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NEW ADVENTURES ANNOUNCES

FULL CASTING

FOR THE 2025 NATIONAL TOUR OF THE AWARD-WINNING

Intoxicated tales from darkest Soho

OPENING AT THE EVERYMAN THEATRE, CHELTENHAM
ON THURSDAY 15 MAY

BEFORE VISITING 15 VENUES ACROSS THE COUNTRY

New Adventures is delighted to announce the full cast for the 2025 tour of Matthew Bourne’s award-winning THE MIDNIGHT BELL, opening at the Everyman Theatre, Cheltenham on Thursday 15 May.  The production will then embark on a 17-week countrywide tour including many venues for the first time with this production. Full tour schedule below.

The cast features fourteen of New Adventures’ finest leading actor/dancers.  They are Cordelia Braithwaite, Reece Causton, Glenn Graham, Daisy May Kemp, Hannah Kremer, Michela Meazza, Andy Monaghan, Liam Mower, Dominic North, Bryony Pennington, Edwin Ray, Danny Reubens, Ashley Shaw and Alan Vincent.

For nearly 30 years these dancers have between them performed leading roles to critical acclaim in every production in Matthew Bourne’s repertoire, in the UK and internationally.

Matthew Bourne said today:

“This is, without doubt, the finest company of quintessential New Adventures actor/dancers ever assembled for a single production! Together they represent nearly 30 years of critically acclaimed performances and created roles in my work. In fact, it would be hard to imagine a cast more perfectly suited to the challenging world of Patrick Hamilton and his exploration of the darker reaches of the human heart. I’m thrilled to welcome back many of the superb original cast, Reece Causton, Glenn Graham, Daisy May Kemp, Andrew Monaghan, Liam Mower, Bryony Pennington and Michela Meazza, who won a National Dance Award for her role in this production. Making their debuts in The Midnight Bell are some of New Adventures most beloved stars of the last 25 years, Cordelia Braithwaite, Dominic North, Edwin Ray, Danny Reubens, Ashley Shaw and Alan Vincent. They are also joined by rising star Hannah Kremer, most recently seen as Juliet in my Romeo and Juliet. I urge you not to miss this never to be repeated opportunity to join us for an evening at The Midnight Bell and raise a glass to the very best that New Adventures has to offer.”

In 1930s London ordinary people emerge from cheap boarding houses nightly to pour out their passions, hopes and dreams in the pubsand fog-boundstreets of Soho and Fitzrovia. Step inside The Midnight Bell, a tavern where one particular lonely-hearts club gather to play out their lovelorn affairs of the heart; bitter comedies of longing, frustration, betrayal and redemption.

Matthew Bourne’s THE MIDNIGHT BELL isinspired by the work of thegreat English novelist Patrick Hamilton (Twenty Thousand Streets Under The Sky, Hangover Square) who created some of the most authentic fiction of his era; stories borne out of years of social interactions with the working man and woman at his favourite location – the London Pub.

THE MIDNIGHT BELL premiered to great acclaim in 2021 and received five nominations at the 2022 National Dance Awards, with Matthew Bourne winning the award for Best Modern Choreography and Michela Meazza for Outstanding Female Modern Performance.

Matthew Bourne once again joins forces with the Olivier and Tony award-winning team of Terry Davies (music), Lez Brotherston (set and costume design), Paule Constable (lighting design) and Paul Groothuis (sound design).

For more information please visit: www.new-adventures.net

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DYLAN MARCAURELE’S POP OFF, MICHELANGELO! STAGES A HIGHLY ANTICIPATED STRICTLY LIMITED RUN AT UNDERBELLY BOULEVARD SOHO

Dylan MarcAurele’s Pop Off, Michelangelo! today announces its transfer to Underbelly Boulevard Soho for a limited 5 week run, following its highly successful season at the Edinburgh Festival Fringe 2024 and concert performances at The Other Palace. 

Returning to London in a revitalised production, Dylan MarcAurele’s Pop Off, Michelangelo!, directed by Joe McNeice, opens on 23 May, with previews from 17 May, and runs until 22 June. Full cast and creative team to be announced shortly.

A smash hit at the Edinburgh Festival Fringe where it received a Popcorn Award Special Mention, MarcAurele and McNeice reunite to take you on a wild ride through Renaissance Italy. Pop off, Michelangelo! is a high-camp musical comedy telling the (somewhat edited)history of two of Italy’s greatest artists, Michelangelo and Leonardo da Vinci, as they both race to create the most legendary religious masterpieces.

