Tanya-Loretta Dee’s debut full-length play is an absolute stunner.
Beginning with an eerie gothic fairytale account of a hunter and a deer, brilliantly staged on Mydd Pharo’s bleak set – tall grass, mounds of earth and chunks of mattress scattered in front of concrete coloured wallpapers creates a confusing imagery that becomes clearer as Bex continues her story and returns from her imagination to real life – making balloon animals in a party shop in Peckham.
A customer piques her interest and they arrange to go for drinks – not sure of it a date or not, Bex cancels plans with her flatmate. She falls for James straight away, but he is slower to respond, until he takes her to Nobu. Their relationship raises red flags for everyone but Bex. Sex in toilets, always meeting in hotels that get seedier and seedier, and only communicating by text. But Bex is obsessed with this completely ordinary man.
Her flatmate Greta (a friend since childhood) and her mother are concerned – and hints are dropped that this obsessive behaviour has happened before. Bex becomes more and more isolated from Greta and her mother and withdraws from her responsibilities as she overthinks her relationship and how James actually feels about her. When she finds out that James is married, Bex sees this as a bump in the road for their journey of true love, and her sexualised fairytales introduce James’s wife as the witch that hunts the princess and her wolf prince.
Dee weaves obsessive fantasy and everyday life brilliantly, switching from heightened passion or danger to a knowing wink in an instant. Bex is frustrating and selfish in her obsession, and her friends and family’s attempts to help are brushed off with contempt – making them the villains in Bex’s inner narrative as she blames her childhood trauma on her mother and expects Greta to be a cheerleader for her romance. When Bex has a sudden epiphany about the truth of her situation, there is hope, and her mother gives her the love and help she needs. But even as she is reading a book about limerence and the obsessive cycle she has repeated in her life, whether she is completely over James is still in doubt.
Dee’s impressive writing is matched by the fantastic design: Mydd Pharo’s set is lit beautifully by Cheng Keng, and Jamie Lu’s sound design completes the intense and atmospheric mood. Sophie Ellerby directs with great style, and meaning is drawn from every aspect of the set design as Dee performs Bex’s story with physicality and charm. An unsettling and spellbinding debut. Grab a ticket while you can.
Cavendish Productions, Paul Morrisey Ltd and Darren Bell Productions are delighted to announce that after more than a decade in development the highly anticipated new musical ROSIE will have its West End debut for a one-night-only, semi-staged, gala performance at the Adelphi Theatre on Tuesday 17 March 2026.
This special performance will star the sensational Lucy Thomas in the title role, with further casting and creatives to be announced.
ROSIE tells the remarkable true story of Miss Rosie Boote, who was raised in a convent in Ireland with a dream of becoming a star on the West End stage in Edwardian London. It’s a thrilling tale of passion, scandal and courageous determination.
Lucy Thomas created a huge impression with her incredible voice at the age of 14 on ITV1’s The Voice Kids. After her appearance on the show, Lucy was immediately offered a recording contract by Cavendish Records resulting in her eagerly anticipated debut album ‘Premiere’ which was released on 1 February 2019. Lucy’s worldwide following has continued to increase rapidly and she has now released five highly acclaimed studio albums. Lucy has over 1-million subscribers and 300-million views on her YouTube Channel and videos featuring her recordings have been viewed over 2-billion times on TikTok.
A studio cast album for ROSIE was released in 2024 and received great acclaim, amassing millions of online streams, with songs from the show, including the much loved Starlight, Suddenly and Broken Dreams, winning six International Songwriting Awards.
ROSIE has original concept, music & lyrics by composer Chris Broom.
ROSIE is produced by Cavendish Productions, Paul Morrisey Ltd and Darren Bell Productions.
LONDON, Tuesday 11 November 2025 – Acclaimed actor Maggie Siff (Mad Men, Sons of Anarchy, Billions) will star as Joy Davidman, the spirited American poet whose unexpected love transforms the orderly academic life of C.S. Lewis — the celebrated author of The Chronicles of Narnia — in the West End production of William Nicholson’s beloved and deeply moving play SHADOWLANDS.
As previously announced, BAFTA, Primetime Emmy, and Golden Globe Award nominee Hugh Bonneville (Downton Abbey, Paddington, Twenty Twelve) will play C.S. Lewis.
What begins as a meeting of minds becomes an uplifting and powerful journey of love and the fragile beauty of life.
