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SIX STARS TO SHARE THE ROLE OF KING HEROD
IN
TIM RICE AND ANDREW LLOYD WEBBER’S

JESUS CHRIST SUPERSTAR
AT THE LONDON PALLADIUM THIS SUMMER 

JESSE TYLER FERGUSON (20 June – 11 July)
SIMON RUSSELL BEALE (13 – 25 July)
RICHARD ARMITAGE (27 July – 1 August)
BOY GEORGE (3 – 15 August)
LAYTON WILLIAMS (17 – 29 August)
JULIAN CLARY (31 August – 5 September)

Joining Sam Ryder as Jesus
Strictly limited season to play from
Saturday 20 June – Saturday 5 September 2026

london.jesuschristsuperstar.com

Monday 23 February, London, 11am: Michael Harrison for Lloyd Webber Harrison Musicals is today thrilled to announce further casting for Jesus Christ Superstar at The London Palladium this summer. Joining the previously announced Sam Ryder as Jesus are an all-star line-up of six performers sharing the role of King Herod. Jesse Tyler Ferguson will play King Herod from 20 June – 11 July; Simon Russell Beale from 13 – 25 July; Richard Armitage from 27 July – 1 August; Boy George* from 3 – 15 August; Layton Williams from 17 – 29 August; and Julian Clary from 31 August – 5 September 2026. *Please note Boy George will not be performing on Saturday 8 August.

Jesus Christ Superstar will play from Saturday 20 June to Saturday 5 September 2026. Tickets are on sale at london.jesuschristsuperstar.com.

Jesse Tyler Ferguson is a Tony Award-winning actor best known for his Emmy Award-nominated role as Mitchell in the global hit sitcom Modern Family. His theatre work includes acclaimed performances in Take Me Out on Broadway, for which he received a Tony Award, as well as The 25th Annual Putnam County Spelling Bee.

Simon Russell Beale is one of the UK’s most distinguished actors, with three Olivier Awards, two BAFTAs, one Tony Award and a knighthood for services to drama to his name. His screen work includes: The Death of Stalin, Mary Queen of Scots and The Choral.

Richard Armitage is an Olivier Award-nominated actor whose theatre credits include The Crucible and Uncle Vanya. He is internationally known for his screen roles in The Hobbit trilogy, Fool Me Once and Red Eye.

Boy George is a Grammy Award-winning singer, songwriter and global pop icon, best known as the frontman of Culture Club. His theatre work includes starring as Harold Zidler in Moulin Rouge! The Musical on Broadway.

Layton Williams is an Olivier Award-winning actor, singer and dancer, celebrated for his performances in Everybody’s Talking About Jamie, Cabaret and Titanique, the latter earning him an Olivier Award for Best Supporting Actor in a Musical in 2025. He is also widely known for reaching the final of Strictly Come Dancing.

Julian Clary is a comedian, actor and presenter, renowned for his sharp wit and distinctive stage persona. He celebrated 10 years of starring in The London Palladium Panto in 2025. He returns to the role of King Herod having starred in the 2023-2024 UK Tour of Jesus Christ Superstar.

Director Tim Sheader said:
“All different but all fabulous, we are thrilled that these six artists will take a turn demanding Jesus walk across their swimming pool as the infamously camp but lethal King Herod. Choose to see any one of them and we promise, for a golden moment, they will stop this juggernaut of a show in its glitter filled tracks.”

Tim Rice and Andrew Lloyd Webber’s iconic global phenomenon is directed by Tim Sheader with choreography by Olivier Award-winner Drew McOnie and design by Tony and Olivier Award-winner Tom Scutt. Reuniting the creative team of the 2016 production 10 years on to create a unique staging of their Olivier award-winning, worldwide smash-hit production. The production which was originally created and produced at Regent’s Park Open Air Theatre, will play a limited 11-week season at The London Palladium.

Jesus Christ Superstar follows the events of the last days of the life of Jesus Christ, as seen through the eyes of Judas. Reflecting the rock roots that defined a generation, the legendary score includes ‘I Don’t Know How to Love Him’, ‘Gethsemane’ and the iconic title number ‘Superstar’.

Originally released as a concept album, Jesus Christ Superstar opened on Broadway in 1971, at the Mark Hellinger Theatre, where it was nominated for 5 Tony Awards including Best Original Score. The original London production ran for over eight years. By the time it closed, after 3,358 performances, it had become the longest-running musical in West End history at that time. 

The creative team is joined by musical supervisor Tom Deering (Standing at the Sky’s Edge – Olivier Award for Outstanding Musical Contribution), lighting designer Lee Curran (A Streetcar Named Desire – Olivier Award Nomination for Best Lighting Design), sound designer Adam Fisher (Sunset Boulevard – Olivier Award for Best Sound Design), fight director Kate Waters (Othello) and BAFTA Award Winning casting director David Grindrod CDG for Grindrod Burton Casting.

