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AMANDA ABBINGTON AND ROSIE DAY

REUNITE FOR THE WORLD PREMIÈRE OF

(THIS IS NOT A) HAPPY ROOM

AT KING’S HEAD THEATRE

Amanda Abbington and Rosie Day reunite to lead the company for the world première of (This is not a) Happy Room at King’s Head Theatre, which Day has also written. Hannah Price directs this brand-new dark comedy, which opens on 31 March, with previews from 26 March and runs until 27 April.

Full casting will be announced shortly.

Amanda Abbington said today “I have admired Rosie’s writing since Instructions for a Teenage Armageddon, so when she mentioned she was creating a brand-new play I had to read it. The script is hilarious and utterly gripping, I can’t wait to further explore the Henderson’s chaotic family dynamic and bring them to life on stage.”

Rosie Day added “(This is not a) Happy Room is a very farcical dark comedy about the most dysfunctional of families, it’s going to be a riot to put on. I can’t wait to bring it to the King’s Head Theatre.”

Katy Galloway Productions presents

The world première of

(THIS IS NOT A) HAPPY ROOM

By Rosie Day

Cast includes Amanda Abbington, Rosie Day

Director Hannah Price; Sound Design: Adrienne Quartly; Lighting Design: Rory Beaton; Set and Costume Design: Georgia de Grey

26 March – 27 April 2025

Meet the Hendersons, a happily dysfunctional family, reuniting for their dad’s third (or fourth?) wedding. Nobody expects the death of his bachelorhood to become an actual funeral… but it would be a waste of the buffet not to repurpose it, right?

Following the West-End run of her critically acclaimed Instructions for a Teenage Armageddon, and hailed as Saltburn meets Schitt’s Creek, Rosie Day’s new searingly sharp dark comedy premieres at the King’s Head in March 2025.

Amanda Abbington plays Esther. Her theatre credits include When it Happens to You (Park Theatre),

The Unfriend (Criterion Theatre), The Son (Kiln Theatre, Duke of York’s Theatre), The Little Princess (Royal Festival Hall), The God of Carnage, Abigail’s Party (Theatre Royal Bath), God Bless the Child (Royal Court Theatre) and Love Me Tonight (Hampstead Theatre). Her television credits include Desperate Measures, Wolfe, The Net, Sherlock, I Hate Suzie, Mr. Selfridge (as series regular Miss Mardle), Cuffs, The Queen and I, Unsaid Stories, Safe, Married Single Other and After You’ve Gone; and for film, The Lost King, Three Pints and a Rabbi, Decrypted, The Six Days of Sistine, Crooked House, Another Mother’s Son and Ghost.

Playwright Rosie Day also plays Elle. As a writer, her debut play Instructions for a Teenage Armageddon opened in the West End in Spring 2024 and is now being produced for television by BBC3 and Emma Thompson. Her theatre credits include When It Happens to You (Park Theatre), The Fellowship (Hampstead Theatre), Instructions for a Teenage Armageddon (Southwark Playhouse), Again, The Girl who Fell (Trafalgar Studios), Spur of the Moment (Royal Court Theatre), Velocity (Finborough Theatre), A Winter’s Tale, Playboy of the Western World and Summerfolk (National Theatre). Her television credits include Outlander, Living the Dream, Good Omens, Urban Myths, The Sandman and Prime Suspect 1973; and for film, All Roads Lead to Rome, Down a Dark Hall, The Seasoning House, Good Night and Butterfly Kisses.

Hannah Price directs. Her directing credits include The Girl Who Fell, Boa, Again (Trafalgar Studios), End of the Pier, The Dead Monkey (Park Theatre), Down and Out Live (Stone Nest, London/La Generale, Paris), Permanence (Tarragon Theatre, Toronto), Escape the Scaffold (Theatre503/ The Other Room), Run the Beast Down (Marlowe Theatre/Finborough Theatre), 1984 Live (Senate House), Rainbow Class (Bush Theatre/Assembly Rooms), TEST (Scala Theatre, Basel),  Cello/Fragile (Yard Theatre), Bud Take the Wheel, I Feel a Song Coming On (Shaw Theatre/Underbelly), That Moment (King‘s Head Theatre & UK tour).

For Theatre Uncut her credits include Refugee (Teater Grob, Copenhagen), In Opposition (Paines Plough Roundabout), Knowledge is Power: Knowledge is Change (Traverse & tour), Referendum Plays (Traverse), TU Istanbul: Power and Protest (Dot Tiyatro/Istanbul International Theatre Festival/Traverse), TU 2013: The Rise of the Right (Young Vic), The Cuts Plays (Southwark Playhouse/ Soho/Latitude/Traverse).

Instagram, Facebook:     @thisisnotahappyroom

TikTok:                                @notahappyroom

(This is not a) Happy Room)

LISTINGS

King’s Head Theatre

116p Upper St, London N1 1QP

Box Office: 0207 226 8561

www.kingsheadtheatre.com/whats-on/this-is-not-a-happy-room

26 March – 27 April 2025

Ticket from £10

Award-winning cast announced for
explosive musical comedy Miss I-Doll at
The Other Palace
The Other Palace Studio, 12 Palace Street, London SW1E 5JA
Tuesday 18th February – Sunday 9th March 2025

What would happen if during a live reality TV show final one of the contestants
simply revealed…the truth?

