Home

NATIONAL THEATRE ANNOUNCES CASTING AND FURTHER DETAILS FOR FORTHCOMING 2025 SHOWS

• Dates announced for four world premieres: Inter Alia by Suzie Miller, The Estate by Shaan Sahota, The Land of the Living by David Lan and End by David Eldridge. Tickets go on sale to the public from 6 February 2025.
   
• Clive Owen and Saskia Reeves return to the National Theatre for End, a new play by David Eldridge directed by Rachel O’Riordan.
   
• Jamie Glover and Jasper Talbot will make their National Theatre debuts opposite previously announced Rosamund Pike in Suzie Miller’s new play Inter Alia, directed by Justin Martin.
   
• Further casting announced for the world premiere of David Lan’s The Land of the Living, which includes Tom Wlaschiha, who joins previously announced Juliet Stevenson in this new play directed by Stephen Daldry.
   
• Further artistic team confirmed for The Estate, the debut play by Shaan Sahota featuring BAFTA-winning actor Adeel Akhtar and directed by Daniel Raggett.
   
• The National Theatre’s nationwide youth theatre programme Connections celebrates its 30th anniversary and reopens the Dorfman theatre in June with a week-long festival.
   
• Tickets on sale now for new Public Acts production Public Record, bringing together local legends from Sunderland’s music scene, professional dancers and community groups at The Fire Station in Sunderland

The National Theatre today shares further details and casting for previously announced shows in Director Rufus Norris’ final season. The remaining South Bank shows under Rufus are all world premieres: Inter Alia in the Lyttelton and The Estate, The Land of the Living and End in the Dorfman theatre. The Dorfman is currently closed for urgent infrastructure work and reopens in June with the Connections Festival, which this year celebrates its 30th anniversary. Tickets for all four main stage shows are on sale to the public from Thursday 6 February 2025,nationaltheatre.org.uk.

Rufus Norris, Director and Co-Chief Executive said, ‘I am delighted that the last four shows in my final season are all world premieres, including a debut play by extraordinary new writer Shaan Sahota. This cements a decade of work by National Theatre’s New Work Department to champion and support new stories told by world-class theatre-makers. Telling bold new stories on our stages has always been a hallmark of the National Theatre and I am thrilled to end my tenure with a programme that reflects a rich and resonant range of perspectives’.

Kate Varah, Executive Director and Co-Chief Executive said,‘We’re thrilled that, after a period of temporary closure, the Dorfman will reopen this summer to host the landmark 30th anniversary of our flagship nationwide youth theatre programme Connections. Over the decades around 125,000 young people have taken part, giving young people firsthand experience in all aspects of staging and performing a new play. Connections has been instrumental in developing transferable skills and the ability to think creatively for the young people who have taken part. For 30 years, Connections alumni have forged careers across the creative industries as well as gained vital transferable skills for roles in wider sectors. So many within and outside of our sector have taken part – it’s time to celebrate and look forward to more’. 

In the Lyttelton theatre, writer Suzie Miller and director Justin Martin reunite following their global phenomenon Prima Facie for the world premiere of Inter Alia,a searing examination of modern masculinity and motherhood. Jessica Parks is smart, compassionate, a true maverick at the top of her career as an eminent London Crown Court Judge. At work she’s changing and challenging the system one case at a time. But behind the robe Jessica is a karaoke fiend, a loving wife and a supportive parent. While managing the impossible juggling act faced by every working mother, an event threatens to throw her life completely off balance. Can she hold her family upright? Cast includes previously announced Rosamund Pike (Saltburn) making her National Theatre debut alongside Jamie Glover (Waterloo Road) and Jasper Talbot (Redlands).

Directed by Justin Martin,who is joined byset and costume designer Miriam Buether, lighting designer Natasha Chivers, sound designers Ben and Max Ringham, video designer Willie Williams for Treatment Studio and casting directors Alastair Coomer CDG and Naomi Downham.

Playing in the Lyttelton theatre from 10 July to 13 September.

The Dorfman theatre will reopen in June in celebration of the 30th anniversary of Connections,the National Theatre’s annual nationwide youth theatre programme with esteemed alumni including David Oyelowo, Rose Ayling-Ellis, Callum Scott Howells and Keira Knightley. The Connections Festival will take place from 24 to 28 June, with ten new plays being performed by ten youth theatre groups to represent talent from across the UK.Connections plays over the last three decades include those by Alice Birch, Chris Bush, James Graham and Lenny Henry to name a few.

Following this is the world premiere of The Estate,the debut playbyShaan Sahota. Directed by Daniel Raggett (Accidental Death of an Anarchist), this new work is a razor-sharp exploration of family, power and the lies we tell about ourselves. When the leader of the opposition is forced to resign in a scandal, Angad Singh emerges as the favourite in his party’s leadership contest.  He could win, he could make history, he could really change things – as long as his sisters keep their mouths shut. Casting includes BAFTA winner Adeel Akhtar (Fool Me Once), with further casting to be announced.

Directed by Daniel Raggett,who is joined byset designer Chloe Lamford, costume designer Khadija Raza, lighting designer Jessica Hung Han Yun, sound designer Mike Winship and casting director Bryony Jarvis-Taylor.

Playing in the Dorfman theatre from 9 July to 23 August 2025.

The Land of the Living is a timely new play by David Lan, former Artistic Director of the Young Vic. Directed by Stephen Daldry (The Jungle, The Inheritance), it is about the shapeshifting nature of memory and morality. In Germany, 1945, Thomas is one of thousands of children stolen by the Nazis from Eastern Europe during WWII, and is now under the care of Ruth, a UN relief worker. Should she try to find his parents or leave him with those he’s grown up with? The choice she makes will shape his life. Years later in London, 1990, Thomas visits Ruth. As they untangle the past, the decisions Ruth made as a very young woman are called powerfully into question. Casting includes previously announced Juliet Stevenson (The Doctor), who is joined by Atilla Akinci (Ghosts). Kate Duchêne (Hedda Gabler), Hubert Hanowicz (This is Going to Hurt), Caroline Loncq (The Protégé), Avital Lvova (Macbeth), Michael Marcus (The Inheritance), Anastasia Martin (Cold War) and Tom Wlaschiha (Game of Thrones). Further casting to be announced.

Directed by Stephen Daldry,who is joined by set designer Miriam Buether, lighting designer James Farncombe, sound designer Gareth Fry, composer Paul Englishby and casting director Naomi Downham.

Playing in the Dorfman theatre from 9 September to 1 November 2025.

In November, following the critically acclaimed plays Beginning and Middle, playwright David Eldridge returns to the National Theatre with End,the final play in his trilogy exploring love and relationships.  Lyric Hammersmith Theatre Artistic Director Rachel O’Riordan (Romeo and Julie) directs this touching and funny play on a life well lived.  Alfie and Julie’s love story has been one of music, laughter and heartache. On one early morning in June, they must write their ending. Full cast includes Clive Owen (Closer) and Saskia Reeves (Slow Horses).

