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Nottingham Theatre Royal – until Saturday 16 May 2026

Reviewed by Louise Ford

5*****

Bold, stylish and dramatic just as you would imagine Anne Lister to be in real life.

Heading to the Theatre Royal on a frankly wet and cold evening I had time to ponder how the story of Anne Lister could be depicted on the stage through a ballet. Well never in my wildest imaginings could I have expected such a modern and strong telling of a story which only came to light when Anne’s diaries, partly written in code, were deciphered after her death. Although the more scandalous parts were not published until 1988, over a hundred years after she died. The story was brought vividly to life by Sally Wainwright in 2019 for BBC television. Sally also acted as creative consultant on this production.

Anne Lister lived at Shibden Hall, near Halifax. Which is only a stone’s throw away from the home of Northern Ballet in Leeds. So it seems only fitting that this excellent Company should take on the story of an (in) famous Yorkshire woman.

The story weaves together Anne Lister’s business and personal life. The story was brought to the stage by the choreographer Annabelle Lopez Ochoa. The costumes are by Louise Flanagan. The set and lighting design are by Christopher Ash.

Peter Salem’s score is an absolute delight. It is expertly performed by the Northern Ballet Sinfonia, conducted by Daniel Parkinson. The music is an outstanding mix of folk melodies and more traditional ballet music,which enhances and develops the story.

So to the main character Anne Lister; she book ends the production,standing defiantly centre stage in her top hat, slicked back hair, tail coat and silver topped cane. The tail coat flashes its silky green lining as she moves across the stage. The sheer athleticism and strength of Nina Aydinoğlu is awesome. She owns the stage and is a seductive presence. I particularly liked the knowing look and the hat-brim touch (borrowed from the TV series), to the audience, as she leaves the stage.

The story charts Anne’s two main loves Marianne delicately performed by Sarah Chun and in the second half of Ann Walker a flirtatious Julie Nunès. They both contrast beautifully with the masculine strength and presence of Anne Lister.

On the whole the stage is minimally furnished,simple curtains and a chandelier denote the drawing or ball rooms,the outside scenes are projected within three or four mobile screens which travel around the stage,the industrial sites by simple wooden structures. The starkness of the stage allows the ensemble to fill the space with life and dance. Whether this is the group of industrialists performing a tight “male” dance,the miners performing a variation on a morris men’s dance or the chorus of words swirling around as Anne endlessly writes her diary entries.

Curve Theatre, Leicester – until 16 May 2026

Reviewed by Leanne W

4****

Based on the 1992 film of the same name, The Bodyguard musical follows Frank Farmer (Adam Garcia), a former Secret Service agent turned professional bodyguard, who is hired to protect superstar Rachel Marron (Sidonie Smith) from an unknown stalker. Rachel is a headstrong diva who initially resists Frank’s rigid security protocols, viewing them as a hindrance to her career and lifestyle. As the threats from the stalker become more lethal, the professional ice between Frank and Rachel melts, leading them into a love affair. The tension peaks at the Academy Awards, where Frank must make the ultimate sacrifice to save Rachel’s life before they ultimately realise their paths must diverge.

Opening the show is a silhouetted backstory of Farmer, though it was not totally clear who was being depicted, it certainly gripped the audience. Next we are transported to a Rachel Marron gig, complete with distorted bass, flashing lights and pyrotechnics. Smith’s vocals show a real strength and ably mimic the power of Whitney Houston’s voice as she belts out ‘Queen of the Night’. Several times throughout the performance we witness these show-like performances and all are done extremely well creating a real sense of attending a concert. Direction and choreography here show the strength of Thea Sharrock and Karen Bruce respectively. 

One issue I felt with this adaptation is that it appears to sacrifice character nuance in order to showcase the musical numbers. While Rachel Marron is granted some complexity through her dual role as a mother and a target, the supporting cast frequently felt like archetypes rather than fully realised people. By leaning heavily into the “jukebox” format, the script leaves little breathing room for the quiet, internal moments that might explain a character’s motivations, resulting in a narrative where the emotions sometimes felt lacking. The stalker (James-Lee Harris) was reduced to a looming shadow to maintain tension, which removed understanding of his obsession beyond a surface-level “villain” trope. 

Tim Hatley’s set and costume design and use of Neutral Curtains provided a versatile “blank canvas” that allowed the audience to focus on the performers without distracting clutter. The use of dynamic lighting successfully transformed the mood from a cold, high-security mansion to the explosive energy of a world tour. However, some of the projections felt, at times, out of place, as did the use of sudden, loud sound when the Stalker arrived at the cabin where the Morran family were hiding out, the loud bang resulted in laughter and destroyed any hope of creating tension. 

All in all, The Bodyguard serves as a high-octane celebration of Whitney Houston’s peerless discography and the cinematic legacy of the original film. While the narrative occasionally favors spectacle over deep character development, the production’s clever use of staging and brilliant lighting creates an atmosphere that frames the music perfectly.

Despite a few personal niggles, the show ultimately succeeds as a visual and audial delight. For fans of the movie and those who want to hear some great pop hits performed with powerhouse energy, it is an immersive, nostalgic experience that hits all the right notes.

