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PAULA WAGNER AND TOM WERNER

ANNOUNCE FULL CASTING

FOR

THE WORLD PREMIERE OF
HIGH NOON

A NEW PLAY WRITTEN BY

ACADEMY AWARD-WINNER

ERIC ROTH

BASED ON THE SCREENPLAY BY CARL FOREMAN

JOINING

EMMY AND TONY AWARD-WINNER

BILLY CRUDUP

AND

OLIVIER AWARD-WINNER
DENISE GOUGH

DIRECTED BY

OLIVIER AWARD-WINNER
THEA SHARROCK

FOR A STRICTLY LIMITED SEASON

AT THE
HAROLD PINTER THEATRE

FROM

17 DECEMBER 2025 – 6 MARCH 2026

Paula Wagner and Tom Werner are delighted to announce the full cast for the World Premiere of the play HIGH NOON. Joining Emmy and Tony Award-winner Billy Crudup and Olivier Award-winner Denise Gough are Billy Howle, Rosa Salazar, Simon Chandler, James Doherty, Misha Handley, Joshua Hill, Jonah Russell, Rebecca Lee and Tim Steed.

Directed by Olivier Award-winner Thea Sharrock, HIGH NOON will play for a strictly limited season at the Harold Pinter Theatre from 17 December 2025 to 6 March 2026 with tickets on sale now. highnoontheplay.com

HIGH NOON is produced by Paula Wagner and Tom Werner, also Thomas Tull.

The play HIGH NOON is by Academy Award-winner and six-time nominee Eric Roth and marks Roth’s debut work for the stage. This gripping new adaptation is based on the iconic, four-time Academy Award-winning 1952 film with a screenplay by Carl Foreman, originally produced by Stanley Kramer and directed by Fred Zinnemann. Hailed as one of the greatest westerns ever made, this isn’t just a play, it’s a wake-up call. Told in real time, this edge-of-your-seat thriller explodes onto the stage. This unmissable new version speaks urgently to the world today.

Set in the American West of the 1800s, High Noon rides on themes as relevant now as they were then. Courage vs. Cowardice. Justice vs. Peace. Duty vs. Desire. And at its heart, is the bond between Will Kane and Amy Fowler – a love tested by impossible choices as the clock ticks down to the return of deadly outlaw Frank Miller on the high noon train. The clock is ticking. As time runs out, one truth remains: if you don’t stand up for what’s worth saving, you risk losing it all.

CAST AND CREATIVE BIOGRAPHIES

Equally memorable on the stage and screen, Billy Crudup has earned critical accolades for his performances. He currently stars as Corey Ellison in Apple TV+’s three-time Golden-Globe nominated The Morning Show alongside Jennifer Aniston and Reese Witherspoon, which earned him two Emmy Awards (three nominations total), two Critics Choice Awards, three Screen Actors Guild Award nominations and two Golden Globe nominations. Upcoming, he will star in Netflix’s and Noah Baumbach’s film Jay Kelly, opposite George Clooney, Adam Sandler and Laura Dern.  On stage, Crudup most recently starred in Lincoln Center Theater’s production of Ibsen’s Ghosts. Additionally, he recently reprised his role in the one-man play Harry Clarke at the Ambassadors Theatre in the West End which earned him an Olivier Award nomination for Best Actor. The West End run followed a limited engagement at the Berkeley Repertory Theatre. He first performed this play at the Vineyard Theatre, for which he won an Outer Critics Circle Award, Off-Broadway Alliance Award, Lucille Lortel Award, Obie Award, Drama Desk Award and garnered a nomination for a Drama League Award. In 2007, Crudup won a “Best Performance by a Featured Actor” Tony for his role in the Broadway production of The Coast of Utopia.  He also received Tony nominations for his roles in The Elephant Man, The Pillowman and Arcadia. Crudup’s film credits include: Alien: Covenant, Jackie, Zack Snyder’s Justice League, 20^th Century Women, Spotlight, Cameron Crowe’s Academy Award®-winning Almost Famous, and many more. He made his television debut in Netflix’s psychological thriller Gypsy.

Denise Gough was most recently seen in the West End reprising her Olivier Award-winning role of Emma in People, Places & Things at the Trafalgar Theatre, having previously played the role at the National Theatre, the Wyndham’s Theatre and at St Ann’s Warehouse in New York. Denise’s other theatre credits include Angels in America Part One: Millennium Approaches and Angels in America Part Two: Perestroika at the National Theatre and at the Neil Simon Theatre on Broadway, for which she won the Olivier Award for Best Supporting Actress and was nominated for the Tony Award for Best Featured Actress in a Play. Her other West End credits include Jesus Hopped the ‘A’ Train, As You Like It and By the Bog of Cats, and other theatre credits include Ahasverus for the RSC, Portia Coughlan at the Abbey, Dublin, The Duchess of Malfi at the Sam Wanamaker Playhouse, Adler and Gibb at the Royal Court and Six Characters in Search of an Author at Chichester Festival Theatre. Denise’s television credits include Andor and Under the Banner of Heaven for Disney +, Paula, The Fall and Appe Tree Yard, all for the BBC, Guerilla and Stella for Sky, and Too Close for ITV, for which she was nominated for the BAFTA for Leading Actress. Denise’s film credits include Monday, The Other Lamb, Colette, The Kid Who Would Be King, Juliet Naked, Ridley Scott’s Robin Hood, Jimmy’s Hall, and ’71.

