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Bush Theatre – until 21st March 2026

Reviewed by Heather Chalkley

4****

Seasoned playwright Karim Khan has captured the essence of a burgeoning romance between two older souls in their 60s that believed all that was behind them.

Battling with type two diabetes and the unceasing grief for their lost partners, Hema (Shobu Kapoor) and Liaquat (Rehan Sheikh) meet at a diabetes workshop. It feels like you are watching through a window, peeking into their private thoughts and interactions. They acknowledge their differences and what it means, to be Indian and Pakistani. It doesn’t get in the way, anymore than the sweetmeats that are their nemesis!

Kapoor (Hema) lives the part, as if the mannerisms, doubts and opinions are her own and she is playing herself, it feels so real. Sheikh (Liaquat) has a natural, bumbling way, with a dusting of irreverence which brings humour in unexpected places. Together they reflect a depth of emotion in one another, that the audience is surprised to feel with them. My favourite scene is Hema (Kapoor) teaching Liaquat (Sheikh) to cook, getting to know one another in a different way. The seamless flow of the actors gives you a sense of being in your own family kitchen, watching on.

The set is well constructed with clearly defined scenic areas. The on the round staging does reduce the sightline and audibility for those seated to the side. Some of this was counteracted within scenes but not completely.

Nevertheless, a beautifully sculpted piece of writing expertly delivered, with heart and passion.

The Mill at Sonning – until 4 April 2026

Reviewed Marcia Spiers

4****

A great evening was had at the Mill in Sonning. Directed by Ron Aldridge and written by Michael Cooney this farce concerns the hot topic of Benefit Fraud. From the off, the fraudster sets the scene and layers of deceit are built upon one by one. Dead bodies, different identities, comic timing and great physical comedy led to bouts of laughter all through the performance enabling the replacement of the current UK dreary with the cheery!

Actors consisted of Mill regulars and less frequent performers. The modest home set with its many doors allowed for all the comings and goings between rooms, including a staircase which gave the illusion of a two-story dwelling.

Eric Swan (Stephen Pinder) has lost his job but hides this fact from his wife Linda (Natasha Gray). He seizes on an opportunity to get money when his lodger passes away by receiving the deceased’s benefit payments and selling on delivered NHS supplies with his partner in crime Uncle George (Michael Shaw). As Eric’s conscience finally surfaces, he attempts to stop the payments but as is typical, getting through the right person eludes him.

This prompts a visit from the Department of Social Security Inspector Mr. Jenkins (Harry Gostelow). Jenkins, keen to bring matters to a conclusion and afraid of his superior, the formidable Ms. Cowper (Felicity Duncan) ends up spending the entire day at the Swan household trying to establish the truth and obtain a signature on a document. Eric’s new lodger Norman Bassett (James Bradshaw) gets reluctantly pulled into the cover up even though he is due to marry Miss Dixon (Melanie Gutteridge) that Saturday. As the day progresses this becomes less likely and things become more bizarre.

The body upstairs and on the sofa are not necessarily dead but require an undertaker Mr. Forbright (Titus Rowe) and a support counsellor Sally Chessington (Rachel Fielding), both never quite understanding what is really going on. In the meantime, Eric’s wife has become suspicious of her husband’s recent behavior and a discovery in the cupboard under the stairs leads to a visit from therapist Dr. Chapman (Oscar Cleaver) who tries unsuccessfully to help

Linda come to terms with the revelations. Then with the arrival of Ms. Cowper, Eric confesses his crimes leading to a final twist in the tale.

As always with a farce, there is so much going on all at once – the delivery of dialogue and the amazing physical comedy which requires brilliant timing together with fast and furious in and out of rooms! High praise to all the actors who worked hard to portray their characters with gusto. A good play to brighten up the winter grey skies.

