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FULL CAST ANNOUNCED FOR

ROAM
A NEW MUSICAL

CONCERT PRODUCTION AT THE

SHAFTESBURY THEATRE

ON SUNDAY 23 NOVEMBER 2025

The producers of ROAM, a new musical, are delighted to announce the full cast. Directed by Rupert Hands (Dirty Rotten Scoundrels; Evita, London Palladium) with choreography by Olivier Award winner James Cousins (Guys and Dolls; A Midsummer Night’s Dream, Bridge Theatre), ROAM will have a special one-night only concert production at the Shaftesbury Theatre on Sunday 23 November 2025.

Featuring a high-voltage rock-pop-Romani fusion score, ROAM featuresmusic and lyrics by Alexander Sage Oyen with a book by Michael Dovid and is based on his original concept.

Joining the company for the concert will be Angela Caesar (Caroline, or Change) as Sabria, Jonathan Charles (The Curious Case of Benjamin Button) as Chor, Fred Double (Aladdin) as Taren, Emma Farnell-Watson (Ammonia) as Mom, Alex Given (Book of  Mormon) as Tshiri, Ali Goldsmith (As Long As The Stars Last) as Zelvain, Indiana Hawkes (Sing Street) as Ori, Michael Lin (Evita) as Zyava, Emma Lloyd (Sunset Blvd.) as Khelia, Shayna McPherson (Sunset Blvd.) as Tarpineand Adam Strong (Rocky Horror Picture Show) as Bichot & Staro Phuro.

They join the previously announced Tony and Olivier Award nominee Ramin Karimloo (A Face in the Crowd, Young Vic; Funny Girl, Broadway) as Yoska, Jordan Luke Gage (&Juliet; Bonnie & Clyde, West End) as Stefo, Frances Mayli McCann (The Great Gatsby; Bonnie & Clyde, West End) as Aishe, Diego Rodriguez (Evita, West End; Sunset Blvd., Broadway) as Pesha, Melanie La Barrie (Hadestown; &Juliet, West End) as Vodoma and Hope Lavelle (The Phantom of the Opera, international tour) as Nanoka with Olivier Award winner David Thaxton (Sunset Blvd., West End & Broadway; Come From Away, West End) as Philippe.

Ramin Karimloo says: “Roam brings us closer to each other by speaking to what binds us together as opposed to what sets us apart. Roam boldly examines how far we’ll go to hold on to love, culture and family in the face of existential danger”.

When a nomadic clan’s caravan breaks down in hostile territory on the way to a sacred festival, they are forced to stop and confront the ghosts of their past. At the centre stands Yoska, a father tormented by loss and regret, whose unexpected return throws his sons Stefo and Pesha into a storm of loyalty, rivalry, and long-buried grief.

As tensions ignite, romances spark, and old wounds resurface, the family must decide: will they succumb to old fear and hate or pursue a future worth fighting for?

With propulsive rhythms, fiery humour, and moments of raw vulnerability, ROAM is both an intimate and epic universal tale of survival, identity, and the courage to dream of a better tomorrow.

Writers’ note: “ROAM is a universal story that reflects our past, present, and future through the lens of a dynamic family within a resilient marginalized community,” says Dovid. “To share a journey that explores what it takes to confront hate, kindle light, and pass the torch forward feels more urgent, resonant, and essential than ever.”

ROAM was previously workshopped with Romani theatre company Giuvlipen and the National University of Theatre and Film in Bucharest and had a private industry presentation in New York City earlier this year. Additional book material is by Romana Isabella and Cultural Consultation is by Hope Lavelle.

Musical Supervision and Orchestrations are by Lloyd Kikoler; Nick Barstow will act as Musical Director; Vocal Arrangements by Cynthia Meng; Arrangements by Oyen and Kikoler.

Set & Costume Design by Soutra Gilmour; Lighting Design by Peter Small; Sound Design by Sound Quiet Time; Casting by Nick Hockaday.

ROAM is produced by Bandits Roost Entertainment, Ramin Karimloo, Mercy Productions, Wojita Productions, and AnnJen Productions.