Billy Howle’s previous stage credits include the double bill, Roots/Look Back In Anger at the Almeida theatre, Dear Octopus at the National Theatre and playing the titular role in Hamlet at the Bristol Old Vic. Billy’s film credits include Palestine 36, which was recently screened at TIFF, All Before You, Kid Snow, Infinite Storm opposite Naomi Watts and On Chesil Beach opposite Saoirse Ronan. His television credits include The Perfect Couple (Netflix), Under the Banner of Heaven (FX) The Beast Must Die (Britbox), The Serpent (Netflix/BBC), MotherFatherSon (BBC Two) and Chloe (Amazon/BBC).

Rosa Salazar can most recently be seen starring opposite Mark Wahlberg and LaKeith Stanfield in the Amazon MGM feature Play Dirty. Her other film credits include Alita: Battle Angel, the Maze Runner franchise, Marcel the Shell with Shoes On, and Bird Box. Her television credits include Parenthood, Undone, and Brand New Cherry Flavor, also serving as a producer on Undone and co-producer on Brand New Cherry Flavor.

Eric Roth is an American screenwriter and producer. He became known for writing the screenplay for the award-winning Forrest Gump (1994), which brought him fame and his first Golden Globe nomination. During his career, he has written numerous hit films such as The Horse Whisperer (1998), Ali (2000), The Good Shepherd (2006), and The Curious Case of Benjamin Button (2008) where he gained his second Golden Globe nomination. In recent years he has also written the screenplays of two big hits: A Star is Born (2018) and Dune (2021). For television, he is remembered for being one of the co-producers of the award-winning political drama House of Cards (2013 – 2016).He has been nominated six times for the Academy Award for Best Adapted Screenplay: Forrest Gump (1994), The Insider (1999), Munich (2005), The Curious Case of Benjamin Button (2008), A Star Is Born (2018), and Dune (2021) — winning for Forrest Gump; he also earned a Best Picture nomination for producing Mank (2020). Roth also worked on the screenplays for the Oscar-nominated films Extremely Loud & Incredibly Close (2011) and Killers of the Flower Moon (2023).

Thea Sharrock’s film credits as director include Ladies First, The Beautiful Game, Wicked Little Letters, The One and Only Ivan and Me Before You. TV credits as director include the Henry V/Hollow Crown and Call the Midwife. Theatre credits as director include The Bodyguard (Adelphi Theatre, West End/US Tour), The Sunshine Boys (Savoy Theatre, West End), 13 (National Theatre), Ruby Wax Losing It (Menier Chocolate Factory), Equus (Gielgud Theatre, West End/Broadhurst Theatre, Broadway), After the Dance (National Theatre – Olivier Award for Best Revival and nomination for Best Director) and The Misanthrope (Comedy Theatre). Thea was the Artistic Director of both the Southwark Playhouse and The Gate. 

Tim Hatley has designed extensively for the National Theatre, West End and Broadway, and is the winner of three Olivier Awards, including Best Set Design for Life of Pi in 2022, and two Tony Awards including Best Scenic Design for Life of Pi in 2023. His recent theatre credits include Life of Pi (West End & Broadway), Back to the Future (West End, UK Tour & Broadway), Dreamgirls (West End & UK Tour), A Funny Thing Happened On The Way To The Forum (Lido, Paris), Travesties (Menier/West End/Broadway), Ghosts (Almeida Theatre/West End/Brooklyn Academy of Music), Little Eyolf (Almeida Theatre), Temple (Donmar Warehouse), Enemy of the People, Pyjama Game (Chichester Festival Theatre), The Slaves of Solitude & Drawing The Line (Hampstead Theatre), Mr. Foote’s Other Leg (Hampstead Theatre/West End), The Bodyguard (West End/UK Tour/US Tour/Cologne/Korea), Shrek (West End/Broadway/UK Tour/US Tour), Spamalot (West End/Broadway/US Tour/Las Vegas), Singin’ in the Rain, My Fair Lady (Chatelet Paris) and Carmen & Don Quixote (The Royal Ballet). His film credits include Closer, Notes on a Scandal and Stage Beauty.

HIGH NOON has set and costume design by Tony and Olivier Award-winner Tim Hatley (Life of Pi, Back to the Future The Musical), lighting design by Tony and Olivier Award-winner Neil Austin (Harry Potter and the Cursed Child, Born with Teeth), music by Chris Egan and sound design by Nick Lidster. The choreographer and movement director is Lizzi Gee, the fight director is Kate Waters, the casting director is Jina Jay CDG and the general managers are Short Street Productions Ltd. The executive producer is Mark Rubinstein.

