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Leeds Grand Theatre – until Saturday 29th November 2025

Reviewed by Adam Craddock

5*****

HELLO!

I had the pleasure to be invited along to Leeds Grand Theatre to review the UK and International tour of The Book of Mormon. This is one of my absolute favourite musicals and I hadn’t seen it on tour before so I was very excited to see how it translated from the west end production onto the road, and the answer is seamlessly! The plot follows Elders Price and Cunningham, two young Mormon missionaries as they seek to bring the word of Joseph Smith to the people of Uganda. I’m sure you all already know Mormon by reputation, but if not please DO NOT go and see this show if you are easily offended or take yourself too seriously, if you’re up for a naughty laugh however then this is definitely a show not to be missed. The show stars Sam Glen as Elder Cunningham and Adam Bailey as Elder Price. Glen was absolutely marvellous as Elder Cunningham, his physical humour and brilliant energy were absolutely perfect for this character and his vocal was sweet as a nut. Bravo! Bailey was solid as Price, with an interesting take on the character as much more of a rambling and frenetic person than I have previously seen, although this did run away from him at times to the point that he ran so fast through his dialogue that I struggled to make out anything of what he said. Nyah Nish was strong as Nabulungi, definitely growing into the show in the second act after a slightly slow start. Nish brought a real naturalism to thepart that you don’t normally tend to see in Mormon. Kirk Patterson and Tom Bales were both solid as Mafala and Elder McKinley respectively.

The standout for this production however in my view is its ensemble. This is a show that lives and dies by the strength of its ensemble and the group in this production definitely breathed all the life into it! From crisp choreography to fantastic background acting, this ensemble had me staring at them mostly rather than the leads. A special shoutout has to go to Zachary Loonie, I could not take my eyes off him throughout the show, I don’t think I’ve ever seen a Mormon this full out before and there was not one single moment that he seemed to let his performance drop and become unwatched.This really was a perfect example of how to be a fantastic ensemble member and take every moment of spotlight that is given to you. The production values were all excellent, from a set ripped straight from the west end show to a band playing for their lives, this was brilliant! My only slight criticism in this regard is that there were several moments where the characters were only partially lit and half a face was in darkness. It’s only a small nitpick but a real bug bear of mine!

All in all however, I would recommend seeing The Book of Mormon in the highest of regards, this is a laugh a minute piece of theatre that truly has to be experienced once, and then you will inevitably come back again and again just as I have!

The Little Theatre, Leicester – until 15 November 2025

Reviewed by Sam Bradshaw

4****

Things I Know To Be True is a contradictory story – as the family dramas unfold, we are reminded of how little we truly know, how fragile truth is, and how powerful it can be once it is revealed -especially when it is ripped bare by those you hold most dear.

As we have come to expect from main house productions at The Little, the scenery is good quality, detailed, and fit for purpose without being wasteful. Steph Nicholls and Dave Towers , alongside a fine build and stage crew, have done a wonderful job. The essential domestic ‘business’ with coffee machines and carrot peeling in the upstage kitchen is kept to a minimum, as most of the important conversations happen in the ever-shifting seasonal garden. Doug Finlay’s lighting design coalesces with Sam Kelly’s nature-based sound scape to provide some subtle and very atmospheric transitions. These pauses in the intensity of the scene work not only communicate the changes of the seasons, but also the passing of time – and provide a much-needed pause for the audience to reflect on what has gone before and prepare for the next can of worms to be popped-open. Perhaps a moment of recovery for the family too. There is a strong theme of nature growing through this beautiful interpretation by director Nadine Beasley, who has no-doubt nurtured a family-feel in the company, enabling such powerful and naturalistic delivery.

The heads of the Price family are mum Fran (Nicky Mawer) and Bob (Paul Beasley) who are now middle-aged and in the autumn of their lives. The original script is set in Australia but as explained in the programme, the decision was made to stick with a generic well-spoken ‘Midlands’ accent. While we could have done without the few references to “gum trees” “dollars” and kids moving to ‘Sydney/Brisbane’ which do jar and take you momentarily away from the story – the issues could be faced by anyone and we soon dismiss these references as being unimportant.