Lloyd Webber Harrison Musicals’ recent productions include the smash hit Evita at The London Palladium last Summer, the seven-time Olivier-Award and three-time Tony-Award winning revival of SUNSET BLVD., and Starlight Express, which will embark on a World Tour in spring 2027 after concluding it’s London run. This year they bring CATS: The Jellicle Ball to Broadway, opening at the Broadhurst Theatre, and a brand-new production of Andrew Lloyd Webber’s global sensation CATS to Regent’s Park Open Air Theatre ahead of a major UK Tour.

Michael Harrison for Lloyd Webber Harrison Musicals presents the Regent’s Park Open Air Theatre production by arrangement with LW Entertainment. 

SAME PRESENCE. NEW PLACES.

PARANORMAL ACTIVITY TO HAUNT THE UK AND IRELAND

FROM SEPTEMBER 2026 UNTIL SUMMER 2027

WHILST ALSO CONTINUING IN THE WEST END

THE PRODUCTION RETURNS TO LEEDS PLAYHOUSE FOR A

SUPERNATURAL CHRISTMAS SEASON

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

Spooky season is about to get even more thrilling as Melting Pot today announces that the West End smash hit Paranormal Activity will embark on a major UK and Ireland tour from September 2026. Opening at Richmond Theatre on Saturday, 5 September 2026, the chilling theatrical experience 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.

Today’s tour news follows the recent announcement that, following phenomenal demand, Paranormal Activity will return to the West End this summer, marking the third extension for the nerve-shredding scare fest. The show is currently playing at the Ambassadors Theatre until Saturday, 25 April and returns to the venue from Saturday, 8 August.

For all tickets and full tour details visit www.paranormalonstage.com. Full tour casting to be announced.

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 (Wednesday 9 – Thursday 24 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) and Cork, Everyman Theatre(Tuesday 25 – Saturday 29 May 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

The show will play a simultaneous run at the Ambassadors Theatre in London’s West End where it is playing until Saturday, 25 April. After a short break, it returns to the theatre from Saturday, 8 August. Praised for its inventive storytelling and terrifying atmosphere, Paranormal Activity is a must-see event for thrill-seekers and theatre lovers alike. Paranormal Activity began a North American tour last autumn, with dates including the Chicago Shakespeare Theatre, the Center Theatre Group, Ahmanson Theatre, Los Angeles, the Shakespeare Theatre Company, Washington DC and had recently started its final US haunting at the American Conservatory Theatre in San Francisco.

Full casting to be announced.

