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Broadwick Soho unveils exclusive partnership

with ‘Moulin Rouge! The Musical’

Celebrations include bespoke room packages with coveted theatre tickets, inventive new cocktails, and indulgent dining, all culminating in a spectacularly theatrical festive light display.

Baz Luhrmann’s iconic film, MOULIN ROUGE!, has been brought to dazzling life on stage with Moulin Rouge! The Musical – winner of ten Tony Awards and hailed as one of the most spectacular productions in the world today. Now, London’s most flamboyant boutique hotel, Broadwick Soho, is raising the curtain on an exclusive new partnership with the West End sensation launching this month.

Just a short step from one another in the heart of Soho, Broadwick and Moulin Rouge! The Musical are kindred spirits: bold, theatrical, and unapologetically fun, celebrating spectacle, creativity and a certain joie de vivre. Drawing on the Bohemian values of Truth, Beauty, Freedom and Love – with light design and emblems created by Bazmark and Catherine Martin – this collaboration brings the world of Moulin Rouge! The Musical to life at Broadwick Soho through glamorous stays, cocktails, dining experiences and dazzling decorations.

Spectacular room packages 
As part of the collaboration, Broadwick Soho is offering bespoke room packages complete with tickets to Moulin Rouge! The Musical. Offering seamless access to London’s most electrifying stage show, room bookings include Band A theatre seats, while suite stays elevate the experience with Premium seating. Suite guests will also receive a Moulin Rouge! The Musical merchandise bag, filled with goodies to ensure the magic lasts long after the final curtain.

A dazzling festive façade

Launching in early November, Broadwick Soho and Moulin Rouge! The Musical will unveil a spectacular light display and decorations, transforming the façade of the hotel into a glittering celebration of the season. The bold, theatrical design will mark the beginning of Broadwick Soho’s Christmas calendar with a spectacular reveal moment. With the themes of Truth, Beauty, Freedom and Love at its heart, and the iconic red windmill with turning sails adorning the building, it certainly will be showstopping.

“Having spent many a festive night (and not just at Christmas!) at the Broadwick, I’m thrilled that this year’s decorations will be inspired by the iconic imagery from our stage musical of Moulin Rouge!, from the sails of the windmill to our credo: “truth, beauty, freedom, love.” Come down to the Broadwick and see it lit up like a spectacular Bohemian fantasy!” – Baz Luhrmann, acclaimed film director.

 “We are overjoyed to bring the spirit of Moulin Rouge! The Musical to Broadwick Soho with a dazzling display that embodies the joy and spectacle of the festive season” – Carmen Pavlovic, producer of Moulin Rouge! The Musical and CEO of Global Creatures.

Celebratory cocktails

To mark the occasion, Broadwick Soho’s bartenders have crafted four show-stopping cocktails. Available at rooftop bar and restaurant Flute, the hotel’s crowning jewel, and Bar Jackie, the joyful all-day dining bar, restaurant and terrace, each cocktail pays homage to Moulin Rouge! The Musical’s Bohemian spirit and embodies the show’s four guiding principles.

• TRUTH: Tanqueray 10 Gin, Campari, Sherry Oloroso, Melonade, Palo Cortado. Available in Bar Jackie.
• BEAUTY: Santiago de Cuba 8yo Rum, Campari, Mango Syrup, Lime, Fever Tree Soda. Available in Bar Jackie.
• FREEDOM: Casamigos Mezcal, Don Julio Blanco Tequila, Watermelon, Chilli, Amaro Santoni, Fever Tree Soda. Available in Flute.
• LOVE: Palmaraé Gin, Antica Formula, Grenadine, Orange Blossom. Available in Flute.

In keeping with Broadwick Soho’s commitment to meaningful causes, a portion of proceeds will be donated to Breathe Arts Health Research (www.breatheahr.org). Breath is a local not-for-profit social enterprise who use the arts to change lives. They use theatre, dance, music, magic and more to improve the mental and physical health of some of society’s most vulnerable communities, including young people who have had a brain injury and adults with severe mental health challenges.