Director Rachel O’Riordan will be joined by set and costume designer Gary McCann, lighting designer Sally Ferguson, sound designer Donato Wharton, intimacy director Bethan Clark and casting director Alastair Coomer CDG.

Playing in the Dorfman theatre from 13 November 2025.

National Theatre Learning

Public Record, a new Public Acts production celebrating the musical heritage and exciting future of Sunderland and featuring more than 100 community performers, professional musicians and dancers, takes place from 25 to 27 April at The Fire Station in Sunderland in partnership with Sunderland Culture and Sunderland Empire. National Theatre Director of Public Acts Emily Lim teams up with co-director and choreographer Dan Canham, composer and musical director Ross Millard (The Futureheads) and writer Stewart Pringle to transform The Fire Station into a recording studio to create a new album about the city; a portrait of the city told through its people. Tickets are on sale now.

Marking its tenth anniversary, the National Theatre’s Drama Teacher Conference takes place on 20–21 February at the Lowry in Salford. The conference brings together drama teachers from across the UK to enhance their skills and take part in workshops and talks with leading professionals across the creative industry, including Alecky Blythe, Complicité and Shakespeare North. Applications for teachers to take part are now open.

Forum Theatre, Malvern – 19th January 2025

Reviewed by Courie Amado Juneau

5*****

Malvern Concert Club once again bless us with another intriguing programme of Classical Music from top musical ensembles – today it was the Pavel Haas Quartet.

The concert began with Dvorak’s Cypresses for String Quartet from 1887. I think most would chiefly know Dvorak for his deservedly revered New World Symphony (the Hovis advert for anyone of a certain age) but his chamber works are well worth seeking out. Tonight’s was a case in point; being a charming set of transcriptions from an earlier song cycle. Most fall into the slower end of the scale and they all inhabit a similar feeling of wistful reverie and nostalgic yearning.

My favourtie movement was No 7 “Wander often past yonder house”, with its affecting cello part supporting increasingly agitated middle parts. The haunting melody line which violinist Veronika Jarůšková wrung every last drop of emotion out of was sumptuous! I also loved the bombastic overture style and interesting range of rhythms that Dvorak throws at the finale. It really does feel like the coming together of all the other movements in a satisfying and thrilling conclusion. The Quartet gave us a suitably muscular, vibrant tone which really brought the piece to life, ending on a real high.

Second on the programme was Martinů’s String Quartet No.5 (1938). Dedicated to his younger lover, one can sense the angst and passion as (one imagines) he grappled with the intense personal feelings. I loved Šimon Truszka (viola) use of special effects (such as using the side of the bow) in the second movement, as well as the overall agitated start and dissonance throughout. The work built (and built) with tension ramping towards the end – the musicians again showing an awe inspiring power, making the music literally exploded off the page. At times they sounded like an amplified rock band! Incredible musicianship.

After the break (which we all needed after the emotion of the last piece) it was on to Smetana’s “From My Life” (1876), his first string quartet. Another blockbuster, full of heartfelt music like the last movement which portrayed in sound the composer’s loss of hearing which was heralded with a high pitched E natural (here wrought with conviction on the first violin). I was blown away by the intuitive connection that the violins had (Marek Zwiebel masterfully playing the second part). All performers gave their all

(mentally and physically); up out of their seats, with cellist Peter Jarůšek having both feet off the floor, digging into his instruments at one point! Not only an adrenaline rush of sound but visually too.

And to cap it all the quartet rounded off this all Czech programme with an Argentine Tango from Erwin Schulhoff – which was gorgeous and the perfect way to end a spectacular concert.

The Pavel Haas Quartet are amazing with crisp, tight, precise playing and a dynamic range amply displaying a musical sensibility to be justly proud of plus a sonorous, sweet singing tone coupled with intense, dramatic interpretations… I could wax lyrical all night but suffice to say – a fabulous programme from sublime musicians. Another triumphant concert in the series and I cannot wait for the next one! Bravo to all concerned.

NOTTINGHAM PLAYHOUSE AND ORANGE TREE WIN THEATRE OF THE YEAR AS MICHAEL HARRISON NAMED TOP PRODUCER AT THE STAGE AWARDS 2025

IN ASSOCIATION WITH TYSERS LIVE

WINNERS ANNOUNCEMENT

The Stage has proudly announced the winners of The Stage Awards, in association with Tysers Live, the industry’s most prestigious event celebrating theatre across the whole of the UK. The ceremony was held at The Royal Opera House’s Linbury Theatre, London on the January 20, 2025.

The eight categories at the 15^th annual awards include Theatre of the Year, Theatre Building of the Year, Producer of the Year, Innovation Award, Community Award, International Award, Unsung Hero and Campaign of the Year – a brand-new award introduced to honour excellence behind the scenes in the fields of theatre marketing and PR. A special Judges’ Award was also presented on the night, while playwright James Graham, who was placed at number one in The Stage 100 list, was also presented with an award.

Nottingham Playhouse and London’s Orange Tree Theatre jointly scooped the evening’s much-anticipated Theatre of the Year award sponsored by Harlequin Floors, following in the footsteps of last year’s dual winners the National Theatre and the Watermill Theatre.This category is open to theatres of all sizes anywhere in the UK. The judges commended both winners for their strong artistic leadership, bringing their programming A-game to 2024 with a crowd-pleasing mix of revivals and striking new plays resulting in soaring box office sales. Both theatres operated thriving off-stage programmes, workshops and activities that not only provided support networks for local artists but also enriched the lives of individuals within their local communities. Both were standouts and deservedly award-winning of this hotly contested prize.

Theatre Building of the Year sponsored by TAIT, celebrating the UK’s newest or newly redeveloped venues within the last 12 months, was won by pint-sized The Well Walk Theatre, a 50-seat independent venue dedicated to family productions in London’s Hampstead. Described by judges as ‘small but perfectly formed’, owners Zina Drouche and Dylan McNeil created a programme of high-quality in-house productions ‘inhabiting the space where childhood meets adulthood, engaging minds of all ages’. At a time when many new arts ventures struggle to get off the ground, this one brilliantly identified and fulfilled a unique need where none had perceived it. A standout success story.

Shifting from a diminutive winner to one who stands at the opposite end of the scale and can be described as a theatre behemoth, the Producer of the Year award sponsored by 3 Mills Studios was won by Michael Harrison Entertainment. The man behind this eponymous organisation was credited by the judges as ‘one of the leading commercial producers of his generation’ bringing Sunset Boulevard, Starlight Express, Hello, Dolly! and  Titanique to the West End as well as providing the financial muscle for the War Horse and Joseph and the Amazing Technicolor Dreamcoat tours. Via his company Crossroads Pantomimes, Michael Harrison continues to be the leading player in the panto field with 23 UK-wide productions last Christmas as well and proved a deserved winner of this year’s producers’ crown.

