Michael Harrison for Lloyd Webber Harrison Musicals today confirms that Andrew Lloyd Webber’s STARLIGHT EXPRESS will extend its award-winning run at Troubadour Wembley Park Theatre for the final time, with performances until Sunday 3 May 2026.
STARLIGHT EXPRESS made a triumphant return to London when the new production opened to widespread critical acclaim in June 2024. Since then, it has gone on to win multiple awards, including an Olivier Award and a record-breaking seven WhatsonStage Awards. It is London’s longest running revival of an Andrew Lloyd Webber musical in 20 years.
STARLIGHT EXPRESS will embark on its first ever World Tour in 2027. All details will be announced at a later date.
Michael Harrison said: “‘I’m thrilled that Starlight Express will extend for the 7th time, in the unique environment of Troubadour Wembley Park Theatre. We are also thrilled that the success of this new production means we will embark on a world tour commencing in Spring 2027, details of which we will announce shortly. However, for now, this is your final call for boarding to see the spectacular London revival in Wembley.”
A new London cast album, released in November 2024, has had over 17 million streams with a huge viral moment for ‘Pumping Iron’ which saw over 100 million views on social media for Al Knott’s rendition of the traditionally male sung song. Physical record sales have topped 12,000 and Scottish DJ Hudson Mohawke remixed the iconic Race motif to launch the Deluxe Edition of the album in May 2025.
Seen by over 30 million people across the world, STARLIGHT EXPRESS is a true theatrical event, fully immersing audiences of all ages inside a world of speed, song and storytelling, as the incredible cast of 40 whizz around and above, performing some of musical theatre’s most beloved songs, including AC/DC, Make Up My Heart,Light at the End of the Tunnel and the iconic Starlight Express.
As a child’s train set magically comes to life and the engines race to become the fastest in the world, Rusty the steam train has little hope of winning until he is inspired by the legend of the ‘Starlight Express’.
The STARLIGHT EXPRESS company includes Gavin Adams as Rusty, Jade Marvin as Momma McCoy, Olivia Ringrose as Greaseball, Asher Forth as Electra, Sophie Naglik as Pearl, Georgia Pemberton as Dinah, Jaydon Vijn as Hydra, Scott Hayward as Alternate Rusty and Jamie Addison, Jessie Angell, Ollie Augustin, Evan Taylor Benyacar, Charles Butcher, Cletus Chan, Tamara Verhoven Clyde, Jamie Cruttenden, Kelly Downing, Isaac Edwards, Maddy Erzan-Essien, Sam Gallacher, Lucy Glover, Amiyah Goodall, Dante Hutchinson, Iwan James, Lewis Kidd, Hannah Kiss, Nicole Louise-Lewis, Bethany Rose Lythgoe, Temi Olawole, RED, Ashley Rowe, Sheridan, Dieuwke Tonissen, Nicky Wong Rush, Charlie Russell, Lara Vina Uzcatia and Amber Weston.
STARLIGHT EXPRESS has music by Andrew Lloyd Webber and lyrics by Richard Stilgoe, is directed by Luke Sheppard, with set designer Tim Hatley, costume designer Gabriella Slade, lighting designer Howard Hudson, sound designer Gareth Owen, video designer Andrzej Goulding, new orchestrations by Matthew Brind with Andrew Lloyd Webber, musical supervision by Matthew Brind & David Wilson, musical direction by Denise Crowley and casting by Pearson Casting.
With thrilling new choreography by Ashley Nottingham, STARLIGHT EXPRESS also saw the return of Arlene Phillips as creative dramaturg.
The Starlight Auditorium at Troubadour Wembley Park Theatre is a state-of-the-art cultural destination in Wembley Park, London’s most exciting new neighbourhood, only 12 minutes from central London. The venue is a short 5-minute walk from the tube, moments away from the iconic Olympic Way. There are great parking options on site and the theatre is easily accessible via the M25 and M1.
Hampstead Theatre Downstairs, London – until 31st January 2026
Reviewed by Celia Armand Smith
5*****
Having read that this show is designed to scare, I warned the person next to me as I sat down that I might jump and/or cling to them. Headphones on and locked in, the first thing you hear is the eerie tones of Mark Gatiss making sure that the binaural technology is working. I am not going to lie, I was very anxious about headphones and darkness and thought that I might be the audience emergency that terminated the performance, however I needn’t have worried – it is a very fun, albeit jumpy, time.
George Blagden plays an actor who has been employed to narrate an audiobook with no idea of what is to come. Sid (Jonathan Livingston), the sound engineer explains it’s a ghost story for a new app and it’s going to be fairly straightforward. As they begin, you start to hear faint whisperings in your ears – something that’s almost not there. Sid tells George that he has sound effects lined up like creaking doors and bumps in the night, but it seems as if something else is lurking in the shadows. As the story ramps up, so do the bumps and whispers in your ears.
This beautifully crafted story within a story written and directed by Jamie Armitage pays homage to the best traditional ghost stories. The story that George has been hired to narrate is set in the present day but has the timeless feel of windy moors and drafty grey houses sitting on hills.
The first part is a slow build, peppered with comedy, but tensions are heightened with anticipation of something troubling just around the corner. Every scare is a delight with screams and exclamations from the audience. At one point I took off my headphones and all I could hear was the deep, nervous breathing of every member of the audience. Hampstead Downstairs is a small theatre which is perfect as you are squashed in with your seat mates; every shiver and jump reverberating down the row. Max and Ben Ringham’s sound design and use of binaural technology is put to brilliant use here, capturing every sound in the studio and moving swiftly from ear to ear. The result is immersive, intimate and completely unique.
Anisha Fields’ set design captures the sound studio perfectly, placing all the action behind a glass wall. The transitions from horror to normality and back again happen so quickly that you question what you have just seen. The lighting by Ben Jacobs is subtle and textural, and at some points changes so slowly that you don’t really notice that you are sitting in extremely dim light, straining your eyes to spot shapes shifting in the shadows.
George Blagden as the actor is superb, his character unravelling before your eyes as he and we experience the horror of the situation in real time. Supported by the fantastic Jonathan Livingston as Sid, on stage pretty much all the time, he brings some lightness to the darker moments, allowing us to relax for a second. But don’t relax for too long.