Theatrical dining 
Broadwick Soho’s flagship Italian restaurant, Dear Jackie, with its sumptuous red velvet walls and intimate booths, is offering a dedicated pre-theatre set menu. Available Monday – Saturday until 18:15, guests can enjoy seasonal highlights such as Roast Cod with Jerusalem Artichoke, Blythburgh Pork Neck with Heritage Carrots, and a finishing touch of Amaretto Tiramisu. Guests can savour elegant dishes before heading to the theatre, complete with a Moulin Rouge! The Musical inspired cocktail to start the evening in style.

Package rates start from £600 per night. For more information, visit www.broadwicksoho.com/moulin-rouge-musical

Winners announced at the UK Theatre Awards 2025 sponsored by Encore

Sheffield Theatres & Storyhouse secure two wins each

Northampton’s Royal & Derngate receives the prestigious UK’s Most Welcoming Theatre Award

Carlos Acosta CBE is honoured with the Outstanding Contribution to British Theatre Award

Sunday 12 October 2025: The winners of the UK Theatre Awards 2025 have been announced today at a ceremony hosted by Faye Tozer. For over 30 years, this annual event has celebrated the creative excellence and outstanding achievements seen on and off stage throughout England, Scotland, Wales and Northern Ireland. Nominees from across all four nations attended this afternoon’s celebration, which took place at 8 Northumberland Avenue, supported by headline sponsor Encore.

Amidst a strong contingent of nominated venues, the North of England leads the way with Sheffield Theatres and Chester’s Storyhouse securing two wins each. Sheffield’s co-productions KENREX (Best Performance in a Play for Jack Holden, co-produced with Aria Entertainment) and Pig Heart Boy (Best Show for Children & Young People, co-produced with Children’s Theatre Partnership & Unicorn Theatre) triumphed in their respective categories, whilst Storyhouse picked up wins for The Parent Agency (Best Performance in a Musical for Rakesh Boury & Rebecca McKinnis,co-produced with Scenario Two) and Excellence in Inclusivity.

Elsewhere in the On Stage categories, Georgie Henley took home the award for Best Supporting Performance (in a Musical or Play) for The Ministry Of Lesbian Affairs (a Kiln Theatre, Antic Productions & Damsel Productions co-production), Prasanna Puwanarajah won Best Director for Twelfth Night (a Royal Shakespeare Company production), and Kei Ishihara/BlankRD (Scenography), Sacico Ito/Brucke (Costume Design), Simon Wilkinson (Lighting Design) & Ailie Cohen (Puppet Design) collectively secured the award for Best Design for Confessions Of A Shinagawa Monkey (a Vanishing Point & Kanagawa Arts Theatre co-production in association with Tramway in partnership with Dundee Rep & The Japan Foundation).

Jesus Christ Superstar (a Watermill Theatre production by arrangement with LW Entertainment) won for Best Musical Production, Flumps (a Mercury Original production in association with The Thelmas) for Best New Play, and Animal Farm (a Leeds Playhouse & Stratford East co-production in association with Nottingham Playhouse) for Best Play Revival. Achievement in Dance was awarded to Natural Behaviourby Thick & Tight, and Achievement in Opera to Welsh National Opera for Peter Grimes (a WNO production).

Alongside Storyhouse for Excellence in Inclusivity, Off Stage Award winners were Lyric Hammersmith Theatre, winning Excellence in Arts Education for their touring theatre intervention production Cross The Line, Theatre By The Lake, picking up Excellence in Touring for Steel: Regional & National Tour, BEAM, Hertford for Excellence in Sustainability, and Orchard Theatre & Orchard West Theatre for Excellence in Workforce Culture.

The highly anticipated winner of the UK’s Most Welcoming Theatre Award was Royal & Derngate, with close competition from fellow nominees Birmingham Rep and Shakespeare North Playhouse. Carlos Acosta CBE, Director of the Birmingham Royal Ballet, was also honoured at the ceremony, receiving the Outstanding Contribution to British Theatre Award in recognition of his extraordinary career both on and off stage, and his commitment to broadening access to dance across the UK and internationally.

Claire Walker & Hannah Essex, Co-CEOs of Society of London Theatre & UK Theatre, said:

“This year’s UK Theatre Awards have once again shone a spotlight on the breadth and brilliance of work taking place across the UK. From inspiring community projects to world-class productions, the talent and dedication of our members makes us immensely proud.

“Our congratulations go to all of the winners and nominees, and our thanks to the sponsors and partners who make these awards possible. It’s been a joy to celebrate another remarkable year of UK theatre with you all.”

