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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.

New Wimbledon Theatre – until Saturday 25^th October 2025 

Reviewed by Carly Burlinge 

5***** 

Stepping into the wonderful New Wimbledon Theatre for none other than Fawlty Towers feels almost as if you’re checking into one of Britain’s most chaotic hotels- and quite frankly the audience could not be happier to be guests. Based on John Cleese and Connie Booth’s beloved 1970s sitcom, this stage adaption captures all the manic energy, razor-sharp wit, and the farcical miscommunication that made the original series a comedy classic. 

The play cleverly weaves together several of the show’s most iconic episodes, from ‘The Hotel Inspectors’ to ‘The Germans’ creating a whirlwind of slamming doors, mistaken identities, and Basil’s (Danny Bayne) increasingly desperate attempts to maintain order amid the madness. Fans of the original series will relish the faithful recreation of the hotel lobby, complete with a flickering reception and a flustered Manuel (Hemi Yeroham). 

At the heart of the production is Basil Fawlty himself, portrayed with both homage and originality. The actor doesn’t attempt to mimic John Cleese outright but instead channels Basil’s neurotic energy and physical comedy with impressive timing. His sharp exchanges with Sybil (Mia Austen) crackle with tension and familiarity, while his constant exasperation with guests – and poor Manuel – elicits roars of laughter. 

The supporting cast delivers equally strong performances. Sybil’s withering sarcasm is on point, Polly (Joanne Clifton) balances sanity and sass and Manuel – the hapless waiter from Barcelona – steals every scene with his perfect blend of confusion and charm. The direction keeps the pace frantic but controlled, with crisp transitions and expertly timed slapstick sequences that feel both chaotic and expertly choreographed. 

Visually, the production nails the 1970s aesthetic – mustard tones, floral wallpaper, and all. While the set design allows for quick shifts between rooms and comedic entrances and exits. The result is a show that feels alive, nostalgic, and endlessly funny. 

While the humour occasionally relies on familiarity – with long-time fans anticipating some punchlines – the play manages to stay fresh thanks to its dynamic staging and genuine affection for the source material. Newcomers, too, will find plenty to enjoy in its timeless physical comedy and delightfully absurd characters. 

The Barn Theatre, Cirencester – until 15th November 2025

Reviewed by Josie Aburrow Smith

4****

The story is a classic boy (wannabe writer) meets girl (aspiring actress) in New York. They fall in and then out of love over a period of five years. What sets this apart is that Cathy’s story starts at the end of the relationship and retraces back to where it began, whereas Jamie starts at the beginning and moves towards the end. The excitement of a new relationship is portrayed along side the sadness that comes at the end.

Cathy is played by Martha Kirby, she is a pleasure to listen to and portrays all the emotions. She carried us all along with her. Jamies is Guy Woolf and again is very convincing and also amusing with some great laugh out loud moments. They work brilliantly together. They are joined on the stage by actor-musicians Rebecca Demmer (cello), Wills Mercardo (guitar), Angus Tikka (bass), and Ellie Verkerk-Hughes (piano). They are sitting around edge accompanying the songs and then seamlessly moving into the centre to portray various characters. 

A special mention should be made about the clever set. The lighting around the edge changes with the emotion on the stage

The Last Five Years is written and composed by Jason Robert Brown. The production is directed by Hal Chambers, with musical direction by Ellie Verkerk-Hughes, set and costume design by Ethan Cheek, lighting design by Jonathan Chan, sound design by Matthew Giles, and movement direction by Georgina Lamb.

In all this is a great night out and a chance to see some real talent on stage. 

Sheffield Lyceum – until Saturday 25 October 2025

Reviewed by Claire Moore

4****

Dear England charts the journey of Gareth Southgate as England manager, exploring the highs and heartbreaks of elite football and the emotional toll of leading a nation obsessed with the game. The play follows the team through three defining tournaments — the 2018 World Cup run in Russia, the agonising near-win at Euro 2020 at Wembley, and the 2022 World Cup in Qatar. But don’t be put off if you’re not a football fan; this story goes far deeper than penalties and scoreboards.