Creative and masterful, A Ghost In Your Ear is an unsettling, sensorial experience that I was nervous to attend but ever so glad I did. A thoroughly enjoyable theatrical start to the year.
CEO and Artistic Director Iwan Lewis,Executive Director Liam McMullan, and the whole team at the Barn Theatre in Cirencester, are delighted to announce the cast and creative team for Built By Barn World Premiere of Men Behaving Badly: The Play, (Friday 30 January – Saturday 7 March, with a national press night on Tuesday 3 February).
London, 31st December, 1999. Gary’s clinging to his youth, Dorothy’s had enough, Deborah’s got a plan, and Tony’s…still Tony. The world is bracing for Y2K as our favourite foursome prepare for their own Big Day, but when resolutions clash with revelations, the gang might just prove that the real millennium bug… is them. Expect pints, fireworks, and a complete lack of adult supervision as we return to the flatmates where the TV series left off.
From Simon Nye, Men Behaving Badly’s original writer, comes a brand-new stage comedy based on “one of the most successful British comedies of all time” (Telegraph). A night of nostalgic chaos and lager-fuelled honesty — because bad behaviour isn’t just for the telly. Relive the chaos, rewind the tape, and grab your tickets now before the lights go out on the ‘90s!
In the role of ‘Gary’ will be Ross Carswell (Eminent Charlestonians at Rosemary Branch Theatre, Harmony at Grub Street Theatre, Midsummer at Barn Theatre and Mercury Theatre), Matt Howdon (Reiverwith Elysium, Feathers with Gutter Street, The Hungry Years at Customs House) will play ‘Tony’, playing ‘Dorothy’ is Ellie Nunn (Chitty Chitty Bang Bang on its UK Tour, Identical with Kenny Wax Ltd, The Game of Love and Chance at Arcola Theatre), in the role of ‘Deborah’ will be Tricia Adele-Turner (The Pocket Dream at Lichfield Garrick, Christmas on Exeter Street at Farnham Maltings, Stranger Things: The First Shadow at Pheonix Theatre), Neil Jennings (A Shoddy Detective and The Art of Deception at the Arts Theatre, Robin Hood and The Comedy of Errors with The Pantaloons) will play ‘Ken’ and ‘Eve’ will be played by Valerie Antwi (Noises Off at Stephen Joseph Theatre, The Flat Earthers with JCB Productions, Foreverland at Southwark Playhouse).
Joining writer Simon Nye and director Joseph O’Malley will be Alfie Heywood on set and costume design with Denise Cleal as associate costume designer. On lighting design will be Adam Foley, sound designer and composer will be Amanda Priestley, casting direction from Marc Frankum, dialect coach will be Zoe Littleton.
Barn Theatre’s CEO and Artistic Director Iwan Lewis and Executive Director and Producer Liam McMullan said, “We’re thrilled to announce the brilliant cast of Simon Nye’s new play Men Behaving Badly! Each actor perfectly brings to life the humour, chaos, and charm of Nye’s iconic characters we all know and love. We’re especially delighted to welcome some familiar faces back to the Barn, it’s going to be a joyous celebration of comedy audiences won’t want to miss!”
The Barn Theatre is an award-winning producing-house in the heart of the Cotswolds, on a mission to inspire communities and champion the power of storytelling.
CAST AND CREATIVE TEAM ANNOUNCED FOR THE WORLD PREMIERE OF CATHERINE DYSON’S THE LAST PICTURE
York Theatre Royal, English Touring Theatre (ETT) and An Tobar and Mull Theatre today announce the full creative team and cast for The Last Picture. This brand-new play by Catherine Dyson provides a thought-provoking exploration of empathy, imagination, and collective memory from the perspective of an emotional support dog, Sam.
Directed by John R. Wilkinson, the play will see actor and storyteller Robin Simpson take on the role of Sam as he takes a group of school children on a trip around an exhibit focusing on Europe in 1939. York Theatre Royal audiences will be familiar with Robin from recent appearances as their beloved pantomime Dame. His recent theatre credits include Footloose, Beautiful: The Carol King Musical, Sense & Sensibility (Pitlochry Festival Theatre), Gaslight and Men of the World (Devonshire Park Theatre), Guy Fawkes (York Theatre Royal) and Abigail’s Party (Harrogate Theatre).
The creative team is completed by Natasha Jenkins (Designer); Benny Goodman (Lighting Designer); Max Pappenheim (Sound Designer); and Alexia Kalogiannidis (Movement Director).
Opening at York Theatre Royal on 6 February 2026, with a preview on the 5 February, the play will run in York until 14 February 2026, before touring with ETT to HOME Manchester, Bristol Old Vic and Yvonne Arnaud Theatre. The play was one of the winning scripts selected by the RSC for their 37 Plays competition in 2023.
Robin Simpson said: “I am delighted to be back at York Theatre Royal, this time in the Studio theatre and in a very different kind of production. When I first read Catherine’s extraordinary script I was blown away by how moving and thoughtful it was. The character of Sam is so unique and I am really looking forward to the challenge of the role and going out on tour to venues across the country.”
Catherine Dyson said, “It’s so wonderful to work with John and the creative team on the play and to be putting it in front of an audience with the very talented Robin Simpson as our Sam. Seeing your work turned into reality on stage is such a joy and I can’t wait for audiences to experience the show.”
Director John R. Wilkinson: “The Last Picture will offer audiences a profoundly human and immersive journey and we have an incredible team on board to bring the play to life. Robin has a wonderful versatility as a performer – York audiences already know and love him as our warm and funny panto dame – and I am so excited to see what he does with the role of Sam. So much of the show relies on the audience’s imagination and how Sam gets us to experience that together and Robin for me, is the perfect actor to take us on that journey. I can’t wait for rehearsals to start!”
York Theatre Royal, ETT and An Tobar and Mull Theatre present THE LAST PICTURE By Catherine Dyson Director: John R. Wilkinson
5 February – 14 February 2026
Imagine yourself in a theatre in 2026. Now picture yourself as a Year 9 student on a school trip. And then as a citizen of Europe in 1939 as history takes its darkest turn.
While you imagine, Sam will be by your side. Sam is an emotional support dog. Sam is here to look after you. Sam will keep everyone safe.