Leeds Grand Theatre – on tour until 20th March 2026

Reviewed by Dawn Smallwood

4****

The revival of the 2006 production of Opera North’s Peter Grimes, originally directed by Phyllida Lloyd, is featured this season. Composed by Benjamin Britten and the libretto by Montagu Slater, and based on George Crabbe’s poem, The Borough. The opera premiered at Sadler’s Well, London in 1945 and the Opera North’s revival is directed by Karolina Sofulak and, musically, Garry Walker.

It is set in The Borough, a tight knit coastal community and the opera is about Peter Grimes (John Findon), a misunderstood fisherman, and the community itself. It begins with the death of William Spode, Grimes’ apprentice, at sea. Grimes is cleared of any wrongdoing and that the death is accidental. However, the community are suspicious of Grimes and his treatment of the apprentice and therefore he is even more ostracised because of his socially isolated status and circumstance.

A couple of the characters including Ellen Orford (Phillippa Boyle) is a pillar of support to Grimes and looks after his new apprentice, John (Toby Dray), when he is being fetched. However, any hopes and support are short-lived which subsequently become part of Grimes’ tragic downfall and the community’s decisive pursuit.

This opera is known for its dramatic, ambient, and atmospheric orchestral interludes between the scenes. This is known as the Four Sea Interludes which enhances all the characters, their livelihoods and vocations with the sea being a big factor on the stage.

This well constructed production has exceptional portrayals from Findon (Peter Grimes) and Boyle (Ellen Orford) and are supported by rest of the cast and the Chorus of Opera North who play the townspeople and fishermen. Britten’s characteristic and dramatic musical blends so well with the company’s singing and acting under the movement direction of Tim Claydon. Dark but simplistic and effective staging, courtesy of Anthony Ward, and Ben Jacob’s lighting compliments the opera and fits in the generic narrative and related themes.

Peter Grimes explores, between the characters and in depth. how misunderstanding and suspicions are manifested to a point where distrust, prejudices and suspicious become commonplace and catastrophically lead to injustices and tragedies. It sadly resonates and parallels so much today in society individually and collectively. This is another excellent production from Opera North and they certainly and confidently live up to their excellent reputation.

PARK THEATRE – UNTIL 28th FEBRUARY 2026

REVIEWED BY JACKIE THORNTON

4****

We’re transported back to 1945 Britain and the eve of Labour’s historic election victory in this 70-minute updating of Strindberg’s 19th Century Swedish play.

Award winning director Dadiow Lin’s thoughtful interpretation of renowned dramatist Patrick Marber’s brutal love tragedy is fiery and intense. We don’t find ourselves upstairs at any celebratory parties though, we’re downstairs in the kitchen of a stately home where Eleanour Wintour’s detailed period set design makes slick use of staging in the round to serve up supper, tea, coffee and drinks from mobile kitchen islands.

Charlene Boyd’s pious, buttoned-up housekeeper Christine never stops, ensuring every need is met for both her employers and chauffeur husband-to-be John, played with humour and passion by Tom Varey. Socialist views may have triumphed in the ballot box but this is not a space of equals. A fact we’re reminded of when daughter of the house Miss Julie, a stunning debut leading role from Liz Francis, sweeps in to fraternise with the staff. Her father (unseen) may be a Labour peer but he certainly doesn’t polish his own shoes and Julie’s attempts to foster relations with the lower classes only extends to making a play for John. Indeed, we learn that his Lordship has done his bit to educate John by lending him books and taking him to the theatre but isn’t there a bitter cruelty in teasing a lifestyle that will never be?

This is the crux of the play: the uncomfortable truth, which feels very fitting for modern audiences, that we are all stuck in an unbreakable system. Varey and Francis are transfixing as their desire and repulsion for one another shifts at a frantic pace, underlining their power struggle and reflecting that of society at large.

A clever and passionate story of class struggle with a sting in the tail.   

 

Birmingham Hippodrome – until 21st February 2026

Reviewed by Emma Millward

5*****

Carlos Acosta’s Don Quixote returned to Birmingham Hippodrome this week, having first premiered in 2022 as a modern retelling of the classic novel by Miguel de Cervantes and Marius Petipa’s 1869 ballet. Presented by Birmingham Royal Ballet, with the Royal Ballet Sinfonia performing Hans Vercauteren’s elegant arrangement of the original music by Ludwig Minkus, Acosta honours Petipa’s original choreography while still adding a modern energy that reflects his Cuban heritage and contemporary dance influences throughout the production.