At its heart, Dear England isn’t really about football at all — it’s about people, pride, and the power of vulnerability. James Graham’s script cleverly uses the game as a mirror for modern Britain, exploring what happens when a nation built on a stiff upper lip starts to talk about feelings. Through Southgate’s calm leadership, we see the players encouraged to open up — to confront fear, pressure, and identity. The play doesn’t shy away from the painful reality of the racist abuse aimed at Black players after the Euro 2020 final — a sequence that’s raw, honest, and deeply affecting.

The production is slick, with staging that moves smoothly from dressing room to press conference to pitch, using video projections and lighting to recreate the energy and emotion of match day. Football fans will no doubt find extra connection with the story and characters, but even as a football novice I was pulled in by the joy of the wins and felt every one of the losses, thanks to the camaraderie portrayed by a cast who truly feel like a team. David Sturzaker is superb as Southgate — quietly intense, thoughtful, and endearingly awkward. It’s always tricky playing characters we all feel we know, but the personalities of the players shine through, the quiet humbleness of Harry Kane (Oscar Gough), the slightly manic edge of Jordan Pickford (Jack Maddison), and the genuine emotion shown by Saka (Jass Beki), Sancho (Luke Azille) and Rashford (Jayden Hanley) help us see the people behind the headlines. There was even an extra cheer for Harry Maguire (Connor Hawker), clearly getting some hometown love from the Sheffield crowd.

Ian Kirby is brilliant as Gary Lineker (complete with Walkers crisps), Sven-Göran Eriksson, Greg Clarke, Matt Le Tissier and Thomas Tuchel. With many actors switching roles throughout, it could easily have become confusing, but thanks to sharp direction and clever use of costume and gesture, it all flows effortlessly. Courtney George also deserves a mention for her portrayal of Alex Scott, Sarina Wiegman and a brilliantly uncomfortable Theresa May.

By the end thanks to a great balance of humour and emotion, the audience were completely with it — the standing ovation was well deserved, and the Sweet Caroline singalong made for the perfect finale. Dear England might be about football on the surface, but it’s really a story about courage, empathy and trying to do better — as individuals and as a country. People often say it’s more than just a game. Turns out, it really is.

COMING TO HOME MANCHESTER

FOR ITS UK PREMIERE

DIRECTED BY ANDY FICKMAN

WITH BOOK BY BRIDGET CARPENTER,

MUSIC BY TOM KITT,

AND LYRICS BY BRIAN YORKEY

FOR A LIMITED RUN FROM

27 NOVEMBER 2025 – 10 JANUARY 2026

Bringing the body-swapping, mother-daughter duo to life on the stage are Rebecca Lock (Here and Now; Heathers The Musical) as Katherine, and Jena Pandya as Ellie (Come Fall In Love; Bhangra Nation).

They are joined by Ian Virgo (Jesus Christ Superstar)as Mike, Samantha Ho (Cabaret)as Gretchen, Beth Savill (Hamlet)as Hannah, Jessica Butterworth (making her professional stage debut)as Savannah, Ellie Gilbert-Grey (making her professional stage debut)as Laurel, Max Mirza (Clueless The Musical)as Adam, Morgan Gregory (The Lightning Thief)as Parker, Dylan Gordon-Jones (Back To The Future)as Wells, Waylon Jacobs (Hamilton)as Dr Ehrin, Tori Scott (The Cher Show)as Torrey, Katharine Pearson (Heathers The Musical)as Danielle, James Stirling (The Three Musketeers)as Grampa Jo, and Catherine Millsom (Sister Act)as Grandma Helene

Freaky Friday the musical is a heartfelt, comedic, and unexpectedly emotional update on an American classic. It is based on the beloved 1972 novel by Mary Rodgers and the hit Disney films, which have captured the hearts of generations, including the recently released sequel Freakier Friday.

This vibrant musical reimagines the iconic body-swapping tale with a fresh contemporary score and feel-good moments that are perfect for the whole family.

When an overworked mother and her teenage daughter magically swap bodies, they have just one day to put things right again.

By spending a day in each other’s shoes, Katherine and Ellie come to appreciate one another’s struggles, learn self-acceptance, and realize the immeasurable love and mutual respect that bond a mother and daughter.

Freaky Friday will be having its UK stage premiere this festive season at HOME Manchester, with the run already extending until 10 January 2026.

