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CURVE TO STAGE NEW PRODUCTION OF WILLY RUSSELL’S

EDUCATING RITA

DIRECTED BY CARA NOLAN

RUNNING AT CURVE 26 SEPTEMBER – 17 OCTOBER 2026

Willy Russell’s comedy of classrooms and the class-system, EDUCATING RITA, is to be revived as a new Made at Curve production at the Leicester theatre this autumn.

EDUCATING RITA will run in Curve’s Studio Theatre Saturday 26 September to Saturday 17 October and will be directed by Curve’s Associate Director Cara Nolan. The drama follows the success of the theatre’s acclaimed 2025 production of Edward Albee’s WHO’S AFRAID OF VIRGINIA WOOLF?, also directed by Nolan.

Set and costumes will be designed by Michael Taylor (THE SOUND OF MUSIC, Curve), with lighting design by Katy Morison (PUBLIC – THE MUSICAL, Curve) and sound design by Jack Baxter (WHO’S AFRAID OF VIRGINIA WOOLF?, Curve). Casting is by Richard Johnston for Pippa Ailion and Natalie Galacher Casting.

It’s never too late to start again…

Bright-eyed twenty-something Susan ‘Rita’ White dreams of making more of her life. Armed with an interest in literature and unwavering determination she enrols in the Open University, forming an unlikely friendship with disillusioned and dishevelled Frank – her self-proclaimed “appalling teacher”. Through their weekly tutorials, they challenge each other into a life-changing journey of self-discovery.

Hailing from Liverpool, Willy Russell is one of our most celebrated playwrights. With a career spanning over five decades, Russell’s plays and musicals include the epoch defining BLOOD BROTHERS, OUR DAY OUT and SHIRLEY VALENTINE. EDUCATING RITA first premiered in 1980 at the Donmar Warehouse, with Julie Walters in the titular role. The play catapulted Walters to stardom and she went on to reprise the role in the 1983 film adaptation opposite Michael Caine, for which both actors earned respective BAFTA and Golden Globe Awards, alongside Oscar nominations. Russell himself also received BAFTA, Golden Globe and Oscar nominations for his screenplay.

Curve’s Chief Executive Chris Stafford and Artistic Director Nikolai Foster said:

“Rita has been a vibrant and vital part of our culture for the past forty years and it’s always a pleasure to say hello to her again and see a new production of Willy Russell’s epoch-defining play.

“Russell is pretty unique in British theatre, as he has remained committed to celebrating working-class stories throughout his career. As these stories and characters feature less frequently on our stages and screens, it feels increasingly important these plays remain in the repertoire. Director Cara Nolan delivered a sensational production of WHO’S AFRAID OF VIRGINIA WOOLF? in the Studio Theatre last year and we are thrilled Cara will now bring her insight and imagination to this great play.

“The very best of live theatre, Willy’s plays are hilarious, life-affirming and remain an electrifying plea for equality.”

The run of EDUCATING RITA at Curve will be accompanied by educational activity including a free digital Learning Pack and a Theatre Day on Thursday 15 October, where audience members of all ages can learn more about the play and the show’s creation.

Accessible performances include Captioned (8 October, 7pm), British Sign Language Interpreted (9 October, 7pm) and Audio Described (17 October, 2pm with a Touch Tour from 12:30pm).

EDUCATING RITA will run at Curve 26 September to 17 October 2026. Tickets will be on sale to Made at Curve Circle, Champions and Patrons from Tuesday 2 June, to Curve Friends from Wednesday 3 June, to Curve Loyalty Pass holders, Groups and Access Register customers from Thursday 4 June and on general sale from Tuesday 9 June, all at 12pm midday. To find out more, visit www.curveonline.co.uk, call the Box Office on 0116 242 3595, or visit in-person.

Presented by Rambert and Factory International

Co-produced with Wales Millennium Centre (Cardiff), Capital Theatres (Edinburgh), Sadler’s Wells (London) and Les Théâtres de la Ville (Luxembourg).

TICKETS NOW ON SALE FOR RAMBERT’S LIVE STAGE ADAPTATION OF BAFTA-NOMINATED IT’S A SIN, WITH RUSSELL T DAVIES, PET SHOP BOYS AND GLYN FUSSELL AS EXECUTIVE PRODUCERS

 Rambert, the UK’s leading contemporary dance company, in partnership with Factory International, today announces the on sale of tickets for the live tour of It’s a Sin – a major new dance work inspired by the era-defining, award-winning Channel 4 series, It’s a Sin. The live show will tour across the UK from February 2027. Pre-sale tickets are available from 1^st June at 10am, with general on sale beginning on 4th June at https://itsasin-rambert.com/

This bold reimagining sees original series creator Russell T Davies (Queer As Folk, Doctor Who) serving as Executive Producer, alongside legendary pop duo PetShop Boys and Glyn Fussell (Sink the Pink, Mighty Hoopla festival). The production will be choreographed and directed by Rambert’s Artistic Director Benoit Swan Pouffer reigniting his partnership with Dramaturg Kaite O’Reilly (The Almond and The Seahorse)on the development of a new script for the show.

It’s a Sin is a Rambert and Factory International co-production that will premiere at Aviva Studios in Manchester. It is co-produced with Wales Millennium Centre (Cardiff), Capital Theatres (Edinburgh), Sadler’s Wells (London) and Les Théâtres de la Ville (Luxembourg). The live tour will begin on 16th February 2027 at Aviva Studios in Manchester, before touring across theatres in Luxembourg, Liverpool, Birmingham, Plymouth, Southampton, Edinburgh, Norwich, Newcastle, Cardiff, Truro, London, Glasgow and Sheffield throughout 2027. Full listings details including venues and performance dates are detailed below. 

Raw, euphoric and deeply moving, It’s a Sin will be a visceral theatrical experience – a reckoning and a celebration told through fearless movement. Clubs pulse with possibility. Friendships ignite. Fear edges closer. Lives are changed forever.

