Nottingham Theatre Royal – until Saturday 23 May 2026
Reviewed by Amy V Gathercole
4****
“It’s bright, it’s bold, and it’s bursting with heart, but beneath the glitter lies a story about resilience, identity and the power of believing in yourself!”
Legally Blonde remains one of the most infectious musicals around, having seen it several times on different tours, tonight’s performance at Nottingham Theatre Royal was easily the most sharp and energetically charged version yet.
Amber Davies brings something genuinely fresh to lovable Elle, perhaps from the choreography perspective and her enviable dance talent, perhaps from her sheer drive, but whatever the source, her performance blended sparkle with surprising emotional weight. She handled the more serious beats of the story, with confidence and nuance too.
The story of a queen-bee sorority girl whose dreams don’t all come true when her long-term beau Warner (Jamie Chatterton) changes her life, by dumping her for his own academic ambitions. This inspires Elle to follow him to Harvard Law School, after making a lot of social sacrifices, only to find he’s moved on with a ‘Jackie ( aka Vivienne played by Annabelle Terry), and not a Marilyn’. Along the way she’s tested, by unwelcoming fellow students, by real law cases and clients and by law professors who just don’t believe in her, with her adorable dog Bruiser in tow.
Legally Blonde is full of fun but beautifully written supporting characters, and it’s their warmth, humour and unexpected depth that help Elle discover who she really is far beyond the man she thought she needed. So it’s time for our heroine to tackle new challenges, make new friends and learn how life outside of Malibu really works.
Fellow sorority sisters, Margot (Hannah Lowther) brings bright, bubbly energy to every scene and sets the tone for the Delta Nu spirit. Serena (Rosanna Harris), adds sharp humour and confident charm, lifting the ensemble numbers with ease and Pilar (Remi Ferdinand), rounds out the trio with bold vocals and infectious enthusiasm.
It’s almost unbelievable that Legally Blonde and the infamous Elle Woods are now 25 years old. I remember it so well, when I was a law student here in Nottingham. The film was always a familiar comfort blanket, a burst of optimism wrapped in bubblegum pink and the stage show is full of many memorable lines from the film.
Reese Witherspoon’s iconic performance made Elle a cultural touchstone and with the upcoming Elle TV series arriving on Amazon soon, this revival couldn’t feel more timely. It’s a reminder of how deeply this story has embedded itself into popular culture and why audiences across the UK are flocking to see it again. It’s also one of the most faithful screen to stage adaptations that’s been made, this new revival has changed the setting and updated the culture for a Gen-Z audience and it works really well.
Amber’s harmonies with law associate, Emmett (George Crawford) were impressive. Their vocal blend created moments that were not only musically tight but emotionally electric. The chemistry between them radiated through the auditorium, making their duets some of the evening’s standout highlights.
This new UK tour embraces that legacy with bright colours, bold staging and a playful aesthetic from set designer Colin Richmond, that keeps the show moving at pace. The stripped‑back set allows for quick transitions between key locations like; the salon, Harvard Law and Delta Nu, keeping the focus firmly on the cast and the story.
Costumes designed by Tom Rogers burst with personality and nostalgia, the overall visual world is vibrant without ever feeling overwhelming and full of colour and obviously features a lot of pink!
The production benefits enormously from the vision of director Nikolai Foster, whose approach balances high‑octane fun with a surprisingly grounded emotional core. His direction ensures the heart of Legally Blonde never gets lost beneath the glitter. Choreographer Leah Hill injects the show with relentless energy, giving the ensemble plenty of opportunities to shine and elevating numbers like “Whipped Into Shape” and “Positive” into memorable showstoppers.
One of the standout performances of the night came from Elle’s new confidant, Paulette ( Karen Mavundukure). She delivered absolute comedy and hilarity, but also a touching sense of longing that blossomed into a celebration of womanhood and self‑belief. Watching her transformation was genuinely uplifting. Vocally, she was one of the strongest performers in the entire show, commanding the stage with warmth, wit and her powerhouse vocals.
This fun revival of Legally Blonde proves why the show continues to resonate with audiences of all ages. It’s bright, it’s bold, and it’s bursting with heart, but beneath the glitter lies a story about resilience, identity and the power of believing in yourself!
With standout performances from Amber Davies, George Crawford and the unforgettable Karen Mavundukure, supported by the sharp direction of Nikolai Foster and the vibrant work of the entire creative team, this tour delivers a production that feels both joyously familiar and refreshingly new.
Legally Blonde is a celebration of sisterhood, ambition and unapologetic pink‑powered confidence and it left the audience buzzing long after the final bows, as people in the audience no doubt left singing along on their way home.
DAME MAUREEN LIPMAN will return to the WEST END in Allegra
Thomas Hopkins Productions SAMS Entertainment Melissa & Bradford Coolidge, Trunfio McGill proudly announce that following a slew of 5-star rave reviews on tour across the UK national treasure
DAME MAUREEN LIPMAN will return to the WEST END in Allegra
a new comedy by Peter Quilter
Directed and Choreographed by three-time Olivier Award® winner STEPHEN MEAR
Strictly limited season PINTER THEATRE Wednesday 8 July – Saturday 8 August Tickets from £20 at all performances Thomas Hopkins Productions SAMS Entertainment, Melissa & Bradford Coolidge,
Trunfio McGill today proudly announce that following a slew of 5-star rave reviews on tour across the UK, national treasure DAME MAUREEN LIPMAN will return to the WEST END in Allegra the smash-hit new comedy by two-time Olivier Award® nominated playwright Peter Quilter.
Following her acclaimed performance in Rose in the West End in 2023, Dame Maureen now returns in triumph leading this joyful heartwarming comedy. The production reunites Dame Maureen with three-time Olivier Award® winning Director/Choreographer Stephen Mear 28 years after they first worked together on the National Theatre’s acclaimed production of Oklahoma!