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 +

PARANORMAL ACTIVITY

A New Story Live on Stage

www.paranormalonstage.com

SOCIAL HANDLES

IG / TikTok: @paranormalonstage

PARANORMAL ACTIVITY – 2026/2027 TOUR DATES

Richmond, Richmond Theatre       

Saturday 5 – Saturday 12 September 2026

www.atgtickets.com/venues/richmond-theatre/

Milton Keynes Theatre

Tuesday 15 – Saturday 19 September 2026

www.atgtickets.com/venues/milton-keynes-theatre/

Glasgow, Theatre Royal

Tuesday 22 – Saturday 26 September 2026

www.atgtickets.com/venues/theatre-royal-glasgow/

York, Grand Opera House

Tuesday 29 September – Saturday 3 October 2026

www.atgtickets.com/venues/grand-opera-house-york/

Woking, New Victoria Theatre

Tuesday 6 – Saturday 10 October 2026

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

Cheltenham, Everyman Theatre

Tuesday 13 – Saturday 17 October 2026

www.everymantheatre.org.uk

Canterbury, Marlowe Theatre

Tuesday 20 – Saturday 24 October 2026

www.everymantheatre.org.uk

On sale soon

Birmingham, Alexandra Theatre

Tuesday 27 – Saturday 31 October 2026

www.atgtickets.com/venues/the-alexandra-theatre-birmingham/

Norwich, Theatre Royal

Tuesday 10 – Saturday 14 November 2026

www.norwichtheatre.org/

Salford, The Lowry

Tuesday 17 – Saturday 21 November 2026

www.thelowry.com/

Brighton, Theatre Royal

Tuesday 24 – Saturday 28 November 2026

www.atgtickets.com/venues/theatre-royal-brighton/

Bath, Theatre Royal

Tuesday 1 – Saturday 5 December 2026

www.theatreroyal.org.uk

Leeds Playhouse

Wednesday 8 – Thursday 24 December 2026

www.leedsplayhouse.org.uk

Southampton, Mayflower Theatre

Wednesday 6 – Saturday 9 January 2027 

www.mayflower.org.uk

Aylesbury, Waterside Theatre

Tuesday 12 – Saturday 16 January 2027

www.atgtickets.com/venues/aylesbury-waterside-theatre/

Cardiff, Wales Millennium Centre

Tuesday 19 – Saturday 23 January 2027

www.wmc.org.uk

On sale soon

Belfast, Grand Opera House

Tuesday 26 – Saturday 30 January 2027

www.goh.co.uk

Edinburgh, King’s Theatre

Tuesday 2 – Saturday 6 February 2027

www.capitaltheatres.com/our-venues/kings-theatre

On sale soon

Wolverhampton, Grand Theatre

Tuesday 9 – Saturday 13 February 2027

www.grandtheatre.co.uk

Sheffield, Lyceum Theatre

Tuesday 16 – Saturday 20 February 2027

www.sheffieldtheatres.co.uk/

Nottingham, Theatre Royal

Tuesday 23 – Saturday 27 February 2027

www.trch.co.uk/

Aberdeen, His Majesty’s Theatre

Tuesday 2 – Saturday 6 March 2027

www.aberdeenperformingarts.com/his-majestys-theatre

On sale soon

Shrewsbury, Severn Theatre

Tuesday 16 – Saturday 20 March 2027

www.theatresevern.co.uk

Cambridge, Arts Theatre

Tuesday 23 – Saturday 27 March 2027

www.artstheatre.co.uk

On sale soon

Plymouth, Theatre Royal

Tuesday 30 March – Saturday 3 April 2027

www.theatreroyal.com

Bradford, Alhambra Theatre

Tuesday 6 – Saturday 10 April 2027

www.bradford-theatres.co.uk/alhambra-theatre

On sale soon

Newcastle, Theatre Royal

Tuesday 13 – Saturday 17 April 2027

www.theatreroyal.co.uk

On sale soon

Hull, New Theatre

Tuesday 20 – Saturday 24 April 2027

www.hulltheatres.co.uk

On sale soon

Liverpool, Empire Theatre

Tuesday 27 April – Saturday 1 May 2027

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

Inverness, Eden Court

Tuesday 4 – Saturday 8 May 2027

www.eden-court.co.uk

Northampton, Derngate Theatre

Tuesday 11 – Saturday 15 May 2027

www.royalandderngate.co.uk

On sale soon

Dublin, Bord Gáis Theatre

Tuesday 18 – Saturday 22 May 2027

www.bordgaisenergytheatre.ie

On sale soon

Cork, Everyman Theatre

Tuesday 25 – Saturday 29 May 2027

www.everymancork.com

On sale soon

Kings Theatre Portsmouth – 21st February 2026 

Reviewed by Emma Barnes

5***** 

There was a joyful confidence in the way Stage One Youth Theatre approached their latest production at the Kings Theatre, proving that a Golden Age classic like Oklahoma! still has plenty to say when placed in capable hands. Under the direction of Paul Clements, this was a polished and high-energy performance that balanced the show’s iconic charm with a surprising amount of psychological drama.

The production was anchored by a 16-piece live orchestra, providing a rich, well-balanced sound that never overpowered the clear vocals of the cast. Arthur Westmorland (Curly) and Lizzie Codling (Laurey) led the show with professional discipline, their chemistry bringing an authentic and engaging heart to the story. A particular highlight was the dream sequence at the end of Act One; this “fever dream” was effectively staged, successfully shifting the tone to explore Laurey’s internal conflict with impressive depth.

The energy of the territory was captured during the “Kansas City” number. Led by Sam Shirley (Will Parker), the tap dancing was slickly executed and served as a fantastic showcase for the diversity of talent within this youth group. Evie Payne-Simmons was equally wonderful as Ado Annie, navigating the physical comedy and exuberance of the role with natural ease.  Joshua Witt navigated the complex role of Jud Fry with skill, successfully flitting between dark menace and a tragic, profound loneliness.  We also loved Fraser Ndahiro as the hilarious Ali Hakim serving as a bright contrast to the show’s more serious moments.

A standout creative choice was the casting of Tayla Fallon as Andrea Carnes. By taking this traditionally male role, Fallon created a formidable “second matriarch” character that played brilliantly against Heidi Butcher, who, in her final performance with Stage One, provided a fittingly confident anchor as Aunt Eller.

With a cast of over 50 young performers, the ensemble did a fantastic job of filling the stage with energy and professionalism. We were impressed that the young cast maintained consistent, grounded Midwestern accents that truly brought the characters to life. Great scenery and props combined with the disciplined choreography, the production felt like a vibrant celebration of both the story and the young talent being nurtured behind the scenes,  and they looked like they were really enjoying the ride! 

Huge congratulations to the entire cast and the support team for a professional, high-quality production that was a genuine joy to watch.

OFFFEST 2026 NOMINATIONS ANNOUNCED AS FESTIVAL ARM OF OffWestEnd AWARDS (OFFIES) RETURNS, CELEBRATING OUTSTANDING FRINGE FESTIVAL THEATRE ACROSS THE UK

Following the announcement of this year’s Offies nominations, OffFest returns as the festival arm of OffWestEnd, celebrating work not only made in London but also at festivals across the UK. OffFest remains a vital part of grassroots recognition, often with shorter runs and therefore smaller budgets than the main Offies awards.
 
Launched in 2019, OffFest was created to ensure that work premiering at UK festivals – often with shorter runs, tighter budgets and less structural support than London productions – receives meaningful recognition within the OffWestEnd ecosystem. It acknowledges that some of the most urgent and innovative theatre in the UK begins life in festival contexts.

While the Offies honour productions in London across the year, OffFest brings a curated selection of nominated and award-recognised shows back into the spotlight through a dedicated festival platform open to all parts of the UK, extending the life of acclaimed productions, and amplifying the visibility of the entire independent theatre sector. Many OffFest nominees and winners have gone on to transfer to OffWestEnd, the West End and go on tour.

