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MICHAEL LONGHURST WILL DIRECT NEW VERSION OF

BOY GEORGE’S TABOO

ACCLAIMED DIRECTOR JOINS BOY GEORGE, BOOK WRITER JACK HOLDEN AND PRODUCER THOMAS HOPKINS, AS DEVELOPMENT CONTINUES ON A BOLD NEW VERSION OF THE CULT MUSICAL

An utterly FABULOUS new take on the original musical that sparked conversations everywhere!

Producer Thomas Hopkins is delighted to announce that Michael Longhurst – acclaimed Olivier nominated director of award-winning productions including Constellations, Next to Normal, Caroline, or Change, and former Artistic Director of the Donmar Warehouse – has joined the creative team for the new version of Boy George’s hit musical Taboo, that Thomas Hopkins Productions (THP) has had in development for the past few years. 

Longhurst recently joined Boy George, Olivier nominated writer and performer Jack Holden (who joined earlier this year to write the book), Associate Director Alessandra Davison, and producer Thomas Hopkins for a two weeklong research and development session housed in the Young Vic to explore the next stage of the show’s evolution. Newly released images from the R&D give a first look at the creative team collaborating on this exciting new chapter for Taboo.

This session follows a successful reading of the first draft in May, attended by a select group of Broadway and West End producers and venue representatives, which marked another major milestone in the show’s ongoing development.

Taboo is not just a musical; it’s a vibrant portrait of a brief yet unforgettable era—the dazzling 1980s London. These were years of glorious self-indulgence, set against the backdrop of mass unemployment and societal upheaval. The youth of the time rebelled, expressing themselves through audacious fashions and a decadent nightlife scene. They were the ‘New Romantics,’ spearheading a cultural movement that left an indelible mark on pop, fashion, and global culture.

Originally premiering in 2002, Taboo became a cult phenomenon, earning Olivier Award nominations and a devoted following on both sides of the Atlantic.

This new version, produced by Thomas Hopkins Productions With co-producers Cason Crane, Haffner Wright Theatricals & Solange Urdang, features a new book by Olivier-nominated writer and performer Jack Holden (Cruise, KENREX) and Boy George, based on the original book by Mark Davies Markham. Casting will be by Rob Kelly.

Thomas Hopkins said, “Having Michael join this creative journey with us is a thrill. His insight, artistry and theatrical flair brings further flair and dynamic energy to Taboo, as we continue to reimagine this extraordinary piece of theatre for a new generation. I am extremely grateful to Nadia and Sean at The Young Vic for their support on our ongoing journey of the show’s development”

Michael Longhurst said, “I’ve always loved Taboo for its wild, unapologetic heart, and for the way it celebrates the outsiders who changed culture forever. Collaborating with George, Jack and Thomas in the room has been joyous, and the story feels as urgent, defiant and full of life as ever..”

Boy George said, “Working with Michael Longhurst on this next chapter has been pure joy he brings such intelligence and heart to everything he touches. Jack and I have been digging deep to find the truth behind the make-up, not just the glitter, but the guts and seeing it take shape with Michael’s insight has been electric. It’s more than a show now; it’s a revelation.”

Further details on next steps for the show to be announced in due course.

53Two, Manchester – until 7 November 2025

Reviewed by Sal E Marino

4**** 

As the lights drop on Wightwater’s modest set — a small and tired radio-booth of peeling wallpaper and flickering equipment — Fran­kie Lipman establishes a haunting, claustrophobic tone. The premise is deceptively simple: Terie, a radio host whose career has long since departed the mainstream, now presents The Paranormal Show to an ever-thinning audience of late-night listeners. She spins haunted-house jingles, adverts for cereal, and ghost-sound effects into the static—but the twist is that something in the booth is listening back, and tonight it broadcasts.

The play explores weighty themes: shame, fear, the decay of voice and what happens when what you broadcast comes back to claim you. The setting of a radio studio, replete with static hiss and unseen callers, works as a metaphor for isolation: Terie is not just abandoned by the world, she’s abandoned by herself.

The writing has a sharp edge — wry humour mixed with genuine unease. Lipman suspends you in a world where the unseen is as present as the seen. At times, however, the dramatic arc feels compressed: some of the deeper revelations come too quickly to allow the audience full emotional digestion. The tension does build well, but its resolution arrives maybe a beat too soon.

There are creeping moments of genuine surprise: when the studio monitors crackle with voices that shouldn’t be there, or when Terie fears the unseen caller is in the room rather than on the line. These are handled with deft subtlety rather than jump-scare theatrics, which lends the show a sophistication that is rare in fringe work.