Dylan MarcAurele said today, “I am so excited to be bringing Pop Off, Michelangelo! to London audiences, especially in such a vibrant and dynamic venue that is Underbelly Boulevard Soho. 

With the vision of director Joe McNeice and the brilliant Blair Russell at the helm, this camp artistic rivalry promises over-the-top drama and uplifting singable anthems. It’s a love letter to artistic ambition, queer identity, and a wildly inaccurate version of history. Expect electropop bangers, and a whole lot of divine intervention (or lack thereof). It’s ridiculous and heartfelt, and most importantly, a whole lot of fun.”

Director Joe McNeice said today, “I’m delighted to be directing Dylan MarcAurele’s fabulous and hilarious Pop Off, Michelangelo! and to bring this absolute celebration of a show to the heart of Soho, right where it belongs!”

Pop Off, Michelangelo! is on sale now at https://underbellyboulevard.com/tickets/pop-off-michelangelo/

www.popoffmichelangelo.com

Instagram, TikTok: @popoffmichelangelo

POP OFF, MICHELANGELO! 

By Dylan MarcAurele

Writer: Dylan MarcAurele; 

Director: Joe McNeice;

Choreographer: Sundeep Saini;

Musical supervisor & orchestrations: Aron Sood

Costume Designer: Emily Bestow;

Lighting Designer: Adam King;

Casting Director: Sarah-Jane Price;

Producer: Blair RussellProductions

Production Manager: James Anderton

General management: Paul Virides Productions

17 May to 22 June 

at Underbelly Boulevard Soho 

The high-camp musical comedy that stole the Fringe makes its limited West End debut season. 

POP OFF, MICHELANGELO! tells the story of best-pals-turned-bitter-rivals Michelangelo and Leonardo da Vinci. A bloodthirsty friar is on the hunt for homosexuals in Renaissance Italy at the exact moment when childhood friends Mike and Leo realise they both like boys. Terrified, they devise a foolproof plan to gain God’s forgiveness: they simply need to become the greatest religious artists of all time. Can Michelangelo gaslight, gatekeep, and girlboss his way to the Vatican? Will Leonardo ever shut up about his helicopter? Featuring an original electropop score as infectious as the bubonic plague, POP OFF, MICHELANGELO! is an unhinged adventure that you won’t want to miss.

Dylan MarcAurele is a New York-based writer and recent winner of the Jonathan Larson Grant and the Richard Rodgers Award. His other credits for Book, Music, and Lyrics include MEG4N (2024 US Tour starring Rosé of RuPaul’s Drag Race), and The Real Housewives of NYC: The Musical (featured on Bravo’s Watch What Happens Live). As a composer, his work includes Lewis Loves Clark (2024 NAMT Festival; 2020-21 Dramatists Guild Foundation Fellowship), Tea with G (reading directed by Scott Schwartz), and The Land of Forgotten Toys (Broadway Licensing). In playwriting, his piece God Gives Ryan a Very Important Job premiered at the 2023 Samuel French OOB Festival. MarcAurele has also written music and lyrics for Miley Chase: The Science Ace (Broadway Licensing) and the song “Say Bravo!” (sung by Andy Cohen with the cast of Vanderpump Rules at the Paris Theater, Las Vegas). 

Joe McNeice directs. He is the founding Artistic Director of the Lavender Theatre and the founder of Lavender Productions Ltd. In 2023, he launched the 250-seat open-air Lavender Theatre in Epsom, opening the venue with a revival of Irving Berlin’s Annie Get Your Gun, starring Eurovision’s SuRie. His other directing credits include DIVA: Live From Hell! at the Turbine Theatre, which was nominated for Best Off-West End Show at the 23rd Annual WhatsOnStage Awards. In 2024, he directed a revival of DIVA at London’s King’s Head Theatre and Underbelly Cowgate in Edinburgh. As a producer and writer, he co-wrote and produced the 2020 charity Christmas single Christmas Again: The Show Must Go On! for the Theatre Support Fund+, and worked on Magic Mike Live (US Tour). He is also the creator of On Hope, A Digital Song Cycle, and co-wrote the full-length musical Twilight Robbery with composer Matthew Spalding. Writing credits include Songs in the Key of Springfield (2016), Des Ludo’s Good Clean Fun (2018), and Sugar and Smoke (2018), all performed at the University of York.

Listings Information

POP OFF, MICHELANGELO! 

Underbelly Boulevard Soho

6 Walker’s Court, Soho, London W1F 0BT 

www.popoffmichelangelo.com

Instagram, TikTok: @popoffmichelangelo

www.underbellyboulevard.com

Box Office: 0207 432 3860

TICKETS 

£15-65, previews £10-35.