The story follows the comic adventures of Don Quixote (Jonathan Payn) and his loyal squire, Sancho Panza (Olivia Chang-Clarke). Quixote is an elderly nobleman who becomes immersed in the books he reads and begins to believe they are real and that he is a brave knight. He sees visions of the beautiful Dulcinea (Daria Stanciulescu). Clad in a fruit-bowl helmet and riding a cleverly constructed metal horse, he sets off on an adventure with Sancho. Along the way, he meets Basilio (Mathias Dingman) and Kitri (Geneviève Penn Nabity). They are a young couple struggling with the disapproval of her father, Lorenzo (Rory Mackay). Lorenzo wants Kitri to marry the flamboyant nobleman Gamache (August Generalli), but Don Quixote creates a distraction, and the young lovers run away.

The story’s charm and humorous heartbeat come from Don Quixote’s fanciful adventures and Sancho’s cheeky personality, while Kitri and Basilio deliver a believable romantic spark. Penn Nabity and Dingman form an outstanding partnership. Their wedding pas de deux in the third act drew gasps and applause from the audience. Adding further flair to the bustling marketplace scenes are Matador Espada (Lachlan Monaghan) and Mercedes (Samara Downs). Their dramatic and passionate dancing serves as a striking counterpoint to Basilio and Kitri’s more youthful romance.

Visually, the production is stunning with a rich and vibrant colour scheme. Tim Hatley’s set and costume design never fails to impress. From the homely study of Don Quixote’s house, sun-drenched Spanish courtyards and the magical garden of the second act, every set provides a vivid backdrop to the action. The costumes are equally exquisite, featuring deep reds, golds and greens. Every main character is given their own distinct style that makes them instantly recognisable even amidst a busy ensemble. Lighting by Peter Mumford guides us seamlessly through the story, at times you can almost feel the heat of the Spanish sun radiating from the stage. Imaginative video design by Nina Dunn is used to great effect to project windmills coming to life during the Gypsy encampment scenes. The staging by Christopher Saunders strikes a balance between narrative, humour, and spectacle. This allows both principal dancers and ensemble space to shine while keeping the story clear and engaging from the bustling marketplace of Act I to the celebratory wedding finale. While the production is undoubtedly a five star show, a few more scenes featuring Don Quixote and Sancho Panza might have allowed audiences to savour their comic chemistry even further.

A whirlwind of energy, colour and passion, Carlos Acosta’s Don Quixote proves classical ballet can still dazzle and delight audiences.

Hull New Theatre – until 14th February 2026

Reviewed by Dawn Bennett

5*****

What a fabulous night I had last watching Buddy – The Buddy Holly Story at Hull New Theatre from start to finish the cast were all fantastic. This is not a juke box musical when the songs are sometimes put in and don’t seem to add anything to the story, the songs in Buddy are the story. The story of how he went from playing country with his band, The Crickets, to being the star he became in a very short time and of course the tragedy of his very early death at the age of only 22 years old.

I didn’t realise how many of Buddy’s songs I knew, from Oh Boy, Peggy Sue, True Love Ways to Heartbeat and many more. As good as the songs are they really came alive when performed by this very talented cast, the majority of them playing instruments as well as singing and acting. AJ Jenks was outstanding as Buddy Holly, his singing and guitar playing was something else, he brought the songs alive along with the fabulous Crickets Stephen Alexander-Kerr on drums who played Jerry Allison, Joe Sterling, on guitar, who played Niki Sullivan and Melker Nilsson on bass who played Joe B Mauldin.

