Moulin Rouge! The Musical has arrived at Birmingham Hippodrome, becoming one of the first theatres outside of London to host the show. The production team have transformed the already beautiful auditorium into a spectacular red and golden hued backdrop for the show. A sparkling Moulin Rouge sign fills the stage, whilst the boxes are taken over by a working replica of the famous windmill and an exquisite blue elephant head. Before the show even began, dancers began to move across the stage and playfully interact with the crowd, and then the familiar notes of Lady Marmalade rang out and the crowd was ready to be entertained.
Based on Baz Luhrmann’s cult film, we follow the story of Christian (Nate Landskroner), an American songwriter who ventures to Montmartre to follow his dreams. He meets Toulouse-Lautrec (Kurt Kansley) and Santiago (Rodrigo Negrini) who introduce him to their bohemian lifestyle. They take Christian to the infamous Moulin Rouge to meet the courtesan Satine (Verity Thompson) hoping she can convince the owner Harold Zidler (Cameron Blakely) to commission their play. Zidler is relying on Satine to charm a rich aristocrat, The Duke (Josh Rose) into investing in the club. Satine mistakenly believes Christian to be the Duke and quickly falls for him. When Satine realises who Christian actually is, she is torn between her feelings and wanting to keep the controlling Duke happy for the sake of the club.
Verity Thompson dazzles as Satine. Nate Landskroner brings warmth and sincerity to Christian. The chemistry between them is apparent from their first scene together. Their vocal skills are also showcased throughout. Kurt Kansley and Rodrigo Negrini bounce off each other well as Toulouse-Lautrec and Santiago, and draw many laughs. Josh Rose played the Duke with just the right level of pompousness. Kahlia Davis, Summer Priest, Scott Sutcliffe and Ellie Jane Grant as the Moulin Rouge lead dancers provide comedic moments throughout and wow the crowd with energetic and sensual dance numbers sleekly choreographed by Sonya Tayeh. Special mention must be given to Cameron Blakely, who stole nearly every scene as the deliciously flamboyant Harold Zidler, especially during his hilarious curtain-call performance.
The show crams in over 70 songs, either in full, snippets or even as single lines. It’s definitely a well-packed jukebox musical. Songs range from songs by Adele, Elton John, Lady Gaga and Sia. The songs never feel out of place, although a few raise a knowing giggle from the crowd, especially when songs by artists such as Rick Astley pop up. Musical director Ben Ferguson and the talented band create a beautiful score that manages to flip from genre to genre without it feeling too jarring for the audience’s ears.
The direction by Alex Timbers is tight and maintains the hectic pace. The book by John Logan is not totally faithful to the original and does slightly alter a few of the storylines. The set design by Derek McLane is breathtaking, combined with the sultry lighting by Justin Townsend that showcases the magnitude of the sets, but also creates moodier lighting for the quieter Parisian backstreet scenes. The costume design by Catherine Zuber is exquisite, especially the bright Can-Can dresses during the finale
This show never aims to be subtle, it’s loud and a feast for all the senses. All in all, Moulin Rouge! The Musical is bold, beautiful and so very bohemian!
Wilt is an unflinching piece of writing about the diverse ways grief affects people’s lives. Beginning with a recording of voices discussing cliches abut grief, often holding opposing views, as Nadia (India Erlam) sits bereft on the floor after her father’s funeral, Jazz Summer’s writing is natural and emotional. Nadia’s boyfriend Elliott (Joe Northstone) tries his best to comfort her, but it is obvious that she will need more than tickles to get through this.
The couple’s relationship is written and acted with great perception. They use silliness and games to diffuse arguments and seem to have been solid and loving. The couple’s separate ways of grieving cause cracks to appear, however.
Nadia becomes fixated on a rose from her father’s garden gifted to her by her stepmother, and stops going to work, washing, cooking – spending her time on the sofa to check on the rose’s health. Elliott tries to keep things going, but one well meant decision to help Nadia and avoid worrying her backfires when she finds out. Their confrontation highlights their different approaches to their grief: Elliott acknowledges grief but says that you have to move on and get over it, while Nadia’s crippling grief makes that impossible.