Website: RoamMusical.com

Instagram: @roam.musical

LISTINGS INFORMATION

ROAM

Sunday 23 November, 6pm

Shaftesbury Theatre

210 Shaftesbury Ave,

London

WC2H 8DP

Box office: 020 7379 5399

Tickets from: £20

Thomas Hopkins
Craig Haffner & Sherry Wright, SAMS Entertainment
 are proud to announce

EastEnders’ Matthew James Morrison
will join Wendi Peters
in the 20th anniversary UK tour
of the hit West End comedy
Glorious!

Full casting and additional tour dates announced

Matthew James Morrison direct from EastEnders, after more than three years playing Felix Baker and his alter ego “Tara Misu” – the first drag queen to appear as a regular character in a British soap opera – is today announced as joining Wendi Peters in the 20th anniversary UK tour of the critically acclaimed West End hit comedy, Glorious! as Cosme McMoon.

Glorious! is the true story of American socialite Florence Foster Jenkins (Peters), dubbed ‘the worst singer in the world’, who staged and starred in classical recitals in major venues including Carnegie Hall.

Mocked, for her flamboyant performance costumes and poor off key singing, she nonetheless became a cult-figure in New York City during the 1920s, 1930s, and 1940s and celebrated composer and songwriter Cole Porter and classical conductor Sir Thomas Beecham were among her dearest celebrity fans.

Glorious! follows Florence’s journey as she prepares for her biggest ever sold-out recital at New York’s prestigious Carnegie Hall, building an unlikely friendship with her accompanist, Cosme McMoon, and defying her army of critics to follow her dreams.

The Olivier nominated comedy is by Peter Quilter, whose Olivier and Tony-nominated West End and Broadway play End of the Rainbow became the hit movie, Judy, starring  Renée Zellweger –  her performance as Judy Garland winning her the Academy Award for Best Actress, as well as the Golden Globe Award, SAG Award, BAFTA Award and Critics’ Choice Movie Award.

Stage and screen star Wendi Peters is best known for her long-running role as Cilla Battersby in the hit ITV soap Coronation Street and most recently was a regular on the BBC show Doctors as Nina Bulsara. Her many other TV credits include Midsomer Murders, Hetty Feather, Hacker Time and Sadie J. Wendi has also competed on various shows including Soapstar Superstar, Celebrity Mastermind, Celebrity Masterchef and Celebrity Sewing Bee for Children in Need, which she won. Wendi was most recently seen as Mother Superior in the UK Tour of Sister Act. Her other theatre credits include: The Legend of Sleepy Hollow (UK Tour), You Are Here (Southwark Playhouse), BIG The Musical (West End), The Game (Northern Broadsides) and White Christmas (West End, Festival Theatre, Edinburgh, The Lowry, Salford).

The cast also features West End leading ladies, Caroline Gruber (Leopoldstadt and Agatha Christie’s Witness for the Prosecution, London County Hall, 2000 Years – National Theatre) as Florence’s long-suffering maid, Maria and society busybody Mrs Verrinder-Gedge; and Sioned Jones (Thirteen, Women Beware Women, All’s Well That Ends Well – all National Theatre) as Florence’s best friend and biggest fan, Dorothy. Sioned will also Cover the role of Florence Foster Jenkins, as she did 20 years ago alongside Dame Maureen Lipman in the original West End production.

Completing the cast are Ella-Maria Danson as ASM/Cover Maria/Dorothy and Mrs Verrinder-Gedge and Ryan Hall as ASM/Cover Cosme McMoon.

Glorious! will be screeching around the UK from February – June 2026.

The tour celebrates the show’s 20th anniversary. Glorious! wowed audiences in its original long-running West End production starring Dame Maureen Lipman in 2005, before coming to the silver screen, starring Meryl Streep and Hugh Grant in what critics simply called “Glorious!”. The show has since been seen by millions of people around the world, translated into 25 languages, and performed in 36 countries to date. The current production, directed by Kirk Jameson (Song From Far Away, Madagascar the Musical) premiered at Manchester’s Hope Mill Theatre.

