The Royal Shakespeare Company‘s adaption of The Constant Wife comes to York Theatre Royal for one week only and is one not to be missed. Starring the fantastic Kara Tointon, best known for her role as Dawn in over 300 episodes of Eastenders. This version of The Constant Wife has been adapted from W Somerset Maugham’s original play by Olivier award winner Laura Wade to bring the play in to the modern world.
The play opens with Bentley (Philip Rham) the Middleton family butler showing Constance’s (Tointon) mother and sister in to the house. They soon begin arguing about whether or not to tell Constance about her husband’s affair with her best friend Marie-Louise. Constance’s sister Martha (Amy Vicary-Smith) is determined to tell Constance the truth, so she can confront her husband, but her old fashioned mother (at this performance played by understudy Jane Lambert) is determined Constance doesn’t find out. It’s just part of a marriage and men are not expected to be monogamous.
After a confrontation involving Marie-Louise’s husband Mortimer (Jules Brown) the inevitable showdown occurs between Constance, husband John (Tim Delap) and Marie-Louise (Gloria Onitiri), with Constance having to decide whether to forgive the betrayal of those closest to her, ask for a divorce or plot her own method of revenge. Poor Bernard Kersal (Alex Mugnaioni) is also a witness to the drama, having arrived to take Constance to the theatre at precisely the wrong time, although could this be his opportunity to finally win Constance’s affection for himself after years of pining.
The set is cleverly designed, with a mesh backdrop revealing stairs to give the illusion of a large house behind the scenes, set only in one room small alterations are made for flashback scenes.
A great job is done of making it easy and clear for the audience to follow along and understand who’s who and what’s going on, with a recap written in to the story at the beginning of the second act to make sure everyone is up to speed.
The Constant Wife is funny, set in the 1920s it is still able to resonate today and is a joyous and upbeat night out despite the themes of infidelity and betrayal. Kara Tointon gives a standout 5 start performance and is wonderful as are the rest of the cast, delivering their lines and creating a dramatic environment with ease.
If you get the chance this feel good play is one not to be missed and is great for women’s empowerment, showing being around for a few more years doesn’t make you more knowledgeable in matters of the heart.
After a series of triumphant, award-winning, sold-out Australian seasons — including a five-star run at the Sydney Opera House — Yentl, Kadimah Yiddish Theatre’s bold and acclaimed new adaptation of Isaac Bashevis Singer’s story today announces its final casting for its international premiere at Marylebone Theatre from 6 March 2026 for a strictly limited run until 12 April with a press night on 11 March.
Ashley Margolis will play ‘Avigdor’, with Claire Morrissey joining the company as understudy ‘The Figure’, and Michali Dantes as understudy ‘Avigdor’. They join previously announced cast members Amy Hack (After The Trial, Ten Pound Poms, The Secret She Keeps) as ‘Yentl’, Genevieve Kingsford (Leo, Chopper: The Untold Story) as ‘Hodes’, and Evelyn Krape (Babe, Blue Heelers, Flying Doctors) as ‘The Figure’, with Kandice Joy (Utopia, Fat Tony & Co) as understudy ‘Yentl/Hodes’.
Ashley Margolis’s theatre credits include ‘Darwin’ in Anna Ledwich’s production of The Billionaire Inside Your Head (Hampstead Theatre), Richard Dreyfuss in The Shark Is Broken (UK & Ireland Tour), ‘Telephone Guy’ in Michael Longhurst’s Olivier-nominated production of The Band’s Visit (Donmar Warehouse), Liam in Bad Jews (Arts Theatre, West End), and ‘Chip’ in Disney’s Beauty and the Beast (Original UK Tour). Television credits include Silent Witness, Brassic (Series 6), Father Brown, The City & The City, Comedy Playhouse, Some Girls, Anne Frank: A Life in Hiding and Disney’s Vikingskool. Film credits include A Christmas Number One, Moon Rock, The Doll’s House and the Audience Award–winning short film Two Minutes (BFI London Film Festival 2024). Radio credits include Almonds and Raisins (Series 2), Stormy Applause, Franz and Felice, Trust, Ghost Kitchen, Lenin Forever!, Chicken Soup with Barley, Zola: Blood, Sex and Money, Paradise Lost, Marcovaldo and Women in Love.
