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VICKY GRAHAM PRODUCTiONS, BIRMINGHAM HIPPODROME, AND ARIA ENTERTAINMENT

WITH TRW PRODUCTION AND Pascal Ultee Productions

PRESENT

THE BIRMINGHAM HIPPODROME PRODUCTION OF
 

HOT MESS: A NEW MUSICAL

MUSIC AND LYRICS BY JACK GODFREY

BOOK AND DIRECTION BY ELLIE COOTE

CASTING ANNOUNCED FOR LONDON SUMMER SEASON AT the OTHER PALACE

DANIELLE STEERS RETURNS AS EARTH

WITH MORGAN GREGORY JOINING AS HUMANITY

THE OTHER PALACE

Saturday 13 JUNE – SUNDAY 6 SEPTEMBER 2026

Tickets and more information available here

Producers Vicky Graham, Birmingham Hippodrome, and Aria Entertainment are delighted to announce casting for the return of multi-award-winning 5-star new musical Hot Mess, running for a strictly limited season at The Other Palace from Saturday 13 June to Sunday 6 September 2026.

Created by the award-winning duo behind 42 Balloons, Jack Godfrey and Ellie Coote, Hot Mess is a high-energy original romcom that reimagines the climate crisis as a turbulent love story between Earth and Humanity.

Returning to the role of ‘Earth’ is Danielle Steers (Just for One Day, Six the Musical, Bat Out of Hell) following her acclaimed performances in the show’s sell-out Edinburgh Fringe premiere and subsequent Southwark Playhouse transfer. Joining the company as ‘Humanity’ is Morgan Gregory, whose recent theatre credits include The Lightning Thief: The Percy Jackson Musical, UK tour, Back to the Future, original West End cast at the Adelphi, 42 Balloons, Lowry, and Newsies, Troubadour Wembley Park.

Also joining the company are Mia Quimpo (Pippin, Upstairs at the Gatehouse) as cover ‘Earth’ and Nathan Shaw (Mamma Mia! The Party, and The Rocky Horror Show UK and International tour) as cover ‘Humanity’.

After a billion years of bad dates, Earth has finally found the one… Humanity. Sparks fly. Seeds are sown. Ground is broken. But what begins as a passionate love affair between the universe’s most iconic couple quickly descends into a hot mess.

An original pop musical about love, hope, and the ultimate break up.

Jack Godfrey and Ellie Coote said: “We’re absolutely thrilled that Danielle Steers will be returning as Earth, and so excited to welcome Morgan Gregory to the company as Humanity. It was so wonderful to watch audiences fall in love with Danielle in Edinburgh and London last year, and we’re so grateful to be able to bring her back for our bigger, bolder production this year. After working with Morgan on 42 Balloons, we know what an absolute star and unbelievable triple threat performer he is. Together, they’re going to blow the roof off The Other Palace!”

Danielle Steers said: “I am super excited to be returning to Hot Mess! The show is so fun and has a really important message at its core. Can’t wait!!!”

Morgan Gregory said, “I am over the moon to be joining the team on this exciting new British musical. Working with Jack and Ellie again after 42 Balloons is an absolute delight and they continue to make magic.”

Danielle Steers’ theatre credits include Just For One Day (The Old Vic), The Cher Show UK Tour, Six the Musical (West End), Bat out of Hell (New York City Center/West End/Toronto), Sweet Charity (Donmar Warehouse) and Beautiful – The Carole King Musical (West End).

Morgan Gregory’s theatre credits include Freaky Friday (HOME Manchester), The Lightning Thief: The Percy Jackson Musical (The Other Palace), 42 Balloons (The Lowry), Newsies (Troubadour Wembley Park Theatre), Elf the Musical (Dominion Theatre) and Back to the Future: The Musical (Original West End Cast).

Following its world premiere at the Edinburgh Festival Fringe 2025 and subsequent London transfer to Southwark Playhouse last September, the show has quickly become one of the most exciting new British musicals, winning a Fringe First Award, the Popcorn Writing Award and Musical Theatre Review’s Best Musical Award, alongside widespread critical acclaim.

The production features music supervision and co-orchestrations by Joe Beighton, choreography by Alexzandra Sarmiento, set design by Shankho Chaudhuri, lighting design by Ryan Joseph Stafford, audio production and sound design by Paul Gatehouse, costume design by Sarah Mercadé, musical direction by Sara De Sanctis, casting by Pearson Casting CDG and intimacy coordination by Lex Kaby. The dramaturg is Deirdre O’Halloran, with Lydia Cook as Associate Director and Taz Hoesli as Associate Choreographer, Phil Burke as Associate Lighting Designer, Charlie Smith and Richard Pomeroy as Associate Sound Designers, and Ciéranne Kennedy-Bell as Costume Supervisor. Rosie Morgan is Company Stage Manager, with James Anderton as Production Manager and Byron Ladd-Carr as Sound No.1.

Hot Mess is produced by Vicky Graham Productions, Birmingham Hippodrome, and Aria Entertainment, TRW Production, Pascal Ultee Productions, and RJG Productions as General Managers.

Instagram: @hotmessmusical

Tiktok: @hotmessmusical

Original cast recording available here: https://slinky.to/HotMess 

SHINE SHINE SHINE A LIGHT
ON LONDON!

HEATHERS THE MUSICAL RETURNS TO LONDON FOR 52 PERFORMANCES ONLY THIS SUMMER 
WITH FULL UK & IRELAND TOUR DATES ANNOUNCED

Following record breaking seasons in London, New York and Melbourne, Heathers the Musical returns to London for 52 performances only this summer. Heathers will be the opening show at the Arts at Marble Arch, London’s newest theatre situated next to one of the capital’s most iconic landmarks, Marble Arch. The 594 seat semi-permanent theatre is the Arts Theatre’s temporary home while their current building undergoes a transformational upgrade. Heathers is at the Arts at Marble Arch from 9 July – 22 August. Tickets on sale from 10am on Monday 18 May.

Jenny Seagrove, Chairperson of the Bill Kenwright Group said:

“I’m thrilled to be working with Louis Hartshorn and Brian Hook and the whole team at the Arts at Marble Arch to present Heathers the Musical as the inaugural show at their fantastic new theatre in the heart of the West End. 

The Arts at Marble Arch is just a stone’s throw from Speakers’ Corner where, for over 150 years, people have gathered to discuss, dissent, and speak their own truth. It feels wonderfully fitting to be so close to this historic spot as our production of 

Heathers celebrates having the courage to speak up, speak out and be heard – themes that resonate deeply with many of the audience seeing the show. 

I can’t wait for the doors of Westerberg High to open on 9 July and for class to be in session this summer. Colour me stoked!”