Expanding the world of the beloved television drama, the production brings together an extraordinary creative team. Shaping the musical landscape Composer and Music Supervisor Roman Gian Arthur (Grammy nominated albums multi-instrumentalist credits include Janelle Monáe’s Dirty Computer and The Age of Pleasure) will compose the music with the support of executive producers Pet Shop Boys (who composed and performed the original “It’s a sin” hit song) to evoke the glamour, defiance and emotional intensity of 1980s queer life. Set and video design comes from Luke Halls Studio (West Side Story, concerts from Adele, Pet Shop Boys,  Dua Lipa, Take That), whose work spans global arena tours and major stage productions.

Originally set in London between 1981 and 1991, Davies’ story follows a generation of young gay men and their friends as the HIV/AIDS crisis unfolds around them. It is a story of joy and innocence, of loss and injustice – and of resilience, activism and love in the face of unimaginable change.

Rambert is transforming this narrative into a powerful live experience where contemporary dance, archive and cinematic visuals collide as past and present unfold side by side. Urgent and intimate, it asks vital questions about memory, community and how we choose to live.

Unapologetic. Electrifying. Deeply human. It’s a Sin continues Rambert’s legacy of bringing epic stories to the stage through movement that speaks to now.

Benoit Swan Pouffer said: “Storytelling sits at the heart of Rambert’s mission. This is a story we feel compelled to tell right now, and collaborating with Russell – one of the most powerful storytellers of our time — is incredibly exciting. Together we’re exploring how dance and choreography can carry urgent, emotional narratives in a visceral way. I can’t wait to share this with audiences, and there is so much more still to come as the work evolves.”

Russell T Davies said: “Excitement is rising as this landmark production gets closer and closer. It’s such an honour for me to see It’s a Sin being brought to life by Benoit and the team with passion, joy and respect.”

Pet Shop Boys commented: “The original TV drama was a landmark series which compellingly presented the reality and tragedy of the Aids crisis to a mass audience. Our song “It’s a sin” was contemporary with the crisis and we are proud to be involved as this poignant and important story is interpreted in a different medium.”

Factory International Artistic Director and CEO John McGrath said: “We are delighted to be partnering with Rambert on this thrilling new project. Russel T Davies is an icon, and the story he tells in It’s a Sin has resonated with all ages. Rambert will no doubt re-tell the story with great vision and beauty. We can’t wait to premiere this collaboration at our home, Aviva Studios, before sharing it with an exceptional group of national and international co-producers.”

The announcement comes during Rambert’s centenary celebrations, marked by its nationwide FUTURE100Campaign aiming to power the next 100 years of bold dance, artists and participation.

Alongside this, Rambert will tour This is Rambert, nationally and internationally, presenting a fierce and fearless triple bill of contemporary works by today’s most distinctive choreographic voices, brought to life by Rambert’s world-class dancers. Reaffirming its position as one of the world’s most innovative dance companies, as it enters its second century, Rambert continues to push boundaries – creating work that provokes, connects and captures the spirit of its time.

It’s a Sin is made possible thanks to major support from the Colwinston Charitable Trust’s 30th Anniversary Fund. It’s a Sin has been supported by Incentivising Touring: Repayable Grants for Theatre and Dance, a pilot scheme developed by Arts Council England to support mid-large-scale productions to tour to regional venues. It’s a Sin was amongst the 23 to receive a share of over £4.5 million across two investment rounds of the scheme, which creates the opportunity for more people to see high-quality shows close to where they live.

This production is inspired by the television series “It’s a Sin” created by Russell T Davies and produced by Red Production Company

LISTINGS INFORMATION – IT’S A SIN UK TOUR 2027

Runtime circa 110 minutes (including interval)

Suitable for 15+

Content warning:  Contains strong language, sexual references, scenes of sexual nature, partial nudity, and themes of illness, death, grief, HIV/AIDS and homophobia. Some archive footage and testimonial material contain outdated language and attitudes reflective of the time, which audiences may find upsetting or offensive.

MANCHESTER – AVIVA STUDIOS (GENERAL ON SALE 4TH JUNE)

16th February 2027 – 27^th February 2027 (press night 18^th February)

LUXEMBOURG – THÉÂTRES DE LA VILLE (GENERAL ON SALE 1ST JULY)

4th March 2027 – 7^th March 2027

LIVERPOOL – THE LIVERPOOL EMPIRE (GENERAL ON SALE 10TH JUNE)

6th April 2027 – 10^th April 2027

BIRMINGHAM – THE BIRMINGHAM HIPPODROME (GENERAL ON SALE 22ND JUNE)

27th April 2027 – 1^st May 2027

PLYMOUTH – THEATRE ROYAL (ON SALE SOON)

11th May 2027 – 15^th May 2027

SOUTHAMPTON – MAYFLOWER THEATRE (GENERAL ON SALE 12TH JUNE)

20th May 2027 – 22^nd May 2027 (matinee and evening performance on 22^nd May 2027)

EDINBURGH – FESTIVAL THEATRE (GENERAL ON SALE 5TH JUNE)

8th June 2027 – 12^th June 2027

NORWICH – THEATRE ROYAL (GENERAL ON SALE 26TH JUNE)

15th June 2027 – 19^th June 2027

NEWCASTLE – THEATRE ROYAL (ON SALE SOON)

29th June 2027 – 3^rd July 2027

CARDIFF – WALES MILLENNIUM CENTRE (GENERAL ON SALE 5TH JUNE)

6th July 2027 – 10^th July 2027 (matinee and evening performance on 10^th July 2027)

TRURO – HALL FOR CORNWALL (ON SALE SOON)

23rd September 2027 – 25^th September 2027 (matinee and evening on 25^th September 2027)

LONDON – SADLER’S WELLS THEATRE (GENERAL ON SALE 6TH JULY)

5th October 2027 – 16^th October 2027

GLASGOW – THEATRE ROYAL (GENERAL ON SALE 10TH JUNE)

2nd November 2027 – 6^th November 2027

SHEFFIELD – LYCEUM THEATRE (GENERAL ON SALE 17TH OCTOBER)

9th November 2027 – 13^th November 2027

LISTINGS INFORMATION – THIS IS RAMBERT UK TOUR 2026

Runtime 1h35 (incl. interval)

