Home

Website: http://thehistoryboysplay.com/

Instagram / TikTok / Facebook: thehistoryboysplay

Brian & Dayna Lee and Nicholas Hytner present

The National Theatre production of
THE HISTORY BOYS
Written by Alan Bennett

Directed by Nicholas Hytner  

●       NICHOLAS HYTNER’S OLIVIER AND TONY AWARD-WINNING PRODUCTION OF THE HISTORY BOYS RETURNS TO THE WEST END FOR THE FIRST TIME IN TWO DECADES.

●       ONE OF THE DEFINING PLAYS OF THE 21ST CENTURY, ALAN BENNETT’S POIGNANT, PROVOCATIVE AND HISTORY-MAKING COMEDY, SET IN A BOYS’ GRAMMAR SCHOOL EXPLORES THE VALUE AND MEANING OF EDUCATION, THE ANARCHY OF ADOLESCENCE AND ULTIMATELY THE NATURE OF HISTORY ITSELF.

●       NICHOLAS HYTNER DIRECTS THIS REWORKING OF HIS SEMINAL PRODUCTION WHICH ORIGINALLY OPENED AT THE NATIONAL THEATRE IN 2004, WITH BOB CROWLEY RETURNING TO DESIGN THE SET.

●       THE HISTORY BOYS WILL RUN FOR 16 WEEKS  FROM 10 APRIL – 24 JULY 2027 AT THE THEATRE ROYAL HAYMARKET. TICKETS GO ON GENERAL SALE FROM 9AM, FRIDAY 23 OCTOBER WITH 20,000 TICKETS PRICED AT £25.

●       BRIAN & DAYNA LEE, PRODUCERS OF GIANT IN THE WEST END AND ON BROADWAY, AND NICHOLAS HYTNER WILL PRODUCE THE PRODUCTION, FOLLOWING THE SUCCESS OF THEIR RECENT COLLABORATION ON THE STANDARD OF LIVING.

“HISTORY, IT’S JUST ONE F**KING THING AFTER ANOTHER”

Rudge – The History Boys

Producers Brian & Dayna Lee and Nicholas Hytner have today announced that the original, multi-award-winning production of Alan Bennett’s The History Boys will return to London’s West End next year for the first time in 20 years.

Considered one of the best plays of the 21st Century, The History Boys received its World Premiere at the National Theatre in 2004 before transferring to the West End and Broadway, winning three Olivier Awards and six Tony Awards and launching the careers of its young cast. Originally directed by multi-award winner Nicholas Hytner (The Standard of Living, One Man, Two Guvnors, GIANT) and designed by Olivier Award winner Bob Crowley (The Standard of Living, GIANT, The Inheritance), the two will reunite to bring this seminal production to the Theatre Royal Haymarket for a 16 week engagement from Saturday 10 April – Sunday 24 July with opening night on Monday 19 April. Casting for the production will be announced in January 2027.

Set against a backdrop of 1980s Britain, Alan Bennett’s history-making play tracks the course of eight schoolboys at an all-boys Grammar School in Sheffield, as they navigate sex, school politics and their teachers’ intellectual battle of wills. Poignant, subversive and deeply funny, The History Boys explores sexuality, adolescence and the nature of history, challenging the purpose of education whilst reflecting the changing face of England.

Brian and Dayna Lee said: “When Nicholas Hytner’s production of The History Boys first arrived on the London stage, it was an era-defining moment in contemporary British theatre. It was a cultural phenomenon that enthralled audiences on both sides of the Atlantic and introduced a new generation to the power of theatre. It’s a privilege to bring Alan Bennett’s landmark production back to the West End for the first time in 20 years, with the incomparable Nicholas Hytner once again at the helm, as we continue our partnership that began with GIANT and continued more recently with The Standard of Living.

Bennett’s sharp, funny and deeply moving exploration of institutional culture, class and education feels as timely as ever. We can’t wait to share this remarkable production with a whole new generation.”

Nicholas Hytner commented: “More than 20 years after it opened at the National Theatre, it’s the right time to be bringing this great and much loved play back to the London stage. I can’t wait to take another look at it, and to introduce it to a new generation of theatre goers. My collaboration with Alan Bennett has been central to my creative life, and it’s a delight to be back in the theatre with him again.”

Alan Bennett said: “The History Boys is one of the happiest plays I’ve written. Or rather, it was one of the happiest of my plays to write.

It was also one of the quickest to set down, taking far less than my usual five years. So, something of a record for me.

The play is full of quotes and has itself become eminently quotable. A joy for any playwright.

I welcome its return under Nicholas Hytner.”

The original National Theatre production of The History Boys will be produced in the West End by Brian & Dayna Lee and Nicholas Hytner with Len Blavatnik & Danny Cohen for Access Entertainment. Mark Rubinstein is Executive Producer and General Management is by Short Street Productions Ltd.

Tickets for The History Boys will go on general sale from 9am on Friday 23 October, with 20,000 tickets priced at £25 available throughout the run.

OLIVIER AND TONY AWARD-WINNER

JANE KRAKOWSKI

TO REPRISE HER ROLE AS MARY TODD LINCOLN

IN

THE OLIVIER AWARD-WINNING SMASH HIT COMEDY

WRITTEN BY TONY^® AWARD-WINNER

COLE ESCOLA

DIRECTED BY TONY^® AWARD-WINNER

SAM PINKLETON

FOR 6 WEEKS ONLY

FROM 7 DECEMBER 2026 TO 16 JANUARY 2027

OH, MARY! EXTENDS BOOKING UNTIL 5 JUNE 2027

Producers Kevin McCollum & Lucas McMahon and Mike Lavoie & Carlee Briglia are delighted to announce that Olivier and Tony Award-winner Jane Krakowski will reprise her role as Mary Todd Lincoln in OH, MARY!. Jane returns to the role having performed it on Broadway, where her celebrated 8-week run was extended by a further 4 weeks. Jane will play a strictly limited 6-week season at Trafalgar Theatre, from 7 December 2026 until 16 January 2027.

