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Yvonne Arnaud Theatre – until 7^th November 2026

Reviewed by Heather Chalkley

4****

Oscar Wilde’s classic gothic tale depicting the dangers of prioritising beauty and indulgence over conscience and integrity, is well adapted for the stage by director Sean Aydon.

Jack Crumlin (Dorian Gray) carries the persona of youth in his frame and tone, taking you on a journey into decadence and immorality. Gray (Crumlin) is influenced by the adoration and infatuation of the people around him, selling his soul in exchange for eternal youth, leaving a trail of bodies in his wake.  

Mark Hawkins (Lord Henry Wotton) gives you the shivers in his delivery of a jaded cynic that enjoys manipulating Dorian, drawing him further and further into a life of vice and addiction. 

Mark Oxtoby (Basil Hallward) offers you contrast in his bewilderment and honest love of Dorian. Oxtoby (Hallward) holds his own amongst the strong characters of his fellow thespians, playing a thwarted man who cannot reconcile what he has done.

This is a complex script which the whole cast grasps and delivers with eloquence and stature. Ayesha Griffiths exemplifies this in the two distinctly different characters of Catherine Vane and Dr Ellen Campbell. The cast are completely present throughout the performance. 

The choice of scenery and lighting is interesting, with a slopping sheet of glass windows covered in filth, making a bold statement. The lighting is darkly gothic, sometimes a little too dark and then accentuated by a piercing red light that blinds the audience. It is confusing and distracting. 

This does not detract from the impact of the piece, sending a clear message to be careful what you wish for!

Sheffield Lyceum – until Saturday 7th November 2026

Reviewed by Claire Moore

4****

First performed in 1952, Agatha Christie’s The Mousetrap has become the longest-running play in theatre history, keeping audiences guessing for decades. Now, as part of its 75th Anniversary Tour, this classic murder mystery arrives at Sheffield’s Lyceum Theatre.

Set in the remote Monkswell Manor guesthouse, the story follows a group of strangers who find themselves snowed in together. With news of a murder in nearby London and a warning that the killer could be among them, suspicion soon falls on everyone. And with nobody able to leave, the question is the classic: whodunnit?

All the action takes place in the sitting room, with snow falling outside the windows and doors and a staircase leading to other unseen rooms. It all feels very traditional, proper old-school theatre. There’s something quite nice about going back in time and enjoying a good old-fashioned murder mystery.

The cast of eight is led by Emily Laing as Mollie Ralston and Ben Gresswell, who stepped into the role of her husband Giles as understudy at the performance I attended and did a great job.

Married for just a year, the couple are starting a new chapter together, opening their own guesthouse. Mollie is giddy with excitement to welcome their first visitors while Giles happily goes along with her plans. If only there wasn’t heavy snow and a recent murder to put a spanner in the works!

It doesn’t take long for the excitement to be knocked out of her as Mollie and Giles run around trying to keep everything under control.

First to arrive is Christopher Wren (Thomas Barrett), a rather eccentric young man with childlike qualities who is quickly judged by the other guests but taken under Mollie’s wing.

He is the exact opposite of the next guest, Mrs Boyle (Susan Penhaligon), who has a complaint about absolutely everything and is very happy to share it. She’s joined by Major Metcalf (Nicholas Bailey), Miss Casewell (Claire Duffy) and the very flamboyant Mr Paravicini (James Peake).

Finally, Detective Sergeant Trotter (Alfie Richards) arrives, leaving everyone wondering whether he’s there to protect them or question them. His down-to-earth accent among all the posh voices helps highlight that this is no longer a lovely little holiday for everyone.

As the set doesn’t change, the lighting, designed by Nic Farman, plays a big part and is used really well. As the story develops, the changes help create a real sense of tension, particularly when things start to get a little more sinister.

I’m a big fan of Agatha Christie mysteries and had often wondered why I’d never seen The Mousetrap on television. It turns out there’s a long-standing agreement that a film adaptation cannot be released until at least six months after the West End production closes.

At the end of the performance, the cast asks the audience to keep the identity of the murderer a secret, and I’m certainly not going to spoil it! There are a few surprises along the way, and it was actually lovely to watch a murder mystery without already knowing how it ended and just enjoy trying to work it all out.

A good old-fashioned murder mystery and a cracking night at the theatre.