This show doesn’t go into depth about the life of Buddy Holly, we see him and the band start out small, get their break in New York, change their management, how Buddy meets his future wife Maria Elena (Marta Miranda). We see him at his final performance in Clear Lake Iowa with The Big Bopper (Joshua Barton) and Ritchie Valens (Miguel Angel). For fans of his music and good music in general I think you will love this show as much as I did.

A special mention must go to the BSL signer, Andy Higgins, how he managed to keep up with the songs and the script I don’t know but he was excellent!

This is must see production, if you don’t catch it in Hull try and get to see it elsewhere. You won’t be disappointed and the songs will be with you for a long time! A five-star production by a five-star cast.

TURNING UP THE VOLUME

CAROLINE – A NEW MUSICAL

ANNOUNCES ICONIC SIXTIES SOUNDTRACK

ON WORLD RADIO DAY

SHE’S NOT A DJ. SHE’S NOT A ROCK STAR. BUT IN THE MIDDLE OF BRITAIN’S RADIO REVOLUTION, CAROLINE MIGHT JUST STEAL THE SHOW

Caroline – A New Musical is inspired by the true story of Britain’s pirate radio revolution which set the soundtrack to the sixties and gave a whole generation a new voice.  Today, on World Radio Day, as we celebrate the power of broadcasting, they confirm the iconic lineup of 1960s hits that will provide the soundtrack to power this vibrant new show.  

Packed with era-defining anthems, ‘Caroline’ will feature unforgettable tracks that shaped a generation, and will include My Generation by The Who, Not Fade Away by The Rolling Stones, Reach Out (I’ll Be There) by The Four Tops, Shout by Lulu & The Luvvers, Keep On Running by The Spencer Davis Group, Dead End Street by The Kinks and As Tears Go By from Marianne Faithfull.

From soul-stirring ballads to full-throttle rock ’n’ roll, the show explodes with the energy, optimism and rebellion of the 1960s. Expect soaring harmonies, heartbreak, dance-floor energy and pure sixties joy. Sweeping from chip shops to shipping lanes, from tiny transistor radios to the halls of power, Caroline is a funny, heartfelt musical about love and loyalty celebrating East Anglia’s special connection to a story that rocked the world.

A radio station for young people! Why do we need that?

Caroline dreams of something more than stacking shelves at the local greengrocers. Her days are routine, but her nights come alive, walking the pier, sharing laughs with her best friend Mary, and spinning records with Robbie, her music-mad boyfriend who’s big on charm yet short on direction.

But a music revolution is coming, and Robbie lands a shock gig with Radio Caroline – the pirate radio station blasting pop, soul and rock ’n’ roll from a ship off the Essex coast and suddenly everything changes. Caroline is swept into a tidal wave of music, mayhem and a movement that would shake up British culture forever.

Caroline is co-produced by partners of East Anglian Touring Consortium including New Wolsey Theatre, Landmark Theatres, Queen’s Theatre Hornchurch, Mercury Theatre Colchester, Norwich Theatre, Theatre Royal Bury St Edmunds, Hightide and Eastern Angles. With thanks to Arts Council England and National Theatre Generator programme. It is penned by the award-winning writer Vikki Stone and Directed by Douglas Rintoul (Chief Executive/Artistic Director at the New Wolsey Theatre) and Alex Thorpe (Co-Creative Director at Queen’s Theatre Hornchurch).

With a cast of actor-musicians to be announced, the world premiere of Caroline – A New Musical will open at the New Wolsey Theatre, Ipswich on 17 April 2026 before visiting Queen’s Theatre Hornchurch, New Theatre Peterborough, Mercury Theatre Colchester and Theatre Royal Bury St Edmunds.

Caroline – A New Musical is a feel-good blast of 60s hits, heart, and hometown pride capturing the moment Britain turned up the volume and never looked back.

Join the musical revolution with tickets starting from ?15. Visit Carolineanewmusical.com  

NOMINATIONS ANNOUNCED FOR THE

CRITICS’ CIRCLE THEATRE AWARDS 2026

The Critics’ Circle today announces the nominations for the 2026 Theatre Awards, sponsored by Finito. This is thefirst time in the awards’ 37 year historythat members have voted for longlists and shortlists.These are the only prizes to be entirely voted for by the professional theatre critics who are members of the Circle. The winners will berevealed in a ceremony at the National Theatre on 26 March.

