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MULTI-AWARD-WINNING CRITICALLY ACCLAIMED INTO THE WOODS

TO TRANSFER TO THE WEST END

TICKETS NOW ON SALE

★★★★★

“A five-star triumph”

The Times

Marking the first West End transfer for The Bridge, the critically acclaimed multi-award-winning production of Stephen Sondheim and James Lapine’s Into The Woods will run in the West End this Autumn with Kate Fleetwood reprising her celebrated performance as the Witch. Jordan Fein’s production opens at the Noël Coward Theatre, a Delfont Mackintosh Theatre, on 7 October 2026, with previews from 22 September, running until 9 January 2027. Tickets are on sale today via intothewoodsonstage.com.

“A thing of lush and arresting beauty”

Independent

Winner of the Olivier Award for Best Musical Revival at last night’s ceremony, the production also won Best Lighting Design for Aideen Malone and Roland Horvath. Last month, the production received two Critics’ Circle Theatre Awards – the inaugural Best Ensemble or Cast Award, and Best Designer for Tom Scutt.

★★★★★

“a sublime production of a sublime musical with a sublime cast”

Time Out

Producer Jamie Wilson said today, “Sondheim and Lapine’s Into The Woods is, quite simply, a masterpiece, and Jordan and Tom’s production is the perfect imaging of this very singular piece. I’m honoured to be partnering with the Bridge Theatre to bring the production to the West End, enabling a wider audience to experience their genius close up in the intimacy of the Noël Coward Theatre.”

Jordan Fein commented, “It’s been both a privilege and a joy to direct this new production of Into The Woods at the Bridge Theatre.  To now bring this wonderful show into the West End is thrilling and will give new audiences the opportunity to experience the brilliant music and words of Stephen Sondheim and James Lapine.”

The Bridge’s Nicholas Hytner added, “I couldn’t be happier that this wonderful production will have a new life at the Noël Coward, and I hope that a wide new audience will be able to see it in the West End.”

Full cast for the West End transfer, which is presented in the West End by Jamie Wilson Productions, Kevin McCollum and New Ventures Entertainment, will be announced shortly.

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@intothewoodsonstage

“A thrilling mischievous delight”

The Observer

Jamie Wilson Productions, Kevin McCollum and New Ventures Entertainment

The Bridge’s production of

INTO THE WOODS

Music and Lyrics by Stephen Sondheim and Book by James Lapine

Bridge Theatre until 30 May 2026

Noël Coward Theatre 22 September – 9 January 2027

Opening night: 7 October 2026

Why would you go into the woods?

To sell the cow

To visit mother

To see the king

To lift the spell

In Stephen Sondheim and James Lapine’s dazzling musical, the Baker, the Baker’s Wife, the Witch, Jack, Little Red Ridinghood, Cinderella and Rapunzel take us beyond happy ever after to discover what really matters.

Sondheim and Lapine’s second collaboration after Sunday in the Park with George brilliantly weaves together four Grimms’ fairy tales. On its Broadway debut in 1986, Into The Woods won Tony Awards each for Sondheim (Best Original Score) and Lapine (Best Book). In London it has had productions by Richard Jones (Phoenix Theatre, 1990), John Crowley (Donmar, 1998) and Timothy Sheader (Regent’s Park Open Air Theatre, 2010). This is its first major London production since 2016.

Kate Fleetwood plays the Witch. Her theatre work includes My Master Builder (Wyndham’s Theatre), A View From the Bridge (Theatre Royal Haymarket), 101 Dalmatians (Regent’s Park Open Air Theatre), Absolute Hell, Ugly Lies the Bone, King Lear, London Road – Olivier Award nomination for Best Actress in a Musical, Love’s Labour’s Lost (National Theatre), Bug (Found111), Medea (Almeida Theatre), High Society (The Old Vic), Life is a Dream, Hecuba (Donmar Warehouse), Macbeth – Tony Award nomination for Best Actress in a Leading Role (Chichester Festival Theatre, Gielgud Theatre, Brooklyn Academy of Music, and Broadway), Twelfth Night (Chichester Festival Theatre), The Winter’s Tale, Pericles (RSC), Othello (Northampton Theatre Royal), and A Midsummer Night’s Dream (Bristol Old Vic). For television, her work includes Big Mood, Mary and George, Rain Dogs, The Wheel of Time, Fate: The Winx Club Saga, Brave New World, Victoria, Harlots, War and Peace, The People Next Door, The Widower, Way to Go, Touch of Cloth, Sarah Jane Adventures, Hustle and After Thomas; and for film, Scoop, Choose or Die, Beirut, Star Wars: The Force Awakens, London Road, Philomena, Les Miserables, Harry Potter and the Deathly Hallows: Part 1, Macbeth, The Golden Age, 77 Beds, Vanity Fair, A Changed Man and Beautiful People.

