southwark Playhouse & Garrick Theatre), George Ioannides as Hot Darcy/Colonel Andrews (Guys and Dolls, Bridge Theatre), Cassidy Janson as Aunt Carolyn/Wattlesbrook (& Juliet, Shaftesbury Theatre), Idriss Kargbo as Manly (I Wish You Well: The Gwyneth Paltrow Ski Trial Musical, Criterion Theatre), Daniel Krikler as Martin (Natasha, Pierre & The Great Comet of 1812, Donmar Warehouse) and Alex Young as Elizabeth Charming(Stranger Things: The First Shadow, Phoenix Theatre). The cast is completed by Ashley Gilmour (My Fair Lady, Curve Theatre), Lily Laight (The Artist, Theatre Royal Plymouth), Ying Ue Li (My Fair Lady, Curve Theatre), Amonik Melaco (Heathers The Musical, The Other Place), Nathan Ryles (Burlesque, Manchester Opera House) and Hollie Jane Stephens (Guys and Dolls, Bridge Theatre).
The new musical, based on Shannon Hale’s 2007 novel, is the third musical adaptation from the writers of The Book Thief (Leicester Curve, Belgrade Theatre Coventry) and Between the Lines (Off-Broadway),with book by award-winning best-selling author Jodi Picoult (My Sister’s Keeper & Small Great Things) and Timothy Allen McDonald (adaptor of Roald Dahl’s Willy Wonka & James and the Giant Peach) and music & lyrics by Kate Anderson and Elyssa Samsel (Apple TV’s Central Park & Olaf’s Frozen Adventure).
Meet Jane Hayes – unlucky-in-love and Austen-obsessed, she’s ditching the dating apps for a dream vacation to Austenland, where every dance, duel, and scandal promises a taste of Regency romance.
But beneath the corsets and cravats lies a world where nothing is as it seems, and love is never scripted. Is the mysterious Mr Nobley an authentic suitor… or an actor who works for Austenland? Is the gorgeous gardener the real deal? Will Jane become fully immersed in the fantasy or could her true Mr Darcy be the person she least expects…
AUSTENLAND will be directed by Jonathan O’Boyle (Cruel Intentions, The Other Palace; Calendar Girls, UK Tour) with choreography by Joanna Goodwin (My Fair Lady, Leicester Curve; An Officer and a Gentleman, UK & Ireland Tour), musical supervision, orchestration and arrangements by Matthew Malone (The Book Thief, Leicester Curve, Carousel, Regent’s Park Open Air Theatre), music direction by Natalie Pound (The Creakers, Southbank Centre & Theatre Royal Plymouth; Lovestuck, Theatre Royal Stratford East), design by Polly Sullivan (Cruel Intentions The 90s Musical, The Other Palace & tour; Describe the Night, Hampstead Theatre), lighting by Jack Weir (The Woman In White, Electric Theatre; One Night Only, Sandi Toksvig, Theatre Royal Drury Lane) and sound by Sound Quiet Time (Clueless, Churchill Theatre; Manic Street Creature, Southwark Playhouse, London)
AUSTENLAND is produced by Writers’ Cage and managed by Deus Ex Machina Productions (The Book Thief, RIDE, A Sherlock Carol, Spring Awakening).
Hadley Fraser and Selina Cadell join original cast members Tamsin Greig, Nicholas
Farrell and Finbar Lynch in the West End transfer of the Theatre Royal Bath productions THE DEEP BLUE SEA, following a sell-out run at the Ustinov Studio last year.
This powerful drama of passion versus loyalty and the destructive power of love, will run at the Theatre Royal Haymarket in London from Wednesday 7 May until Saturday 21 June 2025.
Olivier Award winner Tamsin Greig has been one of the country’s best-loved stage and screen actresses in a career spanning four decades. She won the Olivier for Best Actress in 2007 for Much Ado About Nothing and has been nominated for The Little Dog Laughed and Women on the Verge of a Breakdown.
Hadley Fraser’s acclaimed roles in the West End include Marius and Inspector Javert in Les Miserables, Raoul and the title role in The Phantom of the Opera, and productions of Carousel, Chess, City of Angels, Young Frankenstein and The Secret Garden. He starred opposite Tom Hiddleston in Coriolanus at the Donmar Warehouse and has been seen on TV in Doctor Who and Gentleman Jack.
Selina Cadell’s four-decade career on stage and screen has seen her take many roles with the National Theatre, The Old Vic, Bristol Old Vic and Chichester Festival Theatre. Her numerous television credits include Doc Martin, Father Brown, Upstairs Downstairs and As Time Goes By.
They join the previous cast from THE DEEP BLUE SEA’s sell-out run in Bath last year, including Nicholas Farrell (Chariots of Fire, House of Cards) and Tony Award nominee Finbar Lynch, with Marc Elliott, Preston Nyman and Lisa Ambalavanar.
Director Lindsay Posner’s recent highly acclaimed productions include the West End transfers of Noises Off and A View From The Bridge starring Dominic West.
Joining Lindsay on the creative team are Peter McKintosh (Set & Costume Designer), Paul Pyant (Lighting Designer), Gregory Clarke (Sound Designer), Will Stuart (Composer), Carole Hancock (Hair, Wigs & Make-up Designer), Ginny Schiller (Casting Director) and George Jibson (Associate Director).
Theatre Royal Bath Productions and Len Blavatnik and Danny Cohen for Access Entertainment present Terence Rattigan’s production of The Deep Blue Sea at the Theatre Royal Haymarket in London.