4 grown-up children orbit the family home despite their best efforts to ‘get out’, returning to the nest in times of need. Rosie (Sophie Johnston) is the youngest and sets the stage with some passionate anti-naturalistic direct address which is so well delivered and emoted by Johnston, we immediately care about the highs and lows on her expedition away from home. Clever staging from N.Beasley embellish and energise this recount of events and throughout the piece, the long soliloquys of all the characters never fail to hold our attention, shifting easily between natural and ‘theatrical’ staging.

Because of our connection formed with Sophie Johnston, who is a natural storyteller, we remain allied with the character of Rosie as she is also an unwilling witness to the trauma and distress of these family issues. I don’t imagine any audience member could be in the privileged position of not being able to connect in a very real way to the problems faced by the characters in this all-too-real and raw family inquest.

Kate Carey (Pip) delivers a magnetic performance with some of the best projection and diction we’ve seen at The Little lately, somehow managing to make us both care about and dislike her character in equal measure. She is very relatable for the modern woman too busy sorting everything out to have anything for herself, struggling between unhappiness and selfishness.

Richie Phillips (Ben) provides us with a distinct character, with a different energy and physicality to his siblings and being considered ‘the favourite’ – Phillips looks very comfortable on stage, with strong physicality exploring the fall from golden-boy arrogance to little-boy despair with vivid, visceral clarity.

Joe Allen (Mark) completes the sibling set, with perhaps the most difficult task of all. Through no fault of the actor, Mark’s revelation does elicit a slight eye-roll at yet another super-dramatic plot development that in his case seems to have some from absolutely nowhere – the plot twists can feel like an exhausting year’s worth of Aussie Soap Opera smushed into a 2-hour play! However, Allen appears to have approached this complex role with humility and sensitivity, and this important and rather current issue is handled with great respect. We feel proud of both the character and the actor when we see them return to the home at the end of the piece.

Which brings us to the disparity in reaction of the parents to the various problems faced by the children. They are often at odds with each other both in terms of response and how aware they are of each other’s problems. P.Beasley doesn’t quite have the age himself for a 63 year old character to sit comfortably on his frame. Bob is sometimes found standing awkwardly and slightly redundant behind the phenomenally intense arguments, leaving the audience willing Dad to step-in and take charge. However, Beasley’s portrayal of barely-restrained rage and wounded betrayal is quite powerful and reminds us of how difficult being a Dad and Husband can be. His facial expression during the final revelation is heart-breaking.

Stealing the spotlight is Nicky Mawer (Fran) who is indispensably watchable, and manages some enormous emotional turn-arounds with great skill. Every line is delivered straight from her heart and felt like the first time she has ever said it, giving deep brutality to some of the cuttingly raw honesty. It didn’t feel like acting.

As the strong ‘garden’ metaphor makes us reflect on periods of growth, nature/nurture, self-care, hibernation, and renewal – the family truths dug-up and laid bare in this piece will connect with all who see this powerful piece.

Cast Theatre, Doncaster – until Saturday 15th November 2025

Reviewed by Adam Craddock

5*****

Tonight I had the absolute delight of being invited down to the wonderful Cast Theatre in Doncaster to review the latest leg of the never ending tour of Willy Russell’s Blood Brothers. This show holds a very dear place in my heart, having seen the show countless times and actually been lucky enough to have played The Narrator whilst I was training in London. The story is well known to many for its themes of class, trust and superstition, and these are just as relevant today as when Russell first penned the script.

