PRODUCER MICHAEL HARRISON OPENS MAYFLOWER THEATRE’S NEW STUDIO FOLLOWING £12 MILLION CAPITAL INVESTMENT
Mayflower Theatre Trust, today proudly shares images of Producer Michael Harrison, and Mayflower Chief Executive, Michael Ockwell opening Mayflower Theatre’s new double height rehearsal studio which was carried out over a closure period this summer, as part of a £12 million self-funded capital investment which has now been completed. This marks a significant milestone in the Charitable Trust’s ongoing commitment to the venue as well as the local community and wider theatre industry.
The substantial investment has been delivered to meet the needs of today and future audiences as well as the productions of tomorrow and includes a replacement to the original 1928 grid above the stage, upgrading and increasing the toilet facilities across the theatre and a new double-height studio which backs onto the stage and will support both modern touring productions and create new opportunities for making work.
Michael Ockwell, Chief Executive of Mayflower, said: “We are delighted to have welcomed Producer Michael Harrison to officially open our new studio in front of the whole staff body, signalling the completion of our capital investment. The building works on this project have spanned the last 18 months, with the theatre being closed through the summer to enable a new grid to be installed which offered us the opportunity to undertake other capital projects at the same time. Seeing these projects complete is a fantastic achievement for everyone involved.
It is thrilling that we have been able to create a modern, high-performing space within a historic, working theatre. This was a huge challenge, but the result is something we can all be incredibly proud of. This new development gives Mayflower the facilities and flexibility we need to keep growing, while making sure accessibility, sustainability and the future of our theatre remain at the heart of what we do.
We’re incredibly excited to see this fantastic new space come to life. It gives performers, visiting companies and our communities the modern, accessible facilities they deserve and creates even greater opportunities for creativity to flourish.”
Michael Harrison, Producer of Michael Harrison Entertainment, said: “It was an honour to be asked to officially open Mayflower Theatre’s new studio at their staff familiarisation event, completing 18 months of building works. Mayflower places a real importance on its people, and it was so lovely that the whole staff body got to be a part of this moment. The studio is a really exciting opportunity for both Mayflower but also for the wider theatre industry to both nurture new talent through education and participation programmes and also to develop new work. I cannot wait to see what Mayflower create with this new space.”
In addition to the studio, the capital investment has also seen a new Reception and Stage Door, additional accessible dressing rooms as well as more connections between the administration building, which was added in 2010, and the Grade II-listed theatre. These developments will create a high-quality environment for both professional touring companies and Mayflower’s extensive Participation and Education programmes. Mayflower has also utilised this period to undertake the most significant refurbishment of its toilet facilities in its 98-year history, whereby they have increased total capacity from 43 to 62 cubicles (including 12 new universal facilities), reintroduced urinals in male toilets, and provided 30 additional wash basins.
Matt Goode, Chief Operating Officer of Mayflower, said: “Creating the best possible experience for our customers is at the heart of everything we do, and we knew our toilet facilities were an area where we needed to do better. Working closely with our heritage architects, we have increased the number and size of cubicles, improved accessibility and created facilities that complement the character of this historic building. As Mayflower Theatre approaches its centenary, this refurbishment demonstrates our commitment to investing in both our audiences and the long-term future of one of the country’s finest theatres.”
Whilst largely unseen by audiences, the grid above the stage plays a vital role in supporting scenery, lighting and stage equipment. Replacing the original 1928 grid will ensure Mayflower Theatre continues to accommodate some of the world’s largest and most technically demanding touring productions.
Mayflower Theatre is delighted to welcome audiences back to experience world-class theatre with the spectacular five-week run of Moulin Rouge! The Musical, which opened on 24 September and continues until 24 October 2026.
Joey Contreras’ musical In Pieces will make its highly anticipated world premiere at London’s The Other Palace in 2027, following its sold-out concert run. The first week of performances, from 6 to 14 February 2027, are now on sale.
The world premiere will mark the first fully realised production of In Pieces, with Martha Geelan returning to direct. The creative team also comprises Sam Wilson Freeman as Choreographer, Brian Russell Carey as Music Supervisor and Harry Blumenau CDG CSA as Casting Director. The production is produced by Andrew Patino and Jacob Stuckelman of Regular People and Rebecca Gwyther of RJG Productions.
Joey Contreras today said, “This is a huge day for In Pieces as we enter into the next stage of the show’s journey with the world premiere of our fully realised production. From concert stagings, to digital live-captures and album releases – our show really has gone from strength to strength in building up an audience in the UK and beyond. All of these moments have been a testament to the hard work and dedication of the creative team, production team, and everyone who has been involved in the show’s life. I can’t wait to share this world premiere production with audiences in London next year, with more exciting news to come.”
Producers Andrew Patino of Regular People and Rebecca Gwyther of RJG Productions added, “In Pieces has had a truly unique development that invited fans into the process of making a musical. It’s remarkable to see people from all over the world fall in love with the musical long before it reached the stage. We’re thrilled to finally bring a world premiere production to London, giving our fans the opportunity to see it live and inviting a whole new audience to discover the musical for the first time.”
The previous staged concert iteration in 2026 took Contreras’ bold and romantic, contemporary musical to the next stage in its development following multiple sold-out concerts (including at The Other Palace and at New York City’s Joe’s Pub), a digital live-capture concert release – purchased 20,000 times in 151 countries and amassing over 100,000 views – and a deluxe highlights album released with Broadway Records, which has totalled over 70 million streams. In 2027, In Pieces continues that journey at The Other Palace in London.
