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WEST END TRANSFER ANNOUNCED FOR

TAMZIN OUTHWAITE AND KEVIN BISHOP IN

ABIGAIL’S PARTY

WITH PANDORA COLIN, OMAR MALIK AND LAUREN PATEL

WRITTEN BY MIKE LEIGH

DIRECTED BY NADIA FALL

HAROLD PINTER THEATRE
WEDNESDAY 12 AUGUST – SATURDAY 19 SEPTEMBER 2026
FOLLOWING UK NATIONAL TOUR

Theatre Royal Bath Productions are delighted to announce a West End transfer for the critically acclaimed Theatre Royal Stratford East production of Abigail’s Party.

Mike Leigh’s ferocious black comedy of suburban life, social class, materialism and sexual tension in 1970s England is directed by Nadia Fall and will play a limited season at the Harold Pinter Theatre from Wednesday 12 August to Saturday 19 September 2026, following a pre-announced UK national tour.

Tickets for the West End run will go on sale at 12pm today, Tuesday 26 May through atgtickets.com.

Television and stage actress Tamzin Outhwaite plays Beverly, one of the most iconic characters in British theatre. Outhwaite is much-loved from her television roles including EastEnders, Red Cap, Hotel Babylon and New Tricks. Her previous stage credits include Boeing, Boeing, How the Other Half Lives, Stepping Out, and The Haunting of Alice Bowles. She was a judge on the UK television programme Don’t Stop Believing  and in 2021 was unmasked as Scarecrow in the final of The Masked Dancer.

Comedian, actor and writer Kevin Bishop plays Laurence. Bishop is known for many roles in film and television including The Kevin Bishop Show, (which he also co-wrote), Muppet Treasure Island, the British Comedy Award winning Star Stories and the 2016 revival of Porridge. On stage he had roles in West End productions of Pete and Dud Come Again, Fat Pig, and Lady Windermere’s Fan as well as Fully Committed (Menier Chocolate Factory), and Once In A Lifetime (Young Vic). Further screen credits include Daddy Issues, Strike, Inside No. 9, Gangster Granny Strikes Again!, Agatha Raisin, Tracey Ullman’s Show, The Rat Pack, Plebs, The Detectorists, Murder In Successville, Benidorm, Hotel Babylon, Peep Show, Love Soup, My Family, David Brent: Life on the Road and Horrible Histories: The Movie. He is also the voice of the fictional lead singer of British virtual band Gorillaz.

Pandora Colin plays Sue.  National Theatre credits include Ballet Shoes, Dear Octopus, After The Dance, Every Good Boy Deserves Favour, Some Trace of Her and Women of Troy as well as Cow|Deer (Royal Court), Antigone and Our Town (Regent’s Park Open Air Theatre) and Bach and Sons (The Bridge). Screen credits include The Diplomat, Eric, Andor, Flatshare, Master of None, Chernobyl, Line of Duty, Count Arthur Strong, Penny Dreadful, Delicious, Toast of London, Black Books, Earwig And The Witch, The Lady In The Van, I Give It A Year, and Run, Fat Boy and Run.

Omar Malik plays Tony. Theatre credits include A Midsummer Nights Dream (Birmingham Rep), Marriage Material (Lyric Hammersmith/Birmingham Rep), My Beautiful Laundrette (Leicester Curve/Leeds Playhouse) East is East (Nottingham Playhouse/Northern Stage) and Gangsta Granny UK Tour. Screen credits include TV credits include: The Tower, Coronation Street, Hollyoaks, No Offence, The Tracey Ullman Show, The Dumping Ground, Behind the Filter, Doctors, Hounslow Diaries, Call the Midwife, Holby City, Moving on, and Young Dracula.

Lauren Patel plays Angela. Theatre credits include The Empress and Falkland Sound (RSC) and A Christmas Carol (Bolton Octagon). Screen credits include Wallace and Gromit: Vengeance Most Fowl, The Effects Of Lying, White Pudding Supper, Everybody’s Talking About Jamie, Small Prophets, Waterloo Road and Lloyd Of The Flies.

