SHEFFIELD THEATRES ANNOUNCE FULL CAST AND CREATIVE TEAM FOR
A CHRISTMAS CAROL
By Charles Dickens Adaptor Aisha Khan Director Elin Schofield Associate Director Alex Pritchett
Co-Designer Rose Revitt
Co-Designer Kevin Jenkins
Movement Director and Choreographer Aline David
Lighting Designer Richard Howell
Composer and Arranger Matthew Malone
Sound Designer Gareth Fry Music Supervisor Natalie Pound
Casting Director Juliet Horsley CDG
Illusion Designer John Bulleid
Associate Illusion Designer Sam Lupton
Assistant Director Verity Richards
Wigs, Hair and Make-Up Design Campbell Young Associates
Wigs, Hair & Make-Up Manager Helen Russell
Vocal Coach Timothy Peters
Crucible Theatre, Sheffield Saturday 29 November 2025– Saturday 10 January 2026
Sheffield Theatres today announce the full cast for their festive production, A Christmas Carol.This production of the timeless festive tale will be directed by Elin Schofield in a new adaptation by Aisha Khan. The production opens at the Crucible from Saturday 29 November 2025and runs until Saturday 10 January 2026.
Aaron Anthony (The Motive and the Cue) will perform the roles of Fred, Edward and as cast; Kimberly Blake (Natasha, Pierre & The Great Comet of 1812)will perform the roles of Mrs Cratchit, Young Ebenezer’s Mother, Laundress and as cast; Lucy Brindle (The Crucible)will perform the roles of Isobel, Charwoman and as cast; Nitai Levi (As You Like It) will perform the role oftheGhost of Christmas Past and as cast; Kiah Lindsay, making their professional debut,will perform the roles of Little Fan, Martha and as cast; Mel Lowe (A Doll’s House) will perform the role ofJack and as cast; Ian Midlane (Written on the Heart) will perform the role of Ebenezer Scrooge; Ryan O’Donnell (Joan)will perform the roles of Bob Cratchit, Young Ebenezer and as cast; Anthony Ofoegbu(Barbershop Chronicles)will perform the role of Jacob Marley and as cast; andAdam Price (Kinky Boots)will perform the role of the Ghost of Christmas Present and as cast. Simon Whitaker (The Phantom of the Opera) and Karen Wilkinson (Spend, Spend, Spend) will perform as Swings and as cast, plus Simonwill workas Music Captain for the production. The cast are completed by a young company of twelve, who will perform in groups of four across the performance dates.
Aaron Anthony returns following a performance in A Doll’s House at the Crucible in 2024. Mel Lowe also returns following a performance in A Doll’s House, and before that in Standing at the Sky’s Edge during its run at the Gillian Lynne Theatre. Karen Wilkinson also performed inStanding at the Sky’s Edge at the Gillian Lynne Theatre, but makes their debut in Sheffield. Ryan O’Donnell’s first professional acting role was in Sheffield in a production of Shadow Mouth in the Tanya Moiseiwitsch Playhouse, formerly the Studio, in 2006. He returns nearly 20 years later with A Christmas Carol. Anthony Ofoegbureturns after performing in Barbershop Chronicles at the Crucible and on tour. Adam Price also returns following performances in Standing At The Sky’s Edge at the Crucible theatre, plus its transfer to both the National Theatre and Gillian Lynne Theatre. All other members of the castmake their Sheffield Theatres debuts with A Christmas Carol.
‘I will honour Christmas in my heart, and try to keep it all the year.’
On a bitter Christmas Eve, the miserly Ebenezer Scrooge shuns festive cheer and human kindness, content in his cold, solitary world.
But when the ghost of his former partner warns of a dreadful fate, Scrooge is thrust into a journey through his past, present, and future. As the spirits reveal the consequences of his ways, he must decide whether to embrace change or be doomed to loneliness forever.
Featuring the Sheffield Carols – rooted in the city’s communities, Sheffield has kept this choral tradition alive over decades of change – redemption, heart, and festive spirit shine in Charles Dickens’ timeless classic.
A Christmas Carol runs from Saturday 29 November 2025 – Saturday 10 January 2026. Tickets are on sale now and can be booked through the Box Office in person, over the phone on 0114 249 6000 or at sheffieldtheatres.co.uk.