Jordan Fein directs. His other theatre work includes Broken Glass (Young Vic), Fiddler on the Roof – Olivier Award for Best Musical Revival (Regent’s Park Open Air Theatre, Barbican and UK tour), Dark Disabled Stories – Obie Award for Best New American Play (Public Theater/Bushwick Starr), Rags Parkland Sings The Songs of The Future – Lucille Lortel Award for Outstanding New Musical (Ars Nova), Singlet (The Bushwick Starr), and A Ride On The Irish Cream (American Realness Festival/American Repertory Theater). His other work includes as co-director of Rodgers & Hammerstein’s Oklahoma! (Young Vic) – Olivier Award for Best Musical Revival; Director of The Prologue; Associate Director Cabaret – Olivier Award for Best Musical Revival (West End/ Broadway).

Tom Scutt designs set and costumes. Tom’s work as a Set Designer, Costume Designer, and Director spans live music, theatre, opera, dance, fashion and exhibition. Among his collaborators are Alexander McQueen, The Pet Shop Boys, Self Esteem, Christine and the Queens, Sam Smith, Olivier Sim, MTV, V&A, Akram Khan Company, Hofesh Shechter Company, Rebecca Frecknall, Jordan Fein, Nadia Latif and Carrie Cracknell. His designs have appeared on Broadway and in the West End, The Metropolitan Opera House, Royal Danish Opera, Canadian Opera Company, Greek National Opera, Opera Australia, The Royal Opera House, English National Opera, Scottish Opera, Opera North, Regent’s Park Open Air Theatre, the National Theatre, the RSC, the Almeida, the Donmar Warehouse, The Bridge and the Lyric Theatre. Awards include: Critics Circle Award for Best Design (2026) – Into the Woods; Olivier Award for Best Set Design (2025) – Fiddler on the Roof; Tony Award for Best Scenic Design of a Musical (2024) – Cabaret at the Kit Kat Club; Evening Standard Award and Critics’ Circle Award for Best Design (2022) – Cabaret at the Kit Kat Club; Critics’ Circle Award for Best Design (2019) – A Very Expensive Poison; WhatsOnStage Award for Best Set Design (2013) – Constellations, and (2019) – Little Shop of Horrors; Civic Trust Pro-Tem Award (2023); Linbury Prize for Stage Design (2007); RIBA National and London Award for Kit Kat Club at the Playhouse (2023).

Director: Jordan Fein; Set and Costume Designer: Tom Scutt; Musical Supervisor and Musical Director: Mark Aspinall; Orchestrations by: Jonathan Tunick; Sound Designer: Adam Fisher; Lighting Designer: Aideen Malone; Video Designer: Roland Horvath; Movement Director: Jenny Ogilvie; Wigs, Hair & Make-Up Designer: Sam Cox; Puppetry Design: Cheryl ‘Chuck’ Brown, Max Humphries & Tom Scutt; Casting Director: Stuart Burt CDG CSA; Production Manager: Chris Hay; Associate Director: Georgia Green; Scenic Associate: David Allen; Associate Musical Director: Alex Beetschen; Associate Sound Designer: Ollie Durrant; Associate Lighting Designer: Lucy Adams; Associate Costume Designer & Costume Supervisor: Lucy Martin; Wigs, Hair & Make-Up Supervisor: Charlie Watson; Props Supervisors: Jonathan Hall & Chris Marcus for Marcus Hall Props; Orchestral Management: Andy Barnwell & Rich Weeden for BW Musicians

Into The Woods

Listings

Bridge Theatre, 3 Potters Fields Park, London, SE1 2SG

Until 30 May 2026

https://www.bridgetheatre.co.uk

Noël Coward Theatre, 85-88 St Martin’s Lane, London WC2N 4AP

22 September 2026 – 9 January 2027

Opening night: 7 October 2026

Box Office: delfontmackintosh.co.uk / 0344 482 5151

Access booking on 0344 482 5137 (lines open Monday to Saturday 10am – 7.30pm)

Access Performances:

Audio Described Performance: Friday 9 October 2026 7.30pm

Captioned Performance: Monday 9 November 7.30pm

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Tickets from £15

Winners announced at Olivier Awards 2026 with Cunard

• This year’s biggest winner is Paddington The Musical, with seven awards including Cunard Best New Musical, Best Actor in a Musical for Paddington pair James Hameed & Arti Shah, and Best Actor and Actress in a Supporting Role in a Musical for Tom Edden and Victoria Hamilton-Barritt, respectively
• Two musicals receive two wins each – Evita and Into The Woods – including Best Actress in a Musical for Rachel Zegler for Evita, and Best Musical Revival for Into The Woods
• Three plays receive two wins each – All My Sons, Kenrex, and Punch – including Best Revival for All My Sons and Best New Play for Punch
• Jack Holden wins Best Actor for Kenrex, and Rosamund Pike wins Best Actress for Inter Alia
• Best Actor and Best Actress in a Supporting Role are awarded to Paapa Essiedu for All My Sons, and Julie Hesmondhalgh for Punch, respectively
• Ceremony highlights aired from 7pm on BBC Two, and are now available to watch on BBC iPlayer

OlivierAwards.com

The winners of the Olivier Awards 2026 with Cunard were revealed this evening at London’s Royal Albert Hall, in a ceremony hosted by Nick Mohammed. Marking their 50^th anniversary, the Olivier Awards celebrate the very best of London’s world-leading theatre industry. This year’s most awarded production was Paddington The Musical, with seven wins. Musicals Evita and Into The Woods, and plays All My Sons, Kenrex, and Punch, each received two awards. 