Sadler’s Wells Theatre – until 16 May 2026

Reviewed by Phil Brown 

4****

It goes without saying that Still Pointless, a  25th anniversary show, is virtually an obligatory event for fans of the BalletBoyz.  But, for any fan of dance – classical or contemporary – not already acquainted with the BalletBoyz oeuvre, this superb retrospective (with one new piece) is an absolute must-see.

The genesis of the BalletBoyz adventure is fascinating.  It goes back to the 1997-1999 renovation of the Royal Opera House.  Two principal dancers with the Royal Ballet – Michael Nunn and William (Billy) Trevitt – with an interest in film and photography, took the opportunity to produce a behind the scenes video diary of the process.  Meanwhile, the venue closure and associated career uncertainty also led to the momentous decision to resign from the Royal Ballet and pursue more original, less traditional works of ballet.  Free of the Royal Ballet, they took the finished film to Channel 4 who wanted to air it as Michael & Billy’s Royal Ballet, but eventually launched it as a four part series called BalletBoyz establishing virtually overnight a major entertainment brand.    

With considerable panache, Nunn and Trevitt then launched their first pioneering show called Pointless at the Roundhouse in October 2001 featuring the choreographic work of Russell Maliphant, Bill Forsythe and Paul Lightfoot.

Hence the self referential tongue in cheek title of this show.  With the Roundhouse venture leaving them broke, Still Pointless celebrates an improbable triumph in the world of the arts thanks to perseverance, risk taking, persuasive fundraising and artistic vision.

Having retired from performing, Nunn and Trevitt act purely as artistic directors of the BalletBoyz enterprise.  They don’t choreograph – they commission admired choreographers and composers to create works for their all-male-presenting company of dancers, well named the Talent.  While there are featured dancers, there is no star ranking.   It is very much an ensemble and one in peak condition, yet nearly every one of the ten dancers had a solo or duet during the evening.  In an insightful post performance discussion, they say they refrain from interfering with choreographic decisions, preferring to place certain constraints on the creatives from the outset to focus minds.  As a result, the dance and music seem to bleed into each other to fashion deeply transfixing multi-sensory experiences.

Still Pointless consists of a fine selection of nine works created mostly over the last 15 years, nicely sequenced and cleverly linked by short often humourous recorded conversations and cinéma vérité that relieve the incredible intensity of the stamina testing performances sustained over 2 hours (with interval).   

Part 1 kicks off with the very first BalletBoyz work – Maliphant’s duet Critical Mass dating from 1998 (actually performed on the night by Nunn and Trevitt).  This is followed by Motor Cortex an impressive new work by one of the company Seirian Griffiths, Xie Xin’s beautiful Ripple, Maliphant’s Fallen, and Ivan Perez’s Young Men.  

For me the stand out works were the gently beguiling Ripple mimicking the motion of bodies of water, and the powerful Young Men – a group of young soldiers in an unending cycle of combat and death.  With consistently subdued lighting and largely ambient music or sound samples employed throughout the first part, there are hints of sameness to the three other works which, while wonderfully fluid and fluently performed, are reminiscent of training drills for martial arts or dojo routines. 

The four works in Part 2 offer more variation, less industrial ambient sound and generally something closer to traditional dance steps, in particular Liam Scarlett’s Serpent, and Christopher Wheeldon’s wonderful duet Us.  Maxine Doyle’s Bradley 4.18 examines the different aspects of a man’s personality set to a mashup of cocktail lounge and free jazz whilst Javier de Frutos’ Fiction which closes the show, explores an imaginary scenario of the choreographer’s death before the premiere of his latest work.  It features all ten dancers performing around a single steel barre combining emotional scenes of mourning with high-energy movement, including a memorable, energetic finale dance to Donna Summer’s Last Dance.

The success of BalletBoyz seems incredible to contemplate given the risks Nunn and Trevitt have taken in their careers.  In the post show discussion, they admit to a fearlessness born of not fully appreciating what was involved when they first started.  This show demonstrates beyond doubt how that fearlessness has paid off in consistently producing artistic excellence across a vast array of collaborations.  They should be proud – Still Pointless is a triumph.

Whilst there would be no BalletBoyz without Nunn and Trevitt, the true stars of this show are without question the ten outrageously gifted, athletic, sinewy and fabulously lissome dancers of the Talent – Joshua Attwood, Dan baines, Paris Fitzpatrick, Seirian Griffiths, JJ James, Dylan Jones, Benji Knapper, Luigi Nardone, Kai Tomioka, and Yasset Roldan.

Far from being pointless, this show proves that BalletBoyz was built on a purpose and that purpose remains undiminished.

Hull New Theatre – until 16th May 2026

Reviewed by Dawn Bennett

5*****

There was only twelve episodes of Fawlty Towers filmed for the BBC back in 1975/1976. I must have seen each episode dozens of times. I was introduced to it, at 9 years old, by my grandma who adored all things “Python”, and I soon loved it too. John Cleese’s adaptation of his own television series (co written with Connie Booth) is nothing short of brilliant. It wasn’t just a rehash or copy of the television series. It was a mixture of The Hotel Inspectors, The Germans, Communication Problems and if I’m not mistaken a little bit of Basil the Rat (It’s a hamster!). It was an hilarious show, brilliantly acted and fast paced.