Running time: 75 minutes approx.

Content warnings: themes of homophobia, strong language

17 May to 22 June 

Performances Tuesday to Friday at 7pm

Performances on Saturday at 3pm and 7pm

Performances on Sunday, 2pm and 6pm

New Wimbledon Theatre, London – until 1 March 2025

By Emily Smith

3***

Based on the cult-classic movie released in 1999, Cruel Intentions: The 90s Musical, tells the story of wealthy, manipulative stepsiblings Kathryn Merteuil (Nic Myers) and Sebastian Valmont (Will Callan). This touring production follows a short run at The Other Palace last year with a largely new cast.

Staying true to the ‘Gen Y’ setting of the film, the audience are transported back to the 90s through the costumes, staging and songs. The show starts with an (inexplicable) rendition of Livin’ La Vida Loca and goes on to cover all genres from the 90s – from ballads such as Iris to upbeat classics like The Sign and Lovefool. However, the use of 90s hits interjected into the dialogue felt forced and did little to add to the storytelling. There are so many well-known 90s hits shoe-horned into the 1 hour 55 minute running time that the majority felt misplaced and inopportune, breaking up the plot rather than adding to it.

I began to question if this was a serious musical or satire when the actors started to play into the breakout nature of the songs. For example, when Cecile Caldwell (Lucy Carter) is speaking to Kathryn and discovers she had an orgasm, Cecile launches into a well-timed version of The Sign, which got several laughs from the audience. However, this comedic edge was not consistent and left me feeling confused about the tone of the show. This was made more disorienting by the presence of backing dancers when perhaps having the main vocalist(s) alone would have given greater effect.

In both the film and musical, Sebastian is challenged by Kathryn to seduce Annette Hargrove (Abbie Budden), a Christian girl who was saving herself for marriage, and in exchange Kathryn agrees to sleep with him. I felt the (admittedly strange) stepsibling sexual chemistry from the film was somewhat lacking in this musical production. Given the storyline has been maintained, with the script remaining largely true to the film, either the sexual chemistry needed to be fully present, or removed. However, some of the other controversial moments from the film, such as the sex scene between Sebastian and Cecile, have been made more appropriate and consensual than perhaps the film portrays.

The true standout of the evening was Will Callan who played Sebastian Valmont. Will’s voice is absolutely gorgeous – reminiscent of musical icon Ben Platt at times – and his rendition of Iris, which started acapella, was one of the best of the evening. Abbie Budden also showcased her beautiful vocals with Abbie and Will’s duets, Lovefool and Torn, being two of the more memorable performances of the evening.

The relationship between gay lovers, Blaine Tuttle (Luke Conner Hall) and Greg McConnell (Joe Simmons), is given a more prominent role in the musical than in the film. Their performances were some of the highlights of the evening, with songs like Wannabe proving to be real crowd pleasers, despite the fact their relationship didn’t really feature in the narrative.

The final number of the evening Bittersweet Symphony was a real throwback to the film which ends with the same song. At the final curtain call, the cast performed a medley of songs which was a great way to end the show and, in some ways, was what the audience wanted all along – a 90s concert!

Polly Sullivan’s set and costume design felt appropriate for the show. The stage was set inside an elaborate mansion house throughout, with props dropping down or being wheeled on to change the scene. The costumes were authentically 90s and true to the film. The use of colour-changing panels within the mansion walls helped change the atmosphere of each scene and was well utilised in the lighting design (Nick Richings).

Cruel Intentions: The 90s Musical is a fun night out, packed full of 90s hits, yet it feels confused and incohesive at times with a questionable tone.

As part of Original Theatre 20th anniversary season,

Original Theatre and Reading Rep Theatre’s production
of Micheál Mac Liammóir’s 

The Importance of Being Oscar 

starring Alastair Whatley and directed by Michael Fentiman

transfers to Jermyn Street Theatre this Spring

Following the sell-out success of Being Mr Wickham in 2024, Original Theatre returns to Jermyn Street Theatre, joined by co-producers Reading Rep Theatre, for the first London revival in over 25 years of Micheál Mac Liammóir’s renowned play, The Importance of Being Oscar. The production runs from Friday 28 March until Saturday 19 April 2025, as part of the anniversary season celebrating 20 years of Original Theatre.

The Importance of Being Oscar is directed by Michael Fentiman (Amelie, Jekyll & Hyde, The Lion, The Witch & The Wardrobe) and stars Original Theatre’s Artistic Director Alastair Whatley. The one-man show’s run at Reading Rep Theatre last summer marked Alastair’s return to the stage, having last performed in 2017 in the New York transfer of Original Theatre’s production of Torben Betts’ Invincible. Alastair’s other acting credits include Birdsong, The Importance of Being Earnest, Three Men in a Boat, See How They Run, Twelfth Night, Vincent in Brixton, Dancing at Lughnasa and Henry V (RSC).