Suitable for: 12+

LONDON – SADLER’S WELLS
 Wed 10 June –Press Night
 Thu 11 June 2026
 Fri 12 June 2026
 Sat 13 June 2026 – matinee and evening

https://www.sadlerswells.com/whats-on/rambert-this-is-rambert

NEWCASTLE – THEATRE ROYAL

Tue 16 June 2026
Wed 17 June 2026

https://www.theatreroyal.co.uk/whats-on/this-is-rambert

EDINBURGH – FESTIVAL THEATRE
 Thu 2 July 2026 
 Fri 3 July 2026
 Sat 4 July 2026 – matinee

SALFORD – LOWRY
 Tue 7 July 2026 
 Wed 8 July 2026
 Thu 9 July 2026

https://thelowry.com/whats-on/this-is-rambert-bwbd

NORWICH – THEATRE ROYAL

Tue 14 July 2026
 Wed 15 July 2026

https://norwichtheatre.org/whats-on/this-is-rambert

TRURO – HALL FOR CORNWALL 
 Tue 15 September 2026
 Wed 16 September 2026
https://www.hallforcornwall.co.uk/whats-on

CASTING ANNOUNCED FOR UK AND IRELAND HAUNTING

TOUR DATES BEGIN THIS SEPTEMBER

WHILST PARANORMAL ACTIVITY CONTINUES IN THE WEST END

www.paranormalonstage.com

Written by acclaimed playwright Levi Holloway

and directed by Felix Barrett, visionary director behind Punchdrunk

Based on the Paranormal Activity films, first written and directed by Oren Peli and brought

to the screen by Blumhouse and Solana Films

Melting Pot today announces casting for its major UK and Ireland tour of the smash-hit, Paranormal Activity. The spine-chilling theatrical experience will star James Bye (2:22, UK Tour, BBC 1’s EastEnders) as ‘James’, Hannah Sinclair Robinson (The Play That Goes Wrong, West End, The Curious Incident of the Dog in the Night-Time, National Theatre, UK and Ireland Tour) as ‘Lou’, Jo Castleton (War Horse at the National Theatre, National and International Tour;) as ‘Etheline Cotgrave’ and Caroline Faber (Network and The Heiress, National Theatre) as ‘Carolanne.’ 

Opening at Richmond Theatre on Saturday, 5 September 2026, the supernatural smash will visit towns and cities nationwide until May 2027, giving audiences across the country a chance to witness the haunting phenomenon that has taken the West End by storm. Originally developed at Leeds Playhouse, the production returns this Christmas for a spine-chilling festive run.

Praised for its inventive storytelling and terrifying atmosphere, Paranormal Activity is a must-see event for thrill-seekers and theatre lovers alike. Following its original run at Leeds Playhouse and its first West End engagement, which saw the show play at the West End’s Ambassadors Theatre from Friday 5 December 2025 – Saturday 25 April 2026. The show returns to the same venue this summer, where it reopens on Tuesday 11 August and will run simultaneously with the tour, having just extended for the fourth time.

Paranormal Activity began a North American tour last autumn, with dates including the Chicago Shakespeare Theatre, Center Theatre Group, Ahmanson Theatre, Shakespeare Theatre Company, Washington DC and American Conservatory Theatre, San Francisco. Paranormal Activity marks its Canadian premiere at the CAA Ed Mirvish Theatre, Toronto this June, ahead of a run at Boston’s Emerson Colonial Theater in July, before embarking on a 20-week Broadway season at the August Wilson Theatre from August 14 2026.

A new story inspired by the worldwide horror phenomenon, Paranormal Activity, is directed by immersive theatre pioneer and Punchdrunk’s Founder and Artistic Director, Felix Barrett and written by playwright Levi Holloway, whose pulse-pounding theatrical thriller Grey House chilled Broadway audiences.

James and Lou move from Chicago to London to escape their past, but they soon discover that places aren’t haunted, people are…This thrilling West End hit is inspired by the iconic, hugely popular film series, Paranormal Activity, with a brand-new story live on stage. Now embarking on its first ever UK and Ireland tour after a sell-out, extended run in London, this chilling production promises to keep you on the edge of your seat from start to finish. Hold your nerve…

Blurring the line between cinema and live theatre, Paranormal Activity has been hailed as a ‘relentlessly frightening – arm-clutchingly, stranger-embracingly so’ (Metro) theatrical experience— leaving audiences jumping out of their seats and questioning what’s lurking in the dark long after the curtain falls.

After opening in Richmond, Richmond Theatre (Saturday 5 – Saturday 12 September 2026) the tour then visits: Milton Keynes, Milton Keynes Theatre (Tuesday 15 – Saturday, 19 September 2026); Glasgow, Theatre Royal (Tuesday 22 – Saturday 26 September 2026); York, Grand Opera House (Tuesday 29 September – Saturday 3 October 2026); Woking, New Victoria Theatre (Tuesday 6  October – Saturday 10 October 2026); Cheltenham, Everyman Theatre (Tuesday 13 – Saturday 17 October 2026); Canterbury, Marlowe Theatre (Tuesday 20 – Saturday 24 October 2026); Birmingham, Alexandra Theatre (Tuesday 27 – Saturday 31 October 2026); Norwich, Theatre Royal (Tuesday 10 – Saturday 14 November 2026); Salford, The Lowry (Tuesday 17 – Saturday 21 November 2026); Brighton, Theatre Royal (Tuesday 24 – Saturday 28 November 2026); Bath, Theatre Royal (Tuesday 1– Saturday 5 December 2026); Leeds, Leeds Playhouse (Tuesday 8 – Saturday 26^th December 2026); Southampton, Mayflower Theatre (Wednesday 6 – Saturday 9 January 2027); Aylesbury, Waterside ,Theatre (Tuesday 12 – Saturday 16 January 2027); Cardiff, Wales Millennium Centre (Tuesday 19 – Saturday 23 January 2027); Belfast, Grand Opera House (Tuesday 26 – Saturday 30 January 2027); Edinburgh, King’s Theatre (Tuesday 2 –  Saturday 6 February 2027); Wolverhampton, Grand Theatre (Tuesday 9 – Saturday 13 February 2027); Sheffield, Lyceum Theatre (Tuesday 16 – Saturday 20 February 2027); Nottingham, Theatre Royal (Tuesday 23 – Saturday  27 February 2027); Aberdeen, His Majesty’s Theatre (Tuesday 2 – Saturday 6 March 2027); Shrewsbury, Severn Theatre (Tuesday 16 – Saturday 20 March 2027); Cambridge, Arts Theatre (Tuesday 23 – Saturday 27 March 2027); Plymouth, Theatre Royal (Tuesday 30 March – Saturday 3 April 2027); Bradford, Alhambra Theatre (Tuesday 6 – Saturday 10 April 2027); Newcastle, Theatre Royal (Tuesday 13 –  Saturday 17 April 2027); Hull, New Theatre (Tuesday 20 – Saturday 24 April 2027); Liverpool, Empire Theatre (Tuesday 27 April – Saturday 1 May 2027); Inverness, Eden Court(Tuesday 4 – Saturday 8 May 2027); Northampton, Derngate Theatre(Tuesday 11 – Saturday 15 May 2027); Dublin, Bord Gáis Theatre(Tuesday 18 – Saturday 22 May 2027) Cork, Everyman Theatre(Tuesday 25 – Saturday 29 May 2027)and Leicester, Curve Theatre(Tuesday 8 – Saturday 12 June 2027).