After its summer in the capital, audiences up and down the UK and Ireland will be able to join the Heathers as they head off on their Autumn 2026 and Spring 2027 tour. Westerberg High will open its doors at Windsor’s Theatre Royal on 26 August 2026 before travelling to Leeds, Nottingham, Coventry, Darlington, Poole, Leicester, Peterborough, Sheffield, Blackpool, Cheltenham, Dublin and Oxford in 2026.

Then in Spring 2027 class will resume in Hull, Liverpool, York, Birmingham, Edinburgh, Glasgow, Aberdeen, Chelmsford and Torquay, with further dates to be announced. 

Welcome to Westerberg High, where popularity is a matter of life and death, and Veronica Sawyer is just another of the nobodies dreaming of a better day.

But when she’s unexpectedly taken under the wings of the three beautiful and impossibly cruel Heathers, her dreams of popularity finally start to come true.

That is until JD, the mysterious teen rebel, turns up and teaches her that it might kill to be a nobody, but its murder being a somebody…

Based on the iconic 1989 cult film starring Winona Ryder and Christian Slater, Heathers first premiered in Los Angeles in 2013 to sold-out audiences before transferring to New York’s New World Stages in 2014. The show was reimagined for its 2018 London debut, featuring new songs and updated script.

With three smash-hit West End runs and three record-breaking UK and Ireland tours under its belt, Heathers has become a fan-favourite. It won the 2019 WhatsOnStage Award for Best New Musical and was filmed for streaming on The Roku Channel in 2022.

Heather the Musical is also making its way across Australia and New Zealand, with stops in Melbourne, Sydney, Adelaide, Gold Coast, Canberra, Perth, Auckland, Wellington, and Christchurch.

The current New York production at New World Stages opened in June 2025 to the largest advance in the venue’s history. Originally planned to run until 28 September 2025, the show has been extended to 6 September 2026 due to overwhelming demand. Looking ahead, Heathers the Musical will embark on a year-long tour across North America beginning Spring 2027. 

Heather the Musical is directed by acclaimed American screen and stage director Andy Fickman, with choreography by Gary Lloyd, design by David Shields, lighting by Ben Cracknell, sound by Dan Samsonmusical supervision by Jeremy Wootton and Will Joy and is produced by Bill Kenwright Ltd and Paul Taylor-Mills.  Cast to be announced.

LISTINGS

BILL KENWRIGHT LTD & PAUL TAYLOR-MILLS PRESENT 

HEATHERS THE MUSICAL 

Book, Music and Lyrics Kevin Murphy & Laurence O’Keefe

Based on the film by Daniel Waters

Directed by Andy Fickman

Choreography and AssociateDirector Gary Lloyd

Set and Costume design by David Shields

Lighting by Ben Cracknell

Sound by Dan Samson

Music Supervisors Jeremy Wootton and Will Joy

www.heathersthemusical.com

LONDON

09 July – 22 August 2026

The Arts at Marble Arch

Performance schedule: 
W/C 6 July:                   Thursday and Friday 7.30pm 

                                     Saturday 2.30pm and 7.30pm

W/C 13 and 20 July:     Monday – Thursday 7.30pm

                                      Friday 4.30pm and 8pm 

                                       Saturday 2.30pm and 7.30pm 

From 27 July:                Monday – Saturday 7.30pm

                                      Wednesday and Saturday matinees 2.30pm 

Press performance: Monday 13 July

Ticket Prices: From £25

Address: Marble Arch, London W1H 7DX

Website: heathersthemusical.com/London

AUTUMN 2026 TOUR DATES

Windsor Theatre Royal                                          theatreroyalwindsor.co.uk

Wed 26 – Sat 29 August

Leeds Grands Theatre                                                leedsheritagetheatres.com

Tues 1 – Sat 5 September

Nottingham Theatre Royal                                        trch.co.uk

Tues 8 – Sat 12 September

Coventry Belgrade Theatre                                       belgrade.co.uk

Tues 15 – Sat 19 September

Darlington Hippodrome                                             darlingtonhippodrome.co.uk

Tues 22 – Sat 26 September

Poole Lighthouse                                                        lighthousepoole.co.uk

Tues 29 September – Sat 3 October

Leicester Curve Theatre                                             curveonline.co.uk

Tues 6 – Sat 10 October

Peterborough New Theatre                                       newtheatre-peterborough.com

Tues 13 – Sat 17 October

Sheffield Lyceum Theatre                                          sheffieldtheatres.co.uk

Tues 20 – Sat 24 October

Blackpool Grand Theatre                                           blackpoolgrand.co.uk

Tues 27 – Sat 31 October

Cheltenham Everyman Theatre                                everymantheatre.org.uk

Tues 3 – Sat 7 November

Chichester Festival Theatre                                    cft.org.uk

Tue 10 – Sat 14 November

On sale September

Dublin Bord Gais Energy Theatre                              bordgaisenergytheatre.ie

Tues 17 – 21 November

Oxford New Theatre                                                  atgtickets.com/Oxford

Tues 24 – Sat 28 November

SPRING 2027 TOUR DATES

Hull New Theatre                                                       hulltheatres.co.uk

Tues 16 – Sat 20 February 

Liverpool Empire                                                        atgtickets.com/Liverpool

Tues 23 – Sat 27 February

York Grand Opera House                                           atgtickets.com/York

Tues 9 – Sat 13 March

Birmingham The Alexandra                                       atgtickets.com/Birmingham

Tues 16 – Sat 20 March

Edinburgh Festival Theatre                                        capitaltheatres.com

Tues 23 – Sat 27 March

Glasgow King’s Theatre                                             atgtickets.com/Glasgow

Tues 30 March – Sat 3 April

Aberdeen His Majesty’s Theatre                               aberdeenperformingarts.com

Tues 6 – Sat 10 April

Chelmsford Theatre                                                   chelmsfordtheatre.co.uk

Tues 20 – Sat 24 April

On sale Wed 27 May

Torquay Princess Theatre                                          atgtickets.com/Torquay

Tues 27 April – Sat 1 May

Age Recommendation: 14 years+

Socials:

HeatherstheMusicalUK (Instagram)

HeathersMusicalUK (Facebook) 

HeathersMusicalUK (TikTok)

#HowVery

Darlington Hippodrome – until Saturday 16th May 2026

Reviewed by Adam Craddock

4****

On Tuesday night I had the pleasure to be invited along to the fabulous Darlington Hippodrome to review the touring production of Glorious! The play follows the true story of the eccentric American socialite Florence Foster Jenkins, perhaps the worst singer to ever play Carnegie Hall, and the unlikely bond she builds with her accompanist Cosme McMoon. I knew virtually nothing about the story of Florence Foster Jenkins going into the play, only knowing the basics about her being a bad singer and that there was a film about her starring Meryl Streep, but I have to say I was thoroughly surprised by just how lovely of a story it is!