The Yvonne Arnaud Theatre and Shared Experience present 

Anne Brontë’s  

THE TENANT OF WILDFELL HALL 

Adapted by Katherine Moar 

Directed by Joanna Read LINK TO IMAGES: 

The Yvonne Arnaud Theatre and Shared Experience announce their co-production of a new stage adaptation of Anne Brontë’s pioneering novel, The Tenant of Wildfell Hall. Adapted by award-nominated playwright, Katherine Moar, the production opens at the Yvonne Arnaud Theatre in Guildford on 9 September 2027, with a press night on 14 September, before embarking on a ten-week national tour to Oxford, Bath, Blackpool, Eastbourne and Malvern with other venues to be confirmed. 

Drawing on Shared Experience’s distinctive approach to storytelling, the production will use theatrical invention, movement and visual imagery, as Moar’s adaptation spotlights the story’s striking relevance for contemporary audiences. Director of the Yvonne Arnaud Theatre, Joanna Read, directs this first ever collaboration between Yvonne Arnaud and Shared Experience. The Tenant of Wildfell Hall goes on general sale in Guildford on Friday 6 November 2026, with other dates across the tour to go on sale. Casting and full creative team to be announced.

Commenting on the announcement, Joanna Read says: “It is with great pleasure that we can announce this new production in partnership with our co-producers, Shared Experience. Katherine is a dazzling writing talent, and we were thrilled to commission her to adapt Anne Brontë’s trailblazing novel about a woman’s fight for domestic independence and creative freedom. We look forward to bringing this emotional, gripping and shockingly relevant story to life on stage, both here at the Yvonne Arnaud and in theatres up and down the country.” 

Conrad Lynch, Executive Director of Shared Experience, adds: “As we celebrate 50 years of groundbreaking theatre-making, we are thrilled to begin an exciting new chapter with The Tenant of Wildfell Hall. This tour marks our return to theatres across the UK, bringing our signature style with bold storytelling, powerful drama and the distinctive theatricality that has defined the company for five decades. By touring ambitious work to mid-scale venues nationwide, we aim to play a vital role in a vibrant theatre ecology and help shape the future of theatre for audiences across the country.”

‘I’m your wife no longer. I’ll keep your house, I’ll raise your child, but I am not your wife.

And I won’t have you in my bed.’

Who is the mysterious tenant of Wildfell Hall? High on the Yorkshire fells, isolated from society, Helen lives with her son in the ruined and desolate Wildfell Hall. Content until the intrusions of her gossiping neighbours and the affections of local farmer Gilbert force her to reveal her devastating story. 

The Tenant of Wildfell Hall is the compelling story of a woman fleeing a perilous marriage to find safety for her child and her pursuit of a self-sufficient life, eventually finding love on her own terms. Written in the mid-19^th century, Anne Brontë’s radical and redemptive novel challenged contemporary notions of a woman’s place in society and is now considered to be one of the first feminist novels.  

Katherine Moar is a writer based in London. Her debut play Farm Hall premiered at Jermyn Street Theatre in April 2023 before transferring to Theatre Royal Haymarket in summer 2024. For Farm Hall, Moar was nominated by the Offies for Most Promising Debut Playwright. Moar’s second play Ragdoll opened at Jermyn Street Theatre in October 2025. For Ragdoll, Moar was nominated for Most Promising Playwright by the Evening Standard and Critics’ Circle Awards. 

Joanna Read is Director and Chief Executive of the Yvonne Arnaud Theatre. She was previously Principal of LAMDA (London Academy of Music and Dramatic Art) and Artistic Director of Salisbury Playhouse.  Joanna directed the Yvonne Arnaud tours of Sheila’s Island and Ladies of Letters in 2022 and Party Games!in 2024, as well as the ever-popular Yvonne Arnaud annual pantomimes, and the 2025 co-productions with Guildford Shakespeare Company of The Comedy of Errors and A Company of Rascals (The Stage Top 50 Shows of 2025).Joanna’s production of The Hired Man (Salisbury Playhouse) won the TMA Award for Best Musical.  Her previous productions include Shadowlands with Julian Glover and Lisa Eichorn and the European première of Arthur Miller’s Playing for Time, as well as national tours of Jamaica Inn, Brassed Offand A Touch of the Sun.

FULL CAST ANNOUNCED FOR THE LONDON RETURN OF

THE CHOIR OF MAN

THIS CHRISTMAS

THE OLIVIER AWARD-NOMINATED INTERNATIONAL SMASH HIT RETURNS TO THE CAPITAL FOLLOWING ITS FIRST UK & IRELAND TOUR

160,000 AUDIENCE MEMBERS, 6,048 FREE PINTS AND 5,544 MILES ON THE ROAD – THE JUNGLE IS COMING HOME!