Casting will be announced at a later date.
Regular People and RJG Productions presents
IN PIECES
By Joey Contreras
Director: Martha Geelan; Choreographer: Sam Wilson Freeman; Orchestrations: Joey Contreras and Brian Russell Carey; Music Supervisor: Brian Russell Carey
6 -14 February 2027
In Pieces is a love story about the people you don’t end up with.
Written and composed by Fred Ebb Award and Jonathan Larson Grant Finalist, Joey Contreras, In Pieces is a bold, contemporary new musical featuring a pop-driven score that dives into echoes of love, loss, and self-discovery by weaving the romantic journeys of six characters across three chapters of life. As friends, family, and lovers confront old wounds and unresolved feelings, one question remains: can they find a way to hold both the joy and the pain of the past?
In Pieces has become a global sensation, with over 70 million streams, licensed productions internationally, and digital concerts reaching more than 150 countries.
Joey Contreras’ other musicals include Forget Me Not, Robby Green Is All Grown Up, and Heartbreakers in Hell. He is also developing new projects with Storyboard Entertainment and RGN Theatrical/Talnek Communications. Additional composing credits include work for the Walt Disney Company, The 5th Avenue Theatre, and various short films.
Martha Geelan directs. Her theatre credits include In the Land of Eagles, The Psychosocial Gathering (Edinburgh Festival Fringe), Jane, Babies (The Other Palace), Agatha (Pleasance Theatre), St Anne Comes Home (The Actors Church), Macbeth, The Tempest, Romeo and Juliet (Young Shakespeare Company, UK tours), Between The Sheets, Potato Salad, When I Wake (Waterloo East), Spring Awakening, Love and Money, The Vagina Monologues (Studio Theatre Norwich). As an associate director her credits include The Producers, Indecent, The Bridges of Madison County, The Lie (Menier Chocolate Factory), The Book Thief (Coventry Belgrade, Leicester Curve), The Shark is Broken (UK tour, Ambassadors Theatre, Royal Alexandra Theatre Toronto), Identical (Nottingham Playhouse, Theatre Royal Bath), Fiddler on the Roof (Menier Chocolate Factory, Playhouse Theatre), God of Carnage, Agnes Colander (Theatre Royal Bath) and Love in Idleness (Menier Chocolate Factory, Apollo Theatre); and as an assistant director Top Hat, Thoroughly Modern Millie, West Side Story (Kilworth House Theatre), She Loves Me (Menier Chocolate Factory) and The Patriotic Traitor (Park Theatre).
London 5th October: West End and Broadway stars Alfie Boe and Lea Salonga will come together in South Africa for the first Spotlight event, a brand-new international series of destination experiences bringing together the world’s greatest musical theatre performers and some of the world’s most remarkable destinations.
Spotlight has been created by a team with a long history of producing exclusive destination retreats and live events around the world. Over the past six years, more than 500 guests have joined nine destination retreats across four continents. Spotlight has been created for an intimate group of attendees with a shared love of musical theatre. Every Spotlight journey is immersive and unique to its setting, guided by the philosophy to “go beyond the stage and into the extraordinary.” Attendance is deliberately limited, allowing each Spotlight journey to remain personal and unlike a traditional theatre event.
The first in the series, Spotlight: South Africa, will take place from 7th–11th August 2027 at the award-winning Kapama Private Game Reserve, in South Africa’s Greater Kruger region. Over five days, guests will experience musical theatre in an entirely new way, combining private safari adventures and luxury hospitality with specially curated performances by Alfie Boe and Lea Salonga.
Alfie Boe, one of Britain’s best-loved tenors, is internationally renowned for his performances as Jean Valjean in Les Misérables, while Tony and Olivier Award-winner Lea Salonga originated the role of Kim in Miss Saigon and is known to generations as the singing voice of Disney’s Princess Jasmine in Aladdin and Fa Mulan in Mulan.
By day, the guests head into Kapama’s Big Five territory, with safari game drives in search of lion, leopard, elephant, rhino and buffalo. Conservation is at the heart of Kapama, with the reserve dedicated to protecting its wildlife and natural habitat through extensive research and anti-poaching programmes. By night, the focus turns to conversation and music, with performances from Alfie Boe and Lea Salonga unfolding against the backdrop of the African wilderness. Candid conversations about their careers will sit alongside intimate musical performances crafted specifically for the occasion, creating moments that could never be recreated in a conventional theatre.
At the heart of Spotlight is its connection. Spotlight: South Africa has been deliberately designed as a shared experience rather than a traditional large-scale event, creating a rare opportunity to experience music and the surroundings together as one group.
Adam Howard, music director of Spotlight, said: “Spotlight: South Africa isn’t a concert with a safari attached. We wanted to create something that simply couldn’t exist in a traditional theatre – five days where the music, the stories and the landscape are woven together, and where our guests become part of the experience. You might spend the morning watching elephants move across the reserve, the afternoon hearing Lea or Alfie share stories from an extraordinary career, and the evening listening to some of the greatest songs in musical theatre beneath the African sky. There will only ever be one group of people who experience these five days. That’s what makes Spotlight so special.”