The Olivier and Tony Award-winning smash hit comedy OH, MARY! has also extended its West End run and is now booking until 5 June 2027.

Jane Krakowski (she/her) is an award-winning triple threat actress best known for her role as Jenna Maroney on the Emmy Award-winning network comedy 30 Rock, for which she received four Emmy nominations, as well as a collective 2009 Screen Actors Guild Award for Outstanding Performance by an Ensemble in a Comedy Series. In addition to hosting FOX’s reboot of the classic game show Name That Tune, she was most recently seen in Elsbeth and as the showstopping Bobbie Flanagan in Apple’s musical series Schmicago, a follow up to the critical and popular hit Schmigadoon! in which she also starred. She will also soon appear in Prime Video’s Man with the Bag. Other performances include her Golden Globe-nominated portrayal of Elaine Vassal on the award-winning Ally McBeal; her Critics Choice Award-winning, Emmy-nominated role of Jacqueline White on Unbreakable Kimmy Schmidt; Mrs. Dickinson in Apple’s hit series Dickinson; and Miss Shields on FOX’s A Christmas Story LIVE, as well as guest-starring roles on Modern Family, Curb Your Enthusiasm, At Home with Amy Sedaris, The Simpsons, American Dad, Drunk History, Younger and even Sesame Street.  

In addition to Oh, Mary! on Broadway, Jane’s other theatre credits include the 2025 production of Here We Are at London’s National Theatre for which she was nominated for the Olivier Award for Best Actress in a Musical. In 2016, she starred on Broadway in Roundabout Theatre Company’s production of She Loves Me, earning an Outer Critics Circle Award, an Astaire Award, a Drama Desk Award and a Tony Award nomination. She received a Tony Award, a Drama Desk Award and an Outer Critics Circle Award for her portrayal of Carla in the Broadway musical Nine, as well as a Tony Award nomination for Grand Hotel. Other Broadway credits include Company, Once Upon a Mattress, Tartuffe and Starlight Express. She won an Olivier Award for her performance in the West End production of Guys and Dolls and starred in the Encores! revival of Damn Yankees. She also portrayed Mrs. Potts in the Hollywood Bowl’s 2018 production of Beauty and the Beast.   

In 2012, Krakowski released her solo debut album, The Laziest Gal in Town, a CD recording captured during her cabaret nightclub debut at the Park Avenue hotspot, Feinstein’s at Loews Regency. In 2012, she performed a one-woman cabaret act to a sold-out crowd at NYC’s legendary Town Hall Theater. 

OH, MARY! currently stars Lolly Adefope as Mary Todd Lincoln, Lucy Frederick as Mary’s Chaperone, J.R. Ballantyne as Mary’s Husband’s Assistant, with Vinnie Heaven as Mary’s Teacher and Syrus Lowe as Mary’s Husband.

Lolly Adefope’s final performance as Mary Todd Lincoln will be Saturday 5 December. Casting for the role of Mary Todd Lincoln from 18 January 2027 onwards is to be announced.

OH, MARY! is a dark comedy about a miserable, suffocated Mary Todd Lincoln in the weeks leading up to Abraham Lincoln’s assassination. Unrequited yearning, alcoholism, and suppressed desires abound in this 80-minute one-act play that finally examines the forgotten life and dreams of Mrs. Lincoln, through the lens of an idiot (playwright Cole Escola).

Declared “one of the best comedies in years” by The New York Times, OH, MARY! received Tony^® Awards for Best Leading Actor in a Play (Cole Escola) and Best Direction of a Play (Sam Pinkleton), Drama League Awards for Outstanding Play and Outstanding Direction of a Play, as well as a special citation from the New York Drama Critics’ Circle. It was named a finalist for the Pulitzer Prize for Drama.

OH, MARY! premiered off-Broadway at the Lucille Lortel Theatre in January 2024, before a Broadway transfer to the Lyceum Theatre in July 2024, where it broke box office records and continues to play to sold out audiences. It had its West End premiere at Trafalgar Theatre on 3 December 2025, where it has also broken many Box Office records, and won Best Entertainment or Comedy Play at this year’s Olivier Awards. This Autumn, OH, MARY! will also launch a US National Tour.

In addition to Cole Escola (Writer) and Sam Pinkleton (Director), the full creative team includes dots (Scenic Designer), Holly Pierson (Costume Designer), Cha See (Lighting Designer), Daniel Kluger (Sound Design and Music), Drew Levy (Sound Designer), Leah J. Loukas (Wig Designer), David Dabbon (Arrangements) with Casting by Stuart Burt CDG and US Casting by Henry Russell Bergstein. Associate creatives include Georgie Rankcom (Associate Director), Zoë Hurwitz (Scenic), Debo Andrews (Costume), Tom Turner (Lighting), Chris Reid (Sound), Kim Kasim (Wigs), Caitlin Morgan (Music Direction), Eleanor Dolan (Costume Supervisor),and Marcus Hall (Props Supervisor).

OH, MARY! is produced in the West End by Kevin McCollum & Lucas McMahon and Mike Lavoie & Carlee Briglia with Bob Boyett, The Council, Jean Doumanian Productions, Nicole Eisenberg, Jay Marcus & George Strus, Irony Point, Richard Batchelder/Bradley Reynolds, Tyler Mount/Tommy Doyle, Nelson & Tao, Palomares Miller & Rosenberg, ShowTown Productions, Jamie Wilson Productions and Wessex Grove.

The Executive producers of OH, MARY! at Trafalgar Theatre are Wessex Grove.

THE MOUSETRAP

ENTERS ITS 75TH YEAR IN THE WEST END

Anniversary highlights include:

• Director Hannah Chissick takes the helm of the West End classic, starring a new cast
• Interiors of historic St Martin’s Theatre restored and reimagined by Studio Shayne Brady 
• Gala performance set for 25 November 2026 to mark the production entering its 75th year

As Agatha Christie’s The Mousetrap approaches 75 years in the West End, and its UK and Ireland tour continues to bring the iconic production to audiences nationwide, producer Brian Fenty announces plans to mark the anniversary of the longest-running show in the world. The plans include Hannah Chissick taking the reins as director of the West End classic, with a new company of actors joining the production as well as revitalised set, lighting and sound redesign, and a refurbishment of its historic home, St Martin’s Theatre. The milestone will be celebrated with a Gala Performance at St Martin’s Theatre on 25 November 2026.