Claire Morrissey trained at the Royal Academy of Music, London. Theatre credits include ‘Elizabeth’ in Gaslight (English Theatre Hamburg), understudy ‘Winnie’ in Beckett’s Happy Days (Riverside Studios), directed by Sir Trevor Nunn, understudy ‘Mrs Elton’ in The Deep Blue Sea (Haymarket Theatre), various roles in the long-running NewsRevue (Canal Café Theatre), ‘Clarissa’ in Sin & Salvation by the Heather Brothers (Realto Theatre, Brighton), ‘Hermione’ in A Winter’s Tale (Tabard Theatre), Soloist/Group Singer in An Enchanted Evening (Theatre Royal Drury Lane), and ‘Oolie’ in City of Angels (Royal Academy of Music). Television and film credits include ‘Eva’ in Inflicted Kindness (short film), a schoolteacher in three episodes of Doc Martin (ITV), ‘Marsha’ in Bona Vacantia (short film, runner-up for Best Emerging Talent at the Renaissance Film Festival), and Sara Forster in Casualty (BBC One).
Michali Dantes is a British actor and actor-musician of Jewish-Greek descent, trained at the Royal Conservatoire of Scotland. Credits include Jesus Christ Superstar (Watermill Theatre), Cable Street (Marylebone Theatre), Dick Whittington (Queen’s Theatre Hornchurch), First Date (Old Joint Stock Theatre), Not Even the Dogs (Old Red Lion Theatre), Go (Upstairs at the Gatehouse), and The Jungle Book (S4K International).
Yentl is a bold and contemporary reimagining of Singer’s revolutionary tale, staged bilingually in Yiddish and English. Set in an 1870s Polish shtetl, it follows a young woman who, forbidden by Orthodox law from studying Jewish scripture, disguises herself as a man and steps into a world of learning, love and moral conflict. As her pursuit of knowledge deepens, faith, gender, desire and tradition collide, propelling her toward a destiny that challenges every boundary.
The production is directed and co-written by Gary Abrahams with co-writers Galit Klas and Elise Hearst, with set and costume design by Dann Barber, lighting design by Rachel Burke, and original composition and sound design by Max Lyandvert. Yiddish translation is by Professor Rivke Margolis.
Gary Abrahams said, “This isn’t Yentl as you know it. This production reclaims Isaac Bashevis Singer’s original Yiddish short story and reconnects it with its darker and more transgressive roots.Singer’s spirituality sings throughout, conjuring a world full of dybbuks, demons and ghosts. We are thrilled to have our international premiere in London, a city whose artists, playwrights and directors have been hugely influential to my own work.”
Under the leadership of award-winning directors Evelyn Krape (Artistic Director) and Gary Abrahams (Executive Director), Kadimah Yiddish Theatre (KYT) has re-emerged as one of Melbourne’s most courageous and thought-provoking theatre companies. As the only contemporary bilingual Yiddish-English theatre company in Australia and one of only a handful worldwide, KYT is known for telling urgent, universal stories through a distinctly Yiddish lens.
The Kadimah has championed Yiddish language, culture and theatre since its establishment in Melbourne in 1911 and staged its first in-house production in October 1925, making Kadimah Yiddish Theatre the oldest theatre company in Australia. The London international premiere of Yentl is a major highlight of its 100th anniversary year.
Yentl is presented and managed in the UK by award-winning international production company Wild Yak Productions (The Mongol Khan, London Coliseum; Slava’s SnowShow, West End & UK Tour; What We Talk About When We Talk About Anne Frank, Marylebone Theatre) in association with Counterminers CIC, a younger production company focused on artistic development and industry outreach.
“I never knew Charles Dickens could be so much fun.”
We had the absolute delight of watching the opening night of Charles Dickens’ “David Copperfield” at the Theatre Royal Windsor, adapted and directed by Abigail Pickard Price to be portrayed by an exceptional cast of 3!
The play successfully re-tells the story of David Copperfield, a boy born into unlucky circumstances and passed between family and friends, and fiends, through the decades of his life. And it achieves this beautifully using only the 3 actors and a simplistic stage set.