The Kapama River Lodge will become home to the Spotlight group for the duration of the experience. Performances and conversations with Boe and Salonga will be woven into the rhythm of safari life, alongside private safari drives, guided bush walks, sundowners in the reserve and candlelit dinners beneath the stars. There will also be personal time to relax and reflect on the experiences of the natural world and the memories created through the week.
Alfie Boe said: “I’ve performed in some incredible theatres around the world, but there’s something exciting about taking the music somewhere completely unexpected. Safari by day and music by night, perhaps even with a lion roaring in the distance! There’s a real sense of adventure to the whole experience, and I can’t wait to be part of it.”
Lea Salonga said: “There is usually a certain distance between performer and audience – the stage, the lights, the auditorium. What I love about the idea of Spotlight is that it takes that distance away. To spend several days in a place as extraordinary as South Africa, sharing our love for music in such a unique location is something completely different. I have been invited to perform in many incredible places during my 50-year career, but this is something very special.”
Booking Information
Spotlight: South Africa
Kapama River Lodge, Kapama Private Game Reserve
7th-11th August 2027
Priority registration (for access to pre-sale bookings) opens 5th October.
Monday 5 October, London: Producers Playful Productions in association with PBJ Management are delighted to announce that Rowan Atkinson will bring his new theatre show, Rowan Live, to London next February for a strictly limited season at the Gillian Lynne Theatre.
The season of 30 performances only will begin on Monday 8 February and run through to Saturday 13 March, with an opening night scheduled for Tuesday 16 February 2027.
Sign-up for priority booking from 9am on Wednesday, 7 October at www.rowanlive.co.uk. Public booking opens at 12pm on Wednesday, 7 October.
Rowan Atkinson returns to where it all began, the theatre, to bring some of his most famous comedy sketches and iconic characters vividly to life.
With their unique blend of physical comedy and impeccable timing, Atkinson’s characters have become globally cherished. From the wonderfully chaotic Mr Bean to the brilliantly irreverent Blackadder, alongside favourites from Not the Nine O’Clock News and brand new material created with long-term collaborators Richard Curtis, Ben Elton and Howard Goodall, Rowan Live celebrates an extraordinary body of work in a whole new light.
Rowan Atkinson commented: “It is forty years since I last did a comedy sketch show in the West End, and I thought it would be fun to perform again the sketches that began it all for myself and Richard Curtis, and in which my most well-known characters originated; alongside some surprise new material written especially for this show.”
Richard Curtis said: “I first saw Rowan perform on stage in 1976, 50 years ago – and it was instantly clear to all of us that we were watching a unique, once in a lifetime talent. 50 years later, this summer, we started putting this show together in front of a small audience, and all that magic, that unique accuracy and comic genius is still there for all to see. It’s such a joy and honour for me to be part of a show that will include the very best of Rowan on stage – all his voices, shapes, faces and characters. I hope it will make people very happy.”
Rowan Live will be directed by Raz Shaw and music is by Howard Goodall.
Rowan Live is presented by Playful Productions in association with PBJ Management.
The Grange Theatre, Northwich – until 10 October 2026
Reviewed by Carla Whittaker and E Sydney
5*****
Most of us know Romeo and Juliet in some shape or form. You have either read it, studied it at school as part of English GCSE or watched one of the films, seen another stage version or just know the basics of the story. Boy meets girl, their families hate each other, they fall hopelessly in love and, as we all know, it doesn’t exactly end well. As the story is so familiar, I think there is always an added challenge when somebody decides to put Romeo and Juliet on stage as you already know what is going to happen, know some of the famous lines and you know the ending before the lights even go down. So, the difficulty is how directors make an audience care about it all over again and how you make a story that is hundreds of years old feel fresh. For me, The Grange Theatre absolutely managed to do that in their version of Romeo and Juliet.
What I liked almost immediately was that this production didn’t feel like we were being asked to sit politely through Shakespeare because Shakespeare is something we are apparently supposed to appreciate. It didn’t feel heavy, overly formal or stuck in the past. It felt alive. It felt young. It was modern. At times it felt chaotic, but that worked as the story of Romeo and Juliet is chaotic. These are young people living in a world full of emotion, family conflict, anger, loyalty, impulsive decisions and enormous consequences. The pace and style of the production reflected that well and, for me, made the whole story much easier to connect with.
This performance was very much a modern Romeo and Juliet . The characters look and behave like young people rather than people who have stepped out of a history book, and there are contemporary touches throughout the production which bring the story into a world that feels much closer to our own. That kind of approach won’t work for everybody, and I completely understand that some people may prefer a much more traditional Shakespeare production. Personally, though, I loved it. I didn’t feel that modernising the setting took anything away from Shakespeare’s story. If anything, it helped me see parts of the story more clearly.
When you strip away all the things we associate with Shakespeare, Romeo and Juliet are simply two very young people who fall in love incredibly quickly and make huge decisions based on emotion. They are surrounded by adults who have their own ideas about what should happen, their families are locked into a feud that neither Romeo nor Juliet created, and yet they are both expected to live with the consequences of it. Watching that play out in a modern setting made those themes feel far more immediate. It stopped feeling like a distant story about people from another time and started to feel like a story about young people, family pressure, loyalty, anger, grief and love. None of those things have disappeared over the last four hundred years.