This play is about empathy – its power, its limits, and what it asks of us. It’s about our shared past, our present, and the choices we face today.
Catherine Dyson is a writer and performer. Her writing credits include The Luminous, On Track, ThunderRoad (UK tours), Peter Pan (Sherman Theatre), Bitcoin Boi (Riverfront Theatre), Believers (South Street Arts Centre), and Transporter (Theatr Iolo, UK and Kolkata tour – also produced in Austria); and for audio, The Egg Man (BBC Radio 4) and Mansfield Park (eight-part adaptation for Audible). She is an Associate Artist with RedCape Theatre, Theatr Iolo and Paptertrail, currently on attachment at the National Theatre, and a member of the 2025 Orange Tree Theatre Writers Collective.
John R. Wilkinson is a multi-award-winning director with Cerebral Palsy. Wilkinson reunites with ETT following his direction of Tonderai Munyevu’s Mugabe, My Dad and Me, which won Best New Play at the UK Theatre Awards. He was named the 2024 Clore Fellow and is the tenth recipient of the Genesis Future Director Award at the Young Vic. Wilkinson is an Associate Director at York Theatre Royal, and a Trustee of Middle Child, the Stephen Joseph Theatre, and Pilot Theatre.
Robin Simpson plays Sam. His theatre credits include Footloose, Beautiful: The Carol King Musical, Sense & Sensibility (Pitlochry Festival Theatre), Gaslight and Men of the World (Devonshire Park Theatre), Guy Fawkes (York Theatre Royal), Abigail’s Party (Harrogate Theatre), Classic (Edinburgh Fringe & Hope Mill Theatre/Her productions), Macbeth/ Midsummer Night’s Dream (Shakespeare’s Rose Theatre), Dirty Laundry (Claybody Theatre), Almost a Sacred Duty, Anna of the Five Towns, Beryl, A Voyage Round my Father and Laurel and Hardy (New Vic), Chamaco (HOME), Neverland (Lakeside Arts), Boeing Boeing,Bedroom Farce, David Copperfield, The Hound of the Baskervilles; The Road to Nab End and Travels with my Aunt (Oldham Coliseum), The Travelling Pantomime, The Wind in the Willows, To Kill a Mockingbird, The Seagull, Hansel and Gretel, The Railway Children; Pinocchio, Pygmalion and The Little Mermaid (York Theatre Royal), Inside Out of Mind (Meeting Ground Theatre Co.), Grandpa in my Pocket (Nottingham Playhouse), Lost Boy Racer (Lawrence Batley Theatre), We Love You City! (Coventry Belgrade), Me, as a Penguin, It’s a Lovely Day Tomorrow, Flat Stanley (West Yorkshire Playhouse), A Passionate Woman (Chester Gateway and The Theatre by the Lake), Frankie and Tommy, The Rivals, Red Skies over the Severn, The Century Plays (The Swan Theatre).
Robin has played the Dame in York Theatre Royal’s pantomimes since 2020 and is due to appear in Snow White and the Seven Dwarfs in 2026/27. His television credits include: The Continental (from the world of John Wick), Coronation Street, Emmerdale, Doctors, Holby City, Waterloo Road,Liverpool 1, Home Fires, and See No Evil – The Moors Murders.
Natasha Jenkins is the Designer. Her theatre credits include: Prendre Soin (Théâtre National de Strasbourg) Expendable (Royal Court Theatre. Winner Best Stage production Asian Media Awards 2025) An Enemy of the People (Duke of York’s Theatre. Costume Designer); LOVE (National Theatre/Park Avenue Armory/Odéon-Théâtre de l’Europe/Wiener Festwochen. Nominated for Drama Desk Award for Outstanding Scenic Design); Danton Reloaded (Thalia Theater Hamburg. Costume Design); The Beauty Queen of Leenane (Theatre By The Lake); The Process, Professor Bernhardi (Theatre Freiburg. Costume Design); Scissors (Sheffield Theatres); Une mort dans la famille (Odéon-Théâtre de l’Europe); Faith, Hope and Charity (National Theatre/Wiener Festwochen/European Tour); Eine Griechische Trilogie (Berliner Ensemble. Costume Design); Beyond Caring (National Theatre/The Yard/Schaubühne/European Tour); Uncle Vanya (HOME Manchester. Costume Design); The High Table (Bush Theatre); In Basildon (Queens Theatre Hornchurch); Richard III (Perth Theatre); Clockwork Canaries (Drum Theatre Plymouth); Stand By (Utter. Fringe First Winner); The Whip Hand (National Theatre of Scotland/Traverse Theatre/Birmingham Rep); Monstrous Bodies (Dundee Rep); 20b (Birmingham Rep/European Tour); Damned Rebel Bitches (Poorboy Scottish Tour); Jane Eyre (Guildhall) Disney’s Freaky Friday (Arts Ed); Romeo and Juliet (RADA); Let The Right One In (LAMDA)
TV and Film Design credits include: LOVE (BBC1/Cuba Productions); 7 Keys (Jeva Films SXSW ’24); award winning short films including BARE and Thursdays ( BFI Network dir. Lorna Tucker), A Sharp Arrow (Sundance ’23, dir. Sandy Thompson), The Everlasting Club and Ma’am (Bumble Female Film Force Winner 2019, dir. Joy Wilkinson), Myrtle and Annekas Problems (dir. Patricia McCormack), Loose Ends (dir. Natalie Burt), Forgiveness (dir. Conor O’Callaghan), Here We Are (dir. Pamela Carter). Music Video Design includes: Anywhere But Here (Rag’n’Bone Man & P!nk).
Benny Goodman is the Lighting Designer. Benny Goodman is a freelance lighting designer based in Glasgow and London. He has worked in theatres across the UK and Europe in a variety of projects and productions, and is a creative collaborator with theatre company, Wonder Fools.