‘A night that leaves you spellbound. Jaw-clenchingly, arm-clutchingly thrilling’

The Guardian

Paranormal Activity reimagines the modern ghost story with an unsettling intimacy only theatre can provide. Immersing audiences in an atmosphere of creeping dread, unseen forces, and psychological tension, Levi Holloway’s script offers a bold reinterpretation of the original, blending domestic horror with mind-bending theatricality. Felix Barrett, known for breaking boundaries between audience and performer, brings his signature visionary style to the production. With innovative staging and chilling soundscapes, Paranormal Activity invites audiences to witness the inexplicable up close—and feel the fear in real time.

The creative team also includes Fly Davis as Set and Costume Designer, Illusions by Chris Fisher, Anna Watson as Lighting Designer, Gareth Fry as Sound Designer, Video Design by Luke Halls and Casting Direction by Ginny Schiller CDG.

‘A chilling evening: a cracking ghost story so skilfully delivered that it might follow you home.’

Financial Times

Released by Paramount Pictures in 2009, the original Paranormal Activity is a master class in psychological terror.  Reimagining the found footage genre for a new generation, the film became a global sensation, grossing nearly $200 million worldwide and kicking off a blockbuster franchise spanning seven feature films.  Now, the legacy of fear comes to the intimate world of the theatre as the terrifying phenomenon transitions to the West End stage. Get ready to experience Paranormal Activity in real life.

‘Will I be scared? Yes. How scared? Very. Cleverly, too.’ 

Chicago Tribune

Paranormal Activity is produced by Simon Friend & Hanna Osmolska for Melting Pot in association with Gavin Kalin, Ken Davenport, Jenny King, Patrick Gracey, Jonathan & Rae Corr and Leeds Playhouse.

Age recommendation – 15 +

DISNEY PRINCESS – THE CONCERT

TO EMBARK ON MAJOR

UK & IRELAND TOUR

FROM MARCH 2027

WITH 5 PERFORMANCES AT LONDON’S

ROYAL FESTIVAL HALL

NEXT EASTER

Disney Concerts and Cuffe & Taylor are delighted to announce that DISNEY PRINCESS – THE CONCERT will embark on a major UK and Ireland tour for the first time from March 2027, with 5 performances over the Easter break at London’s Royal Festival Hall.

For generations, the music of Disney’s princesses has been the soundtrack to our lives. Now, these beloved songs come alive on stage with a host of acclaimed Broadway and West End stars in DISNEY PRINCESS – THE CONCERT.

Your every dream will come true as larger-than-life animation and theatrical effects immerse the audience in pure Disney magic, while these powerhouse talents sing your favourite princess, hero and (yes!) villain songs, and share behind-the-scenes stories from their time on the stage and screen.

We invite you to relive your VHS glory days, dress up in your favourite royal attire, and share the joy of Disney with your loved ones at this internationally acclaimed concert experience. Be part of our world at DISNEY PRINCESS – THE CONCERT!

DISNEY PRINCESS – THE CONCERT has played 20 countries on 5 continents since its premiere in 2021, including two US tours of more than 100 cities, and tours the UK and Ireland for the first time in 2027.

The show features iconic songs from more than 29 films, including: “How Far I’ll Go,” “A Whole New World,” “Just Around the Riverbend,” “Part of Your World,” “Almost There,” “Let It Go” and more!

Cast of Disney Broadway and West End talent to be announced in August.

DISNEY PRINCESS – THE CONCERT is produced in London by Disney Concerts, Broadway Princess Party, Cuffe & Taylor and Live Nation.

Running time: Approximately 1 hour and 45 minutes, including one 20-minute intermission.

Website:  www.disneyconcerts.com/ cuffeandtaylor.com

Facebook: @DisneyConcerts/ @cuffeandtaylor

Instagram: @DisneyConcerts/ @cuffeandtaylor

TOUR LISTINGS INFORMATION

12 March 2027                        Warwick Butterworth Hall                              024 7649 6000                                       

                                                warwickartscentre.co.uk

13 March 2027                        Brighton Centre                                                                    

                                                brightoncentre.co.uk

14 March 2027                        Swansea Building Society Arena

                                                swansea-arena.co.uk

18 March 2027                        Portsmouth Guildhall                                    023 9387 0200

                                                portsmouthguildhall.org.uk

19 March 2027                        Leicester De Montfort Hall                             0116 233 3111

                                                demontforthall.co.uk

20 March 2027                        Torquay Princess Theatre

                                                atgtickets.com/torquay

21 March 2027                        Norwich Theatre Royal                                  01603 630 000

norwichtheatre.org                                          On sale soon

24 March 2027                        Peterborough New Theatre                          01733 852992

newtheatre-peterborough.com

25 March 2027                        Nottingham Royal Concert Hall                    0115 989 5555

                                                trch.co.uk

27 March 2027                        Hull City Hall                                                   01482 300 306

                                                hulltheatres.co.uk

28 – 30 March 2027                Royal Festival Hall, London                          020 3879 9555