One of the things I had read before seeing the show was comment around the pace of the production and the suggestion that some of Shakespeare’s words could get lost because everything moves so quickly. I can understand where that view comes from as there are moments where the dialogue comes at you fast. Personally, though, I didn’t see that as a negative. In fact, I think slowing everything down too much would have taken something away from the story. Romeo and Juliet is an incredibly fast story when you stop and think about it. They meet, they fall completely in love, they make plans to be together, they marry, people die and everything begins to unravel over a very short period. These aren’t two people carefully weighing up every consequence and making sensible decisions. They are young, emotional, impulsive and completely swept up in what is happening around them.
For me, the pace reflected that brilliantly. It made everything feel increasingly frantic as the story developed and, rather than distracting from what was happening, I thought it helped. You get the sense that events are moving faster and that the characters are losing control of the situation. By the time everything starts to fall apart, you almost feel as though they are being dragged towards the ending with very little chance to stop and think. That worked for me because that is exactly how the story feels.
I also don’t think you need to understand every single Shakespearean word to understand Shakespeare. Sometimes I think that is one of the biggest things that puts people off. We become so focused on whether we understand every sentence that we forget to watch the actors and see what they are showing us. In this production, you understand the relationships. You see the anger. You understand the attraction between Romeo and Juliet . You know when somebody is joking, when somebody is frightened, when somebody is grieving and when everything is beginning to go horribly wrong. So much is communicated through expression, movement, tone of voice and the interactions between the characters that you don’t spend the whole performance mentally translating every line into modern English.
That is one of the reasons I genuinely think this production would be good for somebody who thinks they don’t like Shakespeare. If your memory of Shakespeare is sitting in a classroom taking turns reading lines out loud, trying to work out what on earth everybody is talking about, then I completely understand why the idea of voluntarily going to watch Romeo and Juliet might not immediately appeal. But this feels completely different. You are watching a story rather than studying a text. You are watching people rather than analysing characters for an exam. You can just allow the story to unfold in front of you, and I think that makes such a difference.
The performances also really helped with that. Olly Rhodes gives Romeo a very youthful quality and you can completely believe that this is somebody who is ruled by whatever emotion he is feeling at the time. Whether he is in love, angry, grieving or desperate, he throws himself into it. That makes Romeo’s decisions make more sense because you are constantly reminded that he is young and impulsive. There are moments where you want to shake him and tell him to stop and think for five minutes before doing anything dramatic, but that is also part of the character. Romeo is not someone who quietly reflects on things for several days. Everything is huge, everything is immediate and everything feels like the most important thing in the world to him at that moment.
Bea Glancy’s Juliet was another part of the production I really enjoyed. Her Juliet didn’t feel passive or as though she was simply being carried along by Romeo or by the adults around her. She had
personality, determination and strength, but you could also see the vulnerability underneath all of that. I think that balance is important as Juliet is still so young. There is something incredibly sad about watching a young girl trying to take control of her own life while the adults around her have already made decisions about what that life should look like. You can see her trying to make choices for herself while everything around her becomes more difficult and more dangerous.
I also enjoyed the way the production handled the wider characters. Rachael Gill-Davies taking on Mercutio and Lady Capulet could easily have been confusing, but it really wasn’t. They felt like two completely different people. Mercutio brings so much energy and humour to the production, while Lady Capulet is obviously a very different presence. The contrast between the two roles worked well and showed just how much can be done through performance, physicality and subtle changes. The wider cast also take on multiple parts, and again I didn’t find that distracting. If anything, it added to the stripped-back feel of the production and kept things moving without making the stage feel overcrowded.
The humour was another thing I really appreciated. I think people sometimes forget that Romeo and Juliet isn’t miserable from beginning to end. There are funny moments and there need to be funny moments. You need to see friendship, excitement, teasing and young love because those lighter moments make the tragedy later hit much harder. If everybody walked on stage looking doomed from the very beginning, there would be nowhere for the story to go. This production allows you to enjoy those moments and then gradually changes the tone as events become more serious. The atmosphere shifts, the consequences start to pile up and before long the production that had been making you laugh feels very different.
I also thought the modern setting worked as it didn’t feel like it was modern just for the sake of being modern. Sometimes contemporary versions of classic plays can feel as though somebody has simply handed the characters mobile phones, put them in trainers and decided that is enough to make it relevant. I didn’t feel that here. The modern touches fitted into the world of the production and helped make the characters feel recognisable without overwhelming the original story. It is still Romeo and Juliet . The language is still Shakespeare. The families are still divided, the love story is still there, and the tragedy is still coming. It has simply been placed into a world that feels closer to ours.
For younger audiences, I think that could make a huge difference. Shakespeare often comes with this reputation for being difficult, formal or something that you need to be knowledgeable about before you are allowed to enjoy it. This production challenges that. You don’t need to be a Shakespeare expert. You don’t need to remember studying the play. You don’t need to analyse every line. You can just watch it. You can watch the relationships develop, watch Romeo and Juliet become completely wrapped up in each other, watch the tension between the families and watch the humour slowly disappear as the consequences become more serious. That, to me, is exactly how Shakespeare should be experienced.