Normally, you don’t get to see the set until the curtain goes up, but we were treated to Liz Ascroft’s fabulous 1970s-inspired hotel from the outset. In full view were the reception area, the dining room one of the hotel bedrooms the hotel sign (which changed its name after the interval!)

Danny Bayne is superb as the bad-tempered hotel owner, Basil Fawlty. His physical comedy is spot on, and he embodies the character so completely that even a look or a slight bend of his body had the audience in stitches.

Mia Austen is fabulous as Sybil Fawlty. She captures Sybil’s voice and mannerisms perfectly.

Joanne Clifton is perfectly cast as Polly Sherman. Her throwaway remarks land beautifully, and her chemistry with Manuel adds an extra spark.

Hemi Yeroham is a delight as Manuel. His impeccable comic timing brings the bumbling waiter to life.

Paul Nicholas is terrific as the always-forgetful Major, delivering the show’s best-loved lines with ease. Jemma Churchill is equally strong as the very hard-of-hearing Mrs Richards, making every misunderstanding count.

The whole cast deserve a huge round of applause, and the production is funny, chaotic, and brilliantly performed. I’ve rarely seen a play staged so seamlessly: the movement is slick, the timing is pinpoint, and every cue is hit.

Even if you’ve never seen Fawlty Towers, this is an excellent night out and one I’d wholeheartedly recommend.

THE ARTS AT MARBLE ARCH | POWERED BY TODAYTIX – FIRST DETAILS REVEALED OF NEW 594-SEAT WEST END VENUE

COMMERCIAL PARTNERSHIPS ANNOUNCED WITH TODAYTIX AND MIROMA LEISURE

TICKETS ON SALE NOW FOR BE LIKE BLIPPI! AND BURLESQUE THE MUSICAL, WITH A MAJOR NEW SHOW ANNOUNCEMENT COMING SOON FOR OPENING IN JULY

https://www.artsatmarblearch.com

Producers Louis Hartshorn and Brian Hook today announce further details for The Arts at Marble Arch powered by TodayTix, a brand-new 594-seat theatre venue set beside the world-famous Marble Arch, between Oxford Street, Hyde Park and the West End.

HH Productions also today announces strategic partnerships with TodayTix and Miroma Leisure, both of whom will play integral roles in the future success and operation of the venue.

TodayTix will provide the box office and premium customer ticketing experience for the venue, alongside integrated marketing technology designed to enhance customer relationship management and audience communications.

Miroma Leisure joins the project as food and beverage consultants, with menu development and customer experience at the heart of their partnership with the venue.

Created by HH Productions, The Arts at Marble Arch powered by TodayTix is a fully accessible, 594-seat, fully air-conditioned theatre featuring a 17-metre-wide stage, two bars and a 14-seat hospitality box. The venue has been designed with sustainability at its core and is currently scheduled to occupy the Marble Arch site until 2028.

Using bespoke modular construction and innovative design, the theatre is fully portable and can be reconstructed in future locations, with an anticipated lifespan of more than 20 years. The structure has been designed to offer a long-term, sustainable model for commercial theatre presentation in high-footfall locations.

Powered by TodayTix, the new venue has been conceived as a major destination for commercial entertainment in central London, bringing ambitious cultural programming to one of the capital’s most prominent public spaces.

Brian Fenty, CEO of TodayTix Group adds, “London continues to set the pace for live entertainment globally, and we see The Arts at Marble Arch powered by TodayTix as an important investment in its future. It’s an opportunity to support bold programming, reach new audiences, and deepen the connection between fans and live theatre.”

As previously announced, the programme will begin this summer with a season of Be Like Blippi! From 5 – 23 August, before welcoming the previously announced West End premiere of Christina Aguilera’s Burlesque the Musical from 12 September, playing until 31 January 2027.

Further announcements will be made shortly, including the first production that will officially open the venue in July.

As the historic Arts Theatre reaches its centenary year and prepares for major redevelopment works at its original home on Great Newport Street, The Arts at Marble Arch will continue its legacy of presenting ambitious commercial entertainment in the heart of London.

Louis Hartshorn and Brian Hook of HH Productions said, “The Arts at Marble Arch powered by TodayTix represents an exciting new chapter both for the Arts Theatre and for commercial entertainment in London.

We wanted to create a future-facing venue in one of the capital’s most iconic locations — a theatre designed for audiences, producers and partners alike: accessible, adaptable, sustainable and capable of hosting world-class entertainment at scale.

We are hugely grateful to Westminster Council, Reed Watts, Osmo Projects, all of the subcontractors involved, and the entire HH Productions team for helping bring this ambitious project to life. This is only the beginning for The Arts at Marble Arch, and we are incredibly excited for audiences to discover the production that will officially open the venue in July – watch this space!”

Website: www.artsatmarblearts.com

Twitter & Instagram: @artsatmarblearch

The Arts at Marble Arch powered by TodayTix – images

A Sheffield Theatres Production in association with Blackpool Grand Theatre

SHEFFIELD THEATRES ANNOUNCE CASTING FOR
SUMMER HOLIDAY THE MUSICAL
Stage adaptation by Michael Gyngell and Mark Haddigan
Based on the film directed by Peter Yates, screenplay by Ronald Cass and Peter Myers

Directed by Elizabeth Newman and Ben Occhipinti 

Sheffield Theatres in association with Blackpool Grand Theatre have today announced casting for their upcoming co-production of Summer Holiday The Musical directed by Sheffield Theatres Artistic Director, Elizabeth Newman and Ben Occhipinti (The Brenda Line, Gypsy, The Secret Garden).