THE TOURING COMPANY WILL TRANSFER TO LONDON, WITH ADAM HILTON JOINING AS ‘HANDYMAN’

THE JUNGLE OPENS AT THE ARTS AT MARBLE ARCH, POWERED BY TODAYTIX
10 DECEMBER 2026 – 14 FEBRUARY 2027

www.choirofmanwestend.com

The producers of the Olivier Award-nominated international smash hit musical THE CHOIR OF MAN are delighted to announce full casting for the show’s much-anticipated return to London this Christmas.

Following its first ever UK & Ireland Tour, the worldwide hit will open at The Arts at Marble Arch, powered by TodayTix, on Thursday 10 December 2026, playing until Sunday 14 February 2027, with a press night on Wednesday 16 December.

By the time The Jungle arrives in Marble Arch, THE CHOIR OF MAN will have travelled 5,544 miles across England, Scotland, Wales and Ireland, welcomed around 160,000 audience members and handed out an astonishing 6,048 free pints of beer. Along the way, the cast will have performed Bon Jovi’s Livin’ on a Prayer 252 times and sung the equivalent of 252,000 miles of The Proclaimers’ I’m Gonna Be (500 Miles) – enough to get them all the way to the Moon!

At the heart of this remarkable journey has been a company whose infectious energy, musical talent and camaraderie have won over audiences across the UK and Ireland. Now, the performers behind the show’s hugely successful tour are preparing to reunite in London.

The cast will feature Gustav Melbardis as ‘Maestro’ (The Choir of Man, NCL; Rent), Oluwalonimi (Nimi) Owoyemi as ‘Poet’ (The Second Woman, Young Vic; The Wind in the Willows, Shakespeare North Playhouse), Levi Tyrell Johnson as ‘Hard Man’ (The Choir of Man, West End; Hamilton, UK & Ireland Tour), Ben Mabberley as ‘Joker’ (Calamity Jane, UK Tour; Blood Brothers, UK Tour), Rob Godfrey as ‘Beast’ (The Choir of Man, West End and US Tour), Adam Hilton as ‘Handyman’ (The Choir of Man, West End and international productions; Noiseboys, Edinburgh Fringe and Norwegian Prima), Joshua Lloyd as ‘Barman’ (Chicago and The Lion King, UK & Ireland Tours), Sam Walter as ‘Romantic’ (The Choir of Man, West End; Kinky Boots, NCL) and Aaron Pottenger as ‘Bore’ (The Choir of Man, NCL; Ragtime).

Completing the company as swings are Sam Ebenezer (The Choir of Man, West End; The Mousetrap, West End), Jared Leathwood (The Choir of Man, West End; Billionaire Boy, UK Tour), Niall Woodson (The Choir of Man, West End; Frankie’s Guys, UK Tour) and Lewis Dragisic (The Choir of Man, West End; Twelfth Night, UK Tour).

Returning to the role of ‘Handyman’ is Adam Hilton, who first joined THE CHOIR OF MAN in 2021 and has since performed in the West End, across the US and at sea. In 2022, he became the show’s Associate Choreographer and Movement Director, working on productions in London and internationally.

Nic Doodson, Creator and Director of THE CHOIR OF MAN, said, “What a year it’s been for The Choir of Man! Taking The Jungle on the road for the first time has been an extraordinary experience. We’ve visited places we’ve never played before, met some wonderful people and been reminded at every stop just how much the show resonates with audiences.

“I’m absolutely delighted that this brilliant company is coming to London for Christmas. There’s something very special about this group of performers and the friendships they’ve forged on the road. I can’t wait to see them bring that spirit to our new home at the Arts at Marble Arch. The festive beers are on us!”

Set in on-stage pub The Jungle, THE CHOIR OF MAN is the best trip to your local you’ll ever have. Here, a cast of nine (extra)ordinary guys combine beautiful harmonies and foot-stomping singalongs with world-class tap dance and soulful storytelling.

Featuring hits from artists including Queen, Luther Vandross, Sia, Paul Simon, Adele, Guns N’ Roses, Avicii and Katy Perry, this uplifting celebration of community and friendship offers something for everyone – including free beer. It’s feel-good, foot-stomping entertainment celebrating the power of music, friendship and finding your people.