The production stars Vivienne Carlyle as Mrs Johnstone, the fiery and proud mother of the titular blood brothers. Carlyle brings a brilliant realness to the role and her connection to the material is evident throughout. Kristoffer Harding co stars as The Narrator. Harding has a brilliant control to his performance, it is so easy to let the poetic patterns of the narrators speech become formulaic and predictable but Harding actually showed me several new takes on verses that I haven’t seen The Narrator get taken down before. He also had a beautiful tone to his vocal and the blend between Harding and Carlyle in the harmonised sections was beautiful. Sean Jones returns to the role of Mickey and having first seen him in this role over 10 years ago (he’s been playing it on and off for 20+ years), I have to say I was very pleasantly surprised that it didn’t feel stale at all. Jones still had that childish glee and playfulness that really makes him shine in particular as the younger Mickey. Joe Sleight plays Eddie, and I have to say I think this may be my new favourite portrayal of Eddie. The charm and wit he brings to the character is extremely endearing and I was mightily impressed by his smooth tenor vocal. Gemma Brodrick was brilliant as Linda, in particular in the later scenes in the show when she can really let loose and show off her fabulous acting ability. The scene where she relents and gives Mickey the tablets was touching and her agony was palpable. Bravo! Francesca Benton-Stace was on tonight as understudy for Mrs Lyons. I felt that she really grew into the role as act 1 went on and her relationship with Edward was very interesting to watch.

My only real criticism of the show would be the slightly iffy spotlight that would occasionally completely miss the actors, leaving parts of heads in the dark, or would start wandering on its own when no one was moving on stage. Whilst this did not ruin the show for me at all it did draw my eye at several time and somewhat break the immersion for a brief second.

All in all, I would recommend seeing Blood Brothers in the highest regard. This is a timeless classic, British theatre at its very best and I think this performance shows that despite its age as a production, Blood Brothers has got many years left in it yet! Tell me that’s not true!

Actor David Sturzaker sat down with fairypowered to answer 20 questions. David is currently playing Gareth Southgate in James Graham’s Olivier Award winning Dear England.  Currently on tour around the UK, book tickets here

Let’s start with a few favourites

Favourite show (whether you have been in it or not)? 

Anne Boleyn, written by Howard Brenton. I played Henry VIII, and it was on that tour that I met my wife, Jo, who was playing the title role.

Favourite book? 

The Goldfinch by Donna Tartt

Favourite theatre? Shakespeare’s 

Globe in London

Favourite song? 

Your Love Keeps Lifting Me Higher, Jackie Wilson

Favourite music? 

Soul, folk

Favourite food? 

Risotto

Favourite drink? 

Most wines!

What is your favourite role? 

Charles II in Nell Gwynn by Jessica Swale, which opened at Shakespeare’s Globe and transferred to the West End

What was your first role? 

Claudio in Much Ado About Nothing

And what role would you really like to play? 

Stanley in A Streetcar Named Desire (Though probably a bit too old for that now!)

If you weren’t a performer , what would you be? 

In reality, don’t know! Maybe something in the health/fitness sector. But my fantasy other job is a restaurant reviewer

What made you decide to be a performer? 

I enjoyed acting in youth theatre, and then I had the epiphany of learning that it could actually be a profession

Do you enjoy touring? 

I do. I love seeing different parts of the country, getting to know different theatres and, for a while, the simplicity of the lifestyle. But at the same time, I also miss my family and home.

What advice would you give the 16-year-old you?

Ha! I think giving advice is complicated– it’s more important for people to find their own path. But for my 16-year-old self?….. Try not to be so self-conscious!

Do you fancy branching out in Producing or Directing? 

I have done some producing before and have enjoyed it so I would consider doing more in the future. Directing though – that feels like a skill set that many others possess in far greater abundance – the ability to have an overall vision whilst keeping an eye on the detail and fulfilling leadership and pastoral roles at the same time.

What was the last stage show you saw and really enjoyed? 

Every Brilliant Thing at @Soho PlaceDavid Sturzaker plays Gareth Southgate in James Graham’s play ‘Dear England’ and then on tour until March 2026 – dearenglandonstage.com

Sid Sagar is 2025 Jerwood Writer in

Residence at Pentabus

Pentabus today announces that writer and performer Sid Sagar is the new 2025
Jerwood Writer in Residence at Pentabus. Recruitment for the 2026 Writer in Residence
continues.