As the play goes on, small hints from early scenes are clarified and Nadia’s visceral grief is revealed to be burdened with guilt and betrayal as secrets about where she was when Elliott was at her father’s side as he died are exposed. Elliot’s response is to, yet again, bury emotions and move on, while Nadia sinks further into mania and delusions. There is no neat, happy ending to Jazz Summers’ play, just lots of questions and the hope that the couple seek help. Neither character is judged, their emotions and actions are simply presented to the audience with a haunting sense of realism. I am sure that all members of the audience can connect on many levels with both characters.
A searingly emotional but compassionate story of grief, Wilt is a production with enormous potential.
The story of Patty Hearst, granddaughter of publishing magnate William Randolph Hearst, and her abduction and radicalisation by the Symbionese Liberation Army has been the inspiration for many works of fiction. Katherine Moar’s new play examines the shifts in dynamics of power, privilege and fame of “the heiress” and “the lawyer” over the decades since her trial.
Moar’s sharp and clever writing throws a few curveballs as sympathy is built for a character and then the rug is pulled out from under the audience with a devastating revelation.
Holly (Abigail Cruttenden) turns up at Robert’s (Nathaniel Parker) home in response to an unexpected letter from him. He hasn’t been in touch since she was convicted of the robberies committed with the SLA after they abducted her from her college apartment but is now asking for her help. Although the allegations against him are never made explicit, it is made clear that a reporter has an exposé of his sexual misconduct or assault. The pair expertly trade barbs as they attempt to discern each other’s motives and feelings, dancing around the giant sofa that dominates the set. A $50,000 monstrosity from the 1970s that Robert never lets anyone sit on, this serves as the symbol of his ego and male pride – and is immediately mocked by Holly.
As Holly questions why Robert has asked for her help, we see the younger versions (Katie Matsell and Ben Lamb) of the pair’s first meeting when Robert was a young hotshot lawyer. Holly’s privilege and social training see her treating the meeting like a cocktail party, offering drinks and trying to engage in small talk while Robert is all business, telling her what not to say to convince the jury and public that she is a victim. As the meetings continue, Robert does some caring things, like bringing Christmas crackers, but it always seems that he is playing Holly and she is so used to getting what she wants that she doesn’t notice. As the trial begins, Robert becomes as famous as Holly, appearing on TV shows and being invited to every party that matters. His distraction in the courtroom, hungover and flirting with women, is why Holly believes that she was found guilty.
The fallout from these events has haunted the pair in different ways, Even though Robert rails at Holly for embracing her victimhood so tightly, he is the one that is the victim of his own success and bad choices, while Holly still has her money and normal family life. His 1970s reaction to hearing of her rape and brushing it aside as sex comes back to haunt him, as do the younger versions of the pair in the final scene. Throughout the play, flashback scenes are watched by the older characters, often handing each other props, but in the very satisfying ending, they have conversations and young Robert is shocked by what he sees.
Moar doesn’t dig too deep into the issues raised by the protagonists’ story, instead we see the aftereffects of bad choices which is just as affecting. Josh Seymour’s slick direction keeps this short play moving seamlessly, with a surprisingly dynamic energy on such a small stage. Ceci Calf’s set brilliantly evokes the broken state of Robert’s life – boxes full of memories and tat surround the huge couch. The cast are phenomenal: Ben Lamb’s confident arrogance and showmanship still visible for fleeting moments in Nathaniel Parker’s increasingly desperate but unapologetic demeanour. Katie Matsell’s frightened young girl still clinging onto the idea that her family connections will keep her out of jail is harder to see in Cruttenden’s brittle and closed Holly, but the change in power dynamic is portrayed wonderfully as each character sits next to their 1970s version. Robert’s bravado and strength is now all hot air and bluster while Holly has a steely strength.
An intriguingly intelligent, entertaining and riveting play that has a great future.
STORYHOUSE, CHESTER – UNTIL SATURDAY 18 OCTOBER 2025
REVIEWED BY MIA BOWEN
4****
Anne-Marie Casey’s adaptation of Little Women is an absolute treasure—a warm, heartfelt, and beautifully executed interpretation of Louisa May Alcott’s classic story about the four March sisters: Jo, Meg, Beth, and Amy, who grow up during the Civil War. The play follows their journeys from girlhood to womanhood as they navigate love, ambition, loss, and the meaning of family. From the opening scene to the final bow, the performance radiates sincerity, charm, and emotional depth, illustrating why the March sisters have captivated audiences for generations. This production successfully blends nostalgia with a fresh, contemporary energy, ensuring that the story feels both timeless and relevant.