Royal & Derngate Theatre – until 8th November 2025

Review by Amanda Allen

5*****

Most of us are familiar with Agatha Christie and her most famous detective Hercule Poirot. This telling of one of her most acclaimed stories didn’t disappoint. From the initial introduction of himself Mark Hadfield as Poirot transported us to a world of opulence, class, style and ultimately murder on the beautifully crafted stage of the SS Karnak. Christie herself believed this was one of her best “Travel” books and even adapted it to the stage as “Murder on the Nile”.

The story is really one of love, Greed and betrayal all woven together with very believable and likeable characters. This adaptation by Ken Ludwig perfectly draws you into a world where Egyptology was extremely fashionable, attracting a lot of support and investment from well to do people of a particular class. This was demonstrated so well with the attitude and appearance of Libby Alexandra-Cooper who played Linnet Ridgeway, in this her debut stage role, she played the part perfectly. Not only did she look divine, but she also managed to portray the style, elegance and attitude of a young woman of the 1930’s who has everything whilst still maintaining a slight fragility and shyness. Her husband Simon Doyle (Nye Occomore) and her friend Jacqueline De Bellefort (Esme Hough) bought the story to life both giving an excellent portrayal of the Husband and scorned fiancé. For me the outstanding performance of the evening was the brilliant Colonel Race played by Bob Barrett, he personified the character of the slightly stiff Colonel perfectly, with excellent comic timing and a sense of humour he gave us a brilliant foil to Hercule Poirot. In Poirot, Mark Hadfield gave us a man we could all warm to, He managed to keep his accent throughout the majority of the performance really well and gave us a slightly quirky little man, who saw everything, was supposedly on holiday but was almost expecting something to happen and was liked by all aboard the ship. As he said when asked how he knew something “I am Hercule Poirot I do not need to be told”

Special mention must go to the creative team for this production. The whole thing was brilliantly presented with innovative two tier staging which perfectly personified a 1930’s Egyptian steam ship, the multi-functional set design by Mike Britton gave us a luxury paddle steamer with sliding panels easily depicting cabins, saloons and decking. The lighting (designed by Oliver Fenwick) brought each scene perfectly to life and with fabulous costumes perfecting the look we were totally transported to the 1930’s SS Karnak. Glynis Barber as Salome Otterbourne had the most fabulous wardrobe and obviously enjoyed wearing every outfit. The costume department went to town with the evening dress of all the characters with lots of sparkle and glamour perfectly depicting a bygone era of glamour and style. The sound depiction was perfect, Mike Pool the sound designer thought of everything, the crickets in the evening, the paddles of the ship hitting the water, the timing of the gun shots, the subtle way the sounds of early 20th century Egypt completed the picture was fantastic.

If you need a good night out, something to take your mind of the bad weather and the depressing news then this is for you, its playing until the 8th November and is well worth the ticket price.

Sheffield Lyceum – until Saturday 8th November 2025

Reviewed by Claire Moore

5*****

Merlin tells the story of a young man discovering his extraordinary powers while caught between two kingdoms at war. The son of Helios and the Lady of the Lake, yet raised by a blacksmith, Merlin grows up torn between the power of his magical lineage and the simplicity of his human upbringing. As love grows across enemy lines and the battle between good and evil gathers pace, Merlin must decide how to use his magic. Choreographed by Olivier Award-winner Drew McOnie and inspired by the legend of the world’s most famous sorcerer, Northern Ballet brings the tale to life through striking dance and just the right touch of theatrical magic. From start to finish, the storytelling is beautiful, dramatic and absolutely captivating.

The staging is nothing short of stunning — powerful and beautifully executed. Scene changes happen so smoothly you barely notice them, yet they make it instantly clear where you are in the story. The set, lighting and projections work together to create a sense of scale that feels epic. The Lyceum’s stage, though lovely, is famously on the smaller side, but somehow Northern Ballet make it look so grand — from sweeping battle scenes to moments of quiet magic. It’s clever, confident design that adds to the drama without ever stealing focus from the dancers.

There are some especially beautiful touches with light, movement and flowers that feel like pure magic. A playful bath scene, filled with sparkles for bubbles, is so simple yet so effective — the kind of moment that makes you smile in wonder. Colin Richmond’s costumes bring both vibrancy and clarity to the stage, with bold, colour-coded designs so you always know which side of the battle you’re watching.

As for the dancers, they were all outstanding. I was in awe of their strength, power and agility — and how they made it all look so delicate and effortless. Yu Wakizuka stands out as Merlin. He brings a freshness and sincerity to the role. His power and agility are balanced with moments of quiet uncertainty, and it’s that combination that makes his performance so believable.

Alessia Petrosino is wonderful as the blacksmith who raises Merlin. Her transformation into a fierce protector shows her love for her son and provides real emotion. Amber Lewis makes a strong impression as Morgan Le Fae, evolving from a loyal general into a truly formidable force, while Julie Nunès brings a softer, gentler presence as Princess Ygraine. But I think my favourite moment came from Nida Aydinoğlu as the Lady of the Lake — the way she seemed to ‘swim’ across the stage with the help of the ensemble was just mesmerising to watch.