Set and Costume Design are by Madeleine Girling, Lighting Design is by Chris Davey, and Composition and Sound Design are by Barnaby Race.

Oscar Wilde was a dandy of speech, a dandy of manner, a dandy of dress, and a dandy, even, of ideas and intellect. He fell in love with eccentric socialites, travelled to America with nothing to declare except his genius, and found worldwide success as a playwright. This is the story of how his life of fame, glamour, and romance led him to become an imprisoned outcast. 

The Importance of Being Oscar immerses audiences in a compelling journey through the loves and losses, successes and struggles of the man. It is a beautiful tribute to an icon of the world of theatre, liberally laced with Wilde’s signature wit and wisdom and featuring excerpts of many of his best-loved works including An Ideal Husband, The Picture of Dorian Gray, The Importance of Being Earnest and The Ballad of Reading of Gaol.

Alastair Whatley, Artistic Director of Original Theatre and star of The Importance of Being Oscar, said: “I am delighted that our show created with Mike Fentiman and the team at Reading Rep last summer gets a new lease of life at the intimate Jermyn Street Theatre in Piccadilly. This London neighborhood in the heart of the modern metropolis will forever be associated with Wilde, who feasted with panthers in close proximity to where the theatre stands today and from where we will stage Micheál Mac Liammóir’s loving, charged and celebrated elegy to the life and works of this legendary figure of the British stage.”

To book tickets for The Importance of Being Oscar at Jermyn Street Theatre, visit: www.jermynstreettheatre.co.uk/show/oscar

LISTINGS

Show: The Importance of Being Oscar

Venue: Jermyn Street Theatre, 16b Jermyn Street, London SW1Y 6ST

Dates: 28 March – 19 April 2025; Monday to Saturday 7.30pm; Tuesday, Thursday, Saturday 3.00pm

Relaxed Performance: 14 April 2025

Captioned Performance: 16 April 2025

Running Time:  90 minutes

Tickets: www.jermynstreettheatre.co.uk/show/oscar or call the Box Office on 020 7287 2875

Age suitability: 10+

Content warnings: Please be aware this show contains mild haze and blackouts. At one point during the show, there is also a flash of light towards the audience.

DIGITAL STREAMING DETAILS

A filmed version of The Importance of Being Oscar is currently available to watch at Original Online, Original Theatre’s digital streaming platform: originaltheatre.com/productions/the-importance-of-being-oscar

Hall for Cornwall, Truro, Cornwall until Saturday 1 March 2025

Reviewed by Kerry Gilbert

5*****

‘It’s no surprise this feel good, fabulous production is selling out, with enough glamour and sparkle to light up a room’

A brand-new production of Kinky Boots is at the Hall for Cornwall this week courtesy of Made at Curve. Directed by the Curve’s Artistic Director Nikolai Foster with choreography by Leah Hill and music and lyrics by Cyndi Lauper, it is a fine rendition of this extremely popular musical which has already won just about every major Best Musical award.

Based on the 2005 film by Geoff Deane and Tim Firth, Harvey Fierstein’s book tells the story of Charlie Price who, having begrudgingly inherited a failing shoe factory from his father, forms an unlikely partnership with cabaret performer and drag queen, Lola, to produce a line of high-heeled boots and save the business.

It was a sellout show, and from the start the atmosphere was electric, with the anticipation building in the audience, the orchestra soon grasped everybody’s attention with the opening of the show! It is a show that radiates positivity, celebrating individuality and kindness in a way that feels more important than ever.

Once Johannes Radebe walks on stage as Lola, it is hard to focus your attention anywhere else, with his magnetic charm. Fans of Strictly Come Dancing (where Radebe shot to fame) hoping to witness some sparkling choreography are not disappointed. Radebe has a pleasant singing voice, but it is his immense presence and command of the stage which are most exhilarating. He effortlessly transitions from unapologetic high camp to heartbreaking tenderness.

As Charlie, Dan Partridge is an accomplished performer with an attractive voice. His portrayal of a young man’s conflict between following his own wishes and fulfilling the hopes and dreams of his father is convincing and heartfelt.