At its heart, this play is a celebration of sisterhood and self-discovery. Each March sister is vividly brought to life with depth and nuance: Jo (Natalie Dunne) embodies fiery independence, Meg (Jade Oswald) exudes gentle grace, Beth (Megan Richards) showcases quiet strength, and Amy (Jewelle Hutchinson) radiates spirited ambition. The chemistry among the cast is electric; their laughter feels spontaneous, their quarrels strikingly real, and their affection profoundly moving. Jo, in particular, commands the stage with raw charisma and emotional honesty, and her transformation from a restless dreamer to a self-assured writer is depicted with breathtaking authenticity.
While the design, by Ruari Murchison embraces a minimalist approach with infrequent scene changes, the strategic arrangement of furniture and thoughtful use of props effectively define new settings without diverting the audience’s attention. Subtle details—a softly twinkling Christmas tree, narrow tree trunks that rise on either side, the warm glow of illuminated windows, and the enchanting backdrop of falling snow in winter—infuse a sense of magic without being ostentatious.
Under Loveday Ingram’s direction, they ensure that the production stays true to the original material, providing a nostalgic yet contemporary take on the cherished story. This adaptation stands as a testament to the enduring charm of Little Women, highlighting the strength and resilience of its characters.
Lead producer Colin Ingram, together with Robert Zemeckis and Bob Gale, the creators of the Back To The Future film trilogy, are delighted to announce that presenter, stylist and actor Gok Wan will make a special cameo appearance as ‘Principal Strickland’ to celebrate Back to the Future Day at the Adelphi Theatre on Monday 20 October.
Back to the Future Day is celebrated by fans of the beloved franchise across the world each year on 21 October, marking the date that Marty McFly travels to the future in Back to the Future II.
Gok Wan said, “I’m thrilled to be joining the cast of Back to the Future the Musical for one night only to celebrate Back to the Future Day! Returning to the stage alongside my good friend Brian Conley is such a treat – he’s a true showman and I can’t wait to swap laughs, lines and a little bit of Hill Valley chaos with him. Great Scott, it’s going to be fabulous!”
Gok Wan is a multi-award-winning UK television presenter, designer, stylist, DJ, cook, and author. His first TV series for Channel 4, How to Look Good Naked, was a huge success and catapulted him into the public eye. He presents weekly on ITV’s This Morning and is the co-host of Magic FM Breakfast alongside Harriet Scott. Further television credits include Say Yes To The Dress Lancashire, Gok’s Fashion Fix, Gok’s Clothes Roadshow, Gok Cooks Chinese, Fill Your House for Free, and Gok’s Lunchbox. His on-screen success has led to six book deals, including his autobiography Through Thick and Thin, as well as the companion book for Gok Cooks Chinese. On stage, Gok regularly appears in pantomimes across the country. He is also a Brand Ambassador for JD Williams.
BACK TO THE FUTURE The Musical won the Olivier Award for Best New Musical, four WhatsOnStage Awards, including Best New Musical, and the Broadway World Award for Best New Musical. The musical has been seen by over 2 million people in the UK and has broken box office records at the Adelphi Theatre in London, where it has now entered its 5th year. This year also marks the 40th anniversary of the original movie, which was released 3 July 1985 in the US.
BACK TO THE FUTURE The Musical has tickets available from £19.55, with the overall average ticket price at £56.78. The show is currently booking until Sunday 12 April 2026.
Other productions worldwide include The North American tour which opened in Cleveland, OH, in June 2024 and is currently running in cities across the US and Canada, as well as Japan, Australia, Royal Caribbean Cruises and soon to be Germany. Over 3.8 million people have seen the production worldwide so far. The show also recently announced it will be heading on a UK tour from October 2026.