THE CHOIR OF MAN’s West End journey began at the Arts Theatre in October 2021. Across more than 1,000 performances, the show welcomed over 280,000 audience members and received an Olivier Award nomination for Best Entertainment or Comedy Play, before concluding its most recent West End run in January 2026.

Since its creation, THE CHOIR OF MAN has become an international stage sensation, playing three sell-out seasons at the Sydney Opera House alongside multiple sold-out tours across the US and Europe.

THE CHOIR OF MAN’s first ever UK & Ireland Tour opened at New Wimbledon Theatre in March 2026 and will conclude at Edinburgh Festival Theatre in December, following visits to more than 30 towns and cities.

THE CHOIR OF MAN is created by Nic Doodson and Andrew Kay, directed by Nic Doodson, with musical supervision, vocal arrangements and orchestrations by Jack Blume, movement direction and choreography by Freddie Huddleston, monologues written by Ben Norris, scenic design by Oli Townsend, lighting design by Richard Dinnen, costume design and co-scenic design by Verity Sadler, sound design by Liam McDermott with Sten Severson as original sound designer, and casting by Debbie O’Brien.

The London season is produced by HH Productions, Nic Doodson, Andrew Kay, Global Creative and Kenny Wax.

Lawrence Batley Theatre, Huddersfield – until 7th November 2026

Reviewed by Lauren Fordham

5*****

Frozen: The Musical is based on the 2013 film phenomenon with music and lyrics by Kristen Anderson-Lopez and Robert Lopez. It centres around two royal sisters, Elsa (Evie Rose Owens) and Anna (Lexie Pygott) who live with their parents in a castle in Arendelle. They are kept isolated from each other as children due to Elsa’s magical ice powers, which are triggered by high emotion and beyond her control, accidentally harming Anna when she was young. When their parents die and Elsa assumes the throne, opening the gates of the palace for the first time, Anna becomes infatuated with a man she meets, Prince Hans. Triggered by the announcement of their snap engagement, Elsa accidentally sets off an eternal winter and absconds, creating fear and distrust amongst the townsfolk in her wake. 

The stage is set to be both intimate, when inviting the audience into Elsa and Anna’s bedroom as they secretly make a toy snowman that’s ‘a little bit of you and a little bit of me,’ and immense. 

The intimacy in the bedroom scene is provided physically by the small curtained beds and emotionally as the young Elsa (Pixie Pettigrew) and young Anna (Imogen Antich) share the qualities they each bring to the snowman. Elsa imparts the affection her powers preclude her from enjoying, ‘He’ll love warm hugs and the bright sunlight’ and Anna her sense of exuberance and naughtiness. It came as no surprise to me to read that Antich has already starred in the musical ‘Matilda’, as her enthusiastic tree-swinging energy is evident and endearing from the start. 

Pettigrew’s young Elsa is more cautious and contemplative, serious and self-sacrificing, begging Pabbie to ‘take my magic too’ to ensure her sister’s long-term safety.

The immensity of the palace is portrayed through use of a video screen, provided by Innovation Productions, whose changing backdrop (images provided by Disney and collated by Production Manager Annette Gamble) extends the stage. During ‘Do You Want to Build a Snowman?’ Elsa’s bedroom is down a long corridor, emphasising the physical and psychological distance between herself and the lonely, uncomprehending Anna.  

Lexi Pygott is excellent as the giddy yet gauche adult Anna, and evokes a lot of empathy when she pleads with Elsa that ‘I Can’t Lose You.’ This adds a much deeper layer of sincerity to the sisters’ love.

Samuel Davis is suave and smooth-tongued as Hans; it is easy to see how he deceives Anna. He also has the perfect evil laugh, he would be well suited to either role if ‘Jekyll and Hyde’ were to be revived.

Marcel Blake is warm, funny and open as Kristoff, he makes the audience want to root for Anna to choose Kristoff from the start. He also has great chemistry with Sven the reindeer (Emma Sykes), not easy with an inanimate object! But their connection is totally believable.

Sykes has great dexterity to not only mobilise Sven but to make him sing and have just as much personality as the human characters.

James Wilczynski’s Olaf proves just as entertaining and endearing as the original, has a powerful belt and definitely melted this reviewer’s heart. 

Adele Taylor’s additional original choreography for ‘In Summer’ with the ensemble dancing with parasols enhanced the scene, an improvement in my opinion on the West End production where just symbols were used. The choreography of the ensemble movement symbolising waves when the king and queen die at sea was also very powerful.