The atmosphere is one of slow unravelling. Lighting often holds on the booth in half-shadow, suggesting both confinement and exposure. The ambient soundscape is layered cleverly: you hear distant traffic, the hum of heating, the faint flicker of studio monitors—but always there is the possibility of something more sinister creeping beneath. This design serves the text well: the play is less about what happens and more about what could happen, the un-seen menace that lurks behind broadcast waves.

Wightwater  has a genuine sense of place, a voice you want to listen to, and moments of real chill. It’s a compelling and haunting piece worth seeing.

ALMEIDA THEATRE – UNTIL 29th NOVEMBER 2025

REVIEWED BY JACKIE THORNTON

4****

1980s Thatcher Britain is the backdrop for Jack Holden’s hugely entertaining and moving adaptation of Allan Hollinghursts 2004 Man Booker Prize-winning novel. With a nostalgic soundtrack featuring Frankie Goes To Hollywood and The Communards, we’re catapulted back into an upper-class world where image and money are everything.

It’s here Oxford graduate and Henry James scholar Nick Guest, born to a middle-class family, finds himself dazzled by beauty and opulence. With an uninhibited performance from new talent Jasper Talbot, Nick is an unabashed aesthete drawn to the curves of furniture, the majesty of architecture and, of course, the exquisiteness of the male form. Thanks to uni friend Toby Fedden (charmingly portrayed by Leo Suter), an Adonis blissfully unaware of his affect on him, Nick ends up lodging with the uber Conservative Feddens in West Kensington, and treated like one of their own by newly elected Tory MP Gerald Fedden (a wonderfully comic performance from Charles Edward) his wife Rachel (astutely depicted by Claudia Harrison) and their daughter Cat, whose Bipolar disorder is sensitively captured by Ellie Bamber.

It’s all champagne cocktails and summers in France until the consequences of unfettered hedonism come home to roost. Loosely disguised homophobia rears its ugly head when power and status are threatened and the jolly fascination with and worshipping of Thatcher suddenly feels deadly.

Christopher Oram’s set and costume design tastefully captures the 1980s with the frumpier outfits left to the women while the male fashion feels more timeless. Amongst Nick’s lovers is Leo Charles, a Black council worker with a hyper religious mother, adeptly played by Alistair Nwachukwu. His more humble presence provides contrast and allows Michael Grandage’s intelligent satire of the wealthy more weight. Nick’s meeting with Leo’s mother (Doreene Blackstock in fine form) and sister Rosemary (a highly perceptive performance from Francesca Amewudah-Rivers) is a standout scene, thoughtfully commenting on the roots of prejudice and seamlessly bringing together core themes of how art can transcend and divide classes.

The Line of Beauty also reflects on a terrifying time when HIV/AIDS killed so many gay men and a lack of understanding in society stoked homophobia. It’s delicately handled and a number of poignant moments hit home hard. All in all, a masterly balance of laugh-out-loud searing satire and bitter tragedy.

Royal Concert Hall, Nottingham – until Sunday 2nd November 2025

Reviewed by Chris Jarvis

5*****

“You just had to be there!”

No words can describe the performance I have just seen! Yet I can’t stop the words buzzing around my brain – mesmerising, exciting, exceptional, spectacular and totally brilliant! How could a performance with no words elicit such feelings, thoughts and emotions?

Onto the simple stage set appears Assissiai – a very sad-looking clown wearing a baggy bright yellow ‘onesie’ and huge red furry slippers plodding slowly along, pulling a rope to the tranquil sound of La Petite Fille de la Mer (Vangelis) stimulating the emotions from the outset.

It’s impossible to describe the theme or story. To describe it as a series of sketches, doesn’t express the immersive, extravagant, emotional experience given by these 7 clowns. I felt immediately drawn into their world of mime with every expression, movement, stance and sound sharing an emotion in such depth. There was humour from the outset with the ridiculous wide, wire brimmed hats worn by the other 6 clowns requiring them to tilt their heads when passing each other. Although impossible to pick the best bit, I absolutely loved Assissiai’s hilarious but moving relationship with an overcoat! Neither sound particularly funny as written – you just had to be there!

When asked to review Slava’s Snowshow I had absolutely no idea what to expect so I visited https://slavasnowshow.com/en/about-the-show :-

“Snowshow is a universal and timeless theatrical poetic spectacle which has unanimously enchanted and empowered the imagination of audiences and critics since 1993 in dozens of countries, hundreds of cities with multiple thousand performances resulting in millions of ecstatic spectators from all nationalities, genders, beliefs, types and ages, probably like no other show.