The critically acclaimed production, originally produced by Chichester Festival Theatre in 2019 and directed by Rachel Kavanaugh, will have a limited engagement at London’s Aldwych Theatre from Tuesday 5 February 2026 to Saturday 9 May 2026.
Based on a true story, SHADOWLANDS is written by William Nicholson and was adapted from his own original BAFTA Award-winning TV Movie. It soon became a West End smash-hit winning the Evening Standard Award for Best Play, followed by a triumphant Tony Award-winning Broadway transfer. In 1993 the play was adapted into a major feature film directed by Richard Attenborough and starring Anthony Hopkins and Debra Winger, which subsequently won the BAFTA Award for Outstanding British Film.
Jonathan Church Theatre Productions, Trafalgar Theatre Productions and Tilted present SHADOWLANDS by William Nicholson, directed by Rachel Kavanaugh, designed by Peter McKintosh with lighting designs by Howard Harrison, sound designs by Fergus O’Hare and casting by Annelie Powell CDG and Jim Carnahan. Originally produced by Chichester Festival Theatre.
Adapted from Mark Haddon’s multi-million-selling novel by
Playwright Simon Stephens
Directed by Ned Bennett
Melting Pot and Birmingham Rep today reveal 2027 dates for their newly announced production of The Curious Incident of the Dog in the Night-Time, inspired by the multi-million-selling, internationally acclaimed novel and the National Theatre’s award-winning stage adaptation. Opening in Birmingham next September before embarking on a major UK tour, The Curious Incident of the Dog in the Night-Time is adapted from Mark Haddon’s multi-million-selling novel by acclaimed Playwright Simon Stephens and will be directed by Ned Bennett.
As previously announced, after opening at the Birmingham Rep in early September 2026 (full run dates to be announced November 14th 2025), The Curious Incident of the Dog in the Night-Timethen tours throughout 2026 to Woking, New Victoria Theatre (Tuesday 22 – Saturday 26 September 2026); Brighton, Theatre Royal (Tuesday 29 September – Friday 3 October 2026); Milton Keynes, Milton Keynes Theatre (Tuesday 6 – Saturday 19 October 2026); Nottingham, Theatre Royal (Tuesday 13 – Saturday 17 October 2026); Leicester, Curve Theatre (Tuesday 20 – Saturday 24 October 2026); York, Grand Opera House (Tuesday 27 – Saturday 31 October 2026); Liverpool, Empire Theare (Tuesday 3 – Saturday 7 November 2026) and Bath, Theatre Royal (Tuesday 24 – Saturday 28 November 2026).
Christopher Boone is gifted with a brilliant mind for numbers, but unsettled by the unpredictability of people and everyday life. When a neighbour’s dog is discovered killed, he finds himself under suspicion. Determined to prove his innocence, Christopher becomes both detective and suspect, drawn into a mystery that grows darker and more complex with every clue he uncovers. What begins as the search for a culprit soon reveals secrets closer to home, forcing him to confront truths that will test his courage, his family, and his understanding of trust, independence, and the wider world.
Inventive, gripping, and moving, The Curious Incident of the Dog in the Night-Timecombines the intrigue of a whodunnit with a powerful coming-of-age story in an unforgettable theatrical event.
‘Crowd-Pleasing, Life-Affirming And Unmissable’ – The Times
Simon Stephens is a celebrated playwright and screenwriter whose writing is distinguished by its emotional resonance, intelligence, and tenderness and his ability to realise the extraordinary in the most ordinary of lives. He is renowned for his outstanding stage adaptation of Mark Haddon’s novel The Curious Incident of the Dog in the Night-Time, which has beenproduced in all major territories throughout the world. His Olivier award-winning VANYA played at the Duke of York Theatre in London’s West End in 2023 and the Lucille Lortel in New York in 2025, starring Andrew Scott.
Ned Bennett is a theatre director who trained at the Royal Court, the National Theatre and LAMDA. Whatsonstage have called him ‘one of the most exciting directors of his generation’. He won the UK Theatre Award for Best Director for both Pomona and Yen (2015) and for Best Play Revival for Equus (2019). He has directed work in the prison system and teaches in drama schools across the UK. Most recently he co-created The LeftBehinds with Ross Willis, a Sci-Fi Western about the orphans of the apocalypse for the National Theatre’s Secondary Schools Tour.
The Curious Incident of the Dog in the Night-Time premiered at the National Theatre in 2012 and immediately received widespread acclaim for its groundbreaking theatrical design, emotional storytelling and sensitive depiction of neurodiversity. It remains one of the most successful and acclaimed British plays of the 21st century and has been seen globally by over 5 million people.