One of key pivotal moments is when Lola reveals himself as Simon from Clacton, wearing his male clothing and meets Charlie with honesty and bravery. It’s the only moment where Radebe has to peel back the layers and act rather than perform. He rises to the challenge, with quiet authenticity and restraint. His solo/duet with Charlie of ‘I’m Not My Father’s Son’ is extremely moving. The presence of the two talented young actors playing Young Charlie (Joshua Beswick) and Young Lola (Lawrence Ndola-Myers) adds to the emotional impact.

Courtney Bowman as Lauren is an absolute spotlight. Her comedic facial expressions are perfection, and her performance of ‘The History of Wrong Guys’ is a show highlight, packed with incredible vocals and the right mix of awkward charm and hilarity.

It’s no surprise this feel good, fabulous production is selling out, with enough glamour and sparkle to light up a room. Kinky Boots will lift you up and leave you with a big grin on your face. A full standing ovation and cheers from the audience were thoroughly deserved.

WATERMILL THEATRE 2025
AWARD-WINNING NEWBURY VENUE ANNOUNCES
FULL 2025 SEASON DETAILS, INCLUDING A REVIVAL OF

JESUS CHRIST SUPERSTAR

AS THE SUMMER MUSICAL (24 JUNE – 21 SEPTEMBER)

CHARLEY’S AUNT – ADAPTED BY ROB MADGE (3 OCTOBER – 15 NOVEMBER)

THE LITTLE MERMAID (26 NOVEMBER – 4 JANUARY)

TICKETS ON SALE TO BULRUSH, FERN, WATER LILY & WILLOW MEMBERS 6 MARCH,
FRIENDS & REEDS MEMBERS 18 MARCH (MEMBERSHIPS START FROM £35 PER YEAR)
EMAIL SUBSCRIBERS 25 MARCH, GENERAL ONSALE 26 MARCH
BOOK ONLINE AT WATERMILL.ORG.UK OR VIA THE BOX OFFICE ON 01635 46044

Joint CEOs Artistic Director Paul Hart andExecutive Director Claire Murray, and the whole team at Newbury’s Watermill Theatre are delighted to announce the summer and autumn productions for 2025 at the award-winning venue.

The Watermill’s 2025 summer musical will be a revival of Tim Rice and Andrew Lloyd Webber’s extraordinary rock opera Jesus Christ Superstar, directed by Paul Hart, with set and costume design by David Woodhead, choreography by Anjali Mehra, and musical supervision and orchestration by Stuart Morley. Jesus Christ Superstar will play from 24 June – 21 September and is generously supported by Kindred Partners, with production sponsorship by Horsey Lightly.

A global phenomenon that has wowed audiences for decades, Jesus Christ Superstar is a timeless work set against the backdrop of an extraordinary and universally-known series of events, but seen through the eyes of Judas Iscariot. The story, told entirely through song, explores the personal relationships and struggles between Jesus, Judas, Mary Magdalene, his disciples, his followers and the Roman Empire.

Spilling out of the theatre into the gardens, be immersed into the heart of this epic 1970s rock score, with an incredible cast of actor-musicians seamlessly fusing these classic roles with iconic music including “Superstar”, “Gethsemane” and “I Don’t Know How to Love Him”.

Premiering at the Watermill, Friday 3 October – Saturday 15 November, Brandon Thomas’ riotous farce Charley’s Aunt is given a glamorous glow-up in a new adaptation by Rob Madge, the award-winning creator of My Son’s a Queer (But what can you do?), directed by Sophie Drake (winner of the 2024 Stage Debut Best Director Award).

 Two scheming students, Charley and Jack, must circumnavigate the curmudgeonly Uncle Stephen to declare their feelings to love interests Amy and Kitty.  The promised arrival of Charley’s Aunt gives them an opportunity and the best laid plans are set.  One delayed arrival, one fortuitous arrival and lots of classic comic confusion later, the champagne is finally poured at a dinner party to remember.

Mistaken identities, new identities and the discovery of true identities; will love – old and new – triumph through it all?

 The Watermill are hosting a Come As You Are Night, in partnership with Newbury Pride, on Monday 27 October.  Audiences are invited to come as they are, as their most comfortable selves, and gather together for drinks and nibbles from 6pm.

From Wednesday 26 November to Sunday 4 January, the Watermill’s annual festive production is The Little Mermaid, by Lara Barbier, based on the story by Hans Christian Andersen, directed by Elgiva Field, with songs by Amie Parsons of True Foxes. This new Watermill production weaves together salty sea air, folk and sea shanty inspired songs and an ethereal world below the waves for Christmas 2025.

 Far out in the ocean, deep beneath the waves, is a colourful kingdom bursting with flowing flowers, glittering shells and flittering fish. The Little Mermaid, daughter of the Sea King, eagerly awaits her birthday – the day she sees the world above the surface for the very first time.