This year’s OffFest nominees range from National Theatre of Scotland and Handspring Puppet Company to emerging artists premiering at Brighton and Camden Fringe. In addition, recognising work at the Voila! Festival allows the Offies to extend to shows made by foreign nationals and in languages other than English.

Rooted in OffWestEnd’s commitment to championing innovation, diversity and creative risk, OffFest serves as a showcase for the breadth of talent working across the UK and beyond. 

Festivals taking part in 2025 were: The Edinburgh Fringe Festival, The Camden Fringe, Brighton Fringe, Voila! Festival
 
 Last month, OffWestEnd announced the full nominees for the main Offies Awards (see here for the full list), the winners of the OffFest will be announced along the main awards at a star-studded award ceremony on March 30^th at Central Hall Westminster, hosted by drag icon Divina de Campo and complete with a host of special guests, presenters and live performance.

Denholm Spurr, Executive Producer of the Offies, said: “Festival theatre often runs for days, not weeks. It operates with tighter budgets and fewer safety nets. Yet it is frequently where the most urgent ideas emerge. OffFest ensures that this work is not overlooked simply because it was fleeting.

It is a vital extension of the Offies model – broadening our reach beyond the capital, strengthening career pathways, and ensuring that recognition within the independent sector reflects the full ecology of how theatre is actually made in the UK today.”

The 2026 nominees are:

Brighton Fringe

Duty / Twilight Theatre / The Lantern Theatre
Electra / The Conor Baum Company / BN1 Arts Centre
HOW TO KILL A CHICKEN / Let Luz Productions / The Actors

Camden Fringe

Am I Losing My Mind Or Just My Figure? / Untethered + Hinterland / Etcetera Theatre
Anthropocene / Ben Wendel and Emily Hawkins / Barons Court Theatre
Buds, Revolt! / Stephanie Chu / Hen & Chickens Theatre
Every Great Man / RamPage Theatre / The Cockpit
MISS / Miss Production Team / Lion & Unicorn Theatre
None of Them Will Get Out Alive / Samuel Winner / Hen & Chickens Theatre
Richard II / The Whole Pack Theatre / Libra Theatre Café
Scene with Black Folk / Joy Nesbitt / Camden People’s Theatre
Spin Cycle / Berserk Theatre / Etcetera Theatre
Transient / Until The Next Productions / Bridewell Theatre
WILT / Segments Company / Bridewell Theatre

Edinburgh Fringe

4’s a Crowd (Or What Not to Do When Stuck in a Bunker During the Apocalypse) / The Fiascoholics / theSpace @ Surgeons’ Hall
AH-MA / Cathy Lam Arts Collective / theSpace @ Niddry Street
ALTAR / Extraterrestrial; Em Tambree / Underbelly George Square
AN ADEQUATE ABRIDGEMENT OF BOARDING SCHOOL LIFE AS A HOMO / Choir Boys Productions / Underbelly Cowgate
Alright Sunshine / Wonder Fools / Pleasance Dome
An Ode to the Casting Director / Sophie Fisher / Gilded Balloon Patter House
Body Count / White Noise Theatre / Pleasance Courtyard
CADEL: Lungs on Legs / Piper Productions / Underbelly Cowgate
Clean Slate / The Project People / Summerhall
Club NVRLND / RJG Productions / Assembly Checkpoint
Crocodile Tears / Shark Bait Theatre / theSpace @ Venue 45
Disco 2000 / Hedge Maze Theatre / Greenside @ Riddles Court
Do Astronauts Masturbate in Space / Briony Martha & Zak Reay-Barry / Greenside @ Riddles Court
Do You Accept These Charges? / Suzanna Rosenthal Productions / Pleasance Courtyard
Faustus in Africa! / Handspring Puppet Company / Royal Lyceum Theatre
Frozen Love: A Buckingham Nicks Story / ERA Theatrical Productions / theSpace @ Surgeons’ Hall
Fuselage / Suzanna Rosenthal Productions / Pleasance Courtyard
Goodness Me / Joan of All Trades / Paradise Green
Hold the Line / Sam Macgregor & Gabriela Chanova / Pleasance Courtyard
Hole! / American Sing-Song / Underbelly Cowgate
Lost Property / Amelia Dunn & Tuia Suter / theSpace @ Venue 45
Make It Happen / National Theatre of Scotland / Festival Theatre
Midnight At The Palace / Midnight At The Palace Ltd / Gilded Balloon Patter House
Nowhere: Fuel / Fuel / Traverse Theatre
Ohio / Francesca Moody Productions / Assembly Roxy
Ordinary Decent Criminal / Paines Plough / Summerhall
Outing / Unseen Theatre / theSpace @ the Mile
PALS / Mirren Wilson / Gilded Balloon
Paldem / Summerhall Arts / Summerhall
Rock of Ages / Bare Productions / St John’s Church
Small Town Boys / Shaper/Caper / Zoo Southside
Squidge / White Noise Theatre / Pleasance Courtyard
Strangers And Revelations / Unshaded Arts / theSpace @ Venue 45
The Other Mozart / Little Matchstick Factory / Assembly George Square
The Pornstar Martini Effect / 52 Theatre Co / theSpace @ Niddry Street
The Queen is Mad / Castile Collective Ltd / Zoo Southside
This Blighted Star / Underbelly / Underbelly George Square
Triptych Redux / Lewis Major Projects / Zoo Southside
WHEN WE WERE YOUNG / Geez a Break Productions / theSpace @ the Mile
Who We Become: One-Acts by Lanford Wilson / Deep Flight Productions / theSpace @ Surgeons’ Hall
Woman in the Arena / Jade Studio / Greenside @ George Street
Woody Fu: One Man John Wick / Penguintown Media / Assembly George Square

Voila!