The 20th anniversary tour of Glorious! is produced by Thomas Hopkins (on Broadway – Liberation ,Two Strangers Carry A Cake, West End – This Bitter Earth, Rose, UK tour – The Talented Mr Ripley) with co-producers Craig Haffner & Sherry Wright (Tony Award-winning producers, This Bitter Earth – Soho Theatre, Midnight In Garden of Good and Evil – pre-Broadway and West End and Plaza Suite – Broadway and Savoy Theatre) and Sams Entertainment (Tony Award winning producers, The Talented Mr Ripley – UK Tour, on Broadway – Merrily We Roll Along, Our Town)

Creative Team
Director Kirk Jameson
UK Tour Casting Director  JJ Bee
Musical Supervision Nick Barstow
Scenographer and Costume Designer Ingrid Hu
Lighting Designer Mike Robertson
Sound Designer Mark Goggins
Wig Designer Helen Keane
Italian Translation & Dialect Coach Judith Blazer
Associate Costume Designer Lorraine Parry                                                                
General Management & Tour Booking: Thomas Hopkins Productions
Marketing: Dressing Room Five                                                                                    
PR: Kevin Wilson Public Relations

Glorious! 2026 UK tour dates

10 – 14 February  
Poole
The Lighthouse
lighthousepoole.co.uk

17 – 21 February    
Eastbourne
Devonshire Park Theatre
eastbournetheatres.co.uk

24 – 28 February
Derby
Derby Theatre
derbytheatre.co.uk

2 – 7 March    
Ipswich
New Wolsey
wolseytheatre.co.uk

16 – 21  March    
Windsor
Theatre Royal
theatreroyalwindsor.co.uk

23 – 28 March  
Liverpool
Epstein Theatre
epsteintheatre.com

31 March -4 April
Barnstaple
Queen’s Theatre
queenstheatre-barnstaple.com

6 – 11 April    
Malvern
Malvern Theatre
malvern-theatres.co.uk

13 – 18 April    
Oxford
Oxford Playhouse
oxfordplayhouse.com

21 – 25 April  
Basingstoke
Basingtoke Haymarket
anvilarts.org.uk

27 April – 2 May
Cheltenham
Everyman Theare
everymantheatre.org.uk

5 – 9 May    
Guildford
Yvonne Arnaud Theatre
yvonne-arnaud.co.uk

12 – 16 May    
Darlington
Darlington Hippodrome
darlingtonhippodrome.co.uk

18 – 23 May  
Coventry
Belgrade Theatre
belgrade.co.uk

26 – 30 May
Mold
Theatr Clwyd
theatrclwyd.com

1 – 3 June    
Tunbridge Wells
Assembly Hall Theatre
assemblyhalltheatre.co.uk

4 – 6 June
Exeter
Exeter Northcott Theatre
exeternorthcott.co.uk

Show website
www.gloriousplay.com

Curve Theatre, Leicester – until 8 November 2025

Reviewed by Leanne W

4****

Edward Albee’s Who’s Afraid of Virginia Woolf? remains one of theatre’s most searing examinations of marriage on the brink. Set over the course of a long, alcohol-soaked night, the play strips away the social veneer of two couples to reveal the raw, painful truths simmering beneath. Darkly comic and deeply human, this 1962 masterpiece is as emotionally brutal as it is sharply witty.

Much like marriage itself, this three-hour drama is both a test of endurance and a profound emotional journey. What unfolds on stage is a clash of formidable personalities, each charged with a volatile emotional energy that crackles throughout the performance.

At the heart of the chaos are George (Patrick Robinson), a weary history professor, and Martha (Cathy Tyson), his fiery wife and daughter of the university president. Their relationship is a relentless battle of intellect and emotional scars, unfolding with startling intimacy. Their verbal sparring—timed to perfection—reveals a dynamic so intense it’s often uncomfortable to witness. George’s cutting, often hilarious one-liners quickly expose the turbulence beneath their facade.

The evening takes a darker turn with the arrival of a younger couple: Nick (George Kemp), a biology professor, and his wife Honey (Tilly Steele). What begins as a tense social visit soon spirals into a gripping dissection of love, identity, and the fragile illusions we cling to in order to survive life’s cruelties.