Wendi Peters stars as Florence Foster Jenkins. Peters has a very warm charm to her portrayal, really making you root for her character and I have to say I don’t think I’ve ever seen someone do such a good job of singing so badly! By keeping her pitch for the most part, every single duff note was its own gag and had my partner in absolute stitches! Her physicality was brilliant too, with some brilliant physical comedy especially in her extravagant costumes. Matthew James Morrison co stars as the talented accompanist Cosme McMoon. Morrison did a fabulous job of acting as our narrator throughout the story and watching the relationship build between McMoon and Foster Jenkins was truly warming. His physicality at the piano was also spot on as well. I don’t know if Morrison is a pianist or not but if he wasn’t, he did a damn good job at fooling me. Sioned Jones was strong as Dorothy, the doting friend of Foster Jenkins, with her slightly vacant portrayal being very endearing. Caroline Gruber was hilarious as Maria/Mrs Verinder Gedge, particularly when playing the former. Gruber was the perfect disgruntled servant and, whilst I don’t speak a word of Italian, I got exactly what she was saying through her exceptional comedic timing. Bravo! The set was great, providing exactly what was required without going over the top. Sound and lighting were both spot on and the costumes for me were an absolute highlight!

Overall, I would highly recommend a trip to catch Glorious! whilst it is in Darlington. This is a warm and funny show that doesn’t take itself too seriously and is one not to be missed.

Swan Theatre, Royal Shakespeare Theatre, Stratford-Upon-Avon – until 30th May 2026

Reviewed by Amarjeet Singh

5*****

The Resistible Rise of Arturo Ui is Bertolt Brecht’s 1941 satire on the rise of Hitler. Using the bizarre idea of Ui taking control of the cauliflower market and forcing traders into a protection racket, it frighteningly echoes historical Nazi tactics. The production plays out as a comic nightmare, each scene reflecting a real moment in Hitler’s rise and exposing how power builds through fear, opportunism and inaction. The parallels with current events feel uncanny. It is a lesson from history that now feels like everyday news. The play speaks to us as we watch these events unfold, reminding us that this rise is ‘resistible’ and we must not lose hope. Director Seán Linnen charts these societal shifts with skill and clarity. The early scenes lean into absurdity, vegetables become weapons and the gangsters’ verge on caricature. The humour disarms. Gradually, safety disappears. People vanish, calls for help go unanswered, laughter fades and applause stop. By the end, the cauliflower racket no longer feels absurd, and the message beneath becomes clear.

Mark Gatiss is nothing short of genius, completely inhabiting the role of Ui from his first entrance to his final, chilling domination. He begins as a gaunt figure, pitiful and faintly ridiculous. What follows is an insidious, gripping rise to power. Watching him command the stage feels like a masterclass in acting, mesmerising, precise and quietly sinister. Perfectly timed hair stroking, menacing smiles that reveal tombstone-like teeth, and a measured tone allows his outbursts to land with full force. His prowling presence grows more unsettling scene by scene, tightening its grip until what emerges is not a simple imitation of Hitler, but something far more disturbing. Ui represents a multitude of fascist dictators, past and present.

The ensemble is formidable. Mawaan Rizwan is magnetic, exuding intense and troubling mannerisms. His menacing physicality recalls Alex DeLarge from A Clockwork Orange. With awkward, acrobatic movement, wide eyes and a maniacal laugh, made even more unsettling by his expert comic timing and fondness for hats. Christopher Godwin brings weight to Dogsborough, a once powerful man undone by greed and weakness. His performance as the acting coach, particularly in the “Friends, Romans and Countrymen” duet, is chilling. With full-length revolving mirrors and the evolution of the goose step, we watch aghast as he enables Ui to grow into his Machiavellian mould. Mahesh Parmar plays multiple roles with precision, fully embracing both a child and various adult characters with aplomb. Kadiff Kirwan commands attention with a strong, assured presence as Roma, bringing a measure of humanity to the wrongdoers. L J Parkinson remains creepily controlled and dangerous as Givola, playing off Rizwan with striking comic horror. Rebekah Hinds shines as Dockdaisy and others, her voice work, alongside Parmar’s, is a delight. Janie Dee grounds the production, particularly as Betty Dullfeet, whose resignation to the regime lands heavily. Amanda Wilkin is harrowing in her scene as the ‘Woman’, leaving the audience stunned into silence.

Georgia Lowe’s design elevates the play. The set shifts constantly, bold and chaotic, with minimal pieces that are moved and repurposed, adding to the instability of events. There are moments when it is hard to know where to look, things changing at speed, with actors moving rapidly around the theatre. The effect is disorientating. Costumes and make-up trace the shift from disorder to chaotic control with vivid clarity. A large box slides forwards and backwards during transitions, absorbing and releasing new scenes and set as if earlier events never happened, rewriting history.

The live band sits atop this box structure, reinforcing the central role of music. Placebo’s score, performed under musical director Richie Hart, adds energy and immediacy while giving the violence a dangerous pull. Jennifer Jackson’s choreography brings a malevolent, undulating quality to the movement. Moments of violence transform into stylised sequences, shootings bloom into flowers and short bursts of dance give the regime an unsettling appeal, adding to the ‘pull’. The audience is never allowed to remain passive. Performers move through the theatre, speak directly to us and mingle during the interval, drawing us all into action and making us complicit in what unfolds. Robbie Butler’s lighting extends this, illuminating the audience and sharpening the mood of each scene.

This RSC production of The Resistible Rise of Arturo Ui is a theatrical tour de force. It’s exceptional, accomplished and formidable in performance, production and staging. Intense and innovative, it ends with an epilogue that lands like a sucker punch. When Gatiss steps out of character to deliver it, the words carry undeniable force and the warning is clear. The conditions that allow Ui to rise are still present. The rise is not resistible, and we need to act now, before it’s too late.

IT TAKES A LEGEND… TO MAKE A STAR

Christina Aguilera
Adam Paulden & Jason Haigh-Ellery   Steven Antin  
Clint Culpepper   In Fine Company
are thrilled to announce

Oliver Award® winning West End star
CASSIDY JANSON
will star as Tess Richarde in the West End production of the spectacular  Burlesque the Musical

Fresh from its 100% sold-out, critically acclaimed run at the Savoy Theatre, Burlesque the Musical returns to London this September at the dazzling new West End venue The Arts at Marble Arch.

Based on Steven Antin’s iconic Golden Globe-winning and Best Picture-nominated film starring Christina Aguilera and Cher, Burlesque the Musical is a glittering, high-voltage theatrical event packed with powerhouse vocals, jaw-dropping choreography, and outrageous glamour.