                                                southbankcentre.co.uk                                    On sale soon

1 April 2027                             New Theatre, Oxford            

                                                Atgtickets.com/Oxford

2 April 2027                             Sunderland Empire

                                                atgtickets.com/sunderland-empire

3 April 2027                             Bradford Live

                                                trafalgartickets.com/bradford-live

4 April 2027                             Manchester Opera House

atgtickets.com/Manchester

6 April 2027                             Northampton Royal & Derngate                   01604 624811   

                                               royalandderngate.co.uk

8 April 2027                             Sheffield City Hall

                                                sheffieldcityhall.co.uk

9 April 2027                             York Barbican

                                                yorkbarbican.co.uk

10 April 2027                           Birmingham Symphony Hall

                                                bmusic.co.uk

11 April 2027                           Southend Cliffs Pavilion                                0343 310 0030

thecliffspavilion.co.uk

15 April 2027                           Carlisle Sands Centre                                    0333 33 55055

                                                thesandscentre.co.uk

16 April 2027                           Stoke Regent Theatre

atgtickets.com/regent-theatre

17 April 2027                           Ipswich Regent Theatre

ipswichtheatres.co.uk 

18 April 2027                           Cardiff Wales Millennium Centre

                                                wmc.org.uk

20 April 2027                           Belfast Waterfront Hall

                                                waterfront.co.uk

21 – 22 April 2027                   Dublin 3Olympia

                                                3olympia.ie

24 April 2027                           Bath Forum                                                    0161 832 1111

                                                bathforum.co.uk

25 April 2027                           Liverpool Empire Theatre                 

atgtickets.com/liverpool

27 April 2027                           Bournemouth Pavilion

                                                bournemouthpavilion.co.uk

29 April 2027                           Aberdeen Music Hall

                                                aberdeenperformingarts.com/music-hall

30 April 2027                           Edinburgh Playhouse

                                                atgtickets.com/Edinburgh

1 May 2027                             Glasgow SEC Armadillo

                                                sec.co.uk

2 May 2027                             Gateshead, The Glasshouse

                                                theglasshouseicm.org

The Glitch – until 22^nd June 2026

Reviewed by Heather Chalkley

4****

Award winning writer James Rushbrooke has captured the essence of a young women’s emotional journey through cancer, drawing on his experience working with children and young people. The shades of dark and light are well balanced to draw the audience in to this very human story. 

Stuart (Pete Ashmore) reminds me of so many compassionate, dedicated charity workers I have had the pleasure of knowing during my own career in the voluntary sector. Ashmore (Stuart) delivers a warm, believable performance, not shying away from the honesty built into the script. The tussle with ‘policy and procedure’ combined with mistakes made in paperwork, give you a real sense of the pressure Stuart (Ashmore) and many other charity workers like him experience every day.

 Zara (Myla Carmen) offers you an insight into the complexities of family relationships and an innate need to be heard before she dies. Carmen (Zara) gives a depth of emotion that visibly touches the audience, ranging from anger, pain, frustration to sorrow, love, vulnerability. Carmen (Zara) is able to bounce from a wise 17 year old who knows her own mind, to the inner child that needs the love of her parents.  

Together Ashmore (Stuart) and Carmen (Zara) create a bond on set that is palpable. Ashmore switches between charity worker and Zara’s dad seamlessly, giving both characters their own distinct identity. Carmen (Zara) is sometimes so quiet you are made to strain to hear, however well pronounced the script. However, Carmen also offers you humour in her portrayal of the charity bosses and gentle ribbing of Stuart (Ashmore) and his hand puppets! 

The stripped back set gives an intense focus on the two actors, with no where to hide. The lighting, sometimes glaring straight into the audience’s eyes, can do with a little adjustment.  

This play is well worthy of its awards, touching you in many ways – expect both tears and laughter.

Prince Edward Theatre, London W1 – until 17 April 2027

Reviewed by Phil Brown

4****

If, like me, you have never endured/enjoyed a Beetlejuice or even a Betelgeuse experience before, but are nevertheless gothic horror comedy curious, you need to prepare carefully.  

Step 1 is to deactivate the brain circuitry responsible for the rational part of your mind.  Step 2 is to recognise that you have strayed into cult territory – most of the audience will be dressed as characters from the show and will be going merch crazy.  Step 3 is to suspend any remaining critical faculties and go with the flow of one of the most preposterous and bizarre fantasies this side of the Arabian Nights.  Step 4 is simply to soak up the creative ambition, superb effects and phenomenal production values on display in this ultra slick, brilliantly presented musical.

This show has been a long time in gestation.  The Beetlejuice cult was originally kicked off by the 1988 Oscar winning (for make-up) film directed by Tim Burton.  A critical and commercial success, it went on to spawn all manner of media spin-offs plus a US musical in 2018 and a movie sequel in 2024.  

The pleasingly informative programme goes into some fascinating detail about the development of the stage musical which was written by Scott Brown and Anthony King, with music and lyrics by Australian Eddie Perfect.  Excellent work guys.  There is a palpable, informal, improvisational feel to the show, and it’s a lot funnier than I expected.  Songwriter Perfect keeps the humour going in his lyrics and has written some strong tunes such as the ballad “Invisible” which opens the show.   Some songs like “Dead Mom” and “Say My Name” already have a fan following before this opening.   The score mixes a range of musical styles from rock to classic show tunes to balladry which all fit quite seamlessly in the flow.

Ludicrous story aside, the show is an absolute feast for the eyes and ears, possibly teetering on the edge of sensory overload.   This may be because there are 10 (yes 10) main designers, not to mention super choreography (Connor Gallagher) and music supervision (Kris Kukul).  Sets (David Korins), costumes (William Ivy Long), lighting (Kenneth Posner), sound (Peter Hylenski), projection (Peter Nigrini), puppets (Michael Curry), special effects (Jeremy Chernick), and magic and illusion (Michael Weber) all made impressive impacts throughout the two hour extravaganza.  In addition, there are clever up to date references for the West End such as to Paddington.   All of which underlines how fastidious and skilful director Alex Timbers has been in pulling together a real humdinger of a show.  You get the feeling that the whole production team has pulled out all the stops to make this a hit.