The Community Award sponsored by Moore Kingston Smith was also one of this year’s most hotly contested categories with six nominees in the running. Synergy Theatre Project took home the award for its theatre-based training for prisoners, ex-prisoners and young people at risk of offending. 2024 was one of the organisation’s most productive years. Highlights included delivering 11 theatre courses in prison, an OFFIE award-winning production, running seven ex-prisoner projects at Soho Theatre, the Bush Theatre and Brixton House and supporting 29 prisoner and ex-prisoner writers. Where Synergy also excels is with its work with pupil referral units and young offending teams.

This year’s Innovation Award sponsored by Charcoal blue was given to Orchard West in recognition of the remarkable achievements made by Dartford Borough Council and Trafalgar Entertainment. Faced with the sudden temporary closure of the Orchard Theatre, a potential disaster was turned into a triumph. A new space in the shape of a modular marquee, erected and fully operational in less than three months, equipped with state-of-the-art technology, unexpectedly served as a beacon of excellence and proved to be a positive catalyst for local cultural and community development.

Nowhere is the impact of positivity and hope more strongly evident than in this year’s International Award winner Projekt Europa,sponsored by Concord Theatricals. Last year the organisation worked with over 750 artists and creatives – migrants, asylum seekers and refugees – who made the UK their home. Against an alarming backdrop of anti-migrant sentiment and xenophobia, the company’s work – through mentorship schemes, workshops and performances – provided a positive reminder that the voices of migrant artists can straddle borders and cultures, enriching all lives for the better.

The tireless work of countless individuals on and off stage in a variety of roles whose commitment goes above and beyond the call of duty is brought into sharp focus every year with the Unsung Hero award, sponsored by Encore. This year’s winner is no exception: maintenance manager Mike Elliott is the longest-serving permanent staff member of Bristol Old Vic and has kept the historic 258-year-old building lit, heated, plumbed, safe and welcoming for nearly four decades. Nominated by his colleagues, he is described as ‘indispensable’ with the ability to step into any role that needs filling be it stage crew, carpenter, or driver — Mike has done it all with ingenuity, skill and unwavering commitment.

From spotlighting individual excellence to awarding a team effort. The winners of The Stage Awards’ newest category Campaign of the Year, sponsored by Cabbells, was won by Park Theatre and co-producer Adam Blanshay Productions. This was in recognition of the sell-out run at the Park Theatre in January 2024 of the European premiere of Korean comedy drama Kim’s Convenience. The considered campaign, led by the theatre’s in-house marketing team, was described by the judges as a ‘standout example of reaching new and under served audiences’. It delivered ‘bang for buck’, ‘a very satisfying return on investment’ and resulted in 98.8% capacity of which a staggering 53% were first-time attenders to the theatre. Deserved winners for this inaugural prize where strategy counts.

The final award of the night was the Judges’ with the prestigious accolade given this year to Michael Patrick for his role helping to create and starring in The Tragedy of Richard III at the Lyric Theatre, Belfast. Diagnosed with Motor Neurone Disease in 2023, the actor worked with director Oisin Kearney to adapt Shakespeare’s play to reframe the title character as someone who, like himself, had developed a disability as part of a terminal illness.  By the time the production made it to the stage, Michael was himself in a wheelchair. He delivered a landmark performance in a production that centred disability and disabled performers. The judges said: “Acting performances are regularly described as brave, but there can be very few performers who have displayed the fortitude on stage that Michael did in this production. It was truly astonishing.”

Summing up this year’s remarkable award winners, The Stage editor Alistair Smith, said: “We are thrilled to announce the winners of The Stage Awards 2025, celebrating the extraordinary achievements of theatres and theatre makers from every corner of the UK. What sets these awards apart is their inclusivity — honouring excellence across all scales, from grassroots venues to large-scale commercial productions. This year’s winners exemplify the resilience, creativity and innovation that define our industry, and we’re proud to shine a spotlight on their remarkable contributions to theatre.”

The audience of nominees, representing all four nations in the UK, distinguished guests and industry leaders from every facet of the performing arts industry, came together to recognise the outstanding professional achievements in theatre of the past 12 months, hosted by My Son’s A Queer (But What Can You Do?) star Rob Madge and London Tide’s award-winner Ellie-May Sheridan. The ceremony also featured performances by Starlight Express and The Stage Debut Award 2024 winner Jeevan Braich and by host Rob Madge.

THE WINNERS IN FULL  

Theatre of the Year, sponsored by Harlequin Floors 

Joint winners: Nottingham Playhouse and Orange Tree Theatre, London  

Theatre Building of the Year, sponsored by TAIT 

The Well Walk Theatre, London 

Producer of the Year, sponsored by 3 Mills Studios 

Michael Harrison Entertainment 

Innovation Award, sponsored by Charcoalblue 

Orchard West, Dartford 

Community Award, sponsored by Moore Kingston Smith 

Synergy Theatre Project       

International Award, sponsored by Concord Theatricals           

Projekt Europa           

Unsung Hero, sponsored by Encore 

Mike Elliott  

Campaign of the Year, sponsored by Cabbells 

Park Theatre and Adam Blanshay Productions for Kim’s Convenience 

Judges’ Award 

Michael Patrick for The Tragedy of Richard III at the Lyric Theatre, Belfast 

The Stage Awards is headlined sponsored by Tysers Live

FULL CAST ANNOUNCED

FOR CRUEL INTENTIONS: THE 90’S MUSICAL

uk & IRELAND tour

from 13 FEBRUARY 2025

Bill Kenwright Ltd are delighted to announce the full cast for the UK & Ireland tour of Cruel Intentions: The ’90s Musical, created by Jordan Ross, Lindsey Rosin and Roger Kumble. The musical is based on the original hit film by Roger Kumble and originally produced by Eva Price.

Following sell-out seasons in London and New York, the brand-new smash hit musical Cruel Intentions: The ’90s Musical, will open at Windsor Theatre Royal on 13 February 2025 touring through to 28 June where it will close at Brighton Theatre Royal.