The cast includes Fanta Barrie (The Ministry of Lesbian Affairs) as Barbara, Jim Duah (Good Golly Miss Molly) as Edwin, Ava Duncan (A Bit of Roll Play – Tramway)as Ensemble, Charlie Hale (Come From Away) as Swing, Nis Raza Hamiliton (The Railway Children) as Angie, Robin Harris (Much Ado About Nothing – Shakespeare North)as Steve, Matthew James Hinchliffe (The Lion, the Witch and the Wardrobe) as Al, Damian Humbley (Stephen Sondheim’s Old Friends) as Jerry, George Jones (Witness For The Prosecution) as Don, Elliot Mackenzie (The Curious Case Of Benjamin Button) as Cyril, Jane McCarry (Still Game – BBC)as Stella, Isaac Savage (SCOTS) as Ensemble, Tolia Uwalaka (Wham! The Show) as Swing and Trudy Ward (Gypsy – Pitlochry Festival Theatre) as Mimsie.

The iconic 1960s film is now the feel-good musical of the year!  Aboard a double decker bus, Don and his friends are on a fun-packed trip to Paris, The Alps, Italy and Greece, in search of a good time and a brilliant summer. On the way they encounter pop bands, runaway pop stars and of course holiday romance. Especially adapted for Sheffield and featuring classic hits such as Summer Holiday, The Young Ones and Living Doll, Summer Holiday really is the happiest of all the musicals. 

Sheffield Theatres Artistic Director and Co-Director of Summer Holiday, Elizabeth Newman and Co-director Ben Occhipinti said: “For us, Summer Holiday is pure joy – full of freedom, adventure, music and heart. We’re incredibly excited to bring a fresh new energy to this iconic musical and create a production that feels vibrant, uplifting and bursting with life.”

Adam Knight, Chief Executive of Blackpool Grand Theatre, said: “We’re thrilled to be partnering with Sheffield Theatres and look forward to welcoming Elizabeth Newman and Ben Occhipinti’s outstanding cast to Blackpool Grand from 29 July to 8 August. Summer Holiday is set to be the standout productions of our season, and we can’t wait for audiences to share in its joy, energy, and sheer feel-good spirit.”

The full creative team are: Co-Directors Elizabeth Newman and Ben Occhipinti, Set and Costume Designer Amanda Stoodley, Musical Director Richard Reeday, Movement Director Lesley Hutchison, Lighting Designer Rory Beaton, Sound Designer Tom Marshall, Associate Director Eilidh Gibson, and Casting Director Arthur Carrington CDG. 

Stage adaptation by Michael Gyngell and Mark Haddigan. Based on the film Summer Holiday, directed by Peter Yates, screenplay by Ronald Cass and Peter Myers and by special arrangement with StudioCanal. Orchestrations by Keith Strachan. Presented by arrangement with Music Theatre International on behalf of Josef Weinberger Limited.

Summer Holiday opens at the Crucible, Sheffield from Saturday 20 June and runs until Saturday 18 July. The production then transfers to Blackpool Grand Theatre from Wednesday 29 July – Saturday 8 August. 

Diana: The Untold and Untrue Story makes triumphant
London and Edinburgh Fringe return!

Awkward Prods’ royal hit is back both in London and at the Edinburgh Fringe due to diconic demand, following its sold out NYC run this year. The show, that sees Linus Karp as the People’s Princess, is heading to London’s Arcola Theatre 6-11th July, followed by its return to the Edinburgh Fringe where it plays at Underbelly George Square, for the final week of the festival 24-30th August.

Awkward Prods’ multiple award-winning, Edinburgh Fringe 2023 sell-out show Diana: The Untold and Untrue Story became an immediate cult hit with UK audiences for its unique audience participation and staggeringly camp portrayal of the royals. The show has won an OffFest Award for Best Play and the prestigious LAURA Award and has enjoyed four UK Tours, sell-out runs in London and New York, and a World Tour across four continents. The show features special multimedia appearances from a cast including Geri Allen (Oh Mary!), Zina Badran (Doctor Who), Jeanna de Waal (Diana: The Musical) and Rob Madge (My Son’s a Queer), the latter voicing Mother Teresa.

Through a comedic and unhinged lens, the show highlights Diana’s ground-breaking stances on social and queer issues and allows her to finally speak her (un)truth and break free from the monarchy. Told by Diana from heaven, Diana: The Untold and Untrue Story is “so much more than just a show. It’s an experience. It’s a lifestyle. It is the moment” (The Reviews Hub – ★★★★★)

Awkward Prods was created by Linus Karp and Joseph Martin to bring ridiculous genre-mixing comedy, niche pop culture references, audience participation and queer joy to the stage.

Diana is currently enjoying a UK and Ireland tour, alongside Awkward Prods’ latest show The Fit Prince (who gets switched on the square in the frosty castle the night before (insert public holiday here)). At the Edinburgh Fringe she will also be joined by a highly anticipated new show from Awkward Prods called Linus Karp Was Hit With An Umbrella, about the real life hate crime Linus was a victim of.