The story takes place across many locations, across the ages, using the same simple stage set, but with tiny adaptations and furniture moves, manipulated by the cast “in-flight” during the play itself. Suitcases become tables and chairs, and then a staircase and then occasionally even suitcases. Storage chests become dining tables and then rocks on a sea coastline. It is remarkable how everything on stage is used repeatedly for more new and imaginative purposes.
Which brings me to the exceptional cast.
Eddy Payne plays the part of David Copperfield, probably the easiest part of the show given he only plays the one part, but to his credit – he does narrate the entire story from start to finish, seemingly reproducing most of the 370,000 word original book. Louise Beresford plays many many roles, including David’s mother, his eccentric aunt, his loves and not forgetting Uriah Heep. Luke Barton again plays many many roles, including Pegotty, Ham, and Mr Micawber.
With only the 3 cast, you would have assumed the adaption would ensure only 3 characters appeared on stage at any one time, but there were scenes with as many as 5, all conversing with each other and adding to the humour delivered by the bucket loads.
I won’t give away how the actors change roles, nor how they portray more than one character at a time, that in itself is a wonderful part of the fun and humour of the whole play.
But I will say that, even though I’m not that familiar with the original Charles Dicken’s book, I’m pretty sure it was never as funny and delightful as the version created by Abigail tonight. Indeed, I never knew Charles Dickens could be so much fun.
This is a must-see play, it closes in Windsor on Jan 24th, do not miss it.
Producers Barry & Fran Weissler and David Ian for Crossroads Live are delighted to announce further casting for the UK and Ireland tour of the smash hit romantic musical comedy WAITRESS, with stage and screen stars Les Dennis as Joe and Sandra Marvin as Becky, and West End star Evelyn Hoskins as Dawn.
They join the previously announced multi award-winning West End star Carrie Hope Fletcher as Jenna, opening at the New Wimbledon Theatre from Saturday 28 March 2026.
Further casting to be announced in due course. waitressthemusical.co.uk
Les Dennis is one of the UK’s best-known entertainers with a career in showbusiness spanning over 50 years. His West End credits include Inside Number 9: Stage Fright at the Wyndham’s Theatre, Grandad Trotter in Only Fools and Horses The Musical at the Theatre Royal Haymarket, Wilbur in Hairspray opposite Michael Ball at the London Coliseum, King Arthur in Spamalot, Amos Hart in Chicago and Bill in Me and My Girl. His touring theatre credits include 42nd Street, Art, Legally Blonde, High School Musical 2 and Uncle Fester in the musical comedy The Addams Family. His many TV credits include Michael Rodwell in Coronation Street and a fictional version of himself in Extras.
Sandra Marvin returns to the role of Becky having previously starred in Waitress both in the West End and on tour. Her many theatre credits include Rabby in Fat Ham at the RSC, Angelique in the UK and Ireland tour of & Juliet, Martha in White Christmas at Sheffield Theatres, Deloris Van Cartier in Sister Act both in the West End and UK tour, Mrs Fezziwig/Mrs Mops in A Christmas Carol at the Dominion Theatre, City of Angels and Committee at the Donmar Warehouse, Miss Motormouth Maybelle in Hairspray at the Shaftesbury Theatre, Queenie in Show Boat at the New London Theatre, Rose in Stepping Out at the Vaudeville Theatre, Porgy and Bess at the Savoy Theatre and Ragtime and A Midsummer Night’s Dream at Regent’s Park Open Air Theatre. Her other credits include Bagdad Café at the Old Vic Theatre, Romantics Anonymous at Bristol Old Vic and on tour in the US and Mama Morton in Chicago at Leicester Curve. On screen Sandra is known for playing Jessie Grant/Dingle in Emmerdale and Patricia Williams in Call the Midwife. In 2016 Sandra performed with Kate Bush on her 22-date sold-out Before the Dawn concerts and features on her live album of the same name. Sandra also sings the title track on the Grammy Award winning soundtrack for the George Clooney film, Gravity.