Abbie Budden (Jill in Jack and the Beanstalk, Ipswich Regent Theatre, Heidi in [Title of Show], Southwark Playhouse and Phoenix Arts Club) will return to the role of Annette Hargrove, with Will Callan (Marius in Les Misérables, West End & UK and Ireland tour) as Sebastian Valmont, Nic Myers (Alternate Sally Bowles in Cabaret, West End) as Kathryn Merteuil, Lucy Carter (Babies: A New Musical, The Other Palace) as Cecile Caldwell / Marci Greenbaum, Luke Conner Hall (The Choir of Man, Arts Theatre) as Blaine Tuttle, Joe Simmons (Pippin, 50th Anniversary Concert) as Greg McConnell, Gabriella Williams (Betty Haynes in White Christmas, The Mill at Sonning) as Mrs Bunny Caldwell / Dr Greenbaum and Kevin Yates (Ain’t Too Proud, West End) as Ronald Clifford. Completing the cast are Olivia Brookes (Ali in MAMMA MIA!, West End), Ben Fenwick (Heathers, West End and UK Tour), Sophie Hutchinson (Heathers, The Other Palace) and Onuri Smith (Jack and the Beanstalk, Cliffs Pavilion).                  

Based on the iconic film and inspired by Les Liaisons Dangereuses, Cruel Intentions: The ’90s Musical is packed with ‘90s pop classics including the songs of Britney Spears, Boyz II Men, Christina Aguilera, TLC, R.E.M., Ace of Base, Natalie Imbruglia, The Verve, *NSYNC and many more!

Step siblings Sebastian Valmont and Kathryn Merteuil engage in a cruel bet: Kathryn goads Sebastian into attempting to seduce Annette Hargrove, the headmaster’s virtuous daughter.

Weaving a web of secrets and temptation, their crusade wreaks havoc on the students at their exclusive Manhattan high school. It’s not long before the duo become entangled in their own web of deception and unexpected romance, with explosive results…

The iconic movie set to the decade’s best songs is an irresistible combination and with over forty 4 and 5 star reviews, it’s the ultimate ‘90s night out.

Cruel Intentions: The ’90s Musical is directed by Jonathan O’Boyle (Hair, Rain Man, Pippin, Aspects of Love), choreographed by Gary Lloyd (Heathers, Thriller Live, Carrie the Musical) who is also Associate Director with set and costume design by Polly Sullivan, lighting design by Nick Richings and sound design by Chris Whybrow. The Musical Supervisor is Jeremy Wootton and Musical Director is Will Joy. Associate Choreographer is Emma Hunter, Intimacy Co-ordinator is Rebecca Reaney and Fight Director is Bret Yount.

Cruel Intentions: The ’90s Musical  is produced by Bill Kenwright Ltd.

Facebook: CruelMusicalUK

X: @CruelMusicalUK

Instagram: @CruelMusicalUK

Tiktok: @CruelMusicalUK

Website: www.cruelmusical.co.uk                                                       

2025 TOUR SCHEDULE

13 – 15 Feb                            Windsor Theatre Royal                                 01753 853 888

                                                www.theatreroyalwindsor.co.uk

18 – 22 Feb                            York Grand Opera House

                                                www.atgtickets.com/york

25 Feb – 1 Mar                       New Wimbledon Theatre

www.atgtickets.com/wimbledon        

4 – 8 Mar                                Chelmsford Theatre                                      01245 606 505

                                                www.chelmsfordtheatre.co.uk

11 – 15 Mar                            Cheltenham Everyman Theatre                    01242 572 573

                                                www.everymantheatre.org.uk

18 – 22 Mar                            Northampton Royal & Derngate                   01604 624811

                                                www.royalandderngate.co.uk

25 – 29 Mar                            Manchester Opera House                            

                                                www.atgtickets.com/manchester              

1 – 5 Apr                                 Dublin Gaiety Theatre                                                                                                            www.gaietytheatre.ie

8 – 12 Apr                               Aberdeen His Majesty’s Theatre                   01224 641122

                                                www.aberdeenperformingarts.com

15 – 19 Apr                             Oxford New Theatre                                     

                                                www.atgtickets.com/oxford   

23 – 26 Apr                             Theatre Royal Bath                                        01225 448844

                                                www.theatreroyal.org.uk                                            

29 Apr – 3 May                       Malvern Theatres                                           01684 892277

                                                www.malvern-theatres.co.uk 

6 – 10 May                              Leeds Grand Theatre                                     0113 243 0808                                                www.leedsheritagetheatres.com           

13 – 17 May                            Hull New Theatre                                           01482 300306

                                                www.hulltheatres.co.uk

20 – 24 May                            Darlington Hippodrome Theatre                   01325 405405

                                                www.darlingtonhippodrome.co.uk     

27 – 31 May                            Cardiff Wales Millennium Centre                   029 2063 6464                                                www.wmc.org.uk 

3 – 7 Jun                                 Birmingham Hippodrome                              0121 689 3000

                                                www.birminghamhippodrome.com

10 – 14 Jun                             Princess Theatre, Torquay

                                                www.atgtickets.com/torquay

24 – 28 Jun                             Theatre Royal Brighton                                

                                                www.atgtickets.com/brighton

Trafalgar Theatre Productions, Regent’s Park Open Air Theatre and Brian and Dayna Lee

in association with the Barbican

present

The Regent’s Park Open Air Theatre production of

SMASH HIT MUSICAL TRANSFERS TO LONDON’S BARBICAN THEATRE

FOR STRICTLY LIMITED SUMMER SEASON

FOLLOWED BY MAJOR UK & IRELAND TOUR

GENERAL ON SALE FROM THURSDAY 23 JANUARY*

FROM FIDDLERONTHEROOFUK.COM

Following a triumphant sold-out season at the Regent’s Park Open Air Theatre last year, the “sublime” (The Guardian) critically acclaimed production of Fiddler on the Roof transfers to London’s Barbican Theatre this summer, followed by a major UK and Ireland tour.

This must-see theatrical event of 2025 will begin a strictly limited eight-week season on 24 May until 19 July. Barbican tickets go on sale on Thursday 23 January* from FiddlerOnTheRoofUK.com

The Barbican season will immediately be followed by a major five-month UK and Ireland tour which opens on 24 July until 6 December – the first UK tour of this classic musical in over 12 years – offering audiences around the UK and Ireland a rare opportunity to see this musical masterpiece in an acclaimed new production, direct from the West End. See listings below for on-sale dates.

Fiddler on the Roof is one of the greatest musicals of all time with one of the finest scores ever written featuring: ‘If I Were A Rich Man’, ‘Tradition’, ‘Matchmaker’ and ‘Sunrise, Sunset’, this classic musical of joy, revolution and community is an exuberant celebration of love and life.

This electrifying masterpiece is the next in the series of great summer musicals at the Barbican, as part of the partnership between Trafalgar Theatre Productions and the Barbican. This follows the previous smash-hit summer classic musical extravaganzas Anything Goes, Kiss Me, Kate and the multi-award-winning new musical A Strange Loop.

This is a rare opportunity to catch this “exuberant” (The Standard) production, led by the powerhouse creative team of director Jordan Fein (Oklahoma, Young Vic), choreographer Julia Cheng (Cabaret) and designer Tom Scutt (Winner of the 2024 Tony Award for Cabaret). Casting will be announced soon.