The production currently stars Caden Brauch as Marty McFly, Brian Conley as Doctor Emmett Brown (appearing for a strictly limited 12-week run), Maddie Grace Jepson as Lorraine Baines, Orlando Gibbs as George McFly, C.J. Borger as Goldie Wilson and Marvin Berry, Alex Runicles as Biff Tannen, Talia Palamathanan as Jennifer Parker, Lee Ormsby as Alternate Doctor Emmett Brown and Strickland, Gracie Caine as Linda McFly, Liam McHugh as Dave McFly and Ryan Appiah-Sarpong, Jed Berry, Billie Bowman,Jabari Braham, Charlotte Coggin, Sia Dauda,Lauren Dawes, Alexander Day, Talia Duff, Helen Gulston, Oliver Halford, Thomas Inge, Stephen Lewis-Johnston, Adam Margilewski, , Anna Murray, Samuel Nicholas,Brian Ó’Muirí, Phoebe Roberts,Issie Wilman and Alexandra Wright.
At select performances Oliver Halford will play the role of Marty McFly. Oliver was discovered as part of the global casting call for the next Marty McFly. This production marks his West End debut.
Cory English will return to the role of Doctor Emmett Brown on Thursday 6 November 2025.
The Original Cast Recording, released on Sony Music’s Masterworks Broadway label, is now available and has had over 20 million streams. It features the new music by multi-Grammy Award-winners Alan Silvestri and Glen Ballard alongside classic songs from the movie including The Power of Love and Johnny B. Goode.
In celebration of 2023’s Back to the Future Day, Sony Masterworks Broadway released a Deluxe Edition of the Original Cast Recording both digitally and as a 2-CD set. Available everywhere now, the Deluxe Edition includes 13 never-before-heard demos, alternate and early versions of many of the show’s major numbers, most performed by Glen Ballard himself.
In July 2023, a brand new behind-the-scenes book documenting the of the show, Creating Back to the Future by Michael Klastorin, was released worldwide, published by abrams&chronicle books.
Based on the Universal Pictures/Amblin Entertainment film, BACK TO THE FUTURE The Musical has a book by Bob Gale and new music and lyrics by Emmy and Grammy Award-winning Alan Silvestri and six-time Grammy Award-winning Glen Ballard, with additional songs from the film including The Power of Love and Johnny B. Goode.
Marty McFly is a rock ‘n’ roll teenager who is accidentally transported back to 1955 in a time-travelling DeLorean invented by his friend, Dr Emmett Brown. But before he can return to 1985, Marty must make sure his high school-aged parents fall in love in order to save his own existence.
BACK TO THE FUTURE The Musical is directed by Tony Award-winning director John Rando (Urinetown, On The Town), alongside the multi Tony and Olivier Award-winning design team of Tim Hatley (set and costume design), Tim Lutkin (lighting), Hugh Vanstone (lighting consultant), Gareth Owen (sound) and Finn Ross (video), with choreography by Chris Bailey, musical supervision and arrangements by Nick Finlow and Illusions by Chris Fisher. Orchestrations are by Ethan Popp and Bryan Crook, with dance arrangements by David Chase. Casting is by David Grindrod CDG for Grindrod Burton Casting.
Back to the Future the movie was released in 1985, starring Michael J. Fox as Marty McFly and Christopher Lloyd as Dr Emmett Brown. The film grossed $360.6 million (£279 million) at the box office worldwide and the total box office for all three films in the Back to the Future franchise was $936.6 million (over $1.8 billion in today’s money).
BACK TO THE FUTURE The Musical is produced by Colin Ingram, Donovan Mannato, Frankel/Viertel/Baruch/Routh Group, Hunter Arnold, Gavin Kalin Productions, Playing Field, Crush Music, CJ ENM, Teresa Tsai, Ivy Herman/Hallee Adelman, Robert L. Hutt, Universal Theatrical Group, Ricardo Marques, Augury, Robert Zemeckis, Bob Gale, in association with Kimberly Magarro, Stage Entertainment, Glass Half Full Productions/ Neil Gooding Productions.
N.B BACK TO THE FUTURE The Musical has partnered with Gala Pro – a revolutionary app for accessibility and translation to enhance accessible experiences at live performances so you can enjoy any performance of Back to the Future with audio description and closed captioning.