Evelyn Hoskins returns to the role of Dawn having previously starred in Waitress both in the West End and on tour. She most recently reprised her role of Carol Van Deusen in 42 Balloons at the Chicago Shakespeare Theatre, having previously played at the Vaudeville Theatre and Lowry, Salford. Evelyn’s other stage credits include Something Rotten! in concert at the Theatre Royal Drury Lane, Gyspy at the Mill at Sonning, Carrie at the Southwark Playhouse, as well as originating the role of Thea in the London production of Spring Awakening at the Lyric Hammersmith and Novello Theatre.
Carrie Hope Fletcher is an actress, author and vlogger. Her many theatre credits include Jovie in Elf the Musical at the Aldwych Theatre, the title role in the UK and Ireland tour of Calamity Jane, Cinderella in Andrew Lloyd Webber’s Cinderella at the Gillian Lynne Theatre, Veronica Sawyer in Heathers at the Theatre Royal Haymarket and Wednesday Addams in The Addams Family UK and Ireland tour, all of which won her a Best Actress in a Musical award at the WhatsOnStage Awards. Further credits include Once – In Concert at the London Palladium, Treason – The Musical Concert at the Theatre Royal Drury Lane, Elizabeth in The Crown Jewels at the Garrick Theatre and on tour, Grusha in The Caucasian Chalk Circle at the Rose Theatre, Fantine in Les Misérables: The Concert at the Gielgud Theatre, Eponine in Les Misérables at the Queen’s Theatre, winning a WhatOnStage award for Best Takeover in a Role, and Beth in Jeff Wayne’s War of the Worlds arena tour.
WAITRESS is based on the 2007 movie written by Adrienne Shelly. Music and lyrics are written by GRAMMY award-winning, singer-songwriter sensation Sara Bareilles. With a book by Jessie Nelson, direction by Tony-award winner Diane Paulus and choreography by Lorin Latarro, Waitress has garnered multiple awards and nominations in both America and the UK, receiving acclaim from both audiences and critics alike.
Celebrating 10 years of production, WAITRESS opened on Broadway on 24th April 2016 at the Brooks Atkinson Theatre, where it ran until 5th January 2020. Waitress celebrated its official opening night at the Adelphi Theatre in London’s West End on 7th March 2019. The show has gone on to global success with further productions in North America, Japan, Holland, a French language production in Canada, a Spanish language production in Mexico, and coming this spring of 2026 an Australian production in Melbourne and Sydney.
WAITRESS tells the story of Jenna, an expert pie maker in a small town, who dreams of a way out of her loveless marriage. A baking contest in a nearby county and the town’s new doctor may offer her a chance at a new life, while her fellow waitresses offer their own recipes to happiness. But Jenna must find the courage and strength within herself to rebuild her life. This beautiful musical celebrates friendship, motherhood, and the magic of a well-made pie.
Book by Jessie Nelson
Music and Lyrics by Grammy Award-winner Sara Bareilles
Based upon the motion picture written by Adrienne Shelly
Directed by Tony Award-winner Diane Paulus
WAITRESS was originally produced by Barry & Fran Weissler and Norton and Elayne Herrick. The tour is produced by Barry & Fran Weissler and David Ian for Crossroads Live.
New Adventures is delighted to announce that Matthew Bourne’s CINDERELLA will return for an extensive 2026-2027 UK tour in celebration of its 30th anniversary.
The tour will open at Theatre Royal Plymouth (16 – 21 November 2026) before playing Lowry, Salford (24 – 28 November 2026), ahead of the annual Christmas season at Sadler’s Wells (1 December 2026 – 17 January 2027), marking New Adventures’ 24th Christmas season at the venue. CINDERELLA will then embark on an extensive tour for 2027, with tour venues and casting to be announced soon.
One of New Adventures’ most popular and beloved productions, Matthew Bourne’s CINDERELLA is a thrilling and evocative love story, set in London during the Second World War. This epic interpretation of the classic fairytale, has, at its heart, a true war-time romance. A chance meeting results in a magical night for Cinderella and her dashing young RAF pilot, together just long enough to fall in love before being parted by the horrors of the Blitz.