West End performer Daisy Steere (Dirty Dancing, UK Tour; JERSEY BOYS, UK and Ireland Tour; JACKIE THE MUSICAL, UK Tour) will star in the electric one-woman musical comedy Miss I-Doll, playing the seemingly perfect reality TV show contestant Mia. Steere’s central role also offers a powerful multi-rolling performance as she takes on twelve other characters in the reality TV show. Natalie Casey (Legally Blonde, Savoy Theatre; Rock / Paper / Scissors, Sheffield Crucible; In The Next Room, The Other Palace) brings her TV background to the musical comedy, as she personifies the reality show as a voiceover, guiding Mia and the audience through the production. This modern tale of capitalism gone wrong, staged for a limited three-week run, is an entertaining, satirical statement of resilience, showing how women can be valued for who they truly are.

Mia enters the Miss I-Doll competition with the singular aim of fulfilling her dreams to become a global superstar but, on the night of the final, Mia’s world is disrupted as she loses her filter. As Mia speaks her mind on the true nature of the prime-time show’s feminine stereotypes, green washing, unethical marketing and pink washing, the show spirals out of control in a satirical, ruthless exploration of reality TV and the complex pressures often placed on women in today’s media age.

Protagonist Daisy Steere comments, I feel totally inspired to be a part of this production which I hope to do justice to, by bringing stereotypical versions of ourselves to life! The witty writing allows us to laugh as we reflect on modern days’ engagement with reality television. I can’t wait to take on the challenge of Miss I-Doll, it certainly will be a humorous journey.

Director Ruthie Stephens adds, I think now more than ever it is important to shine a light on how we, the British public are so easily drawn in and hooked to reality TV and social media and how that has an impact on society and the pressures of women and young girls today.

WICKED ANNOUNCES 2025/26 LONDON CAST

EMMA KINGSTON (ELPHABA) AND ZIZI STRALLEN (GLINDA) TO LEAD THE COMPANY

JOINED BY PRINCIPAL CAST MEMBERS

CARL MAN, SARAH INGRAM, MICHAEL MATUS, HANNAH QURESHI, DAVID McKECHNIE, ROSS CARPENTER, LAURA EMMITT AND LYDIA GERRARD

Download the Wicked Trailer Here

www.WickedTheMusical.co.uk

WICKED, the West End stage musical phenomenon that tells the incredible untold story of the Witches of Oz, is proud to announce its full new London cast who are set to begin performances at London’s Apollo Victoria Theatre on Tuesday 25 March 2025. Leading the company are Emma Kingston (Heathers: The Musical) as Elphaba, opposite West End sensation Zizi Strallen (Mary Poppins) as Glinda. The current 2024 / 25 company’s final performance will take place on Sunday 23 March 2025.

Wicked London welcomes back Carl Man (& Juliet) as Fiyero. Carl played Fiyero to sensational reviews across the UK and Ireland 2023 – 2025 tour, having previously covered the role in London’s 15th-anniversary cast. Sarah Ingram (whose many and varied credits include Legally Blonde: The Musical through to Richard III) joins the principal cast as Madame Morrible alongside Michael Matus (known for his Oliver Award-winning relationship with the RSC and musicals including Singin’ in the Rain and Stephen Schwartz’s The Baker’s Wife) as The Wizard. Wicked marks the fourth production that Sarah and Michael have worked on together. Hannah Qureshi (Hamilton) will star as Nessarose, David McKechnie (Standing at the Sky’s Edge) as Doctor Dillamond and Ross Carpenter (Book of Mormon) as Boq. Laura Emmitt (Frozen: The Musical) returns to Wicked London as Alternate Elphaba having previously covered the role in the West End and Lydia Gerrard (The Phantom of The Opera, UK & Ireland Tour) joins as Standby for Glinda having covered the role on the recent tour.

The 2025/6 company is completed by Iroy Abesamis, Zac Adlam, Steph Asamoah, Meg Astin, Rebecca Bowden, Shaun Chambers, Erin Gisele Chapman, Grace Durkin, Onyemachi Ejimofor, Aaron Elijah, Aimee Hodnett, Nat Ingham, Holly Lawrence, Jemima Loddy, Josh Lovell, Rory Maguire, PaddyJoe Martin, JoJo Meredith, Ayden Morgan, Rina Punwani, Abbie Quinnen, Jemma Revell, Jeanie Ryan, Charlotte Anne Steen, Chris Tarsey, Hannah Taylor, James Titchener and Jacob Young.

Emma Kingston’s theatre credits include: The Purists (Kiln Theatre), The Band’s Visit (Donmar Warehouse); Carousel (Kilworth House); Heathers: The Musical (The Other Palace); Evita (International Tour); Children of Eden (Cadogan Hall); The Last 5 Years (Minack Theatre); Fiddler on the Roof (Chichester Festival Theatre); In the Heights (King’s Cross Theatre/Southwark Playhouse); Les Misérables (Queen’s Theatre); Priscilla Queen of the Desert and Grease (UK Tours). Her television credits include Sound of Musicals with Neil Brand; and for film, BKLYN The Musical (Lambert Jackson) and Been So Long (Netflix).