With Chissick’s production of The Mousetrap on its UK and Ireland tour, she will now direct the new West End cast. The new cast is Marcus Adolphy as Major Metcalf, Jonathan Cobb as Detective Sergeant Trotter, Rosa Coduri-Fulford as Miss Casewell, Dean Graham as Mr Paravicini, Dan Nicholson as Giles Ralston, Jake Rory as Christopher Wren, Gay Soper as Mrs Boyle, andSarah Twomey as Mollie Ralston. The new cast begin performances on 11 November 2026.

The new production features set design by Walt Spangler, lighting design by Nic Farman and sound design by Max Perryment.

Inspired by Christie’s radio play Three Blind Mice, first broadcast on 30 May 1947, The Mousetrap was first staged in the West End on 25 November 1952 and has firmly established itself as one of British theatre’s most enduring institutions. This anniversary will bring a new look and feel to the production, while honouring Christie’s original text with its masterful storytelling that has captivated generations of audiences. The play is currently one of only two plays in the West End written by women, while for the majority of its historic run it was the only one.

The celebrations will extend beyond the stage, with redesigned bars and decorative details inspired by the world of Agatha Christie to feature across the Stalls, Dress Circle and Upper Circle. Studio Shayne Brady will refresh the interiors of St Martin’s Theatre, while Mr Lyan Studio will craft a bespoke cocktail menu created exclusively for the venue.

Brian Fenty, producer of The Mousetrap, today said, “As we approach the extraordinary 75th year of The Mousetrap, we have made a substantial investment in the production, its historic home at St Martin’s Theatre and the entire audience experience, ensuring this theatrical treasure shines with all the brilliance of its opening night in 1952.

“To be entrusted with this remarkable piece of theatre history is both a privilege and a responsibility. Agatha Christie’s genius lies in the extraordinary detail of her storytelling: the wit, the atmosphere and the suspense that have kept generations of audiences guessing. Every element of our investment – from the loving refurbishment of the theatre to the care devoted to the set, lighting, effects and direction – serves her storytelling.

“As we welcome our wonderful new cast, our ambition is simple: to honour everything that makes The Mousetrap iconic and ensure it feels as thrilling for audiences today as it did when the curtain first rose.”

Hannah Chissick added, “I am so honoured to be joining The Mousetrap as director, especially as the show enters its incredible 75th year in the West End.

“Agatha Christie’s storytelling remains as vibrant, entertaining and engaging as it was when the play first came to the stage. Now, working with this exceptional new cast and creative team to bring it to life is a joy. Every detail, from the set to the lighting and sound, has been given the thought and devotion this play inspires, so that it can continue to be enjoyed for generations to come, and I can’t wait to share it with audiences at St Martin’s Theatre.”

www.themousetrap.com

Instagram, X and Facebook: @TheMousetrapOfficial

Brian Fenty presents

THE MOUSETRAP

By Agatha Christie

Cast: Marcus Adolphy (Major Metcalf), Jonathan Cobb (Detective Sergeant Trotter), Rosa Coduri-Fulford (Miss Casewell), Dean Graham (Mr Paravicini), Dan Nicholson (Giles Ralston), Jake Rory (Christopher Wren), Gay Soper (Mrs Boyle), Sarah Twomey (Mollie Ralston)

Director: Hannah Chissick; Set Designer: Walt Spangler; Lighting Designer: Nic Farman; Sound Designer: Max Perryment; Casting Director: Marc Frankum; Fight and Intimacy Director: Maisie Carter; Costume Supervisor: Caroline Hannam; Associate Lighting Designer: Nicola Crawford;

Resident Director: Myles Brown

A thrilling slice of British tradition since 1952. Agatha Christie’s genre-defining murder mystery is now entering its 75th year.

As news spreads of a murder in London, a group of seven strangers find themselves snowed in at Monkswell Manor, a remote countryside guesthouse. When a police sergeant arrives, the guests discover – to their horror – that a killer is in their midst. One by one, the suspicious characters reveal their sordid pasts. Which one is the murderer? Who will be their next victim?

Agatha Christie (1890 – 1976) is the best-selling novelist of all time, with more than two billion books sold worldwide in English and translation. The undisputed queen of crime, she created some of literature’s most enduring detectives and mysteries, writing 66 detective novels, including The Murder on the Orient Express, And Then There Were None, and The Murder of Roger Ackroyd, alongside 14 collections of short stories. Her work has had a lasting influence on crime fiction, with her novels and plays continuing to reach new generations of readers and audiences around the world.

Marcus Adolphy plays Major Metcalf. His theatre credits include Romeo and Juliet (Shakespeare’s Globe), The Wife of Willesden (Kiln Theatre and American Repertory Theater), One Man, Two Guvnors (New Wolsey Theatre), The Convert (Gate Theatre), The Suicide, The Comedy of Errors, War Horse (National Theatre), Macbeth (Atrix Bromsgrove), Keeler (Charing Cross Theatre), Macbeth (The Last Refuge Theatre), The Chicago Cowboy (RosemaryBranch Theatre), Twelfth Night (The Nursery Theatre), Keeping Mum, 1867, A Christmas Carol (The Brockley Jack Theatre), and The Children of Salt (Alma Theatre Bristol). His television credits include Hikack, Scott and Bailey and Father Figure.