Matthew Bourne said today:“Nearly thirty years ago, our Cinderella became the first (and only) ballet ever to premiere directly in the West End of London, starring Adam Cooper, Sarah Wildor, Will Kemp and Lynn Seymour. Apart from a triumphant run in Los Angeles in 1999, it did not go on its first UK Tour until the production was completely revised, with spectacular new design, lighting and surround-sound in 2010.
This story has always held a very special place in my heart. My parents were both children of the London Blitz, living streets apart from each other in the bomb-battered East End. It’s also a tribute to the spirit and resilience of my hometown but mostly it’s about love, the power of love to transcend troubled times and give hope for a better future. In fact, this could be the show that we all need right now. I look forward to welcoming you all to the Ball later this year.”
With Lez Brotherston’s glorious Olivier Award-winning designs, lighting by Olivier Award-winning Neil Austin and video and projection designs by Duncan McLean, CINDERELLA features sensational sound design by Paul Groothuis which will take the audience into the heart of Prokofiev’s magnificent score, and the sights and sounds of war-torn London.
CINDERELLA is both a tribute and a testament to the spirit of London during a time when every second counted and lives were changed forever. Bourne’s vivid storytelling has never been more heart-stopping and touching, creating a unique and unforgettable depiction of a familiar but timeless fable.
As someone who has never seen the original production, I can honestly say Miss Saigon: The Legend Reborn blew me away – I was moved to tears within the first 5 minutes and didn’t stop until the final curtain fell on a completely full house.
The show tells a sweeping story of love and struggle set against a turbulent period in Southeast Asia, focusing on how ordinary lives are pulled apart and shaped by extraordinary circumstances. No spoilers, but prepare for an emotional rollercoaster.
From the start, the production is breathtaking. Under Jean-Pierre van der Spuy’s direction and overseen by Cameron Mackintosh and Michael Harrison, the staging balances intimate moments with epic scale. Bruno Poet’s lighting and George Reeve’s projections bring every scene to life, from gritty Bangkok streets to dramatic backdrops. The famous helicopter sequence is absolutely an incredible moment and a technical marvel that had the whole audience on the edge of their seats.
The performances were gut-wrenching and incredible across the board. Seann Miley Moore as the Engineer owned the stage with The American Dream – a full-on glittery number with a cynical twist that perfectly captured the character’s complexity. Julianne Pundan, making her professional debut as Kim, had stunning vocals and brings so much heart to the role. Jack Kane’s portrayal of Chris, torn between two worlds, was genuinely moving.
But for me, the standout moment was Dominic Hartley-Harris singing Bui Doi, joined by the ensemble – that song alone was enough to shatter my heart into pieces and set the tone for just how powerful this story is. The music by Claude-Michel Schönberg, with lyrics from Richard Maltby Jr, Alain Boublil and Michael Mahler, drives every emotion home without ever feeling overdone.
If you get the chance to see this tour, do not miss it – it is a masterclass in theatre that will stay with you long after you leave your seat.
Everyman Theatre, Cheltenham – until 24th January 2026
Reviewed by Jacqui Radford
5*****
Adapted by Nick Lane and produced by Blackeyed Theatre, this show is based on various works by Sir Arthur Conan Doyle, providing a new Sherlock Holmes mystery for everyone to get involved with.
The story is set in Victorian Britain and draws on the events and developments of that era, particularly espionage and world order. The scene is set at the beginning of the play, insinuating confusion and devastation, followed by a walk through the frantic ‘hunt for Moriarty’ that led to that point.
Watson provides familiarity and narrative, gradually drawing in the players that are key to the mystery that unfolds and adding in the essential formula that involves Sherlock Holmes. Together with Mrs Hudson, the housekeeper, the pair are swiftly engaged in supporting an urgent enquiry into a case of missing naval documents that leads to a trail of deaths and mysterious clues that Holmes deduces can only be the work of Moriarty himself. It soon becomes apparent that the race is not only on to find Moriarty but to get ahead of him, to prevent further devastation and political fallout.
The production itself is delivered by a small cast playing multiple roles, supporting set changes and moving swiftly from one scene to the next. This adds to the level of engagement with the entire plot and consequent commitment to solving the mystery.