The Little Mermaid discovers a world of twinkling lights, crashing waves, and jolly music. Drawn towards a ship, she rescues a young man with dark eyes and two prop legs, instead of a shimmering tail.

Longing to join him, the Little Mermaid’s thoughts stray to the world above the sea, as she dreams of life on land.  Confronted by a deal with the scheming Sea Witch, the Little Mermaid must choose whether she’s willing to risk everything in the pursuit of love.

Paul Hart said, “This summer at the Watermill is going to be bigger than ever with our new production of Tim Rice and Andrew Lloyd Webber’s Jesus Christ Superstar.  It’s going to be really special for audiences to experience this legendary musical in the intimate setting of the Watermill, with music played live onstage and a semi-immersive staging which will spill out of the theatre into the gardens.  We have expanded the run to 100 performances this year to ensure more people than ever have a chance to book for an unforgettable summer musical following our recent sell-out shows. 

This is followed by Rob Madge’s new adaptation of Brandon Thomas’ joyous farce, Charley’s Aunt.  I’m really excited for us to share a version of this play from a twenty first century perspective, more celebratory than ever of the themes of self-discovery and gender identity.

This Christmas, we have a brilliant creative collaboration for The Little Mermaid with Elgiva Field directing, Lara Barbier writing the adaptation and Amie Parsons of Cornish folk band, True Foxes, writing the songs.  This will be the perfect follow up to last year’s Pinocchio.”

Claire Murray added, “We’re excited to offer an iconic musical, a reimagined classic comedy and a much-loved children’s fairytale to complete a thrilling 2025 programme at the Watermill. Working with EM Acoustics we’ve upgraded our sound system over the last month and we’re looking forward to having audiences experience these improvements – particularly on our actor-musician-led productions of Piaf, Jesus Christ Superstar and The Little Mermaid.

We’re also delighted to see The Lord of the Rings, which started its life here in 2023, return to the UK in October with a run in Plymouth before heading on a European tour, and the continuing success of Calamity Jane which is entertaining audiences all over the country.

The support of funders and donors and the commitment of our staff team has been essential to all of the work both in Newbury and beyond and we are indebted to everyone has been part of bringing these shows to life.” 

Priority booking opens for Members from Thursday 6 March, with memberships starting at £35 for the year.  Email subscribers booking opens on Tuesday 25 March, with general booking opening the following day on Wednesday 26 March.  Tickets for the season start at £15 and can be booked online at watermill.org.uk or by calling the box office on 01635 46044.

MARTIN SHAW, TRACY-ANN OBERMAN AND MORE STAR IN RICHMOND THEATRE’S UPCOMING SEASON

MARCH – JUNE 2025

Kicking off March, acclaimed actor Martin Shaw returns to the role of Sir Thomas More in the historical drama A MAN FOR ALL SEASONS (11-15 Mar). Robert Bolt’s award-winning play tells the story of the most powerful and dangerous figures who shaped English history, also starring Gary Wilmot.

Following sold-out seasons in the West End, on tour and at the RSC, the electrifying THE MERCHANT OF VENICE 1936 (8-12 Apr) sees the Shakesperean classic transported to 1930s Britain against the Battle of Cable Street, with Tracy-Ann Oberman starring as the first British actress to play Shylock, and Joseph Millson as Antonio.  With the city on the brink of political unrest, fascism sweeping across Europe and Oswald Mosley’s British Union of Fascists threatening a paramilitary march through the Jewish East End, strong-willed single mother Shylock runs a pawnbroking business from her house in Cable Street where Mosley will march. When charismatic, antisemitic aristocrat Antonio comes to her for a loan, a high-stakes deal is struck. Will Shylock take her revenge, and who will pay the ultimate price?            

The theatre has two fantastic shows based on well-loved book titles taking to the stage this Spring. Brand new Peter James thriller PICTURE YOU DEAD (18-22 Mar) will star TV favourites Peter Ash, Fiona Wade and George Rainsford, whilst LITTLE WOMEN (3-7 June) will see the enduring journey of the March sisters come to life in this lovingly crafted adaptation.

Looking for something with a few more sequins? THE ROCKY HORROR SHOW (28 Apr – 3 May) returns to Richmond to do the Time Warp again, with guest star Jackie Clune as the Narrator. For those who love old-school comedians, don’t miss THE LAST LAUGH (17-21 June), a brand-new play which reimagines the lives of three of Britain’s greatest comedians: Tommy Cooper, Eric Morecambe and Bob Monkhouse. The venue also has two Fringe hits heading to the Richmond stage: …EARNEST? (12-14 June), which sees this presentation of an Oscar Wilde play bring up an actual audience member to star in the show, and MURDER, SHE DIDN’T WRITE (6 May) will see the audience become the author in this ingenious improvised murder mystery!