It’s 1905 in the tiny village of Anatevka where Tevye, a Jewish milkman, lives his life by their proud traditions. For his five daughters, that means a visit from the matchmaker. As each daughter challenges his beliefs, against the backdrop of a changing world, can Tevye hold on to his roots, or must he bend to the will of his children and learn to embrace the unfamiliar?

Howard Panter, producer, said: “I saw this incredible production last summer and was immediately blown away. I’m delighted – with our partners – to bring this masterpiece to the Barbican and on tour for what will be one of the major cultural highlights of the year. It was completely sold out during its Regent’s Park run, so this new production will give many more people the chance to see musical theatre at its very best.”

Drew McOnie and James Pidgeon, Regent’s Park Open Air Theatre Chief Executives, said: “As part of an ongoing commitment to the touring of our work beyond Regent’s Park, we could not be more thrilled that our production of Fiddler on the Roof, created by a visionary team under the leadership of Jordan Fein, is getting a further life following it’s record-breaking run at the Open Air Theatre last summer. We’re really looking forward to working with our producing partners to take this wonderful production to even more audiences across the country.”

Toni Racklin, Barbican Head of Theatre & Dance, said: “We are delighted to welcome Regent’s Park Open Air Theatre’s fantastic production of Fiddler on the Roof to the Barbican Theatre, continuing our wonderful relationship with Trafalgar Theatre Productions in offering our audiences another spectacular summer musical experience.”

What the critics have said:

⭐️⭐️⭐️⭐️⭐️

“A MASTERCLASS IN BALANCING INNOVATION AND TRADITION.

FEIN AND FIDDLER ARE A MATCH MADE IN HEAVEN”

Daily Telegraph

⭐️⭐️⭐️⭐️⭐️

“SHOWSTOPPER. SPEAKS TO THE PRESENT. SUBLIME”

The Guardian

⭐️⭐️⭐️⭐️⭐️

“JORDAN FEIN’S REVIVAL IS A TRIUMPH OF TRUTH”

The Stage

⭐️⭐️⭐️⭐️

“LIBERATING, EXUBERANT – HUGELY MOVING”

Evening Standard

⭐️⭐️⭐️⭐️ “A POTENT EVENING THAT’S HARD TO FORGET”

The Times

⭐️⭐️⭐️⭐️ “A MUSICAL TRIUMPH”

The i

Produced on the New York stage by Harold Prince

Original New York stage production directed and choreographed by Jerome Robbins

Presented in association with the Barbican

BARBICAN LISTINGS INFORMATION

Barbican Theatre, Silk Street, London EC2Y 8DS

First Performance: 24 May 2025

Final performance: 9 July 2025

From 24 May – 7 June: Mon – Sat at 7.30pm and matinees Thu & Sat 2.30pm From 9 June – 19 July: Mon, Wed, Thu, Fri, Sat at 7.30pm and matinees Tue, Thu & Sat at 2.30pm

Running time: Approx 2 hours 40 minutes (inc. interval)

Age guidance: 12+

*Tickets on sale as follows:

Monday 20 January at 10am: Barbican Premier, Principal and Director’s Circle Patrons

Tuesday 21 January at 10am: Barbican Patrons

Wednesday 22 January at 10am: Barbican Members, Regent’s Park Open Air Theatre Members and Groups

Thursday 23 January at 10am: General Public on-sale

Access Performances:

BSL Interpreted: Wednesday 25 June, 7.30pm

Audio Described: Saturday 28 June, 2.30pm

Captioned: Wednesday 2 July, 7.30pm

Tickets from £25.00 Barbican Box Office: Barbican.org.uk or 020 7870 2500

(Telephone lines open Monday to Friday, 12.00 – 5.30pm)

Social Media:

Website: FiddlerOnTheRoofUK.com

X: @FiddlerRoofUK

Facebook: @FiddlerOnTheRoofUK

Instagram: @FiddlerOnTheRoofUK

FIDDLER ON THE ROOF – UK & IRELAND TOUR 2025

DATE VENUE

24 – 26 July BROMLEY CHURCHILL THEATRE ON SALE NOW

28 July – 2 August LEEDS GRAND THEATRE ON SALE NOW

4 – 9 August BELFAST GRAND OPERA HOUSE ON SALE SOON

11 – 16 August NORWICH THEATRE ON SALE NOW

18 – 23 August NOTTINGHAM CONCERT HALL ON SALE NOW

25 – 30 August BRISTOL HIPPODROME ON SALE NOW

8 – 13 September EDINBURGH FESTIVAL THEATRE ON SALE NOW

15 – 20 September HIGH WYCOMBE SWAN THEATRE ON SALE NOW

22 – 27 September LIVERPOOL EMPIRE ON SALE NOW

29 September – 4 October SOUTHEND CLIFFS PAVILION ON SALE NOW

6 – 11 October DUBLIN BORD GÁIS THEATRE ON SALE SOON

13 – 18 October DUBLIN BORD GÁIS THEATRE ON SALE SOON

20 – 25 October MANCHESTER PALACE THEATRE ON SALE NOW

27 October – 1 November MANCHESTER PALACE THEATRE ON SALE NOW

3 – 8 November EASTBOURNE CONGRESS THEATRE ON SALE NOW

10 – 15 November CANTERBURY MARLOWE THEATRE ON SALE SOON

17 – 22 November CARDIFF NEW THEATRE ON SALE NOW

24 – 29 November SUNDERLAND EMPIRE ON SALE SOON

Royal Court Theatre, London – until 8 February 2025

Reviewed by Claire Roderick

4****

In the quiet and seemingly idyllic community of Stillwater, South Africa, the appearance of a mysterious shack shatters the aspirational atmosphere and lays bare the attitudes of the residents.

Despite living in Stillwater for 2 years, no neighbours have ever visited Sihle (Sifiso Mazibuko) and Bonolo Mbatha (Mimî M Khayisa) – the only Black residents – until the shack appears. Gatekeepers of the community, Lynette (Olivia Darnley) and Christopher (Scott Sparrow) come over for wine and nibbles, but they have an ulterior motive. To avoid appearing racist, the residents think it best if Sihle and Bonolo confront the people in the shack and threaten them with eviction. This subject doesn’t arise easily though. First, we watch a hilariously pretentious Bonolo showing off her fancy utensils brought back from the couple’s foreign travels – you will never be able to take anyone who uses a wine aerator seriously again. The verbal gymnastics Chris and Lynette go through to appear reasonable in their request will make you squirm and the differing reactions of the Mbathas cleverly grabs the audience’s attention .

Sihle’s apparent acceptance of what needs to be done is at odds with Bonolo’s outrage as she talks of fighting for the invisible people in the shack, but the couple’s differing upbringings – subtly highlighted by Bonolo’s cultural references – result in the shack having vastly different meanings for them both. For Sihle, it is a reminder of how hard he has worked to distance himself from his childhood in a township, while to Bonolo, who grew up in a wealthier family, has a more abstract idea of activism to repair inequalities.