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.

2026 Chair of the Critics’ Circle Drama Section, Mark Lawson said today, “Our first experiment with longlists and shortlists was intended to increase the range of talent under consideration. I’m confident that has happened with 179 candidates in play across the whole voting process – at venues from huge to minuscule – resulting in excitingly diverse shortlists. Emerging talent is especially well represented with a significant number of contenders for both Most Promising Playwright and Best Newcomer recognised for their professional theatre debuts. A new category for Best Cast or Ensemble aims to reflect that, while star and lead performances matter and thrill audiences, many great shows also rely on exhilarating teamwork.” 

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), Sponsored by Nica

Burns. Decided by a separate panel of critics chosen by the Marvin family, the 2026 shortlist for this prize will be announced next week.

The Awards are made possible through the generous support and encouragement of Finito. “After a long-standing support of The Jack Tinker Award for Best Newcomer, we are delighted to become the main sponsor of the Critics’ Circle Theatre Awards” said Ronel Lehmann, Chief Executive, Finito.

Other individual awards are sponsored by 5RB,NLP and Nica Burns. The awards are also generously supported by Nick Hern Books and by an anonymous philanthropic donation. We also gratefully acknowledgethe participation of the Trewin Family who created the Best Shakespearean Performance Award.

Twitter: @cctheatreuk

Instagram: @criticscircletheatreuk

THE NOMINATIONS IN FULL:

THE MICHAEL BILLINGTON AWARD FOR BEST NEW PLAY

David Adjmi – Stereophonic (Duke of York’s Theatre)

Alice Birch – Romans A Novel (Almeida Theatre)

Jack Holden and Ed Stambollouian – Kenrex (The Other Palace)

James Graham – Punch (from a book by Jacob Dunne) (Young Vic / Apollo Theatre)

David Ireland – The Fifth Step (@sohoplace)

Suzie Miller – Inter Alia (National Theatre)

Joe Murphy & Joe Robertson – Kyoto (@sohoplace)

BEST REVIVAL OF A PLAY OR MUSICAL

All My Sons (Wyndham’s Theatre)

Brigadoon (Open Air Theatre Regent’s Park)

Evita (London Palladium)

Intimate Apparel (Donmar Warehouse)

Into The Woods (Bridge Theatre)

Indian Ink (Hampstead Theatre)

The Weir (Harold Pinter Theatre)

THE PETER HEPPLE AWARD FOR BEST NEW MUSICAL

Cable Street (Southwark Playhouse)

Here We Are (National Theatre)

Paddington The Musical (Savoy Theatre)

Shucked (Open Air Theatre Regent’s Park)

Sing Street (Lyric Hammersmith)

Titanique (Criterion Theatre)

THE 5RB AWARD FOR BEST DIRECTOR

Daniel Aukin – Stereophonic (Duke of York’s Theatre)

Jordan Fein – Into The Woods (Bridge Theatre)

Lynette Linton – Intimate Apparel (Donmar Warehouse)

Jamie Lloyd – Evita (London Palladium) and Much Ado About Nothing (Theatre Royal Drury Lane)

Luke Sheppard – Paddington The Musical (Savoy Theatre)

Ivo Van Hove – All My Sons (Wyndham’s Theatre)

BEST ENSEMBLE OR CAST

1536 (Almeida Theatre)

Here We Are (National Theatre)

Into The Woods (Bridge Theatre)

Stereophonic (Duke of York’s Theatre)

The Weir (Harold Pinter Theatre)

When We Are Married (Donmar Warehouse)

MOST PROMISING PLAYWRIGHT

Jamie Armitage – A Ghost in Your Ear (Hampstead Theatre) and An Interrogation (Hampstead Theatre)

Sophia Chetin-Leuner – Porn Play (Royal Court)