For West London and Surrey families, Richmond Theatre have two productions guaranteed to be hits with your little ones. THE SMARTEST GIANT IN TOWN (2-3 Apr) brings Julia Donaldson and Axel Scheffler’s book to life, whilst HORRIBLE HISTORIES: AWFUL EGYPTIANS (8-11 May) and HORRIBLE HISTORIES: TERRIBLE TUDORS (8-10 May) will show keen young historians the gory side of history based on the adores book series and television show.

Richmond Theatre is dedicated to making sure people of all ages and abilities can take part in theatre and the arts, and our Creative Learning department has various classes that are inclusive and fun for all! This currently includes Story-time and Twirling Toddlers sessions for under 5s, as well as regular dance class Step Into Richmond and acting session Class Act, both for those over 50. Richmond Theatre additionally holds monthly Guided Theatre Tours to allow audience members to learn more about the iconic history of this Grade-II listed venue. The department has also recently started a choir – Richmond Sings! – which runs weekly on Tuesdays.

For further information regarding workshops and Creative Learning bookings, please contact [email protected] 

THE UK PANTOMIME ASSOCIATION ANNOUNCES 
MAJOR SPONSORSHIP PARTNERSHIP WITH 
TRAFALGAR ENTERTAINMENT AND ATG ENTERTAINMENT

The UK Pantomime Association is delighted to announce a significant new sponsorship partnership with Trafalgar Entertainment and ATG Entertainment (ATGE). This collaboration will further enhance the UK Pantomime Association’s role as a leading charity supporting the art and tradition of pantomime, which also includes The Pantomime Awards, the prestigious ceremony which takes place annually. 

As part of this exciting partnership, Trafalgar Entertainment and ATGE will take turns hosting The Pantomime Awards and provide vital financial support to ensure the continued success and growth of the event. The Pantomime Awards 2025 will take place on Sunday 13th April at the New Victoria Theatre, Woking, marking the first year of this collaborative initiative.

The UK Pantomime Association works year-round to champion the creative and cultural significance of pantomime and aims to recognise outstanding talent and excellence within the industry through events, lectures, talks and The Pantomime Awards. This sponsorship from two of the UK’s most influential theatre organisations further strengthens its mission to promote and celebrate the very best in pantomime.

Simon Sladen, Chair of the UK Pantomime Association said: “We are incredibly excited about this new chapter for the UK Pantomime Association and The Pantomime Awards. This groundbreaking collaboration with Trafalgar Entertainment and ATG Entertainment secures The Pantomime Awards’ future and demonstrates a strong commitment to celebrating and acknowledging the significant role the artform plays in the UK’s cultural landscape. The UK Pantomime Association is looking forward to working with Trafalgar Entertainment and ATGE as, together, we continue to support and champion Britain’s greatest and most-loved artform.”

Chris McGuigan, Group Commercial Director for Trafalgar Entertainment said: “Panto season has long been the lifeblood of regional theatre in this country – for many children a trip to a pantomime is their first experience of live theatre and live entertainment. It’s fitting and appropriate then that both of the UK’s major regional theatre groups are helping to support and sustain The Pantomime Awards in this way. We firmly believe that panto deserves recognition and celebration – the artform itself – and the artists, entertainers, acts, writers, dancers, musicians and producers who bring it to life each year. We’re thrilled and delighted to be lending our support through this unique partnership.”

Claire Dixon, Business Director for ATG Entertainment said: “This new partnership represents a major milestone in securing the future of pantomime as an integral part of the UK’s theatre landscape, ensuring that it continues to thrive and be recognised for its unique contribution to British entertainment. The agreement helps raise the status and profile of what’s by far the country’s most popular type of family theatre.”

Leeds Grand Theatre – until Saturday 1 March 2025

Reviewed by Adam Craddock

5*****

Mange tout mange tout!

Tonight’s review took me to the gorgeous Leeds Grand Theatre to take in the UK tour of “Only Fools and Horses: The Musical and what an absolute joy to behold it was As someone who knew the TV show and had seen bits and bobs but wasn’t an avid viewer I went into this with an air of trepidation that some stuff may go over my head and spoil the viewing experience but boy was I wrong!