FULL CAST JOINING NICOLA COUGHLAN, ÉANNA HARDWICKE AND SIOBHÁN MCSWEENEY
The National Theatre today announces full casting for The Playboy of the Western World, a story of youth and self-discovery by John Millington Synge. This new production is directed by Caitríona McLaughlin (Artistic Director of the Abbey Theatre, the National Theatre of Ireland) and will play in the Lyttelton theatre from 4 December 2025 to 28 February 2026.
Previously announced cast includes Declan Conlon as Old Mahon, Nicola Coughlan as Pegeen Mike, Lorcan Cranitch as Michael Flaherty, Megan Cusack as Susan Brady, Éanna Hardwicke as Christy Mahon, Siobhán McSweeney as Widow Quin and Marty Rea as Shawn Keogh.
Completing the cast are Marty Breen as Sara Tansey, Naoise Dunbar as Jimmy Farrell, Matthew Forrest as Philly Cullen, Sallay Garnett as Nelly, Fionnuala Gygax as Honor Blake, Erin Hennessey as Fiddle Player with Susan Akintomide, Peter Mooney and Donncha O’Dea joining the ensemble.
At the edge of the earth, you could be anyone
Pegeen Flaherty’s life is turned upside down when, on a normal day, a young man walks into her pub claiming that he’s killed his father.
Instead of being shunned, the killer Christy Mahon becomes a local hero. The welcome murderer wins hearts and races as he beds himself into village life. That is until a second man unexpectedly arrives on the scene…
Director Caitríona McLaughlin is joined by set and costume designer Katie Davenport, lighting designer James Farncombe, movement director Sue Mythen, sound designer Adrienne Quartly, composer Anna Mullarkey, fight director Kevin McCurdy. casting by Alastair Coomer CDG and Naomi Downham, voice coach Shereen Ibrahim, dialect coach Patricia Logue and staff director Neetu Singh.
Playing in the Lyttelton theatre from 4 December 2025 to 28 February 2026, press performance on Thursday 11 December 2025, 7pm.
Tickets are available from £20 and are on sale now via the National Theatre website. For further information, including details about assisted performances, please visit nationaltheatre.org.uk.
Studio at New Wimbledon Theatre – until 18 October 2025
Reviewed by Carly
4****
Wimbledon brings you the story of Hedy Lamarr (Suzy Bloom) once acclaimed to be to be the most beautiful women of her time an aspiring actress in Hollywood, matched with a clever mind, but although she had fame and fortune she was soon forgotten leaving her career in tatters with the only connection to the outside world being her telephone! Her story starts in front of us on stage with Lamarr sitting at a police station facing a detective (Paul Easom) after being arrested in a parking lot after leaving a department store on Hollywood’s Boulevard with a substantial amount of goods holding a very high price tag! She denies all knowledge saying that it’s just a misunderstanding and that her manager should have been there to sort it all out. Even though a store detective previously has admitted and witnessed Lamarr being in the same situation before! She holds two royalty cheques in her handbag totalling over the amount of 10,000 claiming why would she shoplift when she has this amount sitting in her handbag! All this happening whilst she’s trying to relaunch her career only causes much devastation and despite her few appearances on tv. Her career ends abruptly as she gets outcasted from her new movie roll only to discover this whilst on a horrifying interview on TV! The production takes you through her life with only two actors playing multiple roles and doing it extremely well. Her journey starts as a young girl who was exploited at a young age and survived six marriages living the high life to being withdrawn insecure lonely whilst struggling with a drug addiction quite common of that time in Show Bizz.
What separates Lamarr from other stars is her brilliant mind where she co invented a secret communications system later ending up on the inventers hall of fame never knowing the full significance of her work!
Suzy Bloom played her part exceptionally well with much confidence depicting a powerful intelligent Hollywood star as well as showing a withdrawn and introverted character! Whilst Paul Easom gave a strong performance transitioning to different roles from police detective to Hedy’s Husband and film producer which was a pleasure to watch and very believable.
All in all, a great production and enjoyable production to watch!
New Wimbledon Theatre- until Saturday 18th October 2025
Reviewed by Brooke Burlinge
4****
Irving Berlin’s Top Hat takes the stage with all the elegance, dazzle and wit of the 1930s golden age it celebrates. The show is a step into a more glamorous time- a world of sparkle, champagne elegance, screwball romance and the glint of a tap shoe in every possible direction. Adapted from the classic film, this stage version is bursting with charm, quips and enough sparkle for days.
