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Original Theatre presents
The Unquiet: Stories for Dark Nights
– a unique theatrical ‘lights off’ audio experience –
Episode 1: adaptation of E. Nesbit’s Christmas tale The Mass for the Dead
starring Jemma Redgrave, Philip Franks and Susie Blake 

with cutting-edge sound design and music from Max Pappenheim – 

available to stream from 1 December 2025

A new podcast The Unquiet: Stories for Dark Nights, produced by the acclaimed Original Theatre, will take great ghost stories from the ages and adapt them for aural theatre.  The first episode, The Mass For The Dead, starring Jemma Redgrave, Philip Franks and Susie Blake, will be released on Monday 1 December – an eerie and atmospheric sonic experience perfect for dark December evenings.

A brand-new dramatisation of a short story by E. Nesbit (The Railway Children), The Mass for the Dead is a haunting gothic tale of love, guilt, and the supernatural. When Jasper learns that Kate, the woman he loves, is to marry another man his sleepless night turns into a waking nightmare. The Mass for the Dead is adapted by Max Pappenheim and Philip Franks, and directed by Max Pappenheim.   

Using cutting-edge sound design and specially written music by award-winning composer and sound designer Max Pappenheim to create a unique sonic experience, The Unquiet: Stories for Dark Nights is theatre for the imagination – with the lights off. Each 30-minute episode of The Unquiet podcast will be individually introduced to give some context to the writer and production. Expect thrills, chills and some familiar voices bringing these other worldly tales to life. 

The Unquiet: Stories for Dark Nights will be available for free across major platforms including Apple, Spotify, Google, as well as Original Theatre’s website: originaltheatre.com. Episode 2 will be released in early 2026.

Theatre Royal, Windsor – until Sunday 11th January 2026

Reviewed by Kirsty Thomson

5*****

This year’s pantomime at the Theatre Royal Windsor is the captivating traditional story of Cinderella, a classic fairy tale which brings a delightful blend of spectacle, humour, and joy to the stage.

The cast were sensational, bringing well-loved characters to life. Brogan McFarlane was enchanting as Cinderella, perfectly portraying the battle through tough circumstances with kindness and resilience. The magic really shone during the dress reveal before Cinderella goes to the ball as well as the flying Pegasus which flew above the heads of the audience, leaving everyone in awe, thanks to the skills of Burnt Toast SFX.

Equally impressive are the ‘ugly stepsisters’, Lavitia (Steven Blakeley) and Potitia (Jeffrey Harmer), who delivered over-the-top performances leaving the audience in stitches. A shoutout to Emma Foltran as head of wardrobe is definitely needed with the showstopping costumes and hairstyles for the two sisters, including McDonald’s themed dresses with burger hats, and ballgowns covered in candles and lampshades.

Hilary O’Neil as the Fairy Godmother is captivating with everything from her magical entrances onto the stage, to her hilarious impression of Catherine Tate’s nan in the woods, to her half and half outfit and impressions of Tess Daly and Claudia Winkleman. Kevin Cruise is a Windsor classic playing the part of Buttons, who keeps the whole audience entertained throughout. Whether it be through his 80s tunes on a Walkman to keep the adults entertained, or getting kids onto the stage to do the ‘Bird Song’ dance routine, Kevin Cruise has a real skill of appealing to all.

Of course, no pantomime would be complete without a generous dose of audience interaction, and this production excels in that department. Whether it’s encouraging kids to shout out when a character gets too close to the Care Bear or getting everyone on their feet to dance the Hokey Cokey, the cast does a fantastic job of engaging the audience throughout.

Let’s not forget the 12 Days of Christmas song which was a personal highlight. With sparkly swords, toilet rolls, and welly boots being thrown around the stage and audience, and the need for the conductor of the band to wear a hard hat and hold an umbrella, it’s a classic song, re-imagined in the most bonkers way, but you won’t be disappointed. It’s this level of participation and enthusiasm that keeps the energy high and ensures everyone leaves the theatre with a smile on their face.

The chaos of this pantomime continues through sparkly mobility scooters, multiple Jet2 holiday adverts, the famous dirty dancing lift requiring the assistance of three backstage crew, and Baron Hardup (Michael Praed) constantly thinking he’s in a Robin Hood pantomime.