The plot as briefly as possible…  

Charles and goth teenage daughter Lydia Deetz suffer the death of wife/mother Emily Deetz. Meanwhile, cloyingly lovey-dovey and conventional Adam and Barbara Maitland accidentally perish at their beloved country home as the result of botched DIY.  Consumed with grief and work, Charles decides to buy the Maitland’s house in order to make a fresh start, against the wishes of emotionally isolated and depressed, Lydia.  (So far, so realistic).  But as ghosts, the Maitlands want to rid their forever home of the Deetz family and summon up exorcist demon Beetlejuice to help. Beetlejuice is dead but wants to be alive and able to fully exploit his powers to create chaos and mayhem.  This needs someone, anyone, living, to say his name three times. He targets Lydia Deetz, who is living but desperately wanting death to bring her closer to her mother.  The fifth character in the mix is Delia – life coach and Charles’ new lover.  

Act 1 concludes with Beetlejuice back from the dead and generating pandemonium at a big Deetz dinner party, possessing the guests into singing “Day-O” (the Banana Boat Song).  Apparently, the 1988 film used four Harry Belafonte songs because they were cheap to licence and provided an upbeat, high-energy contrast to the slightly macabre ghost story.

Act 2 moves ever further into farce with the quest to find Lydia’s mother leading to adventures in “the Netherworld”, created by a deceptively simple telescopic effect stage set.  With Charles still engulfed in grief, Lydia consults the “Handbook of the Recently Deceased” to open a door into the Netherworld.  She, Charles and the Maitlands set off deep into the realm of the dead, experiencing bizarre encounters with harsh customs official, Juno (also Beetlejuice’s mother) and Miss Argentina.  Whilst lost, Lydia and Charles eventually open up about their sorrow and connect.  To save everyone from his vengeance, Lydia then agrees to marry Beetlejuice, allowing him to come fully alive, only to double cross the demon and dispatch him back to the Netherworld.  His mother Juno shows up but is devoured by a giant sandworm ridden by Beetlejuice.  In a happy ever after conclusion, Charles, Delia and Lydia agree to live in peaceful co-existence with the friendly ghosts of the Maitlands.  Weird!

The evening feels more like a one-off event than a regular show.  There is a definite gothic carnival feel to the Prince Edward Theatre with many of the audience dressed in black and white stripes and raucous cheering for each showcase routine on stage.  The show itself is loud, fast, chaotic, musically complex and rich in colour and detail.  

Although, the very first thing to make an impression is the eye-catching staging and lighting, the true star of this show is the exceptional David Fynn as Beetlejuice who leads the cast with extraordinary zeal, devilish charm and more manic energy than any self respecting corpse has a right to possess.  He also acts as a master of ceremonies talking to the audience and occasionally interacting to great comic effect.   A scintillating bravura performance.   Hannah Nordberg also impresses as grieving daughter Lydia Deetz with strong vocal performances of all her key songs.  These two leads are backed up superbly by a brilliant team – the supporting cast, the dance ensemble who deliver several dynamic routines on a crowded stage and the wonderful orchestra who worked their socks off faultlessly in a demanding gig.  

Overall, Beetlejuice, The Musical, The Musical, The Musical is quite breathtaking in its exuberant, flat out and flawless execution.  It’s unashamedly absurd in concept but some of the best fun in practice.  I fully expect this will be A West End Hit, A West End Hit, A West End Hit. 

THE ORIGINAL WEST END CAST

RETURN TO

JOINED BY BRYONY CORRIGAN

AS ELENA POPOVA

8 WEEKS ONLY FROM 1 AUGUST TO 26 SEPTEMBER 2026

London’s Adelphi Theatre

www.spiescomedy.com

This summer the temperature is high, and so are the steaks, as the original West End cast return to The Comedy About Spies at London’s Adelphi Theatre from 1 August for 8 weeks only.  They are joined by original Mischief member Bryony Corrigan as Elena Popova.

The full cast is Bryony Corrigan (Elena Popova), David Hearn (Lance Buchanan), Adele James (Rosemary Wilson), Chris Leask (Sergei Ivanov), Henry Lewis (Douglas Woodbead), Henry Shields (Bernard Wright), Greg Tannahill (Albert Tipton), Nancy Zamit (Janet Buchanan), Macadie Amoroso (Ensemble/Understudy), Adam Byron (Ensemble/Understudy), Matt Cavendish (Ensemble/Understudy), Allie Dart (Ensemble/Understudy), Niall Ransome (Ensemble/Understudy) and Ashley Tucker (Ensemble/Understudy).

The Comedy About Spies recently won the WhatsOnStage Award for Best New Play and was nominated for an Olivier Award for Best New Entertainment or Comedy Play following the hit’s critically acclaimed sold-out 21-week West End run in 2025.

Tickets are available from www.SpiesComedy.com with prices from £15.

MISCHIEF’s The Comedy About Spies is written by original MISCHIEF members Henry Lewis and Henry Shields and directed by Matt DiCarlo. Set Design is by David Farley, Costume Design by Deborah Andrews, the Movement Director is Shelley Maxwell, Lighting Design is by Johanna Town and Sound Design and Composition is by Jon Fiber for Jollygoodtunes, Casting is by Lucy Jenkins CDG & Sooki McShane CDG, Additional Casting is by Heather Basten CDG CSA and the Executive Producer is Jonathan Sayer.

Henry Lewis said:  “We are so excited to bring The Comedy About Spies back to the West End. It’s a particular treat to be playing the magnificent Adelphi Theatre. It’s a venue synonymous with long running musicals and so we’re honored that The Comedy About Spies will be the first play presented there in over 14 years.”

When a rogue British agent pilfers plans for a top-secret weapon, CIA and KGB spies converge on London’s Piccadilly Hotel in pursuit of the elusive file. Add to the mix a clueless young couple, a hapless actor angling for the role of James Bond, and enough double agents to confuse even the sharpest operative, and you’ve got a mission that’s hilariously out of control.