Paddington The Musical’s seven wins included the coveted Cunard Best New Musical award for writers Tom Fletcher & Jessica Swale. James Hameed & Arti Shah took home the Best Actor in a Musical award for their joint portrayal of the musical’s title character, whilst Victoria Hamilton-Barritt received the Best Actress in a Supporting Role in a Musical award, and Tom Edden the Best Actor in a Supporting Role in a Musical award. The show’s creatives triumphed, with Luke Sheppard receiving the Sir Peter Hall Award for Best Director, Tom Pye (Set Design) & Ash J Woodward (Video Design) taking home the award for Best Set Design supported by Blue-i Theatre Technology, and Gabriella Slade (Costume Design) & Tahra Zafar (Paddington Design) winning Best Costume Design, a second win in a row for Gabriella Slade, who won the same award for her work on Starlight Express last year.

Jamie Lloyd’s bold adaptation of Andrew Lloyd Webber and Tim Rice’s Evita received two awards: Rachel Zegler’s performance as Eva Peron – which made headlines last summer for its scene performed from the balcony of The London Palladium – earned her the Best Actress in a Musical award, whilst Fabian Aloise received the Gillian Lynne Award for Best Theatre Choreographer. Bridge Theatre’s take on Stephen Sondheim and James Lapine’s fairytale misadventure Into The Woods won Best Musical Revival supported by Piper-Heidsieck, and Aideen Malone (Lighting Design) & Roland Horvath (Video Design) received the award for Best Lighting Design.

Three plays – All My Sons, Kenrex, and Punch – received two awards each. All My Sons – a new production of Arthur Miller’s visionary first play – was awarded Best Revival, with Paapa Essiedu taking home the Best Actor in a Supporting Role award. Jack Holden received the highly competitive Best Actor award for his performance in Kenrex (following his UK Theatre Award win last year), whilst Giles Thomas won Best Sound Design supported by d&b audiotechnik for his work on the play, which transferred to London from Sheffield Theatres. Another successful out-of-London transfer and previous UK Theatre Award winner, James Graham’s Punch, which originated at Nottingham Playhouse, received the award for Best New Play supported by The Londoner, with Julie Hesmondhalgh receiving the award for Best Actress in a Supporting Role.

The coveted Best Actress award was won by Rosamund Pike, for her tour de force performance in Suzie Miller’s Inter Alia at the National Theatre, following the opening of the West End transfer earlier this week at Wyndham’s Theatre. Elsewhere, the Barbican Theatre’s Good Night, Oscar received the award for Outstanding Musical Contribution for Chris Fenwick (Musical Supervision & Arrangements) & Sean Hayes (Live Piano Performance of Gershwin’s Rhapsody in Blue).

Other new productions receiving accolades at the ceremony were Cole Escola’s Broadway hit Oh, Mary!, receiving the Noël Coward Award for Best New Entertainment or Comedy Play, Rose Theatre’s The Boy At The Back Of The Class, which received Best Family Show, and The Yard Theatre’s The Glass Menagerie, winning Best New Production in Affiliate Theatre.

Into The Hairy by Sharon Eyal for S-E-D at Sadler’s Wells won Best New Dance Production, and English National Opera’s Dead Man Walking won Best New Opera Production supported by TAIT, which were presented by this year’s Outstanding Contribution to Dance recipient Sir Wayne McGregor, and Outstanding Contribution to Opera recipient Danielle de Niese, who received their own awards at the Olivier Awards with Cunard Tea Party at The Londoner Hotel last month.

Special Award recipient Dame Elaine Paige was honoured at the ceremony with a special video tribute, before being presented with her statuette by Lord Andrew Lloyd Webber, who also read a celebratory message from Her Majesty The Queen. Industry Recognition Award recipients Betty Laine OBE, Linda Tolhurst and David Wood OBE also received a special acknowledgement during the ceremony, honouring their significant contributions to the theatre industry.

The star-studded ceremony included a special performance marking 40 years of Cameron Mackintosh’s production of Andrew Lloyd Webber’s Phantom Of The Opera, and a dazzling finale celebrating 20 years of Wicked in the West End. Additional performances throughout the evening included Cunard Best New Musical nominees Paddington The Musical, Shucked, and The Unlikely Pilgrimage Of Harold Fry, and Best Musical Revival nominees Evita, Into The Woods and The Producers.

Society of London Theatre (SOLT) & UK Theatre Co-CEOs Claire Walker and Hannah Essex said:

“This year’s Olivier Awards with Cunard were a showstopping celebration of the best of British theatre and we are thrilled to have been able to mark the awards’ 50^th anniversary in such style. Massive congratulation to all of our phenomenal winners and nominees. Their creativity and talent is the reason why the UK is the best place in the world to make and see theatre.”

This year, the Olivier Awards welcomed Cunard as Headline Partner, further strengthening Cunard’s long-standing connection with world-class theatre and commitment to supporting the arts, prevalent both on board their ships and ashore. Additionally, Cunard gives its name to the Cunard Best New Musical award.

