Birmingham Repertory Theatre – until 15th August 2026
Reviewed by Emma Millward
5*****
Stephen Sondheim’s Sweeney Todd: The Demon Barber of Fleet Street has arrived at Birmingham Rep. Under Joe Murphy’s direction, this revival perfectly balances gothic horror, razor-sharp humour and heartbreak. Set in the grim streets of Georgian London, the story follows Benjamin Barker, now known as Sweeney Todd, as he returns to London seeking revenge against those who destroyed his life and sent him to prison. His partnership with pie shop owner Mrs Lovett leads them down an increasingly vengeful path, where justice quickly gives way to obsession.
Ramin Karimloo’s stage presence and powerful vocals make Sweeney Todd both terrifying and deeply tragic. Alongside him, Meow Meow is a revelation as Mrs Lovett. she blends humour and sudden flashes of menace, ensuring the audience is never quite sure whether to laugh or recoil in horror. Her comic timing is impeccable, and she threatens to steal every scene she is in, with her unpredictable energy making her utterly captivating. The chemistry between the two leads is electric, creating a partnership that is as entertaining as it is unsettling.
David Bedella is thoroughly chilling as the corrupt Judge Turpin, while Shem Omari James and Jo Stephenson bring warmth and sincerity to Anthony Hope and Johanna, providing a welcome contrast to the darker moments. Jack Gibson delivers a deeply moving Tobias who gets pulled into Todd’s murderous plan. Florence Andrews is haunting and makes full use of her stage time as the Beggar Woman, and Silas Wyatt-Barke relishes every moment as the flamboyant Adolfo Pirelli. Julius D’Silva completes the principal cast as an imposing Beadle, whose foppish demeanour conceals a more disturbing nature. Emily Ivana Hawkins and Hadrian Delacey add further depth to the production as part of the ensemble, with the entire company bringing the world of Sweeney Todd vividly to life.
Joe Murphy’s direction embraces a more streamlined and stripped-back approach, with a cast of just 11 performers and only the essential set pieces and props required to bring the story to life. Rory Beaton’s atmospheric lighting and Kelsh Buckman-Drage’s immersive sound design combined with Elin Steele’s set design cleverly makes full use of the Rep’s stage. Two imposing stone staircases stand on either side of the stage, while a central movable platform transforms into Mrs Lovett’s pie shop, Sweeney’s barber shop, the bakehouse, Judge Turpin’s house and the asylum. The ingenious trapdoor beneath the barber’s chair, sending unsuspecting victims sliding into the bakehouse below, is a standout design feature. I have to admit, it looked far more fun than it probably should have!
Sondheim’s score and lyrics were delivered with remarkable clarity, ensuring the wit and emotion of the music are never lost. Under the musical direction of Leo Munby, the orchestra provides a rich accompaniment to the spectacle and the emotion unfolding on stage.
Sweeney Todd is gripping, beautifully staged and emotionally devastating, while never forgetting its wicked humour. The audience’s enthusiasm was clear throughout, with cheers erupting after each song and excitement filling the auditorium from the opening number. As the show came to a close, the audience was on their feet almost immediately for a prolonged standing ovation, a fitting response to a production that delivered on every level.
Royal and Derngate Theatre Northampton – until 18 July 2026
Reviewed by Amanda Allen
5*****
In Operation Mincemeat we have an unbelievable story delivered unbelievably well! The fact that it is based on real events makes it even more unbelievable.
This show, Avalon in association with Spitlip, directed by Robert Hastie, grabs your attention with the very first song, Born to Lead, with only 5 cast members, who all appeared to be on stage most of the time, the pace was fast and the complex dialogue delivered at such speed sometimes you missed a few words but it didn’t matter as the characterisation of every actor was undeniably brilliant and that carried you through the complexities of the story. The way that the characters were presented to us through subtle and not so subtle nuances was just spectacular.
In this performance Charles Cholmondeley was played by Morgan Phillips, his depiction of a rather shy, awkward, but undeniably clever man was fabulous. The small details of how he held his briefcase, how he stood, walked and looked around the stage told its own story of the character. Jamie-Rose Monk playing Johnny over acted the part so brilliantly well that you were totally carried along with the frustrations, impatience and importance of the role. My particular favourite was Hester Leggatt, played by Christian Andrews. The role of a quiet but vital woman played so sympathetically by a man was just brilliant. Not at all patronising, totally believable, just calm control of the character with tenderness and strength all in one package, when the song “Dear Bill” was performed the emotion in the audience was palpable, when he mistakenly used the name “Tom” in the song there were more than a few tears. When he switched to playing the American airman, a total character switch, it was done so seamlessly you almost believed it was a different actor! The way Hester quietly supported everyone and steered the operation in the right direction was so believable this performance alone deserved 5 stars.
It’s hard to believe that Charlotte Hanna-Williams was in her first major performance. In playing Jean, the ambitious office girl, she made the part her own. Every line delivered with clarity and purpose, her stage presence was terrific, we are seeing the start of what I am sure will be an amazing career in musical theatre. Katy Ellis playing Ewan also delivered a brilliant performance, again totally believable. I loved the way this production bent the gender stereo types with male and female parts switched almost without notice, the characterisation of each part being the most important thing and with each character changing to different one with just a change of costume or a small prop like a hat, the audience were carried along with changes at what seemed to be an ever increasing pace. The costume and lighting design also played a significant part in telling the story with minimal staging operating within the story telling by the actors on stage, the atmosphere and imagined locations changing seamlessly and quickly.
This show delivered humour, pathos, sympathy, empathy and entertainment in a none stop performance with 5 stars each one of them delivering a 5 star performance. The ending where they acknowledged the part played by the “body” Glyndwr Michael, was particularly poignant and I am so glad he has now been recognised for his part in real life. If you get chance to see it whilst it’s touring, please do, you are promised a brilliant night of entertainment and education. Thank you for bringing this story to our attention
CAST ANNOUNCED FOR INTERNATIONAL TOURING PRODUCTION OF MAGIC MIKE LIVE,
DEBUTING WITH AN EXCLUSIVE ENGAGEMENT AT
AYLESBURY WATERSIDE THEATRE 27-29 AUG
Ahead of its exclusive engagement at the Aylesbury Waterside Theatre 27-29 Aug, Channing Tatum’s Magic Mike Live is proud to announce the casting of its largest company to date for the upcoming international tour. Tickets are on sale now for the limited engagement in Aylesbury, and guests are encouraged to book early here before they’re gone!
The international tour and Aylesbury preview engagement of Magic Mike Live will be led by Kalon Badenhorst as “Mike” and Julie Yammanee as the show’s hilarious and inspiring “MC.” The company includes Aden Dzuda, Ankush Saily, Antony Franz, Burim Jusufi, Cameron Holland, Callum Quinnen, Chelsea Wheatley, Christian Steffanelli, Ethan Zydel, Hannah Cleeve, Joel Ekpergin, Kevin Velez, Kiana De Van Der Schueren, Kitwana “Kit” Clark, Luigi Turetti, Mark Lace, Myles Harper, Reece Bailey-Davies, Seamus McIntosh, Shane Scarth, Taylor Diamond-Lord, Tom Watson, and Victor Allen.
The largest Magic Mike Live company assembled to date for a single production is comprised of the world’s most talented and impressive professional dancers from around the world, including representation from throughout the UK, Germany, Switzerland, New Zealand, Italy, Australia, South Africa, Colombia, and the United States.
Aylesbury audiences will be the very first in the world to be a part of the pioneering production that’s unlike anything performed before. The experience will feature several new routines, new costumes, and a monumental venue design that transforms a traditional theatre space into an unforgettable experience, from the stalls and circle levels to new onstage seating, that puts each guest at the epicentre of the action. While the show will feature many new elements, tried and true Magic Mike Live fans will still enjoy the show’s thrilling and inspiring storyline and fan-favourite moments. The production team will also partner with the theatre to bring beverage service, including the show’s famous cocktail program, straight to your seat so no one has to miss a moment of the action. And after each show, fans will have the unique opportunity to meet and mingle with members of the cast, with a limited number of VIP Meet & Greet add-on tickets available.
Magic Mike Live has thrilled nearly two million guests around the world with long-running residencies in Las Vegas and London, and previous engagements in Berlin, Australia, Miami, and Dallas. Prior to the international tour launch, an all-new flagship production of Magic Mike Live will open in New York City in January 2027 in a newly renovated, multi-function and custom-built venue with an accompanying hospitality lounge in the heart of Times Square.
This production of Magic Mike Live is co-directed and choreographed by Emmy-nominated choreographer Alison Faulk with choreographer and associate director Luke Broadlick; music supervision and composition by Jack London; scenic design by Rob Bissinger and Anita LaScala of ARDA Studio; costume direction by Marina Toybina; aerial choreography and apparatus design by Dreya Weber; lighting design by Philip Gladwell; sound design by Nick Kourtides; production supervision by Don Gilmore; general management by Crossroads Live; casting by Katie Zanca Spalding; and executive produced by Vincent Marini and Free Association Live.
Magic Mike Live will play six shows only at Aylesbury Waterside Theatre from Aug. 27-29, 2026. All guests must be 18 years of age or older.
Deafinitely Theatre today announce the full cast and creative team for the UK tour of Mike Barlett’s Bull. Deafinitely Theatre’s Artistic Director Paula Garfield MBE directs Danny Lee (Tony),Ciaran O’Breen (Thomas), David Sands (Carter) and Jasmine Whipps (Isobel). In a co-production with Birmingham Rep and Park Theatre, the production will be presented entirely in British Sign Language and creative captions.
The creative team is completed by Paul Burgess (Set, Costume & Video Designer), Jessie Addinall (Lighting Designer) Eleanor Isherwood (Sound Designer & Composer) and Ben Glover (AV Designer) and Raffie Julien (Associate Director).
The UK tour of Bull opens at Birmingham Rep on 15 September, with previews from 12 September, and runs until 19 September; it will then tour to HOME Manchester from 24 to 26 September, and conclude its run at Park90 at Park Theatre from 30 September to 24 October.
Deafinitely Theatre’s Artistic Director, Paula Garfield said, “I’m incredibly excited to bring Bull to the stage with a brilliant cast of deaf actors who bring real talent and creative input to this production. Performed entirely in British Sign Language, with no spoken dialogue, it offers a fresh perspective on Mike Bartlett’s powerful play, with creative captions for all.
“Too often, people assume deaf people are always supportive and kind to one another, but we’re human like everyone else. Bull explores ambition, power and bullying in a deaf workplace, showing how far people will go to succeed. I hope audiences leave challenged, moved, and with a deeper appreciation of the power, beauty and humanity of British Sign Language on stage.”
Deafinitely Theatre, Birmingham Rep and Park Theatre present
BULL
by Mike Bartlett
UK Tour
12 September – 24 October 2026
Cast: Danny Lee (Tony), Ciaran O’Breen (Thomas), David Sands (Carter), Jasmine Whipps (Isobel)
Director: Paula Garfield; Set, Costume & Video Designer: Paul Burgess; Lighting Designer: Jessie Addinall; Sound Designer & Composer: Eleanor Isherwood;AV Designer: Ben Glover; Associate Director: Raffie Julien
Who gets to stay? Who is pushed out? And who decides?
Four colleagues sit in a meeting room. Jobs are on the line. The rules are unspoken, but everyone knows them.
Bull is a strained and unsettling examination of workplace bullying, power and survival. As pressure builds, alliances shift and cruelty surfaces, exposing a system where fear thrives and empathy disappears.
Sharp, darkly funny and deeply uncomfortable, Bull lays bare the human cost of a working culture shaped by competition, hierarchy and silence. How far will people go to protect themselves?
This is Deafinitely Theatre’s second adaptation of a play by Mike Bartlett, following the Off West End Award-winning, critically acclaimed and sold-out production of Contractions in 2017. Bull is presented in the entirely in British Sign Language with creative captions and is directed by Deafinitely’s award-winning Artistic Director Paula Garfield.
“It’s not personal. It’s just business.”
Mike Bartlett’splays include Juniper Blood (Donmar Warehouse), Unicorn (Garrick Theatre), Scandaltown (Lyric Hammersmith Theatre), The 47th (The Old Vic), Cock (Ambassadors’ Theatre, Royal Court Theatre), Mrs Delgado (Arts at the Old Fire Station, Theatre Royal Bath, Oxford Playhouse), Albion, Game (Almeida Theatre), Snowflake (Arts at the Old Fire Station, Kiln Theatre), Wild (Hampstead Theatre), King Charles III – Olivier Award for Best New Play (Almeida Theatre, Wyndham’s Theatre, Music Box Theatre, New York), An Intervention (Paines Plough, Watford Palace Theatre), Bull (Sheffield Theatres, Off Broadway, Young Vic), Medea (Headlong, Glasgow Citizens, Watford Palace Theatre, Warwick Arts Centre), Chariots of Fire (Hampstead Theatre, Gielgud Theatre), 13 (National Theatre), Decade (Headlong), Earthquakes in London (Headlong, National Theatre), Love, Love, Love (Paines Plough, Plymouth Theatre Royal, Royal Court Theatre, Roundabout Theatre Company, New York, Lyric Hammersmith Theatre), Contractions (Royal Court Theatre, Sheffield Theatres), My Child (Royal Court Theatre), Artefacts (Bush Theatre, Nabokov). Bartlett has previously been Writer In Residence at the National Theatre and is currently an Associate Playwright at the Royal Court Theatre. His television credits include Life, Doctor Foster, King Charles III, Sticks and Stones, Trauma and Press.
Danny Lee plays Tony. Bull marks his professional stage debut.
Ciaran O’Breen plays Thomas. For Deafinitely Theatre, his credits include Can Bears Ski? and Getting There (UK tours). Other theatre credits include Wonder Boy, The Story of Guts (Bristol Old Vic), Lord of The Flies (Leeds Playhouse, Belgrade Theatre Coventry, Rose Theatre Kingston), Hansel & Gretel (PaddleBoat Theatre), Flood (Theatre Temoin) and Red (Polka Theatre); and for television, Galwad.
David Sands plays Carter. For Deafinitely Theatre, his credits include Love’ Labour’s Lost and A Midsummer Night’s Dream (Shakespeare’s Globe). Other theatre credits include On Blindness (Soho Theatre). His television credits include Small World; and for film, Grandad.
Jasmine Whipps plays Isobel. For Deafinitely Theatre, her credits include The Vagina Monologues. Whipps has worked as a TV presenter for OMGenius and See Hear series.
Paula Garfield directs. For Deafinitely Theatre she has also directed The Promise, Something Else, Can Bears Ski? Everyday, 4.48 Psychosis, Horrible Histories – Dreadful Deaf, Contractions – which wonthe Off West End Award for Best Production, Two Chairs, Motherland, Children of a Greater God, Playing God, Double Sentence and Gold Dust. She also devised and directed The Boy and the Statue for Deafinitely at the Tricycle Theatre and on a London schools’ tour. Garfield has directed two productions at Shakespeare’s Globe – Love Labour’s Lost, for the Globe to Globe Festival as part of Deafinitely’s 10th anniversary, and A Midsummer Night’s Dream. Her other directing work includes Tanika’s Journey (Southwark Playhouse) and Grounded (Park Theatre).
An actor, director and field creative leader, she has worked on a variety of television, film and theatre projects over the past twenty years. In 2002, she established Deafinitely Theatre with Steven Webb and Kate Furby after becoming frustrated at the barriers that deaf actors and directors face across the arts and media industry. She has produced and directed many plays and worked extensively in TV, including Channel Four’s Learn Sign Language, Four Fingers and a Thumb, BBC’s Hands Up and Casualty, plus appearances in every series of the BBC’s deaf drama, Switch.
In 2019 Artistic Director, Paula Garfield won a Tonic Award for her energy and unwavering
commitment to opening theatre up and the artistic quality of the work she produces as Artistic
Director of Deafinitely Theatre. In 2024 she was awarded an MBE as part of the King’s birthday
honours list in recognition of her contribution to the arts and the deaf community.
LISTINGS
BULL
UK Tour
12 September – 24 October 2026
Age Guidance: 14+
The Door, Birmingham Rep
12 – 19 September at 7pm
2pm matinees on Thursday 17 and Saturday 19 September
A North East theatre company announces full casting for the ultimate rock spectacle – We Will Rock You at Darlington Hippodrome
Get ready to stomp your feet, clap your hands and sing along to some of the greatest rock anthems ever written as Darlington Operatic Society (DarlingtonOS) proudly reveals the full cast for its electrifying production of We Will Rock You, rocking the stage at Darlington Hippodrome from Wednesday 28 October to Saturday 7 November.
Featuring the unforgettable music of Queen and a larger-than-life story packed with rebellion, romance and rock ‘n’ roll, this much-loved musical promises to be one of the hottest tickets in the region this autumn.
Leading the cast are Luke Oldfield and Harrison Bateman, who will share the iconic role of dreamer and rebel Galileo, alongside Katie Wilson and Grace Mansfield as the fearless and feisty Scaramouche.
Taking command as the villainous Killer Queen is Rhiannon Walker, while Julian Cound stars as the ruthless corporate enforcer Khashoggi. Audience favourite Leighton Taylor-Jones will bring heart and humour to the role of Buddy.
The Bohemians are completed by Christian Brabin and Ben Connor, sharing the role of Brit, while Claire Willmer and Kate Williams share the role of Oz.
This principal line up is supported by a company of 43 of the region’s most talented performers playing various roles : Emma-Louise Dickinson, Charlotte Sisson, Eva Ferguson, Safah Alazzawi, Lucy Ivison, Ava King, Rachael Egan, Sophie Ruddick, Joseph Arnott, James Bearpark, Scott Edwards, Joe Connor, Baily Gascoigne, Steven Dunn, Cam Scriven, Jack Machin, Barry I’Anson, Scott Moody, Amy Fudali, Kirsty Furness, Freya Moir, Grace Fishwick, Faith Small, Lucy Stokle, Hannah Teasdale, Amy Lyons, Katherine Marton, Mia Povey, Adele McNally, Natalie Robson, Zoe Ballamy, Kyra Batty, Ali Bailey, Annika Hornby, Susy Slater, Jenny Woodgate, Lisa-Marie Watson, Danielle Stone, Niamh Heatley, Delroy Witbeen, Phil Bargewell, Liam Goodman and Darrien Wright.
DarlingtonOS Chair Eddie Taylor Jones said: “We are absolutely delighted to reveal the cast for the DarlingtonOS production of We Will Rock You. With a company of 54 talented performers, this production perfectly reflects the strength and vibrancy of our society. It’s especially exciting to welcome seven people making their debut with us, while 32 of the cast were not part of our most recent production, bringing a wonderful mix of fresh talent alongside many familiar faces. I can’t wait to see Director Jo Hand bring her fresh vision to this iconic musical, supported by the outstanding musical leadership of Steven Hood and his band. Together, they promise to deliver a high-energy production that captures the spirit, humour and unforgettable music of Queen. We can’t wait to share it with audiences this autumn.”
Director and Choreographer Jo Hand said: “From the moment auditions began, we knew this production was going to be something special. The talent, energy and passion on display has been phenomenal, and we have assembled an outstanding cast ready to do justice to this iconic show. Audiences can expect huge vocals, high-octane choreography and an incredible celebration of Queen’s legendary music.”
Musical Director Steven Hood added: “Queen’s catalogue is one of the most exciting challenges a musical theatre company can take on. This cast has risen to that challenge brilliantly. The harmonies, musicianship and vocal power we’re already hearing in rehearsals are outstanding, and I know audiences will be blown away.”
Packed with 24 of Queen’s biggest hits, including Bohemian Rhapsody, Don’t Stop Me Now, Somebody to Love, We Are The Champions, Radio Ga Ga and, of course, We Will Rock You, this spectacular musical is guaranteed to have audiences rocking in their seats from start to finish.
We Will Rock You runs at Darlington Hippodrome from Wednesday 28 October to Saturday 7 November. Tickets are on sale through DarlingtonOS only by calling the Ticket Hotline on 01325 405405 or via www.darlingtonos.org.uk
This production of We Will Rock You is kindly supported by Darlington Building Society and Woodlands Hospital – part of the Circle Health Group.
Think you’ve seen Oliver!? Think again. Now booking into its third year.
Cameron Mackintosh is delighted to announce that Matt Lucas will star as Fagin in Lionel Bart’s iconic musical, Oliver!, for 6 weeks only at the Gielgud Theatre in London from Tuesday 22 September to Sunday 1 November 2026.
Actor, author, comedian, presenter, and writer Matt Lucas most recently played the role of Thénardier to great acclaim in the all-star production of Les Misérables: The Arena Concert Spectacular in many cities across the globe, as well as performing in the 40th Anniversary celebrations of the London production.
Matt Lucas is one of the most recognisable personalities in British television. He first came to prominence as George Dawes in the seminal comedy panel show Shooting Stars but is perhaps best known for co-creating the three-time BAFTA-winning BBC comedy Little Britain.
Matt has starred in numerous critically acclaimed projects, with film credits including Alice in Wonderland, Paddington, and Bridesmaids, TV credits including Doctor Who, and theatre projects including Les Misérables.
Additionally, Matt has created a string of bestselling children’s books, including Thank You, Baked Potato and his memoir Little Me. His debut children’s musical novel, The Boy Who Slept Through Christmas, was shortlisted for the British Book Awards in 2024 and he has since released a new children’s novel, Bobland, continuing his success as an author for younger audiences.
Matt has previously co-hosted the award-winning The Great British Bake Off for Channel 4 and two series of Sky Max’s Fantasy Football. He also previously co-hosted the podcast Making A Scene with David Walliams, where they turned their guests’ lives into cinematic stories.
He starred alongside Timothée Chalamet in Wonka and more recently appeared in Gladiator II, directed by Ridley Scott, in the role of Master of Ceremonies.
Matt Lucas commented: “I’ve always wanted to appear in Oliver! It was the first West End musical I ever saw, aged 6, and I adored it. Apparently, despite my considerable range, I am considered slightly too old now to play the title role, so instead I shall be appearing as Fagin. It’s always a treat to reunite with Cameron, and, of course, to get the opportunity to work with Matthew Bourne. I love this incredible new production and am thrilled and honoured to now be a part of it.”
Cameron Mackintosh said: “I’m absolutely thrilled that the one and only Matt Lucas is going to bring his incomparable talent to the role of Fagin for six weeks from the end of September, while the dazzling Simon Lipkin takes a break from reviewing the situation as he becomes a father for the first time, to whom we send our best wishes. Matt has just triumphed as Thenardier in the LES MIS Arena Spectacular at the Royal Albert Hall and will come to OLIVER! hot foot from being part of the upcoming all-star season of LES MIS at New York’s legendary Radio City Music Hall at the end of this month.”
Matt Lucas joins Ava Brennan as Nancy, Aaron Sidwell as Bill Sikes, Aaron MacGregor as the Artful Dodger, Oscar Conlon-Morrey as Mr. Bumble, Katy Secombe as Widow Corney, Stephen Matthews as Mr. Sowerberry/Dr. Grimwig, Jamie Birkett as Mrs. Sowerberry/Mrs. Bedwin and Philip Franks as Mr. Brownlow. Mark Lockyer plays Mr. Brownlow from Tuesday 21 July.
Simon Lipkin, who was nominated for an Olivier Award for brilliantly reinventing the role of Fagin in this celebrated new production of Oliver! will continue in the role until Sunday 20 September, before resuming from Tuesday 3 November after the birth of his child.
The role of Oliver Twist is played by Isaac Hackett, James Miller, Thomas Newman and Jacob Sanders-Jones.
The ensemble includes Adam Boardman, Julie Cloke, Lois Craig, Harry Cross, Stephen John Davis, Will Elliott, Tom Andrew Hargreaves, Victoria Hay, Bethany Huckle, Jehu Josephs, Bethan Keens, Danny Lane, Conor McFarlane, Mia Mullarkey, Erin Oliver, Jasmine Sakyiama, Wendy Somerville, Charlie Stripp, Jamie Tyler, Lochlan White, Sienna Widd and Dane Young.
The younger roles in Fagin’s gang are shared by Titus Boniface, Nathaniel Morgan Bennett, Noelle Coker, Sebastian Castro, Liam England, Joshua Fowler, Jonah Mansell, Tristan Marwa, Tommy McGovern, Stanley Mould, Herb Muldoon, Jena Osman, Hugo Pechey, Josh Pegler, Charlie Ranganathan, Lawrence Sebastian, Eli Sesay, Sienna Sibley, Asher Swaray-Gray, Henry Thomas and Jake Weatherall.
Lionel Bart’s musical masterpiece, freely adapted from Charles Dickens’ novel, Oliver! tells the story of the orphaned Oliver Twist, who escapes the harsh Victorian workhouse and takes refuge in London’s murky underworld with the wily gang leader Fagin and his team of resourceful pickpockets led by the Artful Dodger. He finds a friend in the kind-hearted Nancy and when he’s wrongly arrested for stealing, Oliver meets an unexpected saviour; but is happiness truly within his grasp?
With a sensational score, including Food Glorious Food, Consider Yourself, You’ve Got to Pick-a-Pocket or Two, I’d Do Anything, Oom Pah Pah, As Long As He Needs Me and many more, the Olivier, Tony and Oscar-winning masterpiece vividly brings to life Dickens’ ever-popular story of the boy who asked for more.
Produced and revised by Cameron Mackintosh,Oliver! is directed and choreographed by Matthew Bourne andco-directed by Jean-Pierre van der Spuy. Designed by Lez Brotherston, lighting design is by Paule Constable and Ben Jacobs, sound design by Adam Fisher, video design by George Reeve, new orchestrations by Stephen Metcalfe based on the original by William David Brohn; music supervision is by Graham Hurman.
Oliver! is a Cameron Mackintosh in association with Chichester Festival Theatre production.
Theatre Royal Windsor, one of the only unsubsidised producing theatres to operate all year round in Britain, today announces casting for the return of Jenny Seagrove and Simon Shepherd in Royce Ryton’s acclaimed thriller, The Anastasia File. Following critical acclaim at the Theatre Royal Windsor last year, the production will return to the theatre from Wednesday 30 September – Saturday 3 October 2026, as part of its UK tour.
Jenny Seagrove (A Woman of Substance with Portman-Artemis Productions, Local Hero with Goldcrest Films, Judge John Deed with One-Eyed Dog Limited) reprises her role as Mrs Manahan, alongside Simon Shepherd (Peak Practice with Central Independent Television, Midsomer Murders with Bentley Productions) as The Inspector. They are joined by returning cast members Ashley D. Gayle and Rosie Thomson.
A new twist on one of history’s greatest mysteries…
July 1918. Tsar Nicholas II and his family are brutally executed by the Bolsheviks in Ekaterinburg. Two years later in Berlin, a woman is pulled from a canal after a failed attempt to take her own life and is placed in an institutional facility.
As Doctors and police puzzle over her identity, she slowly begins to reveal details about her past that bring about the suspicion that she may in fact be the Grand Duchess Anastasia, the heir to the Romanov fortune.
Inspired by the true storyofAnneManahan, whose thirty-year battle for recognition as the last surviving Romanov was one of the most popular historical mysteries of the twentieth century.
Memory,factandfictionintertwine in thisthrilling and moving playthat will keep you guessing until the curtain falls.
The production is directed by Roy Marsden, with lighting design from Nick Richings and Dan Samson onsound design.
“A great performance, an intriguing story filled with much power, emotion, sorrow, depth and torment.” – Fairy Powered Productions
The production opens at Theatre Royal Newcastle (Tuesday 15 – Saturday 19 September) and then returns to Theatre Royal Windsor (Wednesday 30 September – Saturday 3 October). It then continues to tour to Salisbury Playhouse (Tuesday 6 – Saturday 10 October), Malvern Theatres (Tuesday 13 – Saturday 17 October), Yvonne Arnaud Theatre (Tuesday 20 – 24 October).
The Anastasia File forms part of the Theatre Royal Windsor Season on Tour, comprising three productions originating at the theatre and touring the UK in 2026. It joins Noël Coward’s romantic comedy The Marquise and Graham Greene’s Our Man in Havana.
Jenny Seagrove said, “I am thrilled to be playing Anastasia Romanov again and to be sharing her fascinating story with audiences around the country. It is a story that gripped me from the first time I read about her and she continues to intrigue me. With a wonderful cast alongside me, I hope audiences will feel equally fascinated!”
Director Roy Marsden said “When Royce Ryton wrote ‘The Anastasia File’ in 1978 the weight of opinion was inclined to believe that the central character Anna Anderson, or as she was later known, Mrs Manahan, was indeed the missing Romanov daughter Anastasia. Then, as time went on more and more research took place, strongly suggesting the opposite. DNA testing, including samples from the hair of the Duke of Edinburgh, a distant relation of the Romanov’s, was used to provide apparently conclusive evidence dismissing Anna Anderson’s claim, nowadays we live in a more distrustful age, unwilling to accept on face value what we are fed by the media and by so called experts. I, along with others, have come to believe that the scientific evidence proving that Anna Anderson is not Anastasia is not as exact and as trustworthy as certain quarters would like us to believe. Therefore, in the absence of direct and conclusive proof, the question of whether Anna Anderson is Anastasia or not remains a mystery, a matter of personal belief.”
Theatre Royal Windsor sits at the heart of the town, carrying over 200 years of history behind its doors.
It is one of the UK’s only year‑round producing theatres operating without public funding. As part of The Bill Kenwright Group, Theatre Royal Windsor has built a reputation for standout productions and an ability to attract top‑tier talent to its stage — solidifying its position as one of Britain’s leading regional theatres.
Southwark Playhouse Borough – until 22nd August 2026
Reviewed by Phil Brown
4****
Subtitled The Unheard Songs of Jonathan Larson, The Jonathan Larson Project is a bright idea originally conceived by acclaimed (US) theatre historian Jennifer Ashley Tepper, brought to the Southwark Playhouse stage by Thomas Hopkins, SAMS Entertainment and Julie Larson (producers), and John Simpkins (director). And beautifully performed by an ensemble of 5 wonderful singers and a first rate live band, underlining the extraordinary quality of performing talent, in depth, we are lucky to have in the UK.
It’s a musical, but with a difference, comprising a sequence of Larson songs from early in his career as a struggling composer. It gathers together songs that never found a home in his completed shows, standalone works, some from discarded/unrealised projects, some never performed. There is no specific, governing narrative thread, although it flows naturally enough and seems to work as prescient commentary on modern life and universal themes.
As an American composer, lyricist and playwright, but maybe not quite in the very vanguard of the profession, Jonathan Larson may not be widely known to UK audiences I first became aware of him through the film Tick, Tick….Boom back in 2022. (A film about his musical called Superbia that didn’t make it to production. Some of which material is performed here). Larson eventually had a hit project a few years later with Rent which ran from 1996 to 2008 and earned him a posthumous Pulitzer. Tragically, he died of an aortic dissection in 1996 just before the show launched, leaving the distinct feeling of loss of a major talent not fully realised. So this show is something of a revival and a timely reminder of what could have been.
What of the raw material – the songs ? There are 18 in this song cycle – several “standalone theatre” and “cabaret” songs, a couple described as “pop songs”, a “revue” song and the rest from various musicals. There is certainly some very memorable, high class material, but overall, I would have to rate it at 3 star level. The songs are lyrically clever and the music rich with delicious phrases and hooks, yet the end result sometimes feels overcomplicated and unlikely to pass the old grey whistle test with flying colours.
Congratulations, then, to Mike Mather, Marcus Collins, Imelda Warren-Green, Natalie Kassanga and Max Harwood whose infectious commitment, fine singing and precise harmonising performances are hugely enjoyable and elevate the show to 4 stars. I particularly like ‘Greene Street’, ‘One of These Days’, ’Valentine’s Day’, ‘Falling Apart’, ‘Iron Mike’, ‘White Male World’, ‘The Truth is a Lie’, ‘SOS’, ’Pura Vida’, ‘Love Heals’ and ‘Piano’. There are a couple of show stoppers in ‘Break Out the Booze’ and the hilarious ‘Hosing the Furniture’ (which won Larson the Sondheim Award). One song though – ‘Vision Thing’ – is a lengthy musical rant on the subject of US politics and seems to suck a bit of momentum from an otherwise well-paced show.
Shout-outs too to the excellent 5 piece band seemingly shoehorned into a couple of tiny gantries above the action with the drums confined to an airless cubicle beside the tiered seating. In particular, Livi van Warmelo (musical director) stands out on electric keyboards.
The set is rough and ready simple. A crude projection screen hoisted between the band gantries is used for archival footage at the introduction and occasionally throughout the show. (Sadly, not visible from where I was positioned). Furnished with step ladders, a piano and table and chairs, it effectively conveys a workshop or artist’s studio (designers – Nate Bertone, Sophie Williams). The non-trivial “choreography” required to manage the set, props, and change of costumery for the different songs as well as ensuring suitable variation in singer’s positioning throughout the performance in the context of “in the round” was particularly impressive – natural and unobtrusive (movement director – Taylor Walker).
The show runs for 90 minutes (no interval) and such an immersive experience in the round of Southwark Playhouse’s intimate The Large (space), is genuinely transporting. Larson’s work is without a doubt worth experiencing/exploring and there can be few better ways of doing that currently than getting to this full fat celebration of his music by exceptionally talented musicians. It is remarkable how fresh it sounds thirty plus years after it was written…
Mike Leigh’s Abigail’s Party remains one of the sharpest observations of British social behaviour ever written, and Nadia Fall’s revival understands exactly why it remains relevant today. The script is packed with painful small talk which appears trivial on the surface, yet beneath it sits something sinister and more revealing. Leigh’s genius lies in how these seemingly meaningless exchanges expose each character’s depth while generating huge amounts of laughter along the way.
Beverley and her husband Laurence have invited their neighbours over for drinks while teenage Abigail hosts a party next door. Joining them are the eager-to-please Angela and her largely uninterested husband Tony, along with the quietly reserved Sue, Abigail’s mother. What begins as an ordinary suburban gathering gradually becomes a fascinating study of class, status and personal dissatisfaction, as alcohol loosens tongues and long-suppressed tensions drift steadily to the surface.
What makes this production particularly successful is that the characters are authentic. Every person on stage is instantly recognisable. The humour comes not from punchlines but from behaviour: social boundaries casually crossed, unwanted opinions freely offered and conversations that become increasingly uncomfortable as nobody quite knows how to navigate them.
Tamzin Outhwaite is sensational as Beverley. From her opening appearance, undulating to Donna Summer’s “Love to Love You Baby“, she dominates the room, determined to control every aspect of the evening and absolutely convinced that she knows what everyone needs to enjoy themselves. Outhwaite captures Beverley’s contradictions beautifully. She is generous, manipulative, flirtatious, funny, overbearing and self-obsessed, but Outhwaite avoids turning her into a comic caricature. Instead, this Beverley feels genuinely formidable, a woman whose need for control carries an undercurrent of menace that makes the character even more compelling.
Kevin Bishop is equally impressive as Laurence. Rather than presenting him simply as Beverley’s long-suffering victim, he reveals the pride, vanity and simmering resentment beneath Laurence’s polite exterior. The increasingly strained dynamic between the couple demonstrates impeccable comic timing while never losing sight of the emotional reality underneath the humour.
Lauren Patel delivers a fantastic performance as the chatty Angela. Despite her inability to read a room, Angela remains endearing in her naivety. Omar Malik’s Tony provides the perfect counterbalance. Through staccato, one-word answers barely able to disguise his boredom and discomfort, Malik excels at portraying a man entirely detached from the social performance unfolding around him.
Pandora Colin is superb as Sue, the evening’s most reluctant guest. Attempting several hasty escapes while chaos unfolds around her, Colin gives Sue a quiet depth that makes her fascinating to watch.
Peter McKintosh’s set and costume design perfectly capture the 1970s aesthetic. Every shade of orange and brown, each piece reflects Beverley and Laurence’s aspirations. Howard Harrison’s lighting and Alexandra Faye Braithwaite’s sound design work seamlessly together, alongside a soundtrack ranging from Elvis to Demis Roussos and culminating in a magnificently deployed Beethoven’s Fifth. James Cousin’s movement direction adds further texture without ever drawing focus away from the performances, keeping everything feeling natural yet thoroughly engaging.
Funny, uncomfortable and unsettling, this is a superb revival. Every actor delivers a stellar performance, fully inhabiting richly drawn characters whose flaws and vulnerabilities feel entirely human. Brilliantly executed from start to finish, it reminds us that Abigail’s Party, with its uncomfortable themes, is as relevant today as it was when first written.
A Fabulously Flamboyant Production Full of Warmth, Wit, Heart and Humour
Celebrating its 30th anniversary with a dazzling new production, Priscilla Queen of the Desert returns in spectacular style. Based on the beloved 1994 cult classic film, this feel-good musical is bursting with colour, glitz and glamour, all woven together with an irresistible disco-infused soundtrack and a wonderfully cheeky sense of humour.
The story follows Bernadette, Tick (who performs as Mitzi Mitosis) and Felicia as they embark on a journey across the Australian outback in their battered but iconic camper van, Priscilla Queen of the Desert, on their way to the performance of a lifetime. However, Tick is carrying a secret from his two friends: at the end of their journey, he will be meeting his son for the very first time.
Along the way, the trio encounter a wide variety of people, some far more welcoming than others. The show does not shy away from addressing prejudice, most notably when Priscilla is vandalised with homophobic graffiti. Yet while there are moments of sadness and reflection, the production never lingers too long in darkness, quickly lifting spirits once again with another joyous musical number.
Kevin Clifton delivers a compelling performance as Tick, bringing both emotional depth and outstanding vocals to the role. One particular highlight is his Elvis impersonation, which proves to be a genuine crowd-pleaser. Samuel Stokes, stepping in as understudy for Felicia, is simply sensational. His boundless energy, exceptional vocals, magnetic stage presence and impressive dance ability make for a truly standout performance. Alongside them, Adele Anderson brings warmth, elegance and wit to Bernadette, and the chemistry shared between the three leads feels completely natural.
Leah Vassell, Bernadette Bangura and Jessie May more than live up to their billing as The Divas, delivering powerhouse vocals that consistently elevate the production.
Isabella Glanznig Santos is a comedic delight as Cynthia, producing some of the evening’s biggest laughs. Her unforgettable performance ensures that audiences may never look at a ping-pong ball in quite the same way again.
Vicky Gill’s costume designs are nothing short of extraordinary. Bold, flamboyant and brilliantly colourful, each new costume seems determined to outdo the last, leaving the audience eagerly anticipating every new reveal.
Priscilla Queen of the Desert is a fabulously flamboyant production filled with warmth, wit, heart and humour. Offering exactly what audiences come for, it delivers a joyous celebration of individuality and acceptance, alongside a generous dose of pure theatrical escapism.