With over 12 impressive years of bringing laughter to the West End, MISCHIEF show no sign of slowing down in 2026. This year, as well as having The Play That Goes Wrong and The Comedy About Spies running simultaneously in the West End, MISCHIEF have just premiered their first-ever musical, Thespians at The Mercury Theatre in Colchester.  With book and lyrics by Mischief Creative Director and Original Founding Member Jonathan Sayer, music and lyrics by Ed Sanders, and directed by Robyn Grant, it is on a short tour, closing at HOME in Manchester in July.

Following a sold out UK Tour and 8-week West End season last year, Christmas Carol Goes Wrong will return to the West End this Christmas to cause chaos with a run at Wyndham’s Theatre, tour the UK from October 2026 – February 2027, make its North American Premiere in Los Angeles from December 2026 and play Australia in December.

Mischief are also back at Shedinburgh Fringe in August, with a silly and poignant new work-in-progress called We have a problem (WIP) by Charlie Russell and Henry Shields. 

The Play That Goes Wrong continues to perform to sell-out audiences in the West End after 12 smash-hit years, is also celebrating 9 years in New York in April, and is being performed in multiple languages worldwide every day in 2026.

Last year the production was the most watched show at the Sydney Opera House, Australia, celebrated its 4001st  performance in May 2026 at the Duchess Theatre, London, and Henry Lewis, Jonathan Sayer and Henry Shields were listed in the top 10 most produced playwrights across North America and Canada. 

In 2025 MISCHIEF filmed the original casts of both The Comedy About Spies and Christmas Carol Goes Wrong, adding these live captures to the digital content portfolio with Mischief Movie Night In and The Goes Wrong Show. 2026 will bring opportunities for audiences to stream, watch and laugh all over again. 

The Comedy About Spies is presented by Kenny Wax and Stage Presence in association with Jo Danvers.

Leeds Grand Theatre – until Saturday 30th May 2026

Reviewed by Adam Craddock

5*****

I had the privilege to be invited along to the stunning Leeds Grand Theatre to review the new stage show “The Karate Kid: The Musical”. I have to say that I was somewhat hesitant for this show, I have never watched the films (I know… shocking!) and we are in the middle of an unbearable heatwave so I was not looking forward to sitting in a packed theatre with little to no AC, however I must say that I was absolutely blown away by this production.

The show follows Daniel Larusso, a young New Jersey native who has just moved to California, as he struggles to integrate in the new community and runs up against a group of young karate practitioners training at the dojo Cobra Kai. Larusso seeks the help of the mysterious handyman Mr Miyagi and learns the way of Karate. As someone who has not seen the films (I only know the very basics, wax on wax off etc) I was apprehensive about how much would go over my head but I was pleasantly surprised that you needed no foreknowledge of the story to enjoy this show.

Gino Ochello stars as Daniel Larusso. Ochello screams of a future Evan Hansen, with a beautiful contemporary tone to his voice and a likeability that is very hard to come by. His vulnerable performance was spot on, never seeming needy but perfectly playing the underdog. Adrian Pang co stars as Mr Miyagi and I truly believe that this is one of the most perfect bits of casting we have seen. Pang brings such a brilliant quiet intelligence to the role, shining brightest for me in the moments when he is not saying anything, just watching. That is not to say however that his script work is not strong. Pang has impeccable comedic timing in this role and his relationship with Ochello was sublime. Bravo to both!

Abigail Amin was strong as Ali Mills, with a lovely tone to her voice and again a real likeability. That likeability can not be said however for Matt Mills and Joe Simmons who play John Kreese and John Lawrence respectively. Mills is deliciously villainous as the sensei of Cobra Kai with a real ruthlessness to his portrayal and Simmons plays the role of the Jock type character perfectly, really making you root even more for Larusso. Sharon Sexton is warm as Lucille Larusso. Sexton brings some real softness to this show and plays the role of a modern mother to perfection.

I know I keep using that word, perfection, but that truly for me is the word that best summarises this show. I struggle to think of a new musical that I have enjoyed this much for quite some time. The direction was brilliant, with time being allowed to the actors to let their characters breathe in the quiet moments. The choreography was out of this world, a brilliant blend of commercial and lyrical aspects with rises and falls in attack and flow as the story required. I particularly enjoyed the use of the ensemble as almost the spirit of karate for Mr Miyagi. This type of interpretive lyrical movement would normally make me roll my eyes but it worked to perfection here. The lighting and sound design were both perfect, and the sets almost were except for the shuttering that got stuck every time it came on stage, a minor hiccup that I am sure will be sorted by time this review is out.

Overall I could not recommend this show in a higher regard, this is one of the best new musical for me at least in the last decade if not more and really needs to be seen to be appreciated. So please get down to Leeds Grand before it leaves town. Go on, (karate) chop chop!

CASTING IS COMPLETE FOR THE

UK AND IRELAND TOUR OF

HIT COMEDY MUSICAL

MRS. DOUBTFIRE

HELP IS ON THE WAY, DEAR!

www.mrsdoubtfiremusical.co.uk

Casting is complete for the UK & Ireland tour of Mrs. Doubtfire the hit West End and Broadway comedy musical which opens at the Birmingham Hippodrome with performances from 13 August – 19 September 2026.

The beloved Scottish nanny will then tour to Newcastle, Plymouth, Leeds, Dublin, Glasgow, Southampton, Liverpool, Cardiff, Nottingham, Sheffield, Milton Keynes, Aberdeen and Canterbury with many more cities to be announced.

Full tour dates and tickets here: mrsdoubtfiremusical.co.uk. 

As previously announced, the UK and Ireland tour of Mrs. Doubtfire will star Gabriel Vick as Daniel Hillard following his acclaimed performances in the West End.

Gabriel will be joined by Kara Lily Hayworth as Miranda Hillard, Aaliya Mai as Lydia Hillard, Ryan Pidgen as Frank Hillard, Jairus McClanahan as Andre Mayem, James Darch as Stuart Dunmire, Samuelle Durojaiye as Wanda Sellner, Carl Patrick as Mr Jolly/Judge, Kiera Haynes as Janet Lundy and Rhianne Alleyne as Flamenco Singer. Adam Colbeck-Dunn is the Alternate Daniel Hillard and will perform at certain performances.