I’m not a regular ballet-goer, but by the end I was completely drawn into Merlin’s world. The combination of music, movement and storytelling was so powerful. It’s a reminder of how transportive dance can be — how it can tell a whole story without a single word. Northern Ballet have created something truly special here: a production that feels both epic and intimate, traditional yet fresh. Don’t dismiss this if you think ballet isn’t really your thing — it’s storytelling first and dance second, with enough emotion and spectacle to keep anyone hooked. Merlin really is a magical night out, and I loved every minute.

FASTEN YOUR SEAT BELTS…

NEW ADVENTURES ANNOUNCES THE RETURN OF

MATTHEW BOURNE’S LEGENDARY DANCE THRILLER

FOR AN EXTENSIVE UK TOUR

AND

SADLER’S WELLS SUMMER SEASON

OPENING AT CURVE, LEICESTER
FROM 15 JUNE 2026

New Adventures is delighted to announce that Matthew Bourne’s award-winning dance thriller THE CAR MAN will return for a 2026 UK tour, opening at Curve, Leicester on 15 June 2026 before visiting a further 16 venues over 22 weeks, including a 5-week summer season at Sadler’s Wells. Listings information below with casting to be announced.

Loosely based on Bizet’s ever-popular opera, THE CAR MAN has one of the most thrilling and instantly recognisable scores in New Adventures’ repertoire. The familiar 19^th Century Spanish cigarette factory becomes a greasy 1950’s garage-diner in the American Mid-West where the dreams and passions of a small-town are shattered by the arrival of a handsome and enigmatic stranger. Fuelled by heat and desire, the inhabitants are driven into an unstoppable spiral of greed, lust, betrayal and revenge.

Matthew Bourne said today: “I never dreamed when we created this show at the beginning of the new millennium that it would still be around, thrilling audiences, 25 years later! Inspired by vintage movie film noir classics, it holds a unique and special place in the New Adventures repertory as the only piece based on an opera and possibly the first ballet to feature a bi-sexual anti-hero! I’m particularly happy that we are taking the show “on the road” again after more than 10 years and I can’t wait to re-visit the hot and steamy town of Harmony USA – the best place to be next Summer!”

THE CAR MAN was first seen in 2000, winning the Evening Standard Award for Musical Event of the Year and the Los Angeles Drama Critics Award for Best Choreography. It was last seen in a unique revival for The Royal Albert Halls 150^th Birthday in 2022. This expanded production received rave reviews and nightly standing ovations. However, this will be the first time THE CAR MAN has toured since 2015.

Directed and choreographed by Matthew Bourne, THE CAR MAN has music by Terry Davies & Rodion Shchedrin’s Carmen Suite (after Bizet’s Carmen), with sound by Paul Groothuis, lighting by Chris Davey and design by Lez Brotherston.