Hannah Doran – The Meat Kings! (Inc) of Brooklyn Heights (Park Theatre)

Sophia Griffin – After Sunday (Bush Theatre)

Katherine Moar – Ragdoll (Jermyn Street Theatre)

Ava Pickett – 1536 (Almeida Theatre)

Shaan Sahota – The Estate (National Theatre)

BEST ACTOR

Adeel Akhtar – The Estate (National Theatre)

Bryan Cranston – All My Sons (Wyndham’s Theatre)

Paapa Essiedu – All My Sons (Wyndham’s Theatre)

Brendan Gleeson – The Weir (Harold Pinter Theatre)

Sean Hayes – Goodnight, Oscar (Barbican Theatre)

James Hameed & Arti Shah – Paddington (Savoy Theatre)

David Shields – Punch (Young Vic / Apollo Theatre)

THE NLP AWARD FOR BEST ACTRESS

Kate Fleetwood – Into The Woods (Bridge Theatre)

Julie Hesmondhalgh – Punch (Young Vic / Apollo Theatre)

Marianne Jean-Baptiste – All My Sons (Wyndham’s Theatr

Rosamund Pike – Inter Alia (National Theatre)

Nicola Walker – The Unbelievers (Royal Court)

Samira Wiley – Intimate Apparel (Donmar Warehouse)

Rachel Zegler – Evita (The London Palladium)

BEST DESIGNER

Miriam Buether – Kyoto (@sohoplace)

The Land of the Living (National Theatre)

Lizzie Clachan – The Lady From The Sea (The Bridge)

Soutra Gilmour – Much Ado About Nothing (Theatre Royal Drury Lane) and Evita (The London Palladium)

Tom Pye – Paddington The Musical (Savoy Theatre)

Tom Scutt – Into The Woods (Bridge Theatre)

David Zinn – Stereophonic (Duke of York’s) and Here We Are (National Theatre)

THE TREWIN AWARD FOR BEST SHAKESPEAREAN PERFORMANCE

Hayley Atwell – Much Ado About Nothing (Theatre Royal Drury Lane)

Jonathan Bailey – Richard II (Bridge Theatre)

David Harewood – Othello (Theatre Royal Haymarket)

Tom Hiddleston – Much Ado About Nothing (Theatre Royal Drury Lane)

Francesca Mills – Hamlet (National Theatre)

Samuel West – Twelfth Night (Barbican)

THE JACK TINKER AWARD FOR MOST PROMISING NEWCOMER (SPONSORED BY FINITO)

Isobel Akuwudike – The Lady From The Sea (The Bridge)

Ruby Ashbourne-Serkis – Indian Ink (Hampstead Theatre)

Asa Butterfield – Second Best (Riverside Studios)

Kate Phillips – The Weir (Harold Pinter Theatre)

Diego Andres Rodriguez – Evita (The London Palladium)

Jasper Talbot – Inter Alia (National Theatre)

Artie Wilkinson-Hunt – The Land of the Living (National Theatre)

WORLD PREMIERE STAGE ADAPTATION OF

SHIRLEY JACKSON’S SUPERNATURAL THRILLER

THE HAUNTING OF HILL HOUSE

TO EMBARK ON UK TOUR THIS AUTUMN

A new stage adaptation of Shirley Jackson’s bestselling novel The Haunting of Hill House will make its world premiere with a UK tour this autumn. Following the critically acclaimed Netflix hit series that introduced a new generation to Jackson’s eerie masterpiece, this brand-new adaptation – written by Olivier and BAFTA award-winner Stef Smith – will conjure the iconic supernatural thriller on stage.

Laurence J. Hyman, son of Shirley Jackson, today said, “From film and television to the stage, my mother Shirley Jackson’s legacy continues to endure through her iconic novel The Haunting of Hill House. I’m thrilled that this haunting classic will return in a new form, and that Stef Smith’s adaptation will capture the novel’s remarkable and unsettling spirit for audiences in a whole new way.”