Mrs. Doubtfire also introduces Charlie Banks, Alexander Beaumont, Joshua Miles and Dexter Pulling who alternate the role of Christopher Hillard and Santi Cohen, Harly Gill, Mila Isaacs and Hattie Leddington Wright who alternate the role of Natalie Hillard.

The cast is completed by Zac Adlam, Rhona Butler, Joshua Clayton, Emma Dempsey, Abigail Eustis, Amy Louise Everett, Austin Garrett, Cruz-Troy Hunter, Nicholas Leon Jones, D’Mia Lindsay-Walker, Jordan Livesey, Michael Nelson, Lucy May Pollard, Paulo Teixeira, and Natalie Thorn.

A hilarious and heartfelt story about holding onto your loved ones against all odds, Mrs. Doubtfire is the musical comedy we need right now.

Out-of-work actor Daniel will do anything for his kids. After losing custody in a messy divorce, he creates the ​alter ego of Scottish nanny Euphegenia Doubtfire in a desperate attempt to stay in their lives. As his new character takes on a life of its own, Mrs. Doubtfire teaches Daniel more than he bargained for about how to be a father.

Mrs. Doubtfire has been created by a transatlantic team of award-winning artists, with Original Music and Lyrics by Wayne Kirkpatrick and Karey Kirkpatrick, and a Book by Karey Kirkpatrick and John O’Farrell. Direction is by 4-time Tony winner Jerry Zaks, Choreography by Lorin Latarro, and Music Supervision, Arrangements & Orchestrations by Ethan Popp. Scenic Design is by David Korins, Costume Design by Catherine Zuber, Lighting Design by Philip S. Rosenberg, Sound Design by Gareth Owen, Original Hair Design by David Brian Brown, Hair and Wigs Designs by Sam Cox, UK Make-Up Designs by Craig Forrest-Thomas, Casting by Stuart Burt and Children’s Casting Director is Verity Naughton.

Mrs. Doubtfire is produced by Kevin McCollum and Jamie Wilson and is presented by special arrangement with Buena Vista Theatrical. 

LISTINGS INFORMATION

MRS. DOUBTFIRE
THE HIT COMEDY MUSICAL
www.mrsdoubtfiremusical.co.uk
Facebook/Twitter/Instagram: @DOUBTFIREUK

13 August 2026 – 19 September 2026
Birmingham Hippodrome
birminghamhippodrome.com

23 September 2026 – 11 October 2026
Newcastle Theatre Royal
theatreroyal.co.uk

20 October 2026 – 7 November 2026
Theatre Royal Plymouth
theatreroyal.com
 
10 November 2026 – 29 November 2026
Leeds Grand Theatre
leedsheritagetheatres.com
 
2 December 2026 – 3 January 2027
Bord Gais Energy Theatre, Dublin
ticketmaster.ie

12 January 2027 – 31 January 2027
Kings Theatre, Glasgow
atgtickets.com/venues/kings-theatre-glasgow/
 
2 February 2027 – 28 February 2027
Mayflower Theatre, Southampton
mayflower.org.uk
 
2 March 2027 – 21 March 2027
Liverpool Empire
atgtickets.com/venues/liverpool-empire/
 
23 March 2027 – 11 April 2027
Wales Millennium Centre, Cardiff
wmc.org.uk
 
27 April 2027 – 16 May 2027
Theatre Royal Nottingham
trch.co.uk
 
18 May 2027 – 6 June 2027
The Lyceum, Sheffield
sheffieldtheatres.co.uk
 
8 June 2027 – 27 June 2027
Milton Keynes Theatre
atgtickets.com/venues/milton-keynes-theatre
 
30 June 2027 – 18 July 2027
His Majesty’s Theatre, Aberdeen
berdeenperformingarts.com
 
27 July 2027 – 15 August 2027
Marlowe Theatre, Canterbury
marlowetheatre.com
 
…more venues to be announced.

Theatre Royal, Portsmouth- until 30 May 2026

Reviewed by Lorna Hancock

4****

With book by Jeff Whitty, and music and lyrics by Robert Lopez and Jeff Marx. This rude, hilarious and heart-warming musical is celebrating it’s 20th anniversary this year with a West End revival, so what a great choice of performance for the multi award-winning Portsmouth Players as part of their centenary year celebrations. 

Avenue Q is a hilariously irreverent musical that follows a group of confused twenty-somethings, attempting to figure out life, love, work, and their purpose in a run-down New York neighbourhood. Blending catchy songs, sharp satire, and brilliant puppetry with some very adult humour, following the life of recent college graduate Princeton and his eclectic misfit neighbours. It could easily be described as the adult version of Sesame Street, with puppets facing some very real life issues from relationships and sexual identity to ambition and internet addictions. I must however note, that this musical (with songs such as ‘The Internet is for Porn’ and puppets performing explicit acts on stage) is not for the easily offended.

The musical started strongly with the song ‘It Sucks to be Me’, and we were introduced to all of the main characters. It was obvious from the beginning, that the stand out performer for me was Rosy Stephens playing Kate Monster, and as her story progressed, I was extremely impressed by how much character and feeling she managed to portray through her puppet. With superb vocals she really showed the awkwardness of an early relationship through her song ‘Mix Tape’, and a touching rendition of ‘There’s a Fine, Fine Line’, depicting the confusing thin line between love and friendship that I’m sure many audience members relate to. I also loved her duet with Rod (Charlie Frame) ‘Fantasies Come True’, such impressive vocals and the two sounded brilliant together, my only complaint was that this song wasn’t longer. Charlie played a brilliantly confused Rod and his performance overall was the other one that really stood out for me.

I have previously seen this show in the West End and The Portsmouth Players certainly did it justice. The cast was brilliant. It’s impossible to mention everyone, but I must mention Rachel Dean, always making us giggle with her excellent portrayal of Christmas Eve,  she also showed us her powerful vocals in the humorous song ‘The More You Ruv Someone’. I must also mention Adam Fox who really brought Princeton to life through his animated facial expressions. I similarly loved Ben Irish as Trekkie Monster and Matt Gibbins as Nicky.

All together, a thoroughly enjoyable evening, roars of laughter were regularly heard throughout the theatre. Although Princeton may have spent the show in search of his ‘Purpose’, it was quite clear to the whole audience that the purpose of this show was to make us laugh.