Presented by Paul Taylor-Mills (The Lightning Thief; Heathers The Musical), this musical premiere will be directed by Andy Fickman, known for bringing the cult-classic Heathers from screen to stage, and features a book by Bridget Carpenter, acclaimed co-executive producer and writer of beloved television series Friday Night Lights and Parenthood. The musical boasts an extraordinary score by the Pulitzer Prize and Tony Award-winning team of Tom Kitt and Brian Yorkey (Next to Normal; If/Then). Choreography is by Alexzandra Sarmiento (42 Balloons) with associate choreographer Sam Wilson-Freeman (&Juliet), set and costume design by David Shields (Heathers The Musical), with associate costume design by Reuben Speed (Doctor Faustus), lighting design by Nick Richings (La Cage Aux Folles), music supervisor and arranger Will Parker (Self Esteem presents A Complicated Woman), musical director George Strickland (The Book Thief) and associate director is Ben Johnson (Nerds The Musical). 

Now, it’s time for Manchester audiences to experience the magic, music, and mayhem of Freaky Friday the musical.

Playhouse, Sheffield – until October 25th 2025

Reviewed by Sharon Farley

4****

“A fun, feel-good musical with a serious issue at its heart”

Nicky Hallet’s Gwenda’s Garage, by Out of the Archives. is a fun, feel-good musical with a serious issue at its heart. Set in the 1980’s, the play focuses on a piece of Sheffield history; Hallet (In the Key of Blue, Re/Sisters: Façade for the Twenty-First Century, Hares’ Breath) adapts the story of a female run garage set up by Roz Wollen, Annette Williams, and Ros Wall when they couldn’t find work as mechanics within the male-dominated industry, despite having excelled in their qualifications for it.

From the energetic opening, it’s clear the play’s characters are risk takers as well as being full of life. They not only run the workshop, but also use it as a base to demonstrate the power of community and activism to effect change. The primary issue being protested here is the now infamous ‘Section 28’, legislation that prevented schools and councils from ‘promoting homosexuality’ and led to a climate of fear and isolation for LGBT+ people. Gwenda’s Garage does a marvellous job of demonstrating the impact on same-sex parents of this shameful moment in UK political history, though it could perhaps have done more to address the implications for children coming to terms with their sexuality in such a restrictive environment.

In addition, Gwenda’s Garage touches on a multitude of weighty issues from unemployment through race and gender discrimination to LGBT+ rights and political correctness, yet still succeeds in being thoroughly enjoyable and effervescent. Having a live band to play the score, written by Val

Regan (In the Key of Blue, Re/Sisters: Façade for the Twenty-First Century), provides rousing musical accompaniment for the multitude of songs, brilliantly performed by the cast, that ring out the themes being explored. There is a strong sense of the benefits of community support in this performance at both a personal development and political change level. It also carries a powerful message by creating a bridge between the prejudiced views of the Thatcher era government and some of the disturbing rises in authoritarian discrimination we see in today’s geopolitical landscape.

The writing also manages to distribute the limelight very evenly among all the performers, each has their moment to shine and combined they move in perfect harmony. Eva Scott (Wonder Boy, Fool Me Once, EastEnders) as Carol depicts a matriarchal figure, always ready to help others achieve personal goals; Bev (Nancy Brabin Platt – As You Like It, Never Swim Alone, Doctor Who) and Terry (Sia Kiwa – The Book of Mormon, Waterloo Road, Coronation Street) bring in the love story element as we watch their relationship unravel and later find its solid ground; Dipstick, played by Lucy Mackay (Sappho, Rage Room, Sumotherhood), provides much of the comical opportunity that is often the burden of any workplace apprentice; and Feona is well portrayed by Georgina Coram (Tango Buenos Aires & City Of Dreams, Wild, Cool and Swinging, Robin Windsor: The Final Act) to demonstrate the wider impact on the public of creating a welcoming and inclusive environment.

The production also promotes the legacy of the original Gwenda’s Garage in its support for WEST (Women in Engineering, Science and Technology), proving that the spirit of community support lives on beyond the stage. Out of the Archives is the theatre company co-founded by Hallet and Regan which aims to bring the forgotten stories of ordinary LGBT+ people into the light, thus contributing to greater public knowledge and understanding. This performance was clearly a big hit with the audience, it can still be caught at the Playhouse in Sheffield until October 25th before its run at the Southwark Playhouse in London.