Jonathan Cobb plays Detective Sergeant Trotter. His theatre credits include Othello (Theatre Royal Haymarket), Here There Are Blueberries (Stratford East), The Waiting Game (Hampstead Theatre), Moonlight Revelry: My Oxygen (Shakespeare’s Globe), WHODUNNIT (Unrehearsed) 3 (Park Theatre),

Stick Man (Leicester Square Theatre), The School for Scandal, Love’s Labour’s Lost (Changeling Theatre), Bedknobs and Broomsticks, The Wind in the Willows (UK tours), War Horse (National Theatre and International tour), and The Grinning Man (Trafalgar Theatre). His television credits include Murder Before Evensong; and for film, The Shamrock Spitfire, Mates, War Blade, and Current Affairs.

Rosa Coduri-Fulford plays Miss Casewell. Her theatre credits include The Syndicate (UK tour), Cinderella (The Vaults), On The Night (Arcola Theatre), And Their Finest Hour (Leicester Square Theatre). Her television credits include Sexy Beast, The Tower and Sky’s Funny Woman, Lucky Man, Pennyworth, Cradle to Grave, Silent Witness and The Dumping Ground; and for film, Rare Beasts.

Dean Graham plays Mr Paravicini. His theatre credits include Waiting for Godot (Theatre Royal Haymarket), Quiz (Chichester Festival Theatre and UK tour), The Great Gatsby (Gatsby’s Mansion), Romeo + Juliet (Secret Cinema), Electra (The Bunker), We Raise Our Hands in the Sanctuary (The Albany), and A Boy Named Sue (King’s Head Theatre). His television credits include Liar, We Are Lady Parts and Confessions of a Hitman.

Dan Nicholson plays Giles Ralston. His theatre credits include Breeding (King’s Head Theatre), Sleep No More (International tour), The Man Who Would Be King, and The Wonderful Discovery of Witches in the Country of Lancaster (UK tours); and for television, Nightsleeper and Ghosts.

Jake Rory plays Christopher Wren. His theatre credits include Oedipus (Wyndham’s Theatre). He recently graduated from Arts Ed.

Gay Soper plays Mrs Boyle. Her most recent West End credits include This Is My Family (Southwark Playhouse Elephant), Funny Girl (Savoy Theatre, transferred from Menier Chocolate Factory), The Curious Incident of the Dog in the Night-Time (Apollo Theatre and Gielgud Theatre), Sunday in the Park with George (Wyndham’s Theatre). Other West End Credits include Jorrocks (Noël Coward Theatre), The Canterbury Tales, The Ratepayers Iolanthe (Phoenix Theatre), Godspell (Roundhouse and Wyndham’s Theatre), Billy (Theatre Royal Drury Lane), Side By Side (Wyndham’s Theatre and Garrick Theatre), Good (Aldwych Theatre), Mother Courage and Her Children (National Theatre), Which Witch (Piccadilly Theatre), The Mitford Girls (Gielgud Theatre, transferred from Chichester Festival Theatre), Salad Days (Vaudeville Theatre), Les Misérables (Palace Theatre), Lend Me A Tenor (Gielgud Theatre), and Marguerite (Theatre Royal Haymarket). Other theatre credits include A Little Night Music, The Crucible (Storyhouse Theatre, Chester), Pirates of Penzance (Regent’s Park Open Air Theatre), Saving Grace (Riverside Studios), Crazy for You (Chichester Festival Theatre), Death Takes A Holiday (Charing Cross Theatre), Maurice’s Jubilee, Star Quality (UK tours), The Busy Body (Southwark Playhouse), Cabaret (English Theatre Frankfurt), Killing Rasputin (Bridewell), The Rink (Orange Tree Theatre), The Sister Wendy Musical (Hackney Empire Studio), Pippin, The Secret Diary of Adrian Mole Aged 13 ¾ (Menier Chocolate Factory), Nude With Violin (Royal Exchange Theatre, Manchester), Peter Pan (Birmingham Rep), Cole (Leatherhead and Hong Kong), Betjemania (Southwark Cathedral Shaw Theatre, and New York), Blithe Spirit (Stockholm), My Fair Lady (Danish tour and Kilworth House). Her television credits include Moonflower Murders, Unforgotten, A Christmas Carol: The Musical, Romany Jones, Father Dear Father, Barbara, Bless This House, Rude Health, The Needle Match, The History of Mr Polly, The Ups and Downs of a Handyman, A Christmas Carol, and The Agatha Christie Hour; and for film, Lace and Rupture.

Sarah Twomey plays Mollie Ralston. Her theatre credits include Fallen Angels (Menier Chocolate Factory), Parklife (Birmingham Rep), Filumena (Theatre Royal Windsor), Accolade (UK tour), The Pocket Dream (Litchfield Garrick), The Southbury Child (Chichester Festival Theatre and Bridge Theatre), Young Chekhov Trilogy (Chichester Festival Theatre and National Theatre), Venice Preserved, The Provoked Wife, A Christmas Carol, and Twelfth Night (Royal Shakespeare Company), and Mermaid (Shared Experience). Her television credits include True Horror – The Witches Prison, The Mind of Herbert Clunderdunk, The Sandman, Call the Midwife, Katie and Koji, and Nightmares; and for film, Paddington in Peru and Men.

Hannah Chissick is an award-winning director and Artistic Director of National Youth Music Theatre. Her directing credits include, Pack of Lies (Menier Chocolate Factory), Eugenius (Turbine Theatre – Best Director, The Offies), Treason the Musical (West End, Alexandra Palace Theatre), The Boy Who Sailed the Ocean in an Armchair (National Youth Music Theatre), Mother Courage and Her Children and the UK professional première of the musical Side Show (Southwark Playhouse), Down the Dock Road (Liverpool Royal Court), for the NYMT – Brass (Hackney Empire) and Sunday in the ParkWith George (The Other Palace), Rags, Amour (Royal Academy of Music), Marry Me a Little (St James Studio) and Teechers (John Godber Theatre Company). She was Assistant Director to Matthew Warchus on the play Art in London and New York and was Associate Director on his acclaimed production of Boeing Boeing, directing casts in London, on Broadway and in Melbourne. In 2003, she became the youngest woman to become an Artistic Director in the UK, when Harrogate Theatre appointed her at the age of 25. Other credits include the critically-acclaimed revival of Side by Side by Sondheim (The Venue, London), Abigail’s Party (Exeter Northcott Theatre), a tour of Grumpy Old Women Live, the world première of Horrid Henry – Live (tour and West End), and the world premiere of Pushing Up Poppies (Theatre503).