Their past shows include Gwyneth Goes Skiing and how to live a jellicle life: life lessons from the 2019 hit movie musical ‘Cats’. These shows have all achieved sold-out runs, toured the UK extensively, received international media coverage and won awards. An Awkward Prods shows isn’t performed for you, it’s performed with you – making each one unique.

Linus Karp, the show’s writer, director and Diana comments “I am Di-lighted that people love Diana and this show as much as I do. Looking forward to a diconic summer at Arcola and Underbelly.”

Social media @awkwardprods #UntrueDiana
https://www.awkwardprods.com

Praise for Diana: The Untold and Untrue Story:
Outrageous Triumph – Edgar Wright
An unhinged, gay fantasia – Playbill
★★★★★★ An endless amount of non-stop laughter – Jack The Lad
★★★★★ Serving c*** – Attitude
★★★★★ A masterclass – The Skinny
★★★★★ The most unhinged piece of theatre in existence – Broadway Baby
★★★★★ Perfectly imagined and brought to life on stage with vision and heaps of silliness – The National

York Theatre Royal – until 14 May 2026

Reviewed By Sal E Marino

5*****

At York Theatre Royal, Jesse North is Broken proved to be an absorbing, emotionally raw and deeply compassionate piece of theatre, both written and performed by the exceptionally talented Martha Godber. Brilliantly directed by Millie Gaston (and produced by the John Godber company),  this powerful one-woman play introduces us to Jesse, a 25-year-old carer whose life on the surface appears to be fast-paced and fun as she and runs on the mantra “work hard, play harder”. However, under her show of bold bravado, within Jesse, we find a much more vulnerable and ‘broken’ soul than she first presents … 

From the opening moments, Jesse feels authentic – lively, a little chaotic and immediately likeable. She genuinely cares for her clients and approaches her work with tenderness, patience and humanity. Yet we start to learn that the emotional burden of caring takes its toll, and Jesse survives through the ritualistic escapism of nights out in Hull. Godber captures this world brilliantly — the “pres” (pre-drinks that is) with her best friend Jimmy, the careful selection of an outfit, the anticipation of the clubs, the determination to “pull” and find connection, validation or simply oblivion for a few hours.

What makes the writing so effective is the way these nights out are portrayed not as glamorous rebellion but as necessity. Jesse is almost programmed into the cycle, chasing release wherever she can find it. On this particular evening, despite it being Jimmy’s birthday, she leaves him behind after meeting someone early in the night, driven by that relentless need for escape. The evening then spirals into disaster, regret and the crushing reality of a hangover with a work shift beginning in just two hours.

Godber’s performance is extraordinary throughout. Alone on stage, she shifts seamlessly between humour, vulnerability, intoxication, shame and exhaustion. Her comic timing is sharp and natural, especially in the nightclub sequences, yet beneath the laughter there is an aching sadness. Jesse’s self-destructive behaviour is never judged by the play; instead, it is understood as the symptom of someone emotionally overwhelmed and desperately trying to cope.

The final section of the production is devastating in its simplicity. We watch Jesse visit an elderly client and suddenly the chaotic young woman from the night before becomes calm, attentive and full of warmth. Godber reveals Jesse’s innate kindness so beautifully that the audience cannot help but reassess any assumptions they may have formed about her. This is a young woman some may dismiss as irresponsible or reckless, yet in these moments she becomes exactly the person you would want caring for someone you love.

That contrast is what gives Jesse North is Broken its emotional force. The play asks us to look beyond easy judgement and recognise the pressures placed upon carers, especially young working-class women expected to endlessly give of themselves while receiving little care in return. By the end, the audience understands Jesse’s need for release completely — but also hopes she might one day learn to look after herself with the same compassion she offers others.

This was an outstanding piece of contemporary theatre: funny, heartbreaking and fiercely humane. Martha Godber announces herself not only as a gifted performer but as a writer with tremendous empathy, insight and emotional intelligence. Jesse North is Broken lingers long after the curtain falls.

NATIONAL THEATRE LAUNCHES LANDMARK NATIONWIDE PARTNERSHIP TO BOOST ACCESS TO THEATRE ACROSS EVERY REGION OF ENGLAND

• National Theatre Nationwide demonstrates significant commitment to touring, with investment from Arts Council England to fund major tours transferring directly from the National Theatre’s stages with their original cast
• First tour under new partnership will be The Rise and Fall of Little Voice starring Francesca Mills, Jill Halfpenny and Paul Chuckle
• Initiative described as “a real statement of intent” and  “shared mission to make outstanding theatre more accessible to audiences everywhere” by partners

The National Theatre today announcesNational Theatre Nationwide: a new landmark partnership with 12 leading theatres in all nine regions of England dedicated to ensuring parity of access to art and culture, enriching people’s lives – wherever they live.

The network is envisioned as a cornerstone for a more connected, resilient and accessible National Theatre that is present across the nation, with different facets of the scheme to be developed over time subject to funding, with a clear ambition to grow the impact of the model.

Today’s announcement, as the first initiative for the network, centres on the partners’ shared, deep commitment to boosting the touring ecology. This includes touring National Theatre productions direct from its London stages, with original cast, to venues in all English regions, supported by Arts Council England. In addition, there will be subsidised tickets and new schools touring productions around the country.