The strange thing about Romeo and Juliet is that there is almost no such thing as a spoiler. We all know what happens and Shakespeare basically tells us at the beginning anyway. Yet the final part of the story still works. I think that is one of the biggest tests of a production like this. You are not sitting there because you are desperate to find out what happens next. You are watching to see how everything gets to that point and, even though you know exactly where it is heading, there is still a part of you hoping that somebody will make a different decision.
There were several moments where I found myself thinking, just wait, don’t do that, speak to somebody, give it five minutes, please check properly before making another enormous life-changing decision. Of course, nobody does, because then we wouldn’t have Romeo and Juliet . But the fact that you still react like that to a story whose ending has been known for centuries says a lot about how well the production draws you in.
What I really enjoyed overall was that this didn’t feel like Shakespeare being performed at an audience. It felt like a story being told to us. There is a big difference. At no point did I feel like I needed to sit there appreciating it because it was Shakespeare. I was simply interested in the characters and what was happening to them. That is probably the biggest compliment I can give the production because, by the end, I wasn’t thinking about the fact that I was watching a play written hundreds of years ago. I was just watching Romeo and Juliet.
I would recommend this production, but I think the people I would particularly encourage to see it are the ones who would usually say, “Shakespeare isn’t really my thing.” I genuinely think this could change some minds. It is modern, energetic, accessible and not afraid to do something different with a story that everybody thinks they already know. Some people may prefer their Shakespeare slower and much more traditional, and that is completely fair, but for me the faster pace worked. It matched the chaos of the story, it gave the production energy and it kept everything moving.
Most importantly, it made Shakespeare feel accessible without making it feel dumbed down. It respected the original story while finding a way to make it feel current, relatable and emotionally immediate. That is not always easy to do, especially with a play as well-known as Romeo and Juliet , but this production manages it.
By the end, I wasn’t thinking, “That was a good Shakespeare production.” I was simply thinking, “That was a really good night at the theatre.” And for somebody who thinks they don’t like Shakespeare, that might be the best recommendation of all.
Romeo and Juliet is playing at The Grange Theatre in Hartford, Northwich, until 10 October 2026. Tickets are very reasonably priced, there is plenty of parking available, and the theatre has good accessibility for disabled guests. The hospitality is also excellent, with friendly, helpful staff who make you feel really welcome from the moment you arrive.
Oscar Wilde’s The Picture of Dorian Gray is a pretty well-known story. An extremely good looking young man has his portrait painted and then does a deal with the devil that the portrait will age whilst he himself retains his youthful looks for the rest of his life. Only he knows about this. He takes his portrait and keeps it in his attic never allowing anyone else to see it ever again. Only he knows its secret.
Jack Crumlin’s portrayal of Dorian is that of a young man so charismatic that he takes everyone he means in with his charm and beauty. They become completely smitten with and mesmerised by him. Crumlin does this well helped along by Sean Aydon’s adaptation of Wilde’s original wit and sparkling comedy that eventually turns into a psychological horror.
As we watch Gray’s journey through life we ask ourselves if the only reason we don’t do bad things is because we fear of the consequences of doing so. What would we do if we thought we could get away with it?
This is a story of corruption, guilt and self-destruction.
Aydon also directs this production and lets the tension and horror build to a terrifying climax.
The set by Sarah Beaton is impressive as it heavily features the beauty and decay of the story. A large, tarnished mirror dominates the back of the stage on which we can only sees parts of the story reflected in line with the portrait in the attic only ever being seen by Dorian himself. A few antique pieces of furniture but more modern-day clothing worn by the cast gives the piece a timeless quality. This story could so easily be taking place in today’s society where artificial looks and personality still mean so much more than intellect and compassion and where we are under constant pressure to present a certain version of ourselves to the world.
The rest of the cast comprising Mark Hawkins, Mark Octoby, Lydia Whitehead, Lydea Perkins, Ayesha Griffiths and Max Burnett ably support to bring this story to life ensuring that we never really like Dorian Gray and their characters have all of our sympathies.
This is a thumping good night at the theatre that will leave you wondering just how far you would be prepared to go achieve your ultimate dream.
This charmingly chaotic show is a wonderful glimpse at Balkan life. Devised and performed by Harun Ćehović, Klara Kaliger, Filip Mayer and Iva L. Šimić, the sense of welcome and community begins as soon as the audience enters, with the cast serving coffee and sweet treats. The lovely conceit that the group are making up the running order of the show embraces the laid-back Balkan attitude, with multiple smoke breaks for the cast included in the series of sketches. A quick slide show presentation explaining the history and beauty of the Balkan states does little to explain the similarities and differences between their cultures – as the performers repeatedly announce, “It’s complicated!” And it’s funny. (Obviously, they don’t mention the war.)
Tales of illegal family businesses back in Croatia – leading to a very handy skill for travelling – NSFW translations of chat over a friendly drink and a free accent coaching session for Filip from an audience member bring lots of laughs. The difficulties of being an immigrant, and the struggle to feel as if you belong, are lampooned wonderfully, with the realities of low paid, jobs and high-rent dumps contrasting with the promises made about new lives in western Europe. In a hilarious sketch as Klara visits various businesses back home for some (very) personal care, she gets mixed reactions – either berated for abandoning the country or celebrated for getting out and chasing a new life. The talented and charismatic writers and performers capture the search for belonging, and constant reminders that they don’t, with heartfelt candour but always with a mischievous glint in their eye that betrays their pride in their heritage and their love of the complicated lives they have chosen.