LISTINGS                                                                                                                                

THE MOUSETRAP
ST MARTIN’S THEATRE
West Street, London, WC2H 9NZ

Box Office: 020 7836 1443 / enquiries@stmartinstheatre.co.uk

Tickets from £25

Monday – 7.30pm

Tuesday- 3pm & 7pm

Wednesday – 7.30pm

Thursday – 7.30pm

Friday – 3pm & 7.30pm

Saturday – 3pm & 7.30pm

Christmas performance schedule will vary, for more details go to:

www.themousetrap.com

MICHAEL MAROULI, BLU HYDRANGEA, VANITY MILAN
AND NINE OTHER FAVORITES

SHARE THE ROLE OF
‘THE GIANT’

IN TUCKSHOP’S ALL-DRAG PANTOMIME
‘JACK AND THE BEANSTALK’

AT THE EMERALD THEATRE
FROM 2 DECEMBER 2026

TuckShop, the UK’s only specialist production company devoted to all things drag, are delighted to announce the twelve artists playing the role of The Giant in the sixth edition of their all-drag pantomime: JACK AND THE BEANSTALK. The panto will play the Emerald Theatre from Wednesday 2 December 2026 for a strictly limited 6-week season ending on Sunday 10 January 2027, with a press performance on Wednesday 9 December.

The role of the Giant will be shared by a rotating line-up of high-profile performers across the six-week run, including Black Peppa (finalist on RuPaul’s Drag Race UK Series 4; TRAVESTY, Dublin), Blu Hydrangea (winner of RuPaul’s Drag Race: UK vs. the World), Blu Romantic (contestant on the current series of The Great British Bake Off), Choriza May (RuPaul’s Drag Race UK Series 3; Snow White & the Seven Drag Queens, UK Tour; Sinderella), HERR (Shrektacular, Clapham Grand), KY Kelly (Everybody’s Talking About Jamie, UK Tour; The Pied Piper of Hamelin, Manchester; RuPaul’s Drag Race UK Series 8), Michael Marouli (recent winner of Drag Race Down Under vs. the World), Mocha (RuPaul’s Drag Race UK Series 8), Nyongbella (RuPaul’s Drag Race UK Series 7), Tayris Mongardi (Snow White, Emerald Theatre; RuPaul’s Drag Race UK Series 7), Tiana Biscuit (Snow White; Everybody’s Talking About Tiana; Sinderella) and Vanity Milan (finalist on RuPaul’s Drag Race UK Series 3 and Canada’s Drag Race: Canada vs. the World).

The complete cast for the six-week run comprises of Bones (Drag Race UK Season 7 winner) as Jack, Kitty Scott-Claus (Drag Race UK Season 3 & Global All Stars runner up, Gals Aloud, The Diana Mixtape) as Princess Jill, Rosé (Drag Race US Season 13, Titanique, iCarlY, America’s Got Talent, and The Voice) & Kyran Thrax (Drag Race UK Season 6 winner; Big Mood, Channel 4) as Fleshcreep*, Kate Butch (Drag Race UK Season 5, Celebrity Mastermind winner BBC, If You Wanna Go Butcher, Choose Your Own Cabaret) as Jack’s Mother, Yshee Black (JOY, Sleeping Beauty, Peter Pan, Snow White, Late Night Lycett) as Fairy Liquid, Drag king Dairy King as The Milkman, Cheryl Hole (Drag Race UK  season 1, Runner-Up on MTV’s Celebs on The Farm, Canada’s Drag Race Canada Verse The World Season 2) as Cheryl The Cow and Ophelia Love (Gals Aloud, Peter Pan, The Real HAUSwives of London, Snow White)as Villager no.4.

We’re full of beans and ready to go for the 6th annual, all-drag, West End Panto: JACK AND THE BEANSTALK!

JACK AND THE BEANSTALK tells the infamous and beloved story of a boy whose best friend is a cow, yet he decides to sell him for some beans. TuckShop bring their raucous, chaotic story telling for their longest run ever.

Rude, crude and not for prudes (or children!!), this is the very adult, very hilarious, very demure pantomime from the team who brought you The Diana Mixtape, Death Drop, Cool Rider and Gals Aloud.

JACK AND THE BEANSTALK, the outrageous all-drag panto is written by Kate Butch, Crudi Dench, and Eleanor Mason, choreographed by Taz Hoesli, production management by Production Solutions Group, associate director Frazer Meakin, directed and created by Christopher D. Clegg and produced by TuckShop.

*Please note Rosé will play Fleshcreep until Wednesday 23 December & Kyran Thrax will take over the role from Sunday 27 December*

LISTINGS INFORMATION

Wednesday 2 December 2026 – Sunday 10 January 2027

EMERALD THEATRE                                     

8 Victoria Embankment,
London
WC2R 2AB

Website: tuckshopuk.com
Twitter: @TuckShopUK
Instagram: @tuckShopuk

Booking link: tuckshopuk.com 

Performance Schedule:

Wednesday, Thursday & Friday – 7:30PM

Saturday – 3:00PM & 7:30PM

Sunday – 2:00PM & 6:00PM

Please note that on Saturday 5 December matinee will be at 2pm, Saturday 2 January matinee and Saturday 9 January will be at 4pm.

Please note there are no performances on Sunday 6 December, Tuesday 8 December, Thursday 10 December, Tuesday 15 December, Tuesday 22 December, Wednesday 23 December, Thursday 24 December, Friday 25 December, Saturday 26 December, Thursday 31 December & Friday 1 January.