Pentabus Artistic Director and 2025 BAFTA winner Elle While commented, “The
appointment of Sid is the next exciting step for Pentabus and its legacy of relationships
with extraordinary writers, as we welcome his particular talent for writing about
community and culture in the UK and his expansive warmth and ability to connect with
people and places.”

Sagar’s debut play Biting Point was produced by Middle Child this year and toured car
parks in the North East in a site-specific staging, his audio drama John from Hemel was
broadcast on Radio 4 in May, and he has recently appeared in Mrs Warren’s Profession
in the West End alongside Imelda Staunton.

Sid Sagar commented, “Pentabus is genuinely committed to making work that speaks
to communities. The company’s legacy and vision is extraordinary and increasingly
important in a disconnected time. I can’t wait to get started.”

Liv Hennessy, previously announced as the 2025 Jerwood Writer in Residence, instead
continues her relationship with Pentabus as an Associate Artist.

Recruitment for the 2026 Jerwood Writer in Residence is currently at the longlist stage.
The successful writer will work alongside Sid Sagar for the first few months of their
residency.

Previous writers in residence at Pentabus include award-winning writer and performer
Florence Espeut-Nickless (DESTINY), and George Devine-winning writer Simon
Longman (Gundog), both of whom have written new ghost stories for Even More…
Ghost Stories by Candlelight, which has just finished a national tour, in a co-production
with HighTide.

KEALA SETTLE AND HAL FOWLER

STAR IN A NEW RE-IMAGINING OF

MRS. PRESIDENT

CHARING CROSS THEATRE

23 JANUARY –  8 MARCH 2026

●      KEALA SETTLE STARS AS MARY LINCOLN IN A RARE DRAMATIC ROLE IN A NON-MUSICAL THEATRE PRODUCTION

●      THIS BRAND-NEW RE-IMAGINING, FOLLOWING ITS JANUARY 2025 STAGING, EXPLORES THE MOTIVATIONS BEHIND ONE OF THE MOST VILIFIED WOMEN IN U.S HISTORY

●      WRITTEN BY MULTIDISCIPLINARY ARTIST JOHN RANSOM PHILLIPS WITH NEW DRAMATURGY BY BRONAGH LAGAN, THE DIRECTOR BEHIND OLIVIER-NOMINATED CRUISE AND WHAT’S ON STAGE WINNER FLOWERS FOR MRS HARRIS

●      OPENS 23 JANUARY FOR SIX WEEKS UNTIL 8 MARCH AT CHARING CROSS THEATRE

Musical theatre icon and Broadway star Keala Settle (THE GREATEST SHOWMAN, WAITRESS, SISTER ACT) and Hal Fowler (LES MISÉRABLES, ASPECTS OF LOVE, FLOWERS FOR MRS HARRIS) are cast in a brand-new re-imagining of Mrs. President, a gripping psychological drama that uncovers the turbulent inner world and the passions and ambitions of Mary Lincoln, America’s First Lady.

Following its original London staging in January 2025, this fully transformed production opens at London’s Charing Cross Theatre for six-weeks from 23 January to 8 March 2026 with press night on 27 January 2026. This is not a remount, but a reinvention — richer in scope, sharper in focus, and more hauntingly human.

Cast as Mary Lincoln, the wife of President Abraham Lincoln, this play marks a rare non-singing dramatic role for Keala Settle, showcasing her extraordinary depth and power. Hal Fowler, who was cast in The Who’s original rock musical Tommy and has starred in numerous West End shows plays Mathew Brady, the forefather of photojournalism and also one of the earliest celebrity/portraiture photographers in American history.

Set in the aftermath of 1865 and following the assassination of her husband, Mary is a woman under siege, suffering from immense grief, struggling with her mental health, vilified by society and in the media. She seeks out Brady to help her redefine her public image, a mission which ultimately results in a journey of self-discovery.