The cast deliver nuanced performances that evolve as the night descends into chaos. Under Cara Nolan’s precise direction, every silence is charged, every confrontation lands with weight. The play’s emotional intensity could easily slip but here, every word feels earned. The characters are fully realised, resulting in portrayals that are both convincing and deeply resonant. This production doesn’t just present the chaos—it makes the audience feel it.

Amy Jane Cook’s set and costume design elevate the production, anchoring it firmly in 1960s New England with meticulous attention to period detail and the disarray of domestic life. Though the entire play unfolds in George and Martha’s living room, the staging never feels static. Albee’s dialogue, rich with subtext, gradually unveils the tangled truths of two marriages. Each line is deliberate, each revelation carefully foreshadowed.

The humour is sharp and deliberate, often provoking laughter that quickly curdles into discomfort—a reflection of the play’s emotional complexity. As the audience, we feel every verbal jab, every moment of vulnerability, and the deep discomfort of witnessing two fragile relationships laid bare. It’s tough and at times painful to watch, but always compelling.

By leaning into the discomfort with courage and clarity, this staging offers a powerful, affecting experience. Emotionally honest and uncompromising, Who’s Afraid of Virginia Woolf? remains a vital piece of theatre. This production is a reminder of why Albee’s work continues to resonate: it’s a brutal, exhausting, and ultimately rewarding evening that cuts straight to the bone—and lingers long after the final curtain.

OTANOSHIMINI!

SIX THE MUSICAL WELCOMES ITS JAPANESE QUEENS

SPECIAL EVENT HELD AT THE VAUDEVILLE THEATRE AHEAD OF WEST END STINT – PERFORMED ENTIRELY IN JAPANESE – 4 – 9 NOVEMBER

Yesterday, SIX The Musical welcomed its very own Japanese cast members to London ahead of them taking to the stage at the Vaudeville Theatre for one week only – performing the global phenomenon entirely in Japanese (with English captions) from Tuesday 4 to Sunday 9 November 2025. 

After an introduction to the project from producer Kenny Wax, and Hiroko Murata, the Director of Umeda Arts Theater, the producers of the Japanese production, alongside   writers Toby Marlow and Lucy Moss, the nine queens introduced themselves in English and Japanese, before performing a special acoustic version of Six from the theatre’s stage.

Later that afternoon, as part of their introduction to London, the Queens visited the Tudor Galleries at the National Portrait Gallery, where Caroline Marcus, the show’s Heritage, Outreach and Engagement Consultant, showed them portraits of the OG Queens, including Catherine of Aragon, Anne Boleyn and Jane Seymour – and gave them a fun and engaging her-story lesson.

The Queens then returned to the Vaudeville to watch their London counterparts slay on stage, meeting them afterwards to share stories!

Hiroko Murata said, “To see our Japanese Queens stand on a London stage, in the heart of the West End, was an unforgettable experience. This collaboration between Umeda Arts Theater and Kenny Wax Productions has been a bridge between our two cultures, showing how theatre can transcend borders and bring people together through shared passion and creativity.”

Kenny Wax said, “It was truly special to introduce our Japanese Queens on the Vaudeville stage. This collaboration with Umeda Arts Theater has been such a joyful meeting of cultures and creative energies. Seeing the show performed in Japanese for the first time in London is a reminder that the message of SIX — empowerment, unity and fun — speaks to audiences everywhere.”

Following sold out seasons in Tokyo, Osaka and Nagoya earlier this year, the critically acclaimed Japanese Queens now bring their celebrated performances to London, making their West End debuts.

Original producers Kenny Wax, Wendy & Andy Barnes and George Stiles, by special arrangement with Umeda Arts Theater, the producers of the Japanese production, are delighted to invite the cast to London following their acclaimed run in Japan. 

To celebrate this landmark moment, audiences can also take part in two special cultural experiences. On Thursday 6 November from 5.15 – 6.45pm, Dear Asia will host a Japanese Language Workshop, inviting participants to explore the language and culture of Japan through the songs of SIX. Fans will have the chance to learn the lyrics to their favourite numbers in Japanese, while also trying their hand at traditional arts and crafts in this fun and immersive session suitable for ages 10+.