Russian performance artist, Slava Polunin created Assissiai in nearly 50 years ago. He became known for his iconic yellow suit and melancholic yet childlike demeanour and performed the many different character faces of Assissiai alone. Slava then had the idea that each facet of his persona could be a separate character and introduced a team of clowns, each a different size, shape and personality, but all dressed alike in ridiculous green costumes.

Tonight, the clowns were played by Artem Zhimo, Vanya Polunin, Francesco Bifano, Chris Lynam, Aelita West and Bradford West. At 75 Slava no longer performs though his son Vanya plays a clown – who knows which as they apparently swap characters. They were all amazing!

Assissiai is the central figure in Slava’s Snowshow and along with the 6 other clowns takes the audience on a whimsical and imaginative journey filled with quiet, pensive moments and joyous, snow-filled spectacles. Tragedy becomes comedy and sadness turns to joy in a magical way.

There were many children in the audience (age guidance 8+ though many were younger) who giggled, chuckled and laughed aloud at the silliness, while subdued “aaah’s” and silence accompanied the sorrowful times. Both adults and children get caught up in the irresistible spiral of silliness transporting adults back to their carefree childhood memories. There is no beginning or end. The transformation of the audience just happens where normally sensible people happily regress to the wonder and joy they felt as children.

I was immersed in the sound that seemed to surround the audience and totally enhanced the endless kaleidoscope of fun happening on stage. Music was perfectly chosen to intensify the emotion on stage using themes such as the powerful Chariots of Fire (Vangelis) and melodic Moonlight Sonata (Beethoven).

If you nip out for a drink or ice cream in the interval, hurry back as the clowns are keen to interact in their gentle, kind way! The performance culminates in the most exciting way I have ever experienced, so don’t leave early! It defies description, as does the whole show, and the spectacular ending would be spoilt by trying to describe it.

No-one wanted to leave – not even the clowns! I’m back tomorrow night with my granddaughter for another night of pure fun.

Alphabetti Theatre Newcastle – Thursday 30th October 2025

Reviewed by Sandra Little

4****

Grimm is a play set against the backdrop of the demise of the fishing industry in 1970s Grimsby as a result of the “cod war.” This was a long running and bitter dispute about fishing quotas and exclusions for British fishing boats around Icelandic waters. The play is set in the Ship Inn in Grimsby and begins with a rowdy party when several fishermen return home from a fishing trip to Iceland. The landlady Esther (played by Sophie Clay) presents as a very strong woman with a huge personality and has the job of maintaining some semblance of order in her pub. Esther is helped with the running of the pub by a young barmaid Ivy, played by Evangeline Henderson. Evangeline Henderson also wrote this play.

As the story unfolds we learn that Esther’s marriage to fisherman Paddy (Marc Graham) is not a very happy relationship, but in contrast our young barmaid Ivy adores her fisherman boyfriend Jim (Jake Cooke) and shares a love poem she has written about him. We learn that Ivy is offered a place at Manchester University to study English, however boyfriend Jim doesn’t have the same aspirations for Ivy and sees her as his stay at home wife, caring for their children while he is away at sea. This disagreement is further exacerbated when Ivy tries to persuade Jim to leave fishing and pursue his artistic talents.

As the story unfolds it becomes clear that Ivy is pregnant so her plans for university are shattered; meanwhile there are fights in the bar with an Icelandic fisherman Georg ( played by Adam Perrott) and a further fight erupts when Esther is accused of flirting with Roger (Chris Finn).

The final part of this story involves Esther trying (and failing) to persuade Ivy not to marry Jim. However a wedding at The Ship Inn is hastily arranged for Ivy and Jim but Esther does not attend.

Although there were some aspects of this play I did enjoy, it didn’t quite hit the spot for me. I found the exploration of the role of women in 1970s Grimsby interesting and references to the obstacles to broadening opportunities for working class men and women to improve life chances was fascinating. We had Ivy who didn’t go to university, Jim who didn’t develop his artistic talents because traditionally fishing was what he was expected to do and Alan (Adam Perrott) who didn’t take exams to allow him to be a skipper.

I would have preferred the devastating impact of the demise of the fishing industry in Grimsby to have been explored further and I felt that this was more a play about the role of working class women in 1970s Grimsby with the experiences of the fisherman as a backdrop to their story. Although the scenes involving drunkenness, fighting, shouting and swearing were probably a true reflection of 1970s Grimsby, I still think that there was too much emphasis on this and it tended to lose its effectiveness.

On a more positive note I did enjoy the backing tracks from the jukebox and the role that the women played in this story.