Theatre credits include: Close (The Citizens Theatre Glasgow); The Mountain Top (The Lyceum Theatre Edinburgh); Gods Of Salford (Not Too Tame/Lowry Theatre); Treasure Island (Scottish Theatre Producers); Twelfth Night (Shakespeare North); Aganeeza Scrooge (Tron Theatre); Beauty & The Beast, Cinderella and Snow White (Bard In The Botanics/Byre Theatre); When Prophecy Fails (Groupwork); Four Walls (Derby Theatre); La Performance (Tron Theatre/Paris IVT); A Midsummer Night’s Dream (Orange Tree Theatre); Hamlet (Saint Stephen’s Theatre); Hang (Tron Theatre); Sense Of Centre (Dance Base Edinburgh); Julius Caesar (Company Of Wolves Scottish Tour); Palace Of Varieties (Derby Theatre); Learning From The Future (OGR Torino); The Tempest (Tron Theatre); Meet Jan Black (Ayr Gaiety); Maim (Tron Theatre); I Can Go Anywhere (Traverse Theatre); The Drift (National Theatre of Scotland); The Afflicted (Summerhall); Country Music (Omnibus Theatre); 549: Scots of the Spanish Civil War (UK Tour); The Mistress Contract (Tron Theatre); Daddy Drag (Assembly Roxy); Where We Are: The Mosque (Arcola Theatre, London); Sorella Mia (The Place, London); Disarming Reverberations (St Giles Cathedral, Edinburgh); Heroines (Theatre Gu Leor, Stornoway); Humbug (Tramway, Glasgow); Snow Queen (Associate – Dundee Rep Theatre); Like Animals (Tron Theatre); Ayanfe Opera (Bridewell Theatre, London) Lampedusa (Citizens Theatre); Circle of Fifths (Tron Theatre/Cockpit Theatre London). For more on his work: bennygoodman.co
Max Pappenheim is the Sound Designer. Recent theatre credits include: Christmas Day (Almeida Theare); The Forsyte Saga (Royal Shakespeare Company/Park Theatre); Noughts and Crosses, Twelfth Night (Regent’s Park Open Air Theatre); A Raisin in the Sun (Headlong); The Night of the Iguana (Noel Coward Theatre); The School for Scandal, Crooked Dances (Royal Shakespeare Company); Cruise (Apollo Theatre/Duchess Theatre); Coram Boy, Macbeth (Chichester Festival Theatre); Shed: Exploded View (Royal Exchange); A Doll’s House Part 2, The Way of the World (Donmar Warehouse); The Cardinal, Kiki’s Delivery Service, Usagi Yojimbo, Johnny Got His Gun, Teddy (Southwark Playhouse); Personal Values, The Habits,The Invention of Love, King James, Nineteen Gardens, Blackout Songs, Linck and Mülhahn, Labyrinth (Hampstead Theatre); The Children (Manhattan Theatre Club/Royal Court); Village Idiot, One Night in Miami (Nottingham Playhouse); Henry V (Shakespeare’s Globe/Headlong); Hamlet (Bristol Old Vic); Ophelias Zimmer (Schaubühne/Royal Court); Feeling Afraid As If Something Terrible Is Going To Happen, Old Bridge (Bush Theatre); The Homecoming, My Cousin Rachel (Theatre Royal Bath); Playhouse Creatures, Churchill in Moscow, Humble Boy, Blue/Heart, The Distance (Orange Tree Theatre); Single White Female, Picture You Dead, Art, The Syndicate, Murder in the Dark, The Mirror Crack’d, Wish You Were Dead, The Circle, Looking Good Dead (National Tours).
Opera and Ballet credits include: Kirsten Flagstad (Bergen International Festival); The Limit (Royal Ballet); The Marriage of Figaro (Salzburg Festival); Miranda (Opéra Comique, Paris); Hansel and Gretel (BYO/Opera Holland Park); Scraww (Trebah Gardens).
Online includes: The System, Barnes’ People, The Haunting of Alice Bowles (Original Theatre); 15 Heroines (Digital Theatre).
Max is an Associate Artist of Orange Tree Theatre, The Faction and Silent Opera.
Awards includeOff West End Award for Sound Design for Old Bridge.
Alexia Kalogiannidis is the Movement Director. Alexia Kalogiannidis is a movement artist who works across movement direction, choreography, movement research and performance. Her practice centres on physical storytelling, character embodiment, and close observation of human behaviour. She is interested in how detailed physicality and intentional movement shape the audience’s experience by influencing the often subconscious, visual information they interpret from the body on stage.
Alexia works collaboratively with directors and performers to explore how movement can reveal relationships, inner worlds, and unspoken tensions within a narrative. Drawing from a wide range of movement practices and embodied research, she develops physical languages that are responsive to text, atmosphere and the human dynamics at the heart of a production.
She trained at London Contemporary Dance School and then went on to completing a Masters at Northern School of Contemporary Dance. Since graduating, she has worked as a freelance movement artists across the UK and Europe, contributing to projects in film, theatre, photography, and visual art.
The One For The Boys team are delighted to announce the addition of Nicole Scherzinger to the cast of their star-studded concert in London. On 1 February, the West End theatre community will come together for Love Life:West End Unites Against Cancer, a major one-night-only concert at Theatre Royal Drury Lane in support of One For The Boys, the men’s health charity working to break the silence around male cancer.
Taking place on Sunday 1 February 2026, just ahead of World Cancer Day on 4 February, this special event will unite performers, creatives, musicians and supporters for an evening of music, solidarity and storytelling featuring songs by Andrew Lloyd Webber, Stephen Sondheim, Stephen Schwartz, Lin Manuel Miranda, Alan Menken and more.
The concert will be led by musical director Alan Williams (Evita, Sunset Boulevard, Funny Girl, Crazy For You) and directed by Rupert Hands (Evita, Sunset Boulevard, Roam), bringing together a world-class creative team for the event. The creative team also includes lighting design by Peter Small, sound design by Sound Quiet Time (Rob Bettle and Sam Clarkson), and production management by JackBoissieux.
Nicole Scherzinger is a world-renowned singer, actress and performer who shot to fame as part of the girl group The Pussycat Dolls, but has since solidified her place in the spotlight through solo music, Reality TV shows and stage performances. Most recently, her performance of Norma Desmond in Andrew Lloyd Webber’s Sunset Boulevard in the West End and Broadway revivals was met with critical acclaim, earning her both the prestigious Tony and Olivier Awards for Best Actress.