Cassidy Janson said:
“I am beyond excited to be joining Burlesque – and in a brand-new West End theatre no less! The songs are huge, the glamour is off the charts, and the costumes are absolutely INSANE Honestly?
The West End is not ready for this level of fabulous.”

Writer/Producer Steven Antin said:
“As played by the legendary Cher, Tess became an iconic character. We are thrilled to have Cassidy lead the West End company in this pivotal role. She’s glamorous, funny, fierce, wildly talented – and she has the sass and heart that make Tess unforgettable.”

Over the next two years, more than 500,000 people are expected to attend performances at The Arts at Marble Arch, while a second production launches a major UK tour beginning at New Victoria Theatre, Woking on 25 July, before touring throughout 2026 and 2027. Additional international productions will be announced soon.

Cassidy Janson won the Olivier Award® for her acclaimed performance as Anne Hathaway in &Juliet. Her celebrated West End credits also include Beautiful: The Carole King Musical, Chess, Company, Avenue Q, Wicked, Candide, Tick, Tick… Boom!, Lend Me a Tenor, and Man of La Mancha.

Welcome to Burlesque the Musical – the glamorous, gritty, outrageously fun new musical based on the beloved hit movie that reminds us… Life isn’t Fair. It’s Fabulous.

Step inside a club where sequins shimmer, seduction sparkles, and a single song can change your life forever. When Ali heads to New York searching for her mother, Tess Richarde, she is swept into  a
dazzling underground world of ambition, temptation, music, and desire – discovering not only her extraordinary voice, but the family she never knew she needed.

Featuring songs by Christina Aguilera, Sia, Diane Warren, Jess Folley, Todrick Hall, and Steven Antin, Burlesque the Musical is a scintillating celebration of self-discovery, empowerment, and unapologetic fabulousness. Further casting and creative team announcements will follow soon.

Burlesque the Musical is produced by Christina Aguilera, Adam Paulden & Jason Haigh-Ellery, Steven Antin, Clint Culpepper, and In Fine Company.
WEST END LISTINGS INFO

Christina Aguilera
Adam Paulden & Jason Haigh-Ellery   Steven Antin
Clint Culpepper   In Fine Company
present

BURLESQUE THE MUSICAL

The Arts at Marble Arch,
Marble Arch,
London, W1H 7DX

Performances
Saturday 12 September 2026  –
Sunday 31 January 2027

Gala Press Night:
Wednesday 23 September

Performances:
Tuesday
Wednesday
Thursday Matinee
Thursday Evening
Friday
Saturday Matinee
Saturday Evening
Sunday

Box Office:
burlesquethemusical.com

Social Media

Website: burlesquethemusical.com

Facebook: @burlesquethemuscialuk

Instagram: @burlesquethemusicalofficial

TikTok: @burlesquethemusicaluk
BURLESQUE THE MUSICAL  2026/2027 UK TOUR DATES

2026

WOKING
New Victoria Theatre
Saturday 25 July – Saturday 1 August

SUNDERLAND
Sunderland Empire
Thursday 6 – Saturday 15 August (2 weeks)

STOKE ON TRENT
Regent Theatre
Tuesday 25 – Saturday 29 August

CARDIFF
Wales Millennium Centre
Tuesday 1 – Saturdav 5 September

GLASGOW
King’s Theatre
Tuesday 8 – Saturday 19 September (2 weeks)

BRADFORD
Alhambra Theatre
Tuesday 22 – Saturday 26 September

SOUTHEND
Cliff’s Pavilion Theatre
Tuesday 29 Sep tember – Saturday 3 October

BIRMINGHAM
The Alexandra
Tuesday 6 – Saturday 17 October (2 weeks)

SHEFFIELD
Lyceum Theatre
Tuesday 27 – Saturday 31 October (2 weeks)

HIGH WYCOMBE
Wycombe Swan
Tuesday 3 – Saturday 7 November

AYLESBURY
Aylesbury Waterside Theatre
Tuesday 17 – Saturday 21 November

LIVERPOOL
Liverpool Empire
Tuesday 24 November – Saturday 5 December (2 weeks)

LEEDS
The Grand Theatre & Opera House
Tuesday 8 – Saturday 12 December

BLACKPOOL
Winter Gardens
Tuesday 22 December – Saturday 2 January (2 weeks)

2027

MANCHESTER            
Opera House
Tuesday 5  – Saturday 23 January (3 weeks)            

NORTHAMPTON        
Royal & Derngate
Tuesday 26 – Saturday 30 January              

EDINBURGH              
Edinburgh Playhouse      
Tuesday 16 – Saturday 27 February (2 weeks)              

LLANDUDNO              
Venue Cymru
Tuesday 16 – Saturday 20 March

YORK                              
Grand Opera House
Tuesday 23 March – Saturday 3-April (2 weeks)              

WOLVERHAMPTON  
Grand Theatre
Tuesday 6 – Saturday 10 April            

HULL                              
New Theatre  
Tuesday 20 – Saturday 24 April              

OXFORD                        
New Theatre
Tuesday 4 – Saturday 8 May            

WIMBLEDON              
New Wimbledon Theatre
Tuesday 11 – Saturday 15 May       

Birmingham Hippodrome – until 30th May 2026

Reviewed by Emma Millward

5*****

Set against the sun-soaked backdrop of the Greek island Kalokairi, Mamma Mia arrived at the Birmingham Hippodrome with all the warmth, humour and catchy songs that have made the musical a worldwide favourite. Since premiering in London’s West End in 1999, the show has become a global phenomenon. It continues to delight audiences with its feel-good storytelling and iconic ABBA soundtrack, featuring music and lyrics by Benny Andersson and Björn Ulvaeus, with a book by Catherine Johnson.

At the heart of the story is Sophie Sheridan (Lydia Hunt), who is preparing for her wedding to Sky (Joe Grundy).  She secretly invites her three possible fathers to the island. Hunt brings a youthful excitement to the role with strong vocals throughout. Jenn Griffin also shines as Sophie’s mother, Donna Sheridan, bringing vulnerability and sharp comic timing. Her chemistry with Sarah Earnshaw as Tanya and Rosie Glossop as Rosie creates some of the evening’s funniest scenes. Together, the trio bring a real sense of friendship to the stage, making their interactions feel natural. Equally, Sophie’s friendship with her best friends, Ali (Bibi Jay) and Lisa (Eve Parsons), captures the excitement and nerves surrounding wedding preparations.