The cast also features John Middleton (Emmerdale), Elizabeth Bower (Trollied) and Bailey Patrick (London Kills).
Allegra (Maureen Lipman) is full of joy. So much of it that she cannot stop herself from bursting into song. At home, in the street, even in shops and restaurants. Sometimes the music is only a fantasy in her head. But at other times, it results in a loud and disruptive performance that causes chaos in the village where she lives. Allegra’s brother, Ronen, and her carer, Anna, must somehow control her eccentricities and avoid angry visits by the local policeman. But is this possible without destroying the great happiness that fills Allegra’s heart?
Allegra is a moving comedy with spectacular song and dance sequences, but is also a touching and emotional examination of how, sometimes, the most beautiful of minds can start to disappear.
Reviews for Allegra
★★★★★
“There is nothing like a Dame when that Dame is Maureen Lipman!”
Theatre South East
★★★★★
“Truly memorable”
Ian Brown, Backstage
★★★★★
“A delightfully surreal comedy – very highly recommended”
John Groves, LondonTheatre1
“A supremely gorgeous show of joy and hope and a lot of heart in these dark times” Gaydio Radio
Dame Maureen said: “To find a comedy which can turn our current face of gloom into an upturned grin of happiness, is rare. Allegra is about a woman who is relentlessly upbeat – in more ways than one. Ibsen it isn’t’’
Peter Quilter said: “Maureen is one of the great theatrical treasures of this country, and to have her bring Allegra to life is a joy and an honour.”
Producer Thomas Hopkins said: “Working again with Maureen after the remarkable West End success of Rose is an absolute privilege. Bringing this joyful show in London’s West End is the gift we all need.”
Creative Team: Writer: Peter Quilter Director & Choreographer: Stephen Mear Set & Costume Designer: Justin Williams Lighting Designer: Samuel Biondolillo Sound Designer: Russell Ditchfield Video Designer: Ben Bull Production Management: Setting Line General Management & Tour Booking: Thomas Hopkins Productions Casting Director: Rob Kelly Producers: Thomas Hopkins Productions SAMS Entertainment Melissa & Bradford Coolidge, Trunfio McGill Co-Producers: Kohl Beck & Jonathan Kaldor, John Biondolillo, Cason Crane, Susan Goulet, Ira Pittelman, Hayley Swindal, Liesl Wilke
Dame Maureen Lipman DBE At the start of a long and distinguished theatre career in theatre, Dame Maureen Lipman DBE spent three years with the National Theatre Company at The Old Vic led by Sir Laurence Olivier. Her acclaimed one-woman tribute to Joyce Grenfell, Re: Joyce, ran several times over five years in the West End. Other self-written one-woman shows include Live and Kidding (Duchess Theatre) and Up For It (Edinburgh Fringe and Purcell Room). Other theatre credits include: See How They Run (Shaftesbury Theatre): As You Like It (RSC); Outside Edge and Martin Sherman’s Messiah (Hampstead); Aunt Eller in the National Theatre’s Oklahoma!; Lost in Yonkers (Strand Theatre); Daytona (Park Theatre & Theatre Royal Haymarket); Harvey (Birmingham Rep & Theatre Royal Haymarket) and The Best Man (Playhouse Theatre). She has been nominated for seven Olivier Awards across categories commending acting in plays, musicals and comedy, winning in 1984 for See How They Run. Her film credits include: Oklahoma!, the Oscar-winning The Pianist and Educating Rita. Her extensive TV credits include playing agony aunt Jane Lucas in the groundbreaking series Agony (1979 – 81); playing Evelyn Plummer in Coronation Street since 1981 (winning seven TV awards including Best Soap Actress in the TV Choice Awards, and Celebrity Gogglebox alongside Gyles Brandreth. She was married for 33 years to the late writer Jack Rosenthal, appearing in three of his TV plays including the Emmy-winning The Evacuees. She was awarded a Damehood in 2021.
John Middleton (Ronen) is best known for playing Rev Ashley Thomas in ITV’s Emmerdale from 1996 to 2017. When John was given the story that Ashley would be diagnosed with Vascular Dementia, which played out over the subsequent two and a half years leading to the death of his character, Emmerdale won the Broadcast, Royal Television Society, National Television Award, BAFTA and British Soap Award for Best Soap, his story won Best Story and Best Episode and he won Best Male Dramatic Performance and Best Actor. At the Yorkshire Royal Television Society Awards, he won Best Actor and a Special Achievement award. After this he starred in a highly successful theatre tour of Strangers on a Train as the American detective Arthur Gerard. In 2021, John played Frank in the one-man show Hull & High Water for Hull Truck Theatre. Throughout 2022 and 2023, he played Colonel Pickering in the UK Tour of My Fair Lady, directed by Bartlett Sher and he can currently be seen as resident baddie Fraser “Froggy” Black Sr. in Hollyoaks.
Elizabeth Bower (Anna) is best known for playing Anna in the TV supermarket comedy series Trollied. Her other TV appearances include Mammoth, The Secret Life of Boys, The Trouble With Maggie Cole and Miss Scarlett and the Duke. She was a series regular on Doctors and Princess Mirror-Belle.
Bailey Patrick (PC) is best known on TV as Detective Rob Brady in all four seasons of London Kills. He was also in Bridgerton and Good Omens and played Amari in Andor. He played Vinnie alongside Danny Dyer in the recent film Marching Powder. In the West End he played Trevor in Mischief’s Theatre’s Peter Pan Goes Wrong. Other stage roles include Hickey in The Country Girls (Chichester Festival Theatre).