Keala says: “I was so struck by Mary’s story and by the profound human cost she endured. She was a woman whose identity for centuries was put in a box and whose legacy continues to be defined by other people’s ideologies. I’m excited by this opportunity to tell her story and connect with London audiences. I hope they will see both myself and Mary in a brand-new light.”

Bronagh Lagan (Olivier-nominated play Cruise and What’s On Stage’s 2024 Best West End Production Flowers for Mrs Harris) who has re-envisioned and directed this play adds: “In today’s polarised political climate, Mary Lincoln’s journey — navigating intense public scrutiny while balancing her roles as wife, mother, and political figure — feels profoundly resonant. Through her strength and vulnerability, Mrs President invites us to reconsider how society and media portray women, revealing the human cost of leadership and the resilience required to endure it.” 

Multidisciplinary artist and playwright John Ransom Philips comments: “History rarely grants women the right to define themselves — Mary Lincoln least of all. Her story deserves to be told not as rumour, spectacle, or judgment, but as the truth of a brilliant, wounded, and resilient woman who bore the human cost of a nation’s spotlight. Our collaboration with Bronagh, Keala, Hal, and the Aria Entertainment team finally gives Mary the truth and artistry she was denied.”

The new creative team includes designer Anna Kelsey, lighting designer Derek Anderson and sound designer Eamonn O’Dwyer.

Mrs. President is produced by Art Pond Foundation with General Management by Aria Entertainment.

From live performance to visual art

To coincide with the opening of his re-invented play, multidisciplinary artist John Ransom Phillips will debut his first UK exhibition of watercolours and oil paintings. Mary Lincoln and Frida Kahlo UNFRAMED will be presented at the historic Royal Watercolour Society’s gallery on Whitcomb street, just minutes from Charing Cross Theatre, from 30 January to 21 February, 2026.

More than a companion to the play, this exhibition creates a dialogue between the two women — reaching across time, geography, and circumstance to bring them into shared presence. Phillips’ artistic vision resists inherited narratives and invites new forms of seeing and subjectivity, freeing them from identities long imposed upon them. UNFRAMED offers audiences a rare opportunity to experience this vision across both live performance and visual art, ultimately inviting us not only to see Mary and Frida anew, but to consider how we, too, might step beyond the frames that have defined us.

Nottingham Theatre Royal- until Saturday 8 November 2025

Reviewed by Amy V Gathercole

3***

“Here and Now Brings the Beat, but not every step lands”

Cheeky, camp and cute, bursting with sparkle, Here and Now is the latest jukebox musical to hit the stage, celebrating the hits of pop supergroup Steps’ brought to us from director Rachel Kavanaugh.

As a bit of a Steps fan myself, (I even saw them at Nottingham’s Motorpoint Arena as a teen), I wasn’t alone in the infectious nostalgia. The audience was peppered with superfans, proudly donning vintage tour T-shirts and out-sparkling the show’s own backing dancers at times.

The story centres on four friends, Caz (Lara Denning), Vel (Jacqui Dubois), Robbie (Dean Rickards), and Neeta (Rosie Singha) who work at a UK seaside superstore called Better Best Bargains. When ringleader Caz rallies the gang to chase a “summer of love,” for her 50th birthday gift, their lives take a series of surprising turns. The mainly light-hearted plot explores friendship, dreams, and reinvention – all played out with dance routines in the store aisles around and on top of checkouts 5, 6, 7, 8 (see what they did there?).

There’s a lively mix of supporting characters, romantic entanglements and even a few well-placed villains to keep things interesting.

Lara Denning stands out as Caz, delivering vocals that blend beautifully with the signature harmonies of Steps, particularly as she sings ‘Heartbeat’. Her grounded performance gives the show its heart and lends real vocal credibility to the musical numbers. That said, the standout voice of the night belonged to Dean Rickards as Robbie. As the sole lead male vocalist, his rich, deeper tone added texture and drew the audience in with every solo. They both have voices that genuinely gel with the harmonies of Steps original sound.