The shack looms in the background on ULTZ’s set, easily and smoothly switching between the “good” house in Stillwater. Chris Davey’s lighting and Elena Peña’s sound design create an easy atmosphere and Nancy Medina’s intelligent direction of Amy Jephta’s writing portrays a couple who know each other and their faults inside out and who aren’t afraid to air their differences. The scenes where the white couples freeze and Sihle and Bonolo have intense discussions about the racism they are facing are staged brilliantly – whether the couple are howling with laughter at being “the right kind of Black” or fighting angrily.

The inclusion of another couple, Andrew (Kai Luke Brummer) and Jess (Robyn Rainsford) heightens the tension. White, but struggling financially, they are living above their means in this aspirational neighbourhood and only got their house because Lynette liked them. The assumptions both white men make when they first met Sihle (and Sihle laughing it off) say it all, but Andrew’s misunderstanding is prolonged and painful to watch, and his bitterness at the Mbatha’s lifestyle compared to his own bubbles away in the following scenes. The South African setting takes the NIMBYism UK audiences will recognise to extreme and dangerous heights.

The cast are outstanding, with Sparrow, Darnley, Rainsford and Brummer playing their less fleshed out characters with an ever-thinning glossy veneer over their tactlessness and selfishness. Mazibuko and Khayisa are both wonderful as the beleaguered couple – exposing the discomfort of adapting and the pain of ignoring microaggressions to be accepted in emotionally charged performances.

Exquisitely written and performed, A Good House is an unmissable comedy of manners and prejudices. Sharp and witty, uncomfortable, and confronting – asking what would you be willing to do to protect everything you’ve worked for.

ON-SALE DATES ANNOUNCED FOR

LLOYD WEBBER HARRISON MUSICALS AND THE JAMIE LLOYD COMPANY’S

PRODUCTION OF

TIM RICE AND ANDREW LLOYD WEBBER’S

EVITA

AT THE LONDON PALLADIUM

SUMMER 2025

Michael Harrison for Lloyd Webber Harrison Musicals andThe Jamie Lloyd Company today announce the on-sale dates for Tim Rice and Andrew Lloyd Webber’s Evita, directed by Jamie Lloyd. The production opens at The London Palladium on Friday 27 June, with previews from 14 June, and runs until 6 September 2025.

Tickets for Evita go on sale on Monday 20 January at 11am to those signed up for priority booking and to Andrew Lloyd Webber’s new global fan base, The Box Five Club. General booking opens on Thursday 23 January at 11am. Tickets will be available via evitathemusical.com. Full cast and creatives to be announced.

For Evita there will be 5,000 tickets available across the run at £25 exclusively for under 30s, key workers and those receiving government benefits. These tickets will be available across all levels of the theatre, and go on sale at a later date. Further information to be announced.

EVITA

Lyrics by Tim Rice; Music by Andrew Lloyd Webber

Directed by Jamie Lloyd

The London Palladium

Saturday 14 June – Saturday 6 September 2025

“The truth is I never left you”

Tim Rice and Andrew Lloyd Webber’s legendary Evita returns to the West End, reimagined by the visionary award-winning director Jamie Lloyd.

Featuring an iconic score including Don’t Cry For Me Argentina, Oh What A Circus, Another Suitcase in Another Hall, and the Oscar-winning You Must Love Me.

Fuelled by ambition and passion, Eva Perón rose from poverty to become the most powerful woman in Latin America. A symbol of hope to many Argentines, her star shone brightly as she captured the nation’s heart and divided its soul. 

Produced by Michael Harrison for Lloyd Webber Harrison Musicals and The Jamie Lloyd Company by arrangement with The Really Useful Group Ltd.

Jamie Lloyd originally directed Evita at Regent’s Park Open Air Theatre as part of their 2019 season.

Instagram:          @OfficialEvita

X:                           @EvitaMusical

Facebook:           /EvitaTheMusical

TikTok:                 @EvitaMusical

Tim Rice

Tim Rice has worked in music, theatre and films since 1965 when he met Andrew Lloyd Webber, a fellow struggling songwriter. Rather than pursue Tim’s ambitions to write rock or pop songs they turned their attention to Andrew’s obsession – musical theatre. Their first collaboration, The Likes Of Us, did not set the musicals world alight, but their next three works together did – Joseph and the Amazing Technicolor Dreamcoat, Jesus Christ Superstar and Evita.

Tim has since worked with other distinguished composers such as Elton John (The Lion King, Aida), Alan Menken (Aladdin, King David, Beauty and the Beast), Bjorn Ulvaeus and Benny Andersson (Chess), and Stuart Brayson (From Here To Eternity). He has also written with Freddie Mercury, Burt Bacharach, Graham Gouldman, Gary Barlow and Rick Wakeman among others. Many of his musicals continue to play around the world in a huge variety of productions, big and small.

In 2024 Tim toured England (22 towns/cities) to present an evening of his songs, mercifully performed by top singers and musicians rather than by him, to which he added reminiscence and comment, recalling their creation, success (or rejection) and the joy (usually) of working with great composers. The show, entitled My Life In Musicals, did so well that it is to be repeated in 2025, this time taking in Wales, Scotland and Ireland too.

Sir Tim’s interests beyond music, film and theatre include cricket and he founded his own team in 1973. Heartaches CC has now played over 750 matches and been on playing tours to the USA, Russia, France, Estonia, Hungary, Germany and South Africa. He was President of the world’s most famous cricket club, MCC, in 2002.

He has recently recorded a series of talks for BBC Maestro on Writing and Performing in Musical Theatre. He writes and presents a podcast (entitled Get Onto My Cloud) about his sixty-year career– playing hits and flops, out-takes and number ones.

He dedicates considerable time to several British educational institutions and charities, many connected with sport for disadvantaged children. He is a patron of the Bob Willis Fund (along with Bob Dylan!), an enterprise inspired by the late great English cricketer, dedicated to raise prostate cancer awareness.

He crops up here and there in all branches of the media drawing on his extensive knowledge of the history of popular music. He has won several awards, mainly for the wrong thing or for simply turning up, but since you ask: 1 Emmy, 5 Grammys, 3 Tonys and 3 Oscars, making him an EGOT. His shows have spent more weeks on Broadway than those of any other British lyricist. He was knighted by Her Late Majesty the Queen in 1994. Despite hints, he is not retiring just yet.

Andrew Lloyd Webber

Andrew Lloyd Webber has composed the scores of some of the world’s most famous musicals. Lloyd Webber has had shows running across the world for decades, including continually in London’s West End for 50 years.