Be Gay, for God’s Sake / Oh My My / Theatre Deli
Comfort / Giannine Tan / Barons Court Theatre
Hansal & Geetal / Two2Mango / Etcetera Theatre
Hecuba: Why Am I In Your Country? / Arwa Omaren with Refuge Media Productions CIC / Theatro Technis
If I Were to Say It in English / Thea Lungu / Etcetera Theatre
Imprints / The Palimpsest Project / The Cockpit
Naran Ja / logica picnic / The Playground Theatre
Superstar In Therapy / Rania Kurdi / Etcetera Theatre
The Uncontainable Nausea of Alec Baldwin / TG WORKS / The Cockpit

OffWestEnd Awards (Offies)

OffWestEnd was founded in 2006 with the aim of recognising and supporting the independent theatre sector in London, giving it a unified identity to rival Off-Broadway. The OffWestEnd Awards (Offies) has been recognising outstanding work in London’s off-West End theatres since 2010. The awards aim to provide a platform for independent theatre that may otherwise go unrecognised in more mainstream awards systems. Celebrating the best of independent theatre, the Offies promotes inclusivity, creativity, and excellence within the theatre Community.

Key Sponsors: TodayTix, Tarento Productions, White Light, and Royal Variety Charity.

Supporters: Mischief Theatre

Media Partners: Theatre Channel & Chewboy Productions

PR Partners: The Gingerbread Agency

NOMINEES ANNOUNCED FOR THE

EMPTY SPACE…PETER BROOK AWARD 2026

AS PART OF THE CRITICS’ CIRCLE THEATRE AWARDS

The Critics’ Circle Theatre Awards today announces the nominations for the Empty Space… Peter Brook Award 2026 (In Memory of Blanche Marvin). Sponsored by Nica Burns, the nominations are decided by a separate panel of critics chosen by the Marvin family. This year’s nominees are:

• ORANGE TREE THEATRE by Fiona Mountford – Chief Theatre Critic, The i Paper
• RED ROSE CHAIN, IPSWICH by Dominic Cavendish – Chief Theatre Critic, The Telegraph
• ROYAL COURT UPSTAIRS by Andrzej Lukowski – Theatre & Dance Editor, UK, Time Out Media
• THE OTHER PALACE STUDIO by Mark Shenton – Editor, ShentonSTAGE Theatre Newsletter
• WONDER FOOLS by Lyn Gardner – Associate Editor, The Stage

This is the fourth year of the acclaimed Empty Space…Peter Brook Award being part of the Critics’ Circle Theatre Awards. Founded by Blanche Marvin MBE, who died last month just short of her 101st birthday, the award recognises a theatre that embodies the spirit of Peter Brook, both in its use of space and in relationship to its locality. Blanche’s daughter, Niki Marvin, an Oscar-nominated director/producer, has taken over the running of the award. From this year, the award has been renamed The Empty Space…Peter Brook Award (In Memory of Blanche Marvin).

The award will be presented as part of the Critics’ Circle Awards at a ceremony at the National Theatre on 26 March. These are the only prizes to be entirely voted for by the professional theatre critics who are members of the Circle, and this year’s awards are sponsored by Finto.

For the first time in the awards’ 37 year history, members have voted for longlists and shortlists. Leading the competition with five nominations each are Ivo van Hove’s production of Arthur Miller’s All My Sons currently running at the Wyndham’s Theatre (Best Revival, Best Actor nominations for Bryan Cranston and Paapa Essiedu, Best Actress for Marianne Jean-Baptiste, and Best Director for van Hove), and two musical revivals – Jordan Fein’s production of Sondheim’s Into the Woods currently running at Bridge Theatre (Best Revival, Best Actress for Kate Fleetwood, Best Director for Fein, Best Designer for Tom Scutt and Best Ensemble or Cast), and Jamie Lloyd’s production of Evita by Andrew Lloyd Webber and Tim Rice which ran at The London Palladium last summer (Best Revival, Best Director for Lloyd, Best Actress for Rachel Zegler, Best Designer for Soutra Gilmour and Best Newcomer for Diego Andres Rodriguez).

They are followed by Paddington The Musical, Stereophonic, The Weir and Much Ado About Nothing, all with four nominations each.