Running time: 2hours including interval
Age guidance: 18+

Hull New Theatre – until 24th October 2026

Reviewed by Dawn Bennett

5*****

First performed in 1981, Cats has undoubtedly stood the test of time. Inspired by T. S. Eliot’s Old Possum’s Book of Practical Cats, Lord Andrew Lloyd Webber’s fabulous music was brought vividly to life by the outstanding cast at Hull New Theatre last night. This production was directed and choreographed by Drew McOnie, and it was different to other production of Cats that I have seen but it was so good, the chorography was darker, more balletic in places and had brilliant individual and group dances.

The story follows the Jellicle Cats, who gather once a year for the Jellicle Ball to celebrate their unique identities. Their leader, Old Deuteronomy (Kalisha Amaris), must choose one cat to be reborn into a new life. Along the way, the cats share their individual stories, revealing how they live and where each of them belongs within the Jellicle family.

The entire cast was outstanding, making it difficult to single out any one performer. Each actor fully embodied their feline character, using expressive movement and accomplished dancing to bring the cats vividly to life. Sami Fendall’s brilliant costumes—along with the set and wigs—enhanced this transformation beautifully. Every design was distinctive, carefully crafted and perfectly fitted to its character.

The production excelled beyond its dancing: the singing and acting were equally first-rate, featuring superb solos and beautifully performed harmonies.

Led by Musical Director Geraint Owen, the orchestra performed the show’s instantly recognisable score with skill. Highlights included “Memory,” “Macavity: The Mystery Cat” and “Mr Mistoffelees.”

Last night’s audience gave the cast a richly deserved standing ovation. Cats remains well worth seeing, whether you are experiencing it for the first time or returning after many previous visits.

Curve, Leicester – until 24th October 2026

Reviewed by Amarjeet Singh

3***

Just as Mark Haddon’s bestselling 2003 novel captivated readers, Simon Stephens’ adaptation delivers an equally stunning theatrical production. By placing a neurodivergent teenager at the centre of the narrative, the story unfolds through a unique and insightful lens. While the National Theatre’s original staging was phenomenal, subsequent productions have also found great success. What usually connects these interpretations is the authenticity of the relationships and a commitment to telling the protagonist’s story in a respectful, non-sensational, and unsentimental way.

However, director Ned Bennett’s current production falls short on these counts. Mostly because the relationships feel strained and disingenuous, lacking the warmth and empathy that make the story so affecting. Attempting innovation, the staging feels overly busy. Eleanor Bull’s set design evokes a brightly coloured preschool play area which is filled with skipping ropes, spongy blocks, falling balls, acrobatics and an imposing ensemble, which clutters the stage rather than enhancing the storytelling. A comfortable balance is never struck. The production tends to alternate between over-stimulating sensory elements and text-heavy, slow-moving dialogue.

The choice to recast the original protagonist, Christopher, as a teenage girl named Chris could have been an interesting creative pivot. It offered an opportunity to explore how autism manifests differently in girls compared to boys. Unfortunately, this nuance is difficult to detect in this production.The portrayal is direct and highly physical, leaning heavily into traditionally masculine traits rather than exploring the ways neurodivergence can present in girls.

This disconnect extends to the supporting cast. Joe McFadden gives a confusing performance as Chris’ father, Ed Boone. Though Ed is written as a patient man with a deep connection to Chris, McFadden delivers a largely one-note performance, often played at an unrelentingly heightened intensity. His monologue towards the end of Act one, which should deepen our understanding of the character and foster greater empathy for him, is overshadowed by a simmering frustration that makes it difficult to understand and sympathise with his actions.

Similarly, Charlie Brooks comes across as almost marionette-like as Judy Boone, lacking a convincing maternal bond. Alex Keenan delivers a strong and often mesmerising performance as Chris, but it is sometimes overshadowed by the busy staging and constant activity unfolding around her. Bridgette Amofah’s performance as Siobhan, the teacher who serves as the warm, grounding anchor of the story, lacks that expected sense of calm, instead portraying the character as commanding and authoritative.

Another distracting aspect of this production is the inclusion of poorly timed humour. The ensemble frequently interrupts serious scenes with comedic bits that detract from the play’s emotional weight. For instance, when Chris is on the verge of a meltdown amidst the chaos of the train station, the ensemble personifies the cash machines and ticket barriers. Rather than reflecting her internal stress and confusion, they dilute the impact with unnecessary gags. Chris’s intense sensory overload and emotional dysregulation are overshadowed by a comedic conductor and shouting commuters, turning what should be a powerful moment into farce. Visual gimmicks further disrupt the tension. The dropping of items from the ceiling, a device used effectively earlier with letters from Chris’s mother, is overdone by the second act. When a large cascade of yellow balls rains down, the intended dramatic effect is lost. Instead, the audience is left watching the ensemble take considerable time to gather them all up and place them into bins.

This is accompanied by a string of other unusual choices. There is a breaking of the fourth wall without clear purpose, a bizarre gnome invasion devoid of context, and unnecessary ensemble acrobatics. Most noticeably, a vivid portrayal of someone using a train toilet takes away from the audience’s ability to empathise with Chris’s specific anxiety about using public facilities while desperate for the toilet, shifting the focus entirely to physical comedy.

The original book remains a wonderful piece of storytelling, and Stephens’ adaptation is still a remarkably piece of theatre. Unfortunately, this cluttered and misjudged production loses sight of what has always made The Curious Incident of the Dog in the Nighttime so powerful, its humanity. In prioritising spectacle, sensory overload and broad comedy over character and emotional truth, it ultimately misses the mark.

Everyman Theatre, Cheltenham – until 24th October 2026

Reviewed by Jacqui Radford

5*****

Twelve Angry Men returns to Cheltenham three years after its previous visit and loses none of its impact. As you settle into your seat, recent headlines may well be fresh in your mind; stories shaped by public opinion, personal beliefs and moral conflict. It is this that makes the play feel so immediate. Its exploration of influence, judgement and the search for truth remains deeply relevant.

The production doesn’t have an elaborate set or spectacular stage effects but that is, in some ways, part of its genius. There are clever design features that support the steadily building tension. It places twelve men around a table, gives them a decision that will change a young man’s life forever and keeps the audience completely engaged.