The three potential fathers soon arrive on the island, much to Donna’s dismay. Richard Meek gives Harry Bright a gentle awkwardness. Luke Jasztal adds emotional depth as Sam Carmichael, particularly during Sam’s more sincere moments with Donna. Mark Goldthorp brings an easygoing charm to Bill Austin, and often steals scenes with his West Country humour and storytelling, while Rosie and Bill’s developing romance also provides unexpectedly tender but hilarious moments.  Tanya’s flirtatious exchange with Pepper (Joseph Vella) and Eddie (Ethan Casey-Clothier) adds a layer of mischievous humour, with Sarah Earnshaw and the ensemble embracing the light-hearted chaos of holiday romances. Their performance of ‘Does Your Mother Know’ is a standout number with perfect comic timing, as Tanya confidently takes centre stage and teaches those younger men a thing or two!

Phyllida Lloyd’s direction ensures the production maintains a lively pace throughout. Anthony Van Laast’s choreography keeps the stage bursting with movement and energy. Mark Thompson’s sun-drenched production design perfectly captures the carefree holiday atmosphere, with colourful costumes and vibrant lighting transporting the audience straight to an idyllic island setting.

Musically, the show rarely slows down. Songs including ‘Dancing Queen’, ‘Lay All Your Love on Me’ and Jenn Griffin’s powerful rendition of ‘The Winner Takes It All’ in particular were met with huge audience enthusiasm, with the live band (led by Carlton Edwards) keeping the familiar score vibrant and lively. This is the first musical I have seen where they displayed ‘No Singing Along’ signs before the show began, prompting a few disappointed sighs from audience members.

Beneath the glitter, platform boots and disco hits is a story about relationships, family and the passing of time. If the show occasionally prioritises fitting in another beloved ABBA number over narrative momentum, it hardly matters when the audience is clearly having such a good time. By the time the encore arrived, the theatre was transformed into a full celebration, with dancing, cheering and the entire audience on their feet. The crowd were quickly encouraged to sing along for the finale.

Mamma Mia at Birmingham Hippodrome delivers exactly the kind of theatrical escape audiences crave. It is energetic, uplifting and irresistibly entertaining. To paraphrase ABBA’s own lyrics… My, my, what a show!

THE CLASSIC HIT MUSICAL RETURNS

JONATHAN CHURCH THEATRE PRODUCTIONS

PRESENTS

THE CHICHESTER FESTIVAL THEATRE, STAGE ENTERTAINMENT AND SHEFFIELD THEATRES PRODUCTION OF

BASED ON THE CLASSIC METRO-GOLDWYN-MAYER FILM

EMBARKS ON A UK AND IRELAND TOUR

FOLLOWING A CHRISTMAS SEASON AT SHEFFIELD THEATRES
26 NOVEMBER 2026 – 16 JANUARY 2027

TOUR OPENS AT CHURCHILL THEATRE, BROMLEY
FROM 28 JANUARY 2027

INCLUDING A SUMMER SEASON AT LONDON’S SADLER’S WELLS
2 JUNE – 3 JULY 2027

Jonathan Church Theatre Productions are delighted to announce that the Chichester Festival Theatre, Stage Entertainment and Sheffield Theatres smash-hit production of SINGIN’ IN THE RAIN will embark on a UK and Ireland tour, opening at the Churchill Theatre, Bromley from 28 January – 6 February 2027, including a summer season at Sadler’s Wells from 2 June – 3 July 2027.

The tour follows the production’s Christmas season at the Crucible Theatre, Sheffield (26 November 2026 – 16 January 2027).

The UK tour will visit Cliffs Pavilion, Southend (9 – 13 February), Grand Opera House, Belfast (16 – 20 February), Bord Gáis Energy Theatre, Dublin (23 – 27 February), Sunderland Empire (2 – 6 March), Marlowe Theatre, Canterbury (9 – 13 March), Orchard Theatre, Dartford (16 – 20 March), Milton Keynes Theatre (23 – 27 March), Leeds Grand Theatre (30 March – 3 April), New Victoria Theatre, Woking (6 – 10 April), Empire Theatre, Liverpool (13 – 17 April), King’s Theatre, Glasgow (20 – 24 April), Wycombe Swan (27 April – 1 May), Edinburgh Playhouse (4 – 8 May), Birmingham Hippodrome (11 – 15 May), Mayflower Theatre, Southampton (25 – 29 May), Norwich Theatre Royal (6 – 10 July), Lowry, Salford (20 – 31 July), Congress Theatre, Eastbourne (3 – 7 August), Nottingham Theatre Royal (10 – 14 August) and New Theatre, Cardiff (24 August – 4 September).

Casting for the UK and Ireland tour to be announced soon.

Director Jonathan Church says, “I’m absolutely delighted that our production of Singin’ In The Rain is coming back to the UK and Ireland to tour and visit Sadlers Wells again.

Following its Chichester and West End premieres this production has now been seen by millions of people around the world – as far afield as China, Russia, Japan, Australia, Canada and New Zealand.  It’s even more thrilling to start this tour at the mighty Sheffield Crucible where my directing career began. I look forward to UK audiences revelling in the dazzling choreography of this classic musical treat and marvelling at the 14,000 litres of water that the company splashes its way through every night!”

Journey back to the glamour of Hollywood in the roaring 20’s with high-energy choreography and sumptuous set designs (including over 14,000 litres of water on stage), combined with all the romance and wit of one of the world’s best- loved films.

Beautiful, charismatic, and very much in love (if you believe what you read in the press), Hollywood’s golden couple, Don Lockwood and Lina Lamont have the world at their feet. But when “talkies” start to replace silent movies, and an aspiring actress is drafted in to save the day, life as they know it is turned upside down.

Singin’ in the Rain features the glorious MGM score including Good Morning, Make ‘em Laugh and the legendary Singin’ in the Rain.

SINGIN’ IN THE RAIN is Directed by Jonathan Church with Choreography by Andrew Wright, Additional Choreography by Jayne Elster, Set and Costume Design by Simon Higlett, Lighting Design by Tim Mitchell, Sound Design by Gareth Owen, Video Design by Ian Galloway, Musical Supervision by Robert Scott and Orchestration by Larry Blank. In addition, the full creative team includes Associate Director Brendan Cull, Associate Choreographer Kelly Ewins, Associate Costume Designer Karen Large, Original Fight Direction by Malcolm Ranson and Casting Director Olivia Laydon for Jill Green casting.

SINGIN’ IN THE RAIN, based on the classic Metro-Goldwyn-Mayer Film, features a screenplay by Betty Comden and Adolph Green, with songs by Nacio Herb Brown and Arthur Freed is performed by arrangement with Music Theatre International.