The Curious Incident of the Dog in the Night-Time won seven Olivier Awards in 2013 (equalling the then record, set by the Royal Shakespeare Company’s Matilda), including Best New Play for Stephen’s stage adaptation, Best Director for Marianne Elliott and Best Actor for its star, Luke Treadaway. The play debuted on Broadway at the Ethel Barrymore Theatre in 2014 and scooped five Tony Awards in 2015, including Best Play, Best Direction of a Play and Best Actor. Numerous tours and international productions have followed, including in North America, Europe, Asia, and Australia.
Full casting and creative team to be announced.
The Curious Incident of the Dog in the Night-Time is produced by Melting Pot and Birmingham Re
International Winter Programme Celebrates Disability Arts
Award-winning disability arts charity DaDa is proud to announce the launch of DDFI Extra – a new winter arts programme running throughout Disability History Month 2025 and into the New Year.
Continuing the Liverpool organisation’s 40th birthday celebrations and building on the success of the UK’s longest running disability arts festival, DaDaFest International, DDFI Extra brings together artist development, creativity and accessible participation for an international programme.
DDFI Extra, developed in partnership with Potters Gallery in Nigeria and supported by the British Council Culture Connects Programme, will feature a multidisciplinary programme of events and artist residencies, connecting artists and audiences in the UK, Nigeria and Tanzania.
Designed particularly but not exclusively to encourage participation for young disabled and non-disabled people aged 18 to 35, the festival will explore themes of social justice and inclusion through workshops, film, poetry and digital galleries.
Rushton Residency UK
The Rushton Residency UK will form a central part of DDFI Extra, supporting Deaf Liverpool author Natalie Denny to explore themes of disability history and culture, reflecting on the legacy of disabled poet and social justice activist Edward Rushton to create new work.
Throughout Natalie’s UK-based residency, writers’ workshops will be offered free to disabled writers both in person at the Liverpool Everyman theatre and also online. These will run throughout Disability History Month, which starts on November 20, and into the New Year.
Lillian Munuo of Beyond the Label, Kilimanjaro, Tanzania, will also be supported by DaDa through a Rushton Residency, connecting her with Natalie and artists from Nigeria to exchange ideas and experience.
Lillian is a multidisciplinary visual artist and disability rights advocate. Her residency will focus on storytelling through mixed media and will bring the lived experiences of Tanzanians with disabilities into this global conversation on social justice through art.
Rushton Residencies Nigeria
Further international residencies will form part of the programme, developed in partnership between DaDa (Liverpool, UK) and Potters Gallery (Abuja, Nigeria). These international residencies will support artists from Sub Saharan Africa to create new work alongside the UK’s Rushton Residency.
Artforms will include dance, the spoken word, documentary film, creative and critical writing, mixed media visual arts and storytelling.
The residencies will explore how social justice creates social inclusion and how access benefits not only disabled people but the wider cultural sector in all three countries.
The work created will be shared by an online gallery which can be accessed internationally through DaDa’s website during the programme.
Andrew Bolton Street Art Lecture Online
Andrew Bolton, of Community Murals CIC, is a disabled professional artist with many years’ experience of working alongside communities to create painted, mosaic or printed murals. He also has a personal art practice which often refers to his lived experience of disability.
He is an active member of Disability Arts Cymru and has been developing an artistic relationship with Jogja Disability Arts in Indonesia.
An online presentation of community engagement and visibility for disabled and refugee artists by Andrew will be available during DDFI Extra.
New Poetry Shared by Jennifer Lee Tsai
Award-winning poet Jennifer Lee Tsai has been commissioned to create new work as part of DDFI Extra. This poem will be captured on film and presented online as part of the winter programme.
DaDa, founded in 1984, develops and presents excellent disability and Deaf arts through an artistic programme that includes high quality festivals, interventions and events, fed in to by a year-round programme of engagement work with developing and established artists, young disabled, Deaf and neurodivergent people, their families and the wider community.
DDFI Extra is supported by British Council funding, helping to deepen international artistic exchange, byArts Council England through Dada’s status as a National Portfolio Organisation and by Liverpool City Council through its Cultural Arts Investment Programme.
DaDa Executive Producer Rachel Rogers said today:“DDFI Extra is about keeping creative momentum alive between our bi-annual festivals and strengthening our international collaborations. It’s an opportunity to spotlight new voices, connect communities and celebrate disability culture across borders.
