Hope Mill Theatre are delighted to announce that Ted Lasso alum Charlie Hiscock will be making his stage debut as Cosme McMoon, alongside Wendi Peters, in the first major UK revival of hit comedy GLORIOUS!The True Story of The Worst Singer in the World. The show will open at Hope Mill Theatre on 27 February 2025 for a limited run ending on 30 March 2025. Tickets are on-sale.
Also joining the cast will be Anita Booth (Fatal Attraction, Ambassador Theatre Group, The Entertainer, Garrick Theatre) as Dorothy, Maria and Mrs Verrinder-Gedge, Ella Maria Danson (Showtune, Union Theatre) as cover Florence and other female roles and George Miller (Some Masterchef Sh*t, 53Two) as cover Cosme.
Written by Peter Quilter (End of the Rainbow) and directed by Kirk Jameson (Song from Far Away, I Am Harvey Milk) GLORIOUS! is the true story of American socialite Florence Foster Jenkins, dubbed ‘the worst singer in the world’, who was known for her flamboyant costumes, enigmatic performances and decidedly off-key voice.
Charlie Hiscock is best known for playing the role of Will Kitman in the Golden Globe-winning series Ted Lasso. Other previous credits include the Academy Award nominated film Poor Things where he can be seen opposite Willem Defoe, The Borrowers (BBC) with Stephen Fry, Victoria Wood and Christopher Ecclestone and Secret Life of Boys (CBBC). Charlie has just finished filming the new series of Black Mirror (Netflix) coming out in 2025 and can also be seen on BBC/Netflix’s new drama Red Rose.
On joining the cast Charlie said: “I’m truly honoured to be making my stage debut in this incredible play, and I couldn’t have imagined a better place to begin this journey than back home, up North at the Hope Mill Theatre in Manchester”.
Nominated for Best New Comedy at the 2006 Olivier Awards,GLORIOUS! follows Florence’s journey as she prepares for her concerts, builds an unlikely friendship with her accompanist Cosme McMoon, and pursues her passion despite all odds. At first bewildered by her lack of talent, Cosme is gradually won over by her indomitable spirit. As her recitals gained a devoted following in 1940s New York (including admirers like Enrico Caruso and Cole Porter), they became must-see events, culminating in a sold-out show at Carnegie Hall, where Florence performed Mozart in angel wings and a halo.
Florence’s story was made into an Oscar nominated, BAFTA award-winning film in 2016 starring Meryl Streep and Hugh Grant. This production celebrates a woman who defied critics and sceptical audiences, to make her dreams come true.
GLORIOUS! will be directed by Kirk Jameson with musical supervision by Nick Barstow, set & costume design by Ingrid Hu, casting by Harry Blumenau CDG CDA, lighting design by Mike Robertson, sound design & assistant musical supervision by Mark Goggins, Italian translation & dialect coaching by Judith Blazer, costume supervision by Lorraine Parry, wig design by Helen Keane and artwork by FEAST Creative.
GLORIOUS! is produced by Hope Mill Theatre and Thomas Hopkins & Jana Robbins.
Festival Theatre, Malvern – until 25th January 2025
Reviewed by Courie Amado Juneau
5*****
Jane Austin’s rather quaint (some might say staid) romantic comedy Pride & Prejudice gets a modern twist. Well, sort of…
The familiar tale is told from the perspective of the servants. Yes, the servants – the ones who normally remain silent, inhabiting the shadows, unnamed. But these servants are anything but silent or in the shadows – amply proven early on when the microphones come out and the songs begin to fly. Modern songs like “Young Hearts” and “You’re So Vain” to name a couple.
The small cast of just 5 performers work incredibly hard to flesh out an entire Regency novel’s worth of characters with just a lightning quick change of costume and voice. All are to be commended for their realizing multiple roles with such flair and also their musicianship (most played instruments live on stage too). Naomi Preston Low (as Elizabeth), Rhianna McGreevy (as Mrs Bennett), Georgia May Firth (as Lady Catherine), Eleanor Kane (as Aunt G) and Emma Rose Creaner (as Caroline Bingley) are just some of the innumerable delights they gave us.
There’s irreverent humour; the twist (and hilarity) being the modern way the Bennett family speak compared to all the more formal characters around them. The swearing may catch some people’s ears – it did mine, and it made me roar with laughter. This is a joyous evocation of the way that modern women would (understandably) react. In fact, that’s half the fun – shining a very bright light on some ridiculous attitudes and assumptions that are, sadly, still in evidence to this day. And not just the obvious outrageously anachronistic ones either – so keep your ears peeled.