Crossroads Live and Warner Bros. Theatre Ventures Present

IT’S SHOWTIME, LONDON!

THE MOST ANTICIPATED BROADWAY MUSICAL TRANSFER IN YEARS GOES ON GENERAL SALE TODAY AT 10 AM

GALA NIGHT THURSDAY 28^th MAY 2026

POSSESS A TICKET AT WWW.BEETLEJUICEMUSICAL.CO.UK

(London, October 30, 2025) Trick or treat, London! After casting its spell on Broadway audiences, the hit production, Beetlejuice The Musical is ready to haunt the West End. Beetlejuice crosses the pond next year, where it makes its West End debut at London’s Prince Edward Theatre, a Delfont Mackintosh Theatre, playing a strictly limited run from Wednesday 20 May, 2026 – Saturday 17 April, 2027.

Produced in the UK by Crossroads Live and Warner Bros. Theatre Ventures, don’t miss your chance to hang out with the baddest bio-exorcist in town. Tickets go on general sale today at 10am at www.beetlejuicemusical.co.uk. Grab them before they vanish into the Netherworld…

Gala night is Thursday 28^th May 2026.

Based on Tim Burton’s beloved movie classic, this wildly funny – and weirdly life-affirming – musical tells the tale of Lydia Deetz, a strange and unusual teenager sharing her home with a pair of newly-deads and the demonic ghost-with-the-most,  Beetlejuice. He’s dead trouble, but if you really want to feel alive, just say his name three times…

With a gleefully irreverent book, head-spinning set design and a score that’s out of this Netherworld, Beetlejuice is a ‘feast for the eyes and soul’ (Entertainment Weekly). Outrageous, but with a big (cold) heart, this is ‘screamingly good fun!’ (Variety) that’ll make you want to live – and make the most of every Day-O!

The London production resurrects its otherworldly Broadway creative team, featuring a Book by Scott Brown and Anthony King withMusic and Lyrics by Eddie Perfect and will be directed by Tony Award winner Alex Timbers (Moulin Rouge! The Musical).

The London production brings together Beetlejuice: The Musical’s celebrated Broadway team: Book by Tony Award nominee Scott Brown (Castle Rock) & Tony and Emmy Award-nominee Anthony King (Broad City), an original score (Music and Lyrics) by Tony Award-nomineeEddie Perfect (King Kong), Tony Award-winning Director, Alex Timbers (Moulin Rouge! The Musical), Choreography by Connor Gallagher (The Robber Bridegroom), Music Supervision, Orchestrations and Incidental Music by Kris Kukul (Joan of Arc: Into the Fire) with Additional Arrangements by Kris Kukul and Eddie Perfect.

Beetlejuice: The Musical features Scenic Design by four-time Tony Award nominee David Korins (Hamilton), Costume Design by six time Tony Award winner William Ivey Long (The Producers), Lighting Design by Tony Award winner Kenneth Posner (Kinky  Boots), Sound Design by Tony Award winner Peter Hylenski (Moulin Rouge!), Projection Design by five-time Tony Award-nominee Peter Nigrini(Dear Evan Hansen), Puppet Design by Drama Desk Award winner Michael Curry (The Lion King), Special Effects Design by Jeremy Chernick (Harry Potter and the Cursed Child), Illusions by Michael Weber (Forrest Gump), Hair & Wig Design by Drama Desk Award nominee Charles G. LaPointe, Make-Up Design by Joe Dulude II, Dance Arrangements by David Dabbon, Music Producer, Matt Stine, Casting by Harry Blumenau CDG CSA, UK General Management, Crossroads Live UK and US General Management by Bespoke Theatricals.

Full casting for the hellishly hilarious London production is to be announced.

Beetlejuice: The Musical is based on the 1988 Academy Award-winning cult Geffen Company motion picture presented by Warner Bros., Beetlejuice, with Story by Michael McDowell and Larry Wilson. The hit comedy was directed by Tim Burton and starred Michael Keaton, Alec Baldwin, Geena Davis, Jeffrey Jones, Catherine O’Hara, and Winona Ryder.

Beetlejuice: The Musical opened on Broadway at the Winter Garden Theatre in 2019 and again at the Marquis Theatre in 2022 – following the COVID-19 shutdown – playing 679 combined performances. The first national US tour just concluded an 88-city tour with a final Broadway resurrection currently taking place at the Palace Theatre, where it is playing 41 performances from Wednesday, 8 October.  Beetlejuice: The Musical has played internationally in Tokyo, Seoul and Melbourne and is set to open in Abu Dhabi this November.