Then, on Saturday 8 November from 12 – 1.30pm, acclaimed illustrator Chie Kutsuwada will lead a Manga Workshop with a SIX-inspired twist. This beginner-friendly class introduces participants to the fundamentals of manga drawing before guiding them to create their own manga-style portraits of the Queens. All drawing materials will be provided, and the workshop is also suitable for ages 10+.

The cast will be Sonim as ‘Aragon’, Meimi Tamura and Maho Minamoto alternating the role of ‘Boleyn’, Harumi as ‘Seymour’, Eliana and Marie Sugaya alternating the role of ‘Cleves’, Airi Suzuki and Erika Toyohara alternating the role of ‘Howard’, Sora Kazuki  and Ruki Saito alternating the role of ‘Parr’. They will be joined by Aoi Tanaka as Musical Director. Due to existing scheduling commitments, original Japanese cast members Emiko Suzuki and Mahya Harada will not be appearing.

Tickets for the workshops are available here. 

Tickets for the show are available now via sixthemusical.com

To book access rate tickets for either of these workshops, please email access@nimaxtheatres.com  or call 0330 333 4815 to speak to our access team.

Social media:
Facebook / X / Insta / Tiktok: sixthemusical
www.sixthemusical.com

The Other Palace Studio – until 26 October 2025

Reviewed by Claire Roderick

3***

Mimi Nation-Dixon’s debut play is a charming and thoughtful tragicomedy about a young female vicar.

This is a brave choice, as The Vicar of Dibley is ingrained in the psyche of most of the population, but younger audiences coming fresh to the boob obsession, country parishioners love of their animals, and confusion over marriage proposals will find this hilarious. And to be fair, Nation-Dixon puts a playful modern spin on these familiar tropes.

Margot is in her twenties and vicar of an unenthusiastic parish, supported by her frenemy, 83-year-old Susie. Margot’s inner monologues as she conducts her service are very funny as she crushes over newcomer Jonathan. As she talks, another quieter voice whispers to remind her of her faults and weaknesses. Hints and the beginnings of confessions are scattered throughout the hour, explaining Margot’s teenager-like behaviour. Eating disorders, sexual assault and guilt about her sister all swirl around between skits at the pulpit, and the weight of expectation: career, relationship, family – are all clear as Margot struggles to present a happy, reliable persona to the world in the role she seems to have hidden/escaped to. This introspection is the strongest part of Nation-Dixon’s sharp and very funny writing, but a longer show that delivers more on these intriguing events would be much more satisfying. Nation-Dixon’s performance is full of heart and fragility, but Margot’s relationship with God is never really touched upon, making the role of vicar seem just a hook for jokes rather than an integral part of the play.

Sit or Kneel has exciting potential, but needs some work to explore and clarify its themes.

Network Theatre – until 25 October 2025

Reviewed by Claire Roderick

4****

The Acting Gymnasium’s Macbeth is a bold and powerful production of Shakespeare’s tragedy adapted and directed by Gavin McAlinden and inspired by Japanese horror, Chiaroscuro, and German Expressionism.

The story of Macbeth’s murderous ambition for the throne, fired by his wife and the witches’ prophecies, can be overcooked, but McAlinden and the cast portray the emotions and motivation of the characters expertly. Aryan Chavda plays Macbeth with a light touch in early scenes as the possibilities of his future are revealed, and Macbeth’s famous soliloquies are performed with an admirable stillness and intensity, until the final scenes where Chavda lets rip with frustration and despairing acceptance. Helen Probert’s Lady Macbeth leans into the German expressionism – her wide-eyed scheming a wonderful contrast to Macbeth’s hesitance. Her “unsex me now” soliloquy is mesmeric – her physicality blurring the lines between possession and psychosis and beginning a recurring movement in times of stress that betray her inner feelings that culminates in a beautifully understated but affecting sleepwalking speech. Charles Worthington is a passionate Macduff and Stefan Saintclair is a relaxed, laddish Banquo – chillingly controlled by the witches in a clever method to get his corpse off the stage which also raises questions about the witches’ intentions playing with these men.