As well as the obvious themes of sisterhood and friendship, there is a marvellous thread of matriarchy running through this production of Frozen The Musical because of the decision to cast women in roles like Pabbie, the troll who saves Anna’s life at the beginning of the show (Zoe Roebuck), the Bishop (Leah Melling) and Oaken (Sarah Taylor.) Roebuck is maternal and nurturing when Anna is brought to her after Elsa strikes her for the second time. Taylor in particular is an unforeseen musical and comic talent, hitting notes more often found in shows like The Phantom of The Opera, I think she would be more than capable of fulfilling a role like Carlotta, should that be licensed for adult companies in the future.

Oaken’s sauna is another scene where the screen worked highly effectively to evoke a warm, cosy cabin. There was the odd glitch in it working but one of those moments was just a white screen so it almost looked as though it was by design as well, as if the snow itself had severed the connections.

The screen was fantastically effective at evoking the blizzard conditions on the mountain and Elsa’s ice palace, further enhanced by Chris Brearley’s lighting design that made the walls crackle with frost as Elsa moves. Annette Gamble’s use of dry ice as Elsa builds her palace also added to the impact and sense of danger as it rises up around her. Jonathan Hudson’s sound design also added to the sense of menace, as if the snow itself is a serpent beyond her control.

Evie Rose Owen’s performance reminds me of a young Samantha Barks, she is magnetic, especially in the darkly reflective number ‘Monster.’ 

It is abundantly clear that she, and the rest of the cast, has the skills required for a highly successful professional career. In ‘Frozen: The Musical’ Huddersfield Musical Theatre Company has unleashed a veritable avalanche of talent, grab a ticket while you can, it would be monstrous to ‘let it go’ unseen! 

The Glasshouse Gateshead – Saturday 31st October 2026

Reviewed by Sandra Little

5*****

Legends in Vegas After Hours is undoubtedly a high octane, high energy experience full of glitz and glamour. The main stars of this production are professional dancers from past Strictly Come Dancing series including Brendan Cole, James Jordan, Pasha Kovalev, Vincent Simone and Ian Waite. However it must be said that the dancing from the female dancers accompanying the stars is equally professional and of an incredibly high standard.

The show includes some fabulous costumes with masses of sequins, glitter and glamour. It opens with a routine involving gorgeous pink costumes and huge feather fans. For other numbers the girls are seen wearing beautiful flowing gowns that enhance the elegant dance moves and other styles that highlighted the fantastic footwork.

As would be expected from such an incredibly talented team the dancing is amazing! To describe the performances as, “high energy” doesn’t come close! There are high kicks aplenty, some jaw dropping, heart stopping, acrobatics and a sprinkling of amazing lifts. There is a great variety of dance styles woven into this show, including foxtrot, jive, quick step and waltzes and these dances convey a range of emotions. There are some fun routines, some very tender emotional routines and others that are highly energetic and exciting. Accompanying the various dances we were treated to a broad range of musical styles including Moonlight Sonata, a medley of Frankie Valli hits, songs from Barry Manilow and various other well known tunes.

While I was watching this show I was wondering which dance and dancer would be my favourite but I soon decided that it would be impossible and unfair to choose a favourite. There was a great jive routine performed to the music of Tina Turner, and a beautiful dance which accompanied Elton John’s Your Song. Another stand out performance for me was the routine that accompanied Unchained Melody; this was like watching a very emotional ballet and was quite beautiful!

As would be expected the lighting for this show added to the glitzy glamorous feel and the changing backdrops enhanced the Vegas theme. Whilst the lighting was a significant part of the show it didn’t detract from the brilliant dancing.

If you are looking for a couple of hours of pure escapism from the daily troubles of the world then I would unreservedly recommend this show. It’s a two hour experience of pure joy where the daily grind of the real world is put on hold for a while! Such a delight!

This tour is visiting various locations and ends in Cardiff on 8th November.

Aylesbury Waterside Theatre – Sunday 1st November 2026

Reviewed by Rachel Clark

3***

The stage is dark with some bright lights that are quite intense, if you have migraines I would not recommend.

The music starts and the show brought together 17 classic hits of funk, jazz and hip-hop. The music being by James Brown, Sam Cooke and Etta James. The music does get you tapping to the rhythm and beat.