Beetlejuice: The Musicalis produced in the UK by Crossroads Live and Warner Bros. Theatre Ventures.

BUZZ STUDIOS ANNOUNCES INAUGURAL PRODUCTION

PETTY MEN AT ARCOLA THEATRE

CREATED BY ADAM GOODBODY, JOHN CHISHAM AND JÚLIA LEVAI IN A REIMAGINING OF JULIUS CAESAR AFTER WILLIAM SHAKESPEARE

Buzz Studios, a new production company founded by Adam Goodbody, today announces its inaugural production, Petty Mencreated by Goodbody, John Chisham and Júlia Levai. A new play after Shakespeare’s Julius Caesar, the production opens at Arcola Theatre’s Studio 2 on 24 November, with previews from 19 November, and runs until 20 December. Levai directs Goodbody and Chisham in the two-hander, in the roles of Understudy Cassius and Understudy Brutus respectively.

The production company is named in honour of Buzz Goodbody, Royal Shakespeare Company’s first female director who was integral in establishing The Other Place, and a passionate campaigner for affordable theatre and accessibility in the arts. This year marks the 50th anniversary of her passing, and Buzz Studios has been created to continue her legacy of fearless, socially engaged theatre.

Adam Goodbody said today, “Buzz Studios is about keeping my aunt’s legacy alive — her belief that theatre should challenge, provoke, and belong to everyone. Petty Men feels like the perfect first step in celebrating her radical spirit and bringing her ideals to a new generation.”

On 26 November, a special Gala Evening, A Celebration of Buzz, will follow the performance, featuring a post-show panel event hosted by Professor Emma Smith (Shakespearean Studies at Hertford College, Oxford) exploring the life and impact of Buzz Goodbody. Panellists will include Tamara Harvey (Co-Artistic Director, RSC) and Trevor Nunn (Artistic Director, RSC – 1968-1986).

Buzz Studios presents,
PETTY MEN

Created by John Chisham, Júlia Levai and Adam Goodbody

after William Shakespeare’s Julius Caesar

Cast: John Chisham and Adam Goodbody

Direction by Júlia Levai;Set and Costume Design: Tomás Palmer; Lighting Design: Lucía Sánchez Roldán; Sound Design: Tingying Dong; Caption Design: Perri Schofield; Dramaturgy: Sofia Gallucci; Access Support: Megan Ekinsmyth; Creative Consultancy: Pinny Grylls; Technical Stage Management: Emily Darley

Produced by Tom Dixon (Buzz Studios)

19 November – 20 December

“Petty. Adjective. Of little importance.”

Petty Men is a radical reworking of Shakespeare’s Julius Caesar. Set in a dressing room, two understudies attempt to out-perform the show relay. But their unfolding production brings their friendship to a crisis point. As worlds collide and reality warps, can they hold on to themselves?

How far would you go to achieve your ambitions?

A thrilling and ambitious take on Julius Caesar that actively engages and wrestles with the themes of Shakespeare’s text to resonate with our now.

PETTY MEN is integrating creative captioning at the heart of its production – every performance will be captioned.

John Chisham plays Understudy Brutus. His theatre credits include Eelmageddon (Edinburgh Fringe Festival, Bedlam Theatre), John & Christian: Teenage Heartthrobs (Camden Fringe Festival), John & Christian: Battle Counters! (Edinburgh Fringe Festival, The Hope Theatre, Camden Fringe Festival), PT Goodbod (King’s Head Theatre, VAULT Festival, The Canvas Cafe), 2019 Me (Golden Goose Theatre); and for film, The Regulars.

Adam Goodbody plays Understudy Cassius. Adam is an actor and producer based in London. He has recently performed at the Globe, Lyric Hammersmith and the Edinburgh Fringe Festival. He just wrapped a lead role in Love is Blind for ZDF Studios. His producing work has included full-length runs at Theatre503, Oxford Fire Station and Theatre by the Lake.

Júlia Levai directs. Her directing credits include Radiant Boy, Smoke (Southwark Playhouse), We’ll Be Who We Are (VAULT Festival), Northern Girls (Pilot Theatre),Did I Wake You? (Young Vic as part of ‘Five Plays’), The Prince of Homburg (The Space) and There Has Possibly Been an Incident (Blue Elephant Theatre). Her assistant and associate directing credits includeThe Land of The Living, Coriolanus, Dear Octopus (National Theatre), Hope Has a Happy Meal (Royal Court Theatre), All’s Well That Ends Well (RSC), L’Illusion Comique (National Theatre in Belgrade, Serbia) and Nora: A Doll’s House (Young Vic). Levai is an MGCfutures bursary recipient and was previously Director in Residence at the National Theatre in Belgrade, Serbia.