Set entirely in the jury room, the play follows twelve jurors tasked with reaching a verdict in a murder trial that could ultimately end with a death sentence. What begins as a discussion about the facts gradually becomes an examination of character, belief and the way personal experience can shape judgement.

What begins as a seemingly straightforward deliberation gradually becomes something far more compelling. Tiny details that initially feel insignificant suddenly take on new importance. Opinions begin to shift. Before long, you’re not simply watching the debate unfold; you’re taking part in it, weighing each argument and quietly testing your own assumptions.

Gray O’Brien gives a thoughtful and measured performance as Juror 8, the one man unwilling to rush to a conclusion. He sits at the centre of the storm, patiently examining every piece of evidence and calmly cross-examining each element. His determination to fulfil his duty properly encourages the other jurors to look beyond assumptions and reconsider what they believe to be true. As the debate develops, his influence grows steadily.

Several members of the cast return from the 2023 tour. Together they create a group of men whose disagreements feel sharper, more personal and increasingly driven by conviction. Every shift in opinion influences your own thinking, drawing the audience ever deeper into the discussion.

What makes Twelve Angry Men endure is its relevance. Questions of fairness, responsibility and the consequences of making assumptions feel every bit as important today as they did when the play was first written.

Long after the jurors leave the room and the verdict has been reached, the questions raised continue to linger. It serves as a timely reminder that understanding another viewpoint requires patience and a willingness to listen. Long after the verdict is delivered, the debate continues in your own mind.

Montgomery Theatre, Sheffield – until Saturday 24th October 2026

Reviewed by Claire Moore

3***

Established in 1989 as part of Woodseats Operatic Society, Splinters Theatre Group has been giving young performers aged 16 to 30 the opportunity to take to the stage for more than 35 years. Now the company brings the award-winning musical Dear Evan Hansen to Sheffield.

The story follows Evan Hansen, a lonely teenager who struggles with anxiety and making friends. When a misunderstanding leads to a lie that quickly gets out of hand, he suddenly finds himself at the centre of attention. But with his newfound popularity come some difficult choices and increasingly serious consequences.

With a book by Steven Levenson and music and lyrics by Benj Pasek and Justin Paul, Dear Evan Hansen explores friendship, family, loneliness and the pressure to belong.

Taking on the title role is a big responsibility, but Josh Fishburn handles it extremely well. His mannerisms capture Evan’s awkwardness and anxiety, and he holds the audience’s attention during some powerful scenes. He also has an impressive singing voice and made the character very believable. You can understand how someone with Evan’s insecurities could find themselves caught up in such a complicated situation.

There are some other excellent performances too. Madison Bland is impressive as Zoe Murphy, combining convincing acting with a beautiful, well-controlled singing voice. Ruby Harker also stands out as Alana.

The cast works brilliantly together, especially during the larger ensemble numbers when almost everyone is on stage, weaving between one another in some cleverly choreographed sequences. Props are moved smoothly between scenes, allowing the action to flow without interruptions.

The back screen is an effective touch, showing just how overwhelming and relentless social media can be. As messages and online reactions build, you get a real sense of how quickly things can escalate and how difficult it must feel to escape from it all.

It’s also great to have a live band accompanying the production. On the opening evening, there were moments when the music made it a little difficult to hear some of the lyrics, which was a shame given how important the songs are to the storytelling. Hopefully, that’s something that will settle as the run continues.

What I found most moving was how easy it was to feel sympathy for Evan, despite the mess he creates. His actions come from a mixture of insecurity, loneliness and a genuine desire to help, even if he goes about it in completely the wrong way. Being a teenager these days can’t be easy, with so much pressure and very little opportunity to switch off from it all. Dear Evan Hansen raises some important issues about mental health and the need for connection. They’re conversations we need to keep having, and this talented young company does a wonderful job of bringing them to the stage.

HELEN FLANAGAN TO JOIN RITA, SUE & BOB TOO! ON ITS NATIONWIDE TOUR

Coronation Street star set to play Michelle in the hit comedy

Regal Entertainments Ltd presents the hilarious production at 11 venues across Britain in 2027

Rita, Sue & Bob Too! embarks on a new nationwide tour in 2027 – and today it can be revealed that Coronation Street star Helen Flanagan is set to join the cast.

The multi-award nominated actor and TV personality, who played Rosie Webster on the legendary soap, will appear as Michelle in the uproarious stage version of the cult classic comedy.

She joins singer, actor, presenter and TV personality Jake Quickenden who will lead the new tour as lothario Bob. Further casting is still to be announced.

The Regal Entertainments Ltd production will visit 11 leading British venuesbetween Friday 16 April and Sunday 4 July 2027.

The 2027 tour opens at St Helens Theatre Royal on Friday 16 April.

It will then travel to Harrogate, Northampton, Lincoln, Billingham, Birmingham, Bradford, Southport, Malvern and Stockport before ending at the Liverpool Olympia where it will play from 30 June to 4 July.

Tickets for all venues are on sale now.

Helen Flanagan is best known for playing Rosie Webster on Coronation Street from 2000-12 and again from 2017-18. Born in Bury, Greater Manchester, she started acting aged five and appeared in various advertisements before landing her breakout role on the cobbles at the tender age of nine.

In addition to Coronation Street, Helen took part in the 12^th series of I’m a Celebrity…Get Me Out of Here! in 2012, coming seventh, as well as I’m a Celebrity…South Africa in 2023 which featured stars from previous I’m a Celebrity series. Her other screen appearances include Celebrity Super Spa (2013), nurse Kitty Brompton in Holby City (2014) and Celebs Go Dating (2024).

Stage credits include Catherine in the 30^th anniversary production of Shelagh Stephenson’s The Memory of Water at the Bolton Octagon and Liverpool Everyman. Meanwhile her book Head and Heart: Break-ups, breakdowns and being Rosie was released in January 2026.

Andrea Dunbar’s hilarious and gritty tale of love, lust and tested friendships is based on the 1987 British film and features a brilliantly funny script along with all the best 80s music, taking audiences on a riotous trip down memory lane through this cult classic. 