“We’re extremely grateful to the British Council for supporting this programme, and we’re excited to share work from our amazing artist community.”
For full details about DDFI Extra and the programme of events visit www.dadafest.co.uk
The egos and pressures on a film set are perfect material for comedy, and Harry Petty’s Wrap Party has some hilarious moments.
Ollie and Harry (Ollie Hart and Harry Warren) are busy in the catering van on the last day of a long and arduous shoot of a ridiculous fantasy film – the play opens with a wonderfully daft and cheesy trailer. Harry owns the business but is struggling financially and emotionally after his girlfriend left him. Best mate Ollie is his support and downfall – an aspiring actor, Ollie isn’t the most practical or focussed worker – will their friendship survive the events of the final day?
The oddball characters on the shoot are all broadly drawn caricatures: Clipboard Claire the Health & Safety martinet lusting after Micky in his high viz vest, self-centred “spiritual” movie star Tim, the director’s runner – so posh and entitled that it’s obvious daddy got her the job – and eccentric director Sebastien. Hart and Warren are endearing and energetic, switching between and sharing the roles by donning hats, glasses and other simple props on Alfie Frost and Tash Tudor’s intricate set. At one point, Hart has a heated conversation with himself as three different characters, a highlight of the show.
There is lots of farcical nonsense involving illicit mushroom soup, dog poo and a temperamental boiler alongside the relationship drama at the heart of the play. Harry’s desperation to complete the job and all the obstacles faced on the final day are exacerbated by Ollie’s well-meaning actions, and misunderstandings and betrayals drive the plot. Warren’s writing is fast and funny, but I think the play could be trimmed. The characters surrounding Harry and Ollie are funny, but some of the conversations and situations could be cut down to create a more coherent and balanced play. Wrap Party is great fun and has considerable potential.
YORK THEATRE ROYAL ANNOUNCES FURTHER PROGRAMMING FOR 2026 INCLUDING NEXT YEAR’S PANTOMIME
York Theatre Royal today announces further programming, including Snow White & the Seven Dwarfs for Dec 2026 – and a return to the Main House stage for their Youth Theatre company with an adaptation of Wendy & Peter Pan.
Additional new shows going on sale include touring work from the
Hofesh Shechter Company, Le Navet Bete, the Reduced Shakespeare Company and more – as well as a variety of one-night events
and a return to the Studio of ‘The Old Paintshop’ series of cabaret club nights.
York Theatre Royal today announce their 2026 pantomime extravaganza will be Snow White & the Seven Dwarfs with York family favourite Robin Simpson (Aladdin, Sleeping Beauty) returning as the Dame. With lavish costumes, stunning sets, hilarious jokes and dazzling special effects, this is set to be an unmissable treat for the whole family. Written by Paul Hendy and directed by Juliet Forster, York Theatre Royal are renewing their collaboration with Evolution Productions for this magical fairytale panto. Running from 4 December 2026 to 3 January 2027, tickets go on sale with an early bird offer available for bookings made before 4 January 2026.
Autumn 2025 will also see a return to the Main House stage for York Theatre Royal’s Youth Theatre company with a production of Wendy & Peter Pan (3-5 September), Ella Hickson’s retelling of JM Barrie’s Peter Pan… Directed by Lydia Crosland and Sophie-Jade Howell with a company of young people involved both on stage and behind the scenes, the show will follow the story of Wendy Darling as she leads the rebellious lost boys, takes on the terrifying Captain Hook and discovers the power of being brave.
York Theatre Royal members will have access to 5-day priority booking with all the new shows going on sale from 1pm on 17 November. General sale will be open at 1pm on 22 November.
These two productions join York Theatre Royal’s diverse line up of produced work for 2026 – which includes The Secret Garden – The Musical (17 March – 4 April),based on Frances Hodgson Burnett’s beloved classic. This new revival of the Broadway musical will be directed by Tony Award-winner (and former YTR Artistic Director) John Doyle with a captivating score by composer Lucy Simon and book and lyrics by Marsha Norman. The creative team includes Catherine Jayes (Musical Supervisor and Orchestrator), David L. Arsenault (Co-Designer), Gabriella Dalton (Costume Designer), Johanna Town (Lighting Designer), Tom Marshall (Sound Designer) and Ginny Schiller CDG (Casting Director.)