The UK Theatre Awards 2025 are sponsored by Encore, the premier provider of lighting equipment for theatre productions across the UK, including London’s West End, Off-West End, Europe, and Asia, as well as numerous UK and international tours. 

Special thanks to our partners ATG Entertainment, ConcepTonic, Harbottle & Lewis, John Good, Nimbus Disability, Theatre Tokens, Theatrical Rights Worldwide, Trafalgar Theatres, Tysers Live in association with Ecclesiastical and Unusual Rigging.

Full list of winners at the UK Theatre Awards 2025

On Stage Awards:

Best Musical Production sponsored by Tysers Live 

Jesus Christ Superstar, a Watermill Theatre production by arrangement with LW Entertainment

Best New Play sponsored by Ecclesiastical 

Flumps, a Mercury Original production in association with The Thelmas 

Best Play Revival 

Animal Farm, a Leeds Playhouse & Stratford East co-production in association with Nottingham Playhouse

Best Director 

Prasanna Puwanarajah for Twelfth Night, a Royal Shakespeare Company production  

Best Performance in a Musical 

Rakesh Boury & Rebecca McKinnis for The Parent Agency, a Scenario Two & Storyhouse co-production 

Best Performance in a Play 

Jack Holden for KENREX, a Sheffield Theatres & Aria Entertainment co-production

Best Supporting Performance (in a Musical or Play) 

Georgie Henley for The Ministry Of Lesbian Affairs, a Kiln Theatre, Antic Productions & Damsel Productions co-production 

Best Design 

Kei Ishihara/BlankRD for Scenography, Sacico Ito/Brucke for Costume Design, Simon Wilkinson for Lighting Design & Ailie Cohen for Puppet Design for Confessions Of A Shinagawa Monkey, a Vanishing Point & Kanagawa Arts Theatre co-production in association with Tramway in partnership with Dundee Rep & The Japan Foundation

Best Show for Children & Young People 

Pig Heart Boy, a Children’s Theatre Partnership, Unicorn Theatre & Sheffield Theatres co-production 

Achievement in Dance 

Natural Behaviour by Thick & Tight 

Achievement in Opera 

Welsh National Opera for Peter Grimes, a WNO production

Off Stage Awards:

Excellence in Arts Education 

Lyric Hammersmith Theatre for Cross The Line

Excellence in Touring sponsored by Theatre Tokens 

Theatre By The Lake for Steel: Regional & National Tour

Excellence in Inclusivity sponsored by ATG Entertainment 

Storyhouse 

Excellence in Sustainability 

BEAM, Hertford

Excellence in Workforce Culture 

Orchard Theatre & Orchard West Theatre

UK’s Most Welcoming Theatre sponsored by Encore 

Royal & Derngate

Outstanding Contribution to British Theatre 

Carlos Acosta CBE

@UK_Theatre               #UKTAwards

Birmingham Hippodrome- until 11th October 2025

Reviewed by Emma Millward 

5*****

Motionhouse: Hidden returns to Birmingham Hippodrome for the second part of its UK tour. Bringing a visually rich and emotional performance that continues the company’s tradition of blending dynamic physicality with inventive stagecraft. Conceived and directed by Kevin Finnan, and produced by Louise Richards, this latest work delves into the internal worlds we often conceal. The struggles, fears, and moments of resilience that shape who we are beneath the surface.

Told in two acts ‘Descent into Darkness’ and ‘Finding The Light’, the Hippodrome stage is dominated by a towering, industrial scaffold-like structure that acts almost like a character in its own right. The dancers interact with it constantly by climbing, swinging, balancing, and falling. The choreography is intense and highly physical, as expected from Motionhouse. This isn’t just dance, it is dance-circus. The performers move with a raw, almost desperate energy at times, shifting between tightly controlled sequences and explosive outbursts. The small and perfectly formed ensemble of seven dancers (Alex De La Bastide, Olly Bell, Llewelyn Brown, Dylan Davies, Blair Moore, Sophie O’Leary and Beth Pattison) work together with precise and impressive synchronicity. Each performer is not just dancing but catching, holding, and literally supporting others. They clearly have complete trust in each other, as well as themselves.  This is essential when you are performing the breathtaking and risky moves within a piece like this. It feels wrong to single out any performer for extra praise, as they all work together with such perfect unison.