Peter Quilter – Playwright Peter Quilter’s plays have been presented in 50 countries around the world and translated into over 30 languages. He has had a hit show on Broadway and three successful plays in London’s West End. Peter has twice been nominated for the Olivier Award (Best New Play and Best New Comedy) and his Broadway debut was nominated for three Tony Awards. His best known works are End of the Rainbow (a musical drama about the life of Judy Garland), Glorious! (the true story of Florence Foster Jenkins, the worst singer in the world) and Duets (a comedy for two actors). Peter’s first movie Judy starring Renée Zellweger received the Golden Globe, the Bafta and the Oscar for Best Actress. His first international success was End of the Rainbow (a musical drama about Judy Garland) which had its premiere in 2005 at Sydney Opera House. The show later played a sold out run in the West End starring Tracie Bennett. The play transferred to the Belasco Theatre on Broadway in 2012, where it was nominated for three Tony Awards. It has since been performed worldwide and in 2019 was adapted as the movie Judy, which won Renée Zellweger the Bafta, Golden Globe and the Oscar for Actress in a Leading Role. Glorious!, the true story of Florence Foster Jenkins, the worst singer in the world, premiered at Birmingham Rep in 2005 before transferring to the Duchess Theatre in the West End starring Maureen Lipman. The comedy has since been seen by over two million people in theatres across five continents. There will be further new productions this year in China, Finland, Switzerland, Germany, Austria, Estonia, the USA and Spain. Peter’s other work includes the two-actor comedy Duets which has been performed in 20 countries and was broadcast “live” on television in Paris. The show is currently enjoying the third year of a record-breaking success in Brazil. He is also author of the all-female comedy Step By Step and the 1999 West End show Boyband (Gielgud Theatre). www.peterquilter.net
Stephen Mear (Director & Choreographer) Stephen Mear is a three-time Olivier Award® winning and Tony nominated choreographer and director. His prolific use of style and form has led to a global career across musical theatre, opera, TV and film. Stephen is passionate about regional theatre and champions UK theatre both at home and abroad. Mary Poppins has given him worldwide acclaim and presented him with an array of prestigious awards for his outstanding and innovative joint choreography with Sir Matthew Bourne. In 2020, Stephen was awarded a CBE for his services to dance. Choreography credits include: Mary Poppins (worldwide, Olivier Award® winner); Old Friends (London/LA/New York); La Cage Aux Folles, Hello Dolly! (Olivier Award® winner), Crazy For You (Regents Park Open Air Theatre); The Witches (National Theatre); The Little Mermaid (Denver/Broadway); Sunset Boulevard (ENO Coliseum Theatre/Broadway); Chess (ENO, Coliseum Theatre) Gypsy (Chichester Festival Theatre/Savoy Theatre, BBC 4); Acorn Antiques The Musical (London/UK Tour/BBC); Stephen Ward (Aldwych Theatre); Betty Blue Eyes (Novello Theatre); City of Angels (Donmar Warehouse/Garrick Theatre); White Christmas (The Curve Theatre/ Dominion Theatre/UK Tour); Chitty, Chitty, Bang, Bang! (West Yorkshire Playhouse/UK Tour); Singin’ in the Rain (Yorkshire Playhouse/National Theatre); Kiss Me, Kate (Chichester Festival Theatre/Old Vic); The Pajama Game, Amadeus, Mack and Mable, Music Man, She Loves Me (Chichester Festival Theatre); Sweet Charity (Menier Chocolate Factory/Theatre Royal Haymarket); Sinatra (London Palladium/UK Tour); Anything Goes (National Theatre/Theatre Royal Drury Lane); Soul Train (London/UK Tour); Dreamgirls, Ragtime (Milwaukee Repertory Theatre). Director and Choreographer credits include: Hello Dolly! (Lido 2, Paris); Funny Girl (Theatre Marigny, Paris); 42nd Street (Theatre Du Chatelet, Paris); Guys and Dolls (Royal Albert Hall); Top Hat, Thoroughly Modern Millie (Kilworth House Theatre); Shoes (Sadlers Wells). Opera credits include: Don Giovanni (Royal Opera House); Die Fledermaus (The Metropolitan Opera New York); On The Town (ENO Coliseum Theatre/Theatre Du Chatelet, Paris). TV credits include: The Tracey Ullman Show (BBC); Psychobitches (Sky Arts); So You Think You Can Dance (BBC); Victoria Wood’s Christmas Special (BBC). Music Videos include: Number 1 Goldfrapp; The Importance of Being Idle Oasis.Stephen was awarded an Honorary Doctor of Arts by Greenwich University, The Carl Alan Award in 2006 and 2015 and The Companion Award from The Liverpool Institute of Performing Arts by Sir Paul McCartney.
Thomas Hopkins Productions (THP) – Producer Thomas Hopkins Productions (THP) was founded in 2019 by award-winning theatre, film, television, and radio producer Thomas Hopkins. Since its inception, THP has worked on over 150 live theatrical productions and numerous productions created and filmed specifically for platforms such as Sky, BBC, Amazon Prime, BroadwayHD, Broadway On Demand, and the educational platform Digital Theatre Plus. THP is recognised as an industry leader, specialising in transatlantic partnerships and supporting productions through its full-service organisation.
THP’s recent productions include; the critically acclaimed UK tour of The Talented Mr. Ripley and on Broadway; Robert Icke’s Oedipus, new musical Two Strangers (Carry a Cake) Across New York, Liberation and seven-time Tony®-nominated John Proctor is the Villain. In London, THP produced This Bitter Earth, directed by Grammy Award, Emmy, and three-time Tony Award®-winning Billy Porter, at Soho Theatre in London’s West End; as well as the highly regarded Rose, starring Dame Maureen Lipman at the Ambassadors Theatre.
THP is passionate about creating new theatrical experiences and productions. Among THP’s current slate of development, some of the highlights include a new version of Boy George’s autobiographical musical Taboo, with plans to open in 2027; a new family musical by Olivier Award-winning composer Vikki Stone, based on the iconic BAFTA-winning BBC TV show Maid Marian and Her Merry Men by Sir Tony Robinson.