Directed by Martin Constantine, this is a Wiltshire Creative production in association with Theatr Clwyd, presented by Mark Puddle with Alexander “Sandy” Marshall and Patrick Myles. Opening at Salisbury Playhouse on 11 September, the run continues at Richmond Theatre from 6 – 10 October before embarking on a UK tour to Theatre Clwyd, Theatre Royal Brighton, Palace Theatre Manchester, Liverpool Everyman & Playhouse, concluding at Royal Lyceum Theatre in Edinburgh on 14 November.

Stef Smith added, “The Haunting of Hill House is one of the greatest supernatural novels of the last one hundred years and to have the chance to adapt it for the stage is a true privilege. I find Shirley Jackson’s world intoxicating, thrilling and gut-wrenching. I believe there is something so deeply theatrical at the heart of Hill House. From the spooky, to the surreal, through heartache and hope. I hope that our cast of characters will take the audience along for a ride quite unlike anything else. Above all we will examine that the biggest horrors are usually human.”

Tickets are now on sale, with the full cast and creative team to be announced shortly.

Supportedusing public funding by Arts Council England.

Mark Puddle with Alexander “Sandy” Marshall and Patrick Myles present
a Wiltshire Creative production in association with Theatr Clwyd

THE HAUNTING OF HILL HOUSE

Novel by Shirley Jackson

Adapted for the stage by Stef Smith

Directed by Martin Constantine

11 September – 14 November 2026

“A ghost can be a lot of things. A memory, a daydream, a secret, grief, anger, guilt.”

When a group of daring investigators take on the mystery of Hill House, curiosity quickly
descends into fear. Experiments plunge into darkness. Strange disturbances ripple through
twisting corridors. As the house tightens its grip, it will leave you on the edge of your seat…
and questioning what is real long after the curtain falls.

From best-selling novel to major hit Netflix series, The Haunting of Hill House now takes to the stage in this gripping new production that blurs the line between heart-thumping suspense and the supernatural.

Shirley Jackson (1916 – 1965) was an American writer celebrated for her works of horror and mystery. Over a career spanning more than two decades, she authored six novels, two memoirs, and more than 200 short stories. Her novels include The Road Through the Wall, Hangsaman, The Bird’s Nest, The Sundial, and We Have Always Lived in the Castle.

Stef Smith is an Olivier and BAFTA-winning playwright. Her theatre credits include Roadkill (Theatre Royal Stratford East – winner of the Olivier Award for Outstanding Achievement in an Affiliate Theatre), Girl in the Machine, Enough (Traverse Theatre), Swallow (Traverse Theatre/Edinburgh Festival Fringe – also adapted for screen, premiering at the Edinburgh International Film Festival), Nora: A Doll’s House (Citizens Theatre), Smoke (and Mirrors) (Traverse Theatre/DOT Istanbul), Woman of the Year (Òran Mór), Human Animals (Royal Court Theatre) and The Outrun (Edinburgh International Festival). Her screenwriting credits include Float (winner of the BAFTA Scotland Award for Best Television Scripted), and The Outrun.

Martin Constantine is an award-winning theatre and opera director. His theatre credits include Peter Pan (Storyhouse Theatre, Chester), The Owl and the Pussycat (UK tour), Manga Sister (The Yard Theatre), The Future for Beginners (Wales Millennium Centre/Edinburgh Festival Fringe), Marsha (Arcola Theatre). His opera credits include The Elixir of Love (UK tour), Acis and Galatea (Buxton International Festival), The Silent Twins (Almeida Theatre), Cavalleria Rusticana, Pagliacci (Shanghai Opera House), Don Giovanni (Loughborough Festival Opera), Dead Man Walking, and Paul Bunyan (Wales Millennium Centre).