Essex, 1977. Beverly is hosting, the alcohol is flowing, Demis Roussos is on the record player and the cheese and pineapple cocktail sticks are ready to go. Queen of the castle in her suburban semi, Beverly and husband Laurence welcome new neighbours Angela and Tony round for drinks. Sue from next door is invited too but the real party is happening back at her place, as Sue’s teenage daughter Abigail can’t seem to keep the racket down. Awkward small talk quickly descends into inappropriate flirtation and marital disputes: a soiree from hell, but it’d be rude to leave… 

Abigails Party is written by Mike Leigh whose many accolades include prizes at the Cannes Film Festival, the Berlin International Film Festival, and the Venice International Film Festival, three BAFTA Awards, and nominations for seven Academy Awards. Notable work includes Topsy-Turvy, Vera Drake, Happy Go Lucky, Mr. Turner, Naked and Secrets and Lies. He wrote and developed Abigail’s Party through extended improvisations with the original cast, including Alison Steadman in a career launching role as Beverly. The play premiered at London’s Hampstead Theatre in 1977, before being recorded and televised on the BBC’s Play for Today. It has regularly been revived on stage in the decades since.  

Director Nadia Fall is currently the Artistic Director of the Young Vic and was formerly Artistic Director of Theatre Royal Stratford East where her directorial credits include a hit revival of Equus, August Wilson’s King Hedley II and Noye’s Fludde in collaboration with the English National Opera, which won the Olivier Award for Outstanding Achievement in Opera. National Theatre credits include The Doctor’s Dilemma and Home. She also worked with London’s Hampstead Theatre and Bush Theatre, where she directed Taylor Mac’s Hir.

The world class creative team is completed by Set and Costume Designer Peter McKintosh, Lighting Designer Howard Harrison, Sound Designer Alexandra Faye Braithwaite, Movement Director James Cousin and Casting Director Amy Ball CDG.

LISTINGS

WEST END PRODUCTION:

Harold Pinter Theatre
6 Panton Street, London, SW1Y 4DN
Wednesday 12 August to Saturday 19 September 2026
atgtickets.com

UK TOUR:

16 June – 20 June 2026
Malvern Theatres
malvern-theatres.co.uk

22 June – 27 June 2026
Theatre Royal Bath
theatreroyal.org.uk

1 July – 4 July 2026
Fareham Live, Fareham
trafalgartickets.com/fareham-live-fareham

6 July – 11 July 2026
Brighton Theatre Royal
atgtickets.com/venues/theatre-royal-brighton

13 July – 18 July 2026
Curve, Leicester
curveonline.co.uk

20 July – 25 July 2026
Richmond Theatre
atgtickets.com/venues/richmond-theatre/

3 August – 8 August 2026
The Arts Theatre, Cambridge
artstheatre.co.uk 

THE WEST END’S SUPERNATURAL HIT

EXTENDS FOR A FOURTH TIME FOLLOWING PHENOMENAL DEMAND

RETURNING TO THE AMBASSADORS THEATRE FROM TUESDAY 11 AUGUST 2026

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

Following the recent announcement that Paranormal Activity is set to return to its West End home, the Ambassadors Theatre, this summer, producers Melting Pot are today delighted to announce the nerve-shredding scare-fest’s fourth extension, following terrific demand ahead of reopening in the capital on Tuesday 11 August 2026. Tickets for the new booking period, Monday 5 October – Saturday 7^th November, go on sale today, Tuesday 26 May at 10am at www.paranormalonstage.com.

Please note that, from Tuesday 11 August 2026, the show’s performance schedule will be evenings Monday – Saturday at 7.30pm with Friday and Saturday matinees at 2.30pm.

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.

Full casting to be announced.

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 Ambassadors Theatre from Friday 5 December 2025 – Saturday 25 April 2026, 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.

James and Lou move from Chicago to London to escape their past, but they soon discover that places aren’t haunted, people are… Inspired by the iconic, terrifying film series, Paranormal Activity is a new story live on stage.

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.

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 Stuart Burt CDG and Ginny Schiller CDG and Associate Director, Anna Marshall.

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

Chicago Tribune

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.

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 +

THE OLIVIER AWARD-WINNING SMASH HIT COMEDY

WRITTEN BY TONY^® AWARD-WINNER

COLE ESCOLA

DIRECTED BY TONY^® AWARD-WINNER

SAM PINKLETON

EXTENDS BOOKING AT TRAFALGAR THEATRE

UNTIL 2 JANUARY 2027!

COLE ESCOLA

TO MAKE THEIR WEST END DEBUT

REPRISING THEIR TONY^® AWARD-WINNING ROLE

AS MARY TODD LINCOLN

FOR 4 WEEKS ONLY

FROM 20 JULY UNTIL 15 AUGUST 2026

TICKETS TO SEE COLE ESCOLA GO ON SALE FROM

11.00AM ON FRIDAY 27 MAY

SIGN UP FOR PRIORITY ACCESS

Producers Kevin McCollum & Lucas McMahon and Mike Lavoie & Carlee Briglia are delighted to announce that the Olivier and Tony Award-winning smash hit comedy OH, MARY! will extend booking at Trafalgar Theatre until 2 January 2027.