For more information please visit: www.new-adventures.net

Facebook /MBNewAdventures  Instagram @MBNewAdventures   TikTok @MBNewAdventures

LISTINGS

MONDAY 15 – SATURDAY 20 JUNE 2026

CURVE, LEICESTER

www.curveonline.co.uk

ON SALE 11 NOVEMBER 2025

TUESDAY 23 – SATURDAY 27 JUNE 2026

LOWRY, SALFORD

thelowry.com

ON SALE 21 NOVEMBER 2025

TUESDAY 30 – SATURDAY 4 JULY 2026

HULL NEW THEATRE

www.hulltheatres.co.uk

ON SALE 10 NOVEMBER 2025

TUESDAY 7 – SATURDAY 11 JULY 2026

MILTON KEYNES THEATRE

www.atgtickets.com/venues/milton-keynes-theatre

ON SALE 7 NOVEMBER 2025

TUESDAY 14 – SATURDAY 18 JULY 2026

THEATRE ROYAL, PLYMOUTH

theatreroyal.com

ON SALE 6 NOVEMBER 2025

TUESDAY 21 – SATURDAY 25 JULY 2026

LYCEUM THEATRE, SHEFFIELD

www.sheffieldtheatres.co.uk

ON SALE 5 DECEMBER 2025

TUESDAY 28 JULY – SATURDAY 29 AUGUST 2026

SADLER’S WELLS

www.sadlerswells.com

ON SALE 17 NOVEMBER 2025

TUESDAY 1 – SATURDAY 5 SEPTEMBER 2026

BRISTOL HIPPODROME

www.atgtickets.com/venues/bristol-hippodrome

ON SALE 7 NOVEMBER 2025

TUESDAY 8 – SATURDAY 12 SEPTEMBER 2026

NEWCASTLE THEATRE ROYAL

www.theatreroyal.co.uk

ON SALE 7 NOVEMBER 2025

WEDNESDAY 16 – SATURDAY 19 SEPTEMBER 2026

MAYFLOWER THEATRE, SOUTHAMPTON

www.mayflower.org.uk

ON SALE 14 NOVEMBER 2025

TUESDAY 22 – SATURDAY 26 SEPTEMBER 2026

THEATRE ROYAL, NOTTINGHAM

trch.co.uk

ON SALE 17 NOVEMBER 2025

TUESDAY 29 – SATURDAY 3 OCTOBER 2026

NORWICH THEATRE ROYAL

norwichtheatre.org

ON SALE 28 NOVEMBER 2025

TUESDAY 13 – SATURDAY 17 OCTOBER 2026

BIRMINGHAM HIPPODROME

www.birminghamhippodrome.com

ON SALE 24 NOVEMBER 2025

TUESDAY 20 – SATURDAY 24 OCTOBER 2026

ALHAMBRA THEATRE, BRADFORD

www.bradford-theatres.co.uk

ON SALE 15 DECEMBER 2025

TUESDAY 27 – SATURDAY 31 OCTOBER 2026

KING’S THEATRE, GLASGOW

www.atgtickets.com/venues/kings-theatre-glasgow

ON SALE 7 NOVEMBER 2025

TUESDAY 3 – SATURDAY 7 NOVEMBER 2026

FESTIVAL THEATRE, EDINBURGH

www.capitaltheatres.com

ON SALE 24 NOVEMBER 2025

TUESDAY 10 – SATURDAY 14 NOVEMBER 2026

MARLOWE THEATRE, CANTERBURY

marlowetheatre.com

ON SALE 24 NOVEMBER 2025 

WORLD RENOWNED DANCE COMPANY RAMBERT ANNOUNCES CENTENARY PROGRAMME FOR 2026 WITH THIS IS RAMBERT

CELEBRATING 100 YEARS OF GROUNDBREAKING DANCE – AND LOOKING BOLDLY AHEAD

Rambert, the UK’s leading contemporary dance company, today announces This is Rambert – a bold centenary programme for 2026 that will tour internationally and across the UK with performances in London, Newcastle, Edinburgh, Salford, and Norwich throughout June and July 2026. Marking 100 years of redefining dance, the company continues to look firmly to the future under the dynamic artistic direction of Benoit Swan Pouffer. Full ticket information and on-sale dates are available at www.rambert.org.uk. Tickets for most dates are on sale now, except for London’s Sadler’s Wells, which will be available from Monday 17^th November, Edinburgh’s Festival Theatre from Wednesday 26^th November and Norwich Theatre from Friday 28^th November.

This is Rambert is a fierce and fearless triple bill of contemporary works by creatives making their mark today, featuring Hop(e)storm by (LA)HORDE, Gallery of Consequence by Emma Evelein, and a brand-new work to be announced in due course.

Far from a retrospective, Pouffer has chosen a programme that is a vivid snapshot of our times – told through electric movement, raw intensity, and unflinching physicality. The programme spotlights distinctive choreographic voices that he believes are poised to define the next era of dance in the UK and worldwide – brought to life by Rambert’s world-class dancers, celebrated for their strength, individuality, and expression.

In its milestone year, Rambert will tour This is Rambert nationally and internationally, reaffirming its status as a cultural leader that has never stopped evolving. Known for its legacy of innovation and social relevance, Rambert continues to stay one step ahead, bringing urgent stories and ideas to life through movement that provokes, inspires, and connects. Join Rambert as they step into their second century fresh, and firmly on the cultural pulse.

On the announcement of the Centenary live tour programme, Benoit Swan Pouffer, Artistic Director of Rambert said “For me, the most exciting thing about this moment is that Rambert has never felt more alive. A hundred years in, and we’re still led by curiosity and by artists who see the world differently. The choreographers in This is Rambert each bring a pulse that belongs to right now, and our dancers respond with everything they are. That’s what this company has always been about: catching the rhythm of the future before it arrives and inviting audiences to be part of that with us.”

To mark its Centenary, Rambert is hosting a series of special Future 100 events across the tour — unique celebrations in London, Manchester and Edinburgh that bring people closer to the company’s artists and its next century. These events offer opportunities to celebrate the long-standing relationships between the company, each venue and audiences, with bespoke evenings including drinks receptions, exclusive glimpses into Rambert’s future, and the chance to meet the extraordinary artists behind the work. 

LISTINGS INFORMATION – THIS IS RAMBERT UK TOUR 2026

Runtime 1h35 (incl. interval)

Suitable for: 12+

LONDON – SADLER’S WELLS
Wed 10 June – Future 100 Rambert Gala + Press Night
Thu 11 June
Fri 12 June
Sat 13 June – Matinee & Evening

NEWCASTLE – THEATRE ROYAL – ON SALE NOW

Tue 16 June
Wed 17 June

EDINBURGH – FESTIVAL THEATRE
Thu 2 July – Future100 event (Golden tickets)
Fri 3 July
Sat 4 July – Matinee

SALFORD – THE LOWRY – ON SALE NOW
Tue 7 July – Future100 event (Golden tickets)
Wed 8 July
Thu 9 July

NORWICH – THEATRE ROYAL – ON SALE NOW

Tue 14 July
Wed 15 July

Original Theatre presents 

Being Mr Wickham

The acclaimed play returns following Jane Austen’s 250th anniversary

Performed and written by Adrian Lukis

Directed by Guy Unsworth

Playing Chichester Minerva Theatre 20-24 January 2026

Adrian Lukis – who famously starred as Mr Wickham in the beloved BBC TV Pride and Prejudice adaptation – returns to the role on stage at Chichester’s Minerva Theatre from Tuesday 20 to Saturday 24 January 2026, in his acclaimed self-written one-man play, Being Mr Wickham, an exploration of one of Jane Austen’s most charmingly roguish gentleman characters. 