Throughout the show, multimedia elements, particularly projections, are used to powerful effect. Abstract visuals wash over the set and dancers. They help build an immersive world that feels part dream, part dystopia. While much of the movement is physically demanding and visually striking, there are also moments of softness and stillness, rather than simply watching endless gymnastic tricks. Hidden does demand a level of engagement from its audience. There’s no clear storyline or spoken word to guide you. Those seeking a more traditional narrative may find certain aspects of it difficult to follow. But for those open to interpretation, it offers a unique and interesting experience. Scenes that stick in my mind include a dramatic section where two dancers are encased in (fully biodegradable) cellophane wrap within the set. It is quite a surprising sight, and very unsettling to see their struggle and eventual release from the wrap. Many moments leave the audience on the edge of their seats fearful for the performer’s safety, but every single trick, throw and catch is cleverly thought out and practised to perfection.

Technically, the show is tight. The lighting (Genevieve Giron), projections (Logela Multimedia), music (Tim Dickinson & Sophy Smith) and set design (Simon Dorman) all work in harmony, and the Hippodrome’s expansive stage gives the production room to fully realise its ambition.  The final scenes leave the audience to think about what they have just witnessed long after they have left the theatre, for me it was an unsettling, but thought-provoking dance production.

Arts Theatre – until 4 January 2026

Reviewed by Claire Roderick

5*****

Choir of Man celebrates 4 years in the West End as an exciting new cast takes over the barstools, ensuring the fun continues into 2026. The show is an uplifting and celebratory delight, full of nostalgia and joy.

With a functioning bar on stage to serve preshow beers (and some during the performance if you are lucky), The Arts Theatre is the perfect venue to turn into The Jungle pub, with its wonky, sometimes sticky, flooring and ancient seats always giving charming giant pub theatre vibes. The concept is simple – 9 men singing in a pub with monologues in between each musical number. But the song choices (from Adele and Sia to Queen via the Red Hot Chili Peppers) and Ben Norris’s writing gives the show a huge heart. Perfectly capturing the camaraderie, earned trust, honesty and occasional idiocy of a group of male friends, the show touches on loss, relationships, men’s mental health and community with Paul McArthur’s poet linking songs and introducing the pub regulars with heartfelt and funny words. Celebrating the community and shelter of pubs and mourning the loss of those amazing places where 90-year-olds and teenagers mix and share shaggy dog stories with a bar food menu that runs to peanuts and crisps, the audience cannot help but be caught up in the sense of belonging and togetherness emanating from the stage.

The cast all play instruments throughout the show, accompanying the amazing band above the bar – Jacob Evans, Jack Hartigan, Darius Luke Thompson and Sam Tookey. Everyone onstage is introduced as stereotypes: the Beast, the Bore, the Handyman, but each has a musical number to shine and let their character break through. The section about what home means to different people gives McArthur a chance to introduce each cast member by name and share a little something about their lives and manages to be melancholy and uplifting at the same time. Jack Blume’s musical arrangements are phenomenal, and Freddie Huddleston’s choreography is still seamless. The cast’s voices are all gorgeous, and blend beautifully. Paul McArthur marshals the action with a gentle mateyness while Levi Tyrell Johnson rocks as the Hard Man, Ifan Gwilym-Jones shines as the Maestro, Ben Goffe dances with abandon as the Handyman, Jason Brock sings his heart out as the Romantic, Oliver Jacobson is a wonderfully warm Barman, Aled Pennock is a sweet and cuddly Bore, Cal T King is a sweet and funny Beast and Benji Lord has a ball as the Joker. The Choir of Man family has strength in depth, and the company swings are incredibly talented. On gala night, Alex Mallalieu played the Maestro with hilarious Gallic flair – the tantrum is even funnier in French – and if you ever get the chance to see Sam Ebenezer, Tom Carter-Miles and David Shute (all former main cast members), you are in for a treat. Whoever is performing, the camaraderie and joy that fills the auditorium makes for an unforgettable show.

If you don’t get the chance to see the show in London, don’t despair, the Choir of Man tours the UK in 2026!