Katie McAlister, President of Cunard, said: 

“Cunard’s connection to theatre, arts and culture has been part of our rich history for 185 years. It’s a privilege to be the headline partner of the Olivier Awards in its 50^th year as these awards truly celebrate the very best of British theatre and its global impact, from the talent on stage to the creativity behind the scenes.”

The Olivier Awards with Cunard are grateful to all of our award supporting partners: Blue-i Theatre Technology, Cunard, d&b audiotechnik, Piper-Heidsieck, TAIT and The Londoner. We also extend our thanks to our official car partner, Audi. In addition, we would like to recognise the support of Famille Perrin, Fortnum and Mason, Grass & Co., Island Chocolate, Mahou, Ovation Rights, See Tickets and The Observer.

For its 50^th year, the Olivier Awards was televised in a prime-time slot on BBC Two on Sunday 12 April is now available to watch on BBC iPlayer. The programme was produced by Penny Lane Entertainment in partnership with the Society of London Theatre. A special BBC Radio 2 show hosted by Jo Whiley, featuring performances from some of the night’s biggest shows and exclusive interviews with a dazzling line-up of stars, is available to listen to on BBC Sounds. Ex-UK viewers can tune into Official London Theatre’s YouTube channel to watch the highlights programme.

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Hull New Theatre – By Dawn Bennett

Introduction

Last night, I had the opportunity to visit the Spotlight Lounge at Hull City Hall, ahead of attending a show, on behalf of Fairy Powered Productions. This experience was a genuine treat, and I would like to share my impressions with you.

Location and Atmosphere

For those familiar with Hull City Hall, the Spotlight Lounge is positioned at the rear of the bar on the first floor. The room is exclusive and beautifully decorated, creating a luxurious and inviting atmosphere. Comfortable seating and subtle background music contribute to this sense of elegance, making it an ideal place to unwind before a performance.

VIP Service and Offerings

The Spotlight Lounge offers a VIP service, with drinks and snacks delivered directly to your table. The drinks menu is extensive, featuring an appealing selection of Mocktails. This attentive approach ensures guests can relax and enjoy their visit without interruption.

Staff and Experience

The experienced and friendly staff made us feel very welcome from the moment we arrived. Their warmth and professionalism added to the overall enjoyment of the evening, making the visit thoroughly pleasant.

Recommendation

If you are looking to enhance your evening at Hull City Hall, I highly recommend booking the Spotlight Lounge when you purchase your show tickets. It is a wonderful way to make your visit even more memorable.

Birmingham Hippodrome – until Sunday 12th April 2026

Reviewed by Nadia Dodd

4****

The Cottingley Fairies by Claire Packham and Fintan Kealy, and performed by the British Youth Music Theatre, is a charming and gently magical production that sparkles with imagination while never losing its emotional heart. Inspired by the real-life Cottingley fairy photographs, the show leans into the joy of make-believe, inviting the audience to see the world through a lens of curiosity, creativity, and just a touch of mischief.

From the very beginning, there’s a playful, storybook quality to the staging. Clever lighting and projections bring a sense of wonder to the Yorkshire setting, transforming the everyday into something quietly extraordinary. The transitions between reality and fantasy are handled with a light touch, giving the production an easy, flowing rhythm that keeps the audience engaged.

Fintan Kealy’s score adds to this sense of delight, offering a mix of upbeat, toe-tapping numbers and softer, more reflective moments. The music feels approachable and fun. It provides the perfect platform for the talented young musical theatre cast, who embrace every moment with enthusiasm and confidence.

That cast is very much the beating heart of the show. Their energy is infectious, and there’s a genuine sense of joy in their performances that lifts the entire production. Whether in lively ensemble numbers or quieter character moments, they bring warmth, humour, and a refreshing sincerity to the stage. The central performances capture a lovely balance of cheekiness and innocence, making it easy to believe in both the girls’ imaginative games and the emotional truths beneath them.

Claire Packham’s writing keeps things engaging without becoming overly serious, allowing the story’s more thoughtful ideas to emerge naturally. There’s a gentle humour running throughout, particularly in the way the adult characters react to the fairy phenomenon, which adds a welcome lightness and keeps the tone buoyant. The script understands that sometimes it’s more fun to wonder what if than to pin everything down with certainty.

The choreography follows suit, used sparingly but effectively to enhance the sense of play. Rather than over-defining the fairy world, it hints at it, encouraging the audience to join in the act of imagination. This restraint works beautifully, giving the show an airy, unforced charm.

In the end, The Cottingley Fairies is a thoroughly enjoyable piece of theatre that celebrates storytelling, creativity, and the simple pleasure of believing in something magical. With its talented young musical theatre cast leading the way, it leaves the audience smiling—and perhaps just a little more willing to keep an eye out for fairies.

YORK HALL – UNTIL 23rd APRIL 2026

REVIEWED BY JACKIE THORNTON

3***

Salome, Strauss’s most dangerous opera and one of his bloodiest, finds its origins in the Biblical tale which sees the head of John the Baptist served on a platter. The supposed prophet John the Baptist becomes Jochanaan in Strauss’s telling as we hone in on Princess Salome’s mental and emotional state, spiralling from intense passion into obsession as she demands to have Jochanaan as hers.