The plot centres around Jerry Travers, (Phillip Attmore) an American Broadway star and an elegant fashion model, Dale Tremont (Lindsay Atherton) where a ludicrous case of mistaken identity wrapped up with romance unfurls right in front of our eyes. Both Phillip Attmore and Lindsay Atherton carried the performance effortlessly, especially considering that Lindsay Atherton was a cover for the character Dale Tremont. Attmore’s suave charisma and impressive dance technique with Atherton’s poise and quick-witted spirit creates a truly phenomenal partnership. Their chemistry is truly electric as shown in the dreamy, almost heavenly ballroom sequences, where their dance became a language of love. I must also mention Horace Hardwick (James Hume) and Madge Hardwick (Sally Ann Triplett) who’s relationship may appear to be strained and in a sense loving. This, however, is proven wrong towards the very end as they admit each other’s love for each other and display their infatuation. They really bring the whole comedy part of this production forward, making the audience laugh and enjoy the show even more than they would have before.
The production’s greatest triumph lies within its ability to balance nostalgia with vitality. Irvin Birling’s music remains beautiful, irresistible and perfectly fitting throughout, brought to life by a full orchestra and a cast that revels in the rhythms of Berlin’s genius work. The choreography, brimming with crisp, swift footwork and tapping pays a loving tribute to the classic film while also feeling fresh and of new personality.
Visually, Top Hat is stunning. The art deco design of the set glitters with sophistication, and the costume department certainly put the work in to provide the show with such gorgeous ballgowns and tuxedos. Every element works in harmony to transport the audience back in time.
At its heart, Top Hat is pure escapism, with a featherlight story. It doesn’t strive for emotional depth or reinvention; it’s simply a reminder of why we all love musical theatre. And in a world that can always use a little joy, that’s certainly more than enough
The Little Theatre, Leicester – until Saturday 18th October 2025
Reviewed by Leanne W
4****
Come From Away is a poignant and uplifting musical that celebrates compassion in the face of adversity. Set in the small town of Gander, Newfoundland—with a population of just 9,000—the story unfolds in the aftermath of the 9/11 attacks, when 38 planes carrying nearly 7,000 passengers were unexpectedly diverted to the town due to the closure of U.S. airspace. The musical beautifully captures how the residents of Gander opened their hearts and homes to these stranded travellers, offering food, shelter, and comfort during a time of global uncertainty.
This production, presented by IDOLS as their final performance before concluding a remarkable 70-year legacy, is a fitting farewell. The show’s themes of resilience, community, and unexpected friendship resonate deeply, making it an ideal choice for a closing chapter.
This musical is performed in a single act with a fast-paced narrative and a compact cast portraying multiple roles and characters. While some performers demonstrated exceptional versatility in distinguishing between their roles, others struggled with creating separate characters and subsequent character transitions. Nonetheless, the ensemble as a whole delivered a commendable performance. Costume changes were minimal—often just a change of cardigan, glasses, or hat—yet effective in supporting character shifts between Newfoundlanders and the “plane people.” There are some enjoyable moments, notably the scene with the bored passengers unaware of the unfolding crisis, and the humorous initiation into becoming a Newfoundlander; complete with drinks and fish kissing, though the absence of proper props like a bottle and shot glasses slightly diminished the impact.
Musical direction by Kate Bale was strong, with the orchestra performing from behind the scenes. The score, infused with folk, rock, and Celtic influences, reflects the cultural spirit of Newfoundland. Although the ensemble pieces were powerful, there were moments where the vocals overpowered the solo speeches and lyrics during musical numbers thus leading to occasional loss of narrative clarity. Additionally, some accents lacked consistency, which further impacted comprehension in parts.
The set design featured a striking wooden backdrop with dynamic use of tables and chairs to transition between scenes. While the towering pine trunks added depth, the artificial grass at their base detracted from the otherwise effective visual presentation. Scene changes were executed smoothly, transporting the audience from airplanes to pubs and coffee shops with simplicity and finesse.
Under Ian Phillips’ thoughtful direction and Danielle Sanders’ engaging choreography, this production offers a heartfelt retelling of a remarkable true story. With strong contributions from a talented amateur cast.
Come From Away is more than just a musical—it’s a testament to the power of human kindness and solidarity in the darkest of times. This production by IDOLS captures that spirit with sincerity and heart, offering audiences a moving and memorable experience. As IDOLS takes its final bow after 70 years, this show stands as a fitting tribute to the organisation’s legacy of community, creativity, and compassion. It’s a performance that reminds us of the good in people and the importance of coming together when it matters most.