The show embraces LGBTQIA+ representation with refreshing ease. Robbie’s relationship with local drag queen Jem (played with flair by River Medway) is tender, funny, and joyfully unapologetic. Rather than feeling like a box-ticking exercise, this and other storylines are woven naturally into the fabric of the plot, celebrating queer love and friendship in a way that feels both current and heartfelt. Watch out for a particularly memorable number from Gem in the second act.

The comedy drew plenty of laughs throughout. For Steps fans, the show delivers a generous helping of their biggest hits—‘Stomp’, ‘Tragedy’, and ‘Chain Reaction’ among them, alongside a few lesser-known tracks that keep the energy high and the audience tapping their feet.

Visually, the production sticks to a bold palette of hot pink and electric blue (from the set designer Tom Rogers) reflecting the vibrant, over-the-top world of the superstore setting. The choreography from Matt Cole is playful and well-paced, though occasionally repetitive and sometimes the ensemble just feel like they have no purpose in the scene.

As with many jukebox musicals, the challenge lies in marrying the songs with a coherent storyline. At multiple times, the plot feels too stretched to accommodate the lyrics and you can certainly sense the creative team scratching their heads, working hard to make the pieces fit. The second act, however, picks up the pace and delivers a more satisfying rhythm.

Ultimately, Here and Now is a feel-good night out that Steps devotees will adore. For those less familiar with the band’s back catalogue, it may lack depth, but it’s hard to resist the show’s glittery charm and infectious beat.

It’s a glitzy feel-good tribute that will delight Steps fans, even if it doesn’t quite hit every note for the uninitiated.

Hall for Cornwall, Truro – until 15 November 2025

Reviewed by Kerry Gilbert

4****

‘A Charming and Classic Murder Mystery!’

The play follows Agatha Christie’s most successful character, detective Hercule Poirot (Mark Hadfield. Poirot is invited to be part of an expedition along the Nile River to return an ancient artefact. Wealthy Linnet Ridgeway (Libby Alexandra-Cooper) asks Poirot for help, as her honeymoon with Simon Doyle (Nye Occomore) is being disrupted by his ex-fiancée Jacqueline De Bellefort (Esme Hough) who, bitter at being rejected, is stalking the couple. Poirot refuses at first, but this does not matter as, once the steamer has set sail, Linnet is found shot to death by a pistol apparently owned by Jacqueline. Tensions rise as it’s revealed that many passengers had motives – jealousy, betrayal and greed. Poirot exposes the crime in classic Christie fashion, bringing justice to a carefully staged deception.

Director, Lucy Bailey did a splendid job of keeping the audience engaged as the show builds suspense and intrigue. She adds perfect timing to the plot twists so the audience can take them in and feel the shock of it all. A standout moment for me was when Poirot delivered his big ‘reveal’ of who the murderer was, and the characters reenacted the scenes seamlessly that Poirot was referring to.

Designer, Mike Britton’s elegant split level set design captures the luxury of the steamer in the 1930’s and realistically provides a means where Poirot can eavesdrop while the passengers on the lower level make incriminating remarks. It is the perfect backdrop consisting of a series of sliding venetian screens and doors and cruise ship railings, especially when moving it creates an immersive experience with smooth scene transitions. Lighting designer (Oliver Fenwick) has created a reflective atmosphere assisted by subdued lighting which moodily bounces shafts of light that glitter off sequin dresses and a golden sarcophagus.

Costume supervisor, Sarah Holland has created outfits for the show which are classy and elegant. The artistic Salome Otterbourne (Camilla Anvar) an artist with aspirations for the stage is gloriously flamboyant with costumes to match.

Ken Ludwig’s adaption trims the original story and has slipped in some humour which prevents the show taking itself too seriously. It is a charming and classic murder mystery, which makes excellent viewing.