It’s not an opera for the faint-hearted as the princess, played zealously by Kirsty Taylor-Stokes with a touch of Hannibal Lecter, remains focused on her prize. Her full-bodied voice is enchanting and terrifying. Mark Ravenhill’s witty direction finds necessary humour both in Salome’s failed attempts to woo Freddie Tong’s defiant Jochanaan and in a cheeky dance routine for creepy stepfather Herod, played by tenor Robin Whitehouse.

However, this staging also intends to make a chilling point about the contemporary “emergence of new forms of misogyny, victim blaming and attempts to control women’s agency and sexuality” by gruesomely laying bare a deranged young woman with nowhere to channel her anger and desire.

Choreography from Aletta Collins shifts between provocative striptease and an awakening of personal lust leading to Salome writhing on the floor, watched lasciviously by the assembled men, and by us. It’s only her mother, Herodias, towering above us in scarlet, sparkling jewels and golden stilettos, who cannot look. Mae Heydorn’s elegant performance of Salome’s mother carries much insight into familial relationships.

Hannah Schmidt’s set and costume choices reflect a seedy, 1980s underground club picking up on York Hall’s fame as the home of British boxing. Though the innovative choice of venue did at times make it difficult to fully appreciate the power of the vocal performances and the nuances of the orchestra, it all felt highly accomplished and delivered by a slick company.

A provocative, charged and bloody spectacle.

NEW CASTING ANNOUNCED

OLIVIER AWARD NOMINEE

JAMIE MUSCATO AS EMCEE

TONY AND GRAMMY AWARD NOMINEE

JOY WOODS AS SALLY BOWLES

IN

THE MULTI AWARD-WINNING, CRITICALLY ACCLAIMED

WEST END PRODUCTION OF

CABARET

AT THE KIT KAT CLUB

FROM 25 MAY 2026

The producers of the multi award-winning, critically acclaimed West End production of CABARET at the KIT KAT CLUB are delighted to announce new casting.

From 25 May 2026, West End star and Olivier Award nominee Jamie Muscato (The Great Gatsby, Les Misérables) will play Emceeand Tony and Grammy Award nominated Broadway star Joy Woods (The Notebook, Gypsy) will play Sally Bowles.

They join Baker Mukasa as Clifford Bradshaw, Ruthie Henshall as Fraulein Schneider, Robert Hands as Herr Schultz, Lucas Koch as Ernst Ludwig and Jessica Kirton as Fraulein Kost/Fritzie, Joe Atkinson, Xavion Campbell-Brown, Olivia-Rose Deer, Anya Ferdinand, Danny Fogarty, Adrian Grove, Ela Lisondra, Hícaro Nicolai, Andy Rees, Alexandra Regan, Manu Sarswat, Tom Scanlon, Eva-Rose Tanaka, Marina Tavolieri and Lucy Young.

Jamie Muscato’s final performance will be Saturday 19 September 2026. Joy Woods final performance will be Saturday 5 September 2026. From 7 – 19 September 2026 the role of Sally Bowles will be played by Marina Tavolieri.

Jamie Muscato is currently playing the role of Dexter in the world premiere of One Day: The Musical at the Edinburgh Lyceum. His other theatre credits include Jay Gatsby in The Great Gatsby at the London Coliseum, Anatole in Natasha Pierre and The Great Comet of 1812 at the Donmar Warehouse, for which he was nominated for an Olivier Award for Best Actor in a Musical, Christian in Moulin Rouge! at the Piccadilly Theatre, Guy in Once at the London Palladium, Enjolras in Les Misérables The Staged Concert at the Sondheim Theatre, and JD in Heathers at the Theatre Royal Haymarket and The Other Palace, gaining a WhatsOnStage Award nomination. His many other credits include Story Edward in Big Fish at The Other Palace, Ben in Lazarus at the Kings Cross Theatre, Joe in Bend it Like Beckham at the Phoenix Theatre, Anthony in Sweeney Todd at the Welsh National Opera, Eddie in Dogfight at the Southwark Playhouse, The Light Princess at the National Theatre, Rock of Ages at the Shaftesbury Theatre, Love Story at the Duchess Theatre and Spring Awakening both at the Novello and Lyric Hammersmith.

Joy Woods’ theatre credits include her Tony and Grammy Award nominated role as Louise in Broadway’s revival of Gypsy opposite Audra McDonald, her breakout performance as Middle Allie in the Broadway adaptation of The Notebook, Audrey in the Off-Broadway revival of Little Shop of Horrors, and Catherine Parr in SIX on Broadway. She recently starred in London’s 30th Anniversary Concert of Jason Robert Brown’s Songs For A New World and will make her UK concert debut in Joy Woods – Live in Concert at Cadogan Hall in June this year.

The Prologue Company are Isobel Bates, Rachel Benson, Ami Benton, Jonathan Charles, Shanelle Clemenson, Andrew Linnie, Zara Liu, Dak Mashava, Brian James O’Sullivan, Jack William Parry and Shiho Yokoyama.

Jamie Muscato is not scheduled to perform on Friday 12 June at 7.30pm and Saturday 13 June at 2.00pm and 7.30pm. Joy Woods is not scheduled to perform on Friday 12 June at 7.30pm, Saturday 13 June at 2.00pm and 7.30pm, Monday 24 August at 7.30pm, Tuesday 25 August at 7.30pm and Wednesday 26 August at 2.00pm and 7.30pm.