The YTR produced work continues into 2026 with the new thriller The Psychic (29 April – 23 May) from Andy Nyman and Jeremy Dyson, creators of the smash hit Ghost Stories. This twisted new thriller brings thrills, laughs and shocks to the stage in the World Premiere of this electrifying and unmissable play. The creative team includes Rae Smith (Designer), Chris Fisher (Illusions Designer), Zoe Spurr (Lighting Designer), Nick Manning (Sound Designer) and Arthur CarringtonCDG (Casting Director.)
2026 will also see the world premiere of a YTR co-production with ETT and An Tobar and Mull Theatre, The Last Picture which runs in the Studio 5-14 February. Written by Catherine Dyson and directed by John R. Wilkinson, The Last Pictureis a moving new play which focuses on the power of empathy and its limits, from the unique perspective of emotional support dog Sam.
Paul Crewes, CEO of York Theatre Royal said, “Our 2026 line up of shows offers a wonderfully diverse range of work for our audiences to enjoy – from internationally renowned dance, award-winning musicals and world premiere productions created here in York.
“Our produced work continues to expand and grow with 2026 set to be an exceptional year for us as we work with Tony award-winning Director John Doyle on a revival of The Secret Garden – The Musical and a world premiere of a brand new play The Psychic from Andy Nyman and Jeremy Dyson who created the hit show Ghost Stories. Our co-production of The Last Picture in the Studio will be a startingly relevant piece of theatre and we are delighted to have the world premiere of the show here in Feb.
“For the first time since 2019 we also welcome our Youth Theatre company onto the Main House stage with an adaptation of Wendy & Peter Pan which looks set to be absolutely magical and will offer a wonderful opportunity for young people to act on our stage and get involved backstage. We then round off our year with another fabulous panto, Snow White and the Seven Dwarfs which will be once again in collaboration with Evolution Productions.
“We can’t wait for audiences to experience this unmissable line up of shows and would really encourage people to take a leap of faith and see something new in 2026!”
Alongside the programme of produced work, dance continues to be a focus for York Theatre Royal – with 2026 plans including a world premiere from Phoenix Dance Theatre Interplay (27-28 February) and Hofesh Shechter’s new full-length work for Shechter II, IN THE BRAIN (12-13 June). Brought to life by the fierce, unstoppable energy of Shechter II, this performance will be a space to break free, where stories dissolve, identity fades, and only the beat rules.
The Everybody Dance Festival (6-7 March) will alsomake a return to showcase and celebrate dance in school and community settings – with York Dance Space also celebrating their 10-year anniversary with a spectacular showcase on the Main House stage, Together We Move (4 July).
Comedy-lovers are in for a treat with a riotous, all-out hilarious ride through Greek mythology from kings of comedy Le Navet Bete. Oh Zeus! (18-20 June) will bring sensational physical comedy, outrageous jokes, fast paced chaos, and more togas than you can smash a plate at. Fans of the Bard can also look forward to a rollercoaster ride through all 37 of his plays from the Reduced Shakespeare Company as they present a wild and irreverent show The Complete Works of William Shakespeare (Abridged) (7-11 July) which will leave audiences breathless with laughter.
For families, a mischievous musical based on Roald Dahl’s snappy book The Enormous Crocodile will be coming to the Main House (25-28 June)with toe-tapping tunes by Ahmed Abdullahi Gallab, a rib-tickling book and lyrics by Suhayla El-Bushra, and additional music and lyrics by Tom Brady.
2026 will see a return to York Theatre Royal from a range of local amateur companies including York Opera who are celebrating their 60th anniversary year with a production of Die Fledermausin the Main House (3-6 June). York Settlement Community Players will also be back in the Studio with the deeply nostalgicBlue Remembered Hills(18-28 February) by Dennis Potter.
New shows joining the line up in the STUDIO include Meet Fred (31 March – 2 April), a darkly funny satire on disability rights; Departure(8-9 May) a music and dance performance which explores themes of death and ritual; Crumbs (20-23 May), a laugh-out-loud one-woman comedy from Badapple Theatre; and A Brief Case of Crazy (16-18 July), a heart-warming and hilarious physical comedy inspired by the genius of Charlie Chaplin.
The Old Paint Shop Cabaret Club will also return to the Studio (4 –25 June) and will feature regular cabaret nights of comedy, music, improv and burlesque by local artists. The line-up includes returning favourites Freida Nipples, The Jazzville Quartet, Queer Spaces and The Isolation Creations as well as new acts such as Wright&Grainger, Rock Paper Goose and Thorpe & Morrison.
5-day priority booking for York Theatre Royal members ppens from 1pm on 17 November. General sale will follow at 1pm on 22 November.