The show is all dance, no vocals, for me it was quite difficult to read the story that was trying to be told. It is about 7 characters and how their lives collide, the programme (which is impressive and looks like a vinyl LP record) provides the names of the characters but not sure why as such as no-one mentions names in the show and it is a story you have to try and work out, with romance, passion, let downs and friendships. The dance was energetic and I understand why the show is short due to the intensity, I just felt the moves where much the same.

A good show for dance enthusiasts. It saw short at only 1.30hrs including a 20 minute interval. Th costumes where very authentic, 1970’s.

What didn’t help with the atmosphere was that the theatre was very bare with very little audience to see the show.

NEW INTEL FROM MISCHIEF…

17 VENUES ANNOUNCED FOR FIRST EVER UK TOUR OF 

THE AWARD-WINNING WEST END SMASH HIT THE COMEDY ABOUT SPIES

MISCHIEF,the multi-award-winning team behind the global phenomenonThe Play That Goes Wrong,today announces full dates for its first ever UK tour of THE COMEDY ABOUT SPIES. Winner of the 2026 WhatsOnStage Awardfor Best New Play and nominated for anOlivier Award for Best New Entertainment or Comedy Play, THE COMEDY ABOUT SPIES follows two sold-out West End seasons as it heads out on a major national tour, opening at Aylesbury Waterside Theatre on Saturday 12 June and visiting a further 16 venues through to Saturday 9 October 2027. Tickets go on public sale from tomorrow.

THE COMEDY ABOUT SPIES first opened at the Noël Coward Theatre in London’s West End in April 2025, playing a limited season through to September, before returning for an eight-week run at the Adelphi Theatre from 1 August to 26 September 2026. 

When a rogue British agent steals plans for a top-secret weapon, CIA and KGB spies descend on London’s Piccadilly Hotel in pursuit of the elusive file. Enter a clueless young couple, a hapless actor angling for an exciting spy movie role, and enough double agents to confuse even the sharpest operative, in a mission that spirals hilariously out of control. This hilarious 1960s spy escapade is packed with bungled missions, tangled identities and catastrophic miscommunication.

MISCHIEF’s THE COMEDY ABOUT SPIES is written by original MISCHIEF members Henry Lewis and Henry Shields and directed by Matt DiCarlo. Set Design is by David Farley, Costume Design by Deborah Andrews, the Movement Director is Shelley Maxwell, Lighting Design is by Johanna Town and Sound Design and Composition is by Jon Fiber for Jollygoodtunes, Casting by Lucy Jenkins and Sooki McShane for Jenkins McShane Casting CDG. The Executive Producer is Jonathan Sayer. Presented by Kenny Wax and Stage Presence in association with Jo Danvers. Casting to be announced.

Henry Lewis says “We are so excited for THE COMEDY ABOUT SPIES to head out on tour and entertain audiences up and down the UK. We’re always looking to add new venues, so if you have a large front room please do get in touch.”

With over 12 years of bringing laughter to audiences around the world, MISCHIEF shows no signs of slowing down. The Olivier and Tony Award-winning hit, The Play That Goes Wrong is currently celebrating its 12^th year at London’s Duchess Theatre, making it the 4^th longest running play and the 20^th longest running show in West End history! Meanwhile, Christmas Carol Goes Wrong has returned on tour and will be back in the West End this Christmas, following last year’s sell-out success. The UK tour visits 12 cities with a six-week London season at the Wyndham’s Theatre. The production also makes its North American premiere at the Ahmanson Theatre in Los Angeles (12 Dec 2026 to 10 January 2027), reuniting the original cast. 

UK TOUR 2027

Sat 12 – Sat 19 June 

AYLESBURY Waterside Theatre (onsale 4 Nov)

Exchange St, Aylesbury HP20 1UG 

atgtickets.com/Aylesbury

Wed 23 – Sat 26 Jun   

SALFORD Lowry (onsale 6 Nov)

Pier 8, Salford Quays, Salford M50 3AZ

thelowry.com

Tue 29 Jun – Sat 3 Jul   

PLYMOUTH Theatre Royal (onsale 19 Nov)

Royal Parade, Plymouth PL1 2TR

theatreroyal.com

Tue 6 – Sat 10 Jul   

BIRMINGHAM Hippodrome (onsale soon)

South Side, Hurst St, Birmingham B5 4TB

birminghamhippodrome.com

Tue 13 – Sat 17 Jul   

GLASGOW Theatre Royal (onsale 4 Nov)

282 Hope St, Glasgow G2 3QA

atgtickets.com/Glasgow

Tue 20 – Sat 24 Jul   

CARDIFF Wales Millennium Centre (onsale 6 Nov)

