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York Theatre Royal – until Saturday 7th June 2025

Reviewed by Michelle Richardson

5*****

Matthew Bourne’s, The Midnight Bell, returns to the York Theatre Royal after a successful debut in 2021. Described as “intoxicated tales from the darkest Soho” and based on the novels of Patrick Hamilton. Set in the 1930’s, all the action centres around The Midnight Bell, a public house in Central London.

The stage is dark and misty, a lone figure dancing across the floor. Dropping onto a single bed, where he awakens, to find out he was only dreaming. He’s a bartender at The Midnight Bell, a local establishment frequented by an assortment of characters, longing for a connection, something more. In the bar we meet several characters, staring at the bottom of an empty glass. The barmaid, agrees to marry am older man after being spurned by the bartender, whose head is turned by a prostitute, an older lady, wooed by a dashing scoundrel, a tortured soul is tormented by an out of work actress, who has a wandering eye and a couple, whose attraction can’t be contained, all whilst trying to hide their secret, illegal relationship in a time when homosexuality was illegal.

Through the captivating choreography and expressive storytelling, the performance draws the audience into the moment. No words are spoken during the performance, the dancers’ movements convey the complex emotions and turbulent relationships. You can’t help with being enthralled with each step, each gesture, speaking louder than words ever can, as each artist moves effortlessly across the stage. The dancers weave together themes of hope, love, desire, anguish and heartbreak, the intertwining relationships exposed before our eyes.

The soundtrack is meshed with songs from the 30’s, which are mimed and completely depicts the era. The high-pitched sound, depicting the anguish of the tortured romantic whilst he is writhing on the floor, is very effective, though quite ear piercing.

On the stage table and chairs, a park bench come and go, as does the bar, the props are moved about with ease by the dancers, choreographed within the story. The use of window frames, a sign for a phone box being lowered and raised, lit up signs depicting rooms, dance hall and cinema, flicker on and off come in to play as the story unfold. The set design and lighting, casting shadows that evoke the mood, bring to life the sleaziness of Soho.

The Midnight Bell is a powerful piece of storytelling, especially the first act. The world class dancers, Cordelia Braithwaite, Glenn Graham, Michela Meazza, Andy Monaghan, Liam Mower, Bryony Pennington, Edwin Ray, Danny Reubens, Ashley Shaw and Alan Vincent, are thoroughly mesmerising in their physicality. The depths of their, skillful and graceful, performances negated the need for spoken words. I could hear the words beautiful being spoken after at least one dance, I couldn’t agree more.

This superb, contemporary dance, production from Matthew Bourne is playing in York until Saturday 7th June, before continuing its countrywide tour.

Theatre Royal, Windsor – until 14 June 2025

Reviewed by Joanna Huggett

4****

We had the pleasure of attending the opening night of ‘Doubting Thomas’ at the Windsor Theatre Royal, a new play written by their recently announced ‘Writers in Residence’ Catherine O’Reilly and Tim Churchill.

The play is about how a family deals with the effects of a court case in which their father Thomas, diagnosed with dementia, is accused of causing the death of a care home worker in which he resides. Having dementia means that Thomas is never interviewed, and hence the family never really knows what really happened, but as we shall discover, some know a great deal more than others.

The entire play is set in the lounge of the family home where the matriarch of the family, Jane Noble played by Felicity Dean, her daughters, Sara played by Claire Marlowe, and Anna played by Eva O’Hara, her grandson Ben, played by Louis Holland, her cousin Matt, played by Ben Nealon meet with the solicitor Karima Somani played by Nikki Patel and on a separate occasion with Thomas’ brother Peter, played by Gary Webster. They discuss the coming court case and later when Peter joins them, they are awaiting the jury decision.

It’s a well written story, well served by the scenery and exemplary acting from all involved, complimented by some well chosen musical segways courtesy of Thomas’ David Bowie record collection.

Despite the simple story line in which we know Thomas is going to be tried for manslaughter and is unable to defend himself due to his dementia condition, it is also clear that we have not been given all the facts. So as the story unfolds, and the family unravels, we can expect some twists and turns right to the very end.

It’s an intriguing and thought provoking watch, go see it before it ends on June 14.