Cole Escola will make their West End debut reprising their Tony Award-winning role as Mary Todd Lincoln for a strictly limited 4-week season from 20 July until 15 August 2026. Sign up for priority booking to see Cole Escola by visiting ohmaryplay.co.uk. The sign-up window will close at 5.00pm UK time on Thursday 28 May 2026. A priority booking link will be emailed to those who have signed up, and priority booking will open from 11.00am UK time on Friday 29 May 2026. Public booking will open at 3.00pm UK time on Friday 29 May 2026. 

Access bookers will have a 48-hour priority window to book their access seats, from 11.00am UK time on Wednesday 27 May 2026. Requests for these tickets should be emailed to access@trafalgar.global

OH, MARY! currently stars Catherine Tate as Mary Todd Lincoln, Kate O’Donnell as Mary’s Chaperone, Oliver Stockley as Mary’s Husband’s Assistant, with Dino Fetscher as Mary’s Teacher, and Scott Karim as Mary’s Husband.

Catherine Tate’s final performance as Mary Todd Lincoln will be Saturday 18 July. Casting for the role of Mary Todd Lincoln from Monday 17 August onwards is to be announced.

Cole Escola (they/them) is a comedian, actor and writer. For their work on Oh, Mary!, they received two Tony Award nominations, winning the Tony for Best Actor in a Play. They also received a New York Drama Critics’ Circle Special Citation, a Drama League Award, a Drama Desk Award, a Theatre World Award, two Outer Critics Circle Awards and an Obie Award for the show; the play was also named a 2025 Pulitzer Prize Finalist for Drama. Notable TV includes Search Party, At Home With Amy Sedaris, Difficult People (on which they also wrote), Man Seeking Woman, Mozart in the Jungle and Ziwe (for which they were also a writer). Cole consulted on Hacks for HBO and also wrote for The Other Two for Comedy Central. They were the co-creator, writer and star of the lo-fi cult-hit TV show Jeffrey and Cole Casserole, and were named one of Vanity Fair’s 25 Best Performances of 2023 for their special Our Home Out West and Best Sketch Comic of 2020 by the New York Times for their special Help! I’m Stuck!, which they filmed alone in their apartment during quarantine. Both self-produced specials are available on YouTube.

OH, MARY! is a dark comedy about a miserable, suffocated Mary Todd Lincoln in the weeks leading up to Abraham Lincoln’s assassination. Unrequited yearning, alcoholism, and suppressed desires abound in this 80-minute one-act play that finally examines the forgotten life and dreams of Mrs. Lincoln, through the lens of an idiot (playwright Cole Escola).

Declared “one of the best comedies in years” by The New York Times, OH, MARY! received Tony^® Awards for Best Leading Actor in a Play (Cole Escola) and Best Direction of a Play (Sam Pinkleton), Drama League Awards for Outstanding Play and Outstanding Direction of a Play, as well as a special citation from the New York Drama Critics’ Circle. It was named a finalist for the Pulitzer Prize for Drama.

OH, MARY! premiered off-Broadway at the Lucille Lortel Theatre in January 2024, before a Broadway transfer to the Lyceum Theatre in July 2024, where it broke box office records and continues to play to sold out audiences. It had its West End premiere at Trafalgar Theatre on 3 December 2025 and won Best Entertainment or Comedy Play at this year’s Olivier Awards. This Autumn, OH, MARY! will also launch a US National Tour.

In addition to Cole Escola (Writer) and Sam Pinkleton (Director), the full creative team includes dots (Scenic Designer), Holly Pierson (Costume Designer), Cha See (Lighting Designer), Daniel Kluger (Sound Design and Music), Drew Levy (Sound Designer), Leah J. Loukas (Wig Designer), David Dabbon (Arrangements) with Casting by Stuart Burt CDG. 

Associate creatives include Zoë Hurwitz (Scenic), Debo Andrews (Costume), Tom Turner (Lighting), Chris Reid (Sound), Kim Kasim (Wigs), and Caitlin Morgan (Music Direction).

OH, MARY! is produced in the West End by Kevin McCollum & Lucas McMahon and Mike Lavoie & Carlee Briglia with Bob Boyett, The Council, Jean Doumanian Productions, Nicole Eisenberg, Jay Marcus & George Strus, Irony Point, Richard Batchelder/Bradley Reynolds, Tyler Mount/Tommy Doyle, Nelson & Tao, Palomares & Rosenberg, ShowTown Productions, Jamie Wilson Productions and Wessex Grove.