Zizi Strallen is best known for playing Mary Poppins in Cameron Mackintosh’s West End production at the Prince Edward Theatre, for which she was nominated for an Olivier Award for Best Actress in a Musical. Other stage credits include; Cake (The Other Palace and Lyric Theatre); Nine (The Hopemill); Rock Follies (Chichester Festival Theatre); Oklahoma in Concert (Theatre Royal Drury Lane); Sunset Boulevard (Royal Albert Hall); Follies (National Theatre); Strictly Ballroom (Piccadilly Theatre); Pippin (Theatre Royal Drury Lane); Matthew Bourne’s The Carman (Royal Albert Hall);  CATS (London Palladium); Hairspray (Leicester Curve); Rock of Ages (Shaftesbury Theatre); Merrily We Roll Along (Menier Chocolate Factory and Harold Pinter Theater); Dirty Dancing (Aldwych Theatre); The Music Man (Chichester Festival Theatre). Screen work includes: CATS (universal and working title); Dinotopia (Hallmark); Victoria and Albert (ITV); and Bramwell (ITV).

“One of the most successful musicals of all time” (BBC News), Wicked opened in London in 2006 and is already the 10^th longest-running West End production in history. Winner of more than 100 global awards, the production has now been seen by more than 12 million people in London alone and celebrated its 7000^th performance at the Apollo Victoria Theatre on Friday 15 November 2024.

Stephen Schwartz and Winnie Holzman’s celebrated stage musical is based on the acclaimed novel by Gregory Maguire and imagines a beguiling backstory and future possibilities to the lives of L. Frank Baum’s beloved characters from The Wonderful Wizard of Oz. Wicked reveals the decisions and events that shape the destinies of two unlikely university friends on their journey to becoming ‘Glinda The Good’ and the ‘Wicked Witch of the West’.

Wicked has music and lyrics by multi-Oscar® and Grammy® Award winner Stephen Schwartz (Godspell, Pippin, The Prince of Egypt, Disney’s Pocahontas, The Hunchback of Notre Dame and Enchanted). It is based on the multimillion-copy best-selling novel Wicked: The Life and Times of the Wicked Witch of the West by Gregory Maguire and written by Emmy® and Tony Award® nominee Winnie Holzman (creator of the landmark American television series ‘My So-Called Life’). Musical staging is by Tony Award® winner Wayne Cilento with direction by two-time Tony Award® winner Joe Mantello.

Stephen Schwartz and Winnie Holzman have collaborated on the two-part Universal Pictures film version of Wicked, starring Cynthia Erivo and Ariana Grande. Part 1 of the blockbuster opened on November 22^nd, 2024, and has become the highest-grossing film, based on a stage musical, in history.

Performances continue Tuesday – Saturday at 7.30pm, and Wednesday, Saturday, and Sunday at 2.30pm. The following twelve added shows are also on sale, including Christmas 2025: Thursday 20 February 2:30pm, Thursday 17 April 2:30pm, Thursday 7 August 2:30pm, Thursday 21 August 2:30pm, Thursday 30 October 2:30pm, Friday 19 December 2:30pm, and Monday 22 December 7:30pm, Tuesday 23 December 2:30pm, Monday 29 December 2:30pm & 7:30pm, Tuesday 30 December 2.30pm 2025 and Friday 2 January 2:30pm 2026.

A spectacular touring production of Wicked recently concluded a year-long, critically acclaimed tour in Manchester – where it closed the tour having completed a Christmas season at the Palace Theatre on Sunday 12 January 2025.

The stage musical Wicked is produced by Marc Platt, Universal Stage Productions, The Araca Group, Jon B. Platt, and David Stone. Executive Producer (UK) Michael McCabe.

The Apollo Victoria Theatre, Wilton Road, London, SW1V 1L 

Official UK website: www.WickedTheMusical.co.uk 

Education programme: www.WickedActiveLearning.co.uk

‘X’ (Twitter): @WickedUK  |  Facebook: /WickedUK  |  Instagram: @WickedUK

Royal & Derngate Northampton – until 18th January 2025

Reviewed by Amarjeet Singh

4****

Dear Evan Hansen centres around themes of isolation, pressure, sadness, frustration, loss and most importantly hope. Evan Hansen is an adolescent struggling with fitting into school, making friends, talking to girls and coping with his lonely home life. A twist of circumstances finds him making some sudden decisions which catapult him into a world he never thought he would find himself in and building friendships and relationships he could have only dreamed of. With well-meant intentions, its only a matter of time before things begin to unravel. Afraid to go back to what once was but understanding he can no longer continue with this house of cards, Evan is caught in character purgatory. What will he decide to do?

Evan is played sensationally by Ryan Kopel who convincingly and passionately navigates his way through a myriad of emotions. His physical touches of anxiety, the nuanced nods, finger flicks and slight stutters are utter perfection. The other members of the cast are not as well fleshed out. Their emotional responses to situations occasionally fall flat or are not realistically sustained. But as a whole they all come together to pull off a thought-provoking piece of theatre.

The staging is sparse, with sets rolled in and out. Utilising mirrors and sliding frosted doors, designer Morgan Large appears to be embracing masking motifs. Ravi Deepres’ video designs show us, on occasion, numerous screens descending from the heavens and side of the stage, helping us to engage with what the characters are seeing on their phone’s, laptops and tablets. A live band directed by Michael Bradley gives wonderful performances of Benj Pasek and Justin Paul’s score, consisting mostly of solos and ballads. Accompanied by the gorgeous singing voices of the cast, they all fully deserved the rapturous applause they received after every song.