Bute Place, Cardiff CF10 5AL

wmc.org.uk

Tue 27 – Sat 31 Jul   

EDINBURGH Festival Theatre (onsale soon)

13-29 Nicolson St, Edinburgh EH8 9FT

capitaltheatres.com

Tue 3 – Sat 7 Aug   

NEWCASTLE Theatre Royal (onsale soon)

100 Grey St, Newcastle upon Tyne NE1 6BR

theatreroyal.co.uk

Tue 10 – Sat 14 Aug   

BRISTOL Hippodrome (onsale 4 Nov)

St Augustine’s Parade, Bristol, BS1 4UZ

atgtickets.com/Bristol

Tue 17 – Sat 21 Aug   

CANTERBURY Marlowe Theatre (onsale soon)

The Friars, Canterbury CT1 2AS

marlowetheatre.com

Tue 24 – Sat 28 Aug   

MILTON KEYNES Theatre (onsale 4 Nov)

500 Marlborough Gate, Milton Keynes MK9 3NZ

atgtickets.com/MiltonKeynes

Tue 31 Aug – Sat 4 Sep   

NOTTINGHAM Theatre Royal (onsale soon)

Theatre Square, Nottingham NG1 5ND

trch.co.uk

Tue 7 – Sat 11 Sep   

NORWICH Theatre Royal (onsale soon)

Theatre St, Norwich NR2 1RL

norwichtheatre.org

Tue 14 – Sat 18 Sep   

LEEDS Grand Theatre (onsale soon)

New Briggate, Leeds LS1 6NU

leedsheritagetheatres.com

Tue 21 – Sat 25 Sep   

SHEFFIELD Lyceum Theatre (onsale soon)

55 Norfolk Street, Sheffield S1 1DA



sheffieldtheatres.co.uk

Tue 28 Sep – Sat 2 Oct   

WIMBLEDON New Wimbledon Theatre (onsale 4 Nov)

93 The Broadway, London SW19 1QG

atgtickets.com/Wimbledon

Tue 5 – Sat 9 Oct   

SOUTHAMPTON Mayflower Theatre (onsale 13 Nov)

Empire Lane, Southampton SO15 1AP

mayflower.org.uk

JORDAN LUKE GAGE’S

AWARD-WINNING NEW MUSICAL

TRANSFERS TO THE WEST END 

FROM 28 JANUARY FOR 12 WEEKS ONLY
THE CRITERION THEATRE 

Bill Kenwright Ltd and Paul Taylor-Mills are thrilled to announce that they are bringing Jordan Luke Gage’s new musical Redcliffe to the West End. The production will play the Criterion Theatre for 12 weeks only with performances from Thursday 28 January and press night on Thursday 4 February. Tickets go on sale at 12 noon on Thursday 5 November.

This “exquisitely moving musical” (Sunday Mirror)was first presented at the Turbine Theatre as part of MTFestUK 2024 followed by eight sold out performances of a workshop presentation at The Other Palace. MTFest is an annual festival workshopping and showcasing new musicals, produced by Paul Taylor-Mills and The Other Palace. 

The first full production was presented for a limited season at Southwark Playhouse this summer, garnering critical acclaim with WhatsOnStage calling it “a masterpiece of a musical” and The Guardianpraising the show as “charming, funny and devastating”.

Jordan’s work on Redcliffe was recognised at this year’s The Stage Debut Awards, where he won the award for Best Composer, Lyricist or Book Writer.

Jordan (Bonnie & Clyde, Heathers, &Juliet) will be reprising his acclaimed performance as William Critchard for the West End transfer. He commented:

“I am beyond thrilled that Redcliffe is transferring to the West End, giving us the chance to share this story with even more people. Our run at Southwark Playhouse was incredibly special, and the response deeply moving. I’m excited to build on that momentum, challenge perspectives, open hearts and spark meaningful conversations. The Criterion Theatre is the perfect home for Redcliffe, allowing us to expand the world we’ve created while preserving the intimacy and sense of community at the heart of the show.”

Jenny Seagrove, Chairperson of the Bill Kenwright Group, commented:

“We’ve been involved with Redcliffe since its very first presentation at our annual musical incubator, MTFest.Even in those early stages, it was clear that Jordan had created something truly special, and it has been a joy to watch the show evolve over the past two and a half years.