The Executive producers of OH, MARY! at Trafalgar Theatre are Wessex Grove.

EMMA RICE COMPANY’S SMASH-HIT PRODUCTION OF

A CHILD’S CHRISTMAS IN WALES

TO RUN AT THEATRE ROYAL BATH THIS CHRISTMAS

★★★★★

“Exquisite Dylan Thomas adaptation has magic in every scene”

The Guardian

Following a critically acclaimed sell-out run at the company’s home base in Frome last year, the Emma Rice Company today announce the return of A Child’s Christmas in Wales at the Ustinov Studio, Theatre Royal Bath. Adapted and directed by Rice with music by Ian Ross, the production opens on 16 December, with previews from 9 December, and runs until 24 December. Casting for the production will be announced shortly.

Emma Rice said today, “We cannot wait to bring our magical show to Bath this Christmas. And oh! A Child’s Christmas in Wales will nestle beautifully in The Ustinov! Sat invitingly between the spectacular of the Main House and the family fun of The Egg, this breathtaking production offers something a little different – a warm, funny, and heartfelt escape from all thatChristmas noise. This precious and surprising show is brim-full of music, memories, storytelling and timeless humanity. A festive gift indeed.”

In addition, the company’s production of Malory Towers is currently touring the UK, with North by Northwest about to begin a tour in the US, and later this year Tristan & Yseult will return for a tour, also opening at Theatre Royal Bath as part of the two companies’ three-year partnership, The Director’s Cut.

www.emmaricecompany.co.uk
Instagram: @EmmaRiceCompany

Facebook: @EmmaRiceCompany or Facebook.com/emmaricecompany

★★★★★

“Snow-stopping theatre”

Daily Mail

Dylan Thomas’

A CHILD’S CHRISTMAS IN WALES

Adapted and directed by Emma Rice

Music by Ian Ross

Lighting Designer: Malcolm Rippeth; Projection Designer: Simon Baker  

9 – 24 December

Ustinov Studio, Theatre Royal Bath

★★★★

“consummate inventiveness… a vivid, mischievous re-enactment”

The Times

When did Christmas become so hectic? Have you ever craved a break from the bright colours, bustling shops and music so loud you fear your ears will ring for days?

A Child’s Christmas in Wales is the perfect antidote to festive madness, taking young and old to a magical place of wit, warmth and wonder. Returning to the stage after a sell-out run at Christmas 2025, Dylan Thomas’ beloved poem is woven into a beautiful hour of heart-melting music, puppetry, candles, shadows and rare imagination.

★★★★

“an evocation of all the emotions that flood through Christmas”

WhatsOnStage

Emma Rice is the Artistic Director of Emma Rice Company and is an internationally respected theatre-maker and director. For Emma Rice Company she has adapted and directed A Child’s Christmas in Wales, North by Northwest, The Buddha of Suburbia, Blue Beard, The Little Matchgirl and Happier Tales, Wuthering Heights, Bagdad Café, Angela Carter’s Wise Children, Enid Blyton’s Malory Towers and Romantics Anonymous. As Artistic Director of Shakespeare’s Globe: Twelfth Night, A Midsummer Night’s Dream and The Little Matchgirl (and Other Happier Tales). Rice worked for Kneehigh as an actor, director and Artistic Director, creating critically acclaimed productions including: The Flying Lovers of Vitebsk, 946: The Amazing Story of Adolphus Tips, The Wild Bride, The Red Shoes, Cymbeline (in association with RSC), A Matter of Life and Death (in association with National Theatre), Brief Encounter (in association with David Pugh and Dafydd Rogers Productions), Don John (in association with the RSC and Bristol Old Vic), Wah! Wah! Girls (in association with Sadler’s Wells and Theatre Royal Stratford East for World Stages), and Steptoe and Son. She received the Outstanding Contribution to British Theatre award at the 2019 UK Theatre Awards.  

Ian Ross is a Bristol-based multi-instrumentalist and Composer and leads the band Eleven Magpies. Previous work with Emma Rice Company as Composer includes The Little Match Girl and Happier Tales (The Lucky Chance), Wuthering Heights (UK, US tour, The Holland Festival, Australia and Asia tour), Bagdad Café (Old Vic), Malory Towers (UK tour)and Wise Children (UK tour). Other theatre credits include: Brief Encounter, The Red Shoes, Don John, The Wild Bride, Tristan and Yseult, Dead Dog in a Suitcase, The Flying Lovers of Vitebsk, The Very Old Man with Enormous Wings, The Flying Lovers of Vitebsk (Kneehigh); Twelfth Night (Shakespeare’s Globe); The Cat and the Canary (Told by an Idiot and Chichester Festival Theatre) and The Winter’s Tale (Tobacco Factory Theatres).As Music Director, his credits include Girl from the North Country (Toronto 2019, Runway) and London Tide (National Theatre).