My favourite scenes were Jane heading off on horse with the sisters waving her goodbye and (later) Elizabeth’s visit to Darcy’s stately home – with some brilliant portrait jokes and a wonderful allusion to Darcy’s famous dip in the lake (which I won’t spoil, but it’s subtlety and knowing humour is spot on). Oh, and Lady Catherine’s spooky entrance is also worthy of special mention! A massive pat on the back to Director Isobel McArthur and Comedy Supervisor Jos Houben.
As mentioned, the music added much gleeful mirth to the proceedings as did the props – look out for a rather witty pun written on Jane Aust-bin. And I nearly forgot to mention Mr Bennett who was, evidently, enigmatically played by the same chap who played Charlie in Charlie’s Angels – a surprising cameo there which nonetheless packed a wallop. I can’t prove 100% it was the same actor but it sure looked like him to me… You’ll understand when you see the play.
So, a brilliant night out having a ball (several really); glitter balls that is (well, sort of). In any case, it’s a riot, a scream and the most fun a chap can have this side of a proper invite to a Hen night! I loved it and I’m sure there’s not many that wont feel exactly the same. Wonderful entertainment. In the foyer after, I heard a fellow audience member proclaim to her friend it was “totally crackers”. I couldn’t put it better myself! I’m holding up the “hit” paddle and wholeheartedly recommending it.
Examining one of the key events that led to the UK and France declaring war on Germany through the eyes of the unwitting victims is an intriguing concept, but Erik Kahn’s play needs a more balanced approach to truly satisfy.
The false flag attacks along the Polish-German border staged by German forces as acts of aggression by Poles were meant to justify Hitler’s invasion in the eyes of the world and not draw the UK and France into war. So, that went well.
SS Major Naujocks testimony at the Nuremberg trials provided details of the operation, and Kahn has the major relating the events, and aftermath, to the audience – an unreliable host borrowing hugely from Cabaret’s emcee, but without the singing. As the audience enters, the major (Dan Parr) sits and smokes, before strolling around the stage, smiling amiably, but then scanning a row with a laser glare as if he has spotted someone suspicious. This sets the tone for the character throughout the play: a jovial but stilted politeness that can switch instantly to disgust and bitter violence. The fantastic Dan Parr is chilling and charming in equal measure in the role.
Honiok (Tom Wells), a German farmer has been arrested and imprisoned, and his cell mates are prisoners from Dachau – a Jewish scholar, Birnbaum (Charlie Archer) and a thief called Kruger (Rowan Polonski) – the “canned goods” of the title. In their brief time together, the three men try to figure out why they are there, and what the future will hold. As the lessons of history appear increasingly to have been forgotten, the conversations of the men and their reactions are representative of the different attitudes when faced with fascism and the brutality of the state.
Birbaum is an intellectual, and a Jew, so Kruger – an uneducated janitor – harbours deep-seated hatred for him as he has been taught that Jews are the reason his life is so hard, and the Reich will make Germany great again. Honiok is a loner, devoutly Catholic, but dispensable – perfect cannon fodder. As they dissect whispers and hints that they have overheard from the guards, Honiok and Birbaum trade theological quotes and Kruger desperately tries to convince himself that he will serve the Reich and be rewarded. Meanwhile Major Naujocks and the thuggish guard (Joe Mallalieu) toy with them like cats – keeping them just calm enough to be easily managed for their mission.
Mona Camille’s runway set is adaptable and evocative, while Ryan Joseph’s lighting creates an ominous atmosphere. Director Charlotte Cohn builds the air of foreboding effectively and the prisoners’ monologues, where they reveal their thoughts to the audience do not distract from the plot, instead upping the stakes as these characters become more than mere pawns and their humanity shines through. Wells, Archer and Polonski have wonderful chemistry and are fantastic as the three prisoners – each giving emotive and compelling performances. The scenes in the cells are the most effective part of the play as, unfortunately, it all begins to lose coherence as the mission is conducted. There is an obvious end point, but Kahn continues the story with Naujocks breaking the fourth wall and joining the audience as the play’s message of the dangers of propaganda, populism and prejudices are hammered home as if this was a closing argument in a trial. Trust the audience a little more. This is all very clunky, despite Barr’s thrilling performance, and ultimately detracts from the engaging character studies in earlier scenes.