Presented by Original Theatre and directed by Guy Unsworth, the play’s run will immediately follow celebrations commemorating the 250th anniversary of Jane Austen’s birth on 16 December. The Chichester performances come in the wake of highly successful 2025 runs in London and beyond.

Join Pride and Prejudice’s George Wickham on the eve of his sixtieth birthday to lift the sheets on what exactly happened thirty years on from where we left him and discover his own version of some very famous literary events.

“Mr. Wickham is blessed with such happy manners as may ensure his making friends – whether he may be equally capable of retaining them is less certain”. Mr Wickham is ready to set the record straight. What really happened with Darcy? What did he feel about Lizzie? What happened at Waterloo? Not to mention Byron…

Adrian Lukis, writer and performer of Being Mr Wickham, said: “It’s such a pleasure to be able to help celebrate the recent anniversary of Jane Austen’s birth at the Minerva in Chichester and with a play that I hope does not completely dishonour her! But to her go the plaudits. She was a talent apart.” 

Alastair Whatley, Artistic Director of Original Theatre, said: “I am delighted that Mr Wickham is returning – just about in time – to celebrate Jane Austen’s 250th anniversary year. After charming audiences all over the world, our celebrated rogue now makes his entrance in Chichester where I’m thrilled audiences will get a chance to spend an evening in the company of Adrian Lukis’ masterly performance.”

Being Mr Wickham is performed and written by Adrian Lukis and directed by Guy Unsworth with design by Libby Watson, lighting design by Johanna Town and sound design by Max Pappenheim. 

To book for the Chichester Festival Theatre, visit: www.cft.org.uk/events/being-mr-wickham

Being Mr Wickham is also still streaming at Original Online, a replay of the 2021 livestreamed production with the stunning backdrop of Theatre Royal Bury St Edmunds featured in a unique reversed staging that was only possible at the time.

-LISTINGS- 

Show: Being Mr Wickham

Venue: Minerva Theatre, Chichester Festival Theatre, Oaklands Park, Chichester, PO19 6AP

Dates: Tues 20 – Sat 24 January 2026

Running Time: 60 minutes

Ticket Prices: from £10

Box Office: www.cft.org.uk/events/being-mr-wickham / 01243 781312

Age Guidance: 10+
Content Warnings: none

Access information: www.cft.org.uk/accessibility 

Category: theatre / drama 

Nottingham Theatre Royal – until Saturday 8 November 2025

Reviewed by Amy V Gathercole

5*****

“Full of inventive staging, heartfelt performance and theatrical spectacle—this Narnia reimagining is pure magic for all”

It’s tough to believe that C.S. Lewis’ unforgettable introduction to Narnia is celebrating its 75th anniversary. For many, including myself, this story is a cherished childhood favourite. I vividly recall wearing out my audiobook cassette tapes as a child, lost in the magic of talking animals, epic battles and enchanted lands. This new UK tour rekindles that wonder with a production that’s visually stunning throughout.

Directed by Michael Fentiman, the show blends folk-inspired music, aerial choreography and mysterious illusion to dazzling effect.

For those unfamiliar with the story, the four children are evacuees during the war, sent to live at an eccentric professor’s house filled with secrets and magic. The curious children discover a portal to the enslaved world of Narnia via a wardrobe. They discover a mythical land that is trapped in a 100-year winter under the rule of the White Witch (Katy Stephens). There, they meet a host of animal characters who share their hardships and hopes for liberation and they join the fight for freedom.

The opening number and a slightly somber rendition of “We’ll Meet Again” sets the tone brilliantly, with suitcase props cleverly doubling as illuminated train carriages. It’s a poignant and slightly haunting opening.

One of the most beloved of these characters is Mr. Tumnus, a faun played beautifully by Alfie Richards. His joy at meeting Lucy and his quiet hope for a better Narnia are touching. Richards also showcases a lovely vocal range, leading several musical moments with warmth.

The Pevensie siblings—Peter (Jesse Dunbar), Susan (Joanna Adarn), Edmund (Bunki Osadolor), and Lucy (Kudzai Mangombe) are portrayed with charm and conviction. Mangombe’s Lucy gives a standout performance, her wide-eyed curiosity and emotional depth anchoring the story’s heart. Osadolor brings a nuanced edge to Edmund’s conflicted journey, while Dunbar and Adarn offer grounded performances as the elder siblings.

Katy Stephens as the White Witch is formidable. Sinister and calculating, she commands the stage with chilling charisma, as she is surrounded by her ghouls. One particular moment at the end of Act 1—icy, surreal, and breathtaking – it will live rent-free in my head forever, combining mystery, suspense, and theatricality.