A Child’s Christmas in Wales                                                                                                                  

Listings:

Ustinov Studio, Theatre Royal Bath

Monmouth Street, Bath, BA1 1EY

www.theatreroyal.org.uk

Box Office: 01225 448844

9 – 24 December 2026

Adult tickets – £35; Concessionary tickets – £20 

Age guidance is 8+

PERFORMANCE SCHEDULE

Wednesday 9 December              6:30pm

Thursday 10 December                6:30pm                

Friday 11 December                     2:30pm & 7:30pm

Saturday 12 December                 2:30pm & 7:30pm          

Sunday 13 December                   11:00am & 2:30pm        

Tuesday 15 December                  6:30pm                

Wednesday 16 December            2:00pm – OPENING PERFORMANCE – & 7:00pm

Thursday 17 December                6:30pm

Friday 18 December                     2:30pm & 7:30pm          

Saturday 19 December                 11:00am, 2:30pm & 7:30pm      

Sunday 20 December                   11:00am & 2:30pm        

Tuesday 22 December                  11:00am, 2:30pm & 7:30pm      

Wednesday 23 December            11:00am, 2:30pm & 7:30pm      

Thursday 24 December                11:00am & 2:30pm        

www.emmaricecompany.co.uk
Instagram: @EmmaRiceCompany

Facebook: @EmmaRiceCompany or Facebook.com/emmaricecompany

Hull New Theatre – until 30th May 2026

Reviewed by Dawn Bennett

4****

Mean Girls, adapted from Tina Fey’s book, with music by Jeff Richmond and lyrics by Neil Benjamin, and based on the Paramount Pictures film, arrived at Hull New Theatre last night in impressive style.

With a brilliant cast and an outstanding ensemble, the production delivered an impressive performance and fully earned the ovation it received from the audience.

Cady Heron (Emily Lake) arrives from Kenya with her mother (Faye Tozer) and, tired of being home-schooled, enrols at North Shore High School. Having never attended school before, she is quickly introduced to the complex social politics of teenage life, including who to speak to, who to avoid, and where everyone fits in.

She soon befriends Damian Hubbard (Max Gill) and Janis Sarkisian (Sadie Levett), who introduce her to the school’s various cliques, from jocks to art freaks. Before long, Cady comes face to face with The Plastics, the school’s elite girl group: Gretchen Wieners (Kiara Dario), Karen Smith (Sophie Pourret), and their formidable leader, Regina George (Vivian Panka). Cady agrees to infiltrate the group and report back to Damian and Janis, but complications arise when she falls for Aaron Samuels (Ben Oatley), Regina’s ex-boyfriend. When Regina realises Aaron is beginning to return Cady’s feelings, she decides she wants him back.

The story then charts Regina’s fall from power and Cady’s rise in her place, along with the strain this shift places on all their friendships.

Under the musical direction of Tom Slade, the orchestra performed the score superbly. Combined with the strength of the cast, this made for a highly enjoyable evening at the theatre. Fans of the film are unlikely to be disappointed; this production is well worth seeing.

Royal and Derngate Theatre Northampton – 23rd May 2026

Review by Amanda Allen

4.5****

The Birmingham Royal Ballet, returned to Northampton with BRB2: Diaghilev and the Birth of Modern Ballet. This is Carlos Acosta’s Ballet Celebration, now in its 4th year, it is designed to spotlight rising stars and delivered a double bill that pays homage to ballet’s transformative past while celebrating its dynamic present. The production is a tightly curated journey through the revolutionary works of the Ballets Russes, the early 20th-century company that redefined the art form. Visually rich and stylistically diverse, the program includes faithful renditions of iconic pieces like Les Sylphides and Le Spectre de la Rose. These works not only demonstrate the dancers’ versatility but also contextualize Diaghilev’s influence as a curator of innovation.

The programme opened with a rendition of Les Sylphides, giving us a Classic, fluid and emotive start. The Dancer’s glide across the stage with serpentine grace, their bodies echoing the sensibility that Acosta has championed in recent years. The choreography is sculptural and organic, pushing the dancers beyond classical confines while highlighting their adaptability. Performed in a beautifully classic style this was an excellent introduction to an afternoon of sublime movement.