When Sunset Boulevard joined School of Rock, CATS, and The Phantom of the Opera he equalled Rodgers & Hammerstein’s record of four shows running simultaneously on Broadway. He is one of the select group of artists with EGOT status, having received Emmy, Grammy, Oscar, and Tony Awards. 

Lloyd Webber owns six London theatres including the iconic London Palladium and Theatre Royal, Drury Lane. Reopened in July 2021, the latter was completely restored and renovated at a cost of over £60 million. It was one of the biggest projects ever undertaken by a private theatre owner in recent times. His mantra is that every penny of profit made from his theatres is ploughed back into the buildings. 

Lloyd Webber is passionate about the importance of musical education and diversity in the arts. The Andrew Lloyd Webber Foundation provides 30 performing arts scholarships every year for talented students with financial need and supports a range of projects such as the Music In Secondary School Trust and commissioning research into diversity in theatre. 

Andrew Lloyd Webber has composed music for globally significant moments, including Olympic ceremonies and World Cup celebrations. He has been asked to compose for many royal occasions, the most recent being “Make a Joyful Noise”, an Anthem for the Coronation of King Charles III. 

Andrew Lloyd Webber was knighted in 1992, created an honorary life peer in 1997, and made a Knight Companion of the Most Noble Order of the Garter by King Charles III in 2024. 

Jamie Lloyd directs. His credits for The Jamie Lloyd Company include The Tempest (Theatre Royal Drury Lane), Romeo & Juliet (Duke of York’s Theatre), Sunset Blvd. (St. James Theatre, New York/Savoy Theatre – winner of seven Olivier Awards including Best Director and Best Musical Revival; Evening Standard Theatre Award for Best Director), The Effect (National Theatre/The Shed, New York), A Doll’s House (Hudson Theatre, New York – nominated for six 2023 Tony Awards including Best Direction of a Play and Best Revival of a Play), The Seagull (Harold Pinter Theatre), Cyrano de Bergerac (Playhouse Theatre/Harold Pinter Theatre/Brooklyn Academy of Music, New York – Olivier Award for Best Revival; Critics’ Circle Theatre Award for Best Director), Betrayal (Harold Pinter Theatre/Bernard B. Jacobs Theatre – nominated for four 2021 Tony Awards including Best Direction of a Play and Best Revival of a Play; Critics’ Circle Theatre Award for Best Director), Pinter at the Pinter (Harold Pinter Theatre), The Maids, The Homecoming, The Ruling Class, Richard III, The Pride, The Hothouse and Macbeth (Trafalgar Studios).

LISTINGS 

The London Palladium

Box Office: evitathemusical.com / 020 3925 2998

Saturday 14 June – Saturday 6 September 2025

DUE TO PHENOMENAL DEMAND

JOHN CLEESE’S

FAWLTY TOWERS – THE PLAY

TRIUMPHANTLY RETURNS TO LONDON’S APOLLO THEATRE FOR THREE-MONTH SUMMER SEASON

STRICTLY LIMITED RUN 24 JUNE – 13 SEPTEMBER 2025

TICKETS ON SALE FRIDAY 17 JANUARY AT 10AM FROM FAWLTYTOWERSWESTEND.COM

John Cleese’s Fawlty Towers – The Play, “the funniest show in town” (Daily Express), today announces that it will return to the West End’s Apollo Theatre Shaftesbury Avenue for a strictly limited three-month season this summer, from 24 June – 13 September 2025, before embarking on a UK and Ireland tour until 2026.

Following a short break from its current critically acclaimed 11 month run (until 1 March 2025) at the Apollo Theatre, the production triumphantly returns to the West End due to phenomenal demand for tickets.

Tickets for the new dates will be on sale on Friday 17 January at 10.00am from FawltyTowersWestend.com and there are limited seats available for the remainder of the current residency. The UK tour will see the production play at major theatres nationwide from 30 September 2025 – 25 July 2026.

Reacting to news of the show’s West End return, John Cleese said: “I’m delighted to announce the news that the Fawlty Towers stage show will be returning to the Apollo Theatre this June. It’s heart-warming that West End audiences still think Fawlty is as funny as ever.

September this year will mark exactly 50 years since the first ever episode was broadcast on the BBC but here we are, all these years later, still making theatres rock with laughter.”

Directed by Caroline Jay Ranger, this “as good as comedy gets” production (Sunday Times) originally opened in May 2024 to rave reviews. The play features many of the beloved characters from the original TV sitcom including the welcome reunion of Basil, Sybil, Manuel, Polly and The Major during an unmissable evening of “Fawltless” (Mail on Sunday) comedy. Full casting will be announced soon.

Comedy legend John Cleese, who originally co-wrote the “greatest British sitcom of all time” (Radio Times) with Connie Booth, has chosen three of his favourite original TV episodes – ‘The Hotel Inspector’ and ‘The Germans’ from series one and ‘Communication Problems’ from series two – and adapted them into a two-hour play for the West End stage.

Following a tip off that hotel inspectors may be visiting and eager to impress, Basil attempts to ingratiate himself with guests that he suspects are there to critique the establishment. The situation is further plagued by a party of Germans, the deaf and dotty guest-from-hell, Mrs Richards, whose infuriating complaints prevent him from hiding a gambling win from his ever vigilant and bossy wife, Sybil. Together they run their hotel with a little help from the unflappable Polly, and very little help at all from Manuel, the trainee waiter from Barcelona who is the butt of Fawlty’s frustration.

Fawlty Towers was first broadcast on BBC Two on 19 September 1975. The iconic TV show went on to win many awards and plaudits including two BAFTAS for Best Situation Comedy and in 2000 it was voted the best British programme of all time in a British Film Institute poll. Set in a fictional hotel in the seaside town of Torquay, just 12 half hour episodes of the iconic comedy were made.

Based on a real-life hotel owner, Donald Sinclair. John Cleese came up with the idea for the character Basil Fawlty when he stayed at Sinclair’s Gleneagles Hotel in Torquay and became fascinated with his incredibly rude behaviour.

The creative team includes:

Written by John Cleese & Connie Booth

Adapted for the stage by John Cleese

Directed by Caroline Jay Ranger

Set and Costume Designer – Liz Ascroft

Lighting Designer – Ian Scott

Casting Director – Anne Vosser

Assistant Director – Denise Ranger

LISTINGS INFORMATION

Apollo Theatre, Shaftesbury Avenue, W1

Booking until: 13 September 2025

Performances: Tuesday – Saturday at 7:30pm. Wednesday, Thursday and Saturday matinee at 2:30pm

Website: FawltyTowersWestend.com

Instagram: @FawltyTowersWestEnd

Facebook: @FawltyTowersWestend

X: @FawltyTowersWE

The Playhouse, Sheffield – until January 18th 2025

Review by Sharon Farley

5*****

It’s useful to remember that the multi award-winning writer, Mike Bartlett (Cock, Chariots of Fire, Life), devised this play after witnessing a bullfight in Mexico City, which he found both disturbing and thrilling. This prompted him to focus on why we enjoy cruelty, and BULL achieves this with dialogue so cutting you’ll be grateful for the shielding of the fourth wall. The observation earned an Olivier Award for Outstanding Achievement in 2015 and remains a challenging piece as, under the glare of fluorescent lighting, the audience is exposed to the vicious manipulations of office politics. In the close proximity afforded to spectators by the intimacy of The Tania Moiseiwitsch Playhouse, this might feel more like watching a backroom bare-knuckle brawl than a bullfight.