National Theatre Nationwide addresses one of the key challenges to achieving parity of access: the decline in the number of touring productions around the country. Recent research from Arts Council England shows that the number of plays touring England has fallen by 64% since 2019. 

The partnership proudly brings together the expertise and reach of theatres across England to address this. Belgrade Theatre in Coventry, Birmingham Hippodrome, Leeds Heritage Theatres, Curve, Leicester, Lowry in Salford, Marlowe Theatre in Canterbury, Newcastle Theatre Royal, Norwich Theatre, Sheffield Theatres, Southampton Mayflower, Theatre Royal Plymouth and Theatre Royal, Nottingham join together to form a new network with the National Theatre.

The details include:

• One major main stage production will now tour annually, directly from the National Theatre to partner venues: giving audiences immediate access to the shows with the original cast, backed by investment from Arts Council England over the next two years
• Original and annual National Theatre-commissioned tours for schools, offering children and young people vital first encounters with curriculum-relevant theatre.
• Targeted and subsidised ticket funding for tours to break down barriers to entry and build new audiences for theatre across the country.

The first main stage production to tour under National Theatre Nationwide with its original cast will be a new production of Jim Cartwright’s modern classic The Rise and Fall of Little Voice directed by Deputy Artistic Director, Robert Hastie. The Rise and Fall of Little Voiceis a joyful, tender and bittersweet celebration of music, ambition and the courage it takes to be heard featuring iconic music from the likes of Judy Garland, Shirley Bassey, and more.

Following its run at the National Theatre from 2 December 2026 until 23 January 2027, the show will embark on a tour across England with the following partners in the Nationwide network: opening at Newcastle Theatre Royal (3-6 February 2027) and then touring to Sheffield Theatres (9–13 February 2027), Belgrade Theatre, Coventry (16-20 February 2027), Lowry, Salford (23-27 February 2027), Marlowe Theatre, Canterbury (2-6 March 2027), Theatre Royal Plymouth (16-20 March 2027). Additionally, The Rise and Fall of Little Voice will also tour to Wolverhampton Grand Theatre (9-13 March 2027).

Joining Francesca Mills (Silent Witness, BBC), who will play the title role of Little Voice, will be Olivier Award-winning actress, Jill Halfpenny (The Long Shadow, ITV) and BAFTA Award-winning actor, Paul Chuckle (The Madam Blanc Mysteries, Channel 5), who will play the roles of Mari Hoff and Mr Boo, respectively.  Further casting will be announced soon.

Director Robert Hastie is joined in the artistic team by set and costume designer Janet Bird, lighting designer Paul Pyant, sound designer Mike Walker, composer and music director David Shrubsole, voice coach Shereen Ibrahim with casting by Alastair Coomer CDG.

Tickets for The Rise and Fall of Little Voice will go on sale from midday on Thursday 21 May 2026 with some venues going on sale at a later date.  Please visit the NT’s website for further details: nationaltheatre.org.uk.

A different NT main stage show will be touring to the other members of the Nationwide network in late spring 2028. 

In addition, a new Nationwide schools touring programme will deliver original, curriculum-linked productions directly into a range of primary and secondary schools and local venues each year.

The first, in autumn 2026, sees writer Nima Taleghani join director Hannah Hauer-King to create anadapted version of a main stage production especially for schools,following  Bacchae’s debut at the National Theatre as part of Indhu Rubasingham’s inaugural season. This modern retelling of Euripides’ ancient Greek tragedy will be brought to life through rhythm, movement and music.

The tour will visit secondary schools and colleges across the country, working with the following partners in the Nationwide network throughout 2026: Marlowe Theatre in Canterbury (28 Sep – 2 October), Norwich Theatre (5-9 October), Birmingham Hippodrome (12-16 October), Wolverhampton Grand Theatre (19-21 October), Belgrade Theatre, Coventry (22-23 October), Newcastle Theatre Royal (2-6 November), Theatre Royal, Nottingham (9-13 November), Lowry in Salford (16-21 November) including public performances at the Quays Theatre on 20-21 November and Sheffield Theatres (23-27 November).

The second, in a co-production with the Unicorn Theatre, the UK’s leading theatre for young people, is The Last Wild – a new version for primary school and family audiences adapted by Jude Christian from the award-winning eco-thriller by Piers Torday. It will be directed by the Unicorn Theatre’s Artistic Director Rachel Bagshaw, opening at the Unicorn Theatre from 30 January – 7 March 2027. Packed with action, heart and humour, The Last Wild is an epic adventure about courage, friendship and fighting for a world worth saving. The production is creatively captioned and will go on a national tour with the following partners in the Nationwide network through 2027: Theatre Royal Plymouth, Mayflower Studios in Southampton, City Varieties Music Hall in Leeds, Lowry in Salford, Curve, Leicester, Belgrade Theatre, Coventry and Newcastle Theatre Royal. The primary touring performances are free for all schools thanks to Hearn funding.