Credit goes to Manuel Harlan for the fantastic production images.

Scouts! The Musical & A Jaffa Cake Musical
Now Available to Stream Online!

Following their final performances this Summer, multi-award winning Gigglemug Theatre have made their two latest smash hit shows available to watch online: Scouts! The Musical, created in partnership with the Scouts, and A Jaffa Cake Musical, inspired by the 1991 court case which decided once and for all whether a Jaffa Cake is a cake or a biscuit! Both productions received multiple sell-out runs, with over 8,000 people seeing the shows this Summer alone.

Scouts! The Musical premiered at The Other Palace in 2023 before embarking on a tour earlier this year, and received a Standing Ovation Award as well as nominations for a WhatsOnStage Award, an Offie Award & four Fringe Theatre Awards. Meanwhile, A Jaffa Cake Musical first appeared in workshop form in 2024 as part of MTFest and went on to enjoy two sell-out runs at the Edinburgh Fringe, where it accumulated well over 50 four & five star reviews.

Artistic Director of Gigglemug Theatre, Sam Cochrane, said “I am thrilled that our two most successful productions will now find a new life online. We could only tour the shows to a handful of places, but now wherever you are in the world you’ll be able to watch Scouts! The Musical and A Jaffa Cake Musical from the comfort of your own home whenever you like! We were lucky enough to regularly sell out which meant that people often missed out on tickets, so it’s wonderful that those who missed the productions will now get to see them and those who enjoyed the shows before can watch them again!” £10 digital tickets for both shows are available exclusively on Lounges.TV from Wednesday 12th November: lounges.tv/profile/gigglemug

As ‘Gigglemug’ means someone who is always smiling, Gigglemug Theatre want to give their audiences a chance to do just that. Their debut show was the Edinburgh Fringe hit Timpson: The Musical (sponsored by everyone’s favourite high street shop, Timpson) which won The Stage Award. Their follow up show was the critically-acclaimed RuneSical, an interactive musical based on the BAFTA-winning online game RuneScape and supported by the game makers themselves.

Twitter, Facebook & Instagram: @TheGigglemug
Digital Tickets: lounges.tv/profile/gigglemug

Richmond Theatre – until Saturday 15th November 2025

Reviewed by Carly

4****

Richmond brings you the psychological thriller, The Talented Mr. Ripley, based on the book written by Patricia Highsmith, adapted for the stage by Mark Leipacher. Also made into a film in 1999 and more recently turned into a Netflix series.

Set in the 1950’s the play opens in New York City where we are introduced to Tom Ripley (Ed McVey) a small-time con artist living day by day. When he is approached by a stranger by the name of Herbet Greenleaf (Christopher Bianchi) a father who’s worried about his wayward son Dickie Greenleaf (Bruce Herbelin-Earle) who left for Italy and has no intention of returning home. His father, on the other hand, wants him to come back home as his mother is poorly and would desperately like to see her son. Herbet then offers Tom an all-expenses paid trip to Italy to track down his son and bring him home. Tom accepts Herbet’s offer, however after arriving and finding Dickie, Tom finds himself enthralled by Dickies lifestyle and freedom which leads to a deadly obsession, resulting in a web of lies and deceit.  

Although this production only had a small cast, they all had a great ability to take on different roles, delivering remarkable depth and greatness. Alongside a simple set, of a stage on a stage only offering dark surroundings with a few props and lighting that set different moods and a great atmosphere.  

This was a good production, that was enjoyable to watch; I personally felt the first half was done exceptionally well and left the audience on the edge of their seats in anticipation for the second act. In contrast I was unfortunately left feeling disappointed at the end of the second act; I had the sense that the production was slightly elongated and perhaps could have been finished in a more succinct way. Due to this I was almost inclined to mark this production at 3 stars, however, Ed McVey’s innate talent, which showcases his ability to fully embody the character that he is playing, making his performance believable and unforgettable, raised this production in my opinion.