Steven Levenson, Benj Pasek and Justin Paul’s rendition of Adam Penford’s story divide’s opinion by theatre goers. There are those who wholeheartedly identify with the poignant topics presented and have steadily enabled Dear Evan Hansen to have achieved cult status, whilst others wonder why a musical would explore such themes, occasionally making light of such painful subjects and they just don’t get it. Whichever side you fall, it’s an interesting production, peppered with incredibly strong performances, wonderful vocals and a strong message to those experiencing difficulties. There is hope that things will get better.

AS IT CLOSES FOR THE FIRST PHASE OF ITS REDEVELOPMENT PROJECT, CAMBRIDGE ARTS THEATRE CELEBRATES A RECORD-BREAKING YEAR FOR PANTOMIME

CAMBRIDGE ARTS THEATRE HAS WRAPPED UP ITS MOST SUCCESSFUL PANTOMIME SEASON EVER WITH THE MAGICAL PRODUCTION OF CINDERELLA, WELCOMING OVER 32,500 FAMILY AUDIENCE MEMBERS AND SCHOOL CHILDREN FROM ACROSS CAMBRIDGESHIRE

THE THEATRE NOW PREPARES FOR A NEW CHAPTER AS IT TEMPORARILY CLOSES FOR THE FIRST PHASE OF A MAJOR £30MILLION REDEVELOPMENT.

Cambridge Arts Theatre is delighted to announce a record-breaking year for its annual home-produced pantomime, Cinderella. The production was not only Cambridge Arts Theatre’s highest-grossing pantomime ever but also received the most extraordinary press and audience feedback in its history.

Cinderella welcomed over 32,500 attendees of all ages, including families, schoolchildren and groups from across Cambridgeshire. Cambridge Arts Theatre’s charitable project, Panto Wheels, also played a pivotal role in making theatre accessible by welcoming over 3,300 children and young people who experience barriers accessing the performing arts.

Interim Co-Chief Executive Rachel Tackley said “It’s been a delight to end the year on such a high note with a production that truly captured the hearts of our audience. The success of this pantomime underlines the enduring importance of theatre in bringing communities together.”

Following the resounding success of Cinderella, as previously announced, Cambridge Arts Theatre has closed its doors to embark on a transformative redevelopment project. This significant investment will safeguard the theatre’s legacy and enhance its facilities to meet modern standards and future audience needs. The first phase of the redevelopment, funded by a £16 million gift from the Gatsby Charitable Foundation, will include:

• A full refurbishment of the 666-seat auditorium, featuring upgraded technical infrastructure, improved sightlines, and environmentally-sound air conditioning systems.
• Enhanced audience facilities, ensuring greater comfort and accessibility.

Chairman Ian Mather said, “This redevelopment will ensure that Cambridge Arts Theatre continues to be a vital cultural landmark for the region. We’re incredibly grateful to our supporters, especially the Gatsby Charitable Foundation, for enabling this vision to become a reality.”

To honour this momentous transition, and launch the fundraising campaign for a new 200-seat studio theatre on the roof of the existing building, a private event was held on Sunday 12 January 2025, hosted by Lord David and Dame Susie Sainsbury, alongside Sir Ian McKellen. Esteemed guests, including Dame Harriet Walter, Sir Derek Jacobi, and Sir Richard Eyre, joined in celebrating the theatre’s past achievements and bright future.

The theatre is set to reopen its beautifully refurbished auditorium in autumn 2025 with a new pantomime, heralding a fresh chapter for one of the UK’s most beloved regional playhouses.

Lyceum Theatre, Sheffield – until Saturday 18 January 2025

Reviewed by Sharon Farley

5*****

In this adaptation of the Jane Austen classic, actor, writer and director Isobel McArthur (Quiz!, Kidnapped, How to Sing it) has pulled out all the stale stuffiness of a Regency England period drama and repacked it with the joyful bounce of a boisterous girls night out. McArthur’s inventive synthesis of some dark, central themes carried high on the shoulders of fizzing entertainment shakes up your perspectives of the space occupied by women in society whilst also leaving you wanting to dance in the aisles. Little wonder it earned her awards from both Olivier and Them Evening Standard.

Both cast and crew have capitalised on the comedic element of Austen’s original and supercharged it with something that sits between music hall slapstick and the alternative brilliance of The Comic Strip Presents. We are still treated to the human stories of romance and rejection, love and longing, but with the heart wrenching messages between parties swapped out for karaoke classics. I know, this sounds wrong, but somehow it’s just so right – and I say that as someone whose very idea of hell is a karaoke night.

Beyond the rip roaring fun of it all, the layers underpinning this production’s ethos are sturdy and admirable. The tale is a stark reminder of the dominance of the patriarchal and class driven society endured by Austen in the 1800’s – unable even to write under her own name – where every woman’s fate was sealed by the willingness of a man to take charge of her (and her family) through marriage. That the company has chosen to make this an all female cast is genius, which is doubled by the narration being put into the hands of the servants’ characters.