In 2026, THP is also producing the 20th Anniversary tour of the hit comedy Glorious! starring Wendi Peters, along with the major UK revival of Alan Menken and Howard Ashman’s hit musical Little Shop of Horrors, directed by Tony®-nominated Carrie-Anne Ingrouille.
SAMS Entertainment- Producer
SAMS Entertainment, founded by Tony Award–winning producers Sam Houlihan and Sam Biondolillo, is a New York–based producing company dedicated to theatre that is both artistically vibrant and accessible. The company is guided by the belief that producing should be collaborative, transparent, and rooted in trust-opening doors for new voices while supporting work that resonates with contemporary audiences.
On Broadway, the Sams have produced award‑winning productions including Thornton Wilder’s Our Town, the acclaimed revival of Merrily We Roll Along, Gutenberg! The Musical!, and Alicia Keys’ Hell’s Kitchen. Off‑Broadway, their credits include DATA at the Lucille Lortel Theatre and Prince Faggot at Studio Seaview. Beyond Broadway, SAMS’ producing work spans the United Kingdom, where credits include the UK tour of The Talented Mr. Ripley, the UK tour of Glorious!, The Frogs at Southwark Playhouse, and Little Shop of Horrors at Hope Mill Theatre in Manchester and in Liverpool.
In addition to producing, SAMS Entertainment offers comprehensive management and consulting services. The company partners with artists and creative teams from the earliest stages of development through performance, providing structure and support that encourages both artistic freedom and financial clarity. Their model invites collaborators and investors into the creative and commercial process itself, not solely the final result, fostering an environment of openness, shared purpose, and long‑term sustainability.
Driven by a belief in the transformative power of theatre, Sam Houlihan and Sam Biondolillo are committed to creating work that inspires, challenges, and endures-building theatre for today’s audiences and for generations to come.
Thomas Hopkins Productions SAMS Entertainment Melissa & Bradford Coolidge
Trunfio McGill present
Dame Maureen Lipman in ALLEGRA by Peter Quilter Directed & Choreographed by Stephen Mear
PINTER THEATRE Panton Street London SW1Y 4DN
Wednesday 8 July – Saturday 8 August Tickets from £20 at all performances
Kevin McCollum, Morris Berchard and Jack Maple are delighted to announce that celebrated British drag queen Divina De Campo will star as The Amazing Karnak in the return of the critically acclaimed RIDE THE CYCLONETHE MUSICAL at Southwark Playhouse Elephant. The smash-hit musical which returns to the venue following a record-shattering and sold-out UK premiere run in 2025, will run from Friday 19 June 2026 to Saturday 22 August 2026.
Divina joins the previously announced St Cassian’s Chamber Choir: Josh Butler as Noel, Grace Galloway as Jane Doe, Robyn Gilbertson as Constance, Bartek Kraszewski as Mischa and Jack Maverick as Ricky, Kayna Montecillo as Ocean. The cast is completed by swings Rebecca D’Lacey and Nathaniel Purnell (also Dance Captain).
Divina de Campo is a seasoned British drag queen and singer who was crowned runner-up on the first series of RuPaul’s Drag Race UK. In addition to her Drag Race fame, Divina has made waves with a UK Top 40 single as part of the girl group The Frock Destroyers. Known for her high soprano and four-octave range, she has also been featured on ITV’s The Voice and the BBC’s All Together Now. Her critically acclaimed theatre credits include her role as Mary Sunshine in Chicago, her award-winning performance as Hedwig in Hedwig and the Angry Inch, and most recently, The SpongeBob Musical.
On joining the show Divina said: I am so excited to be joining this amazing vibrant cast for what is a hilarious and tongue in cheek musical. The songs are catchy as they come and the story is both tragic and side splitting, for the characters maybe literally! I am overjoyed to finally be on the Southwark Playhouse stage after seeing shows there and presenting more than a few awards to them too over the years!
The musical, written by Jacob Richmond and Brooke Maxwell, broke Southwark Playhouse’s record of most tickets sold within a 24-hour period after going on sale in 2025. It then broke its own record when this return engagement went on-sale earlier this year.
Producers are also thrilled to announce that additional seats have been made available and are on-sale now.
Divina De Campo will not be performing on Saturday 4th July, Saturday 18th July, Friday 24th July, Saturday 25th July, Friday 31st July, Saturday 1st August or Sunday 2nd August. The producers cannot guarantee the appearance of any artist.
RIDE THE CYCLONE THE MUSICAL is directed and choreographed by Lizzi Gee with musical direction and supervision by Ben McQuigg, set and costume design by Ryan Dawson Laight, lighting design by Tim Deiling, video design by Nina Dunn for PixelLux, sound design by Tom Marshall, illusion design by Richard Pinner, make-up design by Dominic Skinner, casting by Harry Blumenau, associate direction by Eva Sampson, associate choreography by Jasmin Colangelo, associate musical direction by Jennifer Deacon, costume supervision by Sharon Williams, props supervision by Props By Eve, production management by Toby P Darvill for Production Solutions Group and general management by Jack Maple Productions.
The band includes Ben McQuigg (conductor & keys 1), Jennifer Deacon (keys 2), Daniel Kemshall (guitars), Hamish Barry (cello & bass) and Ollie Peszynski (drums & percussion).
The company is completed by James Hamilton (company stage manager), Vicky Zenetzi (deputy stage manager), Izzy Moore (assistant stage manager), Elion Budden (assistant stage manager), Ollie Reymes-Clermson (head of sound) and Luke Pisano-Webb (head of wardrobe).
We’re back for round two. Ready to ride again?
After a freak roller-coaster accident, six teenagers find themselves suspended in limbo and offered one final chance to return to life. One by one, they step into the spotlight to prove why they deserve that second chance.