Curve Theatre Leicester – until 7th June 2025

Reviewed by Amarjeet Singh

4****

Into the Woods, is a 1986 musical created by Stephen Sondheim and James Lapine. It takes four famous fairytales from the Brothers Grimm and intertwines them in an unexpected and entertaining fashion. Little Red Riding Hood, Jack and the Beanstalk, Cinderella and Rapunzel have their stories told from a different angle, using a childless couple, the Baker and his wife, to tie the tales together. The Baker and his wife must break a spell in order for them to have a child. To do this they must bring a Witch four objects: a cow as white as milk, a cape as red as blood, hair as yellow as corn and a slipper as pure as gold. In other words, they must intervene in all four fairytales to achieve their mission. Everyone is looking to find their happy ever after, but is it all that it’s cracked up to be?

This rendition of Into the Woods is performed by the Leicester Amateur Operatic Society, but there is nothing amateur about it. The vocals and performances are outstanding, the production values are sensational, and the passion is palpable. Director Russell Carrington has triumphed with pulling off this difficult to stage musical, along with musical director Jonathan Jarvis and choreographer Hollie Carrington, the show flows beautifully. With so much going on in every scene due to multiple stories playing out at once, it could be easy to become confused, but here it’s wonderfully balanced, with moments of stillness and clever spotlighting by David Hately. The 6-strong Orchestra played Sondheim’s stunning score with flair, enhancing the enchanting vocals and Carrington’s charming choreography.

The cast give a fantastic ensemble performance. Every one of them come together to give their all to the show. The Bakers’, Lisa Barnes and Dan Rowberry give a performance both comic and poignant in their quest to have a baby, singing and performing to perfection. Jacqueline Ardron’s growth as Little Red was interesting to watch. Softly spoken and sung at the beginning, she sparkled as her courage grew, connecting marvellously with Freddie Parkins as Jack. Ed Turner and Dan Brewer as Cinderella and Rapunzel’s Prince’s, respectively, are joyous in their buffoonery. Their ‘Agony’ duet full of self-pity, and self-absorbed woe is a comedy hit. The Woodland Nymphs, Jessica Clarke, AJ Collins, Georgia Eyres, Natalie Mee, Tasha Plummer and

Becki Smargiassi work tirelessly to add much to the production. They are highly effective at enhancing scenes, becoming birds, beds, bushes, anything wood like you can imagine. Natasha Ann Carr as Cinderella is terrific. Combining physical comedy in her many slips and trips over her slippers with her amazing vocals is quite the feat. Rapunzel is quite a small role, but Grace Bale’s voice is mighty. Her clarity and range are astounding. Packing a powerful punch, the emotion she brings to the role is fantastic. Her scenes with the Witch blew me away. The Witch left me speechless. Charlotte Emily Beaver embodies the role completely, from the hunched walk to the cackling laugh she is every inch the Witch. Commanding the stage, singing with power, precision and poise, she had the audience mesmerised with a myriad of emotions. Milky White the cow is a puppet maneuvered much like in performances such as Life of Pi. She is a majestic beast, and Hollie Carrington does a magnificent job bringing her to life.

This is a thrilling and thoroughly enjoyable presentation of Into the Woods. There is so much hard work and dedication that has gone into this show and the proof of this is in the sublime production and sensational performances. I wish you could all see this for yourselves…I wish…

Aylesbury Waterside – Wednesday 4th June & Thursday 5th June 2025

Reviewed by Rachel Clark

5*****

Absolutely hilarious – the whole theatre was up in laughter

This play is not to be missed. A production form Say it Again Sorry? The title Earnest? I will say I wasn’t too sure about and never seen the Oscar Wilde play The Importance of being Earnest, but you don’t need to have done. The play the Importance of being Earnest is a play written by Oscar Wilde which revolves around two friends who maintain separate identities in London and in the country to escape social obligations and pursue their romantic interests. This hilarious production was written by Josh King and Simon Paris.