Scherzinger is a long-time supporter of the One For The Boys charity, having performed at their 2016 Fashion Ball at the V&A, where she performed ‘Purple Rain’ for the first time, as well as attending their Abbey Road Karaoke in 2014 performing duets with Nick Grimshaw and Jahmene Douglas.
The concert will also feature performances and exclusive collaborations from West End theatre royalty (with more names still to come!), including Olivier Award Winners; Giles Terera MBE(Passing Strange, The Young Vic; Hamilton, Victoria Palace Theatre), Tom Francis(Sunset Boulevard, Savoy Theatre & St. James Theatre NYC; &Juliet, Shaftesbury Theatre), David Thaxton (Roam, The Shaftesbury Theatre; Sunset Boulevard, Savoy Theatre & St. James Theatre NYC).
Performing after their sell-out summer in Evita areDiego Andrés Rodriguez(Roam; The Shaftesbury Theatre; Evita, The London Palladium; Sunset Boulevard, St. James Theatre NYC), Bella Brown (Into The Woods, The Bridge Theatre; Evita, TheLondon Palladium) and James Olivas(Evita, The London Palladium; American Idiot, Deaf West Los Angeles).
They are joined byWest End stars Ramin Karimloo (Roam, The Shaftesbury Theatre; Pirates! The Penzance Musical, Todd Haimes Theatre NYC; Dirty Rotten Scoundrels; The London Palladium), Jordan Luke Gage (Titanique, Criterion Theatre; Bonnie & Clyde, The Arts Theatre & Garrick Theatre), Lucie Jones (Wicked, The Victoria Apollo, 13 Going on 30, Manchester Opera House), Ben Joyce (Shucked, Regent’s Park Open Air Theatre; Back to the Future, The Adelphi Theatre) and Melanie La Barrie(Hadestown, The Lyric Theatre; &Juliet, Manchester Opera House; The Shaftesbury Theatre; Princess of Wales Toronto & Stephen Sondheim Theatre NYC) and Christina Bennington (Heathers, Theatre Royal Haymarket; Bat Out Of Hell, Manchester Opera House, The Dominion Theatre, Ed Mirvish Theatre Toronto & New York City Centre NYC).
With even more names still to be announced in the coming weeks.
The star-studded cast will be joined onstage by a live orchestra as they perform a variety of exclusive collaborations and performances, including an exclusive preview of Redcliffe from Jordan Luke Gage, with further special performances to be announced.
Their involvement reflects the extraordinary commitment of the West End community to stand together in support of a charity whose work has resonated across the country and around the world. One For The Boys has a long history of drawing remarkable talent to its cause, with previous supporters including Sia, Nicole Scherzinger, Kylie Minogue, Adam Lambert, Paloma Faith and Mark Ronson, as well as global cultural figures such as Samuel L. Jackson, Stanley Tucci, Lewis Hamilton, Colin Firth and Margot Robbie.
This event follows the success of Love Life: Broadway Unites Against Cancer in New York this autumn, which saw the Broadway community rally behind One For The Boys’ mission.
When the concert concludes at Drury Lane, the celebration will continue with an exclusive After Party for VIP and premium ticket holders. Guests will be welcomed into a vibrant late-night setting featuring live DJ sets and appearances from performers, creating a rare opportunity for artists, supporters and industry colleagues to come together in a shared expression of solidarity, joy and purpose.
The night will raise vital funds and awareness for early detection, for open and honest conversations around health, and for the mental and emotional support needed by those living with or affected by cancer.
One For The Boys is a men’s health charity tackling one of the biggest killers of men: silence. The organisation works to encourage people to speak up at the earliest sign that something might be wrong, placing early detection, open communication and emotional support at the heart of its mission. Too many men delay seeking help due to fear, stigma or the pressure to appear strong. One For The Boys seeks to change this culture by creating spaces for honest conversation and providing clear, accessible pathways to support.
Founded in the UK, the charity has produced some of the most high-profile awareness events of the last decade, from the Fashion Ball at the V&A to the Masked Rave at Troxy, and most recently Love Life: Broadway Unites Against Cancer at Cipriani 42nd Street. Its supporters include globally recognised artists and influential figures who have helped amplify its message, contributing to a growing international movement for earlier diagnosis, better awareness and compassionate support. Across all its work, the charity’s goal remains unwavering: to turn a frightening diagnosis into a hopeful journey, one conversation at a time.
Sofia Davis, Founder & CEO, One For The Boys, said, “The silence around male cancer is costing lives. By uniting the West End for this special event, we hope to break down stigma, empower people to speak up early, and support those navigating the mental and emotional impact of cancer. The West End’s support means the world, and together we can help save lives.”
Melting Pot and Birmingham Rep co-present The Battle – a new comedy based (mostly) on real events – and today announce full casting for its upcoming Birmingham Rep(Wednesday 11 February – Saturday 7 March) and Manchester Opera House (Tuesday 17 – Saturday 21 March) dates, as rehearsals begin.
Mathew Horne (star of the beloved BBC comedy Gavin and Stacey,The Catherine Tate Show and in the West End, productions of The Tempest and Noises Off) was previously confirmed to play influential Britpop music executive, Andy Ross, caught in the crossfire of one of the most notorious rivalries in British music history.
He is joined by an exciting cast of emergent and established talent including Brandon Bendell (The Lord of The Rings:The Rings of Power, Amazon Prime) as ‘Alex’, Iona Champain (Falling, Falling Falling Falling and Earthquakes in London, Richard Burton Theatre Company ) as ‘Jo’, Harriet Cains (‘Philippa Featherington’ in Netflix’s Bridgerton) as ‘Justine’, Billy Dunmore (Surface, Apple TV) as ‘Guigsy’, Tommy Garside (Sexy Beast, Paramount+; Bodies, Netflix) as ‘Bonehead’, George Greenland (Generation Z,Channel 4, Empire of Light Neal Street) as ‘Alan White’, Oscar Lloyd (Stranger Things: The First Shadow, West End ) as ‘Damon’, Louisa Lytton (‘Ruby Allen’ in BBC 1’s Eastenders; The Girl on the Train, UK Tour) as ‘Meg’, James Oates (Waterloo Road;The Other One, BBC) as ‘Alan McGee’,
Paddy Stafford (Mojo, Redbrick) as ‘Noel’, Will Taylor (The Play That Goes Wrong, UK Tour) as ‘Graham’ and George Usher (a recent Bristol Old Vic Theatre School graduate who makes his professional debut in The Battle) as ‘Liam’,
Opening at The Rep on Wednesday 11 February, The Battle is a blistering and darkly funny exploration of fame, ego, and the cultural clashes of 1990s Britain. The Battle offers an electrifying window into a moment that defined a generation – and changed the face of British music forever. After its World Premiere at The Rep, The Battle then plays Manchester’s Opera House Tuesday 17 – Saturday 21 March.