The National Theatre has eleven nominations across five productions – Inter Alia, Hamlet, The Estate, Here We Are and The Land of the Living.

https://criticscircle.org.uk/

Twitter: @cctheatreuk

Instagram: @criticscircletheatreuk

EMPTY SPACE… PETER BROOK AWARD 2026 (IN MEMORY OF BLANCHE MARVIN)

CRITICS’ NOMINEES AND SUMMARIES IN FULL:

NOMINATION: ORANGE TREE THEATRE

Fiona Mountford – Chief Theatre Critic, The i Paper

Under the assured leadership of artistic director Tom Littler, the Orange Tree continues to confirm its status as a boutique powerhouse of a venue, with a particularly fine line in sharply pointed revivals of classic works from the canon.

NOMINATION: RED ROSE CHAIN, IPSWICH

Dominic Cavendish – Chief Theatre Critic, The Telegraph

Red Rose Chain in Ipswich (/redrosechain.com) is a not-for-profit powerhouse, which has sadly just lost founder/creative director Joanna Carrick to cancer. Recent highlights include a bravura Hamlet at Sutton Hoo and Carrick’s The Ungodly and the company brilliantly champions inclusion through programmes for people with disabilities, young people and prisoners.

NOMINATION: ROYAL COURT UPSTAIRS

Andrzej Lukowski – Theatre & Dance Editor, UK, Time Out Media

The Royal Court Upstairs is the original Empty Space black box and after a few years of sporadic use, it’s really got its mojo back. This year almost all the programming is of debut plays sent in for consideration (rather than commissioned work) – a gesture that feels very in line with the values of the Empty Space…Peter Brook Award.

NOMINATION: THE OTHER PALACE STUDIO

Mark Shenton – Editor, ShentonSTAGE Theatre Newsletter

The Other Palace Theatre in Victoria has long set its sights on becoming a home for new musicals, first under the ownership of Andrew Lloyd Webber from 2016, then of Bill Kenwright from 2021. Bill, an old friend and champion of Blanche Marvin’s, has since died, but Blanche would be delighted to see his legacy celebrated now in hers: the warm, and intimate downstairs studio provides an accessible home for producers to nurture, develop and showcase new musicals in.

NOMINATION: WONDER FOOLS

Lyn Gardner – Associate Editor, The Stage

A ground-breaking Scottish company, Wonder Fools makes space for and connects young people with playwrights. Now one of Scotland’s most significant commissioners of new plays, is artfully making change for participants and writers.

The acclaimed comedy theatre company 

Le Navet Bete presents

Oh Zeus!

A riotous, hilarious ride through Greek mythology

touring UK theatres from Spring 2026

Kings of comedy Le Navet Bete – one of the UK’s most-loved comedy theatre companies and creators of smash-hit family shows Dracula: The Bloody Truth, King Arthur and Treasure Island – have teamed up with one of the country’s best comedy writers and directors, Olivier Award nominated John Nicholson (The Time Machine: A Comedy), to present their riotous all-out hilarious ride through the world of Greek mythology Oh Zeus! on tour from March 2026. 

When the stability of Olympus is threatened by the marriage of Zeus’ daughter Hebe to a mere mortal, the King of the Gods hatches a plan to derail the wedding. Three actors play 40 characters in this mythical farce through Ancient Greece, the Underworld and back. 

Expect sensational physical comedy, outrageous jokes, fast paced chaos, and more togas than you can smash a plate at – perfect for lovers of Fawlty Towers, Bottom and The Play That Goes Wrong.

.Oh Zeus! tour will visit: Queen’s Theatre, Barnstaple (20-21 March), Exeter Northcott Theatre (8-18 April), New Wolsey Theatre, Ipswich (5-9 May), Lichfield Garrick Theatre (26-27 May), York Theatre Royal (18-20 June), Cast, Doncaster (3-4 July), Lowry, Salford (28 July-1 August) and Lighthouse Poole (25-26 September). Further 2026/27 dates will be announced.

Le Navet Bete is comprised of Al Dunn, Nick Bunt and Matt Freeman. Since 2008, Le Navet Bete has been touring the UK and internationally with their unique and chaotic style of physical comedy and have earned the reputation as one of the UK’s leading midscale theatre companies. Proudly based in Exeter, Devon and supported by organisations such as Arts Council England, the Exeter Northcott Theatre and the Exeter Phoenix they have been on a continuous mission to create and tour hilarious, physical and totally accessible comedy theatre using creative and engaging storytelling for absolutely everyone (ages 4 – 104!). 

Whilst Oh Zeus! is suitable for ages 12+, there will be additional ‘no kids allowed’ performances held at many tour venues – expect the same brilliant show but with more adult humour, swearing and added naughtiness.

For more information about Oh Zeus!, visit Le Navet Bete’s website: www.lenavetbete.com. 

LISTINGS 

Production: Oh Zeus! 