Darkly comic, unexpectedly moving, and told at full tilt, this 90-minute musical is a five-star theatrical thrill ride. London — this is one ride you can’t miss.
RIDE THE CYCLONE THE MUSICAL had its world premiere at the Atomic Vaudeville in British Columbia, Canada in 2008. The American premiere took place at the Chicago Shakespeare Theatre in September 2015 and went on to open Off-Broadway at the Lucille Lortel Theatre in November 2016. Since then it has had runs in Seattle, Atlanta, Minneapolis, Sydney and Buenos Aires.
RIDE THE CYCLONE THE MUSICAL is produced by Kevin McCollum, Morris Berchard and Jack Maple with associate producers Sisco Entertainment and Coddiwomple Productions. The show is licensed by Concord Theatricals.
Kevin McCollum and Jamie Wilson Productions are delighted to announce that, due to popular demand, the critically acclaimed West End return of AVENUE Q will extend its limited run at the Shaftesbury Theatre into the new year, now booking until Sunday 3 January 2027.
Producers Kevin McCollum and Jamie Wilson said, “We’re absolutely thrilled that the return of Avenue Q has once again struck a chord with audiences, as well as with a whole new generation of theatregoers, discovering the heart, humour and honesty of our fuzzy friends for the very first time. The response to the production at the Shaftesbury Theatre has been extraordinary, and we’re delighted to extend the show’s limited season. The continued success of Avenue Q is a testament to its timeless wit, unforgettable score and the way its themes still resonate so strongly today. It remains, now more than ever, a musical for our time.”
The production stars Emily Benjamin as Kate Monster and Lucy The Slut, Noah Harrison as Princeton and Rod, Meg Hateley as Mrs T and Bad Idea Bear, Oliver Jacobson as Brian, Charlie McCullagh as Nicky, Trekkie Monster and Bad Idea Bear, Amelia Kinu Muus as Christmas Eve and Dionne Ward-Anderson as Gary.
The company is completed by Jasmine Beel, Jonathan Carlton, Angelis Hunt, Lesley Lemon, Jessica Niles Kadi and Joshua Williams-Ward.
The anniversary production is directed by the original award-winning Broadway director Jason Moore, has music & lyrics by Robert Lopez and Jeff Marx and book by Jeff Whitty, music orchestrations and arrangements by Stephen Oremus, original Broadway puppets, conceived and designed by Rick Lyon and set design by Anna Louizos. Alongside choreography by Ebony Molina, costume design by Jean Chan, lighting design by Tim Lutkin, sound design by Paul Groothuis, video design by Nina Dunn for Pixellux, musical direction by Benjamin Holder, puppetry coaching by Iestyn Evans and Andy Heath forTalk to the Hand Puppet, hair & makeup design by Jackie Saundercock, casting by Pearson Casting CDG and original West End company member, Julie Atherton, as Associate Director.
Fresh out of college and searching for his purpose, Princeton ends up in a shabby apartment on New York’s rundown Avenue Q. He quickly meets his new and colourful neighbours where together they navigate the life struggles of work, love and paying the bills in their own hilarious way.
Irreverent and irresistible, AVENUE Q is the mischievous and charming musical full of infectious songs and loveable characters that will leave you smiling for days.
AVENUE Q first opened in the West End in 2006 at the Noël Coward Theatre, before transferring to the Gielgud Theatre, followed by the Wyndham’s Theatre, where it played its final performance on 30 October 2010. A special concert production was performed at the Sondheim Theatre in 2024 to celebrate the show’s 18th anniversary.
AVENUE Q is produced by Kevin McCollum and Jamie Wilson Productions.
Melting Pot today announces the full cast and creative team for the razor-sharp new production of Academy Award-winning Florian Zeller’s Olivier Award-nominated comedy, The Truth.Adam Morris and Roisin Rae will complete the company alongside four of the UK and Ireland’s most beloved stage and screen performers who bring their formidable comic talents to this sophisticated and fast-paced comedy; Stephen Mangan (BBC 1 The Split; Sky’s Portrait Artist of the Year), Ardal O’Hanlon (Channel 4, Father Ted; Netflix, How To Get To Heaven From Belfast), Sarah Hadland (BBC 1, Miranda;Strictly Come Dancing; ITV, The Job Lot) and double Olivier Award-winner Janie Dee.
Translated by Christopher Hampton and directed by Lindsay Posner, this wickedly funny and elegantly crafted, play will run for a strictly limited 14-weeks from Tuesday, 9 June – Saturday, 12 September 2026. The creative team is completed by: Set and Costume Designer, Lizzie Clachan; Lighting Designer, Richard Howell; Sound Designer, Adam Cork; Assistant Director, Rosie Tricks; Costume Supervisor, Joanna Coe; Props Supervisor, Lily Mollgaard; Production Manager, Martyn Sands.
The Truth is a wickedly entertaining comedy where trust is fragile, loyalty is negotiable, and everyone has something to hide. This star-driven revival of the Olivier-nominated play peels back the lies we tell the people we love, and the ones we tell ourselves… Gripping, surprising and laugh-out-loud funny, The Truth is a night at the theatre you won’t want to miss.
The Truth will star Tony Award-nominated Stephen Mangan (BBC 1 The Split; BBC 2 Episodes ) returning to the London stage, alongside comedy icon Ardal O’Hanlon (Channel 4, Father Ted; Netflix, How To Get To Heaven From Belfast), Sarah Hadland (BBC 1, Miranda;Strictly Come Dancing; ITV, The Job Lot) and double Olivier Award-winner Janie Dee —four of the UK and Ireland’s most beloved stage and screen performers—bringing their formidable comic talents to this sophisticated and fast-paced comedy.