THE HAUNTING OF HILL HOUSE 

LISTINGS

Instagram, X: @hillhouseonstage #HillHouseOnStage

www.thehauntingofhillhouse.co.uk/

11 September – 14 November 2026

Press performance: Thursday 8 October at 7:30pm at Richmond Theatre

Salisbury Playhouse, Salisbury

11 September – 03 October 2026

Box Office: 01722 320 333 / https://www.wiltshirecreative.co.uk/

Richmond Theatre, Richmond
06 – 10 October 2026

Box Office: 0333 009 6690 / https://www.atgtickets.com/whats-on/richmond/ 

Theatr Clwyd, Mold

13 – 17 October 2026

Box Office: Office: 01352 344 101 / https://www.theatrclwyd.com/ 

Theatre Royal Brighton, Brighton

20 – 24 October 2026

Box Office: 0114 249 6000 / https://www.atgtickets.com/venues/theatre-royal-brighton/

Palace Theatre Manchester, Manchester

27 – 31 October 2026

Box Office: 0333 009 6690 / https://www.atgtickets.com/venues/palace-theatre-manchester/

Manchester on-sale: 20 February 2026 at 10am

Liverpool Everyman & Playhouse, Liverpool

03 – 07 November 2026

Box Office: 01223 503 333 / https://www.artstheatre.co.uk/whats-on/ 

Royal Lyceum Theatre, Edinburgh

10 – 14 November 2026

Box Office: 0131 248 4848 / https://lyceum.org.uk/

Recommended for ages 12+

Festival Theatre, Malvern – until 14th February 2026

Reviewed by Courie Amado Juneau

5*****

I was fortunate enough to see Fiery Angel’s production of Murder on the Orient Express last year, so I felt enormous anticipation at the return to Malvern of this great company with Death on the Nile.

At curtain up, we saw Poirot in a London street witnessing two lovers embracing and it was immediately apparent that this version was not going to be following the original rigidly. There then followed a party which, again, was not in the original book. Although not canon; this was a very clever plot ploy to set the scene and introduce the characters rapidly – so I can understand the poetic licence.

Since David Suchet’s flawless performance it must be nigh on impossible for any actor portraying our peculiar Belgian friend. Mark Hadfield did a wonderful job, imbuing the character with a lot of humour which was most welcome. The fact that Mark made one forget the inimitable Mr Suchet is a testament to how superb he was!

Every member of this wonderful cast, brought passion and drama and carried the plot forward beautifully, adding to the whole with excellent performances. But the central protagonist love triangle – Esme Hough as Jacqueline De Bellefort (spurned lover turned revenge specialist), Libby Alexanda-Cooper as Linnet Ridgeway (selfish rich girl on honeymoon) and Nye Occomore as Simon Doyle (the man in the middle of this love triangle) were especially effective, believable and odious.

Glynis Barber (playing Salome Otterbourne) was the marquee name – certainly, her acting prowess was the most familiar to me due to her wonderful portrayal of Soolin in Blakes 7. And I loved the character she brought to life on the stage tonight – a very batty thespianic match-maker who very nearly stole the show from the main characters. Bob Barrett (Colonel Race) was another total joy who lit up the stage; especially in the scenes with him and Poirot – the “here comes the denouement” bit being one of the highlights of the entire evening!

The staging was rich and sumptuous with the set being particularly effective; on two levels providing much scope for drama as seeing the actors high up had a surprisingly thrilling effect and made the most of a quite minimalistic construction. A big pat on the back then for Designer Mike Britton.

As I mentioned, there was a lot of liberties taken with the rewrite with a murder or two completely missing. Couple that with some deliberately shifty goings on designed (I’m sure) to muddy the waters with lots of fishy red herrings and this turned out to be a masterstroke (presumably) from Director Lucy Bailey, particularly if you were new to the tale, in keeping you guessing.

The ending packed a punch too (which I won’t spoil), leading to a genuinely thought provoking love monologue from our titular detective – unlike the murders it was perfectly executed and stayed with me long after the actors had left the stage! Worth attending for that alone.

So, were the unfamiliarity and changes etc worth it? You bet they were! I found this to be a thoroughly enjoyable night’s entertainment and one that I highly recommend. Even better than last year’s performance, so bravo all around!