The second half opens with “Sheherazade”, a bravura pas de deux that demands both explosive power and classical precision. Here, the lead pair deliver a very satisfactory performance, with secure pirouettes, clean lines, and solid, confident, stage presence. It’s hard to believe these dancers are still at the start of their professional careers. The rest of the Second half showcased a vibrant selection of short works that highlight the versatility and commitment of the young dancers. From the very first piece, the ensemble demonstrates maturity beyond their years, with technically secure performances underscored by emotional depth. There’s an infectious passion on stage — a clear sign that Acosta’s nurturing influence and global vision have left an indelible mark on this next generation. The young BRB2 dancers rose to every challenge, embodying the character of the differing dances with astonishing control and nuance. Their energy was infectious, bringing fresh perspective to century-old choreography.

The entire programme was beautifully fluid, offering many a shift in tone and style. Acosta’s curation shows excellent classic choreography with a young ensemble at its best, reinforcing the importance of heritage in ballet, while also making a bold statement about its future. I particularly appreciated the calibre of dancing and the palpable sense of purpose the performance had from this young company, BRB2 is not merely a showcase; it is a statement — an investment in the future of British ballet. The dancers’ commitment and potential shine through in every phrase, and the audience is left with the sense that they are witnessing the emergence of new Ballet stars in the making.

The staging and set designs are simple but elegant with lighting and costume choices that allow the dancers and choreography to remain the central focus. The programme moves at a brisk and satisfying pace, never lingering too long on any one mood or style making for a performance that ended far too soon for me. My only disappointment is that there is not a training orchestra to go with the training ballet company, Live music would have been wonderful and would add an extra layer to the performance. This is a great way to introduce a new audience to the classical style of ballet with a contemporary twist, and I would encourage anyone to go along and see it if you can because by the time the curtain fell, it was clear that BRB2 is more than just a training ground — it’s a launchpad. Carlos Acosta’s vision is as inclusive as it is inspired, and this Ballet Celebration proves that the future of ballet is not only secure but scintillatingly bright.

Curve, Leicester – until 30th May 2026

Reviewed by Amarjeet Singh

4****

Bank of Dave The Musical is a joyous and uplifting production filled with humour, heart, and an unmistakable sense of togetherness. Inspired by the true story of Burnley businessman Dave Fishwick, we follow his determined journey to create a bank that puts people before profit.

Sam Lupton shines as Dave. Rather than playing him as a larger-than-life lad, Lupton presents a Dave who is warm and sincere. This elevates him beyond the stereotypical “white van man” into a relatable everyman. Lucca Chadwick-Patel provides a lovely contrast as Hugh, the reserved London lawyer who gradually finds himself won over by Burnley and its people. His comic delivery works well alongside Lauryn Redding, who brings confidence and charisma to her role as an accomplished but overworked doctor. Their bumbling, budding romance injects some cracking humour.

A strong ensemble helps bring Burnley vividly to life, creating a believable sense of community that runs through every scene. Their enthusiasm and energy are infectious. Hayley Tamaddon impresses as Nicky, Dave’s dedicated and exceptionally smart wife. Samuel Holmes is particularly memorable as Sir Charles Denbigh; his performance of “Rich Boys Club” will stay with me, as will Mark Peachey’s various embodiments of Cher.

Through Nikolai Foster’s deft direction, the production encapsulates the character of Lancashire beautifully. Foster keeps everything moving at a steady pace, allowing quieter scenes the space to resonate before launching back into the show’s lively musical numbers. Rob Madge’s book and lyrics bring enormous warmth and wit to the production. There is a compassionate understanding of community and class captured in the writing. The dialogue feels natural and full of local flavour. Madge gives the characters authenticity and emotional depth, making their relationships feel believable. The wisecracks, one liners and the strategically placed profanity is perfection.

The music by Pippa Cleary is a highlight. Drawing from a range of musical genres, the score feels fresh and energetic throughout. The upbeat numbers inject real momentum into the storytelling, while softer songs provide touching moments. Ebony Molina’s choreography enhances each number, while Amy Jane Cook’s design occasionally makes us feel as though we’ve wandered into a bonkers fever dream. The stage is framed by industrial skylines and set within a welcoming pub. Duncan McLean’s video design creatively transports us to different settings, from a Zelda-style game to the flames of “bankers’ hell”, adding another dimension to the performance.

Bank of Dave The Musical is a high-octane, thigh-slapping experience about a subject that doesn’t naturally lend itself to hi-jinks. Finance hardly screams fun or fabulous, but it all somehow works. With an infectious score and a message that genuinely hits home, we left the theatre smiling and fully embracing the power of community.