Changes in accent and costume allow all the actors to take multiple parts to great effect, and everyone has the opportunity to shine; there are no bit parts here. Emma Rose Creaner (Lobster Bisque, Tartuffe, Power Ballad) is particularly noticeable as the effervescent burst of energy powering some of the most comical moments. Naomi Preston Low (The Sound of Music, Mudlarks, Bridgerton) delivers the essence of sass into her portrayal of the rebellious Elizabeth Bennett, while Rhianna McGreevy (Twelfth Night, Nell Gwynn, The Witcher) flips between the melodrama of Mrs Bennett and the cool, misunderstood aloofness of Mr Darcy with ease. The gentle, lovestruck Jane Bennett is played brilliantly by Eleanor Kane (A Monster Calls, The Duchess (of Malfi), The Invincibles), who also takes the part of the debauched George Wickham in other scenes. The well studied diligence of all members of cast and company is clear in the excellent use of props, footwork, and timing. It is pure theatre at its best and no surprise that it has been rewarded with an Olivier Best Comedy Award.

In Sheffield, the first night performance received a standing ovation. No matter how you feel about Jane Austen, or karaoke, this phenomenally energetic interpretation cannot fail to win you over.

Kings Theatre, Portsmouth – until 18 January 2025

Reviewed by Lucy Hitchcock

4****

Meatloaf’s legacy lives on in Jim Steinmans musical Bat Out Of Hell!

This fantastic musical, set in a world where there are ‘Lost’ people, running from the authorities is sure to get your heart pumping, foot tapping and leave you wanting more.

We meet Raven played by Katie Tonkinson, who wishes to be with Strat, Glenn Adamson, one of the lost boys. Her father, Falco (Rob Fowler) is against this idea and stops her from going to be with him, however, Sloane (Sharon Sexton) her mother encourages leading to a dramatic end plot!

Having seen the show before, I’m pleasantly surprised to say I enjoyed it thoroughly! The cast were superb, with the most incredible vocals from both Tonkinson and Adamson which worked in harmony together alongside their acting. Tomlinson’s portrayal of Raven was the best I’ve seen, really giving a character arc and leaning into the role with ease. She was truly spectacular in the second half, whilst singing some of the most well known Meatloaf songs – she excelled! Adamson was, as always, great but he had adapted his role to give a more sincere performance which I thoroughly enjoyed. The connection and chemistry between the two was palpable and I was engrossed at all points. Fowler and Sexton were exquisite. It was the first time I had seen Sexton in the role and she blew me away – she was the perfect characterisation of Sloane which led me wanting more of her onstage! She sang with absolute clarity and devoured her delicious harmonies with ease. Together with Fowler, this was a perfect match and they were ‘the moment’ whenever they were on stage! I couldn’t believe my ears when they were gliding in seamless harmony.

The ensemble were superb, utilising the set which was incredible, to their maximum gain. My only criticism, was that during the dance sequences, one of the members was continuously off beat which was distracting, however the rest of the cast were stunning.

I was so enthralled by this show and grateful I gave it another chance – leading me to be pleasantly surprised …. to the point that I would book again!! A fast paced, extravaganza celebrating the works of Meatloaf – I can assure you that there are some songs in there you didn’t even know you knew!!!

Festival Theatre, Malvern – until 18th January 2025

Reviewed by Courie Amado Juneau

4****

Dracula. The very name looms over literature like a worryingly dark corner of the room in the dead of night! We all know Bram Stoker’s classic. Or, do we?

Our first impression of the evening was of a set (designed by Victoria Spearing) which was highly intriguing; a sparse wooden frame on multiple levels, more a suggestion of a set… The actors worked hard to navigate the space, the gaping holes in the structure felt apt in the context of this most psychological of Gothic Horrors. We were evidently in for a thoroughly modern production.

The small cast tackled multiple roles in exemplary fashion, morphing from one to another via a transformed voice and the subtle change of a piece of clothing. The costumes were both functional yet sumptuous so kudos to Costume Designer Naomi Gibbs (especially for Dracula’s coat). They also performed composer Tristan Parkes’s original songs live on stage. These atmospheric gems (and other incidental music) added greatly to the fog filled atmosphere. An impressive display from the entire ensemble but Maya-Nika Bewley (playing Mina) is worthy of special mention for her energetic portrayal of this pivotal character.

In an unusual move, Dracula was played by three different actors (David Chafer, Richard Keightley and Harry Rundle). This allowed for the Count to get younger as he fed and gave some interesting juxtapositions like old Dracula (Chafer) being played by his nemesis Van Helsing – not something you see every day! It gave the Count some deliciously intense, off-kilter energy.

My memory of the original story was that Renfield was a minor character. Important, but slight in terms of page (or screen) time. In this production Renfield (played with impactful elan by Marie Osman) was a major part of the plot. The adapter had imbued the character’s story arc with a whole potential subplot that wasn’t in the original book which jarred somewhat as (for me) it felt like an addition crudely nailed on the outside of the story and was totally irrelevant anyway since Renfield was, in fact, insane! Not that this detracted from the tale, just that it stood out like bloody bite marks on a porcelain skinned neck. Adapter Nick Lane took some other liberties with the script with the ending being the biggest shock of the night. I believe he was making a rather important social commentary point which I appreciated and won’t spoil. It’s certainly a talking point.

I did miss a “crappy flappy bat” on an ineffectual wire – if I’m truly honest. But, then, I’m a massive fan of Universal and Hammer depictions so that probably says much about my schlocky preference and sensibilities. I was tickled pink though that the Count didn’t lose the “…children of the night… what music they make” line to Harker (Pelé Kelland-Beau giving us a finely nuanced portrayal).