An interesting premise with stunning performances, but an uneven and heavy-handed epilogue needs tweaking to create a truly memorable and affecting production.
PRESENTS THE WORLD PREMIERE OF HER NEW THEATRICAL SHOW
DIAMONDS AND DUST
A TALE OF THE GOOD, THE BAD AND THE LUCKY
OPENING AT LONDON’S NEWEST THEATRE
IN THE HEART OF THE WEST END
THE EMERALD THEATRE
PREVIEWING 16 JUNE 2025
TICKETS ON SALE 12 FEBRUARY
Making her debut as a theatrical director, long-reigning Queen of Burlesque, Dita Von Teese, together with Tosca Rivola, Dee Parsons and Julian Stoneman are delighted to announce the world premiere of a brand-new, and hotly anticipated theatrical production DIAMONDS and DUST
London’s newest West End venue, the Emerald Theatre, proudly opens its doors with the debut of DIAMONDS and DUST. Previews begin 16 June 2025, with an official gala opening on 3 July. Be among the first to experience this landmark production. Tickets on sale 12 February – sign up now: diamondsxdust.com
The production is conceived and directed by the star herself, Dita Von Teese, together with the show’s creator, stuntwoman and counterculture vixen Tosca Rivola,with choreography by Matt Nicholson, Dita Von Teese and Tosca Rivola.
DIAMONDS and DUST is a tale of the good, the bad and the lucky featuring some of the finest West End performers the UK has to offer, magnetic burlesque starlets and dangerous cirque artists. The production promises a thrilling blend of Old West lore, vintage casino culture, high-stakes stunts and Dita Von Teese’s signature glamour.
Step into our hazy saloon and let the 52-card deck decide your fate. This is the untold story of the Wild West’s most notorious card dealer, making her own way in a man’s world while trying her hand at taming Lady Luck for herself, perhaps in vain…
London’s newest theatrical production serves double jeopardy as the show plants a boot firmly in plot-driven theatre and a stiletto in the nuanced art of seduction. This world premiere production promises an unforgettable evening of experiential dining, specially curated cocktails, electrifying theatre and swanky late-night entertainment including DJ sets into the early hours on Thursdays, Fridays and Saturdays.
Playing the role of Lady Luck in this production, Dita Von Teese is the Grande Dame of her glamour-verse. DIAMONDS and DUST will also spoil London audiences with a selection of Von Teese’s original costumes, signature props, and notably her debut as a theatrical director.
Dita Von Teese will perform in the initial opening weeks and then returns to join her company monthly for in-person performances. *
Casting and further creatives to be announced.
Dita Von Teese said “I am looking forward to welcoming London into the exciting glamour-verse we’ve been carefully preparing. Bringing together my love for Americana, haute style and all things burlesque, we can’t wait to share our theatrical production with London’s Glittering West End.”
Tosca Rivola added “After nearly a decade of work to galvanize high-calibre show concept, an iconic lead and collaborator like Dita Von Teese, necessary investment and the sheer diligence it took on behalf of my incredible team on the ground in London to not only open a show, but an entire West End Theatre, I am elated to finally focus on creating an incredible show alongside Dita Von Teese – a dream come true! As a first generation American, DIAMONDS and DUST is my bittersweet love letter to the American West for all of its romance and peril”
Aaron Mellor, CEO of Tokyo Industries, and owner of the Emerald Theatre said “We are delighted to be working with Dita Von Teese to deliver ‘Tokyo Industries’ most ambitious and glamorous project yet. Opening a new theatre in the heart of the world’s theatre capital is both an honour and a responsibility we deeply respect. Rest assured; we are committed to delivering an extraordinary experience in immersive entertainment”.”
Establishing itself as the most stylish and sought-after production in the city, DIAMONDS and DUST boasts costume design for Dita Von Teese by British designer Jenny Packham and bespoke footwear designed by Christian Louboutin. Audiences will also be lavished with a newly curated musical soundtrack for this dynamic new production.
DIAMONDS and DUST will bring together a host of world-renowned, multi award-winning creatives.
Entire production conceived and directed by Tosca Rivola & Dita Von Teese, Story by Tosca Rivola & Emma Henley, choreography by Matt Nicholson, Dita Von Teese and Tosca Rivola, musical supervision by Lewis Carnie, set and lighting design by Philip Gladwell, sound design by Gareth Owen, millinery by Hood London and general management by MPSI Ltd.