Reliving the heady summer of 1995 when heavyweights of Britpop, Blur and Oasis, went head-to-head in the greatest chart battle of all time, The Battle is the first stage play by screenwriter and Sunday Times best-selling novelist John Niven Best known for his razor-sharp novels including Kill Your Friends and The Second Coming, John Niven brings his uncompromising voice to the stage for the first time. The Battle draws on his deep insider knowledge of the music industry, shining a satirical light on the chaos behind the cool Britannia façade. The Battle is directed by Matthew Dunster (2:22 A Ghost Story, The Pillowman).
London, 1995. Two of the country’s biggest bands release singles on the same day, commencing the battle of Britpop. On one side, clean-cut, art-school intellectuals from the South. On the other: raw and unapologetic lads from the North. Rivalries flare, friendships fracture and at the centre of it all a mania that would define an era – were you Blur or Oasis?
From the chaos of the Brit Awards to the infamous chart war, The Battle is a wickedly funny dive into one of the greatest rivalries in rock history. Featuring legendary personalities and unforgettable clashes, it was never just about the music, but power, pride, and uncontrollable competitiveness. Expect filthy language and razor-sharp dialogue in this cut-throat new comedy that puts you right at the heart of the feuding, the fame, and the fallout. Get ready to roll with it.
The creative team also includes Fly Davis as Set and Costume Designer, Jessica Hung Han Yun as Lighting Designer, Ian Dickinson as Sound Designer, Tal Rosner as Video Designer and Casting Director, Claire Bleasdale.
The Battle is produced by Melting Pot, Birmingham Rep and Gavin Kalin.
FULL CASTING ANNOUNCED FOR JEROME KILTY’S DEAR LIAR AT JERMYN STREET THEATRE
With their revival of Orphans starting performances this week, Jermyn Street Theatre today announces full casting for Jerome Kilty’s Dear Liar – adapted from the correspondence of George Bernard Shaw and Mrs Patrick Campbell. Artistic Director Stella Powell-Jones directs Rachel Pickup and Alan Turkington.
The production opens on Tuesday 10 February, with previews from 5 February, and runs until 7 March 2026 at Jermyn Street Theatre.
Director Stella Powell-Jones today said, “Dear Liar is both an epic forty-year journey – from the fin-de-siècle mood of the late nineteenth century to the German invasion of Paris – and an intensely close-up portrait of two great artists. In their own words, we see how this relationship shaped their art and their lives, revealed through letters filled with love, wit, longing, and bitter recrimination. Jermyn Street Theatre is the perfect home for this intimate epic, and it’s a rare joy to welcome Alan Turkington and Rachel Pickup back to the building—two extraordinary actors who understand the particular pleasures and demands of telling big stories on our bijoux stage. I can’t wait to get started.”
Jermyn Street Theatre presents
DEAR LIAR
Adapted for the stage by Jerome Kilty
from the correspondence of Bernard Shaw and Mrs Patrick Campbell
5 February – 7 March 2026
Press performance: Tuesday 10 February at 7:30pm
Cast: Rachel Pickup (Mrs Patrick Campbell), Alan Turkington (George Bernard Shaw)
Director: Stella Powell-Jones; Set and Costume Designer: Tom Paris;
Lighting Designer: Chris McDonnell; Composer and Sound Designer: Harry Blake;
Associate Director and Movement Director: Elliot Pritchard
1940. The Germans advance on Paris. A case stuffed with letters is smuggled to London.
Inside, a remarkable story about – and by – two remarkable people: the brilliant actress ‘Mrs Pat’ and George Bernard Shaw. They met in 1899. They made Pygmalion. World Wars started and stopped, and started again. They fell in love. They fell apart. And through it all… they wrote.
Jerome Kilty’s play reveals the extraordinary bond between these two theatrical titans. In their witty, unfiltered words, attraction collides with ambition as the world transforms around them. A play about how we change — and what we hold on to.
Jerome Kilty (1922 – 2012)was an actor and playwright whose work spans stage and screen across the US and internationally. As a playwright, his other notable works include Dear Love, The Ideas of March, The Little Black Book, and Look Away. As an actor, he appeared with companies including the American Repertory Theater and the Opera Company of Boston.
Rachel Pickup plays Mrs Patrick Campbell – she returns to Jermyn Street Theatre following her performances in The Tempest, The Odyssey, For Services Rendered, and Barefoot in the Park. Her other theatre credits include The Daughter of Time (Charing Cross Theatre), Twelfth Night, Still Life (The Mill at Sonning), Present Laughter (St James Theatre, NYC), The Merchant of Venice (Lincoln Center Festival, New York City/Shakespeare’s Globe/international tour), London Assurance, The Home Place, Breath, Play, Act Without Words, Dancing at Lughnasa, Airswimming (Irish Repertory Theatre, NYC), Intelligence (New York Theatre Workshop), and Private Lives (Hartford Stage). Her television credits include The Gilded Age, Madam Secretary, Grantchester, Dietland, Elementary; and for film, Wonder Woman, Chronic, and The Merchant of Venice.
Alan Turkington plays George Bernard Shaw – he returns to Jermyn Street Theatre following his performances in The First Man and Beowulf. His other theatre credits include Hamlet (Donmar West End), The Tempest, The Winter’s Tale, Pericles (RSC), Spook (London Performance Studios), The Lieutenant of Inishmore (Liverpool Everyman), From Here to Eternity, In the Bar of a Tokyo Hotel (Charing Cross Theatre), Very Special Guest Star (Omnibus Theatre), My Night with Reg (Turbine Theatre), Antony and Cleopatra (National Theatre), John Ferguson, Gates of Hold (Finborough Theatre), Angelic Tales – Three (Theatre Royal Stratford East), Stars in the Morning Sky (Belgrade Theatre), A Cry from Heaven (Abbey Theatre), and John Bull’s Other Island (Tricycle Theatre). His television credits include Heartstopper, Dead Hot, Gangs of London, Hollyoaks, and X Company.