Rita and Sue are two working class girls from a run-down council estate who are about to finish their final year at school. In their spare time, they earn money babysitting for married couple Bob and Michelle. 

Behind Michelle’s back, Bob embarks on an affair with both Rita and Sue, who take it in turns with him in his car in the countryside. Michelle eventually finds out and leaves lothario Bob. When Bob later develops a preference for Rita, the two girls fall out but when Sue ends up in an abusive relationship, the trio are reunited.

Rita, Sue & Bob Too! is brought to the stage by Regal Entertainments Ltd and directed by Chantelle Nolan.

When Regal Entertainments Ltd previously toured the smash hit comedy in spring 2025 it received praise from critics and standing ovations from audiences, selling out at venues across the country. Theatregoers described the show as “a fabulous story” and “very funny from start to finish”.

Director Chantelle Joseph said: “I’m thrilled to announce the wonderful Helen Flanagan is joining the cast of Rita, Sue and Bob Too! which is due to embark on its second nationwide tour next spring. I know she will bring real energy and brilliant comic timing to the role of Michelle – the vivacious but long-suffering wife of Bob, who is played once again by Jake Quickenden.

“Rita, Sue and Bob Too! was a huge success for us when we took it on tour in 2025, and I can promise audiences up and down the country are going to love Andrea Dunbar’s classic comedy just as much as we do.”

2027 SHOW LISTINGS FOR RITA, SUE AND BOB TOO! 

St Helens Theatre Royal

Friday 16 – Sunday 18 and Tuesday 20 – Saturday 24 April 2027

sthelenstheatreroyal.com | 01744 756000

Harrogate Theatre

Tuesday 27 April – Saturday 1 May 2027

harrogatetheatre.co.uk | 01423 502116

The Old Savoy, Northampton

Tuesday 4 – Saturday 8 May 2027

theoldsavoy.co.uk | 01604 491005

New Theatre Royal, Lincoln

Wednesday 12 – Saturday 15 May 2027

newtheatreroyallincoln.co.uk | 01522 519999

Forum Theatre, Billingham

Tuesday 18 – Saturday 22 May 2027

forumtheatrebillingham.co.uk | 01642 552663

Crescent Theatre, Birmingham

Monday 24 – Saturday 29 May 2027

crescent-theatre.co.uk | 0121 643 5858

St George’s Hall, Bradford

Wednesday 2 – Saturday 5 June 2027

bradford-theatres.co.uk | 01274 432000

The Atkinson, Southport

Tuesday 8 – Saturday 12 June 2027

theatkinson.co.uk | 01704 533333

Malvern Theatre

Tuesday 15 – Saturday 19 June 2027

malvern-theatres.co.uk | 01684 892277

Stockport Plaza

Tuesday 22 – Saturday 26 June 2027

stockportplaza.co.uk | 0161 477 7779

Liverpool Olympia

Wednesday 30 – Sunday 4 July 2027

liverpoololympia.co.uk | 0151 263 6633

MORE VENUES AND DATES ANNOUNCED FOR
MAJOR UK & IRELAND TOUR OF
JAMES GRAHAM’S MULTI AWARD-WINNING
PUNCH

BEGINNING AT NOTTINGHAM PLAYHOUSE
FROM 25 JANUARY 2027

Nottingham Playhouse in association with KPPL Productions, Mark Gordon Pictures, Eilene Davidson Productions today announce further venues and dates for the UK & Ireland tour of Punch. Written by award-winning playwright James Graham, based upon Jacob Dunne’s book ‘Right from Wrong’ and directed by Artistic Director of Nottingham Playhouse, Adam Penford, Punch will tour from 25 January to 24 April 2027.

The new tour venues and dates for 2027 are: BEAM Hertford (23 – 27 March); Glasgow CITZ (30 March – 3 April); The Gaiety Theatre, Dublin (6 – 10 April); The Arts Theatre Cambridge (13 – 17 April) and The Belgrade Theatre Coventry (20 – 24 April).

The tour begins at Nottingham Playhouse (25 January – 6 February) and then tours to previously announced venues: Bath Theatre Royal (9 – 13 February); Birmingham Rep (16 – 20 February); Chichester Festival Theatre (23 – 27 February); Malvern Theatres (2 – 6 March); Blackpool Grand Theatre (9 – 13 March) and Leicester Curve (16 – 20 March).

Casting for the tour is to be announced.

Artistic Director at Nottingham Playhouse, and Director of Punch, Adam Penford, said: “We’re delighted that more audiences across the UK will have the opportunity to see Punch in 2027 and for it to premiere in Ireland. It’s a story of hope, forgiveness and human connection, and we’ve seen from its incredible reception in the West End and on Broadway that it has the same powerful impact, wherever it goes. The UK and Ireland tour also means more opportunities for community engagement work around Punch, ensuring that the play can continue to support the campaigning work of the real-life people whose story we’re telling, at a local level.”

Jacob, a teenager from Nottingham, spends his Saturday nights seeking thrills with his friends. One fateful evening, an impulsive punch leads to fatal consequences. After serving prison time, Jacob finds himself lost and directionless. Searching for answers, Joan and David – the parents of his victim James Hodgkinson – ask to meet, sparking a profound transformation in Jacob’s life. 

A powerful story of hope, humanity, and the possibility of change.

The creative team for Punch includes Adam Penford (Director), Anna Fleischle (Production Designer), Robbie Butler (Lighting Designer), Alexandra Faye Braithwaite (Sound Designer and Composer), Leanne Pinder (Movement Director) and Christopher Worrall CDG (Casting Director).

Punch is a multi-award-winning production including winner of ‘Best New Play’ at the 2026 Olivier Awards, Critics’ Circle Awards and The Standard Awards. The West End production produced by KPPL Productions, Mark Gordon Pictures, Eilene Davidson Productions in association with the Young Vic and Nica Burns most recently was awarded the Theatre Prize at Sky Arts Awards 2026.

The production is dedicated to James Hodgkinson and all victims of one-punch.