At these performances, the role of Emcee will be played by Joe Atkinson and the role of Sally Bowles will be played by Marina Tavolieri.

CABARET is currently booking until Saturday 30 January 2027. The production has surpassed its 1,800^th performance, making it the longest running production of Cabaret in West End history. kitkat.club

This unique production of CABARET opened in December 2021 to critical and audience acclaim, widely praised as the ultimate theatrical experience. In April 2022 it won a record-breaking seven Olivier Awards. The production has also won three prestigious Critics Circle Awards as well as the Evening Standard Theatre Award for Best Design for designer Tom Scutt.

Transforming one of London’s most famous theatres with an in-the-round auditorium and reimagined spaces, before the show guests are invited to enjoy and explore the Kit Kat Club with pre-show entertainment, drinks and dining all on offer. When booking, guests receive a ‘club entry time’ to allow enough time to take in the world of the Kit Kat Club before the show starts. But of course, the show really starts when you first join us in the club…

One of the most successful musicals of all time CABARET features the songs Wilkommen, Don’t Tell Mama, Mein Herr, Maybe This Time, Money and the title number. It has music by John Kander, lyrics by Fred Ebb, book by Joe Masteroff. Based on the play by John Van Druten and stories by Christopher Isherwood.

CABARET is directed by Rebecca Frecknall, set and costume design is by Tom Scutt with choreography by Julia Cheng. Musical supervision is by Jennifer Whyte and musical direction is by Ben van Tienen with lighting design by Isabella Byrd, sound design by Nick Lidster, Wigs and Hair design by Sam Cox and Make-Up design by Guy Common. The casting director is Stuart Burt and the original associate director and prologue director is Jordan Fein. The prologue composer is Angus MacRae and the musical director is Ben Van Tienen.

CABARET at the KIT KAT CLUB is produced by ATG Productions and Underbelly.

ROB HOUCHEN AND JORDAN LUKE GAGE JOIN LINEUP ANNOUNCED FOR PHOENIX ARTS CLUB

WEST END GALA FUNDRAISER

Christina Bianco, Flo and Joan, Clinton Baptiste, Henry Calvert, Jeevan Braich, and more will also star in gala to safeguard one of London’s Last Independent Arts Venues

Monday 20 April 2026 – The Phoenix Theatre, London

Tickets can be purchased here

The Phoenix Arts Club C.I.C. has announced that renowned West End performers Rob Houchen (Titanique, Les Misérables, South Pacific) and Jordan Luke Gage (Titanique, Bonnie and Clyde, & Juliet) have joined the lineup for their major West End Gala Fundraiser on Monday 20 April 2026 at the Phoenix Theatre, bringing together an unprecedented line-up of cabaret and variety performers alongside West End guest stars and nationally recognised comedians.

Jordan Luke Gage will perform a sneak peek of his upcoming musical Redcliffe, which opens at Southwark Playhouse Borough in May.

Two-time Drama Desk nominee Christina Bianco, critically acclaimed musical comedy duo Flo & Joan, world-renowned Peter Kay’s Phoenix Nights psychic Clinton Baptiste, content creator and influencer Henry Calvert, and award-winning West End star Jeevan Braich are also among the artists to have donated their time and talent in support of this cause.

The event forms part of an urgent £100,000 fundraising campaign to secure the future of one of central London’s last remaining independent live performance venues.

100% of profits from the Gala will go directly to The Phoenix Arts Club Community Interest Company (12774130), ensuring that funds raised are reinvested into sustaining paid work for performers and preserving a vital cultural space in the West End.

The Gala will showcase the breadth of talent that regularly performs at the Club, including: established cabaret headliners, musical theatre performers from West End productions, variety artists and character comedians, national stand-up comedians, and live musicians and hosts from the Showtunes Singalong and cabaret circuit.

The evening will celebrate the diversity of programming at the Club — from musical theatre and piano-bar singalongs to contemporary cabaret, drag performance, character comedy and live variety.

From Olivier-nominated performers and Royal Variety stars to world-class circus artists, award-winning comedians and internationally celebrated burlesque talent, the lineup includes: Adam All, Ada Campe, Andromeda, Apple Derrieres, Bloody Bones, Cleopantha, Daniella D’Ville, Dave The Bear, Demi Noire, Fou Fou Kaboom, Jo Foley, Jools, Mat Ricardo, Meghan Reign, Michael Twaits, Rebecca Gilliland, Ryan Yeomans, Sarah Rose, Sebastian Angelique, Stephanie Ware, Thommy Girl, Tracey Collins and Vanity Von Glow.

Two of Phoenix Arts Club’s staple offerings will also appear in the gala: London’s longest-running musical theatre open mic night Gotta Sing! and the West End’s ultimate showtunes singalong Sing Out, Louise!

The Noël Coward Foundation also joins the lineup in support of the London institution’s future.

The evening’s band will be led by musical director James Doughty.