Southwark Playhouse – until 25 October 2025

Reviewed by Claire Roderick

4****

Evan Placey’s sharp examination of the prison system is dark, funny and heartbreaking. The predicament of the ageing prisoners who have been institutionalised with little hope of release, and the wearing down of staff to become cogs in a heartless bureaucratic system are both explored with a compassionate touch.

Lenny (Peter Wight) spends the days playing poker with wing mates Baxter (Ricky Fearon) and Norton (Sam Cox), but his body and mind are in bad shape. Needing a walking frame – confiscated after being used as a weapon – and showing more signs of dementia, Lenny is desperate for help, but prison doctor Sonya (Mona Goodwin) is reluctant to commit scarce funds to a hospital visit for a possible malingerer. Her assessment of Lenny by the cost it would take to investigate his headaches contrasts starkly with the frustrated attitude of new prison officer Mark (James Backway) who, despairing of the lack of dignity and humanity caused by the strict roles played by different agencies in the system, begins to help Lenny dress and play along as Lenny reminisces with him, thinking that Jack is his son, Simeon.

Lenny’s frailness is punctuated by angry and violent outbursts, reminding the audience that he was capable of committing his crime earlier in his life. The nature of his offence is not revealed until late in the play during a visit from his estranged son, making his reminiscing about happy moments seem like a defensive shield allowing him to dissociate from his actions. The truth raises questions about whether he was doing this as a coping mechanism before developing dementia.

The interplay between the three aging prisoners is funny and brutal with Lenny never as fragile as he seems, making him dangerous prey for the sharp but petty Norton, who sees injustice everywhere, but cheats Lenny whenever he notices a weakness. Their love hate relationship is wonderfully written – one scene consists of them trading ever more ridiculous insults and threats before breaking down in laughter. Evan Placey brilliantly writes the gallows humour. Ricky Fearon’s Baxter is much more adept at playing the system, appearing calm and letting things slide to keep things running smoothly and his life as trouble free as possible. The different ways the men have found to live within the prison walls all feel authentic and understandable.

Mark Backway’s naïve officer, determined to make a difference, finds his ability to separate the man from the crime he committed challenged when he discovers Lenny’s past but, even as the play ends in tragedy, his compassion provides a touch of hope.

Esther Baker’s direction allows touching moments to settle and shocks to hit hard. Scene changes on Katy McPhee’s slate grey set are managed smoothly and Tony Simpson’s wonderful lighting design gives timely reminders that these are lives spent behind bars.

LEADING BRITISH THEATRICAL COMPANY

ROYO

ANNOUNCES STRATEGIC INVESTMENT IN ASIA

THROUGH ITS SUBSIDIARY

RTS ENTERTAINMENT

INCLUDING AN HISTORIC RETURN TO CHINA FOR

RAMBERT

ROYO, one of the UK’s largest commercial theatre producers, is excited to announce plans for further investment in bringing world class theatre to Asia through its subsidiary RTS Entertainment.

RTS will bring Rambert’s PEAKY BLINDERS: The Redemption of Thomas Shelby to China to celebrate 100 years of the world-renowned ballet company.  The transfer will mark the fifth production that  RTS has brought to Chinese audiences in the past 18 months, the most recent of which being presentations of The Olivier Award winning Life of Pi (Simon Friend Entertainment) and Agatha Christie’s Murder On the Orient Express (Fiery Angel).

Rambert’s celebrated production of PEAKY BLINDERS, based on the global Netflix hit, will tour mainland China in Spring 2026 as part of the company’s centenary celebrations.

Helen Shute, CEO of Rambert, said “International touring has always been part of Rambert’s DNA: it connects us beyond language, strengthens creative partnerships, and sustains our future at a time when global exchange is not only inspiring, but essential for artistic and financial resilience. We are truly honoured to return in our centenary year, and with the support of Boris and the RTS team, to meet our audiences in China again.”

Boris Cao, CEO of RTS, added “We are very proud to bring Rambert back to China in celebration of their 100^th year. Chinese audiences will connect deeply with Peaky Blinders’ universal story of hope and rebirth, just like audiences in the UK.”

RTS is an international production company based in Shanghai and London, and a market leader in the territory.

ROYO Group CEO Tom De Keyser, who is currently in Shanghai for their hugely successful run of Murder On The Orient Express, has confirmed the company will continue to expand and invest in RTS  growing the office and team in Shanghai.