Tickets: from £19.55
Please book via the website: BackToTheFutureMusical.com – no booking fees
ROAM, a new musical 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), will perform 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.
Rupert Hands says: “We’re so excited to be premiering this brand-new musical in the West End with this extraordinary cast and team. ROAM is the journey of a lifetime, full of soaring songs by Alexander Sage Oyen performed by some of the most stratospheric voices from Broadway and the West End. It’s a story of love, family, and legacy in a totally original, funny, timely, and powerful script by Michael Dovid. We can’t wait to share it with London audiences.”
ROAM will star Tony and Olivier Award nominee Ramin Karimloo (A Face in the Crowd, Young Vic; Funny Girl, Broadway) as Yoska, Diego Rodriguez (Evita, West End; Sunset Blvd., Broadway) as Pesha, Jordan Luke Gage (&Juliet; Bonnie & Clyde, West End) as Stefo, Frances Mayli McCann (The Great Gatsby; Bonnie & Clyde, West End) as Aishe, 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.
Further casting and creatives to be announced.
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.
ROAM is produced by Bandits Roost Entertainment, Ramin Karimloo, Mercy Productions, Wojita Productions, and AnnJen Productions.
The Women’s Prize for Playwriting – produced by Ellie Keel Productions and Paines Plough – today announces the 41 longlisted scripts for its 2025 award, selected from a record-breaking 1,275 submissions. The Prize also launches Future Light, a new talent development programme designed to support the longlisted playwrights on their creative journeys.
Future Light offers longlisted playwrights one-on-one dramaturgical support, writing workshops led by leading UK playwrights, and a dedicated Futures Day of industry-focused sessions in Spring 2026. Supported by Arts Council England, Future Light will be the most detailed and expansive feedback and development programme offered by any literary prize in the UK.
Launched in 2019, the Women’s Prize for Playwriting celebrates and supports exceptional female and non-binary playwrights, and campaigns for their plays to be presented on national stages in the UK and Ireland. The Prize is awarded to a full-length play – defined as over 60 minutes in duration – written in English. The First Prize-winning play receives £20,000 in respect of an option for Ellie Keel Productions, Paines Plough, and Sheffield Theatres to co-produce the play. The prize is sponsored by Samuel French Ltd, a Concord Theatricals company, the official publishing partner of the prize.
The 2025 winner will be decided by a judging panel chaired by Director of the National Theatre, Indhu Rubasingham, and will be announced at a ceremony in London in February 2026.
Ellie Keel, Founder Director of the Women’s Prize for Playwriting and Charlie Coulthard, Literary Manager of the Women’s Prize for Playwriting today said, “These 41 exceptional plays represent the top 3% of a record-breaking 1,275 submissions — our highest number to date. We are deeply impressed by their extraordinary range, level of craft, and ambitious scope, which reflect the remarkable talent within this year’s cohort.
We’re also thrilled to announce Future Light, a new talent development programme supported by Arts Council England. Designed to support the writers on our longlist, Future Light marks a significant step forward in WPP’s commitment to fostering excellence and expanding opportunities for female and non-binary writers for the stage in the UK and Ireland.”
Katie Posner Joint Artistic Director of Paines Plough added, “It has been an amazing, record-breaking year of submissions to the Women’s Prize for Playwriting, and we’ve read stories that have travelled the world and taken in a breathtaking range of human experience. It’s a joy to have read and advocated for these long-listed writers, and we can’t wait to keep these writers close as we invite them to join the exciting Future Light scheme.”