Earnest starts with two actors on the stage Terry – Guido Garcia Lueches – a co-founder of Say it again sorry? And Graham played by Rhys Tees also a co-founder. They start the play and actor playing Earnest doesn’t come on stage on his prompt so the director – Simon Slough who is also the writer (alongside Oscar Wilde), director, Producer, Casting Director plus many more titles too many to list! decides to cast out of the audience.

Simon Slough is brilliant – well saying that the whole of the cast were faultless and funny. Simons picks a member of the audience to play Earnest, so lots of improvisation, with the great help from Terry and Graham. The audience were in tucks of laughter, but it doesn’t stop there as the show goes on there are more members of the audience cast.

I could merrily go and see it again tonight, knowing it will be a different audience with a different cast of theatre goers.

If you get a chance to get tickets, don’t hesitate – you will not regret going for sure!

CAST Theatre, Doncaster -until Saturday 7th June 2025

Reviewed by Adam Craddock

5*****

Tonight it was a pleasure to be invited along to the wonderful CAST Theatre in Doncaster for the first time to review Alan Bleasdale’s “Boys from the Black Stuff” by James Graham. The show follows a group of working class men from the Liverpool 8 postcode in 1982 as they try to keep their cash in hand side hustles quiet from the department of employment and try to navigate the twists and turmoil of their difficult employment situation.

George Caple leads the cast as “Chrissie”. Caple has a brilliant naturalism, something shared by the entire cast really, but his performance was so relatable, particularly in the latter parts of the show with his conflict about what to do. Jurell Carter was good as “Loggo”, with a real physical presence that at first glance made him stand out from the rest of the cast. You would not have thought that this production was his theatrical debut with how he commanded the stage. Ged McKenna was great as “George”, the real heart of the show and the emotional sounding board for the other characters. His unspoken wisdom was evident and it was a performance that was brilliantly subtle.

Mark Womack was exceptional as “Dixie”. He was brilliantly conflicted as a character, with his troubles at the docks played to perfection. Reiss Barber was great as “Snowy”, being extremely likeable and endearing with his socialist lectures feeling perfect for the setting. However, my absolute standout from the cast was Jay Johnson as “Yosser”. Johnson gave a marvellous physical and vocal masterclass in character work, with his dialed up performance never once dropping or feeling slightly unrealistic, despite how frankly ridiculous his character is. His emotional performance really moved me, in particular when it came to his children, and I can wholeheartedly say this is one of the best character performances I have seen live. Bravo!

The set and props for the production were absolutely perfect, with a beige hue to everything and a real industrial feel, welded metal lining the wings and shipping crates used to build set pieces. The set really surprised me for a play in terms of its production value and this really made some moments feel just that bit more immersive. The lighting and sound design were both spot on, nothing to extraordinary but making it feel brilliantly real.

Overall, I would highly recommend that you go and see “Boys from the Black Stuff” while it is in town. This is an absolutely fabulous production that is so relatable to us all in the north and I strongly feel should be seen by all.

Mayflower Theatre, Southampton – until 7 June 2025

Reviewed by Joanna Huggett

5*****

Last night, my daughter and I had the absolute pleasure of attending The Watermill Theatre’s production of Calamity Jane at the Mayflower Theatre—and what a memorable evening it was! From the moment we stepped inside, we were embraced by a wonderfully warm and welcoming atmosphere. The theatre staff were friendly and attentive, helping to set the tone for what would be an uplifting and thoroughly enjoyable night. The venue itself is a gem—beautifully maintained, spacious, and filled with charm. It provided the perfect backdrop for this lively and heartfelt performance.

The show opened with an energetic rendition of “The Deadwood Stage”, and from that very first number, the production had us hooked. The choreography was punchy and dynamic, drawing the audience in with its energy and flair. One of the aspects we particularly admired was the remarkable versatility of the cast. Not only were they impressive actors, but they also doubled as musicians, effortlessly switching between instruments and roles throughout the performance. It was a real showcase of talent and creativity, and it added a unique layer of intimacy and authenticity to the production.

While we found Act One enjoyable, we must admit that there were a few musical numbers we weren’t familiar with, and towards the end of the act, the pacing began to falter slightly. That said, any slight lull was more than made up for in Act Two, which really came alive with renewed energy and emotional depth. From the opening scenes to the curtain call, we were fully engrossed and entertained.