Cinderella at the Theatre Royal Windsor offers a feel-good experience that’s perfect for the festive season. It’s a pantomime that will get you laughing, cheering, and up on your feet dancing. This production is a must-see, don’t miss out!

Leeds Playhouse – until 17 January 2026

Reviewed by Gretel Price

5*****

The Playhouse Theatre in Leeds has once again ignited the festive spirit with its enchanting adaptation of A Christmas Carol, skilfully composed by Deborah McAndrew and brought to life under the direction of Amy Leach. McAndrew’s adaptation shines in its clever weaving of humour and pathos, ensuring that the story resonates with both young and old. From the very beginning, the relocated bustling streets of Victorian Leeds are brought to vivid life through cohesive period costumes of the workers who sing a blend of carols and original composed music in unison to set the scene.

The cast were equally phenomenal; their energy and commitment never faded, ensuring that the audience remained attentive throughout. Reece Dinsdale was successful in his portrayal of a miserly yet comical Scrooge who was able to transform into a ‘merry schoolboy’ and spread Christmas cheer by the end of the play. Dinsdale delivered a remarkably accurate, yet surprisingly humorous performance of a northern Scrooge allowing the younger members of the audience to easily follow the narrative. Dinsdale’s bitterness was contrasted by the heart-warming Lucas Kerr (Tiny Tim) who brought an undeniable sweetness to the stage, alongside Stephen Collins and Nadia Nadarajah (Mr and Mrs Cratchit) who perfectly captured the essence of a loving and resilient couple.

The entrance of the outstanding Obioma Ugoala as Marley (and Fezziwig) was a particular favourite part of mine providing a visually stunning and unforgettable moment on stage. Aided by clever stagecraft and haunting lighting, the phantom didn’t just appear, but he marched through the stage from a swirling haze of smoke as his ghostly echo bellowed through the theatre. The scene was a perfect balance of ominous lighting, eerie visuals and an accurate reflection of Dicken’s novel.

Following this, both the wonderful Bea Glancy and Claudia Kariuki flawlessly executed the role of the Ghost of Christmas past and present. Through graceful movements, Glancy brought the past to life, embodying whimsy and enchantment to portray the luminous figure. It is also clear that Kariuiki the perfect and only choice for the Ghost of Christmas present as she instantly shone – bringing instant joy and life to the stage and the audience were in hysterics at what came to follow her entrance: the display of dancing baubles.

The ensemble wasn’t just a backdrop; they were a dynamic and comical force, masterfully used to both tease and haunt Scrooge but also embody the Christmas spirit when frolicking on stage as lively baubles. Due to the exceptional works of Hayley

Grindle’s costume designs, the cast were able to present themselves as fully believable characters and elevate their performances further. The Ghost of Christmas present’s beautiful dress was truly memorable, shimmering with every move.

However, the true standout of the evening was the Ghost of Christmas yet to come – a tall, ominous figure created from dark cloth ascended from beneath the stage. Rather than the traditional spectral figure cloaked in dark robes, this version of the ghost is made entirely of cloth and material, to create a larger impact on stage as audiences watch the figure tower above the characters. The haunting, deliberate way the fabric moves and undulates in the dim light lends an unsettling quality and is visually impressive for audience members.

The production of A Christmas Carol truly shines in its accessibility, welcoming all ages and audiences to be a part of Scrooge’s transformative journey. The timeless story is presented with clarity and heart, ensuring that even the youngest viewers can grasp the central themes of redemption and compassion. I would highly recommend A Christmas Carol as it was a thoroughly enjoyable experience which brought out the Christmas mood.

Brick Lane Music Hall – until 19th December 2025

Reviewed by Laura Mobilia

5*****

Brilliant. Joyful. Colourful. Marvellous. Wonderful…. The Magic of Christmas is a new festive variety show from Brick Lane Music Hall.

This show is a great production which brings a mixture of Christmas music, old school London songs and all-time classic rock/pop/folk tunes, all of which help create a show for those who enjoy music and a lovely atmosphere with brilliant performances.

It’s Community Theatre at the best level.