Stella Powell-Jones directs. She is the Artistic Director of Jermyn Street Theatre, a role she has held since 2022 – with her tenure being marked by major milestones, including record-breaking audience numbers, a West End transfer, the theatre’s 30th anniversary, and the launch of the inaugural Women in Theatre Lab. Her directing credits for Jermyn Street Theatre include Eurydice, LittleBrother, Owners, Orlando, Parents Evening, The Play About My Dad, and Tomorrow at Noon. Further directing credits include This Is Our Youth (Playground Theatre), The Healing (Theater Breaking Through Barriers, New York), The Mystery of Love and Sex (Signature Theatre, Washington DC), and Trevor (Circle X Theatre, Los Angeles); and as Associate Director, Escaped Alone (Royal Court and International tour), and The Father (Duke of York’s Theatre and UK tour).
Book and Lyrics by Robyn Grant & Daniel Foxx Music by Tim Gilvin
The producers of the critically acclaimed musical parody Unfortunate: The Untold Story of Ursula the Sea Witchare delighted to announce the full cast performing atLondon’s The Other Palace from Friday 6 February for a strictly limited season until Sunday 5 April 2026.
Unfortunate opened at Lowry for a Christmas season on Friday 5 December, running until Sunday 11 January.
Returning to the show are Sam Buttery (The Voice, BBC; Wreck, BBC; Kaos, Netflix; Little Shop of Horrors, Sheffield Crucible Theatre; The Addams Family Concert, London Palladium) as Ursula, Allie Dart (Homo Alone, The Other Palace; 2:22 A Ghost Story, Apollo Theatre) as Sebastian & others, Blair Robertson (Mamma Mia!, UK & International Tour) as King Triton & others, James Spence (Unfortunate, UK Tour) as Eric & Others and Freya McMahon (Hairspray, UK Tour) as Ensemble.
Joining the cast are Julie Yammanee (Young Frankenstein, Hope Mill Theatre and Liverpool Playhouse; Jerry’s Girls, Menier Chocolate Factory) as Ariel plus ensemble members Jacob Whawell (Cilla the Musical, UK tour; Cats, Royal Caribbean) and Kelly Sweeney (Heathers, West End & UK tour; SIX, USA, Mexico and Caribbean).
Bigger, better, ruder and shorter, the 2026 transfer marks the musical’s fourth incarnation following two previous sold-out runs and a successful Christmas season. It will feature a brand-new set and costumes, new jokes, new characters and will play to a new running time of 2 hours and 15 minutes including one interval. Tickets are on sale now.
When Disney released The Little Mermaid in 1989, they had no idea they were giving birth to an icon. Ursula the Sea Witch quickly took her place as the queen of Disney villains: a pop culture legend and a feminist badass. She’s loud. She’s clever. She’s sexy and unapologetically plus-sized. She’s not defined by slipper-sized feet, or enchanted blonde hair, or snow-white skin. Ursula is plump, purple and proud. A queer icon with a message for us ‘poor unfortunate souls’: love the skin you’re in, value your voice over your body, and don’t be afraid to be a little bit nasty.
Cruella told her side, and Maleficent’s had her moment… Now the legendary sea witch is ready to spill in this tell-all tale of sex, sorcery and suckers – a laugh-a-minute dive through Ursula’s backstory filled with a filthy pop soundtrack, much-loved characters as you’ve never seen them before and enough (eco-friendly) glitter to keep you sparkling all the way home. Gather up your merfriends; it’s going to be one hell of a beach party.
Unfortunate first premiered with a sold out run at the Edinburgh Fringe in summer 2019, before heading to Birmingham Hippodrome’s Patrick Studio that Christmas. The show then transferred to Underbelly Earls Court in London and returned for a second sell-out Edinburgh run in 2022. In December 2023 the production returned to London for an 11-week run at Southwark Playhouse Elephant prior to a six-month UK tour in 2024. A Swedish-language production recently finished a 12-week season at Östögtateatern.
Unfortunate the musical parody has book and lyrics by Robyn Grant and Daniel Foxx, with music by award-winning composer Tim Gilvin, direction by Robyn Grant, set and costume design by Jasmine Swan, choreography by Melody Sinclair-Marsh, puppetry and movement direction by Laura Cubitt, orchestration, music production, and music supervision by Nikki Davison & Joe Davison for Auburn Jam, sound design by Ian Dickinson for Autograph, lighting design by Adam King, puppet design by Mikayla Teodoro & Jasmine Swan, puppet makes by Mikayla Teodoro, casting direction by Will Burton CDG, production management by James Anderton and associate direction by Eliza Beth Stevens. The creative associate is Allie Dart, theatrical magic consultant is Chris Cox, intimacy director is Maisie Carter, costume supervisor is Beth Qualter Buncall and props are by Props by Eve.
Unfortunate is produced by Wildpark Entertainment (Lovestuck: A New Musical, Footballers’ Wives the Musical), Runaway Entertainment (The Hunger Games on Stage, Newsies), The Vaults (Stranger Sings), Stoddart Entertainment (Heathers the Musical Australia) and Dianne Roberts (Girl From The North Country, Kathy & Stella Solve a Murder).
Website: Unfortunatemusical.com
Instagram/TikTok/Facebook @UnfortunateMusical
LISTINGS INFORMATION
Unfortunate: The Untold Story of Ursula the Sea Witch
JILL HALFPENNY TO RETURN TO THE ROYAL EXCHANGE THEATRE IN NOEL COWARD’S PRIVATE LIVES
A Royal Exchange Theatre Production
Noël Coward’s
PRIVATE LIVES
Director: Blanche McIntyre
27 March – 2 May 2026
Olivier-winning stage and screen actor Jill Halfpenny will return to the Royal Exchange Theatre in Noël Coward’s PRIVATE LIVES, playing the role of Amanda Prynne. This is Halfpenny’s second time performing at the Manchester venue, following her critically acclaimed performance in A TASTE OF HONEY in 2024. PRIVATE LIVES, Coward’s 14th production at the Royal Exchange, runs from 27 March to 2 May 2026 as part of the theatre’s 50th anniversary programme ‘A Homecoming’, which invites artistic alumni to return ‘home’ to share stories that resonate and celebrate the unique connection between artists and audiences.