Tom Dixon produces. Recent producing credits include: The Tempest (The HandleBards, Shakespeare North Playhouse) Death and the King’s Horseman (Utopia Theatre, Sheffield Theatres), In Other Words (TBC Productions, UK tour), The People’s Palace of Possibility (The Bare Project, UK tour), and Anna Hibiscus’ Song (Utopia Theatre & Sheffield Theatres, UK tour).

PETTY MEN

LISTINGS
Arcola Theatre

27 Arcola Street, London, E8 2DJ

Box Office: 020 7503 1646

19 November – 20 December

All performances will be captioned.

TICKETS – £15 – £37

NEW DATES ADDED TO THE 2026 UK TOUR OF

THE BOY AT THE BACK OF THE CLASS

INCLUDING SOUTHAMPTON, EDINBURGH, BRISTOL &

THE SOUTHBANK CENTRE’S QUEEN ELIZABETH HALL

Children’s Theatre Partnership and Rose Theatre are delighted to announce new dates as part of the 2026 UK Tour of The Boy at the Back of the Class.  The tour will now also play at Southampton’s Mayflower Studios, Edinburgh’s Festival Theatre, Eastbourne’s Devonshire Park Theatre, Bristol Old Vic and the Southbank Centre’s Queen Elizabeth Hall in London.  Nick Ahad’s critically and publicly acclaimed adaptation of Onjali Q. Raúf’s award-winning and best-selling novel is a celebration of friendship, kindness and compassion and will once again be directed by The Stage Debut Award-winner, Monique Touko.  Following a two-week run at Rose Theatre, from 6-22 February 2026, the tour will run through to 23 May 2026. 

There used to be an empty chair at the back of the class, but now a new boy called Ahmet is sitting in it. He’s nine years old (just like me), but he’s very strange. He never talks and never smiles and doesn’t like sweets – not even lemon sherbets, which are my favourite!

After learning that he has fled his own war-torn country, Ahmet’s classmates have ‘The Greatest Idea in the World’ – a magnificent plan to reunite Ahmet with his family. An unexpected and often hilarious adventure follows, all topped off with a terrific twist.

Told from a child’s perspective, balancing heart and humour, The Boy at the Back of the Class highlights the power of friendship and kindness in a world that doesn’t always make sense and reminds us that everyone needs a place to call home.

The cast is to be announced.

The creative team includes Monique Touko (Director), Amy Crighton (Co-Revival Director), Lily Arnold (Set & Costume Designer), Ryan Day (Lighting Designer), Giles Thomas (Composer & Sound Designer), Kloé Dean (Movement Director) and Sophie Parrott CDG (Casting Director).

Winner of the Blue Peter Book Award 2019

Winner of the Waterstones Children’s Book Prize 2019

Age Guidance: 7+

theboyatthebackoftheclass.co.uk

Instagram and Facebook: @BoyAtBackPlay

TOUR SCHEDULE

6-22 February                      Rose Theatre, Kingston                                                                  020 8174 0090
                                                www.rosetheatre.org

25-28 February                    Belgrade Theatre, Coventry                                                          024 7655 3055

                                                belgrade.co.uk                                                                                  

10-14 March                         Mayflower Studios, Southampton                                              02380 711811

                                                www.mayflower.org.uk

19-21 March                         Festival Theatre, Edinburgh                                                         0131 529 6000

                                                www.capitaltheatres.com

24-28 March                         Eastbourne Devonshire Park Theatre                                        01323 412000

                                                www.eastbournetheatres.co.uk                                                 on sale 31 October

31 March – 4 April               Bristol Old Vic                                                                                 0117 987 7877

                                                bristololdvic.org.uk                                                                          

7-12 April                              Queen Elizabeth Hall, London                                                     020 3879 9555

                                                southbankcentre.co.uk                                                                on sale 31 October

15-18 April                            Lowry, Salford                                                                                0161 876 2000

                                                www.thelowry.com                                                                        

28 April – 2 May                  Hall for Cornwall, Truro                                                                01872 262 466

                                                www.hallforcornwall.co.uk                                                          

5-9 May                                 Blackpool Grand Theatre                                                             01253 290190

                                                blackpoolgrand.co.uk                                                                     

12-16 May                             New Theatre, Cardiff                                                                    0343 310 0041

                                                newtheatrecardiff.co.uk                                                               

19-23 May                            Alhambra Theatre, Bradford                                                        01274 432000

                                               bradford-theatres.co.uk                                                               

DANIEL BROCKLEBANK

TO STAR IN

YOUNG FRANKENSTEIN THE MUSICAL

LIVERPOOL PLAYHOUSE TRANSFER

FOR LIMITED 5 WEEK RUN

3 DECEMBER 2025 – 3 JANUARY 2026

Hope Mill Theatre are delighted to announce that Coronation Street’s Daniel Brocklebank will be taking over the role of Dr Frederick Frankenstein in their production of Mel Brooks’ YOUNG FRANKENSTEIN THE MUSICAL when it transfers to Liverpool Playhouse for a limited 5-week run over the Christmas season. Performances start on 3 December 2025 running through to 3 January 2026.