The puppetry, designed by Toby Olié, is top-notch. From nimble house cats to the majestic lion Aslan, each creature is crafted with care and operated with precision. Stanton Wright’s Aslan is both regal and tender, a quiet force of good that anchors the production’s emotional weight. When the giant puppeted lion appears on stage alongside Wright, it’s a breathtaking moment.

Choreography by Shannelle ‘Tali’ Fergus is flawless, often evoking the grace of ballet, with transitions that are fluid and aerial sequences add a dreamlike quality that elevates the storytelling, especially among the animated cast of animals and magical creatures.

The costumes are brilliant. Rather than dressing actors and dancers in full fur suits, designer Tom Paris takes a more imaginative approach, highlighting the physical traits of beavers, fauns, and other woodland creatures through subtle details. Carefully chosen accents like ears, tails, and textured fabrics evoke their animal essence without overwhelming the performers, allowing ease of movement and an opportunity for the characters to shine.

The children wear simple, wartime-evocative outfits that remain unchanged throughout, reinforcing their grounded presence amid the fantasy. The White Witch’s costume is luxurious and dramatic in cold whites and creams, while her henchmen – the ghouls are dressed in black and drab colours, with minimal detail, that conveys a complete absence of hope.

The audience was packed with school groups, and everyone rose to their feet the moment bows were taken. For many, this was likely their first live theatre experience, and what a magical introduction it was. The standing ovation was fully deserved.

This production doesn’t just revisit the magical world of Narnia, it reimagines it. With inventive staging, heartfelt performances and a deep respect for the source material, it’s a theatrical triumph that will delight seasoned fans and newcomers alike.

BACK ON THE BLOCK!

THE NEW 20^TH ANNIVERSARY PRODUCTION
OF
THE THREE-TIME TONY AWARD WINNING
AND
OLIVIER AWARD NOMINATED MUSICAL

AVENUE Q

TO OPEN AT THE SHAFTESBURY THEATRE
FOR A STRICTLY LIMITED SEASON

FROM 20 MARCH – 29 AUGUST 2026

TICKETS ON SALE NOW

Kevin McCollum and Jamie Wilson Productions are delighted to announce that the three-time Tony Award winning and Olivier Award nominated musical, AVENUE Q, will return to the West End for its 20^th anniversary, bringing the original Broadway puppets to the Shaftesbury Theatre for a strictly limited season from Friday 20 March 2026 to Saturday 29 August 2026.

Tickets on sale now www.avenueqmusical.co.uk

With Music & Lyrics by Robert Lopez and Jeff Marx and book by Jeff Whitty, the revival production of AVENUE Q, based on an original concept by Robert Lopez and Jeff Marx, will see the return of many of the original Broadway team, including the award-winning Broadway director Jason Moore, with music orchestrations and arrangements by Stephen Oremus, original Broadway puppets, conceived and designed by Rick Lyon and set design by Anna Louizos. Joiningthem for this anniversary production will be choreographer Ebony Molina with casting by Pearson Casting CDG and other new UK creatives to be announced.

Director Jason Moore said today, “It’s a rare and wonderful gift to revisit a musical you helped create 20 years ago and bring it into this modern decade with tweaks and surprises that make the original show glisten with even more relevance and humour.  We are so excited to head back to the Avenue once again—this time, adding an audience that was too young for some of these puppets and their particular brand of humour!”

The show’s producers said today, “We’re beyond excited to bring Avenue Q back to the West End to celebrate its 20th anniversary. When the show first opened on Broadway, it broke all the rules – it was bold, funny, and full of heart, speaking honestly about growing up and finding your place in the world. Two decades later, its message feels more relevant than ever. This revival is a love letter to the original production and to everyone who’s ever seen a bit of themselves in the residents of Avenue Q. We can’t wait to reintroduce this brilliantly irreverent, endlessly uplifting show to London audiences once again.”

Fresh out of college and searching for his purpose, Princeton ends up in a shabby apartment on New York’s rundown Avenue Q. He quickly meets his new and colourful neighbours where together they navigate the life struggles of work, love and paying the bills in their own hilarious way. 

Irreverent and irresistible, AVENUE Q is the mischievous and charming musical full of infectious songs and loveable characters that will leave you smiling for days.  

AVENUE Q first opened in the West End in 2006 at the Noël Coward Theatre, before transferring to the Gielgud Theatre, followed by the Wyndham’s Theatre, where it played its final performance on 30 October 2010. A special concert production was performed at the Sondheim Theatre in 2024 to celebrate the show’s 18^th anniversary.

AVENUE Q is produced by Kevin McCollum and Jamie Wilson Productions.

Old Joint Stock Theatre, Birmingham – until 9th November 2025

Reviewed by Emma Millward

5*****

Birmingham may be in the festive mood now that the famous Christmas Market has opened, but for the next week, the Old Joint Stock Theatre is still firmly in the Halloween spirit.  Tucked away above a busy pub in the heart of the city, there are few venues quite as stunning and atmospheric. Every time I visit, it feels like I am stepping into a secret cabaret club. As we entered the intimate theatre space, moodily illuminated with green and purple lighting, I Screamed a Scream – A Villains Cabaret promised something mischievous and a little bit different, and it certainly delivered!