The longlist in full is:
Wold Meteor by Kate Attwell
Weeping Woman by Ellen Bannerman
The Fingerprint Bureau by Sonali Bhattacharyya
while we burn by Olga Braga
An Effigy Burningin the Arctic by Mareth Burns
HIDE AND SEEK WITH JIMMY LING by Naomi Sumner Chan
Ordinary Time by Evie Chandler
I LOVE STRANGERS by Nurit Chinn
Hefted by Eireann Devlin
Sapling by Georgina Duncan
THE (YELLOW) WALLPAPER by Phoebe Eclair-Powell
Fucking Jane Austenby Billie Esplen
Froggy by Sasha Frost
A Patent Lie by Sarah Jane Gordon
Exceptional by Afsaneh Gray
First Gravedigger by Kayleigh Mai Hinsley
THREE BOYS by Danielle James
Unbirth by Christy Ku
Down Side Up by Mei Leng Yew
Northern Folk by Natalia Lewis
Witch Play by Cordelia Lynn
A Straw House by Jane McCarthy
Car Crash by Sarah Ann McCay
Am I Next? by Rachel McKay
We’re Gonna Kill Billy by Alex Medland
To The Earth You Shall Return by Hannah Mirsky
A to B by Tia-Renee Mullings
Yes Chef by Laurie Ogden
If The Sea Should Part by Chloe Palmer
VENUS: The Body by Sadie Pearson
A Bit Salty by Mwansa Phiri
CROSSINGS by Hannah Salt
Przewalski’s Horses by Silva Semerciyan
A Search for the End by Stef Smith
WHAT I THINK OF MY HUSBAND by Amy Tobias
Slime by Rachel Tookey
Belongings by Jane Upton
Up in the Mango Trees by Britny Virginia
THE ROOM by Manjinder Virk
Wide Open Spaces by Jane Wainwright
The Children of Glyndwr by Emily White
Chaired by Director and Co-Chief Executive of the National Theatre Indhu Rubasingham, the judging panel also includes Literary & Development Associate at Wessex Grove Kat Pierce, directors Milli Bhatia and Alice Hamilton, actress Romola Garai,Literary Agent Mel Kenyon, Artistic Director of Bristol Old Vic Nancy Medina, the National Theatre’s Director of New Work Nina Steiger, and Guardian Editor-in-Chief Katharine Viner.
The Women’s Prize for Playwriting has previously been awarded to Amy Trigg for Reasons You Should(n’t) Love Me, Ahlam for You Bury Me, and Karis Kelly for Consumed. These works have gone on to national productions and critical acclaim, with Consumed recently completing a hit UK tour and sold-out run at the Traverse as part of Edinburgh Festival Fringe, and a transfer to the Lyric Belfast and Park Theatre announced for Spring 2026. The most recent winner, Sarah Grochala for Intelligence, is currently in development with Paines Plough and Ellie Keel Productions.
THE ARTS THEATRE ANNOUNCES SLEEPING BEAUTY CAST AND MATT CROSBY’S TWENTIETH YEAR IN CAMBRIDGE
THU 27 NOV 2025 – SUN 4 JAN 2026
The Arts Theatre Cambridge is thrilled to announce the cast and creative team for this year’s spectacular Christmas pantomime Sleeping Beauty, celebrating reopening after a transformational redevelopment project and resident dame Matt Crosby’s twentieth year on the Arts Theatre stage.
Matt Crosby honours his twenty years performing in The Arts Theatre Cambridge pantomimes by starring as Nanny Nutkins. Over two decades Crosby will have performed over 1,200 performances to over half a million audience members and is adored by families of all ages across Cambridgeshire.
Rachel Tackley and Victoria Beechey, Co-Chief Executives of The Arts Theatre Cambridge say: “For two decades Matt Crosby has given The Arts Theatre pantomime joy, laughter and sparkle. We’re delighted to celebrate this major milestone and his contribution to The Arts with him – our Dame who is the Queen of the panto!”
Steven Roberts returns to star as Happy Harry, following his UK Pantomime Award-winning performance as Wicked Stepsister Tess in 2024’s Cinderella.
Joining the cast are a host of West End performers including Tricia Adele-Turner (Stranger Things: The First Shadow), Matt Harrop (The Phantom of the Opera), Tanisha Butterfield (Mamma Mia!), Joseph Hewlett (Madagascar the Musical) and Daisy Twells (Heathers).
Completing the cast are ensemble dancers Taylor Alman, Charlie Barnard, Danielle Cato, Oliver Imeson, Sophie Karaolis and Morgan Broome.
Chris Jarvis, celebrated Cbeebies and BBC actor, presenter and writer has written the script. Appearing on screens in the early 1990s on children’s television, Jarvis presented alongside names like Zoe Ball and Dominic Wood. Jarvis was part of the original CBeebies presenters in 2007 and has performed and written numerous TV shows since. Since 1995 Jarvis has written pantomimes for both stage and screen and makes his Cambridge writing debut for Sleeping Beauty.