YOUNG FRANKENSTEIN is currently having its regional premiere at Hope Mill Theatre in Manchester starring Ore Oduba in the lead role. The show continues its run there until 30 November 2025.

Also joining the cast with Daniel will be Amelia Adams (Grace Farrell in Annie, UK Tour; Mary Delgado in Jersey Boys, UK Tour & West End) as Elizabeth Benning alongside current cast members Jessica Martin as Frau Blücher, Pete Gallagher as The Monster, Curtis Patrick as Igor, Simeon Truby as Inspector Hans Kemp/Harold the Hermit and Julie Yammanee as Inga. The cast is completed by Belle Kizzy Green, Robin Kent, Bryan Mottram, Alanna Panditaratne, Nathan Ryles, Hakeem Tinubu, Patricia Wilkins and Jessica Wright.

Daniel Brocklebank is an award-winning actor best known for his portrayal of Billy Mayhew in Coronation Street. In 1999 Daniel won a Screen Actors Guild Award for his performance in the multi award-winning Shakespeare In Love (Miramax) and in 2010 he won a Best Actor Award at LesGaiCineMad International Film Festival for his role in British indie film Release (FAQs Ltd).

On screen, Daniel has played much loved character Billy Mayhew in Coronation Street since 2014. He played Ivan Jones in ITV’s Emmerdale between 2005 – 2006, and Carl Saunders in seasons 2-3 of BBC’s WPC 56. Other credits include Finding Joy (Acorn TV); Midsomer Murders, Chasing Shadows, The Bill, Emmerdale, Oliver Twist (ITV); Born and Bred, Down To Earth, Doctors, Ed Stone Is Dead, Captain Lamar and Casualty (BBC); Fair City (RTE). He was also crowned winner of ITV’s All Star Musicals in 2019.

On film, Daniel’s work includes The Hole starring opposite Keira Knightley and Thora Birch; The Hours opposite Meryl Streep; Another Life, Merlin, The Devil’s Arithmetic and The Criminal with Eddie Izzard. Further credits include Admiral; Soft Lad; Native; The Vintage; Cal; Age of Heroes, and Little Deaths/Mutant Tool. Daniel’s theatre credits include numerous productions for the Royal Shakespeare Company including Silvius in As You Like It; Chiron in Titus Andronicus; and Ralph in Lord of the Flies. Further theatre includes The Hallowe’en Sessions (Leicester Square Theatre); The Importance of Being Earnest (Rose Theatre Kingston); A Dolls House (The Lowry); His Dark Materials (Birmingham Rep / West Yorkshire Playhouse); John Rutherford in Rutherford and Son (Manchester Royal Exchange); John Honyman in Cressida (Almeida Theatre).

Adapted by Mel Brooks from his legendary 1974 film starring Gene Wilder, YOUNG FRANKENSTEIN tells the story of the grandson of the infamous Victor Frankenstein, Frederick Frankenstein (pronounced “Fronk-en-steen”) who inherits his family’s estate in Transylvania. With the help of a hunchbacked sidekick, Igor (pronounced “Eye-gore”), and a leggy lab assistant, Inga (pronounced normally), Frederick finds himself in the mad scientist shoes of his ancestors. “It’s alive!” he exclaims as he brings to life a creature to rival his grandfather’s. Eventually, of course, the monster escapes and hilarity continuously abounds.

YOUNG FRANKENSTEIN marks the 10th Anniversary year of Hope Mill Theatre, which opened its doors in October 2015. Founded by Joseph Houston and William Whelton the Award-Winning venue has gained a reputation Nationally and Internationally for its in-house musical productions.

Every bit as relevant to audience members who will remember the original as it will be to newcomers, YOUNG FRANKENSTEIN has all the panache of the screen sensation with a little extra theatrical flair added. It will surely be the perfect opportunity for a production company to showcase an array of talents. With such memorable tunes as The Transylvania Mania, He Vas My Boyfriend and Puttin’ on the Ritz by Irving Berlin, YOUNG FRANKENSTEIN is scientifically proven, monstrously good entertainment.