Packed with Zeller’s trademark psychological insight and biting humour, and in a translation by Christopher Hampton, The Truth is a witty exploration of the impact of love, deception and the fragile stories we tell ourselves. This new staging is directed by Lindsay Posner (A View From The Bridge, Theatre Royal Haymarket; Noises Off, Phoenix Theatre)with Set and Costume design by Lizzie Clachan.
Producer Simon Friend says: “The Truth is an ingenious puzzle of a play. What initially appears as a playful comedy about adultery effortlessly evolves into something much deeper, while remaining endlessly entertaining. When Florian’s meticulously structured house of cards collapses, you realise that you’ve been in the hands of a writer in complete control of his craft. Florian knows exactly how to pull the rug from under you, as he did repeatedly in The Father film, which was the last project we collaborated on. He does so again here, but there are considerably more laughs this time! Christopher Hampton’s lean and witty translation has enabled us to compile a cast to die for in this exciting return to the West End.”
At the centre of The Truth is Michel, a man who embarks on an affair with his best friend’s wife while attempting to convince himself—and everyone around him—that honesty is overrated. As the web of deception grows increasingly tangled, the audience is left delightfully off-balance and questioning who is deceiving whom.
Florian Zeller is widely regarded as one of the most exciting contemporary dramatists, with international successes including The Father and The Son. The Truth showcases his gift for blending comedy and psychological tension into an evening of theatre that is as uproariously entertaining as it is thought-provoking.
The Truth is produced by Simon Friend and Hanna Osmolska for Melting Pot, the company behind the sold-out 2016 production of Florian Zeller’s play The Height of the Storm at Wyndham’s Theatre. Melting Pot also produced the West End stage productions of The Father at Wyndham’s Theatre and Duke of York’s Theatre, as well as its double Oscar and BAFTA-award winning film adaptation starring Anthony Hopkins and Olivia Colman.
The Truth is produced by Simon Friend and Hanna Osmolska for Melting Pot in association with Gavin Kalin Productions and Fiery Dragons.
Badapple Theatre Company is celebrating the start of its year as associate company at York Theatre Royal by staging cookery comedy Crumbs in the Studio until Saturday. I was lucky enough to catch it on opening night.
Written and directed by Kate Bramley, the show touches on the dreaded social influencer culture and the relentless pressure to chase attention and audiences. Starring Ellen Carnazza, Crumbs is a fast-paced one-woman, multi-role comedy about a former TV baking star Petronella Parfait. She is desperately trying to reinvent herself as social media’s next baking star.
It is launch day for her new show, Dough My Gosh, and things start to unravel before it even goes live. Her assistant, Demelza Meek, has walked out, worn down by Petronella’s demands. As Petronella begins to fall apart, we meet the other figures in her orbit: her mother, Lady Payne; Gloria Gluten, a barrister who knew her at school; Penny Puttanesca, owner of the pizza chain next door, with some distinctly mafia-esque connections; and Mrs Crumble, the cook who taught her everything, and who she is accused of stealing from.
As Petronella prepares her signature loaf, Athenian Caraway Bread, her phone keeps buzzing with updates as news breaks and her followers begin to turn on her, wanting justice for Mrs Crumble. Before long, the whole event descends into chaos, props collapse, the power cuts out, she hasn’t paid the bills, and final demands start appearing everywhere, but the oven stays on.
Just when things can’t get any worse for Petronella, Penny has had enough of the negative attention her demise is creating and sends her muscle, Big Tony, round. What follows is a madcap chase, brilliantly executed, and exhilarating to watch, one of the show’s highlights.
Ellen brings impressive energy to the stage, switching between characters with the help of a hat, wig, scarf or shades. She is thoroughly entertaining, captivating to watch and quickly wins over the audience. I would love to see her perform again.
Crumbs is a fast paced, manic comedy packed with food puns inspired by James Bond, Forrest Gump, Taylor Swift and OnlyFans, to name just a few. What makes this show even more memorable though is that bread is actually baked on stage, you can smell it wafting around the studio, and lets be honest, you can’t beat the smell of freshly baked bread. The icing on the cake is that the audience get to have a taste, it was delicious. What more can you ask for?
Spoiler! If you do go and see the show the program includes a QR codes. Just scan it, submit the feedback form and you then have access to the bread recipe.
‘Noughts and Crosses’ is a play written by Sabrina Mahfouz, adapted from the series of novels by Malorie Blackman. It is set in an alternate universe where so-called Crosses, people with dark skin, who are members of the ruling class, are institutionally racist towards, oppress and discriminate against people with lighter skin, who are known as Noughts. Persephone Hadley (Sephy), daughter of prominent Cross politician Kamal Hadley, becomes friends and falls in love with Nought boy, Callum McGregor. They grow up together because his mother, Meggie works as Sephy’s mother, Jasmine’s maid, however they experience increasing conflict both within their relationship and without due to the societal divisions that exist between Noughts and Crosses.
One clear strength of this show is in its lighting design by Ben Cowens. The neon red noughts and crosses symbol that is the first powerful image the audience sees, isn’t set apart like the game otherwise known as tic tac toe, but blended together, as if they have become one, perhaps a metaphor for Callum and Sephy’s relationship and how, despite her father’s efforts, they will always be connected.
Set designer Simon Kenny takes a simple but very symbolically powerful approach to representing the conflicts of the show through the colour schemes he chooses. The set itself is sparse and therefore versatile, with screens showing anything from the red brick of the McGregors’ home to the invisible screen between Meggie and Ryan McGregor when the latter is arrested. Kenny is also responsible for the stark but effective choices of costume – both Callum and Sephy’s school uniform and Ryan McGregor’s prison jumpsuit are bright orange, perhaps indicating that none of them can hide from the spotlight or from justice, whatever that looks like.
Cowens should also be praised for the highly evocative neon red lighting and flashes of darkness that feature heavily, symbolising anger and danger, violence and bloodshed. This dovetails perfectly with Si Cole’s video design showing TVs with scarlet news tickers proclaiming Breaking News after the Liberation Militia, the rebel movement that Callum’s brother, Jude and father Ryan are part of, bombs the Dundale Shopping Centre.