SINGIN’ IN THE RAIN – TOUR LISTINGS

www.singinintherainshow.com 

THURSDAY 28 JANUARY – SATURDAY 6 FEBRUARY 2027
CHURCHILL THEATRE, BROMLEY
https://trafalgartickets.com/churchill-theatre-bromley

TUESDAY 9 – SATURDAY 13 FEBRUARY 2027
CLIFFS PAVILION, SOUTHEND
https://trafalgartickets.com/cliffs-pavilion-southend/

TUESDAY 16 – SATURDAY 20 FEBRUARY 2027
GRAND OPERA HOUSE, BELFAST
https://www.goh.co.uk/

TUESDAY 23 – SATURDAY 27 FEBRUARY 2027
BORD GÁIS ENERGY THEATRE, DUBLIN
https://www.bordgaisenergytheatre.ie/

TUESDAY 2 – SATURDAY 6 MARCH 2027
SUNDERLAND EMPIRE
https://www.atgtickets.com/venues/sunderland-empire/

TUESDAY 9 – SATURDAY 13 MARCH 2027
MARLOWE THEATRE, CANTERBURY
https://marlowetheatre.com/

TUESDAY 16 – SATURDAY 20 MARCH 2027
ORCHARD THEATRE, DARTFORD
https://trafalgartickets.com/orchard-theatre-dartford/en-GB

TUESDAY 23 – SATURDAY 27 MARCH 2027
MILTON KEYNES THEATRE
https://www.atgtickets.com/venues/milton-keynes-theatre/

TUESDAY 30 MARCH – SATURDAY 3 APRIL 2027
LEEDS GRAND THEATRE
https://leedsheritagetheatres.com/

TUESDAY 6 – SATURDAY 10 APRIL 2027
NEW VICTORIA THEATRE, WOKING
https://trafalgartickets.com/new-victoria-theatre-woking/en-GB

TUESDAY 13 – SATURDAY 17 APRIL 2027
EMPIRE THEATRE, LIVERPOOL
https://www.atgtickets.com/venues/liverpool-empire/

TUESDAY 20 – SATURDAY 24 APRIL 2027
KING’S THEATRE, GLASGOW
https://www.atgtickets.com/venues/kings-theatre-glasgow/

TUESDAY 27 APRIL – SATURDAY 1 MAY 2027
WYCOMBE SWAN
https://trafalgartickets.com/wycombe-swan-theatre/en-GB

TUESDAY 4 – SATURDAY 8 MAY 2027
EDINBURGH PLAYHOUSE
https://www.atgtickets.com/venues/edinburgh-playhouse/

TUESDAY 11 – SATURDAY 15 MAY 2027
BIRMINGHAM HIPPODROME
https://www.birminghamhippodrome.com/

TUESDAY 25 – SATURDAY 29 MAY 2027
MAYFLOWER THEATRE, SOUTHAMPTON
https://www.mayflower.org.uk/

WEDNESDAY 2 JUNE – SATURDAY 3 JULY 2027
SADLER’S WELLS
https://www.sadlerswells.com/

TUESDAY 6 – SATURDAY 10 JULY 2027
NORWICH THEATRE ROYAL
https://norwichtheatre.org/

TUESDAY 20 – SATURDAY 31 JULY 2027
LOWRY, SALFORD
https://thelowry.com/

TUESDAY 3 – SATURDAY 7 AUGUST 2027
CONGRESS THEATRE, EASTBOURNE
https://www.eastbournetheatres.co.uk/congress-theatre

TUESDAY 10 – SATURDAY 14 AUGUST 2027
NOTTINGHAM THEATRE ROYAL
https://trch.co.uk/

TUESDAY 24 AUGUST – SATURDAY 4 SEPTEMBER 2027
NEW THEATRE, CARDIFF
https://trafalgartickets.com/new-theatre-cardiff/en-GB

TIM RICE AND ANDREW LLOYD WEBBER’S

JESUS CHRIST SUPERSTAR

EXTENDS WITH FURTHER PERFORMANCES

ANNOUNCED FOR THEATRE ROYAL DRURY LANE

THEATRE ROYAL DRURY LANE PERFORMANCES

FROM 16 OCTOBER 2026 – 9 JANUARY 2027

FOLLOWING LONDON PALLADIUM ENGAGEMENT

Sam Ryder performing Gethsemane

to be released as single on Saturday 16 may

Tune in THIS SATURDAY EVENING

to see Sam perform GETHSEMANE

LIVE ON ‘Britain’s Got Talent’ | ITV1 FROM 6pm

london.jesuschristsuperstar.com

Michael Harrison for Lloyd Webber Harrison Musicals is today thrilled to announce Jesus Christ Superstar will extend for a limited 12-week engagement at Theatre Royal Drury Lane from Friday 16 October 2026 to Saturday 9 January 2027, following the conclusion of its summer season at The London Palladium (Saturday 20 June to Saturday 5 September 2026).

Tickets for Theatre Royal Drury Lane dates go on sale today via london.jesuschristsuperstar.com.

Producer Michael Harrison said:
“The response to Jesus Christ Superstar has been nothing short of phenomenal, with demand for tickets at the London Palladium already breaking all time box office records. In light of this I am delighted to confirm that the production will follow its limited Palladium engagement with a further 12-week season at London’s other great iconic theatre, the Theatre Royal Drury Lane, ensuring many more people have the opportunity to experience the extraordinary Sam Ryder in this legendary musical. I am also extremely proud that this is the first time a Tim Rice and Andrew Lloyd Webber musical will have played at the Lane”.

Continuing with Sam Ryder as Jesus at Theatre Royal Drury Lane are Desmonda Cathabel as Mary Magdalene; David Thaxton as Pontius Pilate; Bob Harms as Caiaphas; Matty J as Annas and Phil King as Peter.

The company is completed by: Koko Alexandra, Jasmine Jules Andrews, Courtney Arango, Amy Barker, Alistair Beattie, Daniel Bowskill, Jahlil M Burke, Martha Burton, Marcelo Cervone, Sarah Freer, Sebastian Goffin, Alexander Kranz, Owen Lloyd, Milo McCarthy, Dan Moore, Cherece Richards, Kyle Richardson, Olivia Saunders, Toyan Thomas-Browne, Charley Warburton and Lillie-Pearl Wildman.

Casting for Judas Iscariot, Simon and King Herod for performances at Theatre Royal Drury Lane will be announced at a later date.

You can see Sam performing Gethsemane live this Saturday night, 16 May, when he appears on Britain’s Got Talent, from 6pm on ITV1.

Following this epic live performance, Sam Ryder’s brand-new recording of Gethsemane will be available to listen to on all streaming platforms from Saturday evening. With lyrics by Tim Rice and music by Andrew Lloyd Webber, the record was produced by music legend Fraser T. Smith (Adele, Raye, Dave) alongside Andrew Lloyd Webber and Sam Ryder. Recorded live to tape at British Grove Studios earlier this year, it sees Ryder take on one of musical theatre’s most iconic and challenging songs, showcasing his skill, range and vocal power. 