PLAYHOUSE, LIVERPOOL – UNTIL SATURDAY 18TH OCTOBER 2025
REVIEWED BY MIA BOWEN
4****
Anna Jordan’s “Lost Atoms“, created in collaboration with Frantic Assembly for their 30th anniversary, offers a thoughtful exploration of connection, memory, and the enduring effects of love. Known for her ability to capture the complexities of human experience in plays such as “Yen” and “We Anchor in Hope“, Jordan effectively brings her unique voice to this work. She skilfully combines naturalism with poetic elements, successfully balancing humour and emotional depth. Through her exploration of how people form bonds and navigate the process of letting go, Jordan invites audiences to reflect on their own relationships and the profound moments that shape them.
The story of Jess and Robbie presents a rich collage of memories that blends playfulness, chaos, and genuine emotion. Jordan effectively highlights the nuanced aspects of intimacy, such as the warmth of shared laughter and the burden of unspoken grief, while courageously addressing themes of pain. Her characters, though imperfect, feel vividly alive, offering a compelling exploration of how our memories influence our identities and shape who we are.
Joe Layton as Robbie and Hannah Sinclair Robinson as Jess give captivating performances, radiating warmth, vulnerability, and an electric chemistry that anchors the production. Layton’s Robbie is richly layered, charming and impulsive on the surface yet quietly fractured beneath, while Robinson’s Jess combines strength, tenderness, and raw emotional clarity. Together, they inhabit their characters with such authenticity that every glance and gesture feels weighted with shared history. Their physical storytelling, crafted through Frantic Assembly’s signature movement, speaks volumes beyond words: a lift becomes an act of trust, a stumble an expression of heartbreak. The result is a portrayal of love that feels both intimate and universal; fragile, aching, and profoundly human.
Lost Atoms presents a visually captivating experience, thoughtfully intertwined with the story’s emotional depth. Andrzej Goulding’s set design — with its shifting panels, suspended lights, and fragments of domestic space — creates a fluid, dreamlike environment that draws the audience closer and enriches the storytelling. Simisola Majekodunmi’s lighting design washes over each scene with exquisite balance, while Carolyn Downing’s sound and Julie Blake’s music supervision linger like half-remembered echoes.
Lost Atoms confirms Anna Jordan as one of Britain’s most empathetic playwrights — a haunting, heartfelt triumph of movement, memory, and love.
OLIVER TOMPSETT AND SAMANTHA BARKS LEAD THE COMPANY
AS P.T. BARNUM AND CHARITY BARNUM
Disney Theatrical Group today announces full cast and creative team for their brand-new stage adaptation of The Greatest Showman, based on the 2017 smash-hit film, with songs by Benj Pasek and Justin Paul,book by Tim Federle and direction and choreography by Casey Nicholaw.
The Greatest Showmanstars Oliver Tompsett (P.T. Barnum), Samantha Barks (Charity Barnum), Lorna Courtney (Anne Wheeler), Ben Joyce (Phillip Carlyle), Vajèn van den Bosch (Jenny Lind) and Malinda Parris (Lettie Lutz). The cast also includes as Caroline/Young Charity – Mia Raggio, Angelica Pearl Scott and Maya Sewrey;as Helen – Harly Gill, Ellie McArdle and Eleanor Sebastian; and Young Barnum – Max Bispham, Joel Tennant and Clark Young. Josh St. Clair (Alternate P.T. Barnum), Katie Tonkinson (Standby Anne Wheeler). Making up the ensemble are Derek Aidoo, Cornelius Atkinson, Matt Bateman, Nikki Bentley, Courtenay Brady, Thea Bunting, Amara Campbell, Jonathan Cordin, Angus Good, Ryesha Higgs, Barney Hudson, Annie Knight, Nathan Louis-Fernand, Liam Marcellino, Ayesha Maynard, Suzie McAdam, Emily McCarthy, Will Meager, Michael Patterson, Stuart Matthew Price, Emile Ruddock, Annie Southall, Zoe Schubert, with Abigail Climer, Bobby Cookson, Katrina Dix, Zack Guest, Georgie Hutchinson, Fallon Mondlane, Stephen Rolley, Jess Smith, Blake Tuke, Santino Zapico as Swings.