Two standout performances for us came from Vinny Coyle and Carrie Hope Fletcher. Coyle’s rendition of “Higher than a Hawk” was stirring and heartfelt, while Fletcher’s performance of “Secret Love” was nothing short of sublime—sung with such tenderness and control, it was a genuine highlight of the evening. The chemistry between the two was unmistakable and brought a real emotional weight to the characters’ developing relationship. Their connection felt believable and sincere, drawing us even further into the story.

Of course, staging a musical as beloved and iconic as Calamity Jane comes with its challenges. For fans of the classic film starring Doris Day and Howard Keel—ourselves included—it’s hard not to draw comparisons. That film holds a special place in our hearts as a family favourite. However, we can wholeheartedly say that this production more than rose to the occasion. It offered a fresh and spirited interpretation while staying true to the heart of the story.

We left the theatre smiling, humming the tunes, and full of admiration for what we had just seen. The show was a triumph of creativity, energy, and talent. It’s fair to say we’ll be talking about it for quite some time—and we were still singing the songs all the way home!

Lyceum Theatre, Sheffield – until June 7th 2025

Reviewed by Sharon Farley

5*****

“Keeps its secret hidden until the very end”

When Detective Superintendent Roy Grace reopens an old murder case involving an art dealer, we find ourselves along for the ride as two plot lines coil around each other into one winding thread, leading acrobatically to a double twist at the end. Whilst intriguing, this tale avoids being the standard whodunnit by instead becoming a where-is-it; enough clues are liberally scattered to make the villains quite obvious, but this distracts the audience from the actual mystery embedded in this cat and mouse chase to find a missing masterpiece. The drama is periodically lightened with a sprinkling of well timed laughs along the way.

Adapted from the novel of the same name by Peter James, the story has a large dose of truth behind it; not only is the role of the art forger, Dave Hegarty (Mark Oxtoby), based on a real life character – David Henty – but James was introduced to him by the ex-police officer that arrested him! Indeed, Henty, the copyist that inspired the book, has himself become a much sought after name in the art world for his meticulously produced copies of great masterpieces. The story behind the story is almost as captivating as the play itself.

The success of James’ Roy Grace novels having led to sales surpassing 23 million worldwide plus a hit TV series, ‘Grace’, is most likely due to the deep research he is famed for, and the details are not lost in this production. The police work we see on stage is neither flashy nor action packed, instead it is focused and methodical, lending an aspect of realism that underpins but does not overshadow the other elements of the gently unfolding story. In fact, the presence of each of the characters is extremely well balanced throughout, with almost everyone playing a pivotal role; thus all members of this highly accomplished cast have their own opportunity to shine.

In this classic game of hide and seek, we see DSI Roy Grace played by George Rainsford (Casualty, 2.22 A Ghost Story, Bank of Dave 2), who gives the character a quiet, measured charm, though always with his hands firmly on the reigns of the investigation. Jodie Steele (Malory Towers, Filumena, A Merry Royal Christmas) sizzles as Roberta Kilgore, the elegant but despicable art consultant and henchman, in a way reminiscent of Joanna Lumley’s Patsy Stone in Absolutely Fabulous, though with all the comedy surgically removed and the poise and sneer left perfectly intact. She plays alongside Ore Oduba’s (Strictly Come Dancing, Chitty Chitty Bang Bang, Noughts + Crosses) ice-cold portrayal of Stuart Piper, the high flying art dealer who moves freely with neither morals nor conscience. Though Oxtoby (Eastenders, Silence!, Muppets Most Wanted) as Hegarty serves as the lynchpin around which all other characters are joined, he does so more as a facilitator than a protagonist, allowing others their share of the limelight. But for me, his character is the most complex of the entire piece.