Producer: Le Navet Bete

Age Guidance: 12+

Content Warnings: None

Running Time: 2 hrs 30 minutes (including interval)

2026 TOUR DATES

20-21 March Queen’s Theatre, Barnstaple 

https://queenstheatre-barnstaple.com/events/oh-zeus/

8-18 April Exeter Northcott Theatre 

https://exeternorthcott.co.uk/events/oh-zeus/

5-9 May New Wolsey Theatre, Ipswich 

https://www.wolseytheatre.co.uk/events/oh-zeus/

26-27 May Lichfield Garrick Theatre 

https://www.lichfieldgarrick.com/events/oh-zeus#dates-and-times

18-20 June York Theatre Royal 

https://www.yorktheatreroyal.co.uk/show/oh-zeus/

3-4 July Cast, Doncaster 

https://www.castindoncaster.com/events/oh-zeus

28 July – 1 August Lowry, Salford 

https://thelowry.com/whats-on/oh-zeus-8t8s

25-26 September Lighthouse Poole

https://www.lighthousepoole.co.uk/event/oh-zeus/

Further 2026/27 dates to be announced

The Lyceum, Sheffield – runs until 21st February 2026

Reviewed by Sophie Dodworth

5*****

The most popular Tiger Who Came forTea has snook back into the Lyceum for yet another fantastic run of entertaining Sheffield’s (and further afield) little ones, and maybe some adults, according to the energy and reactions that were around in the auditorium. At just fifty-five minutes, it is a perfect length to keep your little people sat firmly on their seats without too many losing interest.

The book, first published in 1968, written by Judith Kerr was, and still is very much loved and remembered by all that spend time with this wonderfully innocent and endearing tale. A firm favourite that really has stood the test of time and is read on repeat at bedtimes everywhere!

You are invited into the home of Sophie and her Mummy and Daddy on a very typical day in their lives. Daddy goes to work as he always does, while Mummy and Sophie have a day in the house. The milkman arrives for his visit with all his stock of cupboard fillers and then the knock on the door brings in a new guest that has never been before…the Tiger. The Tiger is hungry and in all their kindness, Sophie and Mummy let the Tiger eat all their food and drink all their water! What will they do when Daddy comes home and there is nothing in for dinner? You will have to attend on the tour to find out…

The cast this time round are outstanding and all are able to draw you in to their character with their charisma and well-honed acting skills. Aaron Andrews plays the roles of Daddy/Milkman and The Tiger so perfectly well. He adds real fun to the role of the Milkman, with rounds of laughter from the audience at his well-timed comedic moments. Sophie is played by Eleanor Meredith, and she does a cracking job, it can’t be an easy feat to play an infant when you’re an adult, but she does it so believably. Mummy is played by Jenanne Redman and a steely job here too, absolutely committed to staying in character and professional throughout. A solid trio all round.

There’s probably as much audience participation in this show as there is in in your typical pantomime, which just goes down such a treat. Songs aplenty with reems of repetition and assistance by the cast to help the crowd learn and join in, making it such fun.

Well worth a trip to see this if you can catch it at Sheffield or on the rest of the tour. A fantastic hour of classic fun, talent and warm-hearted moments.

Leeds Playhouse – until 28 February 2026

Reviewed by Dawn Smallwood

4****

A Midsummer Night’s Dream is a joint production by Headlong and Shakespeare’s Globe and also with Bristol Old Vic and Leeds Playhouse. It is currently touring to four theatres including the Playhouse. The Shakespeare’s comedy was written in the 16th Century and is today one of the most popular well-known plays.

The comedy is set in Midsummer Athens and the comedy is centred around two subplots. Both subplots are revolved around Theseus (Michael Marcus) and Hippolyta (Hedydd Dylan) who are about to be married. The first subplot is around four Athenians, Hermia (Tiwa Lade) and Lysander (David Olaniregun) and Helena (Tara Tijani) who is in love with Demetrius (Lou Jackson) but he isn’t in love with her. Hermia and Lysander escape to the forest and both Helena and Demetrius follow them. The second subplot is a group of actors, made up by the restaurant staff including Peter Quince (Jack Humphrey) and Nick Bottom (Danny Kirrane). The group travels to the forest to rehearse their play for the imminent Theseus and Hippolyta’s wedding.

The fantastical and magical forest, figuratively shown on stage, evokes emotions and discoveries and both subplots begin to unravel. All the characters enter a world of chaos, conspiracy and confusion amid a dispute over a child between Oberon (Marcus) and Titiana (Dylan), the King and Queen of Fairies. Oberon with the help of Puck (Sergo Vares), a sprite, schemes his plan to get the child for himself and this begins the confusion and drama.

This extends to all the characters in the forest; Bottom becomes a donkey and Titiana falls in love with him. The cast is mistakenly spelled further to the Athenians with a love triangle begins with Lysander and Demetrius falling in love with Helena. The plots continue to unravel until resolutions are sought and subsequently ends all well for everyone.

This production has been adapted for winter and it certainly has a fresh and contemporary approach and interpretation which aligns with Headlong’s aims. Under the direction of Holly Race Roughan and Naeem Hayat, the key prose, poetic forms in the text are not compromised and its modern interpretation appreciates Shakespeare’s writing ingenuity. The production is engaging, funny and yet serious with the key themes raised in the story. One can resonate with the premise of dreaming and how it aligns with and triggers from everyday reality and relations. There is something for everyone and the play offers an invitation to consider deeply the concerns and cares of the world.