This funny and thoughtful hour of Balkan treats ends in the only way possible – with dancing, singing and drinking as the audience is invited up to join the cast in celebration.
BIRMINGHAM REP PRODUCTIONS NOMINATED FOR FOUR THEATRE AWARDS, INCL. BEST MUSICAL FOR SWEENEY TODD
The Birmingham Rep is delighted to have received four award nominations in the forthcoming UK Theatre Awards and Asian Media Awards.
The Rep’s recent record-breaking and critically acclaimed production of Sweeney Todd The Demon Barber of Fleet Street is nominated for ‘Best Musical Production’ in the UK Theatre Awards. Small Island, a co-production with Leeds Playhouse and Nottingham Playhouse in association with Actors Touring Company, is nominated for ‘Best Play Revival’ in the same awards.
In the Asian Media Awards, A Thousand Splendid Suns, co-produced by Birmingham Rep, Nottingham Playhouse and Leeds Playhouse, and Planet Omar, produced by Leeds Playhouse in association with Birmingham Rep and Unicorn Theatre, are both nominated for ‘Best Stage Production’. A Thousand Splendid Suns will return to The Rep in January 2027 ahead of a UK tour.
Joe Murphy, The Rep’s Artistic Director, who directed Sweeney Todd The Demon Barber of Fleet Street, said:
“I am thrilled that these four productions have received award nominations. Directing Sweeney Todd was one of the highlights of my professional career, and it’s wonderful that it has been so well received by audiences and critics alike. It’s a show that we made here at The Rep, and I’m very proud of everyone who worked on making it a success.
“I’m also excited that Small Island, A Thousand Splendid Suns and Planet Omar have received nominations – they are well deserved. Working in partnership with other UK theatres meant that we were able to bring these terrific productions, and the important stories they have to tell, to the stage. I’m pleased that A Thousand Splendid Suns will be back at The Rep and on tour in 2027 giving more people to see this fantastic show.”
Sweeney Todd The Demon Barber of Fleet Street, Sondheim’s darkly comic musical masterpiece ran at The Rep in July and August of this year, with a company led by Ramin Karimloo, Meow Meow and David Bedella. It is The Rep’s most successful musical production ever, garnering over twenty 5 star reviews and taking nearly £1.4 million at the Box Office.
Small Island ran at The Rep in April 2026. A powerful and intimate adaptation of Andrea Levy’s novel, this is a Windrush story of a journey from the sun-drenched shores of Jamaica to the cold, grey streets of 1940s London.
Planet Omar follows the adventures of an 8-year-old British-Pakistani Muslim boy with a wild imagination, a big heart, and a knack for getting into trouble. The production ran at The Rep in June 2026.
Based on Khaled Hosseini’s international best-selling novel, A Thousand Splendid Suns is the powerful tale of three generations of women discovering strength in unity and finding hope in the unlikeliest of places. Set in a war-torn 1992 Afghanistan, it’s an unflinching tale of survival, resilience and strength of human spirit. It ran at The Rep April/May 2025. The play returns to The Rep in January 2027 ahead of a UK tour.
The UK Theatre Awards take place on Monday 12 October, and the Asian Media Awards on Friday 30 October.
Conflict of Interest is a character driven legal drama that is full of twists and turns and surprising revelations. It is written and produced by and stars Thomas Carruthers who also, for short measure, also is the sound designer.
It tells the story of Arthur Carmichael and Mitchell Hargrieve who run one of the most successful law practices in Philadelphia; however, when they take on the shocking case of Rita Lempkin, who openly admits that she murdered her real-estate mogul husband, Ralph, things grow tense. Complications grow further with the similarities the Lempkin case shares with that of Lucy Balsam, who nine years ago Arthur got off when accused of murdering her own father. Lucy then went on to become Mrs Carmichael. Also in the office is Talia Cooper, a young intern, who is being put at odds as a pawn in the endless power struggle shared by Arthur and Mitch.
This is not your normal, everyday type of legal drama. It is so much more than that. It is an exploration of five people who come together because a murder trial is impending and it shows how they all go about preparing for what is to come and the effect is has on their personal lives.
These are all complex characters who have their own flaws as well as their own redeeming qualities and Carruthers’ script is full of depth that gradually meanders from one character to another to show not only their surface and superficial good sides but also takes us beneath their skins to show us what they are really like when things get tough and it is every man for themself.
The cast of Thomas Carruthers, William Leggetter, Rhian Holmes, Amy Cash and Maeve-Anne Allen play their roles to perfection. There isn’t a weak link amongst them. They each get their time to shine in the spotlight and show what they are capable of.
Jazz Sewsanker’s direction is tight and the drama and tension never lets up and there are so many twists in the plot that we never know quite where the story is going to end up. It certainly didn’t end where I thought it was headed.
This is a compelling play that deserves a bigger audience and hopefully it will get picked up and re-staged again sometime in the future.
Spoiler alert: It does contain adult themes and some adult language so maybe not suitable to take your maiden aunt to see.
With the critically acclaimed A Month in the Country running at the theatre and Ilford Boy in rehearsals, the Donmar’s Artistic Director Tim Sheader and Executive Director Henny Finch today announce the full cast for the world premiere of Stuart Slade’s The King’s Ransom.