The physicality of the actors is also evocative, particularly in the first scenes when a playful young Sephy (Brianna Douglas) is leapfrogging over Callum (Lewis Tidy) subtly representing the power differential between them from the very start.
Douglas commands the stage as Sephy, whether she’s standing up for Callum when he joins their school, to be met with protesting children à la Ruby Bridges, or, when she cannot change Callum’s family’s fate, cynically getting drunk on her mother’s alcohol. It is easier to be sympathetic to Tidy’s Callum, as he grieves for his sister Lynette, driven to suicide by an attack on her and her Cross boyfriend by fellow noughts, upending her worldview and alienating her from the rest of her family.
Daniel Copeland, who plays Ryan, has a dignified and determined demeanour as he walks to the scaffold after being convicted of the Dundale Centre murders, a memorable moment of high drama. You have to feel sorry for the multiply-bereaved Meggie too, whose agony is played out palpably by Emma Keele.
But the weakness of the show is in Sabrina Mahfouz’s adaptation. While compressing a whole series of novels is an unenviable task, the ageing and changing outlook of Sephy, in particular, after she goes off to boarding school and studies Cross oppression, feels too sudden and unbelievable, as though, like Scrooge, she has been visited by ghosts overnight. The length of the novels lets Sephy grow in a more natural and nuanced way than this play allows.
This is a visually gripping, powerful show on a surface level, but if you want to see these characters in depth and with appropriate space given to their complex narratives, definitely read the books.
Cal McCrystal and the Giffords Family have pulled it off again! The theme “Waterfield” is a Gifford family name and Penelope Waterfield was a much-loved aunt, so a fitting tribute to the legacy. Inspired by animal characters from much loved children’s stories and the beautiful Cotswolds, you walk into an immersive scene of tales by the riverbank and into the woodlands.
There is a great balance of fun, sparkle, beauty and jeopardy woven into the event, taking you on a journey from the moment you arrive in the circle of circus wagons, their deep red and gold livery making a striking impression. Jazz players welcome you into the Gifford fold. Inside the big top, giant mushrooms, river side reeds and climbing plants festoon the set, with the Grasshoppers Band, their wiggling antennae bouncing along to the music! It is a circus like no other, creating a cohesive performance for all ages to enjoy.
Olivia Louise Swoboda-Weinstein and Stefan Swoboda, aka Ratty and Mole, the quirky clowns that are so ridiculous you cannot help laughing. They encompass that tricky clowning skill creating funny, a little bit painful and sometimes scary!
The Cienna Sisters, aka The Mantis Sisters, provide grace and incredible technique in their ariel straps performance. Sometimes you are not sure where one sister ends and the other begins!
The joy and athleticism of Addis Ababa Troupe, aka The Newts, is contagious, bringing the audience to their feet as they build the difficulty of their tricks to a crescendo.
It wouldn’t be circus without your traditional ‘lady in jeopardy’, having knives thrown and cross bows fired at her! The Jasters, aka Sally Henny Penny and Wiley Mr Fox, build the danger, with a cheeky smile and a slightly insane grin occasionally flashing across his face! Their daughter, Jessyka Jasters, aka Squirrel Nutkin, joins the fray with Sonny Caveagna, aka Rodney Rabbit, providing some light relief to the intense line up of performers, with their juggling act.
The piece de resistance is the Valencia Flyers, aka The Hamsters, 3rd generation circus, they are Wheel of Death performers. There are screams from the audience as their death-defying performance increases in speed and feats of unbelievable risk. Another standing ovation!
It wouldn’t be Giffords without horses. We are treated to the cutest of ponies, Tinkerbell and Otto and majestic Shire Horse, Maizie, with coos from the audience. Their friend Brian the Goose even graces the circus ring at one point!
To bring it all together you have ring master Raf Shah, aka Weasel and his side kicks The Stoats. Seamlessly preparing each set and introducing the acts, they are a key part of the performance.
The scene is set from the start and throughout by the stunning voice of Jenna Dearness-Dark, aka Odette the Swan, in her beautiful white feather costume. The creative team have outdone themselves with costume and set this year.
If you love circus, Giffords is like no other. If you love Giffords, you will not be disappointed.
Barney Norris’s Our Public House, currently playing at the Leeds Playhouse, arrives with an ambitious premise: a community so politically disillusioned that nobody votes anymore. Set almost entirely inside a local pub, the play examines apathy, class, representation and the widening gulf between politicians and the people they claim to speak for. Directed and created by Josephine Burton, with music by Jonathan Walton, it blends traditional drama with song-led storytelling, allowing characters to voice their frustrations, memories and hopes in lyrical interludes.
The opening scenes struggle a little. The mother and daughter exchanges don’t feel authentic and so their characters initially feel hard to connect with. Too often, the script leans heavily on swearing, as though volume and profanity alone can create convincing working-class voices. Instead, it occasionally has the opposite effect, feeling exaggerated, with some performances veering dangerously close to caricature. However, once warmed up and with the entrance of some other characters, the play begins to open up and unfold some interesting ideas and concepts.
Yet Our Public House noticeably picks up the energy with the arrival of Mary Parker, an aspiring MP played superbly by Gabriella Leon, and her aide Tom, portrayed with understated realism by Kit Esuruoso. Both actors bring a grounded naturalism that the production desperately needs. Esuruoso captures the uneasy balance between political ambition and sincerity, while Leon gives Mary a quiet humanity that feels entirely authentic. Their scenes together inject the play with tension, nuance and emotional credibility.