The dynamic between Holmes, Watson and Mrs Hudson is enchanting, in that they have a shared commitment to solving the mystery laid out before them and a shared humour that breaks the tension. Mark Knightley, Ben Owora and Pippa Caddick have skilfully developed this dynamic, to a point that anyone would want to explore or revisit these characters in Doyle’s works.
The set design, swift scene changes and subtle lighting pull the audience in, creating an almost participatory experience. The whole production achieves a thrilling night out. If you are a Sherlock Holmes fan you will not feel short changed and if you are new to the scene, you’ll be curious to discover more.
Theatre Royal, Nottingham – until 24th January 2026
Reviewed by Chris Jarvis
3***
I was looking forward to seeing this play adapted from the 1992 film ‘Single White Female’ that had only recently come to my attention when a friend mentioned it as one of her favourite films of all time. She reminisced about a ‘90s hairstyle that she’d asked her hairdresser to copy. Intrigued, I watched the film and found it to be thrilling, with tension building as the story developed and some horrifying scenes.
This production is advertised as an adaptation of the film by Rebecca Reid. The film was set in America in an apartment of an old Neo-Gothic building with loads of character including a cranky old lift with a sliding collapsible gate familiar to old American films. I was surprised last night to see the set in a modern tower block of shoddily built flats near Elephant & Castle, London. A very English Lisa Faulkner who plays Allie, is unpacking her possessions with the help of her business partner Graham (Andro).
We learn that Allie is divorced from her husband Sam (Jonny McGarrity) due to his previous addictions and following an affair with a girl he met in rehab who is about to become his wife. Sam arrives to collect his 15-year-old daughter, Bella (Amy Snudden) and to inform Allie that he will be cutting Bella’s child support by half due to his new wife having his baby. Struggling to establish a new business Allie is barely keeping up with living expenses, so along with Graham decides to rent out her third bedroom. An advert – ‘Single White Female’ – is placed online with an immediate response from Hedy (Kym Marsh) who moves in. Her reasons for doing so develop and Hedy plays off each character against each other as in the film, though on stage her scheming seemed more obvious and maybe not so chilling.
The use of lighting and darkness added to the thrill, and I felt the strip lights surrounding the stage helped create atmosphere. The acting was excellent with each actor well cast and believable in their roles, particularly Amy Snudden who gave a brilliant performance. Bella didn’t exist in the film, but was the focus of Hedy’s plan in this play, so the adaptation did realise Rebecca Reid’s aim to keep some key elements while reimagining the story and bringing it into the era of mobile phones, social media and internet bullying. I felt it raised similar issues to the award-winning TV series Adolescence!
In many ways I wished I hadn’t already seen the film as despite really enjoying the first hour of the play, I couldn’t stop comparing it with the film. The iconic scenes in the film, particularly those high heels (!!), were left partly to the imagination which was chilling and frightening. On stage, these same scenes were played out in front of us and reminded me of a Brian Rix farce rather than a psychological thriller. I presumably wasn’t the only person thinking this as the second half unexpectedly had the audience laughing as each major event took place!
An enjoyable night and the audience reaction seemed positive.
Sheffield Lyceum – until Saturday 24th January 2026
Reviewed by Adam Craddock
5*****
Tonight myself and my very very own Ginger Rogers had the delight of being invited along to Sheffield Lyceum to review the touring production of “Top Hat” following its acclaimed run at Chichester Festival Theatre. This is a show I’ve never actually seen before but I’ve always wanted to, I love a classic old school MGM style musical and from everything I’d seen of this on social media it looked promising, and boy it did not disappoint!
Top Hat follows the smooth talking and even smoother dancing Broadway star Jerry Travers as he treads the boards in London for a limited run and falls in love with the fashion model Dale Tremont. I won’t spoil the plot but needless to say a farce ensues filled with brilliant comedy, gorgeous songs and astounding dance routines, just as you would expect from a show based on a classic Fred and Ginger movie!