The Japanese influence is excitingly obvious in the first scene with the witches’ (Aish Boyant, Carol Ratti, Eleri Siân Davies) makeup and otherworldly screams and movement, and Macbeth and Banquo’s medieval armour has a Samurai vibe while the black leather worn by the rest of the cast is a familiar trope in horror. However, the influence is purely visual apart from the witches, perhaps emphasising their mystical difference from the other characters.

The talented multinational cast give their all under McAlinden’s assured direction, describing the usual Shakespearean offstage battles and deaths with a measured gravitas that makes these sometimes-dreary exposition scenes more connected to the tight atmosphere onstage. Fight choreography is tight and impressive. The stage is black, with only a throne swathed in blood- coloured cloths, and Jack Hathaway’s lighting is a triumph, creating intimidating shadows and changing from harsh to soft light to emphasise the emotion of the scene. Joe Browning’s sound design, using James Jones’s original music, adds extra tension and keeps momentum during scene changes.

An entertaining and emotional production that chills and thrills.

Everyman Theatre, Cheltenham – until 25th October 2025

Reviewed by Jacqui Radford

4****

This production is not so much a ghost story but poses a question; ‘do you believe in ghosts?

Jenny, a new Mum who has recently moved into a new home with her husband Sam, believes that her house is frequented by a ghost; possibly that of a previous owner. Determined to discover the cause of mysterious noises in the night, Jenny persuades her dinner guests Lauren and Ben to wait with her until the allotted time of 2:22 to bear witness to whatever she uncovers. A committed realist, Sam is not so easily persuaded but eventually relents and joins the debate; do ghosts exist or are they something derived from our need to explain everything or console ourselves.

The dinner party debate we bear witness to is full of tension and ridicule. Unexplained events throughout the evening fuel the debate, providing plenty of opportunity for Sam to suggest that ‘believers’ are deluded.

In her stage debut, playing the role of Jenny, Stacey Dooley has pitched her performance perfectly to capture the essence of someone who is open to the idea of visitations but does not want to be labelled ‘crazy’. Kevin Clifton nails the role of Sam; someone who has a sense of superiority and can’t wait to prove everyone else wrong (aka deluded).

Ben and Lauren, played by Grant Kilburn and Shvorne Marks bring the lighter touches to the production, often providing the interludes needed to breathe more easily, enjoy laughter and formulate your ideas.

The production itself is designed to build tension for the audience; a clock that is ever present and building up to the ultimate moment of 2:22; soundtracks that pull you in and prime you for the inevitable twists and turns. Blackouts, bright lighting and scare fest type events evoke starts and screams for anyone who is slightly sensitive and absorbed in the task of unearthing exactly what has been going on at 2:22 every night.

If you get the chance to try and solve the mystery for yourself and are open to debate about whether it’s possible that ghosts exist, take it. You are bound to strike up your own debate on the way home.

Southwark Playhouse Elephant – until 8 November 2025

Reviewed by Emily Smith

5*****

Hot Mess is a brand-new musical that explores the relationship between Earth (Danielle Steers) and Humanity (Tobias Turley) in a laugh-out-loud rom-com style. This may sound like a complicated concept to turn into a musical, but writers Jack Godfrey and Ellie Coote (who also wrote 42 Balloons) make it look easy!

I cannot praise the talent of the two cast members enough! Danielle Steers and Tobias Turley are a powerhouse pair who deliver beautiful duets and laugh out loud moments throughout. Danielle’s range and power are unrivalled, and her immense talent amazes me every time I see her perform; she is truly out of this world! Tobias, well-known for winning ITV’s Mamma Mia! I Have A Dream, gives a stellar performance that showcases his star potential. Both have excellent diction, allowing the audience to hear all of the individual lyrics and appreciate the nuanced jokes.

Ellie Coote has crafted a hilarious script full of witty dialogue that manages to cover scientific concepts with surprising ease. For example, she cleverly draws parallels between unexpected topics like mining for coal and sex, and man’s mission to the moon and cheating. She also engineers a great break-up scene, using Humanity’s constant desire for more as a metaphor for emotional distance and lack of effort in the relationship. It was thought-provoking without being entirely doom and gloom.

