Editor Gloria (Juliet Welch) likes to have her journalists read their articles aloud to an audience as part of the editing process. It is late on a Friday night and Marianne (Molly Hanly) is reading her article about the environmental scandal she has discovered in the cranberry farms of Massachusetts. Interruptions with helpful corrections/unwanted bad jokes from Jennifer (Sydney Crocker) and Karl (Xavier Starr) frustrate Marianne at first, but their questions trigger flashback scenes to reveal details that are not included in the article. The switches between the Friday night and flashbacks are managed by simply sweeping desks around after questions or comments from Marianne’s colleagues.
There is a lot of information dropped in the first few minutes of the play, making the first interruption a blessed relief, but this fact drop is valuable establishing the hard slog of the cranberry farmers and their financial woes as the economy makes their traditional crop unprofitable and some turn to illegal mining to keep their heads above water.
As Marianne’s article and interviews continue, we meet Bailey and her half-brother Jeremy, who have despaired of the legislative level cronyism and corruption enabling illegal mining and pollution of aquifers, abandoned farming and rewilded land. Bailey’s hope for building a new community in the future is outwardly encouraged by Jeremy, but he is secretly taking a more active stance against the cranberry farmers.
Molly Hanly handles the huge amount of exposition Marianne has to wade through with skill, making her vulnerability and terror for the future more affecting as she breaks down. Juliet Welch is wonderful as the older (and wiser?) Gloria, calm, quiet but steely in her convictions. Xavier Starr and Sydney Crocker also shine in their roles, both with great comic timing. Joe Edgar writes with a sharp passion and also directs this well-meaning play, cramming a lot (maybe too much?) into 75 minutes, but allowing the conflict between debate and direct action to be explored in an entertaining, engaging and thought-provoking production.
Leicester Square Theatre – touring until April 2026
Reviewed by Claire Roderick
4****
Josh Jones takes his cheeky charm offensive on the road once more with an hour of wonderful jokes and family stories. Declaring that this isn’t going to be political and hard-hitting – just jokes – Jones fulfils his brief in style – although he does give a trigger warning AFTER telling one story!
He whether he would give up being northern or being gay – can’t live without gravy so an obvious choice – and tells hilarious stories about his grandparents and growing up between his parents’ homes in different parts of Manchester. Stories about a coat that turned him gay, and his non-demonstrative father’s acceptance and love for Josh’s boyfriend are full of insults that only come with a deep love, and this warm-heartedness underpins the entire show.
Josh’s stories about honing his comedic skills in northern clubs, making the big time on Dancing On Ice – injured in the first week but still getting the whole fee, striking gold with his anaesthetist boyfriend, becoming a cat mother, and bumming are all filled with silly details and some killer punchlines.
There is no crowd work from Josh – because he just doesn’t care about us! This may come as a relief to the front rows as the fabulous Jenny Hart’s support act involved a few hilariously awkward moments as she asked whether anybody else had been in the strange situations she was talking and singing about. A consummate performer, Hart only engaged with the willing and they all loved it. As a trans woman, her edgy and sometimes filthy songs and stories about her tits and her balls are provocative and hilarious. I am not sure how these are received in every venue, but I wish I could have seen Hart deal with a heckler – no doubt in my mind that she would wipe the floor with them with her sharp and quickfire wit.
If you are looking for an easy-going night full of laughter and silliness with a lot of heart, grab a ticket for the tour. Tour dates and tickets available here: https://www.joshjonescomedy.com/
Octagon Theatre, Bolton – until Saturday 10th January 2026
Review by Rebecca Hampson
3***
Christmas has landed at Bolton Octagon with a festive musical adaptation of the Victorian classic by Charles Dickens, ‘A Christmas Carol’.
An explosion of festive joy this adaptation saw our very own Ebenezer in a world of song music and lights. The audience were treated to a ballad dedicated to the one, the only, figgy pudding as Christmas Present played by Lucy Keirl wheeled around the stage on the worlds most festive scooter.
My highlight of the show was the arrival of Marley’s Ghost played by William Donaldson. Donaldson’s characterisation and gait worked simultaneously with Hannah Wolfe’s costuming of Marley and allowed for a seamless transition from armchair to ghost in chains as he reached out and enthralled a truly terrified Scrooge. A scene so spooktaular it caused a child in the audience to jump into the lap of their mother.
This adaptation was perfect at engaging the younger audience members when they were invited to take part in the fizzy wizzy dance during a flashback of Christmas past. The audience clapped along and some even jumped up to dance.
As a die-hard fan of the traditional I found elements of this adaptation confusing. However, my opinion was of the latter as audience members raved whilst leaving the theatre.
If you are expecting a traditional rendition of ‘A Christmas Carol’ this is not the show but if you are wanting something festive, loud, bright and full of cheer this is a production you simply cannot miss.
BARN THEATRE ANNOUNCES FIRST DETAILS OF ITS 2026 BUILT BY BARN SEASON
WORLD PREMIERE STAGE ADAPTATION OF MEN BEHAVING BADLY FRIDAY 30 JANUARY – SATURDAY 7 MARCH
BOLD NEW REVIVAL OF STILES AND DREWE’S OLIVIER AWARD WINNING MUSICAL HONK! RUNNING OVER CHRISTMAS 2026 SATURDAY 21 NOVEMBER – SUNDAY 3 JANUARY
CEO and Artistic Director Iwan Lewis,Executive Director Liam McMullan, and the whole team of the Barn Theatre in Cirencester, are delighted to announce that the 2026 Built by Barn season will kick off with the world premiere stage adaptation of “one of the most successful British comedies of all time” (Telegraph) Men Behaving Badly.
Written by Simon Nye, Men Behaving Badly’s original writer, and directed by Joseph O’Malley, Men Behaving Badly: The Play will play at the Barn from Friday 30 January until Saturday 7 March 2026.
Priority tickets for Men Behaving Badly: The Play available now. General Sale from Saturday 22 November, 1pm.
Four old friends and a wedding in the morning – what could possibly go wrong?
London, 31st December, 1999. Gary’s clinging to his youth, Dorothy’s had enough, Deborah’s got a plan, and Tony’s…still Tony. The world is bracing for Y2K as our favourite foursome prepare for their own Big Day, but when resolutions clash with revelations, the gang might just prove that the real millennium bug… is them.
Expect pints, fireworks, and a complete lack of adult supervision as we return to the flatmates where the TV series left off.
Director Joseph O’Malley said, “I’m delighted to be joining Simon Nye in bringing one of Britain’s best loved comedies to the stage for the first time. The misadventures of Gary, Tony, Dorothy and Deborah have always held a special place in my heart, and I can’t wait to bring these much-loved characters to a 2026 audience. To me this show is a celebration of friendship, of the 90s and of the healing power of sitting on a sofa with people you love and talking absolute rubbish. Less doomscrolling and social media anxiety, more real human interaction and, of course, bad behaviour!”
The creative team for Men Behaving Badly: The Play includes set and costume designer Alfie Heywood, associate costume designer Denise Cleal, sound designer Amanda Priestley, and Marc Frankum as casting director. Men Behaving Badly is performed by arrangement with Knight Hall Agency Ltd.
Later in the year, the Barn will present a vibrant new festive production of Honk!, playing from Saturday 21 November 2026 until Sunday 3 January 2027.
Ugly has a face only a mother can love. Down at the duckpond his siblings and friends tease him for his looks, but there’s more to this plucky ‘duckling’ than meets the eye. Lost and in peril of being eaten, Ugly undertakes an adventure of wild goose chases and mistaken identities to find out who he really is.
Based on Hans Christian Andersen’s The Ugly Duckling, this Olivier Award-winning musical with book and lyrics by Anthony Drewe and music by George Stiles, has been performed over 8,000 times worldwide, but the Barn’s 2026 staging introduces a refreshed visual world and updated musical sensibility, while keeping the heart of the classic story intact. Honk! reimagines Ugly’s journey of belonging, self-discovery and hope for a new generation of family audiences. Further details of creative team and casting will be announced in 2026.
Honk! Is Performed by arrangement with Music Theatre International.
Iwan Lewis said, “This is just a taste of what’s to come in 2026. With the Barn’s production of I’m Sorry, Prime Minister opening in the West End early in the year, our mission is clearer than ever – to build work on our small stage in Cirencester and share it on the biggest stages around the world. To open the season with Simon Nye’s brand-new Men Behaving Badly: the Play and then welcome families back at Christmas for a big musical treat with Stiles and Drewe’s Honk! feels like the perfect statement of intent. I can’t wait to show you the rest of the year.”
The 2026 season announcement follows the Barn’s recent launch of its new Barn Visiting Productions and Barn Supported Partnerships initiative, opening the theatre’s doors to a broader range of companies while continuing to develop and premiere its own in-house work.
Further 2026 season announcements, including co-productions, partnerships and additional Built by Barn titles, will be released over the coming months.
The Barn Theatre is also proud to announce that, global insurance group, HOWDEN will be renewing as the Main Sponsor for another year, continuing a valued partnership that champions creativity, community, and the performing arts.
Empire Street Productions are today delighted to announce that Sadie Sink (Stranger Things, John Proctor Is The Villain – Tony Award Nominee) and Noah Jupe (Hamnet, A Quiet Place) will star in Romeo & Juliet at the Harold Pinter Theatre next year. Directed by the highly acclaimed Robert Icke (Oedipus,The Doctor) performances will begin on Monday 16 March 2026 and play a strictly limited 12-week season until Saturday6 June 2026.
Pre-sale opens today (Tuesday 18 November) and tickets go on General Sale 10am tomorrow Wednesday 19 November via romeojulietplay.com.
Sadie Sink is best known for her breakout role as Max Mayfield in Netflix’s global hit Stranger Things. She earned a Critic’s Choice nomination for her role in Darren Aronofsky’s The Whale, and next year joins the Marvel Cinematic Universe in Spider-Man: Brand New Day. She began her career on Broadway in Annie, and earlier this year earned a Tony Award nomination for Best Actress in a Play for her role in John Proctor Is the Villain. On making her West End debut in Romeo & Juliet Sadie said:
“I was a Broadway kid, so I’ve always dreamed about doing a show in the West End. To get to do that in one of Shakespeares’s most famous plays under Rob’s direction with Noah will be such an exciting challenge. London theatre has this incredible energy, and I can’t wait to be a part of it.”
Noah Jupe is a rising force in film and television, best known for his critically acclaimed performances in A Quiet Place, Honey Boy and Ford v Ferrari. He will soon be seen on screen as Hamlet in Hamnet, in &Sons and The Carpenter’s Son. On making his stage debut in Romeo & Juliet Noah said:
“Theatre is something I’ve always been intrigued by. It seems like such a challenging and rewarding experience for an actor. So I was very excited to hear about this project. The combination of Romeo, Rob and Sadie is an opportunity you simply cannot turn down.”
Robert Icke is an award-winning theatre director and writer, known for his bold reinterpretations of classic texts. Icke’s work, including Oresteia, 1984 and Hamlet, has been widely praised. His Olivier-award winning production of Oedipus starring Mark Strong and Lesley Manville is currently playing on Broadway. Robert commented:
“This is one of the plays I’ve returned to again and again, and the opportunity to tackle it in London with two wonderful young actors is hugely exciting. It’s an explosive play, filled with heat and life, which confronts us with the fragility of our lives are and the momentousness of every last second. I can’t wait to get started.”
Joining Icke on the creative team are set and costume designer Hildegard Bechtler (After the Dance – Olivier Award), lighting designer Jon Clark (The Lehman Trilogy – Tony Award), sound designer Tom Gibbons (People, Places & Things – Olivier Award),and video designer Ash J. Woodward (Dear England).
Further casting and creative team is to be announced.
‘In a minute there are many days’
In Verona, in the height of summer, two young people meet at a party. The rest is tragedy.
Romeo & Juliet is produced by Empire Street Productions, who most recently produced A Complicated Woman starring Self Esteem at the Duke of York’s Theatre; Elektra starring Brie Larson and Stockard Channingat The Duke of York’s Theatre and Theatre Royal Brighton; Slave Play at The Noël Coward Theatre starring Kit Harrington and Olivia Washington; the widely acclaimed Olivier and Tony award winning Prima Facie starring Jodie Comer at the Harold Pinter Theatre in London and John Golden Theatre in New York which is also set to tour the UK in early 2026; as well as The Pillowman at the Duke of York’sstarring Lily Allen and Steve Pemberton. Empire Street Productions new conversation series Live from Soho, presented by James Bierman, takes place on the first Wednesday of every month at the Underbelly Boulevard. First guests have been Rebecca Lucy Taylor aka Self Esteem and Marianne Elliott, with Robert Icke set to appear in conversation with James on 9 December.
Empire Street Productions have teamed up with ATG Entertainment Creative Learning, and the Harold Pinter Theatre on Romeo & Juliet: The Star-Crossed Projects. This specially designed schools programme will give Key Stage 3 and 4 students the chance to experience Shakespeare’s greatest love story and respond creatively. R&J: Star-Crossed Words offers students the chance to see a performance and participate in a playwriting workshop, with the opportunity for selected pieces to be performed on the Harold Pinter stage. R&J: Star-Crossed Deeds allows students to engage in hands-on Shakespeare workshops and perform monologues or scenes live on stage. Both programmes are targeted at schools with limited access to live theatre, with tickets and workshops priced at £15 per student, culminating in sharings on stage at the Pinter Theatre on 4th and 5th June 2026.
ANNOUNCE THE TRANSFER OF THE SELL-OUT, CRITICALLY ACCLAIMED AND AWARD-WINNING PRODUCTION OF
WRITTEN BY AVA PICKETT
AND DIRECTED BY LYNDSEY TURNER
RUNNING AT THE AMBASSADORS THEATRE FROM 02 MAY – 01 AUGUST 2026
★★★★★
“Funny, saucy, and totally gripping”
The Daily Mail
★★★★
The Guardian, Independent, The Standard, The Stage, WhatsOnStage, Financial Times
SMART. SCRAPPY. SAVAGE.
1536, the “electrifying” (The Standard) historical drama with a modern edge, transfers to the West End following a sold-out run at the Almeida Theatre. Running from 02 May to 01 August 2026 at the Ambassadors Theatre, this must-see new play is “effortlessly funny,bold and ballsy” (The Guardian). Casting for the production will be announced in due course.
Directed by Lyndsey Turner (Chimerica), this “razor-sharp, darkly comic and blisteringly relevant” (The Independent) play explores the dynamics of female friendship in a world stacked against women.
1536is writer Ava Pickett’s first play, which won her the 2024 Susan Smith Blackburn Prize, the award for Best Writer at the 2025 Stage Debut Awards, and a special commendation from The George Devine Award. She is currently co-writing, alongside Baz Luhrmann, his Jehanne D’Arc film.
Ava Pickett, Writer, said “It’s hard to put into words how much this whole process has meant to me so I’m going to resort to cliché and say it’s beyond my wildest dreams – which still feels a bit like I’m downplaying it.
I’m such an example of what can happen when people get in your corner early and so I just want to thank everyone at the Almeida Theatre and Genesis for developing it and putting it on in the first place and then thank you so much to Sonia Friedman for coming in with such enthusiasm and belief in it and wanting to bring it into the West End – I really am still pinching myself!
It’s hard to talk about “inspiration” for the play, as to be honest, 1536 was written in response to the never-ending stories in the news about violence against women. It asks the question if a King can kill his wife in a palace, how does that impact three working class women in Essex? Because the world we live in has not changed as much as we are made to believe, because what happens in the corridors of power still bleeds down, as it always has.
So what a privilege it is to be able to bring Anna, Mariella and Jane to more audiences in all their complicated, funny, dark, desperate glory”.
Kings don’t kill their wives, right?
Tudor England.
A field in Essex.
Three women hurry to their childhood meeting place, thirsty for gossip from London.
Word spreads of a clash between King Henry VIII and his Queen, Anne Boleyn. And closer to home, another rumour begins to catch fire.
As these women begin to see echoes of the royal drama in their own rural lives, a tide of violence threatens their very existence, and they realise the royal scandal could cost them everything.
The creative team for 1536 includes; Director: Lyndsey Turner; Set and Costume Designer: Max Jones; Lighting Designer: Jack Knowles; Sound Designer: Tingying Dong, Movement and Intimacy Director: Anna Morrissey; Composer and Arranger: Will Stuart and Casting Director: Amy Ball CDG.
1536 is produced in the West End by Sonia Friedman Productions, Annapurna Theatre, and the Almeida Theatre.
Fixing is a warm, entertaining, and interactive production, where the audience is invited to join Matt Miller (Fitting, Sticking) and their alter-ego, Natalie Spanner, on a course of holistic car care. The combination lands somewhere in between an episode of ‘Playaway’ and a Haynes manual.
With Fixing, Matt and co-creator Peader Kirk (The Performative Museum, Mkultra) have conjured a clever parallel between the maintenance of both cars and relationships. Natalie’s relentless sparkle makes things fun – combining audience participation with a sprinkling of cheeky innuendo – while Matt’s raw vulnerability draws you in to sit alongside them and reflect on your own.
Matt’s poetic talent shines via the beautifully descriptive dialogue they employ to delve into the deeply personal but profoundly relatable history of their family relationships, particularly that with their father, and the experience of their parents’ break up. Family relationships are rarely an easy topic, despite the fact that most of us share this experience and yet still find it endlessly challenging; one wonders why we are often so much more able and willing to be generous with our time, connection, and assistance to a stranger stuck on the side of a road than with those who mean the most to us.
The set has been thoughtfully designed to give car parts a chic edge via a carefully coordinated colour palette, and the lighting is well engaged to create a piercing focus during the more serious moments. Matt’s timing is impeccable and they make some very interesting observations. Natalie assists by opening the door into each new facet of Matt’s story whilst also teaching us what a flywheel does and how to navigate collisions head on. They are also astoundingly skilful in maintaining their balance on a pair of enormous, yellow platform heels.
Unfortunately, you won’t find all the solutions to relationship struggles here but you might learn something about car maintenance and will most certainly become part of the engine that drives this enjoyable performance along its path. At the end, you may emerge asking yourself questions about your own family dynamics and whether or not your car maintenance is up to scratch.
A Young Man (Trae Walsh) feels stuck in his life and dreams of leaving his quiet hometown every day. He’s 26, graduated from university, living with his parents, and is stuck in a job with little or no prospects, stacking shelves at the supermarket – although his fear of climbing ladders means that he isn’t really meeting his job description.
The town is on the coast, eerily portrayed on Bethan Wall’s set by a scattering of sand and a multipurpose scaffolding pole structure with atmospheric lighting by Rachel E Cleary. The fog (which his Father insists is mist) obstructs the view from the beach, but the young man and his Father wistfully reminisce about the time they caught a fleeting glimpse of an eagle. This symbol of a different, brighter, exciting life is what the young man clings onto, insisting that he is leaving for the city – which horrifies the older generation. The mention of the city provokes comedic responses akin to the reactions of Coronation Street characters when they learn that someone is moving to that there London, and no chance is missed to mention the dead bodies floating down the river. But this frightening, unknown exhilarates the young man, if he could just motivate himself to actually leave.
Throughout the day, he encounters a variety of characters, beginning with a mysterious Stranger (Olivia McGrath) on the beach. She taunts him, encourages him and forces him to answer challenging questions about himself, staying onstage to haunt and observe his progress as today seems a little different, maybe.
The confusion of his parents that he wants to leave is portrayed wonderfully by Toby Batt and Phoebe Woodbridge. Father rails about the safety and certainty of the town and Mother just wants everyone to be nice and perhaps play a board game. Encouraged by his Girlfriend (Yarrow Spillane) to take her lottery winnings and leave, he seeks advice from the enigmatic Arcade Assistant (Olivia Israel) who regales him with an absurdly melodramatic warning of what happens if people ask questions in the city.
Writer and director Andrew Muir’s play is aptly titled as the story drifts through the ebb and flow of the Young Man’s day with each encounter affecting his resolve to leave. The plot and acting often lean into the absurd with inane comments are delivered as if they are prophetical pronouncements by his Father.
The acceptance of their lives by his Work Colleague (Amirah Alabere) and Manager (Lewis Allen) is shown in the funniest scene. Allen’s Manager is 23 and has his life planned – being the big fish in this tiny pond, and having a decent car are his aspirations, and he is happy with that – already giving advice and judgement to his staff like a man decades older.
The Young Man’s attempt to leave is initially scuppered by public transport issues (grounding the play in reality) but a surrealist sequence reveals his fate and an ambiguous ending leaves the young man’s fate hopeful but still drifting at the whim of the surrounding tides of life.
The frustrating cycle of the Young Man’s day and the inner conflict between his ambition and craving for familiar security will resonate with many audience members. Throughout the play, the people who are happy and fulfilled staying in the community where they grew up are not judged harshly. The dilemma of leaving family ties, familiarity and safety for an unknown future, and the financial and social constraints preventing young people from doing so is portrayed stylishly in Drifting. A confident and intriguing play that unfolds in a leisurely but totally engaging manner. A real treat.
IN ASSOCIATION WITH NICA BURNS PRESENT THE ROYAL SHAKESPEARE COMPANY PRODUCTION OF
THE WEST END PREMIERE OF THE NEW MUSICAL
THE BOY WHO HARNESSED THE WIND
OPENING @SOHOPLACE FROM 25 APRIL – 18 JULY 2026
Kenny Wax Limited and Chuchu Nwagu Productions in association with Nica Burns announce thatthe Royal Shakespeare Company (RSC) production ofThe Boy Who Harnessed the Wind will make its West End premiere @sohoplace following its run at the Swan Theatre in Stratford-Upon-Avon.
Today, the RSC have announced full casting for the production. Furthermore, the Producers are delighted that Chiwetel Ejiofor who wrote, directed and starred in the movie of the same name, joins as Creative Associate and Executive Producer.
Adapted from the memoir by William Kamkwamba and Bryan Mealer, and Potboiler Productions and Chiwetel Ejiofor‘s film, the new musical features a book and lyrics by Richy Hughes (Superhero, Southwark Playhouse) and music and lyrics by Tim Sutton (Restless Natives: The Musical, Perth Theatre; RSC’s The Merry Wives of Windsor).Directed by former Artistic Director of the Bush Theatre Lynette Linton (Intimate Apparel, Donmar Warehouse; Shifters, Bush Theatre and Duke of York’s) the production plays @sohoplace theatre for a strictly limited run 25 April – 18 July 2026.
The Boy Who Harnessed the Wind is a bold and uplifting new musical which tells the true story of William Kamkwamba who had the courage to dream in the face of impossible odds.
In drought-stricken Malawi, a 13-year-old boy dreams of saving his village. Nobody believes he can – not his father, his friends, nor his community. As crops fail and hope runs dry, William finds inspiration in scraps of old machinery and a handful of library books. What he lacks in resources, he makes up for in determination, grit and imagination, and a windmill begins to take shape. Can William defy expectations and harness the power of the wind to bring energy, life, and hope to his people?
Alistair Nwachukwu (Line of Beauty – Almeida, Choir Boy – Bristol Old Vic) is originating the title role of William Kamkwamba.
The full cast include Madeleine Appiah (Agnes), Lori Barker (Ensemble), Tsemaye Bob-Egbe (Annie), Owen Chaponda (Mike Kachigunda/Blessings), McCallam Connell (Chief Wimbe), Eddie Elliott (Jeremiah Kamkwamba/Patience), Tad Hapaguti (Offstage Understudy), Daniel Haswell (Offstage Understudy), Shaka Kalokoh (Charity), Idriss Kargbo (Gilbert Mofat), Choolwe Laina Muntanga (Mika Kamkwamba), Newtion Matthews (Mister Ofesi), Sifiso Mazibuko (Trywell), Alistair Nwachukwu (William), Tomi Ogbaro (Mizeck), Alex Okoampa (Ensemble), Yana Penrose (Khamba) and Helena Pipe (Edith Sikelo).
Chiwetel Ejiofor whopreviously wrote, directed and starred in the 2019 film version of the same title, and joins the West End production as Executive Producer said “I am absolutely delighted to be involved with the exceptional team bringing William’s story to theatre audiences. William’s incredible experiences are a powerful testament to resilience and hope. It’s a narrative that remains both timeless and timely and, I’m sure, will continue to resonate deeply with everyone who encounters it.”
Lynette Linton, Director, said “I’m so excited to finally share the brilliant cast who will bring this new musical adaptation of The Boy Who Harnessed the Wind to life. This production has grown through collaboration and creativity, reflecting the spirit of community that lies at the heart of Wimbe, where this story began. It’s a tale of imagination, resilience and collective hope. Every member of this company brings so much energy, intelligence and warmth to the room, I can’t wait to work with them and for our audiences to get a sense of the joy and unity of Malawi.”
Daniel Evans and Tamara Harvey, RSC Co-Artistic Directors, said “We are thrilled to announce the outstanding cast who will bring The Boy Who Harnessed the Wind to life at the Swan Theatre in Stratford-upon-Avon next year. This inspiring story, known around the world through book and film, now takes to the stage as our first musical – a landmark moment in our time at the RSC. We are equally delighted to announce that the production will transfer to @sohoplace, continuing our close collaboration with Nica Burns following the success of Kyoto. Taking this story to London reflects our ambition to share the RSC’s work – and the extraordinary global stories that unite and move us – with as many people as possible.”
Kenny Wax and Chuchu Nwagu said “This musical is a snapshot of William’s bigger story. One which began long before the curtain rises upon our stage and continues well after the curtain falls. We urge you to spend a moment visiting www.movingwindmills.org to see how William’s commitment towards revolutionary problem-solving empowers the innovators of tomorrow to bring about positive change, not just for Malawi, but for the world.“
Nica Burns, said “Following their huge artistic and box office success with Kyoto @sohoplace early this year, we are delighted to be welcoming back the RSC with this moving and uplifting musical – a true story- The Boy Who Harnessed the Wind. This wonderful musical played in the thrust configuration is the second in @sohoplace’s 2026 spring and summer season which, for the first time, presents three unique productions with music at their heart.
It follows Marie and Rosetta, a play with some of the best gospel and rhythm and blues songs gloriously sung by Beverley Knight and Ntombizodwa Ndlovu with their extraordinary vocals.
The third production of this season with music is to be announced and on sale in January 2026.
The intimacy of our atmospheric auditorium with its exceptional acoustics will give audiences a memorable theatrical and musical experience.”
Joining Lynette Linton, Richy Hughes and Tim Sutton on the creative team are Set and Costume Designer Frankie Bradshaw; Choreographer Shelley Maxwell; Lighting Designer Oliver Fenwick; Sound Designer George Dennis; Video Designer Gino Ricardo Green; Wigs, Hair and Make Up Designer Cynthia De La Rosa; Musical Supervisor Liam Godwin; Orchestrator Benjamin Kwasi Burrell; Puppet Designer Nick Barnes; Puppetry Director Laura Cubitt; Fight Director Kate Waters; Dramaturg George Harrison; Dramatherapist Wabriya King, Casting Director Heather Basten CDG; Musical Director Ashton Moore; Voice and Dialect Joel Trill;Associate Director TD Moyo; Assistant Dramaturg Owen Chaponda and Executive Producer Chiwetel Ejiofor.
Tickets go on sale for the West End run to the general public from 26 November via boyharnessedwindmusical.com.
The Royal Shakespeare Company (RSC) production of The Boy Who Harnessed the Wind is presented by Kenny Wax Limited, Chuchu Nwagu Productions in association with Nica Burns.
The theatre has a large cloakroom that can be used by all patrons free of charge. Out of respect for patrons and the auditorium, we request that large bags are checked into the cloak room.
Feedback @sohoplace
We welcome all feedback on patrons’ experience with the venue and encourage patrons to email us feedback@sohoplace.org
Swan Theatre, Stratford-upon-Avon
Tuesday 10 February – Saturday 28 March RSC BOX OFFICE for Stratford-upon-Avon: rsc.org.uk, 01789 331111
TO CELEBRATE THE 40TH ANNIVERSARY OF THE ORIGINAL FILM
OLLY DOBSON AND BEN JOYCE
TO MAKE A SPECIAL RETURN
AS ‘MARTY McFLY’
IN
ON WEDNESDAY 3 DECEMBER 2025
AT THE ADELPHI THEATRE
Lead producer Colin Ingram, together with Robert Zemeckis and Bob Gale, the creators of the Back To The Future film trilogy, are delighted to announce that BACK TO THE FUTURE The Musical’s acclaimed alumni cast Olly Dobson and Ben Joyce will make a special return to the production as ‘Marty McFly’ to celebrate the 40th anniversary of the UK film release at the Adelphi Theatre on Wednesday 3 December.
Both Olly Dobson and Ben Joyce will join the current Marty McFly, Caden Brauch, for this very special performance, where all three will play the role throughout the evening.
Olly Dobson said, “Originating the role of Marty is undeniably the highlight of my career. To be stepping back into his shoes for one night only is super exciting. Let’s celebrate the 40th anniversary of the film with this very special performance. Rock n roll slackers.”
Ben Joyce said, “It’s such a thrill to return to this production and I’m so excited to perform alongside both Olly and Caden – it’s not often you get three Marty’s on one stage! 40 years of Back to the Future – what a legacy it has been! I’m so pleased to have been a small part of that here at the Adelphi.”
Olly Dobson is best known for originating the role, for which he was nominated for an Olivier Award for Best Actor in a Musical. Ben Joyce received a What’s On Stage Award nomination for Best Takeover for his performance in the role.
Olly Dobson’s theatre credits include Mel Miller in A Face In The Crowd at the Young Vic, John in Just For One Day at the Old Vic, originating the role of Marty McFly in Back to the Future The Musical both at the Manchester Opera House and the Adelphi Theatre, for which he was nominated for an Olivier Award, Bat Out of Hell at the Manchester Opera House, London Coliseum and Ed Mirvish Theatre, Toronto, Matilda The Musical at the Cambridge Theatre and Carrie at the Southwark Playhouse.
Ben Joyce’s theatre credits include Beau in Shucked at the Regent’s Park Open Air Theatre, Marty McFly in Back to the Future The Musical at the Adelphi Theatre, for which he was nominated for a 2023 WhatsOnStage Award for Best Takeover, and Frankie Valli in Jersey Boysat Trafalgar Theatre for which he was nominated for a 2022 The Stage Debut Award for Best Performer in a Musical and Best West End Debut. He’s next due to appear as Phillip Carlyle in the world stage premiere of Disney’s The Greatest Showman at the Bristol Hippodrome.
The production currently stars Caden Brauch as Marty McFly, Cory English as Doctor Emmett Brown, Maddie Grace Jepson as Lorraine Baines, Orlando Gibbs as George McFly, C.J. Borger as Goldie Wilson and Marvin Berry, Alex Runicles as Biff Tannen, Talia Palamathanan as Jennifer Parker, Lee Ormsby as Alternate Doctor Emmett Brown and Strickland, Gracie Caine as Linda McFly, Liam McHugh as Dave McFly and Ryan Appiah-Sarpong, Amy Barker, Jed Berry, Billie Bowman,Jabari Braham, Charlotte Coggin, Sia Dauda,Lauren Dawes, Alexander Day, Talia Duff, Helen Gulston, Oliver Halford, Thomas Inge, Stephen Lewis-Johnston, Adam Margilewski, Samuel Nicholas,Brian Ó’Muirí, Phoebe Roberts,Issie Wilman and Alexandra Wright.
At select performances Oliver Halford will play the role of Marty McFly. Oliver was discovered as part of the global casting call for the next Marty McFly. This production marks his West End debut.
BACK TO THE FUTURE The Musical won the Olivier Award for Best New Musical, four WhatsOnStage Awards, including Best New Musical, and the Broadway World Award for Best New Musical. The musical has been seen by over 2 million people in the UK and has broken box office records at the Adelphi Theatre in London, where it has now entered its 5th year. This year also marks the 40th anniversary of the original movie, which was released 3 July 1985 in the US.
BACK TO THE FUTURE The Musical has tickets available from £19.55, with the overall average ticket price at £56.78. The show is currently booking until Sunday 12 April 2026.
Other productions worldwide include The North American tour which opened in Cleveland, OH, in June 2024 and is currently running in cities across the US and Canada, as well as Japan, Australia, Royal Caribbean Cruises and soon to be Germany. Over 3.8 million people have seen the production worldwide so far. The show also recently announced it will be heading on a UK tour from October 2026.
The Original Cast Recording, released on Sony Music’s Masterworks Broadway label, is now available and has had over 20 million streams. It features the new music by multi-Grammy Award-winners Alan Silvestri and Glen Ballard alongside classic songs from the movie including The Power of Love and Johnny B. Goode.
In celebration of 2023’s Back to the Future Day, Sony Masterworks Broadway released a Deluxe Edition of the Original Cast Recording both digitally and as a 2-CD set. Available everywhere now, the Deluxe Edition includes 13 never-before-heard demos, alternate and early versions of many of the show’s major numbers, most performed by Glen Ballard himself.
In July 2023, a brand new behind-the-scenes book documenting the of the show, Creating Back to the Future by Michael Klastorin, was released worldwide, published by abrams&chronicle books.
Based on the Universal Pictures/Amblin Entertainment film, BACK TO THE FUTURE The Musical has a book by Bob Gale and new music and lyrics by Emmy and Grammy Award-winning Alan Silvestri and six-time Grammy Award-winning Glen Ballard, with additional songs from the film including The Power of Love and Johnny B. Goode.
Marty McFly is a rock ‘n’ roll teenager who is accidentally transported back to 1955 in a time-travelling DeLorean invented by his friend, Dr Emmett Brown. But before he can return to 1985, Marty must make sure his high school-aged parents fall in love in order to save his own existence.
BACK TO THE FUTURE The Musical is directed by Tony Award-winning director John Rando (Urinetown, On The Town), alongside the multi Tony and Olivier Award-winning design team of Tim Hatley (set and costume design), Tim Lutkin (lighting), Hugh Vanstone (lighting consultant), Gareth Owen (sound) and Finn Ross (video), with choreography by Chris Bailey, musical supervision and arrangements by Nick Finlow and Illusions by Chris Fisher. Orchestrations are by Ethan Popp and Bryan Crook, with dance arrangements by David Chase. Casting is by David Grindrod CDG for Grindrod Burton Casting.
Back to the Future the movie was released in 1985, starring Michael J. Fox as Marty McFly and Christopher Lloyd as Dr Emmett Brown. The film grossed $360.6 million (£279 million) at the box office worldwide and the total box office for all three films in the Back to the Future franchise was $936.6 million (over $1.8 billion in today’s money).
BACK TO THE FUTURE The Musical is produced by Colin Ingram, Donovan Mannato, Frankel/Viertel/Baruch/Routh Group, Hunter Arnold, Gavin Kalin Productions, Playing Field, Crush Music, CJ ENM, Teresa Tsai, Ivy Herman/Hallee Adelman, Robert L. Hutt, Universal Theatrical Group, Ricardo Marques, Augury, Robert Zemeckis, Bob Gale, in association with Kimberly Magarro, Stage Entertainment, Glass Half Full Productions/ Neil Gooding Productions.
N.B BACK TO THE FUTURE The Musical has partnered with Gala Pro – a revolutionary app for accessibility and translation to enhance accessible experiences at live performances so you can enjoy any performance of Back to the Future with audio description and closed captioning.
Tickets: from £19.55
Please book via the website: BackToTheFutureMusical.com – no booking fees