This is a musical celebration of the darker side of musical theatre.  The production brings together some of the most memorable songs from fairy tale baddies and tortured anti-heroes. The evening is hosted (and performed) by the theatre’s manager, James Edge, always ready with a cheeky quip or a sneaky hint of what to expect next. Joining James are Jessica Lim and Britain’s Got Talent winner Jai McDowall, all three are exceptional performers who showcased their powerful vocal talents. From the opening number, it was clear the performers weren’t merely there to sing the songs but also to embody these devilish characters. What followed was a journey through an eclectic playlist featuring songs from Hamilton, Wicked, Little Shop of Horrors and even High School Musical.  There were many surprises along the way, and the audience were always ready to see which direction we would be taken in next.

Jai McDowall brought a suave but menacing edge to several songs within the show, especially ‘Raise a Little Hell’ from Bonnie & Clyde.  He also got the opportunity to show his funnier side during ‘Be Prepared’ from The Lion King as he and Jessica Lim donned furry ‘hyena’ ears as they provided backing vocals for James Edge. Edge and McDowall’s rendition of ‘Blue’ from Heathers: The Musical drew much laughter from the crowd, thanks to the clever use of inflatable blue beach balls as a prop. I had the pleasure of seeing Jessica Lim giving an outstanding performance in Old Joint Stock’s ambitious production of Be More Chill earlier this year.  Once again, she impressed me with her powerhouse vocal talent, especially during the show-stopping ‘No Good Deed’ from Wicked (complete with green lighting).  James Edge had a natural stage presence that won over the crowd straightaway.  The sight of him trying to move about as Lord Farquaad from Shrek: The Musical was hilarious.  

The set design was simple but effective.  It consisted of three microphone stands and an illuminated backdrop that Theatre SSL cleverly used to set the scene. Musical Director Gabrielle Ball’s arrangements of the songs often added a new spin on familiar songs. Choreography was minimal in such a small space, but the performers always gave it their all.  The show is just the right length at two hours (including a short interval), and Director Emily Susanne Lloyd ensures every moment is used wisely and keeps the audience captivated. 

I Screamed A Scream is a devilishly entertaining evening. If you enjoy musical theatre, have a soft spot for wicked characters and relish the opportunity to cheer the baddie, this is the show for you. It’s a celebration of theatrical villainy and musical talent in equal measure, and it proves that, sometimes, the bad guys really do have the catchiest tunes!

Leeds Grand Theatre – until Saturday 8th November 2025

Reviewed by Adam Craddock

5*****

Tonight I had the pleasure of being invited along to Leeds Grand Theatre to review The National Theatre’s tour of Dear England. I knew this was going to be a fun one for me to review, I’m a massive football fan in my mid to late twenties so the subject material and setting in time were very personal to me. The Southgate years of England were me in my “lads lads lads, let’s get a beer” prime and each of the games in the tournaments he managed I remember exactly where I watched it and how I felt. This came to hit me later in the show as the emotion of the ultimate disappointment was played out on stage and I remember being at my friends wedding standing in the rain with tears running from my eyes… as I said, this is personal to me!

The production starred David Sturzaker as Gareth Southgate, the comparatively muted and thoughtful England manager as he looked to rescue us from our worst run of tournament results in recent memory. Sturzaker was sublime as Southgate, with some very thoughtfully done pieces taken from Southgate’s mannerisms and speech patterns, whilst very much being himself and not just being an impressionist. The heart and feeling he brought to the role was brilliant and for me, he nailed it. Bravo! Samantha Womack co starred as Pippa Grange, the psychologist brought in to help the England camp turn around the toxic mindset that had infected it. Womack was brilliant, perfectly showing the challenges of a woman entering the macho world of professional sport and managing to get through to the players. She had a brilliant tenderness that really made you understand why the players would listen to her. I don’t have space in my review to list them all off but the gents that played the England team were all fabulous, in particular however Oscar Gough that played Harry Kane. Similar to the Southgate performance, Gough took several aspects from the real life Kane and moulded them into his own performance, never feeling like a pastiche but more a tribute to the England legend. His monologue about how the world views him because of his speech was touching and I have to say… Gough has some seriously awful dad dancing skills in the best possible way.

I adored the set of this show. The circular raised stage and ring light above provided a real feel of being sat within the stadium. The use of video behind to show the twin towers of old Wembley or video footage of past heartbreaks was outstanding and this really made the show for me in a visual manner. The lighting was perfect and the sounds almost was as well, minus a couple of mics not being turned on at the right time and a slightly annoying white noise coming from the speaker near my seat.

All in all, I would highly recommend Dear England to any theatre goer, old or young. I commented to my partner that there were several groups of young men in the audience that I doubt you would normally see coming to Les Miserables or The Nutcracker, but plays such as Dear England are exactly what we need to get more young men into the wonderful world of theatre.