Completing the creative team are Alex Lacamoire (Music Supervision, Incidental & Dance Music Arrangements and Orchestrations), David Korins (Scenic Design), Gregg Barnes and Sky Switser (Costume Design); Natasha Katz (Lighting Design); Peter Hylenski (Sound Design), George Reeve (Video Design), Lorenzo Pisoni (Circus Creation and Design), Josh Marquette (Hair and Wig Design), Milagros Medina-Cerdeira (Make Up Design), Jeremy Chernick (Special Effects Design), Skylar Fox (Illusions), Natalie Gallacher CDG for Pippa Ailion and Natalie Gallacher Casting (Casting Director) and Keston & Keston (Children’s General Manager and Casting Director). Justin Paul is also providing Vocal and Incidental Music Arrangements.
Based on the 20th Century Studios motion picture with story by Jenny Bicks, The Greatest Showman is the first 20th Century Studios (formerly 20th Century Fox) title to be adapted for the stage by Disney Theatrical Group. The Seelig Group, a producer of the original film, is also a producer of the musical.
The musical will feature the GRAMMY® Award-winning and Academy Award®-nominated songs by EGOT winners Benj Pasek and Justin Paul (La La Land, Dear Evan Hansen), including “The Greatest Show,” “A Million Dreams,” “Come Alive,” “Rewrite the Stars,” “Never Enough” and the Golden Globe® Award-winning “This Is Me,” together with their brand new songs written especially for the musical.
The production premières at ATG Entertainment’s Bristol Hippodrome from 15 March to 10 May 2026. Audiences are invited to sign up for access to priority booking at www.thegreatestshowman.co.uk.
Priority booking opens 4 November at 12pm. Tickets go on general sale at 10am on 6 November.
Casey Nicholaw said today, “It’s an absolute joy to finally share our incredible cast with the world – led by the brilliant Oliver Tompsett and Samantha Barks. After an exhaustive search we have gathered a group of artists whose talent will bring to life this fantastic story – with a theatrical new book by Tim Federle and the beloved score created by Pasek and Paul. Together with a world class creative team, we are so excited to bring this story to life for the first time on stage.”
Oliver Tompsett commented, “Roles like this don’t come along very often, so it’s an absolute privilege to be taking on this incredible character in the original company of The Greatest Showman. I’m so very fortunate to be surrounded by the most brilliant cast – Sam, Ben, Lorna, Malinda, and Vajèn – and can’t wait to begin the creative process with Casey and the team in the rehearsal room.”
Samantha Barks added, “I’m thrilled to be rejoining the Disney family to play Charity Barnum. There is something utterly magical about The Greatest Showman – the songs have become instant classics – and I’m so excited to partner with Olly to bring this incredible couple and their enduring love to life on stage.”
Cast: Oliver Tompsett (P.T. Barnum), Samantha Barks (Charity Barnum), Lorna Courtney (Anne Wheeler), Ben Joyce (Phillip Carlyle), Vajèn van den Bosch (Jenny Lind) and Malinda Parris (Lettie Lutz). As Caroline/Young Charity – Mia Raggio, Angelica Pearl Scott and Maya Emily Sewrey; as Helen – Harly-Rose Gill, Ellie McArdle and Eleanor Sebastian; and Young Barnum – Max Bispham, Joel Tennant and Clark Young. Josh St. Clair (Alternate P.T. Barnum), Katie Tonkinson (Standby Anne Wheeler). Making up the ensemble are Derek Aidoo, Cornelius Atkinson, Matt Bateman, Nikki Bentley, Courtenay Brady, Thea Bunting, Amara Campbell, Jonathan Cordin, Angus Good, Ryesha Higgs, Barney Hudson, Annie Knight, Nathan Louis-Fernand, Liam Marcellino, Ayesha Maynard, Suzie McAdam, Emily McCarthy, Will Meager, Michael Patterson, Stuart Matthew Price, Emile Ruddock, Annie Southall, Zoe Schubert, with Abigail Climer, Bobby Cookson, Katrina Dix, Zack Guest, Georgie Hutchinson, Fallon Mondlane, Stephen Rolley, Jess Smith, Blake Tuke, Santino Zapico as Swings.