Jack Godfrey’s upbeat, catchy, and powerful songs are hard to get out of your head. Stylistically similar to other great shows like SIX and Why Am I So Single?, they are songs you’ll want to listen to again and again! Luckily there are three songs (so far) available on Spotify for those who want a taster before seeing the show, or to re-listen after. I wait, with bated breath, for a full cast recording that I hope is to follow! I also commend Jack for incorporating phrases such as ‘single celled organism’ and ‘apex predator’ into the lyrics!

The costumes, by Shankho Chaudhuri, reflected the characters (Earth and Humanity) cleverly through colour choices such as blue and green tones for Earth, whilst retaining a charming simplicity. This is, of course, except for the space suit at the end! Shankho’s set design is also simple yet effective; appearing to only be a few sets of shelves, the cast make use of all the nooks and crannies they created, adding levels and dimension. I also loved the small details in the set design, such as the reimagined names of well-known novels with Wheat, Pray, Love, and 50 Shades of Clay being notable favourites.

The lighting and sound design, by Ryan Joseph Stafford and Paul Gatehouse respectively, really added to the performance by enhancing the atmosphere, seamlessly shifting from intense emotions such as anger and sadness to the lighter feelings of happiness and love. There are also two moments where handheld mics appear so that Earth and Humanity can deliver an upbeat rap about scientific advancements (amazing), which was unexpected yet hilarious.

The show premiered at the Edinburgh Fringe Festival this year (2025), opening to rave reviews, and is now playing at Southwark Playhouse Elephant for a limited run. It was created at Birmingham Hippodrome’s New Musical Theatre Department, the first in-house department dedicated to developing and producing musicals in the UK.

The show is 65 minutes long, with no interval, and it’s the perfect length to capture the orbit of a relationship from dating to break-up.

Writers Jack Godfrey and Ellie Coote have written an absolute smash hit of a show that is a masterclass in performance from start to finish by Danielle Steers and Tobias Turley. Covering a range of scientific concepts throughout, in a cool and accessible way, this show is cleverly brilliant and so much fun. Never have I fallen in love with a show so quickly or deeply! To quote Earth “If I had a jaw, it would be on the floor” (and I do have a jaw – and it was indeed on the floor!).

Birmingham Hippodrome- until 25th October 2025

Reviewed by Emma Millward

5*****

Black Power Desk continues its sold-out tour with a stop at Birmingham Hippodrome’s Patrick Studio. Set in 1970s London, the production transports audiences into a world where Black British communities were pushing back against systemic racism while the authorities quietly monitored their every move through the covert Scotland Yard policing unit known as the Black Power Desk.

Set within The Drum Restaurant, we follow the lives of sisters Celia (Rochelle Rose) and Dina (Veronica Carabai) as they navigate their strained relationship following the death of their mother. Dina is outspoken and deeply involved in the growing movement for equality. Celia is more wary of the dangers that activism may bring. Tension builds as their relationships with men pull them in different directions. Celia becomes involved with white Northern Irish musician Jack (Tomos Eames), while Dina becomes engaged to Jarvis (Alexander Bellinfantie). The Drum also serves as a base for the protest group that Dina leads. Restaurant owner Carlton (Gerel Falconer) has a weakness for gambling, and his establishment attracts unwanted attention from corrupt police officers Pullen (Alan Drake) and Marks (Casey Bird) who regularly try to intimidate both Carlton, his wife Maya (Chante Faucher), and his customers to find any excuse to arrest them. Dina also has to contend with Colin (Fahad Shaft), a more aggressive member of the protest group. Colin believes their movement is being hijacked by women and that a more militant course of action is needed.

The story is all about being part of a community, and director Gbolahan Obisesan skilfully uses this to draw the audience in.  From voting on the name of the protest movement to raising a glass to Dina and Jarvis, we became participants in the show, not just silent bystanders. In fact, there were multiple times that the dialogue became obscured by spontaneous booing and comments from the crowd as plot twists were revealed. This never distracted too much from the storyline, and the cast took it all in their stride. Obisesan’s direction handles potentially triggering scenes with sensitivity. The male police officer strip-searching a female suspect is implied only by the actors running their hands over their own bodies, but the scene still has a great impact and shock value.