Kate Varah, Executive Director & Co-Chief Executive of the National Theatre said:

“Today’s announcement is rooted in the National Theatre’s overarching commitment to ensure people across the nation can experience and benefit from our work and impact. Fresh analysis, supported by McKinsey, highlights that the National Theatre puts £241m back into the UK economy each year, £87m of which already flows into regional economies. This new Nationwide partnership will deepen and grow that contribution, not only ensuring the long-term resilience of theatre but crucially, supporting local communities and businesses, schools, teachers and their students, the growth of future audiences, and engendering pride in place.

“What better way to launch this partnership with 12 outstanding partners than with a strong commitment to touring between all of our venues, seeing modern classic The Rise and Fall of  Little Voice shared with audiences across England, alongside our schools productions of Bacchae and The Last Wild. Together with our new Nationwide partners, we are grateful to Arts Council England for this significant and timely investment in the touring ecology, recognising the vital role it plays in widening access to live performance; as well as the many existing National Theatre supporters  whose generosity makes the range and breadth of this work possible.”

Hannah Lake, Director, Touring Transformation, Arts Council England said:

“Touring plays a crucial role in our cultural landscape, ensuring people can access the very best art and culture close to where they live. This innovative new partnership bringing work directly from the renowned National Theatre stages to major theatres across every English region, alongside an extensive programme engaging young people in theatre through schools productions does just that, which is why we are so pleased to be supporting it. Our research shows a decline in drama touring in recent years and we hope this significant investment, in addition to our own work of reimagining how best we can support touring, including the development of a new Touring Service, will work to combat that and grow audiences for the future”.

Supporting quotes from National Theatre Nationwide partners:

Emma Flatley, Interim CEO, and Corey Campbell, Artistic Director at Belgrade Theatre said:

“It’s genuinely exciting to be one of the regional theatres working with the National Theatre. This partnership is perfectly aligned with our mission to bring shows of the highest quality to the Belgrade to sit alongside our varied programme of touring shows and the new productions we create with our communities here in Coventry. We’re delighted that our audiences will have the opportunity to see all this amazing work here at their local theatre.”

Jon Gilchrist, Artistic Director & CEO of Birmingham Hippodrome,said:

“Establishing a regular schedule of world-class National Theatre productions will enable us to create a long-term plan for audience development, fully integrated with our learning and participatory programmes.

“We are deeply committed to the belief that people in our region deserve access to large-scale, world-class productions here in the West Midlands.  This partnership with the National Theatre is a vital step on that ongoing mission and fully respects the regional and organisational differences that each venue on the tour will have, thereby engaging with audiences in a more meaningful way.”

Vicky Cheetham, CEO at Leeds Heritage Theatres said:

“Leeds Heritage Theatres is excited to be part of National Theatre Nationwide, opening up opportunities for audiences across Leeds and West Yorkshire to experience work from our national stages closer to home. We are especially pleased to bring productions to both Leeds Grand Theatre and, through the schools tour, City Varieties Music Hall. This initiative helps us connect more people with great theatre – locally and nationally – ensuring that world-class work is accessible beyond London”.

Chris Stafford, Chief Executive of Curve said:

“We are delighted to be collaborating once again with the National Theatre to bring this new nationwide programme to Leicester, building on the success of Theatre Nation Partnerships. Together with theatres across the country, we share a mission to make outstanding theatre more accessible to audiences everywhere.

“At Curve, we are deeply committed to ensuring everyone can experience high-quality work, and we are grateful to Arts Council England for their support in helping make this programme possible.”

Julia Fawcett CBE, Chief Executive, Lowrysaid:

“We are delighted to continue our long-standing relationship with the National Theatre through this ambitious new Nationwide partnership. At a time when large-scale touring faces significant challenges, this investment in audiences and young people in our regions is both welcome and important.

“At Lowry, we know there is a real appetite for bold, high-quality drama and for creative opportunities that inspire communities and open pathways into the arts. This partnership creates exciting opportunities not only to bring exceptional productions to Greater Manchester, but also to deepen engagement with schools, young people and audiences across our region.

“We look forward to working with the National Theatre and partners across England to help ensure great theatre can be experienced by more people, wherever they live.”

Deborah Shaw, Chief Executive, Marlowe Theatre said:

“We’re thrilled to be part of the National Theatre’s major regional partnership. Kent audiences are hungry for great theatre and this new initiative gives them the exciting opportunity to see productions coming straight from the National Theatre’s stage to ours, on a regular basis. It is a brilliant reflection of the National Theatre’s commitment to being a company for the whole country. And for the next generation to have specially created work from the National performing in their schools and colleges will be a tremendous investment in the future as we champion bringing creativity back into the classroom.”

Marianne Locatori, Chief Executive at Newcastle Theatre Royal said:

“We’re delighted that Newcastle Theatre Royal is an inaugural partner of the new National Theatre Nationwide, strengthening our role as a cultural hub for the North East, ensuring more people experience outstanding theatre close to where they live.

“Launching the national tour of The Rise and Fall of Little Voice direct from the National Theatre is a real statement of intent of our ambition for audiences in Newcastle and beyond, and we’re equally excited to take Bacchae and The Last Wild into local schools and community spaces to provide a shared theatre experience for students and families. Together, this partnership with the National Theatre connects world-class theatre productions with local learning, participation and opportunity, ensuring the benefits are felt right across our region.”