BULL opens with the character of Isobel, excellently played by Rebecca Blackstone (The Sunshine Boys, Cool Hand Luke, Red Dwarf), observing the twitchy fidgeting of Thomas (Rob Ostlere: Holby City, Game of Thrones, Rough Crossing) as they await the start of a meeting in which one of their team will lose their job. Her steely glare might be interpreted as that of a matador observing the captive bull before the show begins.

Isobel starts by contemptuously mocking Thomas and is soon joined by Tony, played by Rilwan Abiola Owokoniran (Loves Labours Lost, Sandman, McDonald and Dobbs). Combining to mercilessly tear Thomas’ self esteem apart, their role is like that of the picadores, there to weaken the bull by thrusting sharp pikes into its neck and shoulders, aggravating its defence response and weighing it down. They achieve this by conspiring against him even before the meeting begins, and continue by voraciously humiliating him with personal jibes and spiteful goading that descends to the level of schoolyard bullying. Thomas knows he is being bullied and desperately tries to fend them off, but his futile attempts only leave him all the more pathetic as he becomes increasingly confused and panicked.

By the time their boss, Mr Carter (Tim Francis: Citadel, The trial of Christine Keeler, Machinal) arrives, Thomas’ mental state is already exhausted, and Tony immediately tricks him into humiliating himself further under Carter’s judgemental gaze. Carter proceeds to undermine and belittle Thomas before his inevitable public sacking. We might think that Carter has stepped into the ring as the matador to deliver this kill strike, but later we realise he is just the bandarillero there to push yet more painful, debilitating barbs under the skin of the helpless bull in this second act.

For the unfortunate Thomas, worse is yet to come, as Tony and Carter exit leaving him alone with Isobel. Initially, she shows him some pity, just as the bullfighter honours the bull, but despite Thomas being broken and spent, she continues to goad him with relentless cruelty until his only remaining defence is that of attack. It’s too late, he has nothing left and the matador is still strong, holding all the cards and doesn’t back off until the bull stops fighting back, whereby she deals the final humiliating blow.

Though excellently performed by the four actors – a result of perfect casting and masterful direction – this is at times difficult to sit through. The audience is encouraged to laugh along with Thomas’ attackers as the occasional humorous jibe is thrown at him. We may wonder why Thomas doesn’t leave the room after Carter fires him but, of course, the bull’s fate is sealed before he even enters the arena, as he has no option to leave until the performance is complete. There are multiple layers to be peeled away from this examination of corporate cut and thrust: the uneven playing field; the backroom conspiracies; the preliminary nods; and the judgemental classicism. We may be urged to view Thomas’ attack on Isobel as that of a misogynist revealing his true colours, but is it misogyny or desperate self-defence? We might also ask ourselves who we relate to most, the winners or the loser?

Good art provokes a response, and as a think piece examining human behaviour, this is brilliant and well deserving of the accolades received. Perhaps it should also serve to demonstrate how, like bullfighting, this is a behaviour that might best be consigned to the bin of a shameful past. But just as the disturbing spectacle of bullfighting continues as a cultural tradition, the heavily biased inequality gap of current society also becomes increasingly wider. Maybe this dog eat dog performance is a sharply relevant commentaryon the way we are destined to continue.

Kym Marsh makes Royal Exchange Theatre debut in the iconic role of Beverly in ABIGAIL’S PARTY

ABIGAIL’S PARTY

By Mike Leigh

Directed by Natalie Abrahami 

4 April – 17 May 2025

Wannabe  socialite Beverly Moss has been  an  iconic  character since  ABIGAIL’S PARTY first hit stage and screen in 1977. The Royal Exchange Theatre is delighted that  north-west born actor, presenter and singer Kym Marsh, whose credits have included everything from  CORONATION STREET to ATG’s FATAL ATTRACTION, will be making her Exchange debut in this major revival of Mike Leigh’s cult classic play this spring. In collaboration with award winning Director Natalie Abrahami they will bring this modern masterpiece to the Exchange’s unique in-the-round stage for the first time with performances running from 4 April – 17 May.

Kym Marsh said,

“I have always wanted to work at the Royal Exchange Theatre, it is such a beacon of incredible theatre in Manchester. Pair that with the brilliant Mike Leigh’s Abigail’s Party and working with Natalie to discover our version of Beverly, I couldn’t be more excited! Bev is fun, the life and soul of the party, but she is so much more than that! She’s a complex character and there is so much to unpack. I can’t wait to get in the rehearsal room!”

Natalie Abrahami added,

“Beverly Moss is a cultural icon and we’re thrilled to have Kym realise this role which is so full of wit, sass and pathos. I cannot wait to get into rehearsals and invite Manchester audiences to join us for the party.”

Actor, presenter and singer Kym Marsh arrived on British TV screens back in 2000 appearing in the hit reality TV show, Popstars and winning a place in the  subsequent band Hear’say. The band achieved two UK number one singles and a number one album – and Kym went on to pursue a successful career as a solo artist.

She went on to star in London’s West End, playing the role of Annette in the critically acclaimed musical SATURDAY NIGHT FEVER. An accomplished  actress, she appeared in BBC One’s DOCTORS and Channel 4’s HOLLYOAKS: IN THE CITY before joining the cast of ITV’s CORONATION STREET in the role of Michelle Connor in 2006. During the subsequent 14 years on Britain’s famous cobbles, she won a string of prestigious awards for her work

After leaving Coronation Street in 2019, she appeared in hit BBC One drama THE SYNDICATE and can currently can be seen on BBC One’s continuing drama, WATERLOO ROAD, where she plays the role of Nicky Walters. She is also a regular host of BBC One’s MORNING LIVE.

Her love of theatre has not waned and in 2022 Kym returned to tread the boards in the role of bunny boiler Alex Forrest in a nationwide tour of box office hit FATAL ATTRACTION. In 2023 she joined the cast of Take That musical GREATEST DAYS and last year played the iconic role of Cruella de Vil in a nationwide tour of 101 DALMATIANS: THE MUSICAL.

Further cast is to be announced in due course.

The creative team for ABIGAIL’S PARTY also includes Designer Peter Butler, Lighting Designer Jai Morjaria, Sound Designer Melanie Wilson and Movement & Intimacy Director Anna Morrissey..