“Oh, stop messing about!” Celebrating One Hundred Years of Kenneth Williams (1926 – 2026), David Benson returns with his legendary portrait of the outrageous comedy star in My Life with Kenneth Williams
A revised 30th anniversary version of his critically acclaimed solo show Think No Evil of Us: My Life with Kenneth Williams
A major UK tour launches Sunday 25th January, 2026
David Benson and as Kenneth Williams – photomontage by Steve Ullathorne
“We all miss Kenneth Williams but thanks to David Benson, we’ve got him back!” Mark Gatiss “An exhilarating one-man tour-de-force” Independent on Sunday
“A masterpiece of comic timing” Evening Standard
“Brilliant… truly remarkable” The Mail on Sunday 2026 marks a DOUBLE anniversary
It’s been THIRTY YEARS since David Benson took Edinburgh Fringe by storm with his debut solo show, Think No Evil of Us: My Life with Kenneth Williams, winning a coveted Scotsman newspaper Fringe First Award.
Now, in celebration of what would have been Kenneth Williams’ 100th birthday on 22 February, 2026 David Benson revisits his classic performance in a new and revised version of the hit show.
In a dazzling display of impeccably honed stage craft, Benson gives an unsparing portrayal of the tormented comic genius, lurching from hilarity to self-pity in public and in private.
Praise from Kenneth’s Friends
Benson will bring the much-missed ‘Carry On’ actor, radio star and chat show raconteur roaring back to life, with an uncanny portrayal which has received unanimous praise from Williams’ closest friends including Dame Maggie Smith and Dame Barbara Windsor. “How did you know all that? That’s just what it was like having dinner out with Kenny. A bloomin’ nightmare!” Dame Barbara Windsor
Dame Maggie Smith, after hearing Benson impersonating Williams in a radio interview immediately wrote to the young actor: “You ‘put the heart across me,’ as the Irish say – for I thought it was Kenneth!”
The Jackanory Connection
In 1975, at the age of 13, Benson wrote a short story called “The Rag-and-Bone Man” for a contest on the BBC 1 children’s series Jackanory, a daily programme to encourage reading which featured an actor reading from children’s novels or folk tales while seated in an arm-chair. Kenneth Williams was one of the most popular presenters reading read 69 books over the life of the programme. Benson’s story was chosen as a winner from 15,000 entries by Kenneth Williams himself, who then performed the story on national television.
Fifty years on, David Benson says: “At the time, it was a huge embarrassment to me. I was now associated in the minds of my enemies at school with the most outrageously camp man in England. For a schoolboy desperately struggling with his sexuality in the hostile environment of 1970s Britain, the connection was mortifying. As I found out at school next day…”
Ironically, the publication of Williams’ own diaries in 1994 revealed a man who was every bit as terrified of his sexual nature as the Birmingham schoolboy whose writing caught his eye. Think No Evil of Us returns as My Life With Kenneth Williams
In this new edition of the legendary show, Benson includes extracts from the only recording that exists of that 1975 broadcast and, with characteristic honesty, tells of the day a BBC researcher came to visit and by chance captured on tape the terrifying truth of the boy’s home-life: his mother’s dangerous descent into paranoid psychosis.
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David Benson David Benson has most recently been seen touring nationwide with Jack Lane in their acclaimed Dad’s Army Radio Show. Best-known for his performance as Noel Coward in the BBC’s classic war-time comedy Goodnight Sweetheart, David exploded onto the theatre scene with his first solo show Think No Evil of Us: My Life With Kenneth Williams. The show became an instant classic, and he followed this with a succession of solo shows on a wide variety of subjects, including Frankie Howerd, Dr. Johnson, the death of Diana Princess of Wales and an award-winning examination of the Lockerbie plane bombing. He was a member of the National Theatre’s smash hit comedy One Man, Two Guvnors alongside James Corden, appearing in 1,015 performances of the show. In the film Blade Runner 2049 he plays a hologram of Liberace. He was nominated for a BBC Audio Best Actor Award for his portrayal as Frankie Howerd in Frankie Takes a Trip.
Presented by Suzanna Rosenthal Productions and Little Jester Productions.