Matthew Dunster directs Charlie Cox (Vince), Tom Fletcher (Charlie), Matthew Flynn (Mr Bluefield), Blake Harrison (Rusty), Leo Patrick (Jessie Lee), Jenny Rainsford (Rhonda / Jenny), Christopher Short (Elvis), Cherrelle Skeete (Mike), and Ronnie Yorke (Red), with the role of Martha played by Ruby Barker, Eira Kay and Trixie Willis.
The production opens on 16 December 2026, with previews from 5 December, and runs until 6 February 2027.
The World premiere of
THE KING’S RANSOM
By Stuart Slade
5 December 2026 – 6 February 2027
Director: Matthew Dunster; Set Designer: Anna Fleischle; Costume Designer: Jean Chan; Lighting Designer: Sally Ferguson; Sound Designer: Holly Khan; Illusion Designer: Chris Cox;
Fight and Intimacy Directors: Ruth Cooper-Brown and Rachel Bown-Williams of Rc-Annie;
Casting Director: Lotte Hines CDG
Stealin’ dead folk’s the American Dream?
Well, it’s always been an incredibly elastic concept – so yes.
The plan is simple: Kidnap Elvis Presley’s corpse. Stash him in a chest freezer. Collect the million-dollar ransom.
Memphis, 1977. When an enigmatic criminal mastermind offers small-time crook Vince Black the opportunity of a lifetime, Vince assembles a crack team of misfits and dropouts to attempt the heist of the century: swiping the earthly remains of The King of Rock and Roll.
Inspired by one of the strangest crime stories in American history, The King’s Ransom, a new play by Stuart Slade, is a Southern-fried dark comedy about grief, redemption and spectacularly bad decisions. Matthew Dunster directs this outrageous, heartfelt heist caper about the little guys taking one last shot at the American Dream.
Charlie Cox returns to the Donmar to play Vince. He previously appeared in The Prince of Homburg. His other theatre credits include The Lover; The Collection (Comedy Theatre), ’Tis Pity She’s a Whore (Southwark Playhouse), Incognito (Manhattan Theatre Club), Betrayal (West End/Broadway). For television his work includes Daredevil, The Defenders, Kin, Boardwalk Empire, Downton Abbey, Moby Dick, and Treason; and for film, Dot the I, The Merchant of Venice, Casanova, Stardust, There Be Dragons, Glorious 39, Stone of Destiny, The Theory of Everything, King of Thieves, Merv, Spider-Man: No Way Home, Synthetic, and This Is How It Goes.
Tom Fletcher plays Charlie. His theatre credits include Of Mice & Men (UK tour), Oliver Twist (Tobacco Factory Theatres), Drac & Jill, Little Women in Black (Wardrobe Theatre), and Jellyfish (Intrepid Ensemble). For television his work includes Trying and Extraordinary; and for film, A Woman Walks Into a Bank.
Matthew Flynn plays Mr Bluefield. His theatre credits include Punch, Private Peaceful (Nottingham Playhouse), The Winter’s Tale (RSC), The Interview (Park Theatre), The Strange Case of Dr Jekyll and Mr Hyde, The Crucible (Storyhouse), Agnes Colander (Ustinov Theatre / Jermyn Street Theatre), Child of Science (Bush Theatre), Wild Honey, 55 Days (Hampstead Theatre), City Stories (59E59 Theatre, New York), I am a Walrus (Young Vic), War Horse (National Theatre / West End), Children of the Sun (National Theatre), Mare Rider (Arcola Theatre), Henry V, Troilus and Cressida (Shakespeare’s Globe), A Streetcar Named Desire (Liverpool Playhouse), The Two Gentlemen of Verona (Northampton Theatre Royal), Macbeth, The Mayor of Zalameyer (Liverpool Everyman), As You Like It, How Many Miles to Basra? (West Yorkshire Playhouse), 1984 (Royal Exchange Theatre), The Gentleman’s Tea Drinking Society (Ransom Productions), Hangover Square (Finborough Theatre), Our Friends in the North (Northern Stage), The Winter’s Tale, Rose Rage (Propeller), Romeo and Juliet (Derby Playhouse), A View From the Bridge (UK tour), and The Prince of Homburg (Lyric / RSC). His television work includes Coronation Street, Say Nothing, COBRA: Rebellion, Great Expectations, Emmerdale, Finding Alice, Casualty, Innocent, Lawful Killing, Lucan, The Passion, After Thomas, The Quartermass Experiment, Foyle’s War, and The King Must Die; and for film, A Stitch in Time, Femi, and Black Sheep.
Blake Harrison plays Rusty. His theatre credits include A Place for We, (Talawa Theatre Company and Park Theatre); Waitress (Adelphi Theatre); The End of the Pier (Park Theatre); and Step 9 (of 12) (Trafalgar Studios). His television work includes The Inbetweeners, I Hate Suzie, World on Fire, Still Up, A Very English Scandal, The Great, Kate & Koji, Maigret, and Bookish; and for film,The Inbetweeners Movie; The Inbetweeners 2; Fing! and INK.
Leo Patrick plays Jessie Lee. His theatre credits include Blaze FM (Bristol Old Vic). His television work includes Grace.