Directed and Choreographed by: Casey Nicholaw; Music Supervision, Incidental & Dance Music Arrangements and Orchestrations: Alex Lacamoire; Vocal and Incidental Music Arrangements: Justin Paul; Scenic Design: David Korins; Costume Design: Gregg Barnes and Sky Switser; Lighting Design: Natasha Katz; Sound Design: Peter Hylenski; Video Design: George Reeve; Circus Creation and Design: Lorenzo Pisoni; Hair and Wig Design: Josh Marquette; Make Up Design: Milagros Medina-Cerdeira; Special Effects Design: Jeremy Chernick; Illusions: Skylar Fox; Casting Director: Natalie Gallacher CDG for Pippa Ailion and Natalie Gallacher Casting; Children’s General Manager and Casting Director: Keston & Keston
A MILLION DREAMS. ONE GLORIOUS NEW MUSICAL
Featuring the GRAMMY® Award-winning and Oscar®-nominated songs by Benj Pasek and Justin Paul (La La Land, Dear Evan Hansen), including “The Greatest Show”, “A Million Dreams”, “Come Alive”, “Rewrite the Stars”, “Never Enough” and the Golden Globe® Award-winning “This Is Me” – along with brand-new songs written by the pair especially for the show. With book by Tim Federle (High School Musical: The Musical: The Series, Tuck Everlasting) – this exhilarating musical adaptation is directed and choreographed by Casey Nicholaw (The Book of Mormon, Disney’s Hercules).
Leave what’s real behind and be the first to experience the stage production of The Greatest Showman. Based on the global movie phenomenon, this brand-new musical comes to the Bristol Hippodrome in spring 2026 for a strictly limited season.
Oliver Tompsett plays P.T. Barnum. His theatre work includes A Knight’s Tale (Opera House Manchester), Ghost (Adelphi Theatre – concert), & Juliet (Broadway and Shaftesbury Theatre), In Dreams (Leeds Playhouse), Pretty Woman (Savoy Theatre), Kinky Boots (Adelphi Theatre), Starlight Express (The Other Palace), Guys and Dolls (Phoenix Theatre), The World Goes Round (St James Theatre), White Christmas (West Yorkshire Playhouse), We Will Rock You (Dominion Theatre), Rock of Ages (Shaftesbury Theatre), Wicked (Apollo Victoria), The Royal Hunt of the Sun (National Theatre), Notes from New York (Trafalgar Studios), Mamma Mia! (Prince of Wales Theatre), Kismet (Arcola Theatre), Our House (Cambridge Theatre), and West Side Story (Cannizaro Park). His film work includes Show Dogs and The Hard Way.
Samantha Barks plays Charity Barnum. For theatre, her work includes Live at the London Palladium, Frozen (Theatre Royal Drury Lane, and also filmed for Disney+), Chess (Umeda Arts Theater Main Hall / Tokyo International Forum Hall), Pretty Woman (Chicago and Broadway), The Last Five Years (St James Theatre), Amelie (Berkley Rep), City of Angels (Donmar Warehouse), Chicago (Hollywood Bowl), Oliver! (UK tour), Les Misérables (Queen’s Theatre), and Cabaret (Birmingham Rep). She was one of the participants on the BBC series I’d Do Anything, and won the most recent series of The Masked Singer. She was a judge on All Star Musicals and Mamma Mia! – I Have a Dream. For film, her credits include Tomorrow Morning, Chocolate Cake, For Love or Money, Bitter Harvest, The Revenger, Interlude in Prague, The Devil’s Harvest, The Christmas Candle and as Eponine in Les Misérables (recipient of Empire Award for Best Female Newcomer; and nomination for Screen Actors Guild Award for Outstanding Performance by a Cast in a Motion Picture). She also reprised her performance as Eponine for Les Misérables in Concert: The 25th Anniversary.
Lorna Courtney plays Anne Wheeler. Her theatre work includes Heathers (New World Stages), & Juliet (Stephen Sondheim Theatre and Toronto – Tony Award nomination for Best Performance by a Leading Actress in a Musical, and nomination from the Drama League for Distinguished Performance), West Side Story (Broadway Theatre), Dear Evan Hansen (Music Box Theatre), and Mama, I Want to Sing (Mama Foundation). Her television work includes The Equalizer.
Ben Joyce plays Phillip Carlyle. His theatre work includes The Hunchback of Notre Dame (Prince Edward Theatre – concert), Shucked (Regent’s Park Open Air Theatre), Back to the Future (Adelphi Theatre – nominated for Best Takeover at the 2023 WhatsOnStage Awards), and Jersey Boys (Trafalgar Theatre – nominated for Best Performer in a Musical and Best West End Debut at the 2022 The Stage Debut). His television work includes The Power.
Vajèn van den Bosch plays Jenny Lind. Her theatre in the Netherlands includes Frozen, Wicked, Les Misérables and On Your Feet!. Her television work includes Nachtwacht, Nieuwe tijden, De spa and Ghost Rockers; and for film, Costa and First Kiss.