Tim Rice and Andrew Lloyd Webber’s iconic global phenomenon is directed by Tim Sheader with choreography by Olivier Award-winner Drew McOnie and design by Tony and Olivier Award-winner Tom Scutt. This reunites the creative team of the 2016 production 10 years on to create a unique staging of their Olivier award-winning, worldwide smash-hit production. The production which was originally created and produced at Regent’s Park Open Air Theatre, will play a limited 11-week season at The London Palladium followed by a 12-week season at Theatre Royal Drury Lane.

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

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

Joining director Tim Sheader, choreographer Drew McOnie and designer Tom Scutt on the creative team are musical supervisor Tom Deering,lighting designer Lee Curran, sound designer Adam Fisher, wigs, hair and makeup designers Sam Cox & Maria Johal, fight director Kate Waters and casting directors Grindrod Burton Casting.

Lloyd Webber Harrison Musicals’ recent productions include the smash hit double Olivier-Award winning Evita at The London Palladium last summer which transfers to Broadway in spring 2027, the seven-time Olivier-Award and three-time Tony-Award winning revival of SUNSET BLVD. and Starlight Express, which will embark on a World Tour in spring 2027 after recently concluding its London run. They have just opened CATS: The Jellicle Ball on Broadway to huge critical acclaim and nine Tony-Award nominations; and this summer bring a brand-new production of Andrew Lloyd Webber’s global sensation CATS to Regent’s Park Open Air Theatre ahead of a major UK Tour.

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

Melting Pot and Birmingham Rep Present

CHARLIE BROOKS AND JOE McFADDEN

TO STAR IN

www.curiousonstage.co.uk

Adapted from Mark Haddon’s multi-million-selling novel by

Playwright Simon Stephens

Directed by Ned Bennett

Melting Pot and Birmingham Rep today announce first casting for their new production of The Curious Incident of the Dog in the Night-Time, inspired by the multi-million-selling, internationally acclaimed novel. EastEnders’ favourite Charlie Brooks (best known for her long-running role as Janine Butcher in the soap) and theatre credits including The Ocean at the End of the Lane (National Theatre,UK Tour) and Joe McFadden (BBC’s The Crow Road and Holby City, ITV’s Heartbeat and 2017 Strictly Come Dancing winner) play protagonist Chris’ parents, Ed and Judy.

Opening at Birmingham Rep on Saturday 5 September before embarking on a major UK tour, The Curious Incident of the Dog in the Night-Time is adapted from Mark Haddon’s multi-million-selling novel by acclaimed Playwright Simon Stephens and will be directed by Ned Bennett.

Chris Boone is gifted with a brilliant mind for numbers but unsettled by the unpredictability of people and everyday life. When a neighbour’s dog is discovered killed, Chris comes under suspicion. Determined to prove their innocence, Chris becomes both detective and suspect, drawn into a mystery that grows darker and more complex with every clue uncovered.

What begins as the search for a culprit soon reveals secrets closer to home, forcing Chris to confront truths that will test their courage, family, and understanding of trust, independence, and the wider world. Inventive, gripping, and moving, The Curious Incident of the Dog in the Night-Time combines the intrigue of a whodunnit with a powerful coming-of-age story in an unforgettable theatrical event.

Of her casting, Charlie Brooks says, “I am thrilled to be part of this new production of The Curious Incident of the Dog in the Night-Time, having been a huge fan of the book and Simon Stephens’ previous adaptation. Working alongside such a talented cast and creative team has been both inspiring and rewarding, and I cannot wait for audiences to experience the heart, humour, and humanity at the centre of this remarkable play.”

Joe McFadden continues, “I loved The Curious Incident Of The Dog In The Night-Time when I first read it, and I was completely blown away by the stage production in the West End so I’m absolutely thrilled to be playing Ed in this new tour and can’t wait to bring this brilliant, moving and uplifting story to audiences across the UK alongside such a fantastic cast.”

Director Ned Bennett concludes, “I’m absolutely thrilled to be directing this new production of The Curious Incident of the Dog in the Night-Time. Mark Haddon’s compassionate and extraordinary novel, and Simon Stephens’ moving, inventive, and imaginative adaptation, combine to create a complex play with remarkable emotional precision. I’m excited to be collaborating with this extraordinary cast and creative team – and to be working with the brilliant teams at Melting Pot and the Birmingham Rep.”

Joe McFadden’s theatre credits include: The Shawshank Redemption (UK Tour); 2:22 A Ghost Story (Gielgud Theatre); The Mirror Crack’d (UK Tour); Rocky Horror Show (UK Tour); Treason (London Palladium and Festival Theatre; Edinburgh); Priscilla – Queen of the Desert (UK Tour); The House on Cold Hill (UK Tour); Rent (Shaftesbury Theatre); Rainbow Kiss (The Royal Court) Torch Song Trilogy (Menier Chocolate Factory) How to Succeed in Business Without Really Trying (Chichester Festival Theatre); She Loves Me (Chichester Festival Theatre) and The Missing (National Theatre Scotland). Television credits include:  Holby City; Heartbeat; Casualty; The Crow Road; Sex Chips and Rock n’ Roll; Sparkhouse; Judge John Deed; The Law; High Road & Taggart. His films include: Small Faces and The Trouble With Men And Women.

Charlie Brooks’ theatre credits include: Chitty Chitty Bang Bang (UK Tour); The Ocean At The End Of The Lane (National Theatre); All In A Row (Southwark Playhouse); Monogamy (Park Theatre); Beautiful Thing (Arts Theatre; West End); A Streetcar Named Desire (Curve Theatre); How The Other Half Loves (UK Tour); Contact.com (Park Theatre); Our Country’s Good (Liverpool Playhouse); The Play What I Wrote (UK Tour). Her TV credits include: The Hack; Lie With Me; Bleak House; Wired; Robin Hood; Eastenders; Moving On; Suspects; The Dumping Ground; Love Soup; Heartbeat; Casualty; Angel of Death; Golden Hour; London’s Burning; Out of Tune; The Demon Headmaster. Film includes: The Secret Santa Projects; Fog; Take Three Girls.