Jenny Rainsford plays Rhonda / Jenny. Her theatre credits include A Midsummer Night’s Dream (Regent’s Park Open Air Theatre), Blithe Spirit (Salisbury Playhouse / Blackpool), Ivy Tiller: Vicar’s Daughter, Squirrel Killer,The Tempest,Love for Love,Queen Anne (RSC), Daddy (Almeida Theatre), Windsors: Endgame (Prince of Wales Theatre), The Double Dealer (Orange Tree Theatre), The Rivals (Arcola Theatre), Microcosm (Soho Theatre), The Little Black Book (Park Theatre), No Quarter (Royal Court Theatre), The Seagull (Headlong), Straight (Sheffield Theatres / Bush Theatre), The Importance of Being Earnest (Rose Theatre Kingston). As director and co-writer, Nanny (Bristol Old Vic / Theatre Royal Plymouth). Her television credits include You Are Here, The Game, Silent Witness, Showtrial, Call the Midwife, Finding Joy, Fleabag, Law & Order, The Smoke, and Da Vinci’s Demons; and for film, Runaway, The Arrival, Such a Lovely Day, Persuasion, Coffee Wars, The Favourite, About Time, and Prometheus.
Christopher Short plays Elvis. His theatre credits includes Hadestown (Le Carré, Amsterdam and Lyric Theatre), Jersey Boys,The Ballad of Johnny and June (UK and Ireland tour), The Prince of Egypt (Dominion Theatre), Anything Goes (UK Tour / Barbican Theatre), and Forever Plaid (Upstairs at the Gatehouse).
Cherrelle Skeete plays Mike. Her theatre credits include The Authenticator, Alterations, Three Days in the Country, Amen Corner (National Theatre), Beneatha’s Place, Fun Home (Young Vic), The Fellowship, The Phlebotomist (Hampstead Theatre), The 47th, Twenty Four Hour Plays (The Old Vic), The High Table (Bush Theatre), King Hedley II (Stratford East), A Small Place (Gate Theatre), The Seagull, Jack and the Beanstalk (Lyric Hammersmith), Harry Potter and the Cursed Child (Palace Theatre), The Lion King (Lyceum Theatre), for colored girls who have considered suicide / when the rainbow is enuf (The Yard) and And I and Silence (Finborough Theatre). Her television work includes Pierre, Slow Horses, Black Cake, The Midwich Cuckoos, Hanna, Silent Witness, The Human Zoo, The Five, Ordinary Lives, and Call the Midwife; and for film, Magpie.
Ronnie Yorke plays Red. His theatre credits include Will or Eight Lost Years of Young Shakespeare’s Life (Rose Playhouse), The Tempest,Macbeth (The Lord Chamberlain’s Men, UK and European tour), Not Quite Jerusalem (Finborough Theatre), The Commitments (UK and Ireland tour), and The Play That Goes Wrong (Duchess Theatre). For television, his work includes Banged Up Abroad, EastEnders, and The Jury.
Stuart Slade’s plays include Glee & Me – Winner of the Judges’ Award – The Bruntwood Prize (Royal Exchange Theatre), Reality (Royal Court Theatre and RWCMD), BU21 (Trafalgar Studios, and across over twenty countries worldwide), and Cans (Theatre503); and for film, Pulse and Capable People.
Matthew Dunster returns to the Donmar to direct – he previously directed Dealer’s Choice for the company. He is a theatre and film director and writer. Previously an actor, he has directed or written over sixty theatre shows, often with major national companies (including RSC, NT, Royal Court, Young Vic, Royal Exchange, Shakespeare’s Globe, The Bridge), as well as directing on the West End, Broadway and internationally. He has been the Associate Director of The Young Vic and Shakespeare’s Globe. His other theatre Credits include: 2:22 A Ghost Story, which ran in the West End for 694 performances, Shirley Valentine, The Pillowman (The Duke of York’s Theatre), The Homecoming (Young Vic), and The Hunger Games on Stage (Troubadour Canary Wharf Theatre). Dunster has been nominated for four Olivier Awards, and his Broadway production of Hangmen was nominated for five Tonys.
Maximum two tickets per person – both need to be aged 35 or under at time of the performance. Subject to availability. ID will need to be shown at Box Office to collect tickets.
DONMAR DAILY RELEASE
New tickets on sale every day at the Donmar. Allocations of tickets will be made available every day for performances 7 days later. Tickets will be available across the auditorium at every price band, including £15 standing tickets.
ACCESS
The Donmar Warehouse is fully wheelchair accessible. Guide dogs and hearing dogs are welcome in the auditorium. There is a Loop system and a Radio Frequency system fitted in the main auditorium and there are also hearing loops at all the front of house counters.
ASSISTED PERFORMANCES If you require a companion to attend the Donmar, their ticket will be free. To book or for other access enquiries call 020 3282 3808 or email access@donmarwarehouse.com.
DONMAR WAREHOUSE
Welcome to the Donmar, where anyone with a passion or curiosity for seriously good theatre belongs. In our powerfully intimate space, we make vivid theatre that transports. Our audience doesn’t sit in the dark; they lean into the light. You’ll want to be in the room and in the moment.
Led by Artistic Director Tim Sheader and Executive Director Henny Finch, the Donmar is an independent non-profit theatre in London’s Covent Garden.
We’re intent on making sure theatre thrives for the next generation by inviting in new younger audiences, inspiring original voices and building the workforce of the future.
We’re grateful for the loyalty and generosity of our many donors and supporters who share our commitment to making this happen.
