At The Grand Theatre, Laura Wade’s sparkling reimagining of Somerset Maugham’s The Constant Wife proves that a century-old comedy of manners can still feel incisive, relevant, and utterly delightful.
Wade relocates us to the Roaring Twenties, a moment when the echoes of the suffragette movement still ripple through society and, in the aftermath of World War I, the first real shoots of female independence are beginning to emerge. It’s a world on the cusp of change—where women are starting to work, to think beyond domestic confines, and to quietly challenge the long-standing expectation that their sole purpose is to serve husband and family.
At the centre of it all is Constance Middleton, played with exquisite poise by Kara Tointon. She appears to have everything: a successful surgeon husband, a beautiful home, a child away at school, and—most intriguingly—a degree of personal freedom, including work and outings to the theatre with her old flame Bernard Kersal (Alex Mugnaioni). But Wade cleverly invites us to question this picture-perfect life. Is it luck? Or something far more calculated—a secret within a secret?
Tointon is perfectly cast as the “perfect wife”: beautiful, elegant, and utterly charming. Yet it is in contrast to those around her that she truly dazzles. Her husband John Middleton (Tim Delap) is deliciously insufferable—an arrogant, self-serving snob whose duplicity knows no bounds—while her best friend Marie-Louise Durham (Gloria Onitiri) is a wonderfully hapless and vapid “princess.” Their ghastliness only serves to make Constance shine brighter; we are drawn to her composure, her intelligence, and the quiet steel beneath her grace.
The supporting cast enrich this clash of old and new values. Sara Crowe as Mrs Culver, Constance’s mother, embodies a staunchly traditional view of marriage and love, while her other daughter Martha (Amy Vicary-Smith) acts as a sharp foil, voicing a more modern, feminist perspective. Their exchanges neatly capture a society in transition. Other supporting cast roles, Philip Rham as Bentley the butler and Jules Brown as Mortimer Durham play their parts solidly and add a further layer to the dramatic narrative.
Director Tamar Harvey crafts a wholly believable world of middle-class life, brought vividly to life by Anna Fleischle’s elegant Art Deco-inspired set. The atmosphere is further enriched by the smooth, evocative incidental jazz of Jamie Cullum, which drifts through the production and anchors it firmly in its era. Wade’s script, brimming with wit, draws beautifully on Maugham’s acid-tongued irony while sharpening its modern resonance.
Ultimately, The Constant Wife is exactly what it sets out to be: delightful. Delightful in its performances, its design, and its razor-sharp writing. And in that sense, it remains entirely faithful to Maugham’s own belief that “literature is an art and art is for delight.” A hundred years on, this production proves just how enduring—and how entertaining—that philosophy can be.
Nottingham Theatre Royal – until Saturday 18th April 2026
Reviewed by Louise Ford
4****
The Crime is murder
Is Agatha Christie having a revival? To be fair, I’m not sure that she has ever gone away, fashions change and interpretations of her work and the emphasis sometimes explore darker themes, but in essence they are jolly good whodunnits! Yes, back to my favourite theme, the cosy crime. Well, the clue is in the title, we are in Egypt and there has been a death.
In some ways, the problem with staging a book (or probably a film adaptation) as well-known as Death on the Nile is that everyone already knows whodunnit. So the trick to success is to bring something new or interesting to the production. In last night’s production, it was the glorious staging. The story was adapted for the stage by Ken Ludwig and lovingly directed by Lucy Bailey. The set design is by Mike Britton, with minimal fuss and distraction. We are effortlessly moved between the soirée at the British Museum and the gloriously opulent SS Karnak. I did wonder how the Nile would be recreated in Nottingham. The lighting is designed by Oliver Fenwick, and it creates both mood and drama. The Nile is reflected in the shadows and reflections. The lighting is enhanced by the sound, designed by Mic Pool. There is a gentle lapping of the water and animal cries, as well as the shocking gunshots.
Alongside the set are the glorious costumes, Sarah Holland. We are firmly set in the late 1920s, in an era entranced by Tut-mania. The stunning evening gowns, the tailored suits and the linen suits all evoke a bygone age. The inclusion of a fabulous golden mummy adds to the glitz of the story.
In this production, there is a vein of humour which brings the audience in and breaks the fourth wall. At times, the actors address the audience directly to express their frustrations or fears. The storylines of the minor characters add to the plot and build up the tension. A few red herrings are uncovered along the way.
The production retains the main characters from the original book but has pared back some of the scenes and characters. The whole production moves at quite a pace. I cannot believe that I have got so far into this review without mentioning everyone’s favourite Belgian (not French) detective, Hercule Poirot. In the production, Poirot is played by Mark Hadfield. Poirot is presented as a dapper chappie with a modest moustache and a slight Belgian accent! He has a great stage presence and his friendship and interactions with Colonel Race (Bob Barrett) are playful. They have great chemistry. Colonel Race is everyone’s affable uncle.
For me, the star of the show was Salome Otterbourne, played by Glynis Barber. Her costumes are glorious and whilst she’s clearly on the make and is quite happy reinventing herself, she is also amusing and has a strong stage presence. Her daughter Rosalie (Camilla Anvar) is not as sophisticated as her mother but is in her own way on the make with her pursuit of Ramases Praed (Nicholas Prasad).
Whilst Poirot is undoubtedly the main draw, the three individuals in the love triangle provide good, strong performances. As well as having some outstanding costumes. Jacqueline De Bellefort (Esme Hough), as the spurned lover looking for revenge, is perhaps a little melodramatic, but adds to the mix. The object of her love is Simon Doyle (Nye Occomore), who is quietly handsome but hapless in equal measure. The brash American heiress, Linnet Ridgeway, is perfectly played by Libby Alexandra-Cooper.
So all in all, an enjoyable evening’s entertainment which doesn’t require us to overuse our little grey cells.
GOLDEN BUCKET AWARDS LINE-UP AND NEW DATE FOR WEST END FLEA MARKET
Theatrical charity Acting for Others today announces Alice Fearn, Raj Ghatak, Kim Ismay, Su Pollard and Ben Stock as presenters for this year’s Golden Bucket Awards, with a special performance by Sooz Kempner. The event, hosted by Carl Mullaney, takes place at Prince of Wales Theatre on Tuesday 21 April.
The Golden Bucket Awards celebrate all of the supporters and fundraisers who have helped the charity raise vital funds over the past year, through bucket collections, the West End Flea Market and a variety of events throughout the year. The Award categories include Fabulous Fundraising, Fantastic Front of House, Behind the Scenes Star, Special Recognition Award and the Golden Bucket Awards for 1st, 2nd and 3rd place for the theatres that raised the most during the annual theatre collections.
Also, in the Acting for Others calendar, the 6th annual West End Flea Market will now take place on Saturday 25 July in its usual home at St Paul’s Church and Churchyard, Covent Garden, from 10am – 2pm.
Early bird tickets will be on sale at a later date, with details to follow. General admission tickets will also be available on the day of the Flea Market, priced at £5 entry.
Top West End shows come together for this special event, with each production hosting a uniquely designed stall packed with theatrical memorabilia, signed items, and opportunities for selfies and autographs. Stalls are individually curated to celebrate its show, featuring themed merchandise and exclusive limited-edition collectables.
The coveted Best Dressed Stall will be judged by a star-studded panel, with the winner announced live at the event. This year’s judges, participating West End stars, and shows will be revealed soon.
Cahoots NI and Buxton Opera House, in association with New 42 and the New Victory Theater, today announce the full cast and creative team for their World Premiere adaptation of The Sorcerer’s Apprentice, a visually spectacular family theatre experience blending live magic, original music, imaginative storytelling, and stunning puppetry. This brand-new production runs at Buxton Opera House from Tue 2 – Sat 6 Jun (Gala Night: Thu 4 Jun), followed by a New York engagement in early 2027.
Returning to Buxton Opera House are Jennifer Hague (The Elves and The Shoemaker, Sleeping Beauty, Sweeney Todd) as Marit, Philippa O’Hara (The Vanishing Elephant) as Gunda, James Grimm (The Vanishing Elephant) as Dad, and Iris Schmid (The Vanishing Elephant) as Puppeteer. Making their Buxton debuts are Orla Gormley as Mum, Nimshi Kongolo as The Sorcerer, and Christina Nelson as Miss Fumble.
The creative team includes Charles Way (Writer), Paul Bosco McEneaney (Director), and Helen Foan (Puppetry Designer and Director), with music produced by Score Draw, songs composed by Fiona O’Kane, and a score by Fiona O’Kane and Neve Hutchinson.
The production is designed by Diana Ennis (Set and Costume Design), Guy Barrett (Illusion Design), Simon Bond (Lighting Design), and David Morgan (Prop and Set Design). The technical and production team includes Bethany Tays (Audio Engineer), Ross McDade (Production Manager), Amy Smyth (Stage Manager), and Declan King (On Stage Technician).
Set in a world of enchanted forests, snowy skies, and dancing northern lights, the show follows Gunda, an ordinary schoolgirl who discovers an extraordinary power hidden within and must face fierce competition for the chance to become The Sorcerer’s Apprentice.
This production of The Sorcerer’s Apprentice is made possible through the generous support of Arts Council England and Culture Ireland.
Karaoke classics belt out as we take our seats in the shabby but welcoming Sun Inn for Kit Withington’s tender meditation on grief, ageing and growing up, Heart Wall.
Dripping water from an unfixed roof is immediately unsettling and we know Franky’s return to her hometown isn’t going to be a jovial, fly-by visit. Withington’s writing is terrifically crafted, not a line or moment wasted as it cleverly drops the crumbs, allowing the audience to make our own deductions on this troubled family.
Rowan Robinson plays Franky like a coiled spring as she makes a surprise visit from London after a year’s absence only to find that nothing is the same. Her pet rabbit is missing, her parents are cagey and her old friends seem to have new lives. She’s needy, desperate to move on but haunted by a past of secrets that no one wants to share.
Franky’s relationship with dad Dez – Deka Walmsley is brilliant as he attempts to mask his entrenched pain – is a convincing blend of ribbing and concern while in between arguments about clothing and decluttering, Franky and mum Linda, played with world weary precision by Sophie Stanton, find time to share a precious moment singing The Pretenders hit Brass in Pocket.
Katie Greenall’s direction is well-paced, leaning into charming comic moments that affectionately send up England’s north-south divide and giving space for the talented supporting cast of Olivia Forrest as Charlene and Aaron Anthony as Valentine to shine. Forrest’s performance is knockout.
Staging by Hazel Low is understated yet powerful and the use of water to bring about the final catharsis is masterful. I won’t spoil it, see it for yourselves, and keep an eye on this rising star playwright, Kit Withington.
A tense, powder keg of honest emotion tempered with karaoke and sambucca.
Cameron Mackintosh, in association with Nick Grace Management, is delighted to announce the principal cast for the forthcoming Grand Finale of Boublil and Schönberg’s LES MISÉRABLES THE ARENA CONCERT SPECTACULAR.
After a record-breaking two-year World Tour, the acclaimed show will play its final dates in Dublin, Birmingham, London’s Royal Albert Hall and New York’s Radio City Music Hall between May and August this year. Final tickets are now released for Dublin and Birmingham. A limited number of seats will be released for performances at London’s Royal Albert Hall, at a later date Having extended due to phenomenal demand, all performances are now on sale for the limited season at Radio City Music Hall.
* * * * “A BLOCKBUSTER ON STEROIDS WITH AN ATMOSPHERE BETWEEN A ROCK CONCERT AND A FOOTBALL MATCH. A HYPNOTIC AND VIRTUOSO PRODUCTION” THE TIMES
An all-star cast comes together to celebrate the final performances. Please see Listings sections below or visit LesMis.com for casting per venue. The ‘stars in their multitudes’ include:
Alfie Boe as Jean Valjean
Over the course of 15 years Alfie Boe has played the role of Jean Valjean, first to huge acclaim in the 25th Anniversary Concerts before reprising it in the West End and on Broadway, and more recently in the World Tour.
Killian Donnelly as Jean Valjean
Ireland’s very own Killian Donnelly started as a Swing in the London production before becoming one of the world’s most celebrated Jean Valjeans in the West End, around the UK and more recently in the World Tour.
Gerónimo Rauch as Jean Valjean
Originally from Argentina where he was in the Ensemble of Les Mis, Gerónimo Rauch played Jean Valjean in Madrid, for which he won Best Leading Male Performance at the Spanish Musical Theatre Awards before starring in the West End production and more recently in the World Tour.
Bradley Jaden as Javert
Bradley Jaden played Enjolras in the 2019 sell-out Staged Concert run at the Gielgud Theatre before taking over the role of Javert when Les Mis opened the rebuilt Sondheim Theatre as well as the 40th Anniversary season.
Jeremy Secomb as Javert
Jeremy Secomb played Javert during the run of the original West End production and more recently around the world.
Samantha Barks as Fantine
Samantha Barks played the role of Eponine in the hugely successful feature film of Les Misérables alongside Hugh Jackman and Russell Crowe, as well as the 25th Anniversary Concerts at the 02 Arena.
Katie Hall as Fantine
Katie Hall played Cosette in the 25th Anniversary Concerts at the 02 Arena, as well as Fantine in the West End, including the 40th Anniversary season.
Matt Lucas as Thénardier
Beloved British actor Matt Lucas played Thénardier in the 25th Anniversary Concert at the 02 Arena, as well as in the West End and most recently in Australia.
Australian Theatre legend Marina Prior originated the role of Cosette in Australia and in the unforgettable first Concert of Les Mis in Sydney’s Domain Park, attended by 125,000 people. She joined the World Tour company as Madame T in Australia and reprised the role in the 40th Anniversary season at the Sondheim Theatre last year.
Helen Walsh as Madame Thénardier
Helen Walsh has played Madame Thénardier around the UK and Ireland, Taiwan, Manila, Singapore and Zurich as part of the World Tour.
Jac Yarrow as Marius
Jac Yarrow played Marius in the 40th Anniversary West End season last year and in the World Tour.
Beatrice Penny-Touré as Cosette
Beatrice Penny-Touré played Cosette in the World Tour and the 40th Anniversary season in the West End.
Shan Ako as Éponine
Shan Ako first rose to fame as Éponine in the sell-out Staged Concert at the Gielgud Theatre before reprising the role in the West End, including the 40th Anniversary season.
Christian Mark Gibbs as Enjolras
Christian Gibbs is currently playing Enjolras to great acclaim on the US National Tour.
“THIS SUPERB PRODUCTION MARCHES ON!” THE TELEGRAPH
Producer Cameron Mackintosh said, “I am absolutely delighted to announce a wonderful line up of international Les Misérables stars who will be appearing during the grand finale dates of the Les Mis Arena World Tour in Dublin, Birmingham, the Royal Albert Hall in London and Radio City Music Hall in New York during late spring and summer this year.
Les Mis fans will have a brilliant choice of their favourite performers – though many performances are already sold out. Les Mis hasn’t played the Royal Albert Hall since the legendary 10th Anniversary Concert and is one of the only stage musicals in history to play the iconic Radio City Music Hall. The almost two-year run of the spectacular World Tour has played nearly 400 performances in 30 cities and broken box office records across the globe – don’t Miz out on the last remaining tickets!”
“DO YOU HEAR THE PEOPLE SING? I DID, AND IT WAS MAGICAL” THE GUARDIAN, AUSTRALIA
LES MISÉRABLES THE ARENA CONCERT SPECTACULAR will play the 3Arena, Dublin(Friday 29 May – Saturday 6 June 2026), Utilita Arena Birmingham (Thursday 11 – Sunday 14 June 2026), London’s iconic Royal Albert Hall (Thursday 18 – Sunday 21 June 2026) and New York’s legendary Radio City Music Hall for a strictly limited three-week run (Thursday 23 July – Sunday 9 August 2026) where it will conclude its World Tour .
*At these performances, the role of Thénardier will be played by Luke Kempner who has played the role in the West End production and most recently on the World Tour.
THURSDAY 11 – SUNDAY 14 JUNE 2026
UTILITA ARENA BIRMINGHAM
CASTING
Jean Valjean – Killian Donnelly and Gerónimo Rauch
Javert – Bradley Jaden and Jeremy Secomb
Thénardier – Matt Lucas
Madame Thénardier – Helen Walsh
Fantine – Samantha Barks
Marius – Jac Yarrow
Éponine – Shan Ako
Cosette – Beatrice Penny-Touré
Enjolras – Christian Mark Gibbs
THURSDAY 18 – SUNDAY 21 JUNE 2026
ROYAL ALBERT HALL, LONDON
CASTING
Jean Valjean – Alfie Boe, Killian Donnelly and Gerónimo Rauch
Javert – Bradley Jaden and Jeremy Secomb
Thénardier – Matt Lucas
Madame Thénardier – Marina Prior
Fantine – Samantha Barks
Marius – Jac Yarrow
Éponine – Shan Ako
Cosette – Beatrice Penny-Touré
Enjolras – Christian Mark Gibbs
THURSDAY 23 JULY – SUNDAY 9 AUGUST 2026
RADIO CITY MUSIC HALL, NEW YORK
CASTING
Jean Valjean – Alfie Boe, Killian Donnelly and Gerónimo Rauch
Operation Mincemeat at the Lyceum Theatre Sheffield is nothing short of outstanding – a razor sharp, brilliantly executed production that has the audience captivated from the very first moments.
The first class cast delivers phenomenal performances across the board to bring to life the extraordinary and true story of Operation Mincemeat – a crazy but genius plan conjured up by MI5 in WW2 to trick Hitler and the Nazis. Holly Sumpton shines as Ewen Montagu (Monty – an arrogant and upper class fast-tracked Naval Intelligence officer), matched perfectly by his foil character, Sean Carey’s superbly timed Charles Cholmondeley. Jamie-Rose Monk as Johnny Bevan (and others) and Charlotte Hanna-Williams as Jean Leslie (and others) bring versatility, many laughs and energy while Christian Andrews as Hester Leggatt (and others) demonstrates his exceptional range. Hester became my favourite character as Andrews injected such poised dignity into this unassuming, comical and lovable character. The seamless switching between characters is executed with astonishing precision – slick, fast and effortlessly clear. Like the real-life operation, clarity is not easy with this complex tale but, the way the team pulls it off is mesmerising.
Written by David Cummings, Felix Hagan, Natasha Hodgson and Zoe Roberts, the show is a masterclass in storytelling. It’s fast-paced yet never confusing, delivering its intricate narrative through funny and clever songs with clarity and wit. Within the first ten minutes, it’s obvious why this production has earned its claim as one of the best-reviewed shows in West End history – those five star accolades are more than justified.
The acting, dancing and comic timing are simply sensational. Every-beat lands perfectly with countless laugh-out-loud moments that keep the audience engaged throughout. Not a second feels wasted – each scene flows into the next, maintaining a relentless, exhilarating momentum.
Visually the production is just impressive. Ben Stones’ set and costume design are inventive and striking, complemented beautifully by Mark Henderson’s lighting. Under the musical direction of Sam Sommerfield, every note is delivered flawlessly, while Jenny Arnold’s choreography adds another layer of precision and energy. Directed by Robert Hastie, the entire production feels tightly crafted and bursting with life!
The finale is a full-on, high energy spectacle – glitzy, bold and delightfully reminiscent of Mel Brooks-style extravagance. Operation Mincemeat is sensational, leaving a lasting impression that will stay with one for years to come!
In Operation Mincemeat, every dance step, sung note, every perfectly delivered quip is utterly flawless! A truly unforgettable theatrical experience.
Grand Opera House York – until Saturday 18th April 2026
Reviewed by Michelle Richardson
5*****
Grand Opera House York is hosting York Stage’s production of the smash hit, Olivier and Tony Award winner, Come From Away. York Stage, led by Artistic Director and Producer Nik Briggs, unites local and professional talent to deliver high-quality musicals.
Written by Irene Sancoff and David Hein, Come From Away is based on real-life events that occurred as 9/11 was unfolding. With hundreds of flights, from all over the world, in the air being diverted out of American airspace, thirty eight planes landed in Gander, Newfoundland. Grounded for five days the local population virtually doubled in size.
While passengers remained confined to their planes, the local community quickly organised emergency shelters in schools, gyms, halls, and churches. Donations of clothing, food, medicine, and toiletries poured in. Passengers, kept unaware of outside events for hours, only grasped the situation when finally allowed to disembark, after strict security measures.
The islanders found themselves dealing with crowds of bewildered, frightened people trying to contact their families, stunned by the news. Locals cooked huge amounts of food and, when storage began to be a problem, turned the town’s ice rink into a massive refrigerator.
Threaded throughout the show are the experiences of those impacted by this event. Town Mayor, Claude (Richard Billings), steps up, uniting the community with the help Oz (Chris Wilson), the local policeman, teacher Beulah (Emily Hardy), Gander native Bonnie (Claire Morley), is concerned about the welfare of any animals left on the plane, dogged in her determination that they not be forgotten, and Janice (Megan Day) is the local news reporter, a rookie on her first day on the job. Beverley (Jacqueline Bell) is one of the pilots, the first female American Airlines captain, Hannah (Jessica Gardham), a mother who is desperately trying to contact her New York firefighter son. We get to glimpse a burgeoning romance between the very British Nick (Stu Hutchinson) and Texan Diane (Lana Davies), and the deterioration of another between Kevin T (Grant McIntyre) and Kevin J (Faisal Khodabukus). Theo Mayne, known for his appearance on the Traitors, created the biggest laughs on the night as Captain Bristol.
Come From Away is an energetic, almost entirely sung through musical, packed with musical numbers, with rapid storytelling and distinctive movement, choreographed by Danielle Mullan Hill. The cast of nineteen seamlessly switches between multiple roles, filling the stage with enthusiasm from start to finish, with music sitting at the heart of the piece. The ensemble features Emily Davis, Adam Gill, Eleanor Grady, Sarah Jackson, Kelly Kiernan, Rebecca Stevenson and Adam Thompson.
The band, led by Musical Director Stephen Hackshaw, played throughout from opening number, Welcome to the Rock, which bursts into life on the stage, you can feel the beat pulsing throughout the theatre, to the emotional I Am Here. They performs alongside the cast at the edge of the stage, as well as accompanying the cast intermittently. The musicians were outstanding and enhanced the incredible cast. Come From Away is a musical built on people, on the stories they carry and the kindness they extended. This production is fresh, full of vitality, energy, it will make you laugh and bring a tear to your eyes, but most importantly it is about rousing spirit, how people come together in the face of adversity, just what the world needs at the moment. The cast captured that spirit superbly and thoroughly deserved the standing ovation.
Although I hadn’t seen Come From Away before, I’d heard great things about it. After seeing this production I would jump at the chance to see it again and again. York Stage has once again delivered a fantastic show, consistently exceeding expectations with their productions. I urge everyone to go and see this York Stage production now at the Grand Opera House. Best be quick as tickets are selling fast.
AND THE CRITICS’ CIRCLE AWARD FOR BEST NEW MUSICAL
THE CRITICALLY ACCLAIMED SMASH-HIT PRODUCTION
PADDINGTONTM THE MUSICAL
EXTENDS UNTIL FEBRUARY 2028
★★★★★
“Is it possible to give a show six stars?”
Metro
★★★★★
“A marmalade flavoured masterpiece”
Daily Mail
With PADDINGTONTM The Musical winning 7 Olivier Awards, 9 WhatsOnStage Awards and the Critics’ Circle Award for Best New Musical, producers Sonia Friedman Productions, STUDIOCANAL and Eliza Lumley Productions on behalf of Universal Music UK today announce that the critically acclaimed smash-hit production extends through until 13 February 2028. Best availability for tickets is now from Winter 2026.
★★★★★
“Paddington The Musical will conquer the world”
The i Paper
Paddington The Musical won seven Olivier Awards at last night’s ceremony, equalling the number of wins for any musical – winning Best New Musical, Best Director for Luke Sheppard, Best Actor in a Musical for James Hameed and Arti Shah, Best Supporting Actor in a Musical for Tom Edden, Best Supporting Actress in a Musical for Victoria Hamilton-Barritt, Best Set Design for Tom Pye and Ash J Woodward, and Best Costume Design for Gabriella Slade and Tahra Zafar – the latter, who designed the bear. The production also received nine WhatsOnStage Awards equalling the record for the most wins in WhatsOnStage Award history – and the most for any new musical. The production won Best New Musical; Best Professional Debut Performance for Timi Akinyosade; Best Direction for Luke Sheppard; Best Set Design for Tom Pye; Best Costume Design for Gabriella Slade and Tahra Zafar; Best Sound Design for Gareth Owen; Best Wigs, Hair and Make-Up Design for Campbell Young Associates; Best Musical Supervision/Direction for Matt Brind; and Best Casting Direction for Natalie Gallacher CDG for Pippa Ailion and Natalie Gallacher Casting, Nick Hockaday and Annabelle Davis. Additionally last month, the production won the Critics’ Circle Award for Best New Musical.
Sonia Friedman Productions, STUDIOCANAL and Eliza Lumley Productions on behalf of Universal Music UK present
Credit: Johan Persson
PADDINGTON THE MUSICAL
MUSIC AND LYRICS BY TOM FLETCHER BOOK BY JESSICA SWALE
DIRECTED BY LUKE SHEPPARD
Based on A Bear Called Paddington written by Michael Bond and the film ‘PADDINGTON’, by special arrangement with STUDIOCANAL
★★★★★
“A triumph. A love-letter to kindness, inclusion and family”
Daily Express
Current cast: Timi Akinyosade (Tony), Amy Booth-Steel (Lady Sloane), Tarinn Callender (Grant), Delilah Bennett-Cardy (Judy Brown), Adrian Der Gregorian (Mr. Brown), Tom Edden (Mr Curry), Brenda Edwards (Tanya), Amy Ellen Richardson (Mrs. Brown), James Hameed (Paddington Voice and Remote Puppetry, and Young Man), Victoria Hamilton-Barritt (Millicent Clyde), Teddy Kempner (Mr Gruber), Bonnie Langford (Mrs Bird), Arti Shah (Paddington On-stage performer), in the role of Jonathan Brown Joseph Bramley, Leo Collon, Stevie Hare and Jasper Rowse, and Alternate Paddington On-stage Performers Abbie Purvis and Ali Sarebani; with Esme Bacalla-Hayes, Tiago Dhondt Bamberger, David Birch, Aimée Fisher, Jacqueline Hughes, Kellianna Jay, Sam Lathwood, Natasha Leaver, Katie Lee, Sunny Lee, Vicki Lee Taylor, Jáiden Lodge, Andilé Mabhena, Rose Mary O’Reilly, Ben Redfern, Hugo Rolland, Simon Shorten and Hassan Taj
Credit: Johan Persson
Matt Brind (Musical Supervisor, Orchestrations and Arrangements), Ellen Kane (Choreographer), Tom Pye (Scenic Designer), Gabriella Slade (Costume Designer), Tahra Zafar (Paddington Bear Designer), Neil Austin (Lighting Designer), Gareth Owen (Sound Designer), Ash J Woodward (Video Designer and Animation), Campbell Young Associates (Hair, Wig & Make-Up Designer), Majid Adin (Illustration and additional Animation), Laura Bangay (Musical Director), Natalie Gallacher CDG for Pippa Ailion and Natalie Gallacher Casting (Casting Director), Nick Hockaday (Young Persons’ Casting Director), Annabelle Davis (Paddington Casting Director), Javier Marzan (Physical Comedy Consultant), Tobago Crusoe and Felix Ruiz (Additional Music Consultants)
★★★★★
“London needs this musical now more than ever”
Radio Times
Join us for a rather wonderful adventure.
Hold on to your hats! PADDINGTON The Musical is now playing in London’s West End.
When a small, lost bear from Peru arrives in London in search of a new home, a chance encounter with the Brown family leads him to the wonderful world of Windsor Gardens.
But London isn’t all afternoon teas and friendly faces – and even the happiest families have their cracks beneath the surface. So when a mysterious and vengeful villain sets her sights on Paddington, the Browns embark on a thrilling rescue mission, realising they need this special bear as much as he needs them.
Packed with show-stopping songs, dazzling choreography, mishaps and mayhem at every turn – and of course, marmalade sandwiches – PADDINGTON The Musical is based on the iconic characters from Michael Bond’s books, with a story inspired by the award-winning 2014 film.
Michael Bond’s A Bear Called Paddington was published in 1958 by Collins, later Harper Collins – the first of 29 Paddington books he was to write, with the final one Paddington at St. Paul’s, published posthumously in 2018. The books have sold over 35 million copies worldwide.
Paddington has been adapted for television several times – first by the BBC in 1976; and most recently adapted by STUDIOCANAL who have produced three Emmy Award-winning series of The Adventures of Paddington. Paddington has also enjoyed three successful big-screen outings, all produced and developed by STUDIOCANAL, a Canal+ company – Paddington released in 2014, Paddington 2 in 2017, and Paddington in Peru in 2024, enjoying critical and commercial acclaim becoming the biggest independent family franchise of all time.
Instagram, Facebook and TikTok: paddingtonthemusical
Tickets go on sale today for the world premiere of Nanny of the Maroons a major new co-production from Belgrade Theatre, Hackney Empire and tiata fahodzi, running in Coventry at the Belgrade Theatre from Friday 18 June 2027 – Saturday 3 July 2027, with national press night on Wednesday 23 June before playing at Hackney Empire from Wednesday 7 July 2027to Sunday 11 July 2027.
Nanny of the Maroons tells the incredible true story of a legendary 18th century freedom fighter.
High in the Blue Mountains of Jamaica, Queen Nanny prepares to lead her people in a war against British colonial forces. A brilliant military strategist and revered spiritual leader, she has outwitted her enemies at every turn with such cunning, they claim she has the powers of a witch. As long as her people remain enslaved, her war rages on. This is the epic story of a Woman, a Warrior, a Queen, who led the fight for freedom and became a Jamaican national hero.
Written by Belgrade Theatre Artistic Director Corey Campbell and Lucia Haynes, and directed by Campbell and Justine Themen, with music and lyrics by Corah Fowles, the production is developed through the Belgrade Theatre’s co-creation process, engaging communities as part of the creative development of its work. West Midlands-based producers China Plate will support the development of the production as Executive Producers.
The production builds on the Belgrade’s co-creation model, which places communities at the centre of theatre-making. Its 2025 co-created production of Romeo and Juliet – co-produced with Hackney Empire – engaged over 150 participants and reached audiences across Coventry, London and Bristol.
Earlier this year, the Belgrade presented Freedom to Reimagine, a three-day programme of events showcasing the development of Nanny of the Maroons. The programme included performances, exhibitions and discussions, and explored themes of freedom, power and collective strength. The events brought together young people, artists and community members, with contributions including newly devised work across poetry, dance and theatre, as well as original music developed in collaboration with composer Corah Fowles.
Developed over two years through historical research, community storytelling sessions, and artistic collaborations, Nanny of the Maroons will be a celebration of history, heritage, the power of community and the true meaning of freedom.
Corey Campbell, Artistic Director of Belgrade Theatre said, “At the Belgrade, we believe theatre is at its most powerful when it is made with people, not just for them. Nanny of the Maroons has grown out of incredible conversations, creativity and collaboration with communities – and in particular the elders of those communities – in Coventry, the Midlands and in Jamaica. It has truly been my honour and privilege to have worked with them and learnt from them, and to now be bringing the story of Jamaica’s only heroine to life. It’s incredibly exciting to be working alongside Hackney Empire and tiata fahodzi as we bring the production to audiences in 2027.
Chris Sudworth, CEO of Hackney Empire said, “We’re delighted that Hackney Empire will again co-produce with The Belgrade, following our successful collaboration for Romeo & Juliet in 2025; and we are equally excited to partner with tiata fahodzi to bring this new production sharing critical and under-remembered history with audiences in Hackney and nationally. To have a directorial team of such calibre, in Corey and Justine, guiding this process promises an outstanding theatrical experience for our communities to discover.”
Chinonyerem Odimba, Artistic Director and CEO of tiata fahodzi, said, “tiata fahodzi are delighted to be in partnership with Belgrade Theatre on this production of Nanny of the Maroons as a co-producer. To be telling the story of the amazing Nanny and bringing this important history to audiences across the country I think is an exciting endeavour. Our long-standing working relationship with the venue, our admiration of Corey Campbell’s co-creating model, and the synergy of our values and audiences means that we can’t wait to see this show and tour develops. We can’t wait for audiences to discover a woman that represents so much of what Black resistance means.”
Nanny of the Maroons is a Belgrade Theatre and Hackney Empire production, co-produced with tiata fahdozi, with China Plate as Executive Producers. Further creative team and casting will be announced in due course.