Malinda Parris plays Lettie Lutz. Her theatre credits include Hercules (Theatre Royal Drury Lane), The Enormous Crocodile (Regent’s Park Open Air Theatre), The Little Big Things (sohoplace), & Juliet (Shaftesbury Theatre), Mary Poppins (Prince Edward Theatre), Matilda (Cambridge Theatre, RSC), Aladdin (Lyric Hammersmith Theatre), Caroline, Or Change, The Light Princess (National Theatre), Anansi Trades Places (Shaw Theatre), Little Shop Of Horrors (New Wolsey Theatre), Parade (Donmar Warehouse). Her film credits include Wicked and Everybody’s Talking About Jamie.
MERCURY THEATRE, COLCHESTER AWARDED £187,000 GRANT FROM PAUL HAMLYN FOUNDATION TO SUPPORT THE THEATRE’S FUTURE FOUNDATIONS PROJECT
THE PROJECT AIMS TO EMPOWER ESSEX’S PRIMARY SCHOOL STUDENTS THROUGH THEATRE
The Mercury Theatre in Colchester has been awarded a grant of £187,000 over three years as part of Paul Hamlyn Foundation’s Arts-based Learning Fund. The grant is to support Mercury Theatre’s ambitious Future Foundations project.
This grant from the Paul Hamlyn Foundation will support Future Foundations to embed arts-based learning within the curriculum and educational practice.
Future Foundations is a three-year, in-school theatre programme designed to support Key Stage 2 pupils (Years 4–6) across seven Essex schools who are experiencing or at risk of Emotionally Based School Avoidance (EBSA), have SEND, or face potential exclusion. Delivered during the school day in small, focused groups, the project offers two key strands: Literacy Through Drama, which creatively supports curriculum-based English learning, and Verbatim Theatre, a more exploratory, therapeutic-informed process that helps pupils express their lived experience through original performance. Aligned with the academic calendar, this targeted, high-impact intervention places creative learning at the heart of school inclusion strategies.
Future Foundations aims to reduce Emotionally Based School Avoidance by using drama to build pupils’ confidence, wellbeing, and classroom engagement. The project supports academic progress—particularly in literacy and communication—while helping at-risk students navigate the transition into secondary school. Alongside pupil impact, Future Foundations will invest in the professional development of Teaching and Learning Assistants, equipping them to lead drama-led learning and embed inclusive practices across school communities. The programme champions the arts as a powerful tool for equity, engagement and long-term educational change.
Catherine Sutton, Head of Programme – Education at Paul Hamlyn Foundation, said:
“The arts can play a vital role in engaging children in education and helping them overcome barriers to learning. Future Foundations has the potential to transform how children feel about school, boost their confidence and wellbeing and help them to learn and thrive in primary school and beyond. We’re delighted to support the Mercury Theatre and their school partners to build equity in education and make meaningful and lasting change – we look forward to learning alongside them.”
Forest Morgan, Head of Creative Engagement of Mercury Theatre, said:
“This programme is rooted in our belief that theatre has the power to transform learning, strengthen confidence, and amplify voices that too often go unheard. This grant enables us to embed creative, inclusive practice within schools, equipping staff and pupils alike to see drama as a vital tool for equity, learning and lasting educational change.”
Steve Mannix, Chief Executive of Mercury Theatre, said:
“We are thrilled that Paul Hamlyn Foundation has chosen to support us with such significant investment. This support will further complement our extensive Creative Engagement work in schools and community settings. It will build on our close working relationship with Essex County Council and Essex Education Authority ensuring that everyone can accessthe arts.”
THEATRE DESIGNERSAUCTION: OVER 100 LEADING STAGE DESIGNERS AUCTION UNIQUE WORK TO SUPPORT CHILDREN IN GAZA
Exclusive sketches from hit productions including SIX, Harry Potter, Totoro, Stranger Things, and Prima Facie to be auctioned for Gaza Formula Fund.
In an unprecedented show of solidarity, more than 100 of the UK’s most celebrated theatre designers are donating original artwork, sketches and scale models to raise vital funds for babies and children in Gaza.