The show will feature an optional experiential dining experience, with a bespoke menu designed by Euphoria by Lara Norman.
DIAMONDS and DUST is produced by Tosca Rivola, Dita Von Teese, Dee Parsons and Julian Stoneman, with co-producers Sydney Max Lee, Sienna Sinclaire and Robert Testagrossa.
*Dita Von Teese will perform at a limited number of London shows – please check the website for further details
The Other Palace presents JANE the musical in workshop written by Matt Nalton & Jodie Steele
The new British musical JANE premiers with public workshop performances that offer a first look of Act 1 from Fri 14 – Sun 16 February at The Other Palace Studio.
JANE, written by Matt Nalton (Jersey Boys, Beautiful) and Jodie Steele (Heathers, Bonnie & Clyde), is their debut new musical together about love, life and loss – following 15 years of the lives of a young woman, her mum, her lovers and her friends.
Jane has always faced trials and tribulations in her life, from when we meet her struggling at school at 15 years of age, to when she is getting her heart broken in her 20’s. Her best friend, Konnie, is her rock and always there to pick up the pieces and keep her laughing. She can’t live without him – or can she? How will Jane cope when it seems her life is crumbling around her?
Full casting has been announced for the workshop performances with Leesa Tulley as Jane, Maiya Quansah-Breed as Laura, Miracle Chance as Nicola, Rowan Macpherson as Henri, Alex Thomas-Smith as Konnie and Toby Turpin as the Narrator
Creatives include Martha Geelan (Babies) as Director and Cerys McKenna (Standing At The Sky’s Edge, Titanique,) as Musical Director, with orchestration by Evan Rogers (Nosferatu, Aquaman and the Lost Kingdom).
Writers Matt Nalton & Jodie Steele say, ‘JANE is a story Jodie has carried with her for a long time. She approached Matt with the idea in 2023, as she knew Matt’s cinematic musical mind would make the show a heart-breaking hit. From that, the writing duo NALTON & STEELE was formed. JANE is driven by its modern musical landscape and its very raw, female-led, storyline which explores themes of grief, sexual abuse, sexual identity, strained family relationships and bullying. However, at the core of its being, is love, hope, determination and bravery.’
Paul Taylor-Mills, Artistic Director of The Other Palace, says: ‘Jodie Steele has been a longtime collaborator and I’m eager to see her move into this exciting role as a writer. In her collaborations with Matt Nalton, they have made a musical that speaks to our generation and explores important conversations around the world we currently live in. It’s brilliant that The Other Palace continues to support new musicals in their earliest stages of development and provide a platform to put new work in front of supportive audiences.’
Act 1 of JANE will be presented in a workshop format with scripts in hand, with limited tickets available to the public. Tickets are available from £16.50 from The Other Palace website.
Produced by The Other Palace and funded via the venue’s Development Fund, where 50p of every ticket sold in the Main House goes to fund developing new work.
The producers of the hit production, TINA – THE TINA TURNER MUSICAL are delighted to announce the full cast for the first ever UK and Ireland tour, opening at Curve Theatre, Leicester from Thursday 6 March 2025 to Saturday 22 March 2025 before visiting a further 20 venues. Full tour schedule below. www.tinathemusical.com/uktour
Elle Ma-Kinga N’Zuzi and Jochebel Ohene MacCarthy will share the iconic role of Tina Turner, alongside David King-Yombo as Ike Turner. Martin Allanson will play Record Producer Phil Spector, with William Beckerleg as record company Marketing Manager Erwin Bach, Rushand Chambers as Tina’s father Richard Bullock, Claude East as Tina’s grandmother Gran Georgeanna (GG), Isaac Elder as Tina’s Manager Roger Davies, Georgia Gillam as Tina’s sister Alline Bullock, Letitia Hector as Tina’s mother Zelma Bullock, Kyle Richardson as Tina’s first love Raymond Hill, and Gemma Sutton as Ike and Tina’s manager Rhonda Graam.
Ensemble members are Viquichele Cross asLorraine, Charlotte Elisabeth-Yorke as Toni, Kane Matthews asTina’s son Craig, Daniel N’Guessan-Lopez as Tina’s son Ronnie and Richard Taylor Woods asMartyn Ware. The Ikettes are played by D’Mia Lindsay-Walker, Alana Robinson and Sedona Sky and swings are Loren Anderson, Ella Howlett, Eleanor Morrison-Halliday, Max Mulrenan, Tom Self and Toby Shellard.