Jack Studio Theatre – until 23rd May 2026

Reviewed by Claire Roderick

3***

I have never managed to get all the way through a Charles Dickens book, so my memories of his tale of revolutionary France are all film-based. In particular I remember Christopher Lee as the dastardly marquis and Rosalie Crutchley’s chilling Madame Defarge. That 1958 version had a large, stellar cast, so I was intrigued to see Liz Love’s adaptation with an ensemble of seven actors.

The famous first lines are shared by Miss Pross (Nikki Claire Durrant) and Madame Defarge (Caroline Edwards) as they sit either side of the stage, in front of the union flag and the tricolour, knitting like the tricoteuses at the guillotine. Opening with the aftermath of the marquis fatally wounding a man trying to save his sister from the marquis’ brutality. Poor Doctor Manette (Joe Childs) is imprisoned to keep him quiet and a brisk jump forward sees his now adult daughter Lucie (Liv O’Connor) and her guardian Miss Pross collecting him from the care of the Defarges and sailing home to England. On this voyage they meet Charles Darnay (Aryan Chavda) who is accused of spying for the French but is defended in court by the mercurial Sidney Carton (Reece Lewis). These chance meetings set in motion Dickens’s twisting tale of love, honour, fanaticism and vengeance.

Love has trimmed the story and characters to create this 95-minute version that gallops through the plot but, after the slightly erratic first scene, never feels rushed under her direction with emotional moments given time to settle. Without the minor characters and hordes of revolting citizens the story and motivations of the main characters are easy to follow, and although there are some clunky exposition sequences from the knitting narrators, the sense of jeopardy and impending doom hanging over Darnay is palpable, and the haunting simplicity of the final scene is very effective.

James Connor’s lighting and sound design is suitably dark and moody, with a commendable attempt to convey the chaos of the storming of the Bastille with such a small cast.

Aryan Chavda impresses as Darnay – all stiff upper lip and smouldering stolen glances with Lucie, while Reece Lewis is a powerhouse of barely contained energy as the louche Carton, collapsing into tender despair as he talks of his love for Lucie. Liv O’Connor gives Lucie strength and gentility; Joe Childs gives a heartfelt performance as the broken doctor and Nikki Claire Durrant’s Miss Prost is bright and brittle. Vince Mathews is carelessly cruel as the marquis, and very funny as Carton’s hapless legal opponent and the solid Earnest Defarge. Caroline Edwards nails the cold fury of Madame Defarge, but the menace starts a little too fast and furious in the play, leaving her nowhere to go to ramp it up as events escalate, so when she finally runs around with her meat cleaver the effect is more comical than terrifying.

A concise and entertaining adaptation.

Union Theatre – 20th May 2026

Reviewed by Claire Roderick

3***

Kelly Thurston’s hard hitting but darkly funny one act play is an impressive 45 minutes that could be a wonderfully nuanced and provocative 90 minutes with further development.

The beanbags of the title function as symbols of comfort to the sisters Em (Helen Elizabeth Baird) and Becs (Bryony Davies) as they grow up and deal with their parents’ and their own relationship breakdowns. The lighting effects between scenes is slightly jarring but this may be a deliberate choice by director Emma Chatel as the characters’ lives are disrupted. Different colour beanbags are used to signal timelines as the narrative jumps between childhood memories of their mum (Emily O’Mahony) trying to get things done while dealing with her parents and their dad (Jacob Kay), always ready to deflect tension or serious talk with games and nonsense, and their adult lives.

The sisters are helping their mum pack up her house as she moves into a new flat after splitting from her boyfriend. Clearing out familiar things leads to talk about mental health and regrets about not being there for each other. Thurston captures the easy jibes and back and forth of sisterly conversations, and the love between the women shines through without becoming melodramatic. Becs has most of the best lines, and Bryony Davies delivers them with a natural charm. Flashbacks reveal Em’s mental health issues and the horrible reason why she is suffering. The effect on Em’s next relationship with Tom (Charlie Jennings) – not a good choice, but she can see that even with everything she is going through – is portrayed very clearly and succinctly, with a powerful scene where Em finally lets Tom know how she truly feels wonderfully written and devastatingly performed by Helen Elizabeth Baird.

It gets a little metaphysical – but in a very Northern way – as Em has conversations with her dead dad while searching for a last bit of tat in the attic, but the serious issues of life, death, moving on and dealing with trauma are handled with a deft touch, brilliant one liners and a dodgy Facebook marketplace transaction. The play ends on a tender note as mum tries to picture her life without the house in it, emphasising the comfort and memories of places and people we carry with us and hold tight to through our lives.