After opening at the Birmingham Rep in early September 2026, where The Curious Incident of the Dog in the Night-Time plays from Saturday 5 – Saturday 19 September, the tour then visits Woking, New Victoria Theatre (Tuesday 22 – Saturday 26 September 2026); Brighton, Theatre Royal (Tuesday 29 September – Friday 3 October 2026); Milton Keynes, Milton Keynes Theatre (Tuesday 6 – Saturday 19 October 2026); Nottingham, Theatre Royal (Tuesday 13 – Saturday 17 October 2026); Leicester, Curve Theatre  (Tuesday 20 – Saturday 24 October 2026); York, Grand Opera House (Tuesday 27 – Saturday 31 October 2026); Liverpool, Empire Theare (Tuesday 3 – Saturday 7 November 2026), New Wimbledon Theatre, (Tuesday 10 November – Saturday 14 November), Chichester Festival Theatre, (Tuesday 17 November – Saturday 21 November), Bath, Theatre Royal (Tuesday 24 – Saturday 28 November 2026); Edinburgh, Festival Theatre (Tuesday 12 – 16 Saturday January 2027); Cheltenham, Everyman Theatre (Tuesday 19 – Saturday 23 January), Leeds Playhouse, Tuesday 26 January – Saturday 30 January Sunderland, Empire Theatre (Tuesday 2 – Saturday 6 February), Cambridge, Arts Theatre (Tuesday 9 – Saturday 13 February), Richmond, Richmond Theatre (Tuesday 16 – Saturday 20 February); Northampton, Derngate Theatre (Tuesday 22 – Saturday 27 February); Manchester, Opera House (Tuesday 2 – Saturday 10 March); Glasgow, Theatre Royal (Tuesday 9 – Saturday 13 March); Chester, Storyhouse Theatre (Tuesday 16 – Saturday 20 March); Aberdeen, His Majesty’s Theatre (Tuesday 23 – Saturday 27 March); Shrewsbury, Theatre Severn (Tuesday 6 – Saturday 17 April); Sheffield Lyceum, Tuesday 13 April – Saturday 17 April Bradford, Alhambra Theatre (Tuesday 20 – Saturday 24 April); Cardiff, Wales Millennium Centre (Tuesday 27 April – Saturday 1 May); Aylesbury, Waterside Theatre (Tuesday 4 – Saturday 8 May); Southampton, Mayflower Theatre (Tuesday 11 – Saturday 15 May), Malvern, Malvern Theatre (Tuesday 18 – Saturday 22 May) and Darlington, Hippodrome Theatre, (Tuesday 25 – Saturday 28 May 2027).

Inventive, gripping, and moving, The Curious Incident of the Dog in the Night-Timecombines the intrigue of a whodunnit with a powerful coming-of-age story in an unforgettable theatrical event.

‘Crowd-Pleasing, Life-Affirming And Unmissable’ – The Times

The Curious Incident of the Dog in the Night-Time premiered at the National Theatre in 2012 and immediately received widespread acclaim for its groundbreaking theatrical design, emotional storytelling and sensitive depiction of neurodiversity. It remains one of the most successful and acclaimed British plays of the 21st century and has been seen globally by over 5 million people.

The Curious Incident of the Dog in the Night-Time won seven Olivier Awards in 2013 (equalling the then record, set by the Royal Shakespeare Company’s Matilda), including Best New Play for Stephen’s stage adaptation, Best Director for Marianne Elliott and Best Actor for its star, Luke Treadaway. The play debuted on Broadway at the Ethel Barrymore Theatre in 2014 and scooped five Tony Awards in 2015, including Best Play, Best Direction of a Play and Best Actor. Numerous tours and international productions have followed, including in North America, Europe, Asia, and Australia.

Full casting and creative team to be announced.

The Curious Incident of the Dog in the Night-Time is produced by Melting Pot and Birmingham Rep

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The Grand Theatre Blackpool – until 16 May 2026

Reviewed by Debra Skelton

5*****

Since its debut in London in 1973, The Rocky Horror Show, written by Richard O’Brien, has become a global phenomenon. The production has been staged in cities across the world and was quickly followed by a hugely successful film adaptation just two years after its original opening.

The show opens with an Usherette (Laura Bird) positioned in front of the curtain, performing Science Fiction/Double Feature. This introduction frames the performance as though the audience is about to watch a movie. The set design by Hugh Durrant reinforces this cinematic concept, featuring a backdrop styled like a strip of film, with the orchestra seated above it.

We are introduced to Brad Majors and Janet Weiss, a wholesome, newly engaged couple, setting out on a road trip after attending a friend’s wedding. When their car breaks down during a storm, they seek help at a nearby, ominous castle. Inside, they stumble upon a raucous annual convention hosted by the castle’s residents—strange, flamboyant characters led by the charismatic and provocative Dr. Frank‑N‑Furter, a self‑described Sweet Transvestite from Transsexual, Transylvania.

Brad and Janet are drawn into the chaos as Frank‑N‑Furter unveils his latest experiment: Rocky, a physically perfect man artificially created in a lab. The celebration quickly turns surreal. Brad and Janet are separated, manipulated, and tempted, each confronting experiences that challenge their conservative views on sex, relationships, and self‑control.

The household also includes Frank’s disillusioned servants Riff Raff and Magenta, the mysterious groupie Columbia, and biker‑turned‑rebel Eddie, whose unexpected return disrupts Frank’s plans and escalates tensions inside the castle.

As the story progresses, Frank‑N‑Furter exerts total control over his guests, revealing a deep fear of loneliness and loss beneath his flamboyance. Brad and Janet begin to shed their innocence, exploring desire and moral ambiguity. Eventually, Riff Raff and Magenta lead a revolt, exposing Frank’s true origins and condemning his excesses. The film ends with the shattered survivors crawling through the ruins of the castle, having been permanently changed by the night’s events.

Stephen Webb (who played the leading role of Dr Frank ’N’ Furter) had a really strong and demanding voice. Whenever he appeared it was if he commanded your attention and he didn’t have to try hard to get it. Even during the quieter moments, he still had this intense stage presence that left you wanting more. The chemistry between Haley Flaherty (Janet) and James Bisp (Brad) was evident from the start to finish but also, they gave good depictions of their characters on a separate basis.

The real stand out performance however was given by the Narrator, who at this performance was played by Nathan Caton. The Narrator gets the most interaction with the audience as he comes on stage to help further the plot. As he reads the next part of the story from a big book he carries, he is interrupted by the audience shouting back at him. The way he interacted with the audience was absolutely incredible and his quick, witty responses left me in tears of laughter and wanting more. The comedic timing from him was on point every time as he gave you regional themed jokes and improvisation based on the reaction he got from the audience.

A special shout out also goes to the incredible supporting cast Ryan Carter-Wilson (Riff Raff), Laura Bird (Magenta), Daisy Steere (Columbia), Morgan Jackson (Rocky) and Edward Bullingham (Eddie / Dr Scott).

Ultimately, The Rocky Horror Show is a joyfully queer production with something to offer everyone, whether they’re seasoned fans fluent in every callout or newcomers encountering Dr Frank N Furter for the very first time. The cast deliver an outstanding and unforgettable performance, honouring a legacy that began over fifty years ago at London’s Royal Court Theatre. I can’t wait to don my dancing shoes and do the Time Warp again in the future.