Children’s casting includes Chloe Angiama, Chizaram Ochuba-Okafor and Ava Wallace-Corbett as Young Anna Mae Bullock, and Shaniyah Abrahams, Lily Bunn and Mariah Martinez asYoung Alline/Young Craig.
Elle Ma-Kinga N’Zuzi joins the UK and Ireland touring company having alternated the role of Tina Turner in the Stuttgart production of TINA – THE TINA TURNER MUSICAL. Her other theatre credits include Moulin Rouge! Das Musical at the Musical Dome, Cologne, Starlight Express at the Starlight Express Theatre, Bochum, Sweet Charity at Nottingham Playhouse, Kiss Me, Kate at the Crucible Theatre, Sheffield, Andrew Lloyd Webber’s CATS in France and the USA, The Lion King – Rhythm of the Pridelands and The Lion King, both in Paris, and West Side Story in Orléans. She was awarded the Trophée de la Comédie Musicale for Best Supporting Actress in a Musical for her performance as Rizzo in Grease at Théâtre Mogador. Elle’s television credits include Le Monde de Demain for Netflix and her film credits include Le Temps d’Aimer at Cannes Film Festival.
Jochebel Ohene MacCarthy joins the UK and Ireland touring company having alternated the role of Tina Turner in the original Australian production of TINA – THE TINA TURNER MUSICAL, playing to audiences in Sydney, Perth, Brisbane, Adelaide and Melbourne. Her other theatre credits include UK and International Tours of Ghost the Musical, The Color Purple at Curve, Leicester and Birmingham Hippodrome, Hairspray at the London Coliseum and the UK Tour of The Lion King. Jochebel’s film credits include Six Triple Eight for Netflix, and her television credits include Go Buster for Disney+ and Prime Video.
David King-Yombo’s West End credits include Moulin Rouge! at Piccadilly Theatre and Oklahoma! at Wyndham’s Theatre. His other theatre credits include Romeo & Juliet at Stafford Gatehouse, Protests, Hymns and Caskets at Belgrade Theatre, The Princess and the Pauper at The Mowlem, The Ballad of St John’s Car Park at Icon Theatre, and The Visit at the National Theatre.
TINA – THE TINA TURNER MUSICAL continues to run in the West End at the Aldwych Theatre, where it has played for over 6 years following its world premiere, receiving critical acclaim, and breaking all Box Office records at the venue. It is currently booking until 25 October 2025 – making it the longest running show to ever run at the Aldwych. The production is also a global success, with 8 productions having opened worldwide since 2018, including on Broadway and across North America, Germany, Spain, Netherlands and Australia. The show is currently on tour in both North America and Australia.
TINA – THE TINA TURNER MUSICAL is the story of legendary artist Tina Turner, the twelve-time Grammy Award winning Queen of Rock ‘n’ Roll. Set to the pulse-pounding soundtrack of her iconic hits, including The Best, What’s Love Got To Do With It?, Private Dancer and River Deep, Mountain High, the musical is an inspiring true story of a woman who dared to dream fiercely, shatter barriers and defy the bounds of age, gender, and race to conquer the world against all odds.
Directed by Phyllida Lloyd and written by Olivier Award and Pulitzer Prize-winner Katori Hall, with Frank Ketelaar and Kees Prins, TINA – THE TINA TURNER MUSICAL is choreographed by Anthony van Laast, with set and costume designs by Mark Thompson, musical supervision by Nicholas Skilbeck, lighting by Bruno Poet, sound by Nevin Steinberg, projection design by Jeff Sugg, orchestrations by Ethan Popp, and wigs, hair and makeup design by Campbell Young Associates, casting by Pippa Ailion CDG and Natalie Gallacher CDG.
TINA – THE TINA TURNER MUSICAL is produced by Stage Entertainment, Joop van den Ende and Tali Pelman, in association with Tina Turner.
TINA – THE TINA TURNER MUSICAL is dedicated to the memory of Tina Turner, who sadly passed away in May 2023.
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 includesTom 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 Aliain the Lyttelton andThe Estate,The Land of the Livingand 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 Livingis 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 withEnd,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.
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 15th 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.
TheatreBuilding 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 TheWell 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 andOrange 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
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.