He added that “having RTS within the ROYO Group allows us to provide unparalleled support to British producers and performing arts institutions seeking to export their work to global audiences. Audiences and Theatres in China are some of the best in the world, and hold British productions in great esteem, so it continues to be a growing market that we are excited to be working in.”

Kids’ favourites Simon Mole & Gecko present the premiere of

The Great Big Bug Show

at libraries, museums and festivals this Autumn 

including the Natural History Museum on 15 and 16 November

Join National Poetry Day Ambassador and acclaimed children’s author Simon Mole and musician and TikTok sensation Gecko for their brand new family show The Great Big Bug Show when it heads out on tour this Autumn, including performances at the Natural History Museum on 15 and 16 November.

The Great Big Bug Show is packed full of poems, raps and songs about all your favourite bugs (and some you haven’t heard of yet!).

Which beetle has a blaster on its bottom? Which minibeast is barely the size of a full stop? Which eight-legged hunter has fangs as big as a cheetah’s claws?

Simon Mole and Gecko invite children and their families to join them for a fun and interactive exploration of the secret world beneath our feet. As well as being packed full of delightfully disgusting and wonderfully weird facts, the show is an inspirational call to action to appreciate the smaller creatures in our world. Expect Minibeasts and Massive Beats. In this show, every tune is an earworm – even the ones about woodlice!

The Great Big Bug Show is inspired by the recently released A First Book of Bugs, written by Simon Mole, illustrated by Adam Ming and published by Walker Books. This title is the eagerly anticipated follow up to The Sunday Times pick,  A First Book of Dinosaurs.  

The Great Big Bug Show will tour this Autumn to Oxford University Museum of Natural History on 27 October and to libraries across Hertfordshire and Brent, and it will culminate in two performances at the Natural History Museum in London, in the Attenborough Studio, on 15 and 16 November. There will also be performances at Cheltenham Literary Festival and Hay Festival Winter Weekend. Spring/Summer 2026 tour dates are to be announced.  

Simon Mole is an acclaimed children’s writer and performer, who has shared stages with Michael Rosen, Hollie McNish and Simon Armitage. He has published three picture books, and two themed poetry giftbooks for younger children. His next book, Poetry Pizza, is a poetry collection for 7-11 years olds which will be published in February 2026.

Simon is a National Poetry Day Ambassador, with over ten years’ experience using poetry with children and families, Simon works in schools and libraries across the country and overseas. The videos on his YouTube channel are used by hundreds of thousands of children and teachers across the world each year and have been featured on the BBC. 

Simon Mole said: “As well as learning about bugs, this show is all about having fun with poems and songs! We want kids to discover the power of their own imagination and creativity – the aim is that they walk out feeling like they could be an author, or an entomologist, or both!  As part of my research for A First Book of Bugs, I visited the Natural History Museum so it’s incredibly exciting to be bringing the show there!”

Gecko is a singer-storyteller who has performed across the world including at Glastonbury, Latitude, the Southbank Centre, 6 Music & the BAFTA winning Sky Arts show Life & Rhymes. In 2025 he released his third album The Big Picture. His songs have received millions of views on TikTok and Instagram and hardly any mean comments.

Gecko said: “I have so many fond memories of coming to the Natural History Museum as a kid. It’s such an awe inspiring building, even more so when you’re a few feet tall. To be bringing a show there is an absolute dream come true, I love the idea that we could be a part of a family’s first visit to those hallowed halls! That’s some core memory building right there. I’ve loved the challenge of writing music about the alien world of bugs and learning about how essential they are to life on earth. Plus writing a rock song about ladybirds was one of my favourite afternoons ever!”

The Great Big Bug Show is created by Simon Mole, Gecko and Peader Kirk. It is co-produced by Rua Arts and funded by Arts Council England. 

For more information on The Great Big Bug Show, visit: simonmole.com/events. Show running time: 50mins approx, no interval. Suitable for children aged 4-11 years and their family. 

2025 LISTINGS 

Show:The Great Big Bug Show

Running Time: 50 mins approx, no interval.  