The set design by Natalie Pryce is simple but very effective. Scenes transition seamlessly between the restaurant, police station and courtroom with clever use of reversible scenery swiftly moved by the cast. Lighting by Prema Mehta adds drama to the more intense scenes. Jessica Cabassa’s costume design perfectly captures the 1970s mood. The show was written by Urielle Klein-Mekongo (book, lyrics, and composition) with music by Renell Shaw, and additional lyrics and Rapperturgy by Gerel Falconer. It features an original soundtrack that fuses soul, reggae and rap that feels authentic for the time period. The music is performed onstage by a vibrant three-piece live band, Daniel Taylor (keys), Tendai Humphrey Sitima (bass) and Romarna Campbell (drums) who double up as the house band within The Drum Restaurant. The lyrics to some of the songs are hard-hitting, especially the faster-paced rapped segments. The songs all showcase the vocal talents of the cast, especially Rochelle Rose’s powerhouse vocals which were met with rapturous applause throughout. It is truly an ensemble piece, and every member of the cast deserves equal praise. The cast’s final bow was given a well-deserved standing ovation.

Black Power Desk is a bold, powerfully crafted production that never shies away from confronting uncomfortable truths while delivering an electrifying night of musical theatre.

York Theatre Royal – until Saturday 25th October 2025

Reviewed by Michelle Richardson

3***

Torben Betts’ Murder at Midnight, is the latest production, by Original Theatre, playing at York Theatre Royal. Directed by Philips Franks, this is a follow-up to the successful Murder in the Dark production. Billed as murder mystery with a difference, a twisted crime caper like no other, full of twists, suspense and dark comedic humour.

It’s the early hours of New Year’s Day, the setting is a house in a quiet corner of Kent. Police and a forensic team are at the scene of a murder, or I should say several murders, with multiple weapons scattered around. Who are the victims, and how they came to their grizzly ends, is the big question. A classic whodunnit, or is it?. As the scene ends we are transported to the day before to discover how the events came to pass.

We learn that the house is occupied by Jonny the Cyclops (Jason Durr), a one-eyed drug dealer, pig farmer and notorious gangster, his elderly, befuddled mother, Shirley (Susie Blake) and his younger girlfriend Lisa (Katie McGlynn).

Jonny is away on business, Shirley has been left alone with her carer Cristina (Iryna Poplavska), and Lisa, supposedly ill in bed, is out at a party. Jonny unexpectantly arrives home early, intending to surprise Lisa with a proposal of marriage. Whilst Jonny is in his office with one of his gofers, Trainwreck (Peter Moreton), Lisa returns home with Paul (Max Bowden) in tow. Unbeknownst to her he is an undercover police officer, somewhat inept, trying to gain information about the disappearance of Jonny’s wife Alex five years ago. The situation escalates when Mr Fish (Callum Balmforth), breaks in, hoping to rob Jonny to pay off dangerous debts, unaware he is targeting “Jonny the Cyclops.”

Durr’s Jonny exudes cockney swagger, a ruthless edge, and a clear obsession with Robbie Williams. His office is adorned by numerous posters, even all of his seven dogs are named after Robbie and his music. Blake plays his mother with sharp wit, delivering memorable one-liners. The dynamic between Bowden’s bumbling policeman and the self-absorbed Lisa adds farcical humour throughout. Moreton’s Trainwreck is quite endearing as the drug addicted seasoned criminal, with a sensitive side.

The play is a fast-paced, often frantic, farce, with characters weaving through the house as their stories unfold. This is enhanced by Colin Falconer’s multi-level set, giving us a view into multiple rooms. This can be confusing when scenes happen simultaneously. The quick action sometimes made it hard to follow, leaving me unsure if I missed important moments.

Featuring unexpected murders, this lighthearted play is packed with twists for an entertaining night at the theatre.