READING REP THEATRE ANNOUNCES THREE LOCAL YOUNG PERFORMERS TO SHARE THE ROLE OF TINY TIMMY IN NEW STAGING OF BETH FLINTOFF’S READING-BASED ADAPTATION OF
A CHRISTMAS CAROL
A BOLD ADAPTATION THAT IS REDEFINING THE REGIONAL
CHRISTMAS THEATRE EXPERIENCE
28 NOVEMBER 2025 – 3 JANUARY 2026
Berkshire’s flagship producing theatre, Reading Rep Theatre, have today announced the three young performers who will share the role of Tiny Timmy in their upcoming new staging of Beth Flintoff’s acclaimed adaptation of A Christmas Carol, which relocates Charles Dickens’ seminal story to Reading and the iconic Huntley and Palmers Biscuit Factory.
Eli Murphy (aged 10), Emily Maclellan (ages 10), and Ned Woollatt (aged 9) will share the role of Tiny Timmy through the show’s run. All three young performers are from the local Reading area.
The adaptation, which had past sell-out runs in 2021 and 2022 in Reading, runs fromFriday 28 November 2025 – Saturday 3 January 2026.
Louis Ling, Children’s Manager for the production, says of the casting, “Our young actors, Eli, Emily, and Ned – shone during auditions, delivering a wonderful interpretation of the Tiny Timmy character. It was clear they were perfect for the role in our homegrown production of A Christmas Carol. They’re all working incredibly hard in rehearsals and bringing fantastic energy and heart to the production.”
Eli Murphy says, “I like acting and want to be an actor when I’m older. The cast were fun in the rehearsal last week. Tiny Timmy is positive and kind even though he is poor.”
Emily Maclellan says, “I’m very proud to be cast as Tiny Timmy in A Christmas Carol. I can’t wait to be on stage and see all the people coming to see me. I love Tiny Timmy and the thing I like most about the character is that He is a very positive and doesn’t give up.”
Ned Woollatt says, “I’m really excited to be part of the production because I get to meet lots of new people which is great. I love the character of Tiny Timmy as he has such a positive attitude despite all his challenges.”
There’s magic in the air – everywhere except the Huntley and Palmers Biscuit Factory, where Ebenezer Scrooge remains as bitter as ever. But when the ghosts of Christmas Past, Present, and Yet to Come pay him a visit, will Scrooge finally discover the true meaning of the season?
Step into Victorian Reading for a heartwarming journey of redemption, wonder, and joy. Featuring beloved characters and brimming with Dickensian charm, A Christmas Carol is the perfect festive treat for the whole family.
Step into Victorian Reading, brought vividly to life in a production brimming with live music, heart, and festive wonder. Full of local pride, community spirit, and Dickensian warmth, A Christmas Carol promises to be Berkshire’s must-see festive treat for all ages.
Beth Flintoff is Associate Playwright and Young Writers Associate at the Royal Court Theatre in London and an Associate Artist at RABBLE Theatre Company. Her play The Ballad of Maria Marten (for Eastern Angles) is regularly produced around the world and was Nick Hern Books’ second most performed play of 2024.
Beth Flintoff said of relocating Dickens’ classic tale, “I have always loved Dickens, and I was so excited to adapt A Christmas Carol – its message is so warm and generous and full of heart. I immediately knew that I wanted to translate Dickens’ much-loved characters to their respective jobs at the Huntley and Palmer’s Biscuit Factory, as it’s such an important part of the town’s past. Audiences will still get to see the old favourites like Tiny Tim and the Cratchits, but this time you’ll find them popping up in recognisable places on the cobbled stones in the heart of old Reading. Christmas shows are about bringing the whole family together, and celebrating our community, and I really hope this does that.”
Chris Cuming(Peter Pan, The Snow Queen) returns to direct the new staging of Reading Rep’s Christmas show, who was previously co-director and movement director on the prior incarnations of the show.
Joining the Tiny Timmies in the cast will be George Eggay (The Wife of Willesden – Kiln Theatre, The Last King of Scotland – Crucible Theatre, Sheffield), Orla O’Sullivan (The Snow Queen, It’s A Wonderful Life, Potted Panto – Reading Rep Theatre), Charlotte Warner (The Snow Queen, It’s A Wonderful Life, Potted Panto – Reading Rep Theatre), Sam Amestoy (Rainbow Rescue, A Midsummer Night’s Dream – Reading Rep Theatre), and Mark Desebrock (Hedda Gabler, The Snow Queen – Reading Rep Theatre).
Alongside Cuming on the creative team will be Nicky Bunch as Set & Costume Designer, Aaron J Dootson as Lighting Designer, Joe Dines as Sound Designer, Tabitha Stock as Costume Designer, Nathan Storm as Associate Lighting Designer, Louis Ling as Children’s Manager, Sarah Hawkins as Casting Designer, and Jordan Harris as Production Manager.