Starring the legendary Paul Whitehouse as “Grandad”, Only Fools and Horses: The Musical is a brilliant homage to its forefather, with just the right balance of copying the original and adding its own spin so as not to upset the hardcores, but also not feel like it was a re run on Gold. The set felt like it was ripped straight from the west end, even featuring a certain recognisable three wheeler driving on stage, and the two main locations, The Nags Head and the Trotter family home were the anchors for the various side plots in the show.

Sam Lupton was remarkable as Del Boy. His comedic timing, physical comedy and tone were all exceptional and provided an absolute tour de force of a performance that has to been seen in person to be fully appreciated. Tom Major was good as Rodney, with just the right level of familiarity to the originals yet very much his own seasoning put in there. Paul Whitehouse was great as Grandad, with the clear respect he has for his subject material being on full display, you can really tell just how much this show means to him.

Georgina Hagen was fabulous as Raquel, with velvety vocals to die for. Nicola Munns was brilliant as Marlene/Cassandra, in particular in the role of Marlene with exceptional comedic chops on display. Craig Berry was hilarious as Boycie, with that perfect iconic laugh and just the right air of pompousness. Perhaps my favourite performance in the show however was Lee VG as Trigger. VG had such a brilliant plainness to him that had me rolling around laughing with his classic trigger one liners. The wider cast were all fabulous as well each in their own way, there was not one weak link in this cast and you really could feel the connection between them all when sat in the audience.

The music for the show was just perfect. This show doesn’t pretend to be something that it isn’t and I love that. It is not trying to be Les Miserables with 15 part harmonies and 4 hour ensemble songs. It is a perfect eclectic mix of Chas and Dave, Madness and Me and My Girl all rolled into one little slice of London and it does make me miss my days of living there.

All in all, I could not recommend seeing this show any higher. It is my favourite new show, to me the best show that I have seen in a very long time and I shall be sure to keep an eye for when it is coming back around my way on tour. If I could describe Only Fools and Horses: The Musical in one word it would be… CUSHTEE!

Death on the Throne makes London debut
with a royal flush of fun
Upstairs at the Gatehouse, 1 North Road, Highgate Village, London N6 4BD
Wednesday 26th March – Sunday 13th April 2025

A hilarious new musical, Death on the Throne, will make its London debut this March at Upstairs at the Gatehouse. Featuring a captivating live score from German pop-rock star Tobias Künzel (of Die Prinzen) and British Screenwriter Mark Underwood (Forget Me Not, Quicksilver Pictures) this eccentric comedy musical will cleverly blend wit and surrealism.

A mischievous child, Louise—determined to stay awake—convinces her father to tell her a bedtime story. This simple tale swirls into an unforgettable adventure where four puppets die on the ‘throne’ and find themselves in a purgatory like you’ve never seen before—a celestial lavatory.

With four new arrivals but only three spots in the afterlife, St. Peter is barely keeping his head above water. As each soul pleads their case for a second chance on Earth, ‘help’ arrives in the form of the King of Rock and (toilet) Roll, Elvis Presley and, yes, you guessed it, former leader of the German Democratic Republic, Erich Honecker. With further assistance from Queen Elizabeth II, Maggie Thatcher and Mahatma Gandhi.

With a live four-piece rock band and hints of Avenue Q, this toe-tapping romp through the absurdity of bureaucracy, the search for meaning in utter chaos, and the hope that even the most flawed among us can find redemption promises to be anything but bog-standard. With incredible direction and choreography from Blair Anderson (Trompe L’Oeil and Chase, The Other Palace), the production will touch upon highly relevant themes today, and search for new meanings whilst highlighting the power of visceral storytelling and human connection.

Musical Director and Lyricist Tobias Künzel comments, I hope the audience has as much fun as we had when we wrote this. The moment, when actors for the first time bring the characters to life and get a personal relationship to the music is worth all discussions and sleepless nights before. The interaction between actors and puppets is very thrilling. Especially when the puppets start to sing. Mark and I wrote a lot of tunes and Leitmotivs which was good fun. If I play one of the songs to somebody, these guys start to sing along after one minute and laughing when they listen to the words. I think that’s a good sign. It’s not easy to place a new plot into a world of so many existing successful musicals, so I’m very grateful for the trust of our wonderful international production team. It’s great to be back at Upstairs at the Gatehouse – it feels a little like coming home.

Lyricist Mark Underwood comments, I’m thrilled to see Death on the Throne come to life at the Gatehouse, a wonderful venue that gave me my first opportunity as a writer over 25 years ago.

Director and Choreographer Blair Anderson comments, I am super excited to bring this collaboration with the wonderful talent of The Puppet Theatre of Halle to London. Everybody loves puppets, right? Especially when they sing and dance.