Age Guidance:  ideal for children aged 4-11 years and their family

Type: family shows, poetry, days out, children’s shows, half-term, autumn, nature

Dates/Venues

25 October 10am Oxhey Library, Hertfordshire 

25 October 2.30pm Watford Library 

27 October  1.15pm & 3.30pm Oxford University Museum of Natural History 

28 October 10.30am Stevenage Central Library

28 October 3pm Bishop’s Stortford Library

30 October (time tbc) Wembley Library, Brent

31 October 10.30am Welwyn Garden City Library

31 October 3pm Hitchin Library 

15-16 November (11.30am & 2.30pm) Natural History Museum, South Kensington, London  

Spring/Summer 2026 tour dates are to be announced. 

Curve Theatre Leicester – until 25th October 2025

Reviewed by Amarjeet Singh

4****

Inspired by Roald Dahl’s beloved children’s classic, Matilda the Musical is a joyous, energetic fun filled production that blends humour, heart and mayhem. With a razor-sharp book by Dennis Kelly and an iconic score by Tim Minchin, the show delights all ages whilst honouring Dahl’s original spirit. At its core is the story of a remarkable little girl who, despite being born into a family of grotesquely ignorant and neglectful parents, uses her wit, intelligence, and imagination to rewrite her story. With a love of books and a strong moral code, Matilda finds solace and strength to stand up against injustices for herself and others, and faces off against the towering, terrifying tyrant in the form of her headmistress, Miss Trunchbull.

Minchin’s songs are clever, poignant, and catchy. Opening with the show with the boisterous ‘Miracle’ and continuing with brilliant numbers such as ‘Naughty’ and ‘Revolting Children’ they keep getting better. Peter Darling’s choreography is vibrant and inventive, matching youthful exuberance with theatrical polish. Every number is bursting with energy, and every performer is perfectly placed. Standouts are ‘School Song’ and ‘When I Grow Up’, the climbing and swinging is the epitome of childhood. The visual and technical design brings even more wonder to the stage. Rob Howell’s playful, literary set feels as though it’s leapt straight out of a storybook, while Simon Baker’s imaginative sound design and Hugh Vanstone’s expressive lighting evoke the surreal magical world of Matilda.

The cast are exceptional across the board. Rebecca Thornhill and Adam Stafford bring a delightfully sly and eccentric charm to the Wormwoods, portraying Matilda’s despicable parents with comic precision. Samuel Leon’s Mike Wormwood is delightfully dim-witted, adding to the family’s wonderfully horrid dynamic. Ryan Lay’s flamboyant Rudolpho is full of campy charisma, his splits were quite the sight, while Tessa Kadler delivers a heartfelt performance as Miss Honey. Gentle, vulnerable, yet quietly determined, her scenes with Matilda and the other children are touching.

Richard Hurst as Miss Trunchbull is sensational. Equal parts menacing and absurd, Hurst’s interpretation is masterful. Machiavellian, monstrous, and completely magnetic, his rendition of ‘The Smell of Rebellion’ makes for both repugnant and unmissable viewing. Stealing the show is Sanna Kurihara as Matilda. Playing the protagonist with poise, pace, intelligence and a quiet strength well beyond her years, she commands the stage with aplomb. Leading the cast with confidence and charm, her story telling and singing voice are captivating. The ensemble of young performers is equally impressive, particularly Dottie Jones as the sprightly Lavender and Brodie Robson as the gassy Bruce Bogtrotter. The young performers bring much of the emotional and narrative weight of the show, and they do so with infectious energy and confidence. It’s a wonder to watch.

Matilda the Musical is a triumph, a theatrical celebration of comedy, capers and childhood. It proves that imagination is a mighty force, and that sometimes, even the smallest voices can be the most powerful. Whether you’re discovering Dahl’s story for the first time or revisiting it with nostalgia, this production is an utter delight from start to finish.

Birmingham Symphony Hall – touring the UK until 17th October 2025

Reviewed by Nadia Dodd

5*****

The grandeur of Birmingham Symphony Hall was matched only by the charisma and talent of five of Strictly Come Dancing’s most beloved professionals as The Return of the Legends took to the stage. Brendan Cole, James Jordan, Pasha Kovalev, Vincent Simone, and Ian Waite delivered a night of unforgettable performances, blending elegance, passion, and showmanship in a celebration of ballroom and Latin dance.