Fiona Wade (Emmerdale, 2.22 A Ghost Story, Silent Witness) and Ben Cutler (The Sandman, War Horse, 7 Days in Entebbe) play Freya and Harry Kipling, the couple who make the discovery of a lifetime with a car boot sale purchase, and bring all the naive innocence of passers-by caught in the crossfire. The polished performance of Adam Morris (Sister Boniface, The Best Exotic Marigold Hotel, Nolly) as TV Antiques expert, Oliver De Souza, sits in contrast to their normality, making his cameo appearance stand out as a key moment. Gemma Stroyan (Taggart, Othello, Lockerbie: A Search for Truth) comes back solidly in the role she originated as Grace’s sidekick, DS Bella Moy. Art thief, Archie Goff is convincingly played by Sean Jones (Hollyoaks, Blood Brothers, Wings).

Divided into two halves, the set design by Adrian Linford (L’etoile, The Mirror Crack’d, Dead Man Walking) appears quite complex but has surprisingly few moving parts; it pairs well with lighting (Jason Taylor: Journey’s End, Some Girls, Treason) to allow numerous locations to emerge. The combined impact of scenery and brilliant cast performances permits the audience to engage fully in yet another highly entertaining stage adaptation of a Roy Grace mystery that keeps its secret hidden until the very end.

Birmingham Hippodrome – until 7th June 2025

Reviewed by Emma Millward 

5*****

Based on the 1999 film of the same name, Cruel Intentions is a jukebox musical with a score made up of hit songs from the 1990s. Inspired by the 1782 novel ‘Les Liaisons Dangereuses‘ by Pierre Choderlos de Laclos, the show was created by Jordan Ross, Lindsey Rosin and the film’s writer and director, Roger Kumble. 

Set in New York City’s Upper East Side, it follows the decadent lives of spoilt and immoral step-siblings Kathryn Merteuil (Nic Myers) and Sebastian Valmont (Will Callan). Both are students at the prestigious Manchester Prep, where Sebastian is a relentless womaniser, while Kathryn hides her drug-taking and bed-hopping behind the facade of being a wholesome Christian role model to the other students. They devise a cruel bet with each other. Sebastian must seduce the Headmaster’s daughter Annette (Abbie Budden). If he loses the bet, Kathryn wins his classic car. If he succeeds, Kathryn will sleep with him. Sebastian is surprised to find that Annette is not going to be the willing conquest he expects, as she doesn’t believe in sex before marriage. She also sees through his charming but manipulative ways. Along the way we meet the naïve and clumsy Cecile Caldwell (Lucy Carter), who Kathryn befriends in order to exact revenge as Kathryn’s ex-boyfriend Court Reynolds (Ben Fenwick) dumped her to pursue Cecile.

While following the plot of the film fairly closely, the action is interspersed with songs from such acts as Britney Spears, Ricky Martin and, of course, Bittersweet Symphony by The Verve, which I was so pleased to hear. Some jukebox musicals often shoehorn songs into the narrative and it can become a tad awkward. Cruel Intentions mostly avoids this, possibly because many of the songs featured in the actual film. The production skilfully manages to pack over 24 songs in without overwhelming the storyline. The small but perfectly formed cast is outstanding. Nic Myers and Will Callan were exceptional as Kathryn and Sebastian. Their vocals throughout were amazing. Abbie Budden is great as Annette, who is definitely the most down-to-earth character in an undeniably over-the-top show. For me, two other performances that really stood out were Lucy Carter as Cecile, and Luke Conner Hall as Blaine. Both gave exaggerated comedic performances, particularly during their songs, which the audience loved.

The set and costume design by Polly Sullivan transported us back to the 90s. The backdrop, designed to resemble a lavish mansion, could be quickly transformed into other locations using removable props. The clever lighting design by Nick Riching featured colour-changing panels within the backdrop, further enhancing the scenery changes. Some of the costumes are replicas of outfits the main characters wear in the film and I enjoyed spotting these little touches.

As the show started, we were given a little pep talk via a voice-over by Sarah Michelle Gellar, or, as she calls herself, “The O.G Kathryn’ telling us that “It’s not that difficult. Take out that second-rate phone and hit the silent button!”. This cheeky beginning to the show was a quick reminder that we weren’t in standard musical territory here. This is a show that includes strong, often outdated language, racial discrimination and drug use. The programme warns that the language reflects the 1999 time period. The show still delivers a naughty but nostalgic night out packed with songs that left the audience eager to dance when the curtain call arrived.