The music is similarly uneven but often effective. Some lyrics land with real poignancy, giving voice to frustrations about political abandonment and social stagnation whereas others feel simplistic and overly earnest. Still, when the songs work, they deepen the emotional landscape and allow glimpses into the characters’ inner lives that the dialogue alone sometimes struggles to reach.
One particularly missed opportunity is the play’s relationship with its setting. Given its focus on community identity and political neglect, tailoring elements of the production to the city in which it is staged could create a far stronger connection with audiences. Referencing recognisable Leeds locations, events or cultural touchstones would ground the story in a more tangible reality and reinforce the idea that these frustrations belong to real places and real people.
Despite its issues, Our Public House does succeed in provoking thought. Beneath it all lies an unsettling question: what happens when people lose faith entirely in the democratic process? The play’s central idea — that perhaps people might collectively reject all available political options rather than continue electing “just another one of the same” — lingers long after the curtain falls. It may not always get there gracefully, but it does leave its audience reflecting on anger, representation and whether democracy still feels meaningful to those most often promised everything and given very little.
Full company announced forChichester Festival Theatre’s first ever production of
Lerner & Loewe’s MY FAIR LADY Book and Lyrics by Alan Jay Lerner Music by Frederick Loewe Adapted from George Bernard Shaw’s play and Gabriel Pascal’s motion picture Pygmalion Original production directed and staged by Moss Hart
Directed by Rachel Kavanaugh
6 July – 5 September, Festival Theatre
A brand-new production of Lerner & Loewe’s glorious, evergreen musical My Fair Lady – which has never before been produced at Chichester – will be directed by Rachel Kavanaugh and run from 6 July – 5 September.
Hadley Fraser (Magic, The Pajama Game, City of Angels) plays Henry Higgins, with KeziahIbemaking her professional debut as Eliza Doolittle. Ben Culleton is Freddy Eynsford-Hill; Tony Jayawardena plays Colonel Pickering; Belinda Lang plays Mrs Higgins; Gary Milner is Alfred Doolittle; Finty Williams is Mrs Pearce. They are joined by Jonathan Bourne, Nic Cain, Shani Cantor, Mark D’Arcy, Talia Duff, Nicholas Duncan, Zack Guest, Joe Henry, Jennifer Louise Jones, Ella Kora, Reuben Lally, TJ Lloyd, Maggie Lynne, Anna McGarahan, Kody Mortimer, Rachel Stanley and Jessica Vaux.
Hadley Fraser (Henry Higgins) has just finished playing Houdini in Magic at CFT to great acclaim. Equally renowned for drama and musicals, he has previously appeared at Chichester in The Deep Blue Sea and The Pajama Game, while his many West End credits range from The Lehman Trilogy, 2:22 and Shaw’s Saint Joan to City of Angels, Young Frankenstein, Les Misèrables and Phantom of the Opera. Television includes The Gold, Endeavour and Gentleman Jack.
Keziah Ibe makes her professional debut as Eliza Doolittle, having graduated from Arts Educational Schools with a BA in Musical Theatre this year.
Ben Culleton (Freddy Eynsford-Hill) has appeared in many musicals in the West End and around the UK, including Mary Poppins, Les Misérables and La Cage aux Folles
Tony Jayawardena (Colonel Pickering)’s extensive stage work includes Nye and The Father and the Assassin (National Theatre), Doctor Strangelove (West End) and, on television, Ackley Bridge and Ludwig.
Belinda Lang (Mrs Higgins) last appeared at Chichester in The Country Wife; her many television credits include the Sister Boniface and Inspector Alleyn Mysteries and 2point4 Children, while recent theatre work includes Little Women, Humble Boy and Duet for One.
Gary Milner returns to Chichester, where his previous appearances include The Music Man and How to Succeed in Business… as Alfred Doolittle. His recent theatre credits include Alfred Hitcock Presents (Theatre Royal Bath), Here & Now: The Steps Musical (UK tour), Kiss Me, Kate (Barbican) and Evita (Curve Leicester).
Finty Williams (Mrs Pearce) has recently appeared in Punch (Nottingham Playhouse/UK tour), Here & Now (UK tour), The Baker’s Wife (Menier Chocolate Factory) and The Ocean at the End of the Lane (National Theatre/UK tour), and The Cranford Chronicles on television.
With an overflowing bouquet of ravishing songs including The Rain in Spain, I Could Have Danced All Night, With a Little Bit of Luck and Wouldn’t It Be Loverly, sparkling dialogue, brilliant lyrics, witty story and gorgeous costumes, this 20th century masterpiece has been described as the perfect musical.
Cockney Eliza Doolittle scrapes a living selling flowers on the streets of London. Her dream of being a lady in a florist’s shop is out of reach unless she can speak ‘proper English’. So when she encounters Henry Higgins, a professor of phonetics, she seizes the chance to transform her life. Higgins blithely takes on a bet to turn the woman he dismisses as a “squashed cabbage leaf” into a high society paragon. But his impulsive wager becomes a journey of discovery for both him and Eliza.
Based on George Bernard Shaw’s 1913 play Pygmalion, Lerner & Loewe’s multi award-winning musical broke Broadway records when it opened in 1956 and was later adapted into the 1964 Oscar-winning film.
Director Rachel Kavanaugh’s previous Chichester productions include The Music Man, Shadowlands (which recently completed its West End run) and Half a Sixpence. The set and costumes will be designed by Peter McKintosh (Top Hat, South Pacific, Shadowlands), with choreography by Stephen Mear (Gypsy, Mack & Mabel, Kiss Me Kate).
The musical supervisor will be Stephen Ridley, musical director Cat Beveridge, lighting designer Howard Harrison, sound designer Ian Dickinson for Autograph Sound, and casting director Stuart Burt CDG.
There will be a Dementia Friendly performance on 29 July and a Relaxed Performance on 1 September. A Summer Gala on 28 August will support our ‘Stage the Future’ fundraising campaign for the next generation of theatre-makers.