Phillip Attmore stars as Jerry Travers. It may sound cliche but sometimes you watch a show and feel like a performer was created to play a certain part, and that is exactly how I felt about Attmore as Jerry. His charm, suaveness and flow of movement were all absolutely perfect for the role and I truly commend the casting team for finding an actor who can deliver this well on scuba difficult role. Lindsay Atherton (cover) was fantastic as Dale Tremont. Her ballsy portrayal was delightful and her dance duets with Attmore were beautiful, she had the most fabulous line! James Hume was absolutely brilliant as Horace Hardwick, having my partner snorting with laughter in the scene where he hides in the bedroom. His whole performance and lack of backbone were comedy gold! Kirsty Sparks (cover) was strong as Madge Hardwick, playing well off Hume as her husband. Alex Gibson-Giorgio was hilarious as Alberto Beddini. His eccentric performance as the Italian fashion designer was absolutely crazy and completely perfect for the role, particularly in his fabulous solo number. James Clyde was equally funny as Bates, showing that even if a character has limited stage time that doesn’t mean they can’t steal the scenes they are in. His interactions with Horace were particularly funny in the first act.
In terms of the production as a whole I have to say this is top notch. From the ensemble to the staging, lighting to costume everything was absolutely perfect… bar one thing. The whole first act in particular was plagued by mics dropping in and out, nothing turned on when someone would enter the stage and generally just sound issues. Whilst this didn’t ruin the show at all, I did miss some key lines of dialogue and some of my favourite numbers seemed very quiet indeed.
All in all, I would highly recommend a trip to Sheffield to see Top Hat if you’re fan of old school musical theatre or even just a fan of a good time. Just make sure you busy out your top hat, white tie and tails!
(Tuesday 20 January 2026) Sinatra The Musical-a new musical based on the life and career of the legendary artist and cultural icon – is to open in London in 2026.
Sinatra The Musical, which features over 20 timeless hits including That’s Life, One For My Baby, The Best Is Yet To Come & Come Fly With Me, is to begin performances at Aldwych Theatre, London on Wednesday 3 June 2026. Press Night will be Wednesday 24 June 2026.
It is New Year’s Eve, 1942, and a skinny 27-year-old Italian American singer is about to step onto the stage of New York’s Paramount Theatre and give a performance that will change music history. As Frank Sinatra’s career suddenly skyrockets, he struggles with balancing the love of his wife, Nancy, against the demands and temptations of being the most popular singer in America. But when he begins a torrid affair with movie goddess Ava Gardner, his records stop selling and the press turns against him, sending his career into a tailspin. Driven by his devotion to his family, Sinatra employs his peerless artistry and dogged determination to stage the greatest comeback in showbiz history.
Tina Sinatra commented:
“My dad used to always say, “If I can’t feel it, I can’t sing it.” As a result, he wasn’t just singing songs, he was recording an emotional diary of his life. And it’s these classic songs that form the heart of “Sinatra The Musical.” Set against the backdrop of my father’s meteoric rise, the show reveals a more intimate portrait of the man than any interview or headline ever could. And just like my dad, it’s full of music and passion and humour. I am so proud to share his story — our story — at long last.”
Sinatra The Musical is written by the two-time Tony award-winning writer Joe DiPietro (Memphis the Musical, What’s New Pussycat?), directed and choreographed by three-time Tony Award-winning Kathleen Marshall(Top Hat, Anything Goes) and the set is designed by Olivier Award-winning Peter McKintosh (Top Hat, When We Are Married). The orchestra of seventeen musicians will be supervised byGareth Valentine (My Fair Lady, 42nd Street). They are joined by Jon Morrell (Costume Designer), Bruno Poet (Lighting Designer), Jonathan Deans (Sound Designer), Akhila Krishnan (Video Designer), Campbell Young Associates (Wigs, Hair and Make-up Designer), Larry Blank & John Clayton (Orchestrators), Ian Eisendrath (Arranger), David Chase (Dance Arrangements), David Grindrod, CDG for Grindrod Burton Casting (Casting Director), Jim Carnahan (US Casting Director), Jason Thinger (US Casting (Carnahan)), and Carol Lee Meadows (Associate Choreographer).