Redcliffe reflects our ongoing commitment to championing outstanding new writing alongside our portfolio of established titles. At a time when so many musicals are built around existing IP, what makes Redcliffe truly exciting is that Jordan has created an entirely original new musical. 

Redcliffe also reunites us with our Heathers co-producer, Paul Taylor-Mills, and we couldn’t be more delighted to be bringing this remarkable musical to the West End together. The Criterion Theatre, one of the West End’s most intimate venues, is the perfect place for audiences to experience the show’s heart, humour and emotional power up close. At Southwark Playhouse, people laughed, cried and embraced it wholeheartedly, and we can’t wait for West End audiences to do the same.”

Set against the backdrop of 18th century England, Redcliffe is inspired by the haunting love story of William Critchard and Richard Arnold in Redcliffe, Bristol. 

This epic tale of forbidden love is charming, funny and devastating as two men find love in a world determined to keep them apart. 

William, a man from humble beginnings, is swept up in a hurricane of passion and danger when he meets Richard, a sailor visiting the town. As suspicion grows and prejudice threatens to tear them apart, William and Richard must decide how much they are willing to risk for the chance to live – and love – freely.

Redcliffe is directed by Paul Foster with choreography by Emma Woods, set and lighting design by Andrew Exeter, costume design by Martin Hanly, musical supervision by Katy Richardson, associate musical supervisor and orchestrations by Ben Tomalin with additional orchestrations by Ben Ferguson, associate lighting designer is Matt Hockley and casting by Will Burton.

Further casting to be announced soon. 

WEST SIDE STORY GOES ON SALE

THIS LEGENDARY MUSICAL RETURNS TO THE STAGE FROM

5 NOVEMBER 2027 – 12 FEBRUARY 2028

THIS BOLD, BREATHTAKING NEW PRODUCTION IS DIRECTED BY MARIANNE ELLIOTT AND MIRANDA CROMWELL WITH
JEROME ROBBINS’ ORIGINAL CHOREOGRAPHY

TICKETS ON SALE FROM MIDDAY ON THURSDAY 12 NOVEMBER 2026

Next winter, the National Theatre will stage a major revival of the Broadway classic West Side Story which will run in the Olivier theatre from 5 November 2027 until 12 February 2028.  Conceived by Jerome Robbins (Gypsy) this bold, breathtaking new production will use his original choreography. The American masterpiece, with a book by Arthur Laurents (Gypsy), music by Leonard Bernstein (On the Town) andlyrics by Stephen Sondheim (Follies), will be co-directed by Marianne Elliott and Miranda Cromwell, reuniting after their award-winning production of Death of a Salesman (Young Vic/West End).  Robbins’ original choreography will be reproduced and adapted by Julio Monge, artistic collaborator and consultant on Steven Spielberg’s 2021 film adaptation.   

As part of the National Theatre’s commitment to making theatre accessible to younger audiences, 10,000 tickets for West Side Story will be reserved for under-25s, priced from £10-£30 across the run.  Tickets are on general sale from midday on 12 November 2026.  For further information visit nationaltheatre.org.uk.

Speaking about staging this major revival of West Side Story at the National Theatre, Indhu Rubasingham, Director and Co-Chief Executive of the National Theatre, said:

“It is a real honour to be staging this production of West Side Story.  It’s one of the most iconic musicals of all time and to have Marianne Elliott and Miranda Cromwell at the helm of this large-scale theatrical feat and, using Jerome Robbins’ original choreography, is thrilling.  We can’t wait to welcome audiences into the National Theatre next winter to enjoy this timeless spectacle of dance, music and drama and I’m especially delighted that we are able to offer 10,000 tickets for under-25s priced from £10 to £30, across the run, to ensure that younger audiences get the opportunity to witness this legendary show.”

A heady summer in New York. Two rival gangs, the Jets and the newly arrived Sharks, are locked in a fight for territory.

Caught in the crossfire, Tony and Maria are young, in love, and running out of time. As tensions rise in their neighbourhood, can their bond bridge the divide?

Joining co-directors, Marianne Elliott and Miranda Cromwell in the creative team will be set designer Miriam Buether; costume designer Nicky Gillibrand; choreography reproduced and adapted by Julio Monge; music director Nicholas Skilbeck; fight director Sam Lyon-Behan; intimacy director Ingrid Mackinnon, with casting by Bryony Jarvis-Taylor CDG and Naomi Downham.  Associates include associate director Mumba Dodwell, associate choreographer Luca Dinardo and associate music director Cat Beveridge.

Further creative team and casting to be announced.