This new production of Coward’s vitriol-laced classic is directed by award-winning director Blanche McIntyre, who also makes a welcome return to the Royal Exchange following her production of THE BIRTHDAY PARTY in 2013.
Halfpenny’s extensive stage credits include Paulette Bonafonté in LEGALLY BLONDE, for which she won an Olivier award, CHICAGO (West End), ABIGAIL’S PARTY (West End), WAY UPSTREAM (Chichester Theatre), IN A WORD (Young Vic) and A TASTE OF HONEY (Royal Exchange). She is also a renowned TV actress and known for her most recent roles in THE FEUD (Channel 5), DADDY ISSUES S2 (BBC), AFTER THE FLOOD S2 (Quay Street Productions / ITV), THE LONG SHADOW (New Pictures / ITV) and EVERYTHING I KNOW ABOUT LOVE (BBC 1). Most recently Halfpenny starred in the new Paramount+ psychological thriller GIRL TAKEN, released in January 2026.
Jill Halfpenny said: ‘The Royal Exchange has always had a special place in my heart, so I am delighted to be returning to the theatre to celebrate its 50th anniversary season. Private Lives perfectly showcases Noël Coward’s genius, and I can’t wait to step into Amanda’s feisty shoes to bring this classic comedy caper to life.’
The creative team includes Designer, Dick Bird; Lighting Designer, Johanna Town; Sound Designer, Gregory Clarke; Fight Director, Philip d’Orleans and Casting Director, Annelie Powell CDG, who will bring this Coward classic to life on the Royal Exchange’s iconic stage.
In Noël Coward’s savage comedy, there’s nothing a cocktail can’t cure as lovers battle to get the upper hand. Wit has never been so razor sharp and passion has never looked so brutal.
In PRIVATE LIVES, sparks fly on a honeymoon from hell and sexual chemistry is always only a heartbeat away from an explosion. Loved for their sparkling dialogue and art deco glamour, Noël Coward’s plays remain as funny and insightful as when they were written.
Further casting will be announced in due course.
LISTINGS
ROYAL EXCHANGE THEATRE St Ann’s Square, Manchester, M2 7DH Box Office: 0161 833 9833 / royalexchange.co.uk
A HOMECOMING 2026 – 2027 Tickets from £12
A Royal Exchange Theatre Production
Noël Coward’s PRIVATE LIVES Director: Blanche McIntyre Designer: Dick Bird Lighting Designer: Johanna Town Sound Designer: Gregory Clarke
Fight Director: Philip d’Orleans Casting: Annelie Powell CDG
Tickets from £12 27 March – 2 May 2026
Access Performances Captioned (C) Performances: 18 April, 2.30pm and 7.30pm
Sensory Adapted (SA) Performance: 28 April, 6.00pm Audio Described (AD) Performance: 29 April, 2.30pm BSL-Interpreted (BSL) Performance: TBC
Carlos Acosta’s Nutcracker in Havana is an inspired fusion of Latin and European culture, but also of traditional and modern theatrical technique. From the outset, we are transported to La Habana via the use of video and projections as part of the set created by award-winning designer Nina Dunn (Lazuli Sky, The Damned United, Don Quixote). Blending contemporary presentation with classical performances works to embellish well-established stage productions with a vibrant and compelling visual feast that is truly mesmerising, and this example is an astounding display of what can be achieved. The capacity to present otherwise unobtainable perspectives as well as the scope and variety of landscapes is fully exploited here by Dunn, bringing everything from the deepest jungle to snow in La Habana.
In addition, the familiar score has been re-arranged by composer Pepe Gavilondo Peón to include Cuban rhythms, which brilliantly turns up the energy without diminishing the beauty of Tchaikovsky’s original work. Its tempo is a fitting accompaniment to the phenomenal athleticism of the performers; Acosta Danza are joined by several guest artists in this performance and not only provide a level of energy to compete with any cinematic event, but also veil their obvious strength with all the supreme grace and elegance a night at the ballet has ever promised. There is a dizzying range of technique and style throughout, perfectly creating the mood and narrative for every scene, be it the raucous joy of a family reunion or the cultivated refinement of a palace ball. Particularly memorable performances are given by the dolls Oshun, Chango and Soldadito, played respectively by Carolina Monteagudo, Paul Brando and Alexander Arias with masterful control of movement. Also notable throughout was the performance of Brandy Martinez, whose energetic interpretations of both Fritz and the Russian dancer are breathtaking. Of course, the combination of strength and featherlight grace are embodied by the performance of the piece’s Sugar Plum Fairy, here performed flawlessly by Annette Delgado.
A thoroughly dignified performance of the magician, Tío Elías Drosselmeyer, is given by Alexander Verona (Push, Still Current, Flux), as his character orchestrates the myriad of events. His costume brings all the sparkle of the Christmas season, setting the bar for the spectacular variety of costume design across all the characters; undoubtedly a feather in the cap for costume designer Angelo Alberto.
On reading the programme, we learn how the whole production is infused with symbolism honouring the history and life of Acosta’s native Cuba; the performance is truly an homage to the resilience of the island’s population, where Christmas has been quite a recent addition to their calendar, added thanks to the visit from Pope Jean Paul II in 1998. Other curious elements revolve around the use of the maypole, which Acosta tells us was introduced to Cuba by the British in 1880 and enjoyed by enslaved people on the rare occasion they were allowed opportunities to dance. Also, the design of the hats worn by the Mambises in the ‘battle scene’ are representative of those worn by those who fought for independence from the Spanish for 30 years.
All in all, this production is a thrilling kaleidoscope of colour, magic and joy underpinned by an outstanding creative edge. Although some might question the jarring imagery of a white prince in the midst of such a fabulously diverse cast, it is a minor point that cannot be permitted to detract from an absolutely spectacular performance. Definitely one not to be missed on its current UK tour.