THE NATIONAL THEATRE’S SOLD-OUT PRODUCTION OF

INTER ALIA

TO TRANSFER TO THE WEST END IN SPRING 2026

ROSAMUND PIKE TO REPRISE HER CRITICALLY ACCLAIMED ROLE FOR A STRICTLY LIMITED SEASON AT WYNDHAM’S THEATRE

FROM 19 MARCH – 20 JUNE 2026 

Tickets go on General Sale at midday on Friday 24 October

at www.interaliaplay.com

Monday 20 October, London: TheNational Theatre and Playful Productions are delighted to announce today that Inter Alia, the National Theatre’s recent ‘smash hit’ (★★★★★ Mail on Sunday), will transfer to the West End next Spring for a strictly limited season. Golden Globe and Emmy Award-winner and BAFTA and Academy Award-nominee, Rosamund Pike, will reprise her critically acclaimed role with performances running at Wyndham’s Theatre,a Delfont Mackintosh Theatre, from 19 March until 20 June 2026.

This ‘searing legal drama’ (★★★★ The Guardian) is an examination of motherhood and modern masculinity and reunites Olivier Award-winning writer Suzie Miller and BAFTA-Award-winning director Justin Martin, the team behind the global phenomenon, Prima Facie. Inter Alia is a ‘swaggering epic ’(★★★★ The Independent)that is bold, witty and deeply human. It premiered at the National Theatre’s Lyttelton theatre from 10 July to 13 September, garnering critical and box office acclaim. It was broadcast live in the UK via National Theatre Live on 4 September to over 50,000 people and is currently on release to cinemas worldwide.

Rosamund Pike (Saltburn, Gone Girl) plays the role of Jessica Parks giving a ‘transfixing shape-shifting performance’ (★★★★ Telegraph). 

Jamie Glover (Waterloo Road, Harry Potter and the Cursed Child) is also set to reprise his role as Michael Wheatley ‘Glover is excellent as Michael Wheatley, Jessica’s husband, effortlessly shifting from flippant to flirty to visceral pain’ (★★★★ London Unattached). Further casting to be announced.

Tickets go on general sale at midday on Friday 24 October. ‘Vital drama that needs to be heard’ (The i ★★★★)
 

Writer Suzie Miller said: 

“I am so thrilled that my new play Inter Alia, commissioned and produced by the National Theatre, is transferring to the West End. Rosamund Pike is a magnificent talent and soars in the role of Crown Court Judge and mother Jessica Parks, and her co-star Jamie Glover is nothing short of extraordinary. My long-term creative partners, Justin Martin and Miriam Buether, along with the entire design team have created something sublime that is a true theatre collaboration. The conversations I’m having with audiences are humbling, exciting and game-changing – I am excited for that to continue.”

Director Justin Martin commented: 

“Rosamund Pike is extraordinary, and Suzie Miller is sublime. Witnessing the intersection of these two amazing artists has been a highlight of my career. And then to add Jamie Glover. I’m so excited to be able to share our show with a wider audience.”

Executive Director and Co-Chief Executive of the National Theatre, Kate Varah added:

“Suzie Miller’s timely urgent play, boldly and empathically directed by Justin Martin and brought to life by Rosamund Pike and Jamie Glover’s incredible performances, is the play for today. It resonates deeply with audiences, and we’re thrilled that more will now be able to experience its power. Inter Alia beautifully and humanely weaves together themes of contemporary masculinity and motherhood and puts a spotlight on the complex dynamics of the justice system. Working with Playful Productions to make this West End transfer possible has been a joy – we all believe so passionately in the value and necessity of this play, this production, this extraordinary company.”  

inter alia /ˌɪntər ˈeɪliə,ˈaliə/
adverb                                                                                     
among other things.

Jessica Parks is a maverick London Crown Court Judge; sharp, compassionate, and determined to change a system she knows isn’t always just. But her career exists inter alia (‘among other things’) as she balances motherhood, friendship and the elusive notion of ‘having it all’

So, when an unthinkable event rocks her finely tuned life, can she hold her family together – or will everything fall apart?

The creative team also includes set and costume designer Miriam Buether, movement and intimacy director Lucy Hind, video designer Willie Williams for Treatment Studio, composers Erin LeCount and James Jacob, music director Nick Pinchbeck and casting directors Alastair Coomer CDG and Naomi Downham.

The West End production of Inter Alia is produced by the National Theatre in a co-production with Playful Productions.