Sleeping Beauty is directed by Michael Gattrell (Mother Goose, Cinderella).
Sleeping Beauty opens on Thursday 27 November 2025 and runs until Sunday 4 January 2026. For more information and ticket prices visit www.artstheatre.co.uk.
Nottingham Theatre Royal – until Saturday 18 October 2025
Reviewed by Louise Ford
5*****
You are in for an absolute treat
This autumn’s offering from Northern Ballet is Merlin, it is a magical story of battles, gods and dragons. No boring knights and static round tables here.
If I’m honest, I wasn’t sure that I really remembered the story of Merlin, but a glance through the program soon put me in the picture.
The ballet is choreographed by Drew McOnie with the superb music by Grant Olding. McOnie created the ballet relatively recently in 2021. The fantastic costumes and sets are by Colin Richmond. The illusions and magic are by Chris Fisher. The lighting by Anna Watson. And finally, the puppetry is by Rachael Canning. This amazing and talented group brings to the stage a magical story that is both touching and grand in its scale and execution.
The opening set is viewed through a golden frame, which sets the tone and colour way for the whole production. It is a stylish gold and black with a powerful golden circle dominating the stage. We are transported to the world of the gods, Merlin’s divine parents, the Lady of the Lake (Gemma Coutts ) and Helios, the Sun God (Bruno Serraclara). Together, they create a shining orb of light which falls to earth. A young blacksmith (Heather Lehan) chances upon the orb and discovers a baby. She adopts the child and brings him up as her own. The young child is Merlin (Harris Beattie). Merlin works in the forge and helps to make weapons for the Solar Kingdom. His adopted mother encourages him to hide his strange magical powers as she fears they will attract the wrong kind of attention.
The story moves between the humble forge to the Court at Camelot. Camelot is no stuffy, dull grey castle it is rather an Egyptian-inspired golden temple. The city of the Solar Kingdom. The Solar Kingdom, which is led by King Vortigen (Miguel Teixeira) and his son Uther (Jackson Dwyer), is at war with the Kingdom of Tides. The added twist is that Uther is in love with Princess Ygraine (Saeka Shirai) of the Kingdom of the Tides.
The costumes for the Solar Kingdom soldiers are golden and unisex, with cut-away skirts which allow for flowing movements. The Kingdom of Tides are dressed in shades of blue and turquoise, as befits their name. Their costumes are more free-flowing and liquid, which allows for some amazing acrobatic dancing.
The role of Morgan is played by Sarah Chun, who is an absolute powerhouse. She is chosen by the King to lead the soldiers into battle, seduces Merlin and steals his power, is infatuated by Uther and finally transforms into the fearsome Morgan le Fae. Crikey! The puppetry operated by Archie Sherman for the dragon and, I think, Helen Bogatch and Alessia Petrosino for the dogs, adds another dimension to the production.
The energy and joy from the Northern Ballet ensemble is palpable. The whole cast is mesmerising as they weave the story of Gods, magic and love across the stage.
Prince Edward Theatre, London – until 28th February 2026
Reviewed by Phil Brown
3***
According to the programme, Michael Jackson (MJ) has sold 1 billion records, been inducted into the Rock and Roll Hall of Fame twice, and his 1982 album Thriller (the sixth) is the best selling album of all time. What happened to Don’t Stop Til You Get Enough… ?
Now, we have the Michael Jackson Estate approved MJ The Musical – a 2+ hours blockbusting examination of Jackson’s preparations for the 1992 Dangerous World Tour (27 June 1992 – 11 November 1993) which went on to gross well over $200 million in today’s money. MJ was at the peak of his career by then – the true King of Pop. And to be fair, he was making significant philanthropic interventions which get several mentions in the course of the show.