A VENUE AT THE HEART OF LONDON’S PERFORMANCE COMMUNITY

Founded in 1988, The Phoenix Arts Club has long served as a meeting place, rehearsal room, performance venue and creative refuge for theatre workers. Presenting more than 400 performances annually, the Club has provided a consistent platform for musical theatre artists, cabaret performers, comedians, live musicians and queer artists for nearly four decades  .

As central London continues to lose independent venues at an alarming rate, the Phoenix remains one of the few spaces where artists can secure regular, paid live performance work.

Recent closures across Soho and the West End have displaced musicians, hosts, variety acts and theatre performers. The Gala brings that community together — not only to perform, but to defend the infrastructure that allows their careers to exist.

WHY THIS MATTERS

Independent venues operate without public subsidy at a scale that matches their cultural impact. Rising rents, increased operating costs and a fragile night-time economy have placed enormous pressure on small arts organisations.

Without intervention, London risks becoming a city where only large commercial theatres and corporate-backed venues survive.

The Phoenix Arts Club C.I.C. operates as a Community Interest Company — meaning profits are reinvested into sustaining programming and supporting artists. The £100,000 target represents the minimum required to stabilise operations and protect ongoing employment opportunities for performers across 2026.

Colin Savage, Creative Director of The Phoenix Arts Club, said:

“This is not simply about saving a venue. It is about protecting paid work for artists. It is about defending independent creative spaces in central London.

When small venues disappear, entire creative ecosystems collapse with them. The Gala is our community standing up and saying this matters.”

EVENT DETAILS

West End Gala Fundraiser

Monday 20 April 2026

The Phoenix Theatre, London

All proceeds support The Phoenix Arts Club C.I.C. (12774130).

Further announcements regarding guest performers will be made in the coming weeks.

OVER 500 SCHOOLS FROM ACROSS THE UK TOOK PART IN

“I AM THE STARLIGHT”

A CELEBRATION OF YOUNG TALENT INSPIRED BY

ANDREW LLOYD WEBBER’S

STARLIGHT EXPRESS

AT TROUBADOR WEMBLEY PARK THEATRE

www.starlightexpresslondon.com

ONLY 3 WEEKS TO SEE STARLIGHT EXPRESS
WHICH MUST END ITS RECORD-BREAKING RUN
AT TROUBADOUR WEMBLEY PARK THEATRE
ON SUNDAY 3 MAY 2026

In celebration of the incredible creativity and musical talent of young people across the country, over 500 schools from across the UK took part in ‘I Am the Starlight’ – a nationwide schools competition inspired by the multi award-winning London production of Andrew Lloyd Webber’s STARLIGHT EXPRESS at Troubadour Wembley Park Theatre.

Launched to mark World Theatre Day, the initiative from LW Entertainment, Michael Harrison Entertainment and Lloyd Webber Harrison Musicals, with support from The School Trip, invited schools to perform, record and upload a section of the iconic song “Starlight Express” for the chance to perform live on stage at the spectacular Starlight Auditorium, Troubadour Wembley Park Theatre.

The competition saw an extraordinary response from schools across the country, with 500 primary and secondary schools taking up the opportunity to showcase their musicality, creativity, stage presence and joy of performance.

The winning schools that took centre stage and performed liveat the Troubadour Wembley Park Theatre to celebrate World Theatre Day were children from St Dominic Savio Catholic Primary School and Westholme School.

The entries were judged by an independent panel including members of the STARLIGHT EXPRESS company, Jade Marvin (who plays Momma) and Asher Forth (who plays Electra). They said: “The response to I Am the Starlight has been truly remarkable. The standard of entries, the passion, commitment and talent shown by students and teachers is incredibly moving. It’s a powerful reminder of just how important the arts are – giving young people a chance to express themselves, work together, build confidence and discover their creativity.  

Tom Sanderson, Director at The School Trip commented: Through our collaboration with Starlight Express on I am the Starlight, we’ve seen the incredible impact theatre and live experiences can have on students and teachers. By giving teachers creative opportunities to engage their students beyond the classroom, the competition has helped bring theatre and music classes to life in a way that is both inspiring and accessible. Teachers play a vital role in championing the arts, and initiatives like this support them in fostering confidence, creativity, and collaboration among their students – while strengthening the connection between schools and the transformative power of live theatre.”

Craig McLeish, Musical Director at Young Voices, added: What a wonderful initiative By Starlight Express to give so many children this opportunity, first to compete and then to perform on the West End stage. This will be a lasting and powerful memory for all the participants and hopefully a springboard to potential future careers in the music business! 

The initiative was also supported by LW Entertainment’s long-time printed music publishing partner, Hal Leonard. The official songbook for Starlight Express, published in August 2025, features all the classic songs as well as previously unpublished arrangements for “Hydrogen”, “I Do” and “I Am Me.”

Seen by over 30 million people across the world, STARLIGHT EXPRESS is a true theatrical event, fully immersing audiences of all ages inside a world of speed, song and storytelling, as the incredible cast of 40 whizz around and above, performing some of musical theatre’s most beloved songs, including AC/DC, Make Up My Heart, Light at the End of the Tunnel and the iconic Starlight Express.

As a child’s train set magically comes to life and the engines race to become the fastest in the world, Rusty the steam train has little hope of winning until he is inspired by the legend of the ‘Starlight Express’.