The simplistic and sustainable staging, courtesy of Max Johns, with its white deco and winter themed works well with the key themes and its versatility to project the story in all environs. The space is well used and the auditorium is utilised with the characters appearing from the various exits. The staging is complimented with Joshie Harriette’s lighting and Nicola T. Chang’s music and soundscapes.

With each member of the cast portraying well the roles, this production of A Midsummer Night’s Dream is very enjoyable, excellently put together, entertaining and evoking. It offers one to examine the story, deeper and further beyond the play.

Riverside Studios – until 4 March 2026

Reviewed by Laura Mobilia

4****

Too Small to Tell is a powerful one-woman play that tells the story of a young woman who has just graduated from drama school, pursuing dreams of becoming a successful actor and encountering the challenges and difficulties that this career brings to those who don’t have a “name”. She finds a job at Miramax in London, Harvey Weinstein’s famous company, only to find herself under the orders of a famous man with a now infamous history of abuse.

As soon as you enter the theatre, the video with its voices, words and music brings you into the world of Weinstein — a man who brought many women to fame and success in the middle of a sad atmosphere of power and abuse.

The protagonist, Lisa Rose, who is also the author and tells the story in the first person, changing from one character to another, takes us inside this world and through her personal story — a story hard to tell, a story about resilience and a desperate need to shout to the world what happened at Miramax London, but also what happens inside her. This mixture of drama, pain and resilience, with touches of comedy, allows Lisa Rose to give a great and detailed performance with very strong body work, and immerses us in a crude and tough world.

The set design and props are reduced to a minimum, but this works well with the costume and lighting design; everything kept in black and white, which suits the spirit of the play.

We see a standing microphone which is used by the actor to break the fourth wall and connect with the audience. Every time she stands there, she reveals more of her true self, speaks directly to the audience and allows us to see her vulnerable side. When she leaves the microphone, she returns to different characters — her younger self, her colleagues, Harvey Weinstein — giving a very talented variety of performances that make us feel we don’t really need other actors on stage. The way she changes from role to role is technically impressive.

The co-directors Liz Ranken & Paula B Stanic did a very good job directing this play — the scene transitions, the movement direction, and the technical aspects such as video, music, sound and lighting.

We can see a small team that works well together and has taken this play to several stages, hopefully with more to come.

Birmingham Rep – until Saturday 7th March 2026

Reviewed by Nadia Dodd

5*****

The Battle crashes onto the stage like a distorted guitar riff from 1995 — loud, cocky and absolutely gagging for a fight. Written by John Niven and directed with turbo-charged flair by Matthew Dunster, this gloriously profane comedy dives headfirst into the era of 90s Britpop and the legendary Oasis vs Blur chart war.

Front and centre are Damon and Liam, played with swaggering brilliance by Oscar Lloyd and George Usher. Lloyd’s Damon is all art-school smirk and calculated cool, relishing every smug aside, while Usher’s Liam is a firecracker in a parka — prowling, snarling and delivering insults like they’re platinum singles. Comic timing is razor sharp, each pause and pout milked for maximum effect. It’s less polite rivalry, more playground brawl with record deals attached.

The language? Filthy. Gloriously, creatively, unapologetically filthy. Audiences should prepare for industrial levels of swearing, deployed with such rhythm and invention that it becomes a kind of poetry. Niven’s script revels in the egos and excess of the era, and the cast hurl expletives with fearless commitment. If you’re easily shocked, bring earplugs. If not, buckle up.

Adding fuel to the chaos is Liam’s long-suffering brother Noel, played wonderfully by Paddy Stafford. Stafford’s Noel often appears as the only man in the room with a flicker of common sense, though he’s perpetually dragged back into the madness. His weary glances and simmering frustration provide some of the evening’s biggest laughs — a masterclass in saying everything with a single look.

There’s scene-stealing support, too, from Matthew Horne as Andy Ross, whose music industry polish barely disguises a man gleefully stoking the feud for sales. Horne leans beautifully into the opportunism, all nervous charm and corporate spin. Louisa Lytton brings warmth and steel as Meg, cutting through the laddish posturing with grounded intelligence. Lytton ensures Meg is far more than a bystander; she’s a steadying presence amid the testosterone storm.

The multi-dimensional set shifts and slides throughout, cleverly repositioned by members of the cast in full view of the audience. Platforms rotate, furniture glides, and entire scenes are reshaped on the fly, giving the show a restless energy that mirrors the volatile rivalry at its heart. These transitions feel choreographed rather than practical — the stage itself seems caught up in the battle.

Dunster’s direction keeps everything moving at breakneck speed. Just when an argument threatens to explode beyond control, a perfectly timed lighting shift or set change spins us into the next confrontation. It captures the sense of a cultural moment spiralling wildly, driven by ego, media hype and genuinely cracking tunes.

And then there’s the ending — which is, frankly, a little bit nuts. It tips gleefully over the edge into full-blown comic absurdity, escalating the madness to a level that has the audience roaring with laughter. It’s the kind of finale that has to be seen to be believed.

By curtain call, The Battle feels like you’ve survived (and thoroughly enjoyed) the Britpop wars all over again — only funnier, louder and with even more swearing. Whether you were Team Blur or Team Oasis, this production proves one thing: in this battle, the audience wins.