Joe DiPietro has won two Tony Awards, a Drama Desk Award and three Outer Critics Circle Awards. His work has had thousands of productions around the world. His shows include Memphis (2010 Tony Award for Best Musical); Nice Work If You Can Get It (which received 10 Tony nominations,) All Shook Up (featuring the songs of Elvis Presley,) Diana (which can be seen on Netflix); The Toxic Avenger (OCC Award – Best off-Broadway Musical); Ernest Shackleton Loves Me (Off-Broadway Alliance Award – Best Musical) I Love You, You’re Perfect, Now Change (the longest-running musical revue in off-Broadway history,) as well as the much-produced comedies Clever Little Lies,Over the River and Through the Woods and The Last Romance. His comic thrillers include “The Art of Murder” (Edgar Award – Best Mystery) and his latest, “An Old-Fashioned Family Murder.” His adaptation of Sinclair Lewis’ novel “Babbitt” recently debuted at La Jolla Playhouse & DC’s Shakespeare Theatre Company and starred Matthew Broderick. He has two new musicals preparing for Broadway: 3 Summers of Lincoln (which recently debuted at La Jolla Playhouse) and What’s New, Pussycat? featuring the music of Sir Tom Jones (which recently debuted at Birmingham Rep.)
Joe DiPietro commented:
“When Tina Sinatra approached me about writing a show detailing the origins of her father’s genius, she gave me unprecedented access to her dad’s personal story. Tina’s willingness to share the trials and triumphs of her father’s life has enabled Kathleen, myself and this remarkable team of theatre artists to create the most revealing portrait ever told about the legend that is Frank Sinatra.”
Kathleen Marshall is a nine-time Tony Award nominee, winning three times for Best Choreography for the Broadway revivals of Wonderful Town, The PajamaGame and Anything Goes. She has worked on more than twenty Broadway shows and she is the first woman to have directed a play, directed a musical and choreographed a musical on Broadway. She received an Olivier Award for her choreography of the West End production of Anything Goes. Other UK credits include Top Hat (Chichester Festival Theatre and current UK tour) and SinatraThe Musical (Birmingham Rep). Off-Broadway and regional credits include the New York Shakespeare Festival, Second Stage, Transport Group, Williamstown Theatre Festival, The Old Globe, Long Wharf, Paper Mill,Hollywood Bowl, Boston Pops, Signature Theatre and St. Louis MUNY. Kathleen served as the Artistic Director for City Center Encores!for four seasons, during which time Encores! received a special Tony Award for Excellence in Theatre.
Her film and television credits include My Week with Marilyn (choreographer), Once Upon aMattress, The Music Man (choreographer) and “2 Broke Girls”. She has received three Drama Desk Awards, three Outer Critics Circle Awards, an Emmy nomination, the Astaire Award, the George Abbott Award, the Smith College Medal (her alma mater), the Pennsylvania Governor’s Award for the Arts and she has been named a Distinguished Daughter of Pennsylvania.
She was recently inducted into the Theater Hall of Fame.
Kathleen Marshall commented:
“I am beyond thrilled that we are bringing to the stage the extraordinary story of how Frank Sinatra’s incredible persistence in the face of adversity led to his becoming the astonishing artist that we all adore and admire. We look forward to creating an evening of theatre that is as sophisticated, stylish and sexy as Sinatra himself!”
Casting for Sinatra The Musical will be announced at a later date.
Sinatra The Musicalwas originally produced at The Birmingham Rep where it played a sell-out season in 2023.
Sinatra The Musicalis presented by Michele Anthony and Bruce Resnikoff for Universal Music Group Theatrical, Tina Sinatra and Charles Pignone for Frank Sinatra Enterprises, Executive Producer Scott Landis, Executive Producer Chris Harper and UK General Management by Short Street Productions Ltd. Co-Producers are Stephen Byrd,Richard Batchelder, Julie Boardman, Wendy Federman & Lisa Wolofsky, Simon Hunt, Willette and Manny Klausner, Victoria Lang, Larry Magid, Carl Moellenberg, Tom Perakos, Mark Rubinstein and Ken & Janet Schur.
Sinatra The Musical is the first of a series of new projects and initiatives developed by Frank Sinatra Enterprises in partnership with Universal Music Group, the world leader in music-based entertainment, that will help introduce new audiences and generations of fans to the timeless singer’s rich catalogue and superstar legacy.