STARLIGHT EXPRESS made a triumphant return to London when the new production opened to widespread critical acclaim in June 2024. Since then, it has gone on to win multiple awards, including an Olivier Award and a record-breaking seven What’s on Stage Awards.

The London production must end its record-breaking run at Troubadour Wembley Park Theatre on Sunday 3 May 2026. Details of a forthcoming world tour will be announced soon.

starlightexpresslondon.com / @starlightexpressldn.

Royal & Derngate Theatre, Northampton – until 11th April 2026

Review by Amanda Allen

5*****

Whether or not you are a parent, you were once a child, and the memory of your own or other children’s parties will without doubt be burned into your brain. Watching the fabulous Party Season was a reminder of how traumatising those celebrations could be! This production by the Wardrobe Ensemble brought back so many memories of my own children’s parties in the 1990’s, thankfully before the advent of the WhatsApp group.

With the action unfolding over one weekend when three children all have birthday parties, we are introduced to a disparate group of parents whose only common link is that they have children the same age, go to the same school and live in the same area. With obviously different parental styles and being from different socio economic backgrounds there was plenty of scope for misunderstandings and differences of opinion.

The first character we meet is “The Entertainer.” The classic children’s party entertainer complete with frilly shirt and old jokes, tame magic tricks and a slightly funny voice, played brilliantly, if slightly cheesily, by James Newton, he opened the show in classic style getting the audience to join in, so we were immediately invested in the performance. Next, we meet Xander (Tom England) and his son Felix, also played by James Newton. Xander has been left in charge as his partner is away on business, as the weekend unfolds, we learn that Xander grew up in the area but moved away to go to university, only recently relocating back to his home town. Old friendships are rekindled and new friendships are explored with moments of great hilarity and candour.

Celia (Jesse Meadows) and David (Ben Vardy) play the “Posh” couple, their son Aonghus (Jacade Simpson) is the first party we go to. Super organised with a full, timed schedule it should all go to plan but with a stroppy spoilt birthday boy and a shy unhappy guest/Friend, life and parties are often far from perfect, however hard the organising parents try. The simple yet remarkably effective staging was used imaginatively to portray the different homes, with 5 doorways there was a lot of coming and going but the cast all held your attention enough in all the right places so that you always knew where you were supposed to be. The descriptions of the interiors helped to paint a clear picture of the type of parent and home you were seeing. By the time we got to Bea’s house for Mayas party we were getting to know the parents and children enough to think we could see where the story was going. The 3am drunken rant accidently left by Xander on the WhatsApp group rather than where it was intended, for his partner, must have resonated with quite a few in the audience! Followed by his losing or rather misplacing his son and the dawning of the fact that he was the son of the entertainer we witness Xander falling apart and finally realising who he is.

There were two quite different highlights in the performance for me, the first was the cast all hilariously dancing to Gang man style at the party disco, most of the audience were jigging about and laughing along at this. But my favourite bit was the monologue delivered by Simone (Kerry Loval) describing so many ways the animal kingdom reproduces finishing off with the fantastic description of a human having a baby, delivered straight faced and calmly into a mic at the front of the stage. As we had seen so little of her face which had previously been hidden by a curtain of hair and a newborn baby for most of her performance, this was even more noticeably emotive.

If you are a parent you cannot help but empathise with the goings on of the Party Season, Go and see this show you will laugh until you cry and then realise that you could be one of those parents, this could be about you! Just remember whatever you do, do not join the WhatsApp group!

Everyman Theatre, Cheltenham – until 11th April 2026

Reviewed by Jacqui Radford

5*****

If you’re after a night out that lifts the spirit from the very first note, Barnum absolutely delivers. Directed by Jonathan O’Boyle and choreographed by Oti Mabuse with music and lyrics written by Cy Coleman and Michael Stewart respectively, the show is brimming with talent and artistry. It’s more a circus performance show than it is a musical but that didn’t ruin the experience for me at all.

This production takes the story of P.T. Barnum and turns it into a full-on feel-good spectacle. The show follows the life of the legendary showman as he builds his circus empire, navigates the tension between truth and spectacle, and balances his boundless ambition. Meanwhile, his ever-patient wife, Charity, tries hard to keep his feet on the ground. It’s a story of dreaming big, falling down, and getting back up again with even more flair.

Lee Mead as Barnum brings energy and charm to the role with a cheeky grin that leaves you rooting for him throughout his wildly ambitious endeavours. The acrobatics are nothing short of awe-inspiring, transforming the stage into a mini circus. The ensemble delivers breathtaking aerial skills, daring balances and choreography that feels both effortless and electric.

The music in the show takes centre stage just as much as the acrobatics and vocals. The band appears on stage as part of the show, reinforcing the travelling circus vibe. It is bright and irresistibly toe-tapping, making it hard to decide whether to focus on the acrobatic displays or participate in the rhythm of the music.

The stage set deserves a shout-out too — it’s colourful, clever, and constantly shifting. Every corner of the stage feels alive, packed with little details that pull you deeper into Barnum’s world.

This Barnum is a joyous tonic — uplifting, colourful and full of heart. From start to finish, it celebrates imagination, courage, and the magic of showmanship.