From the opening number, the audience was swept into a world of rhythm and glamour. Brendan Cole, ever the showman, led the charge with his signature flair, commanding the stage with a presence that reminded everyone why he remains a fan favourite. His routines were sharp, expressive, and full of energy, setting the tone for the evening.

James Jordan brought a magnetic intensity to the stage, particularly during a rumba that was both powerful and emotionally charged. His performance was a masterclass in control and connection, drawing audible gasps from the audience. Later, in a cheeky nod to Dirty Dancing, James channelled his inner Patrick Swayze with a routine that was equal parts sultry and nostalgic — a moment that had the crowd roaring with approval.

Pasha Kovalev, known for his smooth style and technical brilliance, delivered a series of routines that were as precise as they were passionate. His Argentine tango was a standout — a seductive, smouldering performance that showcased his impeccable timing and chemistry with his partner. Every flick, every pause, every glance was executed with finesse.

Vincent Simone, the undisputed king of the Argentine tango, brought his signature Latin fire to the stage. His performance was a masterful blend of intensity and elegance, with intricate footwork and dramatic flair that left the audience breathless.

Ian Waite, with his tall frame and graceful lines, brought a sense of classic ballroom sophistication to the evening. Ian’s warmth, charm and humour shone through in his interactions with the audience, adding a personal touch to the performance.

What truly elevated the evening was the camaraderie between the dancers. Their shared history and genuine affection for one another brought a sense of authenticity and joy to the stage. Between routines there were plenty of playful banter and behind-the-scenes stories from their Strictly days, giving the audience a glimpse into their world beyond the glitter and sequins.

Every vibrant moment was filled with energy and elegance. The production was slick, the choreography inventive, and the atmosphere electric. A standing ovation or ‘ovulation’ remaining for the finale, a mash up of well known dance hits that got the audience dancing along until the final bow. They even announced that tickets are already on sale for 2026 which was also a massive crowd pleaser.

The Return of the Legends was more than just a dance show — it was a heartfelt tribute to the enduring magic of performance, friendship, and the joy of movement. For fans of Strictly and dance lovers alike, it was a night to remember.

Richmond Theatre – until Saturday October 11th 2025

Reviewed Carly Burlinge  

5*****

Richmond Theatre presents Agatha Christie’s Death on the Nile; a classic “whodunnit” murder mystery, full of intrigue, subterfuge and comedy.

The benefactors of the British Museum’s Egyptology department are brought together for a gala event, by the curator Atticus Praed (Howard Gossington), to celebrate the return of an important Pharoah’s sarcophagus to Egypt. All the attendees to the gala will be escorting the sarcophagus on its final journey down the Nile, including Hercule Poirot (Mark Hadfield), a celebrated detective, who is known for solving mysterious murders. Against the background of the gala, Jacqueline De Bellefort (Esme Hough) seeks out her old school friend, Linnet Ridgeway (Libby Alexandra-Cooper) to introduce her fiancé, Simon Doyle (Nye Occomore) in the hope that Linnet will employ Simon on her new estate. Eight weeks later we discover that the cruise down the Nile is now also a honeymoon cruise – however not for the couple we would expect! Simon has married Linnet, and the happy couple are being stalked by Simon’s ex-fiancé, hounded by Linnet’s trustee, Annabelle Pennington (Helen Katamba) and their marriage is doubted by the rest of the group. As the boat sets sail up the river Nile, against an exotic backdrop of palm trees and crocodiles, the relationships between the passengers unfold before the audiences’ eyes, resulting in a shocking murder, which appears unsolvable! Can Hercule Poirot ascertain the truth, solving the murder before the boat sets sail on its return journey?  

The staging, whilst simplistic at first glance, is extremely effective and versatile.  The main staging consisted of wooden slatted doors, which glided seamlessly across the stage, and railings to depict the two levels on the steamer boat, showing the separation between the bedrooms and the communal areas of the boat. This was enhanced by the inclusion of tables, chairs and beds as the scenes required. Lighting was also used to great effect in harmony with the staging, highlighting key areas of interest throughout the performance, and enhancing the darker and more sinister themes within the storyline.  

Overall, this was a thrilling and outstanding performance, that exceeded my expectations. I thoroughly enjoyed the show with all of the actors executing their roles to perfection! This show is definitely one not to miss and I highly recommend it!!