Stage designers Georgia Lowe and Miriam Buether have brought together an extraordinary collection of signed work from leading designers including Bunny Christie, Tom Scutt, Kinnetia Isidore, Tom Pye, Ben Stones, John McFarlane, Vicky Mortimer, Ralph Koltai, Anna Fleischle, Nicky Gillibrand, Tim Hatley, Ian MacNeil, Soutra Gilmour and Antony McDonald among many others. The online auction will feature original drawings, costume designs, models and prints from acclaimed productions including SIX, Guys and Dolls (The Bridge), Billy Elliot, Nye, Operation Mincemeat, Prima Facie, and Harry Potter and the Cursed Child.
All proceeds will go directly to the Gaza Formula Fund, a grassroots charity established by Lowe and her Gaza-based charity partner Izziddeen in July 2024 to provide formula milk, nappies, and essential supplies to families with young children affected by the humanitarian crisis. Izziddeen is from Gaza City and has a son who was born into the conflict zone. With a small team, he distributes the aid bought with donations, within Gaza.
Izziddeen said “Every day, we head to a new camp to distribute milk to children living in dilapidated tents that offer no protection from the summer heat or the winter cold. Mothers run after us, carrying their children, begging for a carton of milk.
The food available does not contain the essential nutrients for mothers to breastfeed. Every day, new numbers of children die from malnutrition and the lack of medicine and food.
At this time, our children are going through the most difficult circumstances of a war that has been ongoing for two years.”
Miriam Buether said “I had been very moved and impressed by the humanitarian work Georgia was doing with Izz and the Gaza Formula Fund, whilst she was also working as a freelance designer and being a mum. I contacted her to express my appreciation and asked if there were ways I could help. Together we conceived the idea of the auction, in response to conversations with many others within the industry and the clear strength of feeling.”
Since its inception in July, the Gaza Formula Fund has raised almost £300,000, delivering life-saving supplies directly to families on the ground. This auction represents the theatre design community’s collective determination to amplify their efforts.
“We believe that this auction shows not only the strength of feeling within the theatre industry, but is also an important step in encouraging more voices and institutions to speak out,” said Lowe and Buether in a joint statement.
The two-week auction launches on JumbleBee at 9am on 16th October 2025 offering collectors and theatre enthusiasts a rare opportunity to own one-of-a-kind pieces from some of the most significant theatrical productions of recent years. All work will be signed by its designer, and in some cases other creative team and cast members.
The Lion the Witch and the Wardrobe is based on the novel by C S Lewis.
It follows the story of four children Peter, Susan, Edmund and Lucy who are evacuated from London during World War II to go to live in a house with a Professor. Lucy comes across a wardrobe in one of the rooms and when she goes into it she finds the magical world of Narnia. She meets a fawn named Mr Tumnus and has tea with him, he tells her that as she is the daughter of Eve that he should take her to the Wicked Witch for her to be killed but he cannot go through with it and lets Lucy go back. Lucy’s brothers and sister think she is making a story up but then Edmund discovers the world of Narnia and meets the Wicked Witch, the Queen of Narnia, who tricks him into bringing his brothers and sisters to Narnia. Aslan, the lion, who is the official King of Narnia returns to Narnia and sacrifices himself for the lives of the children. The children battle against the Wicked Witch to bring back the good in the land of Narnia and when they are victorious, they are crowned Kings and Queens.
The music in the play was carried out by actors on the stage which was particularly impressive and showed how talented they were. I especially liked the vocals of Mrs Beaver played by Anya De Villiers. Both the beaver’s brought a welcomed fresh air to the play.
The lion puppet of Aslan was visually very good and its movements were very realistic and impressive, however, personally I think it was too futuristic looking and I would have liked to have seen a nice lion puppet with fur. Next to the lion puppet was an actor (Stanton Wright) playing the part of Aslan wearing a fur coat. I found this quite off putting as I wasn’t sure who I was supposed to be looking at, I think one or the other would have been better.
The scenes and settings were good and they used white drapes to transfer effortlessly from one scene to another. At the end of the first act the Wicked Witch played by Katy Stephens flies into the air with drapes attached as her dress flowing down to the floor, this combined with the lighting was a definite wow moment for me. There were magic tricks through the show which were great and unexpected.
Although the actors playing Peter (Jesse Dunbar), Susan (Joanna Adaran), Edmund (Bunmi Osadolor) and Lucy (Kudzai Mangombe) were okay, I felt there was something lacking and that they didn’t sound childlike enough.
Unfortunately for me I found it a really dark production and saw a couple of children snuggle up to the person next to them in a couple of parts. I do think that it is a personal preference production and would urge people to go and form their own opinion.