As other reviewers have commented – this show is criminally smooth, but for me, impressive as it is, it’s no thriller. The creative team has really thrown the kitchen sink at the production (director – Christopher Wheeldon) – wonderfully realised staging and sets (scenic designer – Derek McLane), glittering costumery (Paul Tazewell), lush orchestrations (Jason Michael Webb) and the most extravagant use of neon this side of Las Vegas (lighting designer – Natasha Katz). And the performance on the night was immaculate with top notch dance routines and signature moves executed to perfection (choreography – Christopher Wheeldon), well delivered vocals, and fine musicianship (music director – Sean Green). In particular the MJ lead actor (the effortlessly masterful Jamaal Fields-Green) carries the show superbly. His song and dance is dazzling. It’s undoubtedly a visual and sonic spectacle, but this multi Tony award winning musical nevertheless falls below expectations and on occasion veers dangerously (no pun intended) towards tedium.
There probably isn’t a single reason for this, but ironically it felt like some soul has been sacrificed for cleverly packed content (40 songs are listed!) and general on-stage hyperactivity, especially in the first act. And whilst the rehearsal room context implies pressure on all performers, the show seems to be a serious joy free zone rather than a full on celebration of Jackson’s music.
Whilst I’m reasonably familiar with MJ’s career and hit records, I don’t know his music in any depth, and it’s pleasing the show has been so revelatory with respect to the quality of MJ’s songwriting. The choice of songs is excellent but it is frustrating that (a) some are just short snatches rather than full performances, and (b) they are not even listed in order of performance in the programme. Some reprise of songs takes place across the two acts.
There is a certain logic to staging the show in the rehearsal room – it’s the obvious place to roll out an artist’s catalogue without necessarily having robust linkings, however, almost by definition it introduces a repetitive element to the show. In addition, there is a “device” in the form of a small press crew trying to make a documentary of the famously press shy MJ during the rehearsals. Whilst their probing introduces an element of jeopardy for Jackson around his pill usage, it eventually fizzles out and you wonder whether it was just an unnecessary complication.
There isn’t much of a narrative arc to the story either. A fair portion of Act 1 covers back story, although The Jackson 5 is covered in slightly perfunctory fashion with three songs (The Love You Save, Want You Back and ABC) sung (and danced) delightfully by “Little Michael” (Benjamin Miglioli on the night).
We learn that Michael’s Dad Joseph (brilliantly played by Matt Mills) is a seriously tough task master (“you want more than cabbage on your dinner plate, you gotta earn it” and “my hand ain’t nearly as heavy as the world gonna be on your black ass when you step out of line”). This sequence was followed by one of the show highlights – a terrific duet (I’ll be There) between “Little Michael” and his Mum Katherine (the hugely talented Lydia Sterling on the night).
This leads to segments about MJ’s split from Motown’s Berry Gordy and subsequent collaboration with Quincy Jones across the three key albums that propelled him to superstardom – Off the Wall (1979), Thriller (1982), and Bad (1987). Confusingly, a teenage Michael Jackson (well played by Mitchell Zhangazha) appears during these segments singing You Can’t Win, I Can’t Help It, Keep the Faith, and Wanna Be Startin’ Somethin’ (another Act 1 highlight) and is sometimes on stage at the same time as the older MJ.
Back in the rehearsal room, MJ has inherited his father’s insecurity/perfectionism and work ethic, proving to be every bit as relentless a task master as Joseph. In particular, don’t plan on confronting him with problems, bring him solutions. He needs his team to say “yes” to him without fail (it’s his favourite word). None more than his financial controller Dave (Michael Conley) who rather like Charlie Ireland in Clarkson’s Farm is always the bearer of bad news about the venture’s finances. The back and forth on MJ’s quest for perfection and the resultant costs is a recurring theme which wears somewhat thin.
Act 2 improves on Act 1 with a clearer trajectory – less timeline and personnel confusion, less repetition and more highlights, opening with two sparkling set pieces – Billie Jean, and Smooth Criminal. It covers MJ’s fireworks accident when shooting a Pepsi commercial (“I don’t even drink Pepsi”) resulting in severe burns, surgeries and pain killer dependence, before moving onto a prolonged closing sequence of several more show stopping songs of which Human Nature, Bad, Thriller and Black on White were particular highlights.
Despite my reservations, MJ The Musical is still a good night out, but potentially frustrating for die-hard MJ/jukebox musical fans. I left full of awe and admiration for the teams of people involved in putting together and performing such a rich and well drilled show – MJ would have been proud of the precision and attention to detail – I was disappointed by the scattergun and abbreviated approach to the music and the complexity and repetition involved in the story telling.