Beanbags is an enjoyable and emotional play. A longer runtime would allow further unpicking of themes and ideas that are skimmed over this one act production, providing more backstory and more sisterly banter/therapy about the serious issues dealt with in the play. Here’s hoping talented writer Kelly Thurston has the chance to give these relatable and spirited sisters even more warm and witty heart to hearts.

Off Main Stage ‘s Union Shorts One Act Festival continues until 29th May. Listings and tickets available here: https://uniontheatre.biz/whats-on/

NINA TASSLER, JENNY WARBURG AND WILD YAK

PRESENT

ACADEMY, GOLDEN GLOBE AND EMMY AWARD WINNER

CHRISTINE LAHTI

TO MAKE LONDON STAGE DEBUT THIS SUMMER

IN HER ACCLAIMED AUTOBIOGRAPHICAL PLAY

THE SMILE OF HER

(IN ASSOCIATION WITH GLORIA STEINEM)

MARYLEBONE THEATRE

FRIDAY 10 JULY – SATURDAY 29 AUGUST 2026

TICKETS ON SALE NOW HERE

“Smiling is not my ‘girl-duty,’ a**hole!”

Academy, Emmy, and Golden Globe Award winner Christine Lahti will make her London stage debut this summer in her acclaimed autobiographical play The Smile of Her, for a strictly limited engagement from Friday 10 July to Saturday 29 August 2026, with a national press night on Thursday 16 July.

Directed by Mêlisa Annis, the production marks Lahti’s first UK stage appearance and the first London presentation of the deeply personal solo work she wrote and performs herself.

Funny, furious and achingly personal, this extraordinary work traces a woman’s journey from 1950s suburban America to the heart of a changing world, confronting family mythology, misogyny, ambition, motherhood and the cost of being “a good girl.”

Performed by Lahti herself in a tour-de-force role, The Smile of Her is a bold, deeply human exploration of the stories we inherit, the voices we silence and the fight to reclaim ourselves.

Christine Lahti said:

“I am thrilled to be bringing The Smile of Her to London, and to be making my London stage debut at Marylebone Theatre with a piece that is so deeply personal to me. This play began as an attempt to understand the stories I inherited, the silences I grew up inside and the ways women are taught to smile through pain, anger and ambition. It is funny, painful, full of love and, I hope, ultimately liberating. To share it with London audiences for the first time is incredibly meaningful.”

Produced by Nina Tassler, Jenny Warburg and Wild Yak, in association with Gloria Steinem, The Smile of Her is directed by Mêlisa Annis and designed by Sarah Beaton, with sound design by David Gregory, lighting design by Matt Haskins and projection design by Matt Powell.

The Smile of Her received its world premiere at Berkshire Theatre Group in July 2023. The production was directed by Robert Egan under the artistic leadership of Kate Maguire.

Christine Lahti first came to prominence opposite Al Pacino in …And Justice For All, before earning an Academy Award nomination, her first of eight Golden Globe nominations, and the N.Y. Film Critics Award for ‘Best Supporting Actress’ in the film Swing Shift.

Her acclaimed career spans film, television and theatre; her major credits include Chicago Hope, for which she has won both a Golden Globe and an Emmy Award for ‘Best Actress’, No Place like Home (Golden Globe for ‘Best Actress in a MiniSeries’ & Emmy Award nom.), Law and Order SVU, Curb Your Enthusiasm, Running on Empty (LA Film Critics Award, Golden Globe nom.), Amerika (Golden Globe nom., Emmy nom.), Jack & Bobby (Golden Globe nom. & Prism Award winner), Hawaii Five-0 & The Blacklist.

Her recent credits include CBS show Evil, created by Michelle and Robert King, which earned her a Critics’ Choice Awards nomination for Best Supporting Actress, and a recurring part in Fire Country on CBS. Bird in Hand, her latest feature film, directed by Melody C. Roscher, premiered at the Tribeca Film Festival 2025.

Her directing work includes the Academy Award-winning short film Lieberman in Love and the feature film My First Mister, which opened the Sundance Film Festival.

A celebrated stage actor, Lahti has appeared on Broadway and Off-Broadway in productions including Loose Ends, Fuckin A, The Heidi Chronicles, God of Carnage, Three Hotels (Drama Desk Nom.), Dreams of Falling, Dreams of Flying (Drama League Nom.), The Woods (Theatre World Award) and Little Murders (Obie Award). She played Gloria Steinem in the hit off-Broadway play Gloria: A Life, which also aired on PBS Great Performances, and was recently in the Jon Robin Baitz play I’ll Be Seeing Ya, for The Music Center in LA.