NEW MUSICAL

BASED ON NETFLIX MOTION PICTURE

“EUROVISION SONG CONTEST: THE STORY OF FIRE SAGA”

IN DEVELOPMENT

WRITTEN BY WILL FERRELL, HARPER STEELE AND ANTHONY KING

MUSIC BY SAVAN KOTECHA

DIRECTED BY ALEX TIMBERS

Today, on the heels of the Eurovision Song Contest 2025, producer Lia Vollack announced the development of a new musical based on the Netflix motion picture, Eurovision Song Contest: The Story of Fire Saga. The production will feature book by Will Ferrell, Harper Steele and Anthony King, music by Savan Kotecha, and will be directed by Alex Timbers.

“We are more than excited to bring Eurovision to Broadway,” stated Ferrell. “The stage musical is a perfect place to continue our celebration of all the things we love about this amazing and unifying song competition.”

“Will Ferrell and Harper Steele are my comedy heroes,” stated Timbers. “And when I first saw their joyful movie “Eurovision” during the pandemic, it buoyed spirits during a very dark time. With this stage adaptation, I can’t wait to bring that same mix of heart, spectacle, irreverence, and awe to audiences across the world.”

“This is a stellar team for what I am sure will be an equally stellar adaption of a film the world loved. Our aim always is to bring the joy of the Eurovision Song Contest to more people globally – especially as we approach our 70^th edition in 2026,” stated Martin Green CBE Director, Eurovision Song Contest.

The 2020 film starred Ferrell alongside Rachel McAdams and tells the story of aspiring Icelandic musicians Lars Erickssong and Sigrit Ericksdottir as they are given the chance to represent their country at the world’s most famous song competition. The film’s original song “Husavik (My Hometown),” written by Savan Kotecha, Fat Max Gsus, and Rickard Göransson, was nominated for an Academy Award for “Best Original Song” in 2020.

# # # #

The Eurovision Song Contest is the world’s largest live music event and a global superbrand, reaching 166 million viewers around the world on TV and with 19.9 million views on YouTube. It is organized annually by the European Broadcasting Union (EBU), the world’s foremost alliance of public service media (PSM). The competition has taken place every year since 1956 with notable winners such as ABBA and Celine Dion. The Eurovision Song Contest is a celebration of inclusivity, diversity and the power of music to unite.

Netflix is one of the world’s leading entertainment services with over 300 million paid memberships in over 190 countries enjoying TV series, films and games across a wide variety of genres and languages. Members can play, pause and resume watching as much as they want, anytime, anywhere, and can change their plans at any time.

NETWORK THEATRE – UNTIL 7th JUNE 2025

Reviewed by Jackie Thornton

5*****

Who knew that tucked away beneath the railway arches of Waterloo Station lies a little gem of a community theatre bringing contemporary and classic works to the stage?

The Acting Gymnasium’s reimagining of Shakespeare’s Twelfth Night as 1970s disco culture is a delight.

Adapted and directed by Gavin McAlinden, the bard’s well-known romantic comedy is given fresh life with shiny disco balls, a glittering Duke’s Bar backdrop and all the flairs, fluorescence and bling synonymous with the Saturday Night Fever era.

The cast of 14 bring a tremendous sense of fun and are already on stage, boogying to disco classics as the audience take their seats. Acting Gymnasium is a weekly acting workshop and proudly inclusive as witnessed in this current performance, which charms with its diversity, adding new cadences and rhythms to Shakespeare’s text.

Charles Worthington as Orsino oozes John Travolta vibes with his killer dance moves while Prilly Lee’s Olivia is a woman on a mission. Caitlin Plummer as Viola/Cesario artfully conveys the heartache of being torn between two identities while Tom Hilton is hilarious as her twin Sebastian, unable to believe his luck when Olivia makes a play for him. Helen Probert ’s Malvolio brings in the belly laughs and Lina’s Feste steals the show with her flirtatious, cheekiness and unforgettable vocals as she takes the lead in various disco hits which really elevate the show.

It’s not that often that you’ll find yourself tapping, clapping or humming along during a Shakespeare play and I challenge you not to leave the theatre without a spring in your step and a smile on your face. Fun, colourful and full of energy.