Mel Brooks’ YOUNG FRANKENSTEIN has a book by Mel Brooks and Thomas Meehan, with music and lyrics by Mel Brooks, orchestrations by Doug Besterman & Mark Cumberland and original direction and choreography by Susan Stroman. This production will have direction and choreography by Nick Winston, musical direction and co-musical supervision by Francesca Warren, set design by Sophia Pardon, orchestration and co-musical supervision by Charlie Ingles, sound design by Ben Harrison, lighting design by Aaron J Dootson, video and projection design by Matt Powell, costume design by Lorraine Parry, wigs and make-up design by Jackie Sweeney, prosthetics design by Noah Ehrhardt, associate choreography by Lauren Kate Hampton and casting by Jim Arnold CDG.

Website: everymanplayhouse.com/event/young-frankenstein

Facebook: @HopeMillTheatre

X: @hopemilltheatre

Instagram: @hopemilltheatre

LISTING INFORMATION

3 December 2025 – 3 January 2026

Liverpool Playhouse

Williamson Square,

Liverpool

L1 1EL

Performances: Tuesday to Saturday – 7.30pm / Thursdays & Saturdays 2pm

No performances on 24, 25 & 26 December and 1 January.

Tickets from: £22

Box Office: 0151 709 4776

Thomas Hopkins
& The Hope Mill Theatre
PRESENT

LITTLE SHOP OF HORRORS
  Music by                       Book and Lyrics by
ALAN MENKEN                  HOWARD ASHMAN

MAJOR NEW PRODUCTION, DIRECTED AND CHOREOGRAPHED BY TONY AND OLIVIER AWARD NOMINATED
CARRIE-ANNE INGROUILLE

TO PLAY AN EXTENDED CHRISTMAS SIT DOWN SEASON AT THE LIVERPOOL PLAYHOUSE NEXT YEAR
THURSDAY 3 DECEMBER 2026 – SATURDAY 9 JANUARY 2027
TICKETS ARE ON SALE NOW
Little Shop the Musical

Following its major revival at Manchester’s Hope Mill Theatre next autumn, the cult musical comedy LITTLE SHOP OF HORRORS will transfer to the Liverpool Playhouse for a special Christmas season from 3 December 2026 to 9 January 2027 with a Press Night on Friday 4 December 2026. Tickets are on sale now via Little Shop the Musical.

This run in Manchester – from Friday 25 September to Sunday 29 November 2026 – plus Liverpool will be the longest sit-down production to play in the UK since the 2007 West End production

Directed and choreographed by Tony and Olivier Award-nominated Carrie-Anne Ingrouille, this brand-new production will bring Alan Menken and Howard Ashman’s beloved musical to life, with its killer tunes, outrageous comedy, and one very hungry plant!

Joining Carrie-Anne on the creative team is the award-winning set and costume designer Morgan Large (Sister Act, This Bitter Earth, Newsies); musical supervisor and arranger Paul Schofield (Hair, BatBoy ) lighting designer Rory Beaton (Burlesque The Musical, Jesus Christ Superstar, For Black Boys…), sound designer Kelsh Buckman-Drage (associate on Evita, Hamilton, Mamma Mia!), and casting director Rob Kelly (Hadestown, This Bitter Earth, Geek Girl). Further creative team and casting will be announced next year.

Nathan Powell, Creative Director of Liverpool Everyman and Playhouse said “We’re really looking forward to welcoming this cult classic musical to the Playhouse next Christmas. Little Shop of Horrors is wonderfully odd, full of cracking tunes, and offers a brilliantly different take on festive entertainment. After bringing The Rocky Horror Show to the Playhouse in 2024 and preparing to present Young Frankenstein this Christmas, Little Shop of Horrors will be another chance to enjoy a gloriously offbeat holiday season with plenty of laughs and, yes, a rather hungry plant.”

Thomas Hopkins said, “I am truly honored to be entrusted with the opportunity to produce the first major sit-down production, not in one city but two, of Little Shop of Horrors since its celebrated West End run in 2007. With Carrie-Anne and such an exceptional creative team, it’s a dream collaboration. When the team at the Liverpool Playhouse invited us to follow our already announced ten-week run at Hope Mill, we couldn’t be more grateful. This production promises to be one of the most exciting and faithful interpretations of Little Shop of Horrors the UK has seen in many, many years.”

Little Shop of Horrors has music by Alan Menken, book and lyrics by Howard Ashman.

Presented by arrangement with Music Theatre International mtishows.co.uk