Wendy Ellis, Creative Programmes Director at Norwich Theatre said:

“We know that for some students, their first encounter with a live performance is at school, and it can be a defining moment that shapes their lifelong relationship with the arts. That is why our partnership with the National Theatre is so important to bring high-quality productions like Bacchae directly into schools in our region.”

Tom Bird, Chief Executive and Elizabeth Newman, Artistic Director at Sheffield Theatres said:

“We are thrilled to be a partner in the National Theatre’s Nationwide project. At Sheffield Theatres, we are passionate about our longstanding relationship with the National Theatre and the opportunities this collaboration creates for artists, participants, audiences and communities across the country. Being part of NT Nationwide celebrates the strength of national organisations working in partnership together and we cannot wait to create and share even more world-class theatre together here in Sheffield.”

Michael Ockwell, Chief Executive, Southampton Mayflower said:

“We are delighted to be partnering with the National Theatre on this new nationwide scheme which will ensure high quality theatre is accessible to the people of Southampton. As part of this scheme, we will first present The Last Wild at Mayflower Studios which will be ideal for family audiences and primary school-aged children. We look forward to working with the National Theatre and are excited by the opportunities that this partnership will offer.”

James Mackenzie-Blackman, Chief Executive and Artistic Director at Theatre Royal Plymouth said:

“The National Theatre Nationwide partnership is truly just that, because we have built it together. Over the course of the last 12 months the team at the NT have invited their regional partners alongside them, to firstly listen to the challenges and opportunities of better collaboration in touring, and then to support the co-design of what now becomes NT Nationwide. 

“All of us at TRP look forward to welcoming The Rise and Fall of Little Voice and The Last Wild to the South West peninsula and collaborating with the National Theatre to deepen our engagement with new and established audiences and with schools and families. The ambitions of this programme are not insignificant but I’m confident that together we can achieve a major step-change in how touring in England is developed and celebrated.”

Rebecca Morris, Heritage & Learning Partnerships Manager at the Theatre Royal & Royal Concert Hall Nottingham said:

“At the Theatre Royal & Royal Concert Hall, we’re delighted to be part of the National Theatre’s Nationwide partnership programme and proud to be bringing this work to schools across Nottingham and the wider region. Our recent collaboration on Dear England benefited multiple schools and demonstrated the impact of connecting young people with nationally significant theatre, archives and NT practitioners, enriching curriculum learning and ensuring that young people from across the region encountered nationally significant theatre as part of their education.

“Building on this work, welcoming the Bacchae schools tour to Nottingham feels like an exciting next step in enabling even more students to engage with ambitious, high‑quality theatre where they learn and live, and reflecting our excitement at being part of a place‑rooted National Theatre partnership.”

START YOUR ENGINES!

HIGHLY ANTICIPATED WORLD TOUR ANNOUNCED

FOR THE CRITICALLY ACCLAIMED NEW PRODUCTION OF

INITIAL VENUES CONFIRMED

OPENING IN LEICESTER IN MAY 2027

tour.starlightexpress.com

★★★★★
“Lloyd Webber’s Blockbuster is out of this world.” 
“Jaw dropping.”
The Daily Telegraph 

“A neon fever dream you’ll watch with your mouth open. Extraordinary.”
Independent

Michael Harrison for Lloyd Webber Harrison Musicals today confirms initial dates and venues for the highly anticipated world tour of Andrew Lloyd Webber’s STARLIGHT EXPRESS.

The beloved musical made a triumphant return to London when the new production opened to widespread critical acclaim at Troubadour Wembley Park Theatre in June 2024. It went on to win multiple awards, including an Olivier Award and a record-breaking seven WhatsOnStage Awards, and became London’s longest running revival of an Andrew Lloyd Webber musical in 20 years.

This thrilling new production has been redesigned for theatres across the UK and beyond, bringing all the spectacle and high-speed energy of the London production to your doorstep. Opening in Leicester at Curve from 9 – 22 May 2027, the world tour of STARLIGHT EXPRESS will then tour to Liverpool, Glasgow, Sunderland, Birmingham and Southampton, with many more cities still to be confirmed and further information on dates in Canada and Australia to be announced soon.

For more details on tour venues and tickets, please visit tour.starlightexpress.com

Michael Harrison said: “We are absolutely thrilled to be launching this major new tour of STARLIGHT EXPRESS. Andrew Lloyd Webber’s extraordinary score, combined with the show’s unique sense of spectacle, exhilaration and heart, continues to captivate audiences across generations. This exciting new production builds on everything people love about the show, featuring a dynamic new set design by Tim Hatley. It’s going to be an unmissable theatrical event, pulling into a station near you.”

Seen by over 30 million people across the world, STARLIGHT EXPRESS is an electrifying experience for all ages. Feel the rush as an incredible cast whizzes by 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’.

Casting is still to be announced for the world tour ofSTARLIGHT EXPRESS,which has music by Andrew Lloyd Webber and lyrics by Richard Stilgoe. This new production is directed by Luke Sheppard, with set designs by Tim Hatley, costume designs by Gabriella Slade, lighting designs by Howard Hudson, sound designs by Gareth Owen, new orchestrations by Matthew Brind with Andrew Lloyd Webber, and music supervision by Matthew Brind and David Andrew Wilson. Choreography is by Ashley Nottingham and Arlene Phillips is creative dramaturg for the production.