This production may come as a surprise to many – which isn’t a bad thing for a tale so oft told. Blackeyed Theatre made some bold choices and almost all paid off handsomely, so they are to be loudly applauded. Personally I loved it and wholeheartedly recommend this show. One might even declare it (apologies in advance but sorry, can’t resist) “bloody good entertainment”.

SIX THE MUSICAL

NEW QUEENS ANNOUNCED

FOR THE SMASH-HIT WEST END SHOW

The producers of Toby Marlow and Lucy Moss’s award-winning global smash hit SIX are thrilled to announce details of the new Queens joining the home-grown hit musical sensation.

Taking reign over the court from Tuesday 18 February 2025 will be Jaz Robinson (SIX – Royal Alexandra Theatre, Toronto) as Catherine of Aragon, Thao Therese Nguyen (SIX – West End) as Anne Boleyn, Hana Stewart (SIX – West End and Broadway) as Jane Seymour, Dionne Ward-Anderson (SIX – West End) as Anna of Cleves, Caitlyn De Kuyper (SIX – Norwegian Cruise Line) as Katherine Howard and Amelia Kinu Muus (Kiss Me Kate – Barbican) as Catherine Parr. They will be joined by Leonor Correia, making her professional debut as Alternate Seymour/Howard, Honey Joseph (Hamilton – UK Tour) as Alternate Aragon/Cleves, Odelia Dizel-Cubuca (Harry Potter and the Cursed Child – West End) as Alternate Boleyn/Parr, Shakira Simpson (SIX – UK Tour) as SuperSwing, Meg Dixon-Brasil (SIX – West End) as SuperSwing and Laura Baxter making her professional and West End debut as SuperSwing.

 Thao Therese Nguyen and Meg Dixon-Brasil will continue their current roles of Anne Boleyn and Swing. Hana Stewart and Dionne Ward-Anderson both return to the Vaudeville, while Shakira Simpson joins from the UK Tour of the musical. Jaz Robinson returns to SIX after having performed at the Royal Alexandra Theatre in Toronto, while Caitlyn De Kuyper joins the production having previously appeared in Norwegian Cruise Line versions of the musical.

 The band features Ladies in Waiting Beth Jerem as Musical Director/Keys, Alice Angliss on Drums, Emma Jemima on Guitar, Kelly Morris on Bass, and Sinéad Rodger as Assistant Musical Director.

 Think you know the six Wives of Henry VIII? Think again…

 Prepare to lose your head and experience the Tudor Wives’ lives as they turn back the clock and take to the stage to reclaim their crowns and retell their stories of love, loss and the infamous ex they all have in common.

 Join Aragon, Boleyn, Seymour, Cleves, Howard and Parr, backed by their fierce on-stage band, the Ladies in Waiting, and Get Down to a royal retelling of the sassiest story in British Her-story.

 SIX is written by Toby Marlow and Lucy Moss, with direction by Lucy Moss and Jamie Armitage. Choreography is by Carrie-Anne Ingrouille, with set design by Emma Bailey, costume design by Gabriella Slade, lighting design by Tim Deiling, sound design by Paul Gatehouse, musical orchestration by Tom Curran, and musical supervision by Joe Beighton, and casting by Pearson Casting.

 SIX is produced by Kenny Wax, Wendy & Andy Barnes and George Stiles.

 Winner of over 35 international awards, including two 2022 Tony Awards, three WhatsOnStage awards, and nominated for five Oliviers, SIX can also be seen live on stage worldwide: as well as London’s West End, SIX continues to tour the UK (with new 2025 dates just announced), and throughout Europe. An Australian tour launched in August 2024, whilst international dates in Manila and in Singapore have recently been completed. 

SIX is currently playing at Broadway’s Lena Horne Theatre, the tour continues to play cities throughout the US. Earlier this year, the show both achieved 1.5million followers globally – across YouTube, Instagram, X, TikTok and Facebook in the UK, US, Australia, Korea and beyond – and hit another milestone achievement, with SIX the Musical (UK Studio Cast Recording) and the Grammy Award®-nominated SIX: LIVE ON OPENING NIGHT (the first Original Broadway Cast Recording ever recorded live on opening night) songs having been streamed in excess of one billion times.

Tickets to all international productions of SIX are available via sixthemusical.com

ETT ANNOUNCES FULL CASTING FOR
MACBETH AT LYRIC HAMMERSMITH THEATRE

★ ★ ★ ★ ★

‘One of the most unique and innovative productions of Macbeth I have seen.’

Broadway World

ETT today announce full casting for Artistic Director Richard Twyman’s version of Macbeth, which is excitingly reworked for 2025 for a limited run at the Lyric Hammersmith Theatre. Joining the previously announced Alex Austin (Macbeth) and Lois Chimimba (Lady Macbeth) are Gabriel Akuwudike (Banquo), Bella Aubin (Malcolm), David Colvin (Lennox), Ammar Haj Ahmad (Macduff), Daniel Hawksford (Duncan), Bianca Stephens (Lady Macduff) and Sophie Stone (Ross).

Macbeth opens on 5 March, with previews from 28 February and runs until 29 March 2025.

Artistic Director Richard Twyman and Executive Producer Sophie Scull said today, “We feel very lucky to have been able to put together such an extraordinary team for our reworked Macbeth. It’s a real thrill that audiences in London will have a chance to see this production and the work of the brilliantly talented people involved in it. Audiences can expect a Macbeth that’s surprising, exciting, dangerous and playful. We’d like to thank all of the partners, actors, creatives, artists and freelancers involved in making and realising it for audiences across the UK, internationally, digitally and now in London.”

Rachel O’Riordan, Artistic Director and CEO of Lyric Hammersmith Theatre, added “I am thrilled to be welcoming English Touring Theatre’s production of Macbeth to the Lyric. We are delighted to bring this compelling and thought-provoking production to our stage in West London.”

★ ★ ★ ★

‘This is a bold and dagger-sharp evening — a thriller in all the right ways.’

The Times

‘Twyman’s production finds humanity in its most visceral moments.’

★ ★ ★ ★

The Stage

Lyric Hammersmith Theatre presents an ETT production

Originally co-produced by ETT, Shakespeare North Playhouse, Northern Stage & Théâtres de la Ville de Luxembourg, and in association with Bristol Old Vic

MACBETH

By William Shakespeare

Directed by Richard Twyman

Director: Richard Twyman; Designer: Basia Binkowska; Lighting Designer: Azusa Ono;

Sound Designer: Tingying Dong; Projection Designer: Will Duke; Casting Director: Polly Jerrold; Movement Director: Rachael Nanyonjo;
Fight Director: Sam Lyon-Behan; Dramaturg: Rikki Henry; Associate Director: Rachael Walsh; Associate Designer: Ola Klos;

Associate LX Designer & LX Programmer: Jack Hathaway; Associate Sound Designer: Matthew Tuckey

28 February – 29 March 2025

A struggling and divided nation, tearing itself apart. So, when the Macbeths see their chance at the crown, why shouldn’t they take it?

But things don’t go according to plan. Dreams quickly turn to nightmares, humanity erodes, nature stirs. As society strives to make sense of the darkness that sits inside it, how long will it take for people to fight back against the endless cycle of violence and corruption?

After a national and international tour Richard Twyman’s stylish, contemporary and gut-wrenching production is excitingly reworked for 2025 and explores why Macbeth has haunted our fears and nightmares for centuries.

Gabriel Akuwudike plays Banquo. His theatre credits include Hamnet (RSC), King Lear (Shakespeare’s Globe), Blackmail (Mercury Theatre Colchester), Either (Hampstead Theatre), Time is Love (Finborough Theatre), Dealing with Clair (Orange Tree Theatre) and A Gym Thing (Small Things Theatre). His television credits include Screw, The Doll Factory, Lord of the Rings: The Rings of Power, Hana, Ridley Road, War of the Worlds, Cursed, Game of Thrones, Berlin Station, Brexit: The Uncivil War, The Bisexual and The Informer; and for film, his credits include The Beautiful Game and 1917.

Bella Aubin plays Malcolm. This marks her professional stage debut.

Alex Austin plays Macbeth. His theatre credits include As You Like It (Shakespeare’s Globe), Blackout Songs (Hampstead Theatre), LOVE (Park Avenue Armoury Theatre), Wuthering Heights,The Skriker (Royal Exchange Theatre), Ivan and the Dogs (Young Vic), The End of Eddy,Henry The Fifth, The Nutcracker, The Man With The Disturbingly Smelly Foot, How to Think the Unthinkable (Unicorn Theatre), A New and Better You (Yard Theatre), Gundog, Grimly Handsome, Primetime, Yen, Pigeons (Royal Court Theatre), Thebes Land (Arcola Theatre), Fury (Soho Theatre), Barbarians (Young Vic Theatre), Idomeneus (Gate Theatre), Hope, Light and Nowhere (Edinburgh Festival Fringe) and My City (Almeida Theatre). His television credits include Andor, The Mallorca Files, The Interceptor, New Tricks; and for film, The Bike Thief, Blood Out of a Stone, Legacy, The Christmas Candle, The Hooligan Factory, The World’s End and The Swarm.

Lois Chimimba plays Lady Macbeth. Her theatre credits include wonder.land, Common (National Theatre), Three Sisters (Almeida Theatre), Parliament Square (Royal Exchange Theatre, Bush Theatre) and Noises Off (Lyric Hammersmith Theatre). Her television credits include Cold Water, Still Up, Nightsleeper, The One (as series regular Hannah Bailey), Vigil, Avenue 5, The Outlaws, The Thief, His Wife and The Canoe, Doctor Who, Top Boy, Trust Me and A Discovery of Witches.

David Colvin plays Lennox. His theatre credits include Thunderstruck (Edinburgh Festival Fringe, Scottish tour and Australian tour – winner of Herald Angel Award and Scottish Arts Club Award), Macbeth (Stafford Gatehouse Theatre), We’re Only Here Today (Pulse Festival, New Wolsey Theatre), Tam O’ Shanter (Edinburgh Festival Fringe), We Love You City (Belgrade Theatre Coventry), Hamlet (New Vic Theatre) and Black Watch (Edinburgh Festival Fringe, UK tour and International tour).

Ammar Haj Ahmad plays Macduff. His theatre credits include Returning to Haifa (Finborough Theatre), The Jungle (Young Vic Theatre, Playhouse Theatre, St Ann’s Warehouse), Love (National Theatre, Birmingham Rep), The Great Survey of Hastings (Ladie’s Parlour), Kan Yama (Cockpit Theatre), Mawlana (Mosaic Rooms), The Knight and the Crescent Hare (UK tour), Dmitry (Marylebone Theatre), Babel (Caledonian Park) and One Thousand and One Nights (The Joey and Toby Tanenbaum Opera Centre, Toronto / Lyceum Theatre, Edinburgh). His television credits include Agatha Raisin and Letters from Baghdad; and for film, London Tomorrow, Wall, Round Trip, Maqha Almawt, Wada’an and Monologue.

Daniel Hawksford plays Duncan. His theatre credits include Nye (National Theatre and Wales Millennium Centre), Richard III (Rose Theatre Kingston and Liverpool Playhouse), Dmitry (Marylebone Theatre), A Pretty Sh*tty Love, Romeo and Juliet, Rosencrantz and Guildenstern are Dead, Arms and the Man (Theatre Clwyd), Troilus and Cressida, Cymbeline, The School of Night (RSC), Swansea’s Three Day Blitz (Grand Theatre Swansea), Crouch Touch Pause Engage, Illiad, Praxis Makes Perfect, The Dark Philosophers (National Theatre Wales), The Distance (Sheffield Crucible, Orange Tree Theatre), Macbeth (Pontardawe Arts Centre), Macbeth, The Bible (Shakespeare’s Globe), The Dark Philosophers (National Theatre of Wales), Dancing at Lughnasa (Birmingham Rep), Judgement Day (Almeida Theatre), King Lear (South Bank), Memory (Clwyd Theatre and Pleasance Theatre), The Hour We Knew Nothing of Each Other (National Theatre), A Midsummer Night’s Dream (The City of London Sinfonia), Jackets (Young Vic Theatre), The Pull of Negative Gravity (Colchester Mercury, 59E59 Theatre New York), The Taming of the Shrew (Colchester Mercury Theatre), Romeo and Juliet (Exeter Northcott Theatre) and Lunch (King’s Head Theatre). His television credits include Hard Cell, Halo, Father Brown, Hetty Feather, Waking the Dead and Colditz; and for film, Pelican Blood and Little White Lies.

Bianca Stephens plays Lady Macduff. Her theatre credits include Shut Up I’m Dreaming (UK tour), 2:22 A Ghost Story (Noël Coward Theatre), Either (Hampstead Theatre), Soft Animals (Soho Theatre), The Burning Tower (Bush Theatre), Julius Ceasar, A Midsummer Night’s Dream (Storyhouse Theatre), Always Orange). Her television credits include PISTOL.

Sophie Stone plays Ross. Her theatre credits include The Curious Incident of the Dog in the Night-Time, Mother Courage and Her Children (National Theatre), As You Like It (Shakespeare’s Globe), Emilia (Shakespeare’s Globe, Vaudeville Theatre), Othello, A Midsummer Night’s Dream, Multiplex, Fen and You Make Me Happy (When Skies are Grey) (The Watermill Theatre), Jubilee (Lyric Hammersmith Theatre and Royal Exchange Theatre), The Government Inspector (Birmingham Rep and UK tour), Herons (Lyric Hammersmith Theatre), Mine (Shared Experience), Frozen (Birmingham Rep), Two (Southwark Playhouse), The Bloody Great Border Ballad Project (Northern Stage), In Water I’m Weightless (National Theatre of Wales), Pandora (Arcola Theatre) and Woman of Flowers (UK tour). Her television credits include Shetland, The Chelsea Detective Reunion, Generation Z, This Way Up, Two Doors Down, Moonstone, Marchlands and Small World.

Richard Twyman took up the role of Artistic Director of ETT in November 2016. He was previously Associate Director (International) at the Royal Court Theatre, where he worked with playwrights across the world to develop their plays. Prior to this, he spent five years at the RSC working on fourteen productions, including the hugely acclaimed Histories Cycle, for which he directed Henry IV Pt II, which were honoured with three Olivier Awards, the Evening Standard Editor’s Choice Award and named by The Guardian’s Michael Billington as his production of the decade 2000-2010. Twyman has directed at the Royal Court Theatre: You for Me for You by Mia Chung, Torn by Nat Martello-White, Harrogate by Al Smith and The Djinns of Eidgah by Abhishek Majumdar. His other credits include Ditch by Beth Steel, which opened the Old Vic Tunnels; Les Liaisons Dangereuses by Christopher Hamptonat Theatre Cocoon, Tokyo/Osaka; Deliver Us and Stolen Ground by Anna Leader at Théâtres De La Ville Luxembourg; Give Me Your Hand (New York), nominated for the Drama Desk Award for Outstanding Unique Theatrical Experience in 2012. For ETT, he has directed Martin Crimp’s Dealing with Clair at the Orange Tree Theatre, Samuel Adamson’s The Ballad of Hattie and James at Kiln Theatre and the critically acclaimed production of Othello, which toured the UK and internationally from 2017-2019. 

LISTINGS

MACBETH

Lyric Hammersmith Theatre

Main House, Lyric Square, King St, London W6 0QL

Box Office: 020 8741 6850

www.lyric.co.uk/shows/macbeth/

28 February – 29 March 2025

BSL Performance:                                          Thursday 13 March 2025, 7.30pm
Audio Described Performance:                  Saturday 15 March 2025, 2.30pm
Open Captioned Performance:                   Tuesday 18 March 2025, 7.30pm
Chilled Environment Performance:           Saturday 22 March 2025, 2.30pm

Age Guidance: 12+

Tickets from £10

Running Time: 150 mins