Chris Cuming said of the production, “Christmas at Reading Rep is always something special. A true highlight of the town’s festive calendar. It’s a joy to revisit Beth Flintoff’s home-grown adaptation, bringing together familiar faces from our company and new talent to celebrate Reading’s history through Dickens’ most enduring tale. This A Christmas Carol is funny, moving, and full of heart, a story about community, compassion, and the power of change. It’s everything Christmas at the theatre should be.”
Palace Theatre, Manchester – until 15 November 2025
Reviewed by Charlotte McWilliam
5*****
A Powerful, Reimagined Triumph!
Michael Harrison, in association with Cameron Mackintosh, delivers a stunning reimagining of the Boublil and Schönberg classic Miss Saigon that absolutely does not disappoint. Directed by Jean-Pierre van der Spuy and musically directed by Ben Mark Turner, this UK National Tour production is a poignant way to mark the 50th anniversary of the fall of Saigon and the end of the Vietnam War, capturing every ounce of the story’s tragedy, beauty, and emotional depth.
The show opens with The Heat Is On in Saigon – vibrant, colourful, and bursting with energy. The unity within the cast is instantly clear, setting the tone for an evening where ensemble storytelling shines. Sun and Moon beautifully introduces the tender chemistry between Chris, played by Jack Kane, and Kim, portrayed exquisitely by Julianne Pundan. Their partnership grows with heartfelt sincerity throughout.
Andrew D Edwards’ set design is a triumph. The revolving stage is used to brilliant effect, especially during Last Night of the World, which is tender, cinematic, and gorgeously played. And of course, the iconic helicopter moment in Act 2 is nothing short of spectacular: realistic, gripping, and powerfully staged as the cast is winched to safety.
The Morning of the Dragon brings a striking visual moment, with the masked Ho Chi Minh ensemble performing a puppet-like, tightly choreographed number. Christie Cartwright and Carrie-Anne Ingrouille’s choreography throughout is clever, dynamic, and full of symbolism, particularly with the use of sweeping fabrics that evoke danger, fluidity, and the jester like charm of the Engineer.
Julianne Pundan’s Kim captures the innocence and emotional intensity of the character, at times echoing the youthful purity of Lea Salonga. Her vocals in I Still Believe are breathtaking, deeply connected to the orchestra and delivered with astonishing clarity. Some cast members seem slightly vocally tired in the early scenes, but by mid-Act 1 the whole production finds its full energy, aided by superb lighting design that highlights the metaphorical stains and scars of the story.
A standout in Act 1 is Seann Miley Moore as the Engineer, who absolutely steals the show with charisma, humour, and a delicious edge of danger. This seasoned Engineer excels during his Act 2 showstopper, The American Dream, is a glittering, wild spectacle – part Miss America, part Pride parade, and entirely unforgettable. Moore’s raw energy captures the desperation, delusion, and dark comedy of the character, amplified by Michael Mahler’s additional lyrics that inject modern relevance and wit throughout.
The arrival of Kim’s young son brings a collective “awww” from the audience—he’s endearing, natural, and a heartbreaking reminder of the war’s impact on families, especially felt by the mothers watching.
Vocally, Dominic Hartley-Harris (John) is a powerhouse – rich, warm, and emotionally grounded, with significant echoes of Broadway quality. His portrayal brings integrity and heart to the difficult role of reuniting parents and children in the chaos after the war. Emily Langhan (Ellen) delivers a gorgeous, nuanced Maybe, blending classical and musical theatre tones in a way that feels perfectly suited to the role.
Boublil and Schönberg’s score is the beating heart of this production – sweeping, wise, and heartbreakingly beautiful. The recitative, recurring motifs, and emotional arc all come together to remind us why this is one of their finest collaborations.
The tragic finale, reminiscent of Romeo and Juliet and echoing A Little Fall of Rain from Les Misérables, is profoundly moving. Kim’s sacrifice – giving her life so that Tam can have a future with his father and Ellen – is the ultimate act of love, leaving the audience in stunned and genuinely sorrowful.
As the final notes faded, the entire auditorium rose to its feet in a well deserved standing ovation, a testament to the power, artistry, and emotional weight of this production.
Following its sell-out success, extra dates have already been added for 2026. So if you missed this run, or simply want to experience the magic again, be sure to get your tickets when Miss Saigon returns to Manchester.