The show is hosted by Vincent Hayes MBE founder of Brick Lane Music Hall, (recognised in 2013 with the award of an MBE for his services to British Music Hall). He plays the role of a compere with humour and creativity. He is very smart in coming up with spontaneous, off the cuff jokes, as well as creating hilarious characters in different scenes. He is very funny and makes the audience laugh at most jokes he makes.

We can see a combination of musical acts delivered by a very talented group of singers with wonderful voices who create perfect and beautiful harmonies together, as well as singing in individual acts, bringing a high level of performance with each song.

The pianist and musicians accompany the singers very well throughout and join this group of talented artists, which is a delight to see. One of the singers also performed some lovely solo violin pieces.

There is a lot of hard work and effort put in the costumes department led by Zara Kattan. They change in each scene and bring a Christmas spirit that goes very well with the show. Shiny, bright, colourful outfits which add extra points to the show, as well as the scenery designed by Chris Floyd and Shannon Topliss which change frequently. Great job from the set designer as well as the costume team. The special effects also help add to the colour and vibrancy of the show.

Be prepared to find a joyful experience with classic British entertainment; part show, part celebration.

Live music, comedy and cabaret are part of the entertainment with a three-course Christmas meal or afternoon tea depending on the performance.

The singers invite the audience to participate by singing and clapping which adds a nice feeling to the sociable experience.

If you want to have the whole festive experience, join the meal which is lovely food, followed by the live show.

The food combined with the show makes it a great day out for those who love Christmas in all its glory and the venue is also beautifully decorated and has an old London music hall feel to it.

The Magic of Christmas Brick Lane Music Hall, 443 North Woolwich Road, London E16 2DA

19th November – 19th December 2025

Evening, lunchtime, and matinee performances available

Tickets: https://www.bricklanemusichall.co.uk/shows/the-magic-of-christmas/

Matinee Shows with Christmas Tea: 2pm–5pm, £55 p/p

Afternoon Show with Three-Course Lunch: 2:30pm-5pm, £65 p/p

Evening Show with Three-Course Dinner and Dancing: 8.15pm-10:45pm £69.50 p/p

Group rates (10+) available

Curve Theatre, Leicester – until Saturday 17 January 2026

Reviewed by Sam Bradshaw

4****

You would be hard-pushed to find a person on this planet who has never heard of The Sound Of Music. So it’s no surprise that Curve have chosen this beloved family classic as their Christmas show – and while nuns and nazis don’t normally feature in festive favourites, this production is twinkly and heart-warming – everything you’d want at this time of year.

Confidently directed by reliable Nikolai Foster, this revival doesn’t follow the classic film frame by frame – there is no topping any performance by Julie Andrews, so why try? However, it is fresh and pacey, and importantly: relatable for a modern audience, as we find ourselves almost a century away from the date Austria was invaded during WW2.

This epic cinematic production makes the most of the expanse of the Curve main stage. From the simple warm glow of real candles and a single voice, we transition from the most exquisite traditional painted cloth with delicate mountains, which rises to reveal a magnificent natural landscape – no spoilers here, it needs to be seen to be believed. This work by Michael Taylor is theatrical wizardry and you’ll forget you’re not in the West End. Even the programme is elegant and matches the grandeur of the setting. And of course, there is an imposing staircase – well, this is a Made At Curve production!

Lighting by designer Mark Henderson is well-matched, with the warm sunset being so subtle and yet you notice it just before the line points it out, and a delicious sharp contrast between the warmth of home and the clinical white of invasion with a snap faster than you can say “Heil.” Backlighting through the cloister window casts beautiful shapes over the preparation of the young bride. Beloved stagelights become searchlights. Exquisite work by Mark and crew.

Staging is immersive, making use of aisles and exits, and the serene nuns emerge from sub-stage as Joanna Riding (Mother Abess) leads the Sisters in a hauntingly beautiful chorus, surrounding us with choral perfection from the company, lead by George Dyer. As previously mentioned, you will find songs are not ‘in their place’ as per the film – but nothing feels terribly out-of-place either. The audience joy was palpable following a rousing version of The Hills Are Alive. It is a little difficult to confirm the accent of Maria (Molly Lynch) until we hit some dialogue, when we discover this Maria is an Irish postulant who grew up on the mountains and Molly herself is Irish. It seems most actors are using their natural accents, which you just have to accept and I feel we get some very intense performances perhaps because the actors are so comfortable in their characters.

Highlights include the absolutely delightful Rachel Izen as Frau Schmidt, the no-nonsense professionally sarcastic housekeeper – and the comedy trio of Sister Margaretta (Keanna Bloomfield) Sister Sophia (Megan Ellis), and Sister Berthe (Leonie Spilsbury).

The show is absolutely stolen by the Von Trapp children, who are utterly charming and faultless. Kneeslides and cartwheels abound as their energy never drops, and the thunderstorm bedroom seen is another crowd-pleaser. They really are all fabulous but I must make a special mention to Isla Granville as Brigitta, who delivers the most heartfelt and sincere monologue telling Maria she must surely know she and the Captain Von Trapp (David Seadon-Young) are in love – and her look of concern as her Father struggles to hold it together as he sings Edelweiss will break your heart.

The dramatic moments of the show are highly emotive for us as an audience, heightened by energetic performances. Rolf (Christian Cooper) gives strong red flags during ‘16-going-on-17’, with wonderful bike-ography shared by an exquisite Aviva Tulley (Liesl) giving the song a spicy twist. The terror and distress of the children is keenly felt. The inclusion of the ‘Hitler Youth’ is chillingly distasteful but important. Another rare treat in modern theatre – a powerful and exposing ballet at the Von Trapp ball, beautifully crafted by choreographer Ebony Molina. A happy occasion gradually poisoned by hatred, suspicion and distrust. And there is rather a lot of that going on in today’s society too..

As previously mentioned, this isn’t a carbon-copy of the film – and nor should it be. We always have the original and I’ve no doubt I’ll be watching it again this Christmas. This production is brave, fast-paced, immersive, relevant, relatable – and perhaps a little ruthlessly efficient in places. But I encourage everyone to see it, as this monumental spectacle will live long in the memory of theatregoers in Leicester and beyond.

The Glitch – until 22^nd December 2025

Reviewed by Heather Chalkley

5*****

Writer and Director Oli Savage has woven a classic Christmas tale that you will want to see and feel every year. Anyone in search of a little Christmas magic, you have found it! Hidden in plain sight, a room full of delights awaits you.

The performance is layered to grip your attention at every turn. The most obvious is the library itself; a cornucopia of nick knacks that gives something new to look at with every glance. The intimacy of the setting draws you in to the story immediately. You are part of the library and it often feels like you are eavesdropping a private conversation. Other times you are the audience for an exquisite storytelling session.

Then there is the script, from high speed dialogue perfectly paced to hear every syllable to pregnant pauses, where you will involuntarily draw a breath.

The third layer is the acting. Ronay Poole (Isla Greenwood) attentively phases through micro expressions and subtle body language. Poole demands you focus on every detail as she slides easily between teenage girl to married woman, deeply in love, mostly an epic storyteller.

You can feel Maximilian Crimp’s (Malcolm Jeffries) broken heart trying to hide deep in his soul, seeping out into the library, knowing he must share and must pass on the legacy. Jeffries (Crimp) holds the stories in every sinew of his body, ready to pounce. The way he engages with the audience, staring you right in the face at times is totally immersive.

The powerful chemistry between the two actors gives their building relationship life. They encapsulate their characters wholeheartedly. From confidence to nervous fidgeting, you can feel their implied experiences and quirks. The magical twist corrects your false assumptions and adds depth to an already whimsical concept. Jeffries (Crimp) drives the narrative forward with charisma, while Poole (Greenwood) explores it with bountiful curiosity. A faultless performance that leaves you feeling full to the brim. I immediately wanted to see it again!

Unicorn Theatre – until 3 January 2026

Reviewed by Claire Roderick

5*****

Told By An Idiot bring their magical mischievous charm to Mac Barnett and Jon Klassen’s tongue in cheek book asking the big question about the most successful housebreaker in history. Each suggestion raised by the book is demonstrated and expanded on with the flair and charm we have come to expect from Told By An Idiot.

Sonya Smullen’s simple but evocative design (I think every member of the audience, no matter their age, wished they could slide down those rooftops!) provides props and routes for chaotic Santa parkour, chases and dancing, while two simple mic stands either side allow the cast to narrate and provide musical accompaniment and sound effects.

Paul Hunter directs the brilliant cast (Guilia Innocenti, Nathan Queeley-Dennis, Frida Cæcilia Rødbroe and Mikey Ureta) through a parade of Santa contortions, reindeer rebellions (bringing the not-so-subtle facial expressions of the illustrated reindeer to anarchic life), and extended riffs on finding the key under a flowerpot and a gloriously daft dog chase. Mikey Ureta’s energetic choreography and Frida Cæcilia Rødbroe’s delightful sound design are full of impish humour that delights the entire audience. There’s even a Danish singalong!

Audience participation is a must at Christmas, and this cast ensure that the children (and a few lucky adults) feel part of the story, from searches among the rows of seats to children being called up to help Santa get down the chimney. A beautiful moment has a child fixing the power to turn on the Christmas tree lights for the finale. The show is pitched perfectly, with visual jokes and nonsense that appeal to young and old.

How Does Santa Get Down The Chimney? is an endearingly unconventional show that embraces impish Scandinavian drollery, old school English eccentricity and childlike joy. Grab tickets for this charming Christmas fun and get your family to the Unicorn Theatre faster than Santa gets down a chimney.

SEVEN DIALS PLAYHOUSE ANNOUNCES
2026 SPRING SEASON: EXTRAORDINARY STORIES

Seven Dials Playhouse, 1A Tower Street, London WC2H 9NP
3rd February –29th March 2026 https://www.sevendialsplayhouse.co.uk/

Seven Dials Playhouse is delighted to announce Extraordinary Stories, the new Spring Season running from 3rd February – 29th March 2026, that spotlight the vast, complicated and often surprising narratives that shape our lives. From drug-trial confessions to queer history, dementia’s shifting realities to the fervour of fandom, Extraordinary Stories brings together artists delving into remarkable experiences, individual journeys, or the extraordinary stories hidden in everyday life

This season continues Seven Dials Playhouse’s commitment to curated, artist-led programming that elevates bold new work and gives it the time, space and support to grow. The venue’s spring programme reflects an ongoing mission to champion distinctive voices and compelling contemporary storytelling.

In both the main space, The House, and the studio space, The Pen, Extraordinary Stories showcases a wide range of theatrical forms – from solo performance to new writing, musical comedy to darkly comic horror; each reflecting the extraordinary complexity of the choices, histories and relationships that define us. 

Across the spring season, The House plays host to three striking new productions, each offering a sharply different window into contemporary life, with a fourth show still to be announced. Brainsluts introduces a group of strangers thrown together in a clinical drug trial, where oversharing becomes both a coping mechanism and comic chaos. The Night Larry Kramer Kissed Me brings David Drake’s landmark solo play back to the stage in a vivid, tender and politically charged exploration of self-discovery and the legacy of the AIDS crisis. The Murmuration of Starlings closes the season with a sci-fi-tinged love story set inside a mind in decline, tracing the blurred edges of memory, myth and devotion.

Alongside the main House programme, The Pen hosts a trio of shorter runs showcasing bold new comedic voices. Olivia McLeod brings a Work in Progress brimming with gleeful vengeance. Hudson Hughes unveils At Your Service, a comedy-horror featuring a full coffin, electronic props and razor-sharp scares. And A Stan Is Born offers a musical celebration of pop divas and queer devotion, fresh from a sold-out summer season.

Peekaboo, presented by leapday, also joins the season. This monthly improv showcase brings some of London’s most exciting improvisers to the heart of the West End, mixing established performers with rising talent in a lively, playful night hosted by David Elms, a seasoned improviser, acclaimed comedian and the founder of leapday.

THE HOUSE

BRAINSLUTS
3rd – 13th February (Tue–Sat 7.30pm, Sun 8 Feb 5.30pm) | The House
A new comedy play from Charlie Hartill Award finalist Dan Bishop.

Set over five Sundays, Brainsluts – a slang term used for participants of clinical drug testing – is a comedy play following five strangers in the midst of a trial. As the trial unfolds, these guinea pigs discover the sheer lengths each of them will go just to fill the silence. Oversharing ensues, secrets emerge and the stresses of their precarious lives are laid bare.

“Clever, fast and funny” – Beyond The Joke
“Immensely fruitful… smart writing” – Chortle

THE NIGHT LARRY KRAMER KISSED ME
17th February – 1st March (Tue–Sat 7.30pm, Sat 3pm, Sun 5.30pm) | The House
Originally written in 1994 by Obie Award-winner David Drake, this groundbreaking solo piece became one of the longest-running solo plays in New York theatre history.
 

Directed by Offie-nominated Adam Zane and starring Gabriel Clark (Hollyoaks/Jock Night/Tip Toe), Hive North (creators of Jock Night) brings this seminal work roaring back to the stage.

Funny, furious and heartbreakingly tender, The Night Larry Kramer Kissed Me charts one man’s personal journey through self-discovery, desire, loss and activism. With a kaleidoscope of characters and vivid vignettes, the play captures the passion and urgency of the 1980s AIDS crisis, inspired by the indomitable spirit of playwright and activist Larry Kramer.

THE MURMURATION OF STARLINGS
3rd – 14th March (Tue–Sat 7.30pm, Sat 2.30pm) | The House

A love story set against a background of dementia, The Murmuration of Starlings places audiences inside the fragmented world of a man living with a mind in decline. Blurring reality with sci-fi, memory with myth, the piece traces a looping journey beginning just 150 yards from home.

As The Man, The Woman, The Boy and The Girl move through shifting timelines, lurking dangers and moments of unexpected solace, the play explores how far someone will go to protect the person they love, even as their own understanding of reality unravels.

THE PEN

OLIVIA MCLEOD – WORK IN PROGRESS
5th February | 7.45pm | The Pen

For too long, Olivia has not been recognised as the genius she knows she is. Now, she’s seeking vengeance on anyone who’s ever stood in her way.

Directed by multi-award winning comedian Lou Wall.
 
HUDSON HUGHES: AT YOUR SERVICE
6th February | 7.45pm | The Pen
 A comedy-horror centred on a TV celebrity bishop forced to preside over a rural funeral for a woman rumoured to be a witch. Featuring a full coffin on stage and Hudson Hughes’ signature blend of electronic props, video trickery and sharply timed scares.

A STAN IS BORN
10th – 12th February | 7.45pm | The Pen

This debut from Alexis Sakellaris is a musical comedy about obsession, pop divas and the queer joy of becoming a ‘stan’. Following a drastic move from New York City to rural Germany at the age of eight and trapped in a conservative culture clash, discovering women online became Alexis’s salvation. Céline, Whitney, Mariah, Beyoncé, Aretha…this show is a heartfelt tribute to them, and to the women in Alexis’s real life.
 

Fresh from a sold-out summer season, a 4 star review from The Stage and a Best New Show nomination at Brighton Fringe.

PEEKABOO

30th Jan, 27th Feb, 27th Mar & 24th Apr | 7.45pm | The Pen

leapday presents Peekaboo, a monthly showcase of the best and most exciting improv comedy happening in London, in the heart of the West End.

For just £10, this is a chance to see established improvisers alongside up-and-comers in a lively and playful night, hosted by improv veteran and leapday founder David Elms.

LISTINGS INFORMATION
Extraordinary Stories Season
3rd February – 29th March 2026
Seven Dials Playhouse
1A Tower Street, London WC2H 9NP
Tickets and full details: https://www.sevendialsplayhouse.co.uk/

ABOUT SEVEN DIALS PLAYHOUSE

Seven Dials Playhouse is a creative hub for theatre makers and performers at all stages of their careers. Providing rehearsal space, artist development programmes and curated performance opportunities, the venue champions innovation and excellence in live performance in the heart of London’s West End.

Moondance Theatre, Theatr Clwyd, Mold/Yr Wyddrug – until 17th January 2026

Reviewed by Julie Noller

5*****

That long anticipated night of the year is finally upon us; but wait this isn’t just any old panto this is Theatr Clwyds much loved Rock n Roll panto and this year we gather together (oh yes we do) to boo, hiss and cheer not forgetting laugh until we cry, sing and clap Cinderella. My review begins with the very impressive revamp of the programme. There’s the usual meet the cast, behind the scenes but there is also a cut out puppet to try and re-enact the opening scenes. You can also treat your little ones (however old) to a sticker pack with each sticker a cartoon of the characters to pop over the real life photo, helping to showcase the actor as cast. If you are really lucky you may just find a shiny sticker hidden around the theatre to add to your collection!! Just to note please don’t lift plates in the restaurant as they won’t be hidden there.

Cinderella is directed by Daniel Lloyd marking a 20 year love affair that has taken him from on stage to off stage with a wealth of knowledge. He makes a valid point stating that Theatr Clwyds Panto doesn’t rely on star names but uses its reputation of delivering quality, fun packed shows. The unique draw is fantastic actors who act, sing, dance and play; you know they all enjoy the show as much as the audience. Closely snapping at Daniel’s heels is Phylip Harries who returns as Dame Hettie Hardup for his 18th Panto; perhaps next year we will get a Dame of Bingo for we were all waiting for the infamous line ‘looking lush love’ if we didn’t all get to shout it then something would feel amiss. Front row sitters will never learn as one fateful man is selected by Hettie to be her man for the night, much to the delight of his children. Phillip as always steers the ship; it’s not always scripted but it’s always polished. Every year the Dame arrives on stage riding her mobile vehicle (ok it has to be small to fit on stage) this year we were treated to the instrumental Jet 2 advert music and yes you guessed it she arrived aboard a red dragon plane. Her daughter, the lovely Cinderella sees us welcoming local girl Rhianna Goodwin for her first Theatr Clwyd Panto. Her dress I was looking out for was made from recycled jeans highlighting the theatre’s commitment to sustainability. Her stand out scene is when she slips out of gentle character to sassy character to lecture her step sisters. Enter the not so ugly sisters but more mean girls Sam and Ella Hardup (Celia Cruwys-Finnigan and Alice Mckenna) they showcase society today more recognisable to a younger audience, ugliness is not always seen in beauty but is deep inside. Buttons is always one of my favourite characters; the underdog and all round nice guy Robert Wade is also a first timer in Mold, he had perfect comedic timing and used his whole body in over exaggerated movements which all added to the fun. Georgina White returns although not as a baddie (a role she played so well and we loved to hate) she gets to showcase her inner Fairy as the OGFG and there’s the saxophone again!!

Over at the castle live King Benedict and Queen Beatrice (Joe Butcher and Chioma Uma). I couldn’t take my eyes off that impressively twitching moustache. The Queen’s singing and dancing booty drop should be applauded. Steve Simmonds returns this year as Dandini, again the comedy was on another level the hair flicks, the tongue use and not to mention the full kiss make up was outstanding for his full song and dance number – now that’s rock n roll in action. Elliot Parchment-Morrison has travelled just down the road from Manchester for his first Panto in Mold. As Prince Charming I was amazed at his singing, what an incredible voice!!! I look forward to perhaps seeing him perform in more musicals over the years. His impressive exit off stage every time was a very agile front role, that had me thinking oh if only my bones didn’t creek.

I’ve mentioned the cast obviously there’s no need to retell the story for it’s a tale we know so well. The music is all that’s left when I say all; well there would be no Rock n Roll Panto without it hits from 9 til 5, Firework, I Want to Break Free, Royal, Common People a splattering of Elvis and Kiss. I imagine when Christian Patterson wrote this script and Tayo Akinbode was working on the musical Direction the most fun was deciding which songs to include! I dread to think how long the original list was. I can’t leave you (oh no I can’t) without a special mention to Brian the Badger who always appears in his little box up high on the wall; a fleeting glance but he delivered a play on a shakespeare line with the brutal ‘TB or not TB’ ouch.

Panto has played, the songs have been sung, bubbles and snow appeared from the ceiling so Christmas can begin. Panto pure escapism that we all should delight in.

HIT BROADWAY MUSICAL KIMBERLY AKIMBO, STANLEY TUCCI AND THE PREMIERES OF FIVE NEW PLAYS FEATURE IN HAMPSTEAD THEATRE’S PLANS FOR 2026

The Tony Award-winning musical Kimberly Akimbo will have its European premiere at Hampstead Theatre in 2026 alongside the premieres of five new plays and the London stage directing debut of Stanley Tucci.

Kimberly Akimbo, David Lindsay-Abaire and Jeanine Tesori’s profoundly funny and heartwarming musical receives its much anticipated European premiere in a new production by Michael Longhurst. Winner of five 2023 Tony Awards including Best Musical, Best Score and Best Book it tells the story of a 16-year old Kimberly whose rare genetic condition causes her to age four times faster than usual. As she comes of age she searches for love and meaning while knowing time is not on her side. Kimberly Akimbo plays Hampstead’s Main Stage from 28 August to 7 November.

Olivier Award-winning playwright Alexi Kaye Campbell offers a fresh perspective on one of England’s greatest writers, George Eliot, in his new play Bird Grove. A poignant exploration of family ties and self-determination, Bird Grove questions how we can live alongside those we disagree with. Directed by Anna Ledwich it receives its world premiere on Hampstead’s Main Stage from 13 February to 21 March.

Stanley Tucci makes his London stage directing debut with the world premiere of Springwood by Olivier and Tony Award-winning playwright Richard Nelson. Playing Hampstead’s Main Stage from 19 June to 25 July Springwood is a witty and poignant new play that pulls back the curtain on a pivotal meeting in 1939 between King George VI and President Roosevelt.

Three further premieres are also announced for Hampstead Theatre’s Downstairs studio.

American playwright Aaron Loeb makes his UK debut with the world premiere of R.O.I (Return On Investment) a provocative and darkly humorous exploration of power, ownership and the true cost of innovation. The play centres on an ambitious venture capitalist who backs an invention by a young entrepreneur that could be life-changing for the entire human race. Directed by Chelsea Walker itplays Hampstead Downstairs from 6 March to 11 April.

Firewing marks the playwriting debut of David Pearson, a graduate of Hampstead Theatre’s INSPIRE programme for emerging playwrights. Directed by Hampstead Associate Director Alice Hamilton it is a striking new play about connection, artistry and control as a wildlife photographer and his apprentice go in search of the elusive Firewing. It has its world premiere at Hampstead Downstairs from 17 April to 23 May.

Following a successful Off-Broadway run We Had A World by Joshua Harmon has its European premiere. A deeply personal and searingly funny play, Joshua Harmon brings to theatrical life his New York childhood shaped by an eccentric grandmother, revealing thirty years of family fights and enduring love that influenced him both as a person and an artist. Directed by Josh Seymour it plays Hampstead Downstairs from 29 May to 4 July.

Hampstead Theatre’s Producer and Chief Executive, Greg Ripley-Duggan said;

“It’s a privilege to be announcing our plans so far for 2026 – and we’ve more to come! These productions will start the year in classic Hampstead Theatre style – thrilling new plays, exciting debuts and, later in the year the European premiere of a Broadway hit musical. It’s a real joy to welcome David Lindsay-Abaire, Jeanine Tesori and Michael Longhurst back to Hampstead for Kimberly Akimbo and I’m really looking forward to introducing our audiences to a raft of new writers and some truly wonderful new plays by some familiar playwrights.”

Additional shows and casting are to be announced.

Alongside the productions on stage Hampstead Theatre has been awarded a second year of funding from Camden Council to continue its ENGAGE programme for adults at risk of loneliness and isolation in Camden. Working in partnership with Camden Disability Action, Camden Carers and The Winch those who live locally to Hampstead Theatre will have the opportunity to come together to take part in creative writing and dramaturgy sessions, community nights and also a large-scale community production on the theatre’s Main Stage.

As well as continuing to offer £10 tickets across all performances at Hampstead Theatre a new Young Friends scheme for 2026 will enable under 30s to enjoy a further range of benefits.

Priority booking for Patrons opens on Friday 28 November, for Friends Plus on Tuesday 2 December, for Friends on Wednesday 3 December and for Young Friends on Thursday 4 December.  Public